This week's New Yorker features a profile by Sasha Frere Jones of Marnie Stern. To me SFJ is one of the best writers out there, and each piece is immensely satisfyingly readable. He's funny, he's incisive in his views, he can describe music like few others and he's concise. I was excited to hear his take on Marnie Stern and he does make an interesting point, saying "Stern’s recorded music is largely a successful duet with Hill; without him, this level of excitement would be very hard to maintain." While that gig was miserable disappointment (and Hill wasn't there), 'Marnie Stern' is an explosive album, and I just can't stop listening to it. And no matter how many times I do, I still feel jolted and stung with each listen – it succeeds in being systematically astonishing. SFJ says further on: "Stern’s claustrophobia is the kind that channels—there isn’t a slack moment on this album. “Gimme” is an example of how magnificent she can make her fidgety energy." Gimme, For Ash, Cinco de Mayo, Transparency is the New Mystery, full-on avalanches. Get this album.

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