As I mentioned back in June, Miss Melanie De Biasio truly transcends description and/or refuses to be boxed into any one musical genre. Her latest nine-track album Lilies was released last month. This captivating Belgian artist incorporates jazz, classical, nufolk, even electronica into her musically rich vocabulary to create her truly unique and atmospheric sound; imagine Nina Simone meets Talk Talk.
Like the video above for her smoldering ballad "Your Freedom Is The End of Me," the tension she creates with minimum accompaniment of voice, bass, drums and piano is so dynamic on this track as well as the slow-burning, 6:41 long "All My Words," and the spoken-word poetry of "And My Heart Goes On," that I can't help but wonder if she might be paying homage to the early Roxy Music classic "In Every Dreamhome A Heartache". Moreover, the finger snaps and naked vocal brilliance of "Sitting In...
Like the video above for her smoldering ballad "Your Freedom Is The End of Me," the tension she creates with minimum accompaniment of voice, bass, drums and piano is so dynamic on this track as well as the slow-burning, 6:41 long "All My Words," and the spoken-word poetry of "And My Heart Goes On," that I can't help but wonder if she might be paying homage to the early Roxy Music classic "In Every Dreamhome A Heartache". Moreover, the finger snaps and naked vocal brilliance of "Sitting In...
- 11/20/2017
- by Dusty Wright
- www.culturecatch.com
People will tell you Tom Waits’ best album is Rain Dogs. This is not strictly true. It is perhaps the most Waits-ian of Tom Waits albums, by virtue of having a Waits lookalike on the cover and a song selection that ranges across virtually every genre of music (and combinations thereof) Waits could wrangle. But the best Tom Waits album is not Rain Dogs. Instead it’s Bone Machine (which netted Waits his first Grammy in 1993), and it turns 25 years old today.
Waits explained Rain Dogs’ titular inspiration to Spin in 1985: “You know, dogs in the rain lose their way back home.
Waits explained Rain Dogs’ titular inspiration to Spin in 1985: “You know, dogs in the rain lose their way back home.
- 9/12/2017
- by Alex Heigl
- PEOPLE.com
1987 may be the year of the last great Argento movie.
The horror genre has known few voices greater or more influential than Dario Argento, a master craftsman and revolutionary stylist who, from his debut feature The Bird With the Crystal Plumage in 1970 through the late 1980s, is responsible for some of the best horror movies ever made: Deep Red, Suspiria, Tenebrae, Phenomena. In 1987, he wrote and directed what might be his final masterpiece, the giallo-tinged slasher Opera, arguably his most technically accomplished—and bloodiest—film. While more of a standard whodunit than his abstract supernatural efforts, there is such precision to the photography, such expertly staged choreography both in front of and behind the camera, that the movie deserves to be named among his greatest works if only for the dazzling purity of the filmmaking on display.
Opera was my first exposure to Dario Argento, but it wasn't the full...
The horror genre has known few voices greater or more influential than Dario Argento, a master craftsman and revolutionary stylist who, from his debut feature The Bird With the Crystal Plumage in 1970 through the late 1980s, is responsible for some of the best horror movies ever made: Deep Red, Suspiria, Tenebrae, Phenomena. In 1987, he wrote and directed what might be his final masterpiece, the giallo-tinged slasher Opera, arguably his most technically accomplished—and bloodiest—film. While more of a standard whodunit than his abstract supernatural efforts, there is such precision to the photography, such expertly staged choreography both in front of and behind the camera, that the movie deserves to be named among his greatest works if only for the dazzling purity of the filmmaking on display.
Opera was my first exposure to Dario Argento, but it wasn't the full...
- 7/15/2017
- by Patrick Bromley
- DailyDead
Twin Peaks Recap is a weekly column by Keith Uhlich covering David Lynch and Mark Frost's limited, 18-episode continuation of the Twin Peaks television series.So that's how David Lynch does an info dump. First, with a cheeky, knowing scene featuring the brothers Horne: "Jerry, what's going on?" asks Ben (Richard Beymer) after his cannabis-infused sibling (David Patrick Kelly) phones him from the woods. "I think I'm high!…I don't know where I am!" Jerry screams, perhaps speaking for a good subsection of the Twin Peaks revival audience, who have, over the six prior installments, been given only glimpses of a larger picture. Narrative momentum comes in asides; the more prevalent longueurs are reserved for atmosphere and mood, for full immersion in apparent stasis.Part 7 shakes things up, following the brotherly freak-out with several story reveals that come in quick succession. But there's a niggling sense throughout all the...
- 6/20/2017
- MUBI
To celebrate the release of Notebook contributor Clare Nina Norelli's book for the 33 1/3 series, Soundtrack from Twin Peaks, the following is an excerpt from its introduction. A bass sounds a twangy, resonant low F accompanied by a barely there, quarter-note cymbal ostinato. An F(add2) chord follows on Rhodes, warm and inviting, like a secret confession. Straining for resolution, the chord descends to settle on a straight F chord, its downward trajectory forming the musical approximation of a lovelorn sigh. The pattern is repeated, but two steps lower, beginning on a D in the bass. Suddenly, a wash of synthesized strings and French horn pours over the mix accompanied by a cool wave of guitar tremolo, oscillating between B-flat(sus2) and B-flat major chords and then sliding up to C(sus2) and C major. The melody in the synth-strings and French horn swirls, as if caught in a whirlwind, and then begins to rise,...
- 3/27/2017
- MUBI
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