View this review at Collectorsmusicreviews.com
Lou Reed, the statesman of rock, rips up the stage with his contained personality in Ghost Stories. Live recordings from the 70’s and 80’s give a more in-depth view of the power and simplicity of Reed’s music, rather than dwelling on controversies and personal life.
Guitarist and song-writer for The Velvet Underground in the late 1960’s, Reed quickly ascended to godlike status with a stream of almost yearly albums from the 70’s to present times. He is known to be a difficult character, refusing his role as one of the most influential rock artists of all time on many occasions, particularly as the creator of punk rock. He has performed and recorded with many famous musicians like David Bowie, Ornette Coleman and The Who.
Ghost Stories starts off in Paris at the Olympia Music Hall in 1974, during his Glam Rock period, where he was compared alongside other rock figures like Iggy Pop and Alice Cooper. At the time, plagued by drug abuse, the somewhat monotonic singing of classics like Sally Can’t Dance brings waves of nostalgia and the recognition of the importance of his music for all genres.
Reed has controversial lyrics with extremely mature themes. Perhaps his greatest hit Walk on the Wild Side is about transvestites in Andy Warhol’s factory, drug addiction in How do you think it feels, adultery and prostitution in The Kids, and the self explanatory Heroin. The next live concert with John Cale and Nico in 1972 has a few interviews (in French) and kicks off with Berlin, a song that tells the tale of two addicts in love.
Finally, in Barcelona 1984, I get a peek into a later, perhaps more mature side of Reed’s music, with a complete lineup of classics like Coney Island Baby and Legendary Hearts. This time he sings masterfully, but maybe less authentically. Sometimes I get the feeling there is a touch of irony in his lyrics, posture and singing style.
Lou Reed is undoubtedly one of the true fathers of rock and roll, with his truly orginal mix of blues and ballads. I definitely recommend the DVD to those who aren’t already familiar with his music, for it gives a good scope of his work. For the fans and aficionados, it’s a great addition to any collection, and may provide an interesting view of his live performances without adding any rarities or lost tracks. Pedagogical.
8.11.08
Lou Reed - Ghost Stories (AS 150)
26.10.08
Bridges, Mules and Orphans - Tom Waits
View this review at Collectorsmusicreviews.com
Sitting down and talking with an artist like Grammy award-winner Tom Waits would be a wondrous experience. I'm sure anybody even remotely aware of his greatness will love the tidbits of wisdom gleaned by David Letterman and Conan O'Brien in Bridges, Mules and Orphans.
I felt the live performances were standard, essentially his most popular songs recorded with excellent sound and video quality. I especially enjoyed his doleful rendition of "Waltzing Matilda" a traditional Australian folk song written in 1985. For those less acquainted with his music, the presentation is an accurate representation of his past and present work. However, in terms of added value, the interviews with the talk show hosts truly give a new perpective of Waits, adding to his persona and gracing fans with personal anecdotes and well spoken retorts.
I think his eccentric views on simpler things and learning experiences are refreshing and somewhat eye-opening. One particular story stuck to my mind where he described a horse that had scraped an image on its wooden door. He thought the scraping looked much like a horse escaping its stable, and had photographs to prove it! To say the least, Waits upstages his hosts instantly, becoming the focus of attention, making the jokes and captivating the audience which contrasts with other interviews by Letterman and O'Brien.
Bridges, Mules and Orphans is the perfect addition to any Tom Waits collection because it brings reassurance to Waits' reputation as a thought provoking fountain of perspicacious knowledge and oracular whimsicality. It is perfect for fans and alluring for those who are keen to learn more about one of Americas greatest songwriters and personalities of today.
14.10.08
The Bad Plus - Prog (2007)
View this review at Noripcord.com
The newest album Prog from The Bad Plus has been a refreshing week of gleeful auscultation. Reid Anderson, Ethan Iverson and David King are names to remember, for their musical calibre is spread throughout the modern Jazz scene.
