Hot Chip redo “Transmission”, reduce the urgency, shove in some groovy vocoder, and crank up the balearic steel drums. Not nearly as bad as it sounds, but definitely a pale shade of the original.
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In 1985, Paul Hardcastle, a talented jazz musician, released a single that topped the dance chart, reached #15 on the Billboard Hot 100, and spent five weeks as the number one song in the United Kingdom. And his inspiration was an ABC television documentary on the Vietnam War.
It’s hard to imagine a more unlikely hit. Hardcastle combined an instrumental track with Peter Thomas discussing post-traumatic stress disorder, added a disco beat and a group of women singing, “All those who remember the war, they won’t forget what they’ve seen,” and had a massive hit. More amazingly, he took what could have been a cheesy or disrespectful disaster and ended up with a compelling recording that reminded a younger generation that war comes at an incredibly high price.
Although Paul Hardcastle never had another track chart on the Billboard Hot 100, he recently won the Billboard Smooth Jazz “Artist of the Year” award for 2008 and continues to be a well-respected artist. Hardcastle’s producer back in 1985, Simon Fuller (creator of American Idol), named his management company 19 Entertainment after the song.
And 24 years later, teenagers are still fighting in wars and dying thousands of miles from home.
Releasing: 27 October (US)
03 (My Funk Goes) On & On
05 Let’s Take Off (Far Away!)
07 Searchin’ 4 Funk’s Future
08 Flying V Ride
09 Candy Dancin’
10 Burn Straight Thru U
11 10 West
12 I Wanna Know
14 Love Is Here 2nite (I Can Feel It)
15 Could I Be Losing Another Lover?
16 Show Me the Way U Feel
17 One Less Day
18 I Wanna Thank U (4 Steppin’ Into My Life)
01 Brookside Park
02 Hood Pass Intact
03 Kill ‘Dat aka Killdatmuthafu*ka
04 Mobbin’ Thru Busters
05 Boogie Slyde
06 Come On Outside
07 The Sky Is Ours
11 Keep Lookin’ 2 the Sky
Releasing: 13 October (US)
02 Deadbeat Summer
03 Laughing Gas
04 Terminally Chill
05 (If I Knew, I’d Tell You)
06 6669 (i dont know if you know)
07 Should Have Taken Acid With You
08 Mind, Drips
09 Psychic Chasms
10 Local Joke
11 Ephemeral Artery
12 7000 (reprise)
“Should Have Taken Acid With You” [MP3]
Often heralded as a successor to Ingmar Bergman due to his dark wit and humor, Swedish director, Roy Andersson has developed a niche for himself by creating poignant fables that are underscored by outlandish, laugh-out-loud comedy. In true auteur fashion, his pictures are marked by a distinctive tableau of meticulously arranged set design and cinematography, which help echo his bold (and absurd) quirkiness.
Here, in You, The Living, Andersson takes his notions of the ridiculous beyond the traditional bounds of reality – presenting us with hallucinations from vacant souls, who struggle to find ‘meaning’ in the despairing silence of the everyday. To map out a précis here however would be futile. For the filmmaker does not construct a traditional three-act narrative form, but rather weaves us into his story through emotional impulses. As such, all of the characters are ‘connected’, but unlike hegemonic movies, the players here are drawn together by their pessimistic outlook on life. The problem is of course remedied by the tragicomic ending, which sees a fleet of bomber airplanes seemingly ready to end these characters’ irreversible misery.
For those of you who feel that I may have just given away a vital plot point, rest assured. The experience of viewing Andersson’s film has less to do with this structural point, and more to do with its distinctive lighting, and its theatrical artifice – which reminds us of the sumptuousness of a Douglas Sirk masterpiece like Written On The Wind (1956) or All That Heaven Allows (1955). Unlike Sirk however, this filmmaker doesn’t mask his morbid outlook in subtext. Instead, he envelops his characters, his set (often shrouded in an eerie green light), and his camera, which on more than one occasion resides in utter stillness, almost as if waiting for the grim reaper to come and swoop these characters off to their graves.
These aesthetic choices imbue the piece with a dreamlike quality—one that is as much a nightmare, as it is a lurid fantasy. These painterly images seep into the viewer’s unconscious, hitting such a deep-set chord that by the end of the movie, I felt that I had been ‘uplifted’ from my own facade, and that I was slowly returning to it after a restless, and consuming sleep.
Besides its gloomy exterior, You, The Living is laced with some very funny instances. Old-fashioned physical gags are interspersed with inventive comic interludes. The most inspired of these examples involves a van driver, who while attempting a traditional cloth pulling technique finds himself unraveling a posh dinner party, ruining a series of antique china pieces. The driver is subsequently put on trial; where a bunch of beer-guzzling judges decide that he deserves to be electrocuted to death for his catastrophic sins. In an ingenious turn of events, Andersson executes these moments in a series of slow motion deadpan scenes, which left me hurling with uncontrollable laughter.
Another hilarious slice of comedy finds a disgruntled hairdresser reshaping an influential businessman’s head into a pseudo-Mohawk before an important meeting. When confronted by the fuming victim, the barber responds quietly: “take it easy”, explaining that a domestic tiff with his wife left him agitated, and unable to cut his hair in the manner requested.
But despite his penchant for comedy, Andersson’s film boils with a potent political undertone, which raises existential queries. As we begin to question whether his characters are indeed ‘living’ or not, we grow to inquire about our own place in this seemingly wretched world, where we all ‘live’, merely to ‘earn’ our living, leaving behind our fantastic hopes for Technicolor in our disappearing dreams. As such, You, The Living harkens to the same hyperrealism of TV programs like Ally Mcbeal, except in a more radical and unapologetic manner. A truly visionary experience, You, The Living suggests that Roy Andersson may very well be on the brink of genius.