In what's sure to become a classic moment in live stage patter, Trent Reznor, aka Nine Inch Nails, tells an Aussie audience that since his CD's are still priced too expensively there, they should just go out and "steal it." See the it at YouTube now.
The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.
70. The Horrors - "Machine"
On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke
Electronic music is one of the broadest-reaching genres by design, and 2017 highlights that as well as any other year on record. These are the 20 best albums.
20. Vitalic - Voyager (Citizen)
Pascal Arbez-Nicolas (a.k.a. Vitalic) made waves in the French Touch electro-house scene with his 2005 debut, OK Cowboy, which had a hard-hitting maximalist sound, but several albums later, Voyager finds him launching into realms beyond at his own speed. The quirky, wallflower vocals and guitar snippets employed throughout Voyager drop a funk that brings to mind WhoMadeWho or Matthew Dear if they had disco-pop injected between their toes. "Levitation" is as pure a slice of dance floor motivation as theoretically possible, a sci-fi gunfight with a cracking house beat sure to please his oldest fans, yet the album-as-form is equally effective in its more contemplative moments, like when Miss Kitten's vocals bring an ethereal dispassion to "Hans Is Driving" to balance out its somber vocoder or the heartfelt cover of "Don't Leave Me Now" by Supertramp. Voyager may infect you with a futuristic form of Saturday Night Fever, but afterwards, it gives you a hearty dose of aural acetaminophen to break it. - Alan Ranta
"... [Psycho] broke every taboo you could possibly think of, it reinvented the language of film and revolutionised what you could do with a story on a very precise level. It also fundamentally and profoundly changed the ritual of movie going," says 78/52 director, Alexandre O. Philippe.
The title of Alexandre O. Philippe's 78/52: Hitchcock's Shower Scene (2017) denotes the 78 set-ups and the 52 cuts across a full week of shooting for Psycho's (1960) famous shower scene. Known for The People vs. George Lucas (2010), The Life and Times of Paul the Psychic Octopus (2012) and Doc of the Dead (2014), Philippe's exploration of a singular moment is a conversational one, featuring interviews with Walter Murch, Peter Bogdanovich, Guillermo del Toro, Jamie Lee Curtis, Osgood Perkins, Danny Elfman, Eli Roth, Elijah Wood, Bret Easton Ellis, Karyn Kusama, Neil Marshall, Richard Stanley and Marli Renfro, body double for Janet Leigh.
Following his excellent debut record Communion, Rabit further explores the most devastating aspects of its sound in his sophomore opus Les Fleurs du Mal.
Back in 2015 Rabit was unleashing Communion in the experimental electronic scene. Combining extreme avant-garde motifs with an industrial perspective on top of the grime sharpness, Eric C. Burton released one of the most interesting records of that year. Blurring lines between genres, displaying an aptitude for taking things to the edge and the fact that Burton was not afraid to embrace the chaos of his music made Communion such an enticing listen, and in turn set Rabit to be a "not to be missed" artist.
Composer Michael Vincent Waller just keeps on writing, even when trying to settle on instrument arrangements.
When New York composer Michael Vincent Waller began recording his works, he turned to his solo piano works. He hit us the following year with a double album full of a variety of chamber music arrangements. With Trajectories, Waller walks it back to solo piano and piano/cello duets. The ensemble format may have shrunk from The South Shore, but the scope of Michael Vincent Waller's work certainly hasn't. Trajectories is nearly 77 minutes in length and uses each bar of music for full minimal effect.