As disco goes, Norwegian producer Prins Thomas (popularly known as Lindstrøm’s other musical half) has always outpaced LCD Soundsystem’s James Murphy. In a more even-handed critical landscape, Thomas’s self-titled debut solo LP would be received with the level of enthusiasm that surrounded LCD Soundsystem’s recent This is Happening. Easily the better album of the two, Prins Thomas references some of the same 1970s rock influences that Murphy integrates into his current sound, but the result is much more self-assured and dynamic. Across seven lengthy tracks, Thomas melds his electronic and rock music impulses into proggy, funky, and above all rhythmic compositions that are actually quite relaxing and often tuneful, even as they rely on regimentation and the motorik beat. Although the album is mostly instrumental, the use of occasional vocals is effective, especially on the stunning “Nattønsket”. “Wendy Not Walter” and “Åttiåtte” are the two tracks with the clearest relationship to modern dance music, but on the whole Prins Thomas is a delightfully revivalist affair that revisits the age of Neu!, Can, and Cymande with a great deal of credibility and skill.
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Throwing creative caution to the wind, Reeves (Felicity,Cloverfield) has taken on the vampire-in-love genre with Let Me In, an American take on the acclaimed 2008 Swedish film, Let the Right One In. In all seriousness, though, it should be really interesting to see how this film turns out. The original, directed by Tomas Alfredson, garnered praise for its subtlety and undertones between its central young boy and vampire girl next door. Let Me In, over-the-top music aside, seems to be honoring the feel and tone of its source material.—Jonathan Simrin
Did you see the critically-acclaimed Swedish vampire movie ‘Let the Right One In’ a couple of years ago? Well, here’s the inevitable Hollywood remake. Reeves (Cloverfield) directs this adaptation of the Swedish vampire movie Let the Right One In, starring Kodi Smit-McPhee (The Road) and Chloë Moretz (Kick-Ass). This trailer makes it look like a very faithful re-creation, which may put it on a higher quality plane than most October horror releases. It will probably leave those of us who saw the original scratching our heads and wondering “What’s the point?”, though. Oh, right, it’s Hollywood. Things are better when you don’t have to read subtitles.—Chris Conaton
Orchestral Manoeuvres in the Dark
History of Modern
Releasing: 4 October
The veteran British electronic pop group Orchestral Manoeuvres in the Dark (OMD) have announced details of their new studio album, History of Modern. The album is the first in 24 years to feature the classic lineup of Andy McCluskey, Paul Humphreys, Martin Cooper, and Malcolm Holmes. The newly-revealed artwork is by long-time collaborator Peter Saville and hearkens back to the band’s more arty early ‘80s beginnings. With the recent critical re-assessment of OMD albums like 1983’s Dazzle Ships, the “return to roots” approach makes sense. In the electronic press kit teaser, McCluskey states History of Modern will indeed incorporate “classic” OMD sounds, in a contemporary context.
History of Modern will be released in the UK on September 20, and a North American issue seems inevitable. A limited-edition box set version with CD, DVD, vinyl, demos, and assorted extras is also available through the band’s official website. The Liverpudlian poppers are previewing a few of the new tunes on their MySpace page.
01 New Babies: New Toys
02 If You Want It
03 History of Modern (Part I)
04 History of Modern (Part II)
07 New Holy Ground
08 The Future, the Past, and Forever After
09 Sister Mary Says
12 Bondage of Fate
13 The Right Side?
We loved Janelle Monáe’s The ArchAndroid. Quentin Huff said, “Welcome to Metropolis, folks. The year is 2719, even though the music is being released in 2010. It’s funky and fantastic, futuristic but retro. It’s in a category of its own.” Here’s a new mix of “Tightrope” with B.o.B and Lupe Fiasco, the earlier version featuring OutKast’s Big Boi.
This past Sunday night, the Daytime Emmy Awards managed to do something that many televised awards ceremonies only try to do: create a truly moving moment.
The show set aside nearly ten minutes to honor TV personality Dick Clark and the show he hosted for nearly 32 years, American Bandstand. Friend and business associate Ryan Seacrest ushered in video clips containing words of praise from Garth Brooks, Cher, Frankie Avalon, American Idol’s Simon Cowell, and Barry Manilow, whose “Bandstand Boogie” served as the show’s theme song from the 1970s onward, and others. After Tony Orlando, Marie Osmond, Chubby Checker, the Spinners, and the cast of Jersey Boys gathered together to sing that theme, the cameras cut to Dick Clark. He was so moved that he began to cover his face with his hand to hide the tears.
As CBS cut to a commercial break, I first wondered why this was a part of the Daytime Emmys, of all shows. It was only then that I realized that years ago, Bandstand aired during the afternoon. Looking back on all of the musical history that show contained, and looking to what modern daytime TV is, I was shocked. Although there has several attempts to bring the show back since its cancellation in 1989, none of them has succeeded. In 2005, some of these efforts resulted in FOX’s So You Think You Can Dance, but that show barely resembles the original.
The real question is why we haven’t seen a similar tribute on other, music-themed award shows. The American Music Awards, produced by Dick Clark Productions, probably doesn’t want to seem like its honoring a part of itself, while the Grammy’s seem to be reluctant to link musical history with television history, despite the fact that their ceremonies are televised. Either way, The 37th Annual Daytime Emmy Awards’ have laid down the gauntlet on how tributes should be done.