News & Politics

This Week in the Voice: Daniel Martin-McCormick’s Spin Control


This week in the Voice, out today: Michaelangelo Matos details Daniel Martin-McCormick, the musician who is half of the rock-gone-electronic duo Mi Ami and the sole member of Ital: “He’s personable, quite alert, and friendly, and it doesn’t feel like a chore. He gives the sense that he’s exactly what he wants to be right now. And why not? Martin-McCormick is becoming popular by doing just that. Hive Mind is getting good reviews–a Pitchfork 8.0, most obviously–and Ital’s show on February 17 at 285 Kent demonstrated that he could cultivate an indie-crossover audience.”

Robert Sietsema takes the train to Queens to review Tacos Morelos: “As the restaurant’s name implies, the owners hail from the state of Morelos (specifically, Cuernavaca), which lies directly south of Mexico City, an area one tourist guide bucolically describes as ‘green hills and streams with scattered waterfalls.’ The cuisine of this tiny state has much in common with that of Puebla to the southeast and Guerrero to the southwest, where many of NYC’s Mexican immigrants come from.”

Maura Johnston examines male teen idols and collective artistry in her essay on One Direction: “Put together as a sort of patchwork from the British edition of the televised talent show The X Factor–each member had tried out for the show separately and not made the cut, but were seen to be more than the sum of their parts by pop spark plug.”

In film, Karina Longworth reviews Will Ferrell’s Casa de Mi Padre, and wonders WTF?:”Funnier than any single joke within the movie is the overarching meta-joke–the simple fact that the movie was made. Why–and how–does this even exist?”

Michael Feingold tells us about Tina Howe’s Painting Churches, and finds that the adaption falls in line with the playwright’s perspective: “Almost impossible to duplicate in three-dimensional reality — how do you conceal flamboyance behind discretion? — this piece of literary wishful thinking provides a handy key to the writing style of Howe’s delightful, disturbing, and ultimately moving 1983 play. It also supplies a useful defense of director Carl Forsman’s revival for Keen Company, which has been unjustly ragged on for providing almost exactly what Howe seems to desire.”

And in art, R.C. Baker checks out Masao Yamamoto‘s small snapshots of Japan’s dominant volcano, Mt. Fuji, as well as work by Guy Goodwin, Valeska Soares, and Michiel Ceuler in his round up: “Yamamoto ramps up this existential theme in a striking image of a slab of shiny metal held up to partially obscure the distant mountain. A blurry black reflection of the artist’s head replaces the contours of the peak, a beautiful postcard from human consciousness to whatever–God, nothing, entangled particles–ultimately awaits us.”

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