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hedgehog in the fog

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hedgehog in the fog last won the day on November 19

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About hedgehog in the fog

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  1. How did you put the heart next to my comment there? That's what I'm referring to.
  2. I noticed a couple of comments in an older thread have heart symbols next to them and it says which user liked them, but this option doesn't seem to be available now.
  3. and Matana Roberts, 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. Exposé and their members were the best artists of the '80s/'90s.
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