mercredi 30 décembre 2009
mercredi 2 décembre 2009
What to expect in 2010 ?
Winter might be cold and dark but here's a selection of what's gonna happen in the next couple months, and this will warm your bodies.
Vampire Weekend - Contra
Less african than the first album and more electro, the album is brilliant.
Hot Chip - One Life Stand
Ultra-pop & very synthetic, Hot Chip never disappoints us.
Beach House - Teen Dream
Between joy and melancholy, the perfect emo balance. Their third album is a must have.
Midlake - The Courage of Others
No video yet, darker than the first album, but I can tell you it is magnificent.
Two Door Cinema Club - Tourist History
Crazy on stage, amazing album, no way to get rid of them in 2010!
Adam Green - Minor Love
This New-Yorker is THE songwriter. That's good news because the album is great.
Delphic - Acolyte
Finally their first album... Get ready on the dancefloors!
Final Fantasy - Heartland
I don't know what to say but "MAGIC"... It's really beautiful.
Daft Punk - B.O.F. Tron Legacy
The impatience is getting really long and the video is really bad, but we know we won't be disappointed for sure.
Vampire Weekend - Contra
Less african than the first album and more electro, the album is brilliant.
Hot Chip - One Life Stand
Ultra-pop & very synthetic, Hot Chip never disappoints us.
Beach House - Teen Dream
Between joy and melancholy, the perfect emo balance. Their third album is a must have.
Midlake - The Courage of Others
No video yet, darker than the first album, but I can tell you it is magnificent.
Two Door Cinema Club - Tourist History
Crazy on stage, amazing album, no way to get rid of them in 2010!
Adam Green - Minor Love
This New-Yorker is THE songwriter. That's good news because the album is great.
Delphic - Acolyte
Finally their first album... Get ready on the dancefloors!
Final Fantasy - Heartland
I don't know what to say but "MAGIC"... It's really beautiful.
Daft Punk - B.O.F. Tron Legacy
The impatience is getting really long and the video is really bad, but we know we won't be disappointed for sure.
mercredi 21 octobre 2009
MGMT 2.0
Finally we hear news from MGMT and the second album "Congratulations". It's expected for beg of 2010 and produced by Spacemen 3 Pete “Sonic Boom” Kember... By listening by these 3 live video, from last summer, we can already be kinda impatient.
lundi 5 octobre 2009
Paper Aeroplane
What a surprise is the new song of Angus & Julia Stone !!! Beautiful song on a beautiful black & white video... Stunning
jeudi 24 septembre 2009
Les 50 ans de la Nouvelle Vague
Once upon a time, 50 years ago, a young crew of movie freaks, part of the Cinémathèque or Les Cahiers du Cinéma, blow up the codes of the french cinema that they consider then close to death.
That's why, la Cinémathèque decided to celebrate this anniversary until october 18th.
Here's a list of 10 movies that have changed the french cinema for ever.
Le Beau Serge, de Claude Chabrol - 1959
The Nouvelle Vague's first movie. Chabrol shoots "Le Beau Serge" in the Sarde, where his grandparents were pharmacists. An unexpected legacy allows him to produce the film, and later on the first movies of Phillippe de Broca, Rivette and Rohmer. "Le Beau Serge" stages the character of François, who returns to his village after many years away. He finds his friend Serge who had a trisomic child and sank into alcohol.
Les 400 Coups, de François Truffaut - 1959
The success that Truffaut meets with "Les 400 Coups" shows to the critics and to the public that it's possible to make films beyond the classic production process. The movie is a perfect example of what is la Nouvelle Vague: long outdoor scenes shot, realistic ambiance, fast and little expensive shooting. "Les 400 Coups" is a chronicle of Antoine Doisnel's difficult childhood.
Hiroshima Mon Amour, d'Alain Resnais - 1959
"Hiroshima Mon Amour" is presented in Cannes the same year as "Les 400 Coups", but out of competition not to offend the United States. Marguerite Duras signs the scenario of this fragmented film, which mixes poetry and reflections on the contemporary history.
L'eau à la bouche, de Jacques Doniol-Valcroze - 1960
The first movie of the founder of Les Cahiers du Cinéma. Doniol-Valcroze requests for Serge Gainsbourg to compose the music of the film and also the song L'eau à la bouche which gives it the title. The film is a romantic intrigue between three couples in a castle.
