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The Hacienda Classics by  Various Artists
The Hacienda Classics by Various Artists
2006 | Compilation, House
(0 Ratings)
Album Favorite

"When Oasis first started, very early on we used to cover ‘Feel The Groove’ by Cartouche. There’s a tape of that live gig knocking about somewhere. I was the dance music head in the group. I was into indie music like everyone else, New Order, The Smiths and then one night in 1987 someone took me to the Hacienda because I’d been reading about this music and I just stood there, drinking Colt 45, thinking 'Well, this is shit…' But then someone else took me the week after and said, 'Have one of these.' And put a little pill in my hand. And within an hour I thought that this music was the greatest thing that I’d ever heard in my entire fucking life. It was a life changing experience. The thing about the Hacienda was it was a superclub before superclubs existed. Acid house only lasted two years and that was it at its best. If you go to a club now you might as well be listening to the same song all night. Back then they played everything, hip hop, electro, acid house, techno and it was all mashed up. It was on your doorstep and full of people who were skint. It was only two quid to get in, they sold Rizla behind the bar so you could skin up and acid and Es were just entering the cultural stream. They were the best years of my life and probably every other day since I’ve thought, 'I wonder what those tunes were called?' Then I heard this album was coming out, I put it on at home and I was instantly transported back into that nightclub. And I thank the people who put this album out. It reminds me of great days when I was young and enjoying life to the full."

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Vince Clarke recommended Hotel California by Eagles in Music (curated)

 
Hotel California by Eagles
Hotel California by Eagles
1976 | Rock
8.0 (4 Ratings)
Album Favorite

"I've never seen them live, but I've seen loads of footage of them performing live. 'Hotel California' is an incredible track, or at least I think so. It's like a best of American rock, or country rock or whatever you want to call it, it's the perfect example of that genre. It's got perfect harmonies, really good songs. I love watching them with their double necked guitars and shit like that, it's just really professional, really impressive, something that I could never do. It's an admiration thing. I got into The Eagles late, about 1990 or something. I started hearing them a lot on the radio, I'd known their songs but hadn't paid any attention to them in any detail. Then when I started listening to them properly, I thought, ""Yeah man, that's pretty damn cool"". Living in America it's been interesting to discover that there's a much bigger alternative scene here than I imagined there was. I live in Brooklyn and there's a big electronic scene here, lots of people doing experimental music. The whole thing started with electroclash really, I loved that [chuckles], it was so cheeky. Since I did that record [VCMG] with Martin Gore I've been listening to a lot of techno stuff, it's not one particular artist, but I'm on Beatport every day. It's quite a revelation, I was quite out of touch with electronic music, but now I'm finding loads of new stuff. I'm working on another collaboration record, with various DJs and mixers, it's quite a long project, but I thought that rather than work with an individual it'd be interesting to get different people, get different angles on the music. Hopefully when Martin comes off tour and has a bit of time we could do another record together, because I really enjoyed doing the last one."

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Colin Newman recommended The Amateur View by To Rococo Rot in Music (curated)

 
The Amateur View by To Rococo Rot
The Amateur View by To Rococo Rot
(0 Ratings)
Album Favorite

"How I got to know about it was through knowing their original record label Kitty-Yo and working with people in Berlin and going over there, and then I met Ronald, and this album summed up a moment for me. Dance music had so completely dominated the 90s. Really you could only ever talk about music in terms of the beat. There was techno and electro and then there was drum & bass, and they were so dominant; there was no other music. I remember thinking at the time, at the height of drum & bass, why would you listen to any other kind of music besides drum & bass? That's the only kind of music there is. There's Britpop, but that's rubbish. And then towards the end of the 90s all that started to fade and there was Tortoise suddenly appearing with what Americans who didn't do dance music did as instrumental music. And then from Germany you had To Rococo Rot. I think they gave me that record, because I think the version I've got is a promo. And again it's one of those records we just listen to over and over again. Wire did a tour, I think it was in 2000, and when we started we hadn't provided any music to go on before the band. And in every venue they were playing something like Soundgarden. Sorry, but I can't stand Soundgarden. I can't take it. So then we said well why don't we give them some music to put on? And I had that album, so we had that on before every show and it was really good. It was like you have some thrashy support band and then some thrashy dirge playing after that and then Wire coming on and it's like an evening of dirge. So to lighten it up we put something else on that puts the audience in a different space. And it also set us up in a different way. We got to feel differently about what we were doing. It was very effective for that"

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The Girl in the Spider's Web (2018)
The Girl in the Spider's Web (2018)
2018 | Crime, Drama, Thriller
Foy is good - the rest is bland and boring
I, like many of you,was surprised to learn that there was a new "Girl with the Dragon Tatoo" film coming out. I thought, "do we need another one"? I got my answer.