Iverson, Anderson and King first played together in 1989, and released their first self-titled album in 2001 after playing only three gigs together. The Bad Plus can be described as post-modern Jazz, or Avant-Garde Jazz, and they characterize themselves as a "collective" that "favors group improvisation over individual solos". Pop and rock are notable influences and they frequently perform and record covers of popular bands like Radiohead, Aphex Twin, Rush, Pixies, Nirvana and David Bowie.
Pianist Ethan Iverson has a classical background and completely overrides the need for vocals or any other melodic instrument. Without losing any versatility, he uses soft harmonies, legato articulation and full chords with the sustain pedal. While soloing, a predominance of running melodies and classically influenced modes permeate the collaborative efforts of Anderson and King. Bassist Reid Anderson is also a composer, and has the sucessful trio Fly with Jeff Ballard and Mark Turner.
Dave King, the founding member of The Bad Plus is a rock-solid drummer, and he carries the weight of rock, pop and drum and bass in his own alternative style of playing. He obviously has studied jazz, using complicated breaks and fills that sometimes evolve into a continued rhythm. It's entrancing how he is able to create a dynamic flow with his drumming, increasing intensity deftly along with Iverson. He plays in a legion of other bands, Happy Apple, 12 Rods and Meat Beat Manifesto just to name a few.
Prog gives the continuous experience that I worship in an album, never feeling obliged to change songs, or randomize the playlist. "1980 World Champion" is about ski-jumping; "Thriftstore Jewelry" gives a taste of their Latin clout; "Life on Mars?", though I already liked Seu Jorge's version of David Bowie, was quite pleasing to hear in an instrumental rendition. The Bad Plus has made yet another fantastic album, Prog will make you forget who you are, where you are, and why you exist.
Create a playlist at MixPod.com
10.10.08
Glory to the Filmmaker - Takeshi Kitano (2007)
View this review at Noripcord.com
It's a pleasure to peek into the cognitive process of Takeshi Kitano, famous Japanese painter, actor author poet and director, as he jests at his own creativity in Glory to the Filmmaker! In a movie of self-centered analysis and introspection, Kitano delivers a few laughs along with an entirely sarcastic view of himself and film making worldwide.
The comedy pays homage to his life work, and crosses a broad range of filming styles common to Japanese film. There's the gangster movie, manzai comedy, J-horror, samurai sword-fighting, romance and sci-fi, each presented as though they were past ideas that eventually flopped. The persistent gag is a metal/paper dummy used as Kitanos' double in physically jeopardizing scenes. During these scenes the rest of the cast notices who's getting the better treatment while amusingly performing the stunts themselves.
He consistently includes himself in his movies as the main character, and makes further satire of his work by defying the accusation that he only makes movies of one genre, gangster flicks. It is a fact that in his earlier work he mostly portrayed the role of the gangster boss or die-hard Samurai. Consequently, in Glory to the Filmmaker! there is a ridiculous contrast in characters, with unusual roles like a drunken wife-beater, an impotent bodyguard and blind painter. One captivating aspect of his directing is how he makes action seem more authentic. He is known to shoot only one take, so as to take advantage of spontaneous events.
In 2007, the Venice Film Festival introduced a new award: the Glory to the Filmmaker Award, which was named after Kitanos's film. He was also its first recipient. This movie is a perfect introduction to the work of Takeshi Kitano, and sheds light into the way a mind like his works. His filmography is extensive: Zatōichi, Dolls, Violent Cop and Brother are already widely acclaimed masterpieces, and are all highly recommended.
7.10.08
Buraka Som Sistema - Black Diamond (2008)
View this Review at NoRipcord.com
Buraka Som Sistema appeared out of nowhere two years ago with the EP From Buraka to the World bringing Progressive Kuduro to the underground dance scene in Portugal. Since, they've become a virus, an international phenomenon with a new album Black Diamond out this summer '08. Buraka Som Sistema takes us on a ride through an ethnic myriad of music, from Africa to Brasil to London to Buraca, Amadora, a suburb of Lisbon.
Kuduro has its roots in Angola, and is more specifically a style of dance which evolved into a musical genre. Buraka Som Sistema, from the three electronic producers Lil'John, Riot and Condutor, is best characterized by imagining a techno beat performed by deep african drums and percussion, permeated with electronic glitches and powerful basslines.
Tracks like Kalemba (Wengue Wengue) top the charts, but others give light on how the style arose from traditional African dance. The strength of the drums in New Africas Pt. 2 are enough to make anyone break into spontaneous dance, such is their energetic density. Buraka Som Sistema has achieved new heights with Kuduro, fusing it with Brasilian Baile-Funk (Aqui para Vocês), London Grime (Black Diamond), and various other styles of electronica, all while maintaining a very earthly and authentic sound. The fusion aspect is most interesting, for it appeals to a wider audience and makes the experience more accessible.
Published by Enchufada and Sony BMG, Black Diamond has contributions from M.I.A., DJ Znobia, Saborosa, Puto Prata, Deize Tigrona, Pongo Love and Bruno M, adding to the mix of talented artists and messages delivered.
Ultimately, Kuduro is dance music. Home-listening is fine, but the real experience is live, with hundreds beating their feet in time and MC's chanting the party to even greater insanity. The album makes the blood boil and gives a good idea of what to expect at such an event. It's definitely worth a listen, if only to expand musical horizons and get a taste of other cultures.
5.10.08
London (2005)
How does it feel to be left by your girlfriend/boyfriend? What is the pain like? Have you ever tried to describe it? Are there different levels of pain? Is mine greater than yours? These are the questions posed by London, and makes for an interesting experience while trying to answer them.
Chris Evans portrays the shat upon boyfriend, who after six months of a break-up, is still having trouble dealing with the emotional pain. The story takes place mostly at his ex-girlfriends' going away party, which he decides to attend uninvited. He installs himself in the bathroom with Jason Stathams' character, a banker and part-time cocaine dealer, and they both consume vast amounts of drugs. We're led along the highs and lows of the relationship through a series of flashbacks and philosophical discussion.
Relationships are tough, they're never perfect. In several flashbacks we see the innocent, trodden boyfriend being a veritable jackass with his girlfriend while arguing on the topic faith/religion, in others we see him spoiling her with expensive gifts, unable to express himself otherwise. The two cocaine-addled minds revolving around this subject culminate in a "who suffers more" battle, which plays out interestingly. In the end, he emerges from the bathroom in an attempt once again to sway his beloved from leaving.
London succeeds in its relationship with the viewer, dealing with a subject most people can identify with. It suffocates the heart, brings waves of nostalgia for those who can relate, and makes an effort to use those cliché phrases we've all lived through. The message isn't uplifting, but in the end, a learning and thoughtful movie.
4.10.08
João Gilberto - White Album, João Gilberto (1973)
Anybody can recognize "The Girl From Ipanema", - it's a classic. But where did it come from? The Girl from Ipanema is Bossa Nova at its best, its rhythm, its Brasilian undulating sensual melody, but where did it originate, and why have such a fascinating sound?
Pianist Tom Jobim is credited for the composition of most of the classic Bossa Nova standards, but is was João Gilberto who took these standards, and interpreted on the guitar what we now identify as Bossa Nova. By harmonizing the chords on the guitar with the traditional Brazilian Samba rhythm, Gilberto evolved Jobims' compositions and popularized the style.
Gilberto's guitar playing is virtuous, but what really captures me is his voice. He sings with a throaty quality as if he is blowing air from his gut, which produces an intimate close-to-the-microphone sound. It's possible to hear his lips smacking dryly during the pronounciation of certain words, and he has an excellent vocal amplitude, using mostly low-pitched but well chosen notes. This creates the typical sensual, oh-so-attractive to female audiences sound that one instantly connects to the Brazilian people's warmth and the country's paradisical beaches.
This album is fun to compare to his other work, as over the years his performances have become more sensitive and refined. The harmonizations are well thought out (Gilberto is notorious for spending weeks picking out the perfect chord), and byt the time this album was recorded his voice already had that grandfather-like quality. Classics such as "Àguas de Março", "Falsa Baiana" and "Izaura" have amazing sound quality, comparable to todays' recordings.
If you can read Portuguese, or are able to find translations for the lyrics, you'll find that the lyrics complement the embracing sound - try finding accurate translations and read them whilst listening, and it will definitely heighten the pleasure of listening.
Create a playlist at MixPod.com
3.10.08
Bonobo - Dial 'M' For Monkey (2003)
Bonobo challenges the chillout industry with some smooth downtempo in Dial 'M' For Monkey, delivering quality tracks like "Noctuary" and "Flutter". This album carries a slow, measured ambience that caresses the soul.
Downtempo (or Downbeat) is a very laid-back style of electronic music, similar to ambient music. It's usually permeated with funky head bobbing rhythms, the stressed beat coinciding with the downtempo e.g. the first and third beat of every measure (a segment of time in musical notation). A counter example could be drum 'n bass or punk rock, where the beat corresponds to the uptempo.
Dial 'M' for Monkey makes use of looped jazz riffs and simple yet mesmerizing basslines, always letting the consumer retain more with each listen. In fact, Bonobo is best appreciated in its subtlety and "little" sounds. It's easy to listen to, as it has the tendency to migrate to the back of the mind, but it also has a lot of depth for those who are willing to pay close attention.
Every single track is high quality, one can listen to the album straight through without finding an exception. There is no such thing as the single. I find it hard to encounter other albums with this characteristic, so it's perfect for those times when I don't want to worry about what's next on the playlist.
Need a break from hectic rhythms? Fed up with annoying fast-paced music? Give this album a chance.
Create a playlist at MixPod.com
29.9.08
Meeting Resistance (2007)
Here is the truth in Iraq, this is the report on the Iraqui side of the story, this is the documentary we all want to see. Molly Bingham (US) and Steve Connors (UK) were two journalists able to document the opinions and view of eleven Iraqui Resistance fighters in the Adhamiyah neighborhood of Baghdad.
The journalists made sure all the resistors are all anonymous. Usually faceless or out-of-focus on camera. They are presented as nicknames: The Teacher, The Warrior, The Traveler, The Imam, The Wife, The Syrian, The Fugitive, The Local, The Republican Guard, The Lieutenant, and The Professor.
While not going into too much depth into each story, it's important to note the risk involved for these two journalists. Throughout the documentary, there are incidents of shocking violence which depict perfectly how the American soldiers are aggressors, and how their oppresive presence in Iraq has affected negatively the population.
One cannot help but feel sided with the Iraqui people. It makes perfect sense to defend your country against an invading military force. Admittedly at times I was put off by the religious factors of the conflict, because for many Iraquis, religion is their main motivation. For the majority, especially the interviewees, they are waging "Jihad", a religious war, and I find this aspect disputable. However, the religious aspect justifies its importance by ultimately becoming the uniting factor for the resisting population.
The documentary is real. Facts are facts, the American invasion is hated, and the resistance has wide popular support. The resistance is able to fund itself through that support and buy weapons to attack American military targets, all for the purpose of, ironically, liberating Iraq from the oppressors. So now here's the question: why are the American troops still there?
Before the Devil Knows You're Dead (2007)
What's the worst you can imagine? Before the Devil Knows You're Dead is going to challenge it. Through a nasty sequence of coincidences we watch the destruction of several lives, all derived from the characters' own willingness to descend into chaos.
The concept is driven by numerous flashbacks over the plot timeline, which revolves around the robbery of a jewelry store. The viewer is given little pieces of important information over time, with multiple perspectives on the events.
Philip Seymour Hoffman's perfomance as the evil, plotting and ultimately punished character is top notch. The calm decline into insanity of a broken man is represented in a way I've never seen before. Ethan Hawke's character is drawn into the plot for being the brother of the protagonist, and he is able to convey perfectly the frenetic mental perturbation involved. One cannot help but grow emotionally attached to the family of the two brothers, as Albert Finney upstages the rest of the cast as the father figure with an unstable desire for vengeance.
The film is quick-paced, and cuts between scenes are abrupt at times. Although this is understandable in view of the massive amount of information delivered, I felt at times the progression could have been more fluid. The jumping around the timeline felt a little exaggerated at times.
The concept is consistent, the plot is fascinating and I didn't notice two hours go by. I recommend at least a rental, as the replayability of the movie is pretty scarce.
Posts