A bout de souffle, de Jean-Luc Godard - 1960
Inspired by the American macabre film, "A bout de souffle" bewilder by its freedom of speech and style, and blow up the conventions of the traditional cinema. Godard films a Belmondo smoking and saying "Si vous n'aimez pas la ville, allez vous faire foutre! ". Truffaut finds the idea of "A bout de souffle" and Chabrol acts as a "technical adviser" on the shooting.
Lola, de Jacques Demy - 1961
In Nantes, a dancer of cabaret finds the father of a child whom she had formerly. Demy works for Lola with Raoul Coutard, the director of photography of Godard and Truffaut, and also Georges de Beauregard, the producer of numerous films of la Nouvelle Vague.
Paris nous appartient, de Jacques Rivette - 1961
The shooting of Jacques Rivette's first movie met many difficulties which Truffaut will tell "Les Films de ma Vie". To finance his film Rivette has to, for lack of producer, borrow eighty thousand francs from Les Cahiers du Cinéma. Paris nous appartient can be ended when Truffaut and Chabrol decides to coproduce it.
Adieu Philippine, de Jacques Rozier - 1962
Liliane and Juliette, inseparable friends fall in love with Michel, a young machinist. Jacques Rozier will have to wait three years before his film finds the road of theaters, mainly because of a long work of postsynchronizing. The movie meets also some issues because of the complex relationship between Rozier and his producer Georges de Beauregard, who finds hthe movie too expensive and too long.
Cléo de 5 à 7, d'Agnès Varda - 1962
Cléo, hypochondriac diva, considers herself affected by a cancer. The film, like its main character, hesitates between gravity and lightness. Varda is faithful to her technique of " cinécriture ": it is the image which creates the story and not the opposite. The casting of "Cléo" is made of the many important actors of la Nouvelle Vague: we can see Jean-Luc Godard, Anna Karina, Eddie Constantine, Jean-Claude Brialy, Michel Legrand...
Le signe du lion, d'Eric Rohmer - 1962
Several members of the team of Les Cahiers du Cinéma make their appearance in "Le signe du lion", of whom Jean-Luc Godard in the role of an obsessional music lover. The film is the story of a musician who organizes a party in the name of a rich dead aunt of whom he thinks (in a wrong way) to inherit.
That's why, la Cinémathèque decided to celebrate this anniversary until october 18th.
Here's a list of 10 movies that have changed the french cinema for ever.
Le Beau Serge, de Claude Chabrol - 1959
The Nouvelle Vague's first movie. Chabrol shoots "Le Beau Serge" in the Sarde, where his grandparents were pharmacists. An unexpected legacy allows him to produce the film, and later on the first movies of Phillippe de Broca, Rivette and Rohmer. "Le Beau Serge" stages the character of François, who returns to his village after many years away. He finds his friend Serge who had a trisomic child and sank into alcohol.
Les 400 Coups, de François Truffaut - 1959
The success that Truffaut meets with "Les 400 Coups" shows to the critics and to the public that it's possible to make films beyond the classic production process. The movie is a perfect example of what is la Nouvelle Vague: long outdoor scenes shot, realistic ambiance, fast and little expensive shooting. "Les 400 Coups" is a chronicle of Antoine Doisnel's difficult childhood.
Hiroshima Mon Amour, d'Alain Resnais - 1959
"Hiroshima Mon Amour" is presented in Cannes the same year as "Les 400 Coups", but out of competition not to offend the United States. Marguerite Duras signs the scenario of this fragmented film, which mixes poetry and reflections on the contemporary history.
L'eau à la bouche, de Jacques Doniol-Valcroze - 1960
The first movie of the founder of Les Cahiers du Cinéma. Doniol-Valcroze requests for Serge Gainsbourg to compose the music of the film and also the song L'eau à la bouche which gives it the title. The film is a romantic intrigue between three couples in a castle.
A bout de souffle, de Jean-Luc Godard - 1960
Inspired by the American macabre film, "A bout de souffle" bewilder by its freedom of speech and style, and blow up the conventions of the traditional cinema. Godard films a Belmondo smoking and saying "Si vous n'aimez pas la ville, allez vous faire foutre! ". Truffaut finds the idea of "A bout de souffle" and Chabrol acts as a "technical adviser" on the shooting.
