Okay, hyped or not, everybody cares about this movie.
I think the original film is better, but it doesn’t come with this incredible title sequence. And oh, OH, NO BIG DEAL, JUST TRENT REZNOR AND KAREN O FINALLY WORKED TOGETHER ON A SONG. It’s forgivable that it’s a Led Zeppelin song too (just go with it).
Blur did the effects for this sequence, led by creative director Tim Miller.
The books seem like a waste of time, but the Swedish films are pretty damn entertaining. David Fincher’s films are always pretty, so those are worth a look.
I kind of choked up when I read “See you in the pit”!
ATDI is reuniting too, but they deserve a post of their own.
We said goodbye to 2011 by going to the American Nightmare reunion show in LA too. Also deserves its own post – but in the meantime, check out this guy’s Flickr for photos of American Nightmare, Trash Talk, Touché Amoré and Weekends.
Performed at the European Culture Congress, Wroclaw, Poland, 2011
Original composition by Krzysztof Penderecki
The video and sound qualities are shit, but those didn’t stop me from geeking out hardcore. This original piece by Penderecki is famous for a lot of reasons, but also because it showed up in films like THE SHINING and CHILDREN OF MEN.
I just wish I was there to witness Richard D’s remix and to get a better look at the video art going on behind the musicians.
There’s something about this landing page that I really love. Talk about current, trendy, weird, great, simple, typical, just…good…in one landing page.
DUDE! I’m obsessed with this LA boutique, BLOOD IS THE NEW BLACK. I’ve been rocking their shit for a straight year-and-change now.
I admit, their company name got my attention first. The comfy, original print t-shirts kept me callin’ back. I recommend the boyfriend cut style for girls.
This is my new favorite piece:
New Order x Black Flag?
Fuck yeah.
(I didn’t get the ombre one, and they sold out on the boyfriend cut because it rules)
The long-anticipated brainchild of producer-composer Danger Mouse and Italian composer Daniele Luppi, Rome benefits from a bit of context. More than five years in the making, the project assembles many of the surviving performers of classic ’60s and ’70s Ennio Morricone scores — and, in half a dozen memorable cases, pairs them up with the vocals of Norah Jones or The White Stripes‘ Jack White.
Naturally, Rome can’t possibly exceed the sum of its parts, with its successful composer and arranger in Luppi, its groundbreaking producer and composer in Danger Mouse, countless combined years of orchestra experience, a painstaking recording process with vintage equipment, and the juxtaposition of White’s fatalistic moan with Jones’ coolly detached croon. It almost has to sound better on paper than in practice, but it’s terrific in practice, too, as it alternates appropriately cinematic instrumentals with a handful of nifty showcases for its headliners.
Jones is long overdue for an image makeover: All those tens of millions of records sold and armloads of Grammys have made it easy to forget that she’s still a remarkably cool singer. Here, Jones at times channels the wounded iciness of Metric‘s great Emily Haines, while still lending her own brooding gravitas to “Season’s Trees,” “Black” and “Problem Queen.” Of course, White makes the most of his own three appearances, from the tone-setting portent of “The Rose With the Broken Neck” to the album-closing “The World,” which helps conjure mental images of rolling credits. But Jones and White aren’t the only scene-stealers in Rome: Edda Dell’Orso pops up in the album-opening “Theme of Rome,” picking up where she left off in the soundtrack to 1966′sThe Good, The Bad And The Ugly.
If it weren’t for the unmistakably contemporary voices among its ranks — White’s in particular —Rome could just as easily have emerged from a vault, sealed 40 or even 50 years ago. That’s clearly the point: From start to finish, the album provides a timeless, arduously arranged backdrop to past generations’ visions of panoramic vistas and blood-stained betrayals.
