In the world of contemporary film music, Clint Mansell needs no introduction. Even if you haven’t heard his name, you’ve undoubtedly heard his classic “Lux Aeterna”, from the soundtrack to Darren Aronofsky‘s Requiem for a Dream. Having recently seen the long-awaited vinyl issue of his quintessential score for Aronofsky’s The Fountain, Mansell has taken on another scoring project, this one for television.
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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.
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.
Detroit-based genre-hopper Klayton (Celldweller)’s synthwave project Scandroid offers up a new cut from the much-anticipated self-titled debut, a cover of the Tears For Fears classic “Shout”, which we are pleased to premiere now. While remaining faithful to the spirit of the original, Scandroid has added a smart, contemporary vibe to the tune with brilliant blasts of synths and a loving nod to the pop sounds of the ‘80s. Klayton has apparently between waiting to record “Shout” since hearing the original just over 30 years; what’s apparent in his version is that he knows each change and lyric well and tempers his reverence with a healthy dose of originality.
// Moving Pixels
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