Lola, de Jacques Demy - 1961
In Nantes, a dancer of cabaret finds the father of a child whom she had formerly. Demy works for Lola with Raoul Coutard, the director of photography of Godard and Truffaut, and also Georges de Beauregard, the producer of numerous films of la Nouvelle Vague.
Paris nous appartient, de Jacques Rivette - 1961
The shooting of Jacques Rivette's first movie met many difficulties which Truffaut will tell "Les Films de ma Vie". To finance his film Rivette has to, for lack of producer, borrow eighty thousand francs from Les Cahiers du Cinéma. Paris nous appartient can be ended when Truffaut and Chabrol decides to coproduce it.
Adieu Philippine, de Jacques Rozier - 1962
Liliane and Juliette, inseparable friends fall in love with Michel, a young machinist. Jacques Rozier will have to wait three years before his film finds the road of theaters, mainly because of a long work of postsynchronizing. The movie meets also some issues because of the complex relationship between Rozier and his producer Georges de Beauregard, who finds hthe movie too expensive and too long.
Cléo de 5 à 7, d'Agnès Varda - 1962
Cléo, hypochondriac diva, considers herself affected by a cancer. The film, like its main character, hesitates between gravity and lightness. Varda is faithful to her technique of " cinécriture ": it is the image which creates the story and not the opposite. The casting of "Cléo" is made of the many important actors of la Nouvelle Vague: we can see Jean-Luc Godard, Anna Karina, Eddie Constantine, Jean-Claude Brialy, Michel Legrand...
Le signe du lion, d'Eric Rohmer - 1962
Several members of the team of Les Cahiers du Cinéma make their appearance in "Le signe du lion", of whom Jean-Luc Godard in the role of an obsessional music lover. The film is the story of a musician who organizes a party in the name of a rich dead aunt of whom he thinks (in a wrong way) to inherit.
mardi 22 septembre 2009
The XX
Please listen to this dark & beautiful pop made by this new band called The XX.
The 4 members are about 20 yos but you can feel a certain maturity in their music.
The Kingdom has claped its hands to them and the reviews are very good.
lundi 21 septembre 2009
The Antlers
Encore une fois, l’un des très beaux albums de la rentrée –The Antlers partage le même label que les exceptionnels Dodos, Frenchkiss Records, pas un hasard. Monté initialement comme un projet solo par Peter Silberman, néo-Brooklynois, The Antlers est passé du bricolage bancal et incertain à l’enluminure magique. Enregistré sur deux ans, un groupe se formant membre après membre autour de son ciboulot principal, Hospice élargit encore un peu les champs du folk en lui faisant frôler les étoiles pop, alterne morceaux à l’apparence minimale mais à l’efficacité maximale et petites préciosités à faire chialer Bon Iver.
Fanfarlo
Amoureux de Beirut, zélateurs du décidément Sufjan Stevens, cinglés d'Arcade Fire, fondus de Sigur Ros, vous cherchez votre groupe idéal ? Ce pourrait être Fanfarlo. Soit une troupe magique de six membres, basée à Londres et initialement montée par le Suédois Simon Balthazar, responsable de l'un des plus enthousiasmants albums pop de l'année. Mélodies voltigeuses, souffle tempétueux ou brise printanière, arrangements pléthoriques, morceaux-tiroirs à la mélancolie épiphanique : produit par Peter Katis (Mice Parad, Interpol, Mercury Rev, The National...) et paru en Grande-Bretagne en début d'année, le premier album du groupe Reservoir est une rutilante machine à générer des paysages mentaux aléatoires et grandioses.
Neon Indian
Neon Indian squatte le fil de Pitchfork, à raison : définition même de la coolitude absolue, porté par le mexicano-texan d’origine et brooklynois par destination Alan Palomo, le groupe est régulièrement comparé, raccourci évidemment facile mais plutôt parlant, à MGMT. Du MGMT encore un peu plus plastique, bricoleur, lo-fi ; des petits tubes en caoutchouc hallucinatoire, des zigouigouis débiles, des chansons à danser en camisole, un peu mou, sous l’effet de gaz hilarants.
We Are Wolves
La scène montréalaise traverse l'Atlantique et on ne va pas se plaindre.
Nous Sommes Loups, grandioses sur scène où leurs shows foutraques, efficaces et drôles donneraient des fourmis aux plus embaumées des momies, ont eux aussi un peu de mal à faire incendier au-delà des frontières québécoises leur électro rock post-tout, fouineur et uppercutteur. Ils pourraient pourtant sans peine botter le cul des Klaxons : leur nouvel album sort au Canada début octobre, et il n’est jamais trop tard pour choper des crampes.
Appréciez cette magnifique vidéo.
Nous Sommes Loups, grandioses sur scène où leurs shows foutraques, efficaces et drôles donneraient des fourmis aux plus embaumées des momies, ont eux aussi un peu de mal à faire incendier au-delà des frontières québécoises leur électro rock post-tout, fouineur et uppercutteur. Ils pourraient pourtant sans peine botter le cul des Klaxons : leur nouvel album sort au Canada début octobre, et il n’est jamais trop tard pour choper des crampes.
Appréciez cette magnifique vidéo.
A new video of Grizzly Bear
Sean Pecknold, frère du chanteur de Fleet Foxes Robin, et également à l'origine de leur clip White Winter Hymnal vient de pondre un nouveau clip pour illustrer While You Wait For The Others, extrait de leur album Veckatimest.
Le clip est principalement tourné en séquences image-par-image décrivant des scènes surréelles, et plutôt approprié à la musique expérimentale de Grizzly Bear.
Le clip est principalement tourné en séquences image-par-image décrivant des scènes surréelles, et plutôt approprié à la musique expérimentale de Grizzly Bear.
lundi 11 mai 2009
jeudi 26 mars 2009
Southland Tales
I got lucky enough to be able to watch this in the USA and the DVD is now available in France... Finally!
Remember when the movie has been introduced in Cannes in may 2006... It was a catastroph, only a few enjoyed the movie. Considered as a fallen angel, the movie brought only $ 367 000 in the US while its budget was $ 17 millions.
Unfortunatly, but i can't complain either, the DVD version is 20 min shorter.
It's not easy to sum up this movie but it's kinda a new pop lecture of the St Jean Apocalypse... So it's a mix of comedy, thriller and sci-fi made like a home-movie, video clip, pub, video game, tv, internet...
The casting: The Rock, Sarah Michelle Gellar, Justin Timberlake, Sean William Scott and also Christophe Lambert is a delightful unexpected surprise.
Indeed, Southland Tales is a perfect synthesis of the Bush years! After "Donnie Darko", here's the new masterpiece of Richard Kelly.
This is the way the world ends, not with a whimper but with a bang.
mercredi 25 mars 2009
Sigur Rós on a take away show !
A trip across Paris in a van. Lost drumsticks. A cafe you'd never expect to visit before the age of 60. An hour of waiting, and then, voilà--a few notes on the harmonium, a grand piano, a heavenly voice. Sigur Ros on a Take Away Show.
mardi 10 mars 2009
Brooklyn' Sound !
Telepathe - Dance Mother
I already talked about this new band from Brooklyn but now the album is out and this is a great surprise.
It is supposed to be an arty project from these 2 ladies, but obviously it is something more, let' say better.
Indeed, it's a mix of different influences: nineties dance music with a very personal pop writing. This is for sure one of the best sound from the past few months and also an amazing revelation.
I already talked about this new band from Brooklyn but now the album is out and this is a great surprise.
It is supposed to be an arty project from these 2 ladies, but obviously it is something more, let' say better.
Indeed, it's a mix of different influences: nineties dance music with a very personal pop writing. This is for sure one of the best sound from the past few months and also an amazing revelation.
lundi 16 février 2009
Oh my darling, where have you been?
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mardi 10 février 2009
2010: Bret Easton Ellis is back
Bret Easton Ellis is my fave writer and his new book is scheduled for the beginning of 2010, available everywhere in the world at the same time.
The title is "Imperial Bedrooms" and it is going to be a short novel considered as the following of his first book "Less Than Zero". That is how he became very famous in the 80's.
The scene of "Imperial Bedrooms" takes place in Los Angeles and talks about the characters of "Less Than Zero", more than 20 years later. All of them now work for the movie industry in Hollywood.
That is why, Bret Easton Ellis moved back to Los Angeles, West Hollywood, in 2006. He also writes screenplays and works for a few movie productions. He got inspired of Raymond Chandler.
mercredi 4 février 2009
Heath Ledger : un suicide troublant