We don't.

THE GIRL IN THE SPIDER'S WEB continues the story of crusading, crime-fighting, techno-punk computer hacker Lisbeth Salander as she continues on her journey to right the wrongs committed to women from no-good men. She is joined in her quest, once again, by journalist Mikael Bloomkvist.

Claire Foy (The Crown) takes over the title role and she is the ONLY thing in this film worth watching. Her Lisbeth is interesting, intense and doggedly-determined. Foy is a charismatic actress and this charisma comes off on the screen. Unfortunately, the other characters/actors that Foy is asked to play with (and off of) are bland, boring and very, very forgettable. Staring with Sverrir Gudnason as Bloomkvist. This character is supposed to by Lisbeth's partner and former lover, but there was no spark of recognition or connection between the two of them and this fellow could have been ANYBODY. Sylvia Hoeks, Adreja Pejic and even Vicky Krieps (so interesting in THE PHANTOM THREAD) were all disposable and interchangeable. Only Stephen Merchant (in a serious role) and Lakeith Stanfield showed any spark of interest.

The plot of this film didn't help matters either. Where the first GIRL IN THE DRAGON TATOO is a very intimate, very personal story, SPIDER'S WEB is bigger and broader (almost entering into James Bond territory) making the stakes superficial and phony (even though the plot involved her sister and her father, which SHOULD make it VERY personal). Director Fede Alvarez (working from his own screenplay) also brings nothing to the table, visually, making this a very slow, very tedious slog, indeed.

But then, Foy/Salander shows up on the screen and interest increases - at least until she leaves the screen again.

Avoid this Spider's Web and go find the original Dragon Tatoo films.

Letter Grade B- (for Foy's performance)

6 stars (out of 10) and you can take that to the Bank (ofMarquis)
  
Rainbow in Curved Air by Terry Riley
Rainbow in Curved Air by Terry Riley
1969 | Rock
(0 Ratings)
Album Favorite

"Again, this is a real stoner record. But the thing with it was the method of tape loops and being experimental in the studio with tape. With not much other technology available you would do things with varispeed and loops. We only did it a couple of times but you end up with sixty feet of tape going round bits of microphone stands and chair legs and handles of the kettle and things like that, just to get it to play in a loop the way you want it to. And to then be able to build on top of that into something coherent and repetitive: in a way it really was the birth of techno. Certainly the more ambient stuff like The Orb, where they're saying yes, we like things that just keep going and are repetitive. But in a way again it's the dynamics of it, because what you really have is that the loop becomes the foundation and it becomes a mechanical thing where you don't actually need to listen to it once you've got the idea of it. It keeps going, your mind cancels it out and then you listen to what's going on above it and on top of that. So it is a kind of foundation thing, and it's almost like as a species, people like perfection. That's why we like laser beams and bubbles. And we like repetitive music and drum loops because our consciousness doesn't need to pay attention to them, but we admire them because they are perfect, and nothing else in the world is. That was the real value of Terry Riley for me. With the Damned's second album we had this song called 'You Know' and I remember Brian said it's just one riff and we keep repeating it. And I was thinking fucking hell, Brian, have you run out of ideas? But actually there is something that goes with that, which is that almost hypnotic groove that you can find yourself in when you're listening to it, or when you're playing it."

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The Hudsucker Proxy (1994)
The Hudsucker Proxy (1994)
1994 | Comedy
Terrific, under-rated gem
Coen Brother's films fall into 3 categories for me:

Terrific, well-known films: FARGO, NO COUNTRY FOR OLD MEN, THE BIG LEBOWSKI

Terrible, overly-indulgent films: HAIL CAESAR, A SERIOUS MAN, BURN AFTER READING

Under-rated gems: BARTON FINK, MILLER'S CROSSING, THE BALLAD OF BUSTER SCRUGGS

And this film, the 1994 homage to 1940's fast-talking comedies THE HUDSUCKER PROXY.

Set in the business world, THE HUDSUCKER PROXY tells the tale of a young, ambitious corporate ladder climber who is taken under the thumb of a conniving business exec who wants to use the young man as a patsy for the business.

