Nicolas Cage Losing His Shit
How much losing of shit can you pack into just over four minutes? When it’s Nicolas Cage and you’ve got the Requiem For a Dream score along to grease the wheels, quite a lot. The clip that follows is fast on the way to the hall of fame, but while the editing is well-done, the infamy is all due to the pure emotion of Nic Cage.
Armie Hammer Demonstrates His ‘The Social Network’ Twinning Process
There are probably a lot of people who watched David Fincher‘s The Social Network without ever realizing that the Winklevoss twins were played by one man rather than actual twins. The man is Armie Hammer, and his performance as the twin Harvard students who hired Mark Zuckerberg (Jesse Eisenberg) to create a social netoworking site is nothing less than impressive.
Last week on Jimmy Kimmel Live! the actor demonstrated the arcane secrets he used to create the twinning effect. See the video after the break.
Last week on Jimmy Kimmel Live! the actor demonstrated the arcane secrets he used to create the twinning effect. See the video after the break.
Cassius, I Love you so
São um dos símbolos máximos do french touch e, numa altura em que o house de sabor francês volta a estar ao rubro nas pistas de dança, estão de regresso aos discos. Deixando a produção alheia em segundo plano, Philippe Zdar e Hubert Blanc-Francart lançaram recentemente o EP "The Rawkers" e este novo single dos Cassius ganha agora vídeo promocional:
Gonzales - Ivory Tower
Reconhecido pela sua versatilidade (já o ouvimos como pianista, já o escutámos como MC), Gonzales estreou-se este ano no cinema, partilhando com Tiga ou Peaches o protagonismo em Ivory Tower, de Adam Traynor.
Se do filme, que fala de uma rivalidade entre irmãos jogadores de xadrez que lutam, não necessariamente por resultados, mas por chegar às mais belas situações de jogo, não ouvimos falar muito, já da sua banda a sonora vale a pena deixar um registo.
Ivory Tower é, de resto, uma obra que vale por si, sem a necessidade da caução das imagens ou da narrativa e personagens. É um ciclo de acontecimentos que toma o piano e as electrónicas como elementos num diálogo permanente.
Essencialmente instrumental, com pontuais intervenções vocais Ivory Tower chama a atenção para um talento na composição de música para o ecrã que o cinema não pode agora ignorar.
Se do filme, que fala de uma rivalidade entre irmãos jogadores de xadrez que lutam, não necessariamente por resultados, mas por chegar às mais belas situações de jogo, não ouvimos falar muito, já da sua banda a sonora vale a pena deixar um registo.
Ivory Tower é, de resto, uma obra que vale por si, sem a necessidade da caução das imagens ou da narrativa e personagens. É um ciclo de acontecimentos que toma o piano e as electrónicas como elementos num diálogo permanente.
Essencialmente instrumental, com pontuais intervenções vocais Ivory Tower chama a atenção para um talento na composição de música para o ecrã que o cinema não pode agora ignorar.
Publicada por Nuno Galopim (Sound + Vision)
Etienne De Crecy - No Brain
Só por curiosidade, Etienne De Crecy foi o criador das seguintes pérolas musicais há uns anitos atrás:
Gold Panda - Lucky Shiner
Uma das mais recentes surpresas da música electrónica da cidade de Londres, com uma obsessão declarada pelo Japão.Vanilla minus
Snow And Taxis from Gold Panda on Vimeo.
Jonny Greenwood - Norwegian Wood
Aqui fica também o trailer:
Every Arnold Scream From Every Arnold Movie
Arnold Schwarzenegger is a success for one reason and one reason only: he sounds awesome when he screams.
Local Natives - Gorilla Manor
Os Local Natives são uma banda de indie rock de Silver Lake, Los Angeles.
O álbum de estréia da banda, Gorilla Manor foi lançado primeiramente no Reino Unido em Novembro de 2009, e nos Estados Unidos em 16 de Fevereiro de 2010.
O som da banda é descrito como um “afropop influenciado maioritariamente por guitarras, uma percussão hiperativa de quase harmonia leve com uma sensação de falsas sinfonias…", resumindo e concluindo: Um álbum obrigatório e que já merecia ter tido tempo de antena há muito mais tempo aqui no blogue.
Sun Hands
O álbum de estréia da banda, Gorilla Manor foi lançado primeiramente no Reino Unido em Novembro de 2009, e nos Estados Unidos em 16 de Fevereiro de 2010.
O som da banda é descrito como um “afropop influenciado maioritariamente por guitarras, uma percussão hiperativa de quase harmonia leve com uma sensação de falsas sinfonias…", resumindo e concluindo: Um álbum obrigatório e que já merecia ter tido tempo de antena há muito mais tempo aqui no blogue.
Sun Hands
World News
LCD Soundsystem - London Sessions
"...since these tracks aren't exactly radical live reconstructions, there aren't a ton of surprises on London Sessions. But it's still a wonder to hear a band this committed, this on its game, without the studio tweaks. Plus, you've got to consider what a debased format LCD is working with here. The number of actually transcendent live records-- whether recorded at a radio station or in an arena-- is almost laughably small considering how many exist. This one's a gift, the second LCD's given us this year."
