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  3. and Sarah Davachi, Brittany Howard, Kazu
  4. https://www.japantimes.co.jp/culture/2018/11/17/music/mariya-takeuchi-pop-genius-behind-2018s-surprise-online-smash-hit-japan/
  5. Jordan: The Comeback by Prefab Sprout could not be any more dated in its lyrical content, with its Biblical and mythological metaphors, musical theater ambitions and exploration of the Elvis phenomenon it was proudly out of touch with rock culture even in 1990, but musically, with its even higher city pop polish and embrace of studio technology than Steely Dan, all the ways it used to be an outlier have slowly transformed into making it more ahead of its time as an influence on today's indie scene than any album of the past three decades. The production sounds like it was recorded this week by Blood Orange, and every melody sounds like Caroline Polachek was born to sing them. This era of Paddy McAloon remains even now, a "musician's musician" (or poptimist's poptimist?) who most music geeks have never investigated further than his mid '80s, more rock-adjacent period, and even that's a cult fave only. There aren't many albums in this category, but I'm pretty sure if someone on Atease hadn't created a thread about it many years ago, I would still never have heard Jordan: The Comeback or even maybe heard of it (although I'd probably eventually have checked out Steve McQueen). It is kind of an imposing album in its length, its awkward title and concept, and its truly awful cover art (I have a Cd-R from the 2000s that's more aesthetic) ensuring it will never be listened to by anyone except Paddy McAloon stans, and there aren't too many of those. Pretty much all the other music Ateasers recommended was stuff I'd eventually have found through other means, or else stuff that wasn't good anyway and I never listen to now. So I wanted to shout out this album on here in case anyone is actually reading. Whoever rec'd it (must have been "eyes," I think) knew their shit, and even though it was over all our heads at the time, I recommend giving it another listen, especially if you're a fan of Caroline Polachek, Blood Orange or (lyrically the closest thing now) Destroyer.
  6. If we're including city pop-influenced songs...
  7. I'm not sure which is worse, the fact Radiohead ripped one of their most critically acclaimed songs (Daydreaming) off a lesser known song from an unjustly hated Blonde Redhead era (Defeatist Anthem) or the fact that several of Coldplay's best songs in their early career (High Speed, Brothers and Sisters) were stolen from Gustavo Cerati (Puente) and Soda Stereo (Millon Años Luz). At least Coldplay admitted their theft by doing Soda Stereo covers in Buenos Aires. Radiohead owes it to Kazu, Amadeo, Simone to do Blonde Redhead covers next time they're in New York. The funny thing is Kazu's Salty lives up to its title just a bit, by being even more like Daydreaming than Daydreamimg was like Defeatist Anthem, as if she's just daring their hypocritical asses to try to pull a Lana Del Rey on her. It's also a lot better than Daydreaming tho,
  8. I'm pretty sure Bjork's masterpiece Quicksand is inspired by Nausicaa.
  9. Discuss. My top 10 rn would be something like - Lemonade (Joseph, Knowles, et al) - Closeness (Balagov) - Zama (Martel) - Tatsumi (Khoo) - Chico & Rita (Errando, Trueba, Mariscal) - Kaili Blues (Bi) - Tom at the Farm (Dolan) - A Girl Walks Home Alone at Night (Amirpour) - Nostalgia for the Light (Guzmán) - A Season in France (Haroun) Shutter Island may be the worst film of the decade that I watched in its entirety. Another candidate is that LCD Soundsystem "final show" documentary that consists largely of James pontificating stupidly, filmed ineptly, and has minimal performance footage. Even the title was stolen from the Dixie Chicks.
  10. S'en fout la mort (aka No Fear, No Die) by Claire Denis, which is on Youtube with English subs. It's good, and interesting to see a much younger Alex Descas, who later starred in 35 Shots of Rum. It's a film centered on two guys (the other is Isaach de Bankolé) who run a cockfighting operation, and if she was able to do a film of that nature without even harming the chickens (credits claim no animals were harmed), it's really unforgivable that Haneke killed a horse to film Time of the Wolf. I've now seen all Denis's stuff except Let the Sunshine In. Beau Travail and White Material might be some of my least favorite of her films (even after seeing both twice), although critics seem to love them best. I think her masterpieces are I Can't Sleep (need to rewatch tho, saw it a long time ago), US Go Home and 35 Shots of Rum. I generally like all the others (High Life included) but I couldn't connect with L'Intrus, Nenette et Boni and Bastards very much, and should probably rewatch those sometime (although I doubt I ever will with Bastards, which is super depressing). One thing that really stood out in No Fear No Die was the jazz soundtrack. It's not overbearing (there's actually less non-diegetic score than her later works) but the music, created by a band led by Abdullah Ibrahim and produced by Rudy Van Gelder, is several cuts above what Tindersticks and Stuart Staples came up with on her later movies, and those weren't exactly weak soundtracks in themselves. I think she may have boxed herself in a bit by only working with Staples on every project. He's an excellent composer but his range of moods, tempos and tones is quite limited, particularly when vocals are being farmed out to Robert Pattinson. Jonny Greenwood is a million times more versatile than Staples and I still feel like PTA is beginning to be boxed in by needing to create the type of images Jonny can write music to. Hearing a less funereal style of instrumental music in Denis's early film was a revelation (even though I can't say I'm super familiar with Ibrahim) and, even though the personal loyalty of artists to one another is nice to see, I do feel that the biggest flaw in many films is a director who didn't have the heart to tell their usual musical collaborator that maybe a new sound would do justice more to the film.
  11. Last week
  12. one thing i am sure of if you are still running a licensed version of windows 7 and want to upgrade to W10, you don't have to pay for it. just download the installation media from microsoft and install it as an upgrade. their instructions are pretty good. if you had good enough skills to prevent the free W10 upgrade from happening, this will be easy. microsoft doesn't seem to be too keen on telling people it's still free.
  13. it's not like the computers are stacked up on my desk. for 10 of them i have to take them from their station, replace them with a placeholder, and make sure the printers are all installed and the intra-office messaging program is configured for that station. yada yada yada
  14. at the moment i'm intrigued by the thought of maple rye whiskey aside from that... so incredibly busy with work i have to install windows 10 on 20 more computers before january in addition to my actual work. oh and we're remodeling a kitchen. can't complain. can't complain about too much rain and too much work when there are thirsty unemployed people out there.
  15. Today I had to take care of 169 emails. Is a little bit of maple rye whisky warranted, d'you reckon?
  16. Exposé and their members were the best artists of the '80s/'90s.
  17. it's cold as hell here I can't even imagine how cold it is there. what self respecting canadian would forget to plug in a block warmer in this weather?
  18. The dealership kept my car in over night and I don't know why because they only left a voice mail with my partner and she's asleep and I am lonely and I miss little Char plugged in in the back yard boooooooo. I bet you it they won't plug it in so it won't start tomorrow morning, come on suckers, lick my battery. Like, fuck.
  19. Earlier
  20. Gregg Araki was in his 30s in 1997. Also this movie is clearly about young adults even though it is often described as about teens. The main characters are supposed to be over 18, and they're played by blatantly legal actors, and their lifestyle appears to be college students rather than high school. Also it's more of a parody of teen sex romps (which were often directed by elderly guys) than a teen sex romp. The other movies he did in his early career are about 20somethings around his own age when he made the films. I have no idea what he does now, but have you ever seen the Ingenue video? Straight white pervert in his 50s making daddy dance videos with 20something Japanese dancer who is supposed to represent his real life 20something Italian gf. Watch Utada Hikaru's tour documentary on Netflix and you can see the same dancer, Fukiko Takase, in a much more inspiring form.
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