Anxiety’s Kiss, the fifth studio album by Coliseum under Deathwish Inc., is an impeccable resonance under the duration of (approximately) 37 minutes, coming off as enticing enough to make 2015 an impressive year for Deathwish Inc., such as Lightless Walk by Cult Leader, Rust by Harm’s Way, and, of course, Anxiety’s Kiss from this one Louisville-based post-hardcore band. This album was produced by J. Robbins from Jawbox, who also produced their 2011 EP Parasites and their third studio album Sister Faith, which was released in 2013.
There’s a reason why I’ve always preferred window seats in airplanes. I can be alone with my own thoughts while peering through a window of a big machine 39,000 feet from sea level. In long flights, I can see sunrises, sunsets, and I can physically cross the shackles of different time zones. Eventually, I would feel the sudden realization that I am 39,000 feet apart from the world and all its shenanigans, where civilizations rise and fall for thousands of years. I would peer down and I see territories and seas where every human memory is created and nurtured.
Today, we are proud to feature Adrienne Novy, whose book Crowd Surfing With God drops from Half Mystic Press on August 21st. Adrienne was kind enough to make us a playlist of soft and tender songs, and we are thrilled to debut a never-before-seen poem of hers.
Films convey so much about a culture, an identity, and the morbid and beautiful minds of the talents behind the camera. See Southeast Asia from a different perspective through these five award-winning local films.
At long last, we are so very, unbelievably excited to announce the winners and runner-ups for our Inaugural Writing Awards, Overture to Memory!
After many weeks of intense deliberation, discussion, and meticulous review of the poems and stories that make up our incredibly diverse and spectacular longlist, we are beyond ecstatic to announce the shortlist for L'Éphémère Review's Inaugural Writing Awards, Overture to Memory!
The East Flanders-based Oathbreaker presents a subliminal resonance that enchantingly drives us to a cathartic realm of transcendence on their third full-length album Rheia, under Deathwish Inc. Produced by the mighty Jack Shirley (who had previously worked with Deafheaven, Loma Prieta, and Whirr), Rheia comes off as an ecstatic, viscerally presented convergence between black metal, post-hardcore, and post-metal. Often put in comparison with the likes of Deafheaven’s New Bermuda, it happens to be the kind of release that you would find yourself profoundly drowning in, with the vehement emotions radiating through frantic, devastating screams— sometimes switching to anthemic soothing voices, clashes of fuzz and soaring riffs, and drumbeats that resemble the racing sunbeams up there in the vague skies.
Interview Correspondent Olivia Hu had the pleasure of speaking to Courtney Felle, an emerging poet, essayist, editor, and political activist.
Their talk explored the many dimensions of how our identities ultimately bleed into our work as artists, within and outside of realization.
There are days, when the past begins to resemble a caricature. A fragment, a morsel of something that was important and sacred, a morsel of something that was important and necessary. But now, exists only in lines and grunts.
Memories of wisdom.
Olivia Hu recently spoke with Kailey Tedesco, author of the full-length collection She Used to Be on a Milk Carton, from April Gloaming Publishing. In addition to this collection and her chapbook These Ghosts of Mine, Siamese, from Dancing Girl Press, she is the co-founding editor-in-chief of Rag Queen Periodical and an associate editor for Luna Luna Magazine. She also performs as Hortensia Celeste with the Poetry Brothel.
Their talk spanned across the many realms of publishing and the exploration of creation.