Canada’s Timber Timbre have been peddling their unique blend of noirish, cinematic roots music since 2005 and the band’s 2009 self-titled album was honored by being long listed for the prestigious Polaris Music Prize. This April the trio of Taylor Kirk, Mika Posen and Simon Trottier are offering up their fourth album, Creep On Creepin’ On, which continues to blend their influences from a wide variety of sounds. Kirk says, “The idea is to make music we love and therefore embrace the risk of sounding like all the music we’ve ever loved, all at once.” “Woman” is the record’s first single and the video is something of a 1920s-style, silent movie homage with flickering credits and camera movements and techniques reminiscent of early film. It’s an intriguing approach for a haunting song, the historic aesthetic making the song seem ever more poignant. The band will be touring the upcoming release and you can find the dates after the jump.
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Craig Ewert is dying. And as he explains in John Zaritzky’s documentary, originally made in 2007 and re-airing on Frontline 22 March at 9pm, as well as online, he wants to feel some measure of control over the process. Thus he and his wife Mary have come to Dignitas, “one of a handful of Swiss groups devoted to helping people end their lives legally.” As Craig puts it, “ “I’m tired of the disease, but I’m not tired of living. And I still enjoy it enough that I’d like to continue. But the thing is, that I really can’t.” He must be the one, legally, to commit the act: he must drink the liquid that will end his life, and agree to be taped doing so. The film tapes the taping, as well as the couple’s loving farewell. Craig’s final moments are rendered in a series of close-ups and dissolves, under the Beethoven movement he has asked to hear. While assisted suicide raises profound questions concerning both risks and benefits, the potential for abuses versus respect for individual rights, needs, and desires, The Suicide Tourist doesn’t engage in these debates. Instead, it observes the Ewerts as they go through this complicated journey.
See PopMatters’ review.
If a beat drops in the middle of a forest, does it make a sound? Remy LBO wanted to find out, so he left the lusher tools he used for last spring’s Peeling in the Dub back in LA and shacked up in the Oregon wilderness for a spell. There, with only a handful of instruments, he assembled a laid-back groove album in the spare, dry style of skweee—or Flying Lotus, but much, much looser. That album, Umpqua Fire, presumably named after the forest of its making, is streaming at his website, where it can also be purchased digitally or as an attractive, hand-screened LP.
Sweden’s Acid House Kings have a new album, Music Sounds Better With You, releasing this week. Look for our review in a few days, but check out the band’s new video in the meantime.
Wiseguy may have been the best television show ever. Made way before cop shows like The Shield and The Wire, the stories revealed the ambiguities of right and wrong in a cop versus bad guy world, where corruption and honor equally existed at all levels of government and civilian life. The show also had several arcs that presented the complex nature of the music industry. Here organized crime and big business played nefarious roles in the name of promoting art, but all involved collaborated in the dirty pursuit of money and power.
But what really made Wiseguy unmissable, what put it head and shoulders above anything else on television during its three year run (1987-1990) was lead actor Ken Wahl. He exploded on the small screen. As Vinnie Terranova, the New Jersey undercover agent could be the doppelganger of Bruce Springsteen, tough but sensitive, and with a code of honor. He could also be sexy, as this scene from Season 3 with Patti D’Arbanville shows. Wahl’s physical disabilities have hindered him from acting roles, but watching footage like this makes one wish he could come back to television.