Tim Robbins stars as the young, ambitious Norville Barnes who's "gee shucks" demeanor and the faithful belief in those around him anchors this film in a common decency that Robbins exudes in spades. Countering Robbins is a crafty film veteran - Paul Newman as evil, corrupt Corporate Executive Sidney J. Mussburger. Newman was winding down his career at this point, so must have seen something in the script that caught his eye, for Newman has a spark and a spring in his step that shows that the old man "still has it". He plays off of Robbins well and it is a joy to watch this veteran actor work. Equally interesting in this film is Jennifer Jason Leigh who channels her inner Rosalind Russell as fast-talking, hard-pushing reporter (and erstwhile girlfriend of Barnes), Amy Archer.

But this being a Coen Brothers film, this movie is just as strongly about the atmosphere and the dialogue as it is the characters - and what an atmosphere they create. Delivering a strong "1940's Art Deco meets Techno-Punk" theme, the Coens deliver a visually interesting world that is incorporated with intriguing characters.

In other words - it's a Coen Brothers comedy - and one that is well done.

To tell more about the story is to spoil the picture, but realize that this film is well made, well scripted and well acted (if a little slight on story). It is a very entertaining way to spend a few hours.

Letter Grade: A-

8 stars (out of 10) and you can take that to the Bank(ofMarquis)
  
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Heather Cranmer (2721 KP) created a post

Jan 12, 2021  
Author Richard Cox stops by my blog to discuss writing a manuscript in a fascinating guest post. Check out this techno thriller novel HOUSE OF THE RISING SUN, and enter the giveaway to win a signed copy of the book and another one of his books - three winners total!

https://alltheupsandowns.blogspot.com/2021/01/book-blog-tour-and-giveaway-house-of.html

**BOOK SYNOPSIS**
Both a frightening apocalyptic story set in the southern United States and a character-focused, deeply moving literary thriller.

What would happen if technology all over the world suddenly stopped working?

When a strange new star appears in the sky, human life instantly grinds to a halt. Across the world, anything and everything electronic stops working completely.

At first, the event seems like a bizarre miracle to Seth Black--it interrupts his suicide attempt and erases gambling debt that threatened to destroy his family. But when Seth and his wife, Natalie, realize the electricity isn't coming back on, that their food supplies won't last, they begin to wonder how they and their two sons will survive.

Meanwhile, screenwriter Thomas Phillips--an old friend of Natalie's--has just picked up Skylar Stover, star of his new movie, at the airport when his phone goes dead and planes begin to fall from the sky.

Thomas has just completed a script about a similar electromagnetic event that ended the world. Now, he's one of the few who recognizes what's happening and where it will lead.

When Thomas and Skylar decide to rescue Natalie and Seth, the unwilling group must attempt to survive together as the world falls apart. They try to hide in Thomas's home and avoid desperate neighbors, but fear they'll soon be roaming the streets with starving refugees and angry vigilantes intent on forming new governments. It's all they can do to hold on to each other and their humanity.

Yet all the while, unbeknownst to them, Aiden Christopher--a bitter and malignant man leveraging a crumbling society to live out his darkest, most amoral fantasies--is fighting to survive as well. And he's on a collision course with Thomas, Skylar, and the Black family...
     
Strange Little Birds by Garbage
Strange Little Birds by Garbage
2016 | Alternative
5.7 (3 Ratings)
Album Favorite

"With some of the other songs here I said ‘I wish I’d written that song’, but I did write this one. I figured I had to at least put in one song I wrote, so if nothing else it’s a guilty pleasure. “‘Even Though Our Love Is Doomed’ had a long birth on Strange Little Birds and it’s an important song to me. I came up with the title when I was driving. I called Shirley and said ‘I have this title’ and she loved it. I said I’d work on it but all I had was the idea for the chorus and for the longest time it just sat around. I made all these different demos of it, an alternative-rock one, a clubby techno one, another sounded kind of hip-hop and a folk version and I hated all of them. Shirley asked what happened to it and I told her I hadn’t found anything that fitted what I’d heard in my head, so she said I should just bring in a simple demo to hear. I got home that night and panicked, because all I had was the chorus, I figured I had to put an arrangement together, even if it was just a temporary holding pattern. I picked up a bass and played the riff at the start and for some reason I wrote all the lyrics, they just came out in five minutes. The lyrics work on a bunch of levels. It refers to our band, the things that we have to work through, trying to survive and understand what’s going on, and it works for me in terms of my personal relationships with people where there’s been difficult times. That’s really what the song is about, trying to realise that it’s worth fighting through difficult times if something’s worth holding on to. It’s a really personal song to me. I liked the sonic template of it and that was a big inspiration for Strange Little Birds. We wanted to make more of a cinematic, atmospheric sounding record and less of a rock record. I liked the way the sound of the music and Shirley’s voice worked together. The song is important to me in that sense and the lyrics mean a lot to me, they’re about people I know, our band and myself."

