On a recent Sunday night, I walked down a short flight of steps on Grove Street in Manhattan’s West Village and through a door marked with a compass, as if to indicate I was in the right place. Inside, a hostess with a bright smile and kind eyes (that urban rarity) asked me a wait just a couple minutes till a seat cleared. I remembered the drill – just as many people as there were seats, my kind of bar. A few minutes later, I was seated on a tall chair in the center of a long wood counter, so cozy I could wrap my arms around it, looking up at a plump angel with the tiniest devil’s horns peeking out from his sleek black mop. He was wearing a blue velveteen robe, his eyes cast down towards the almost cloudless sky, towards ringleted cherubs, towards the bar from which he was likely inhaling the angel’s share. Angel’s Share (the bar’s namesake) refers to the alcohol lost to evaporation when a spirit is poured into oak barrels, an undefinable sliver – just enough to get a cherub high.
Diese Geschichte stammt aus der October 2023-Ausgabe von RollingStone India.
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Diese Geschichte stammt aus der October 2023-Ausgabe von RollingStone India.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
Bereits Abonnent? Anmelden
DANCE-FLOOR BLISS AND THE SEARCH FOR (POST-) HUMAN CONNECTION
Over the course of roughly a decade, CARIBOU, the electronic-leaning project from Canadian musician and composer Dan Snaith, has released intricate, sonically inventive records that cradle rhythm and history. On \"Home,\" from 2020's Suddenly, he coos softly alongside a frenetic flip of Gloria Barnes' 1971 single of the same name. There, the subtle cracks and gestures in his voice manage to breathe life into the digitally-manipulated sample. Caribou's music has so far thrived on this quality — Snaith's seemingly boundless musical curiosity and his ability to crystalize big ideas into euphoric moments of dance-floor bliss. It's why his choice to use artificial intelligence on his vocals for his latest album, Honey, feels like a misstep. Here, Snaith's voice is transformed in character and identity, at times creating revelatory moments, like on \"Come Find Me,\" where he's reimagined as a treacly-toned young woman, though in small enough doses for it to work. Elsewhere, like on the rap-adjacent \"Campfire,\" where Snaith renders himself as the sort of rapper you might hear on a Caribou track (think Definitive Jux vibes), the concept breaks down.
Get Closer: The Intimate Gaze of Films at NYFF62
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INDIA'S HIP HOP MOVEMENT GAINS MOMENTUM
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