“The fourth instalment of George Miller’s punky post-apocalyptic ‘Mad Max’ saga feels like a tornado tearing through a tea party. In an age of weightless movie spectacles, here’s a movie that feels like it was made by kidnapping $150 million of studio money, fleeing with it to the Namibian desert, and sending footage back to Hollywood like the amputated body parts of a ransomed hostage.”
This is a good read on the early days of CD leaking, from the New Yorker:
My inner eight year old just exploded
Responding to @Rosbif’s take on Cloud Atlas in the Blogger Takeover made me think of this old saw. FWIW I reckon Cloud Atlas was a good try, but what other books are out there that would be difficult to film decently? Or what ones have been filmed that really really shouldn’t have been?
I think Nabokov’s Pale Fire might be actually impossible to film, and it probably would have been a good idea if David Lynch had walked away from Dune (instead of the new Twin Peaks – boo!). I’m sure the Massive can think of many more…
This is one for the more adventurous Americana fans on this site!
Kentucky’s Panopticon are highly regarded for their melding of the state’s native bluegrass music with black metal. It’s not so daft as it sounds. There has long been a strain of black metal that has romanticised the natural beauty and folk music of the Scandinavian countries where it originated, so it makes sense for American practitioners to use their own traditional musics. Panopticon is a one man band – Austin Lunn plays every instrument, from the screeching tremolo assaults, soaring riffs and brutal blast beats of the more BM moments to the banjo picking, alternatively reflective and driving. The last but one album, Kentucky is themed around the lives of coal miners in the state, and has a solid pro-union message, with sampled reminiscences from former miners, and versions of the labour songs Which Side Are You On? and Come All Ye Coal Miners. It’s great stuff, and a million miles from the preconceptions of BM being all Nazis, corpsepaint and church burning. The linked video is this record – enjoy (and if you do, their latest album Roads To The North is very good indeed, and has » Continue Reading.
If you can get the Gold channel, POLICE SQUAD is on right now. They are showing two episodes every Friday night. This makes me very happy.
after reaching 200k subscribers on Soundcloud. I don’t know a lot about them, but Rinse FM says: Grounded in hip-hop but equally comfortable wandering further afield, the effect is immersive and trippy, with abstract rhythms and blunted funk wrapped around cosmic soul, jazz and gauzy electronics, and according to FACT: Soulection has developed a reputation as a melting pot of styles and influences. Whilst it remains firmly grounded within the realms of hip hop, the label also weaves elements of soul and dance music into its diverse output. Since its establishment, the label has released music from North America, South America, Europe and Australia.
Worth a punt, I reckon. You can get it here
Colston Hall, Bristol
This is the last night of the Bristol Jazz and Blues Festival, a New Orleans themed day. And if you’re doing Nawlins, you need the Doctor. Filing into the auditorium we are treated with the sight of Mr Rebannack’s skull roadie sorting out props on the piano before his band, led by ace trombonist Sarah Morrow take the stage and kick up an introductory groove. Dr John hobbles to the piano in feathered top hat, walking with two canes (both covered in trinkets and fetishes, obv), and kicks off Iko Iko. It’s not quite jazz, not quite blues, not quite funk, and sets the tone for the rest of the night, all swampy voodoo with enough room for a Professor Longhair break. The rhythm section are very good, especially the drum workout on Walk On Gilded Splinters, and there’s some lovely Hammond as well. Pee Wee Ellis sat in for a couple of tunes near the end (he’d played an earlier set at the festival (my excitement at seeing one of James Brown’s sidemen was only slightly lessened after the gig when I discovered he lives just down the road in Frome these » Continue Reading.
Year: 2014 Director: Shinobi Yaguchi
Yuki Hirano has just failed his university entrance exams, and been dumped by his girlfriend. After a drunken night out with his college bound friends he stumbles upon a flyer for a one year forestry course. In no small way encouraged by a picture of a pretty girl on the front, he signs up, and leaves the busy metropolis for rural Japan on a succession of smaller and smaller trains. The first intimation of disaster comes at journey’s end, when he realises there is no cellphone signal at his destination shortly before his first encounter with a pit viper…
We follow him though a month’s training, and several failed escape attempts, until he takes an apprenticeship that turns out to be under Iida-san, the toughest of his instructors and the one with least patience for pampered city boys. Even when he finds the model from the pamphlet cover she is scornful, believing he will head back to Tokyo as soon as he can. It’s probably no great surprise to say that as the year progresses he becomes more enamoured of the rural life, and begins to integrate with the village, but the pleasure is in » Continue Reading.
Year: 2009 Director: Yoshihiro Nakamura
In 2012, a giant comet is about to hit the Earth, bringing total devastation. Japan is expected to be totally submerged by a huge tidal wave. The population have fled to high ground, but as one doom loving character reminds us, that won’t help. The streets of Tokyo are deserted. But one small record shop is still open, and the owner is confident the apocalypse will not come. His certainty is rooted in Fish Story, a forgotten record made in the 70s by a band no one remembers. This song will save the world, he insists.
A good chunk of the film is the story of Gekirin. They are a proto punk band, stealing a march on the Sex Pistols by twelve months, but this is 1975 Japan and no one is interested. They gradually succumb to low sales, record company antagonism and a dispute with their singer, but not before recording the song Fish Story. The song disappears without a trace, but other parts of the film set in 1982, 1999, 2009 and 2012, just hours before the comet’s impact, follow its afterlife, and show how it does indeed save the world.