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Natasha Khan recommended Post by Bjork in Music (curated)

 
Post by Bjork
Post by Bjork
2006 | Rock
7.3 (3 Ratings)
Album Favorite

"I think it's because when I was 12 I had Debut and I really liked that because I was just dancing around singing and enjoying it, quite an innocent record that had some beautiful moments. But really for me Post is an album I heard that was unlike any other at the time which was combining electronic and organic elements and I just really enjoyed delving into that sonic universe that she created, it's so experimental and forward-thinking and unique to her, but it perfectly fit into that time and landscape. I think it's really timeless. I think she has become a certain thing now but on those first four or five albums, for me, she was such a pioneer and so fiercely dedicated to her art and so unique and so closely linked to themes of nature and passion and love and the body and raw childlike feelings, and using all these really exciting instruments and sounds to put across her pop songs. 'Army Of Me' was the first single that came out - [sings intro] - POW! Clanging, massive drums and Michel Gondry was making the videos and I think the album just sonically draws in so many amazing, London early to mid nineties influences. But then having songs like 'Cover Me'. I remember hearing an alternately recorded version of 'Cover Me' which she actually did in a bat cave! You can hear the bats squealing and flitting about, so there's all these kind of sub-bass, deep 808 beat noises that I got really excited about, but she's got like bloody harpsichords and harps and stuff like really archaic chamber music sounds mixed with really heavily electronic digital sounds. So that was a real education, combining those things, because for me, if it's too much of one or the other I miss them a bit. Even on Berlin there's a lot of real instruments but there's synths and stuff going on too - I love it when people combine those things. Also, the eclecticness of the record: she's not afraid to travel from songs like 'I Miss You' which is that type of fanfare to 'Army Of Me' which is dark and techno and 'Hyperballad', which is like fucking four-to-the-floor, but just with all these strings it's super-emotive, a Technicolor dream."

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Street Sounds Electro 5 by  Various Artists
Street Sounds Electro 5 by Various Artists
1984 | Electronic
(0 Ratings)
Album Favorite

"There isn't really one definitive album in that series. We were completely addicted to those Electro albums when they first came out. One of us had one album and we used to trade them between the lot of us. I bought Electro 2 and I was a bit pissed off at the time, but it's one of my favourites now. Electro 5 has got some of the best tunes on it. And Crucial Electro has got 'Clear' by Cybertron, which is amazing. Jerry Calliste, Jr. is a genius I think. He was the man behind 'Al Naafiysh' and High-Fidelity Three's 'B Boys Breakdance'. That's one of my favourite tunes on Electro 5. 'Breaker's Revenge' [by Arthur Baker] is a killer. Beat Street – the film and the soundtrack – was huge for me. I was a terrible breakdancer. Embarrassingly bad. I had a couple of moves and I could barely do those, but I loved the culture of it. UK Electro was also a key record – I found out recently that it's all by one guy. It's perhaps easy to see this in retrospect, but there are lots of parallels between Detroit and Sheffield and Manchester. I can remember looking out at the cooling towers from my bedroom window. They were maybe two miles away. You could see a big urbanised bit to the side of it. It made the landscape magical listening to that music. I think this was probably what Kraftwerk were getting at originally. Talking about it now it seems obvious, but it adds magic to your own mundane landscape. You need that. That's what happened with Detroit techno. You've got this utterly bleak landscape and the only way to make it palatable is to lend it some kind of majesty. I think we were very lucky growing up when we did. We had lots of momentous moments. Things are very fractured now. Back then, everybody had an opinion on something like Star Wars – especially boys, well, men now. We all have this notion that we were privy to something amazing. It's very rare now that something is that omnipresent. The whole thing with the electro scene was that it was a bit left of centre. I got a lot of stick for it at school. I can see why, looking back now. It was such a huge thing. It pushed you in a certain direction. I've grown up a bit now, but it used to be quite extreme. Y'know, like, "If you don't share my taste in music you can fuck off.""

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