(Pitchfork)
Para ouvir fica a musica "All I Want":
Girls - Broken Dreams Club
"...as much as Broken Dreams Club feels like an improvement upon Album both in songwriting and production, this release is clearly about looking forward. The psychedelic haze of "Carolina" is the closest they've come to sonically uncapping the pills they've been known to romanticize. It's a wild hybrid of a song that's intent on stretching out, its opening layer of evil, crying guitar taking on heaps of gauze before ultimately vaulting into a rowdy, bar-band outro at about the six-and-a-half minute mark. In that same letter that promised growth and focus, Owens also said something quite striking in thanks. "All of us have something to say and give and this is what happens when we show a little interest and support in others." If Broken Dreams Club is indeed an honest glimpse of what's ahead, it sounds as though Girls have much more to give."
(Pitchfork)
Para ouvir fica a musica "Alright":
Girl Talk - All Day
Girl Talk has just released a new album. Huzzah!
Mashup Artist Greg Gillis’ last album, Feed the Animals, was one of the strongest albums in ’08.
The title is All Day, and download the whole thing for free right here.
Mashup Artist Greg Gillis’ last album, Feed the Animals, was one of the strongest albums in ’08.
The title is All Day, and download the whole thing for free right here.
Kurt Cobain: The Rolling Stone Interview
When David Fricke caught up with Kurt Cobain in January 1994, the Nirvana frontman insisted that he was happier than he had ever been. But their remarkable interview was full of references to guns, drugs and suicide. On April 5, three months later, Cobain shot himself above his garage in his Seattle home.
This excerpt from Rolling Stone: The 90s — The Inside Stories From the Decade That Rocked, in book stores now, includes segments from that interview, which took place in a dressing room during Nirvana's last Stateside trek after a gig at Chicago's Aragon Ballroom that Cobain called "the shittiest show on the tour." Yet rather than trashing a hotel room Fricke found Cobain "in a thoughtful, discursive mood, taking great pains to explain that success doesn't really suck — not as much as it used to, anyway — and that his life is pretty good. And getting better."
This excerpt from Rolling Stone: The 90s — The Inside Stories From the Decade That Rocked, in book stores now, includes segments from that interview, which took place in a dressing room during Nirvana's last Stateside trek after a gig at Chicago's Aragon Ballroom that Cobain called "the shittiest show on the tour." Yet rather than trashing a hotel room Fricke found Cobain "in a thoughtful, discursive mood, taking great pains to explain that success doesn't really suck — not as much as it used to, anyway — and that his life is pretty good. And getting better."
Along with everything else that went wrong onstage tonight, you left without playing "Smells Like Teen Spirit." Why?
That would have been the icing on the cake [smiles grimly]. That would have made everything twice as worse. I don't even remember the guitar solo on "Teen Spirit." It would take me five minutes to sit in the catering room and learn the solo. But I'm not interested in that kind of stuff. I don't know if that's so lazy that I don't care anymore or what. I still like playing "Teen Spirit," but it's almost an embarrassment to play it.
In what way? Is it about the enormity of its success?
Yeah. Everyone has focused on that song so much. The reason it gets a big reaction is people have seen it on MTV a million times. It's been pounded into their brains. But there are so many other songs that I've written that are as good, if not better, like "Drain You." That's as good as "Teen Spirit." I love the lyrics, and I never get tired of playing it. Maybe if it was as big as "Teen Spirit," I wouldn't like it as much.
Where did "Here we are now, entertain us" come from?
That came from something I used to say every time I used to walk into a party to break the ice. A lot of times, when you're standing around with people in a room, it's really boring and uncomfortable. So it was "Well, here we are, entertain us. You invited us here."
How did it feel to watch something you'd written in fun, in homage to one of your favorite bands, become the grunge national anthem, not to mention a defining moment in youth marketing?
Actually, we did have our own thing for a while. For a few years in Seattle, it was the Summer of Love, and it was so great. To be able to just jump out on top of the crowd with my guitar and be held up and pushed to the back of the room, and then brought back with no harm done to me — it was a celebration of something that no one could put their finger on.
But once it got into the mainstream, it was over. I'm just tired of being embarrassed by it. I'm beyond that.
One of the songs that you cut from 'In Utero' at the last minute was "I Hate Myself and I Want to Die." How literally did you mean it?
As literal as a joke can be. Nothing more than a joke. And that had a bit to do with why we decided to take it off. We knew people wouldn't get it; they'd take it too seriously. It was totally satirical, making fun of ourselves. I'm thought of as this pissy, complaining, freaked-out schizophrenic who wants to kill himself all the time. And I thought it was a funny title. I wanted it to be the title of the album for a long time. But I knew the majority of the people wouldn't understand it.
Have you ever been that consumed with distress or pain or rage that you actually wanted to kill yourself?
For five years during the time I had my stomach problem, yeah. I wanted to kill myself every day. I came very close many times. I'm sorry to be so blunt about it. It was to the point where I was on tour, lying on the floor, vomiting air because I couldn't hold down water. And then I had to play a show in twenty minutes. I would sing and cough up blood.
