Backed by Books One, Maestro Gamin returns after a brief hiatus with a single from the upcoming Miracle Work Medicine EP. Decidedly more straightforward than his previous works, “Future Calling” mines a chunky, percussion-looped groove laced with the sample of a Middle Eastern buzok. Gamin’s designs are more socially-conscious on this latest effort, forgoing the surreal, cut-up lyricism that defined his earlier work. The tune never directly references the colour-line issues we are currently undergoing these days. Rather, there is the sly circling of racial matters that brings the rapper’s poetry into spiritual form. Gamin’s voice, quite like the soulfully smooth consistency of peanut butter, rips an edge rougher than usual here; his lyrics on this new material command rather than inform. In the past, the rapper has never cared much for dancefloor fodder. But on “Future Calling”, his urgency to connect language with movement demonstrates an uncommon parlance – one that has the power to transform the ghettoblaster into a talismanic device of medicinal properties.
Latest Blog Posts
As the CMJ Music Marathon didn’t happen in 2016, the BBC Music showcase felt like a substitute for CMJ—a way to discover new bands via a curated show. It was with an open mind I attended their event on November 14th. Whether it was because the show wasn’t well publicized or because it was a Monday night, the crowd at the Gramercy Theatre felt a bit underwhelming. I stayed for two sets, the first being from a rock group Sundara Karma and the second from a soulful singer named Izzy Bizu.
The xx have just dropped the third video from their eagerly awaited new album I See You that releases January 13, 2017 via Young Turks. The new single is “On Hold” and the band says, “the video is directed by the brilliant Alasdair McLellan, whose work we all adore. It was filmed in Marfa, Texas, a very special place to us, where we wrote and recorded some of our new album. We have a lot of love and respect for the people of the USA, having played hundreds of shows across the country over the past years. We hope this video reflects just some of the warmth and acceptance we have encountered there.”
The year after Jóhann Jóhannsson won a Golden Globe for his score for The Theory of Everything, the Icelandic composer continues to stay at the top of his game. In 2016, Jóhannsson has released two works, his third collaboration with director Denis Villeneuve for the score of Arrival and his first artist album in over seven years, Orphée.
Where to begin? Evidently at the ending, since this is the final film of the late Andrzej Zulawski, one of the most original, passionate, kinetic and crazy filmmakers in cinema.
To describe the story in rational terms, which is inappropriate, it’s about a romantically deranged young student named Witold (Jonathan Genet) who takes lodging with a demented family: a hyperactive red-haired landlady (Sabine Azéma) given to bouts of paralysis, her nonsense-spouting second husband (Jean-Francois Balmer), her sexy daughter (Victória Guerra) and son-in-law (Andy Gillet), the hairlipped maid (Clémentine Pons) who’s an unnoticed double of an unrelated character, and a polymorphously sexual fellow lodger (Johan Libéreau).
// Moving Pixels
"Virginia manages to have an exposition dump without wordy exposition.READ the article