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Entertainment Editor (1988 KP) shared own list

Oct 19, 2017
"Minimalist music" has its own largely rigid definition in modern classical music (a genre that Steve Reich, Philip Glass and La Monte Young have contributed to), but Cool Hunting has highlighted how contemporary artists are taking these compositional techniques and applying them in their own music across all genres—be it ambient, pop, folk or electronic.

What do you make of these reductionist albums?
List

CH's Best Minimalist Albums 2017

Amid all the new tricks and twists of expensive recording studios brimming with expensive gear and excessive arrangements from eager producers, these reductionist albums speak out to Cool Hunting:

No Home of the Mind by Bing and Ruth

No Home of the Mind by Bing and Ruth

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New 2017 album ... now on 4AD! Percussive piano tones 'n' warbling tape delays from the minimal New...

dance electronic
A Crow Looked at Me by Mount Eerie

A Crow Looked at Me by Mount Eerie

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Album Watch

A Crow Looked at Me is the eighth studio album by Mount Eerie, the solo project of American musician...

alternative rock
Reservoir by Gordi

Reservoir by Gordi

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Album Watch

"The name Reservoir, it's that thing that you can't describe, that space that anxious people would...

alternative pop
All This I Do for Glory by Colin Stetson

All This I Do for Glory by Colin Stetson

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"All this I do for glory" is a reasoning and exploration of the machinations of ambition and legacy,...

alternative rock
Ecce Homo by Felicita

Ecce Homo by Felicita

5.0 (1 Ratings) Rate It

Album Watch

The most surprising aspect of the album Ecce Homo is knowing what enigmatic London-based producer...

experimental instrumental
and 1 other item
     
      
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Brian Eno recommended Velvet Underground by The Velvet Underground in Music (curated)

 
Velvet Underground by The Velvet Underground
Velvet Underground by The Velvet Underground
1969 | Experimental
8.4 (7 Ratings)
Album Favorite

"This was probably the most important pop album for me in that I think it's the moment where I realised that I could be a musician. It was partly that this band was semi-non-musicians, but it was also because the songs borrowed a lot from what I knew about experimental music at the time. I'd been playing experimental music with various outfits in England and with Morton Feldman and Christian Wolff and all these people that had come over from America to visit us, 32 people who were into the experimental music scene in England. La Monte Young was one of the big figures in everybody's cosmology at the time and The Velvets, both Lou [Reed] and John [Cale], had worked with La Monte. So the first album came out, I thought, ""Fantastic, amazing."" Second album I thought, ""Great, amazing."" But the third album was the one that really killed me. The first album was quite wild and dark and weird, the second album was mad and intense. But the third album was so gentle and beautiful, but because you knew their history there was that undertone of violence and rage, something trying to burst out. Even on the love songs on this – and many of them are love songs – you hear that real tension. What made me think I could do it too was that the songs were simple and the playing was so simple. There's very little artifice at all in this. But also the mood was something that I thought I could kind of connect to. The difficult thing about pop music as I was growing up, and I was 20, I think, when I first heard this, was that it dealt with young teenage emotions mostly, and that just wasn't interesting to me. I loved the music but what the songs were about was sort of childish and it was all about 'me' and 'you' and 'love', and I just wasn't interested in that really. At the same time I'd been working with Cornelius Cardew and all these kind of quite heavyweight experimental composers. But I didn't want just that. I wanted that [pop music] and that [experimental]. So I was always looking for anywhere that somebody was making some blends that started to be interesting. I didn't own this record for years and years. I just didn't buy this album because I never wanted it to become casual for me. I bought this one about five years ago. I never owned it before then. I would only hear it at other people's places because I always wanted it to be special."

Source
  
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Sarah (7798 KP) rated Rebecca (2020) in Movies

Nov 1, 2020  
Rebecca (2020)
Rebecca (2020)
2020 | Drama, Mystery, Romance
4
4.8 (4 Ratings)
Movie Rating Watch
A dull adaptation
Rebecca is an adaptation of Daphne Du Maurier’s 1938 novel of the same name, following a young woman’s whirlwind romance and her battle to rid her new marriage and home of the shadow of her husband’s first wife.

Rebecca as a novel is a classic and a book I very much enjoyed, and whilst I’ve never seen the Hitchcock adaptation, it’s often referred to as a fairly legendary classic too. However I’m afraid to say the same cannot be said about this new version. The basic plot and story is present, although rather frustratingly the ending has been extended unnecessarily, but it has not been executed very well.

The trailer made this look quite sinister and spooky, which is quite right when the original novel is a gothic horror with aspects of a ghost story thrown in. However this film turns out to be nothing of the sort. It’s more of a romantic drama with a hint of thriller thrown in – the gothic horror ghost story is nowhere to be seen and neither is any form of intrigue or suspense. In fact I’d be so bold as to say this is just outright dull, and even the campy over the top sinister vibes from Kristin Scott Thomas’s housekeeper Mrs Danvers are laughable at best. The most interesting part of this was the opening scene with it’s sinister score but this just didn’t carry through to the rest of the film.

Sadly the cast don’t fare very well in this either. Lily James is a great actor, but her version of the new wife is too mousy and timid and you wonder what on earth Maxim ever sees in her. The character herself is very frustrating and irksome as she’s far too naïve and sweet. And Armie Hammer is miscast as Maxim De Winter himself. He looks the part, dashing and handsome, but he’s lacking in the intrigue, charm and secrecy that you’d expect this character to have. He’s also missing the age gap that is rather notable in the book.

The cinematography in this is rather concerning. The scenes in Monte Carlo are far too colourful and garish and they just look out of place, even more so for something that is meant to be a gothic horror. I’m unsure of why this has been done, other than to show a striking difference between Monte Carlo and Maxim’s Cornish home of Manderley. In fact what is most concerning about this film is why Ben Wheatley wanted to direct it. By far the biggest shock of this film was finding out Wheatley, of Kill List and Sightseers fame, had directed it. Wheatley is known for psychological dark (and often funny) thrillers and there is nothing of his style to be seen in this film at all. Which is a shame, as I think a little more of his dark style would’ve propelled this film into more than just a sub-par drama.

Overall this a very disappointing and long winded adaptation of a classic novel. Whilst there are a few decent scenes and a good, if not out of character, performance from Lily James, these are nowhere near enough to save this from being a bit of a bore.