At first it’s kind of hard to make out what’s going on in this Rollo Jackson-directed clip for Junior Boys’ “Banana Ripple”—it’s all well-lit ice and feverish design work—but in making a video for the full nine-minute-long original instead of some sort of single edit of the song, Jackson gets to explore his visual ideas as thoroughly as “Banana Ripple” does its sonic ones.
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While gearing up for the follow-up to 2010’s And They Have Escaped the Weight of Darkness, Icelandic music master Ólafur Arnalds opted to offer fans a week-long writing and recording series, allowing fans to follow the process as he releases the songs the same day they were written and recorded. Arnalds has done this before. His 2009 sessions included collaborations with fans via Twitter as they submitted artwork to accompany his music. He also collected and released the tracks as Found Songs and he will do the same for this current round of compositions.
This lot, called Living Room Songs, is already available for pre-order, for those who fancy having the songs in one, high-quality package. The sessions, which spanned from October 3-9, are, of course, now over but you can still watch performances from Arnalds’ apartment and even download the songs (albeit in a format unlikely to please audiophiles) for free.
The results are, musically speaking, expectedly strong. Then again, the beauty of all this is that you can decide for yourself. Just watch and/or listen.
You’ve heard pretty much everything you need to know about Fleetwood Mac’s Rumours, but what you probably didn’t know before this clip is how close to deportation an earlier version of the band came after a gig with the Grateful Dead. You probably haven’t heard Edith Piaf mentioned this much outside of a theatre luncheon and you probably never thought you’d see Nicole Atkins and Mick Fleetwood jam. But there they are… and it’s pretty damn good. Sponsored by Cabo Wabo Tequila (Sammy Hagar started the company) the Off The Record shows promise even if it’s just an extended booze commercial.
Also: You will fall very deeply in love with Atkins by the end of this clip. You’ve been warned.
If anyone in the neo soul/future R&B scene is holding Prince’s ideals closest to their vest it’s Rahsaan Patterson, whose 2011 release Bleuphoria is an eclectic mix of organic digitalism and funky soul. In fact, one could easily argue it’s the most exciting release of his career, or at least the most fun, and it’s new single “Crazy (Baby)”, featuring a heavily-processed Faith Evans is further evidence of that. Eschewing the PPP-style gospel of lead single “Easier Said Than Done” and ‘80s-chic of “6AM”, “Crazy (Baby)” is a straight up party jam with a bounce that’s reminiscent of early ‘90s west coast hip-hop. The track is a little too late to be the summer jam it could have been, but definitely try to sneak it into your last barbecue’s playlist.
Adapted for the screen by Christopher Hampton from his own 2002 play The Talking Cure, David Cronenberg’s A Dangerous Method immerses the viewer in early 20th century Switzerland and Austria during a period of collaboration and conflict between two pioneers of modern psychology, Sigmund Freud (Viggo Mortensen) and Carl Jung (Michael Fassbender). As trailblazers in a hugely controversial field, Freud and Jung initially find in the other a brilliant ally: for Freud, Jung is a disciple who ensures that his work and legacy will continue after his death; for Jung, Freud serves as a father-figure who gives him the confidence to confront unexplored areas of intellectual inquiry.
But the arrival of Sabina Spielrein (Keira Knightley), a brilliant but acutely disturbed young Russian woman with her own ideas about psychology, arouses alarming new passions in Jung, which in turn lead to the dissolution of his happy working relationship with Freud. Their sexual and romantic pursuits inevitably disrupt their intellectual inquiries about the mind, heart and body, and before long all three thinkers are engaged in an explosive game of personal and ideological warfare.
// Short Ends and Leader
"Whether we've seen or read the story before, we ache for these sympathetic, floundering people presented to us gravely and without cynicism, even when cynical themselves.READ the article