OK, so we’re not exactly in love with Courtney Love’s new opus. Is “opus” perhaps even too grand a word for music than can occasionally resemble a trainwreck? “Skinny Little Bitch” is gritty, messy, scuzz rock and also Nobody’s Daughter‘s first single. Hole played the tune on Letterman last night. The lyrics aren’t likely to generate any Mensa invitations anytime soon.
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The recent collaboration between ARP (Alexis Georgeopolis—a musician, sound based artist and founding member of Tussle) and Anthony Moore ( a composer, media artists and professor of sound theory) is latest release in the Rvng Prsnts Frkwys series that brings artists together with their predecessors “by way of remix, reinterpretation, and collaboration” as stated in their press release. Given the intellectual nature of both artists and this approach the reworking and pairing of Moore’s original work with that ARP yields a deceptively organic recording. Employing strings, drones, loops, references to Arthur Russel and Robert Wyatt, even a vocal track that evokes ‘60s gauzy, romantic crooning, these gentle pieces alternate between contented nostalgia, melancholy, and a subtly hymn like spirit. The strongest tracks blend a pastoral and mathematical minimalism that has the stark, but wholesome, sunlit feel of Shaker design and artwork. This is the kind of open musical creation that attaches itself a quiet, cinematic ease to the environments in which it is played. In fact, ARP and Moore recently performed their work as a soundtrack for David Larcher’s film “MARE’S TAIL” at the Wordless Music Series in Brooklyn. The finest quality Vol. 3 may be that through conceptual basis and contemporary technique, the result is the simple warm pleasure of having tracks like “Wild Grass (for Arthur Russel” or “Today’s Psalter” filling up a bright room on sunny afternoon.
Releasing: 4 May
Classifying Flying Lotus into any particular genre or sound is almost impossible. Hailing from Winnetka, California the DJ/producer has made a name on, what can be best described as “experimental hip-hop beats”. However, elements of funk, rock, R&B and soul also creep into these sonic landscapes where he mixes thick synthesizers with sound effects best suited for the farthest reaches of outer space. His new album, Cosmogramma, features guest appearances from Radiohead frontman Thom Yorke and jazz great Ravi Coltrane. It’s currently streaming over on Flying Lotus’ MySpace.
01 Clock Catcher
03 Nose Art
04 Intro/A Cosmic Drama
05 Zodiac Shit
06 Computer Face/Pure Being
07 …And the World Laughs With You [ft. Thom Yorke]
09 Mmmhmm [ft.Thundercat]
10 Do the Astral Plane
12 German Haircut
14 Dance of the Pseudo Nymph
15 Drips/Auntie’s Harp
16 Table Tennis [ft. Laura Darlington]
17 Galaxy in Janaki
Iron Man 2 doesn’t come out until May 7, but Tony Stark’s alter ego is already showing up in some unexpected places. Some aspiring animator has developed a dead on 3D model of Iron Man, and he’s putting him to good use by injecting some testosterone into more femme-friendly fare. Check out Iron Man (along with his friends, AC/DC) making cameos in Bridgette Jones Diary, Dirty Dancing, and Titanic. The only thing I don’t get is why he didn’t use his missiles in the Bridgette Jones scene. I mean, Rene Zellwegger was right there.
OK, you already know how much we love Gogol Bordello from Steve Leftridge’s review earlier today. Last night, Eugene Hütz and gang played the Jimmy Fallon show with yet another high-energy (are they ever not this way?) version of “Pala Tute”.
Leftridge described the band better than I’ve ever read: “It’s an eclectic, high-voltage ensemble, but it’s impossible to take your eyes off Ukrainian-born Hütz, the wild, shirtless, mustachioed ball of sweaty charisma who arrived in the US in 1991. Hütz’s strangled voice spits out garbled English as he prowls the stage, assaults his acoustic guitar, leans menacingly over the audience, spins in circles on one foot, and bangs on fire buckets. Violinist Ryabtzev is the Kenickie to Hütz’s Danny Zuko. He’s an elegant mover, all silver beard and jaunty beret and tasteful footwear, and his streaking violin runs provide the rocket fuel in these songs’ arrangements. Fiddler on the Roof? With this band’s mind-bending spectacle, it’s more like Fiddler on the Acid. Indeed, a GB show is part concert, part manic cabaret—a wild blend of Les Miserables, Bad Brains, Stomp!, and the craziest Russian wedding ever.”