This is no way to live a life. I love to play music, but something was not right. So I decided to medicate myself. Even as satire, though, a song like that can hit a nerve. There are plenty of kids out there who, for whatever reasons, really do feel suicidal. That pretty much defines our band. It's both those contradictions. It's satirical, and it's serious at the same time.
In what way? Is it about the enormity of its success?
Yeah. Everyone has focused on that song so much. The reason it gets a big reaction is people have seen it on MTV a million times. It's been pounded into their brains. But there are so many other songs that I've written that are as good, if not better, like "Drain You." That's as good as "Teen Spirit." I love the lyrics, and I never get tired of playing it. Maybe if it was as big as "Teen Spirit," I wouldn't like it as much.
Where did "Here we are now, entertain us" come from?
That came from something I used to say every time I used to walk into a party to break the ice. A lot of times, when you're standing around with people in a room, it's really boring and uncomfortable. So it was "Well, here we are, entertain us. You invited us here."
How did it feel to watch something you'd written in fun, in homage to one of your favorite bands, become the grunge national anthem, not to mention a defining moment in youth marketing?
Actually, we did have our own thing for a while. For a few years in Seattle, it was the Summer of Love, and it was so great. To be able to just jump out on top of the crowd with my guitar and be held up and pushed to the back of the room, and then brought back with no harm done to me — it was a celebration of something that no one could put their finger on.
But once it got into the mainstream, it was over. I'm just tired of being embarrassed by it. I'm beyond that.
One of the songs that you cut from 'In Utero' at the last minute was "I Hate Myself and I Want to Die." How literally did you mean it?
As literal as a joke can be. Nothing more than a joke. And that had a bit to do with why we decided to take it off. We knew people wouldn't get it; they'd take it too seriously. It was totally satirical, making fun of ourselves. I'm thought of as this pissy, complaining, freaked-out schizophrenic who wants to kill himself all the time. And I thought it was a funny title. I wanted it to be the title of the album for a long time. But I knew the majority of the people wouldn't understand it.
Have you ever been that consumed with distress or pain or rage that you actually wanted to kill yourself?
For five years during the time I had my stomach problem, yeah. I wanted to kill myself every day. I came very close many times. I'm sorry to be so blunt about it. It was to the point where I was on tour, lying on the floor, vomiting air because I couldn't hold down water. And then I had to play a show in twenty minutes. I would sing and cough up blood.
This is no way to live a life. I love to play music, but something was not right. So I decided to medicate myself. Even as satire, though, a song like that can hit a nerve. There are plenty of kids out there who, for whatever reasons, really do feel suicidal. That pretty much defines our band. It's both those contradictions. It's satirical, and it's serious at the same time.
James Blake - Limit To Your Love
Video for James Blake's track 'Limit To Your Love'. Directed by Martin de Thurah.
RATATAT - NECKBRACE
New Ratatat video for the song “Neckbrace,” which comes off their latest album, LP4.
Twin Shadow - Tyrant Destroyed
Tyrant Destroyed music video featuring footage from the film Before Sunset (uma das melhores musicas de 2010):
The Tallest Man On Earth - “Love Is All”
Video from the Tallest Man On Earth for the track “Love Is All.” It comes from the album the Wild Hunt:
Ou Est Le Swimming Pool - The Golden Year
Não será um disco assombrado, mas a história que o envolveu acabou por ditar não apenas uma limitada margem de acção para a banda que o gravou mas também o definir de eventuais futuros rumos que, ao que parece, continuam em suspenso. O que se passou? Em Agosto (mês que deveria ter acolhido o lançamento do álbum, entretanto só editado em Outubro) a morte do vocalista deste trio britânico (com nome meio inglês, meio francês) deixou um álbum de estreia pronto a editar e, compreensivelmente, uma banda sem saber exactamente o que fazer. A opção pela edição de The Golden Year garantiu que, pelo menos, esta etapa da história dos Ou Est Le Swimming Pool ficasse oficialmente registada. E ainda bem, porque pelo alinhamento do disco corre um dos mais sólidos e interessantes exemplos de assimilação das heranças da pop electrónica dos oitentas revelando ao mesmo tempo a demarcação de ideias próprias. A vida presente de quem conhece as relações entre as electrónicas, a canção e dança entretanto reinventadas via DFA ou uma consciência pop na era Lady Gaga vincam algumas das marcas de personalidade que assim não se esgotam nos ecos naturais escutados em discos dos Pet Shop Boys, OMD ou Human League que passam por algumas destas canções. Na verdade, os Ou Est Le Swimming Pool não são os únicos a caminhar por estes circuitos. Mas, e como o mostraram recentemente La Roux ou Annie, dominar a arte da escrita pop é coisa que ajuda, revelando-se argumento igualmente fundamental a juntar aos diálogos acima descritos. E aqui, convenhamos, não faltam motivos para caminhar entre um alinhamento cheio, mas cheio, de potenciais singles.
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