Artist: Davut Guloglu
Genre(s):
Dance
Discography:
Katula Katula
Year: 2003
Tracks: 12
Thursday, 26 June 2008
Wednesday, 18 June 2008
The Coldplay list
Last week TimeOut got a sneak preview of Coldplay's new album, Viva La Vida Or Death And All His Friends - call it Viva for short - before its release on Monday. There's been much talk about it being Coldplay's Kid A, but never fear, it's still Coldplay and a minor revolution rather than a bloody one.These days they are more like a brand than a band, making the album one of the year's biggest releases. An example of the power Chris Martin and co wield in the music business lies in the fact that the performance of Viva is essential to the wellbeing of their record company, EMI. Here's some first impressions of what Viva sounds like to TimeOut and what the band have to say about it ...Life In TechnicolourWow. This two-minute, mostly instrumental intro, with Chris Martin's distinct, half-pained wail only adding "oh oh ohs" near the end, is so revolutionary. Actually, it's not at all and Martin agrees, labelling the riff "a good ringtone". However, what this Where The Streets Have No Name-style build-up reveals, is that the London lads do have an adventurous side and it signals their intention to do something different on album four rather than wheeling out the plodding, yet inviting and much-loved anthems of old.
"I didn't want to sing for a few minutes just so that people who didn't like us could enjoy it for a while," says Martin. "It comes out of insecurity but also confidence. It's that great dichotomy that we're very good at, which is feeling like we're the best band in the world but also feeling that we haven't done anything good yet."Cemeteries Of LondonHere they delve into the underbelly of their hometown, as if influenced by Damon Albarn's musical project The Good, the Bad, and the Queen, who also lurched and prowled the dark lanes of Londontown on their self-titled album last year. There's a flamenco, hand-clap groove running through it too, as if Martin and the chaps have been down the front, leaping around at Womad. It's still Coldplay but without the predictable structure, something the band say ambient music king and Viva producer Brian Eno (Talking Heads, U2) encouraged them to do by using everything from hypnotism to recording in churches in Barcelona."He brought life, freedom, drive, distortion, excitement, oddness, madness, sexuality, geekiness and Roxyness," says Martin.Lost!Lost! has a loping, unflinching beat with a heavy, organ-driven funereal mood. It stands out as the most beautiful moment on Viva. Although it's let down by Martin's frightful cliches like "big fish in a little pond" and "every river that you try to cross".
"I didn't want to sing for a few minutes just so that people who didn't like us could enjoy it for a while," says Martin. "It comes out of insecurity but also confidence. It's that great dichotomy that we're very good at, which is feeling like we're the best band in the world but also feeling that we haven't done anything good yet."Cemeteries Of LondonHere they delve into the underbelly of their hometown, as if influenced by Damon Albarn's musical project The Good, the Bad, and the Queen, who also lurched and prowled the dark lanes of Londontown on their self-titled album last year. There's a flamenco, hand-clap groove running through it too, as if Martin and the chaps have been down the front, leaping around at Womad. It's still Coldplay but without the predictable structure, something the band say ambient music king and Viva producer Brian Eno (Talking Heads, U2) encouraged them to do by using everything from hypnotism to recording in churches in Barcelona."He brought life, freedom, drive, distortion, excitement, oddness, madness, sexuality, geekiness and Roxyness," says Martin.Lost!Lost! has a loping, unflinching beat with a heavy, organ-driven funereal mood. It stands out as the most beautiful moment on Viva. Although it's let down by Martin's frightful cliches like "big fish in a little pond" and "every river that you try to cross".
Monday, 9 June 2008
Olien
Artist: Olien
Genre(s):
Trance: Psychedelic
Discography:
Sounded Paratronic
Year: 2007
Tracks: 10
Christina Aguilera and baby son Max in 'Rock the Vote PSA': Photo
Sunday, 1 June 2008
Passing Fancy - movie review
One of several early silent family comedies by Japanese master Yasujiro Ozu released
by the Criterion Collection, Passing Fancy is a delightful little tale with charming performances
and lots of prewar Japanese atmosphere to soak in.
Ne'er-do-well single dad Kihachi (Takeshi Sakamoto) hates his boring brewery work
and would much rather spend his afternoons drinking sake with Otome (Chouko Lida),
the widow who runs the restaurant next door, and his work buddy Jiro (Den Obinata).
Kihachi isn't much of a father figure to his impish son Tomio (Tomio Aoki), a smart but
wild kid who shows his disrespect for his dad by striking funny Karate Kid martial
arts poses in front of him.
The daily routines of the scruffy working-class neighborhood are thrown off by the
arrival of Harue (Nobuko Fushimi), a beautiful young woman looking to start a new
life in Tokyo. Otome immediately takes her in and Kihachi tries to woo her, but even
he admits he's too old for her and that Jiro would be a better match. But Jiro shows
no interest. Meanwhile, Tomio feels threatened by Harue's arrival, and he acts up
even more than usual. "I hate girl trouble," says Kihachi. "Seeking love is like
climbing a waterfall," opines Otome.
This mini-domestic drama plays out in predictable ways, but it's not the plot that's
the attraction here. What's much more interesting are the amusing details with which
Ozu fills every frame. The movie begins with a great scene at a storyteller's performan
ce where a coin purse is dropped and various members of the audience pick it up to
rifle through it, only to toss it aside when they discover it's empty. Each time
someone tosses it, someone else picks it up to check it out, until Kihachi, noticing
it's bigger than his, transfers his coins into it and tosses his own coin purse to the
floor.
Later, in a fit of pique, little Tomio trashes Dad's beloved plant, and when Kihachi
asks if he did it, Tomio bravely tells the truth, just like George Washington when
he chopped down the cherry tree, the boy haughtily explains. "Aw, what's so great
about the truth?" grumbles Kihachi.
It's also funny to observe that throughout the film, almost every character is constantly
scratching himself as if to indicate that all of old Edo is infested with fleas.
Even when Tomio is crying hysterically he takes a moment to thoughtfully scratch
his chest and shins, and Kihachi is always mopping his brow with a small towel he keeps
perched atop his head in old Japanese style. It's a rough life in this paper-walled
slum, but life does go on happily, as long as everyone maintains low expectations.
Film school types will take note of Ozu trademarks that came to full fruition much
later making early appearances here, most notably the floor-level shots and the interesting
pillow shots (Ozu has a thing for giant natural gas storage tanks). The addition of a bouncy
piano score makes Passing Fancy a fun 100 minutes.
Aka Dekikogoro.
I've got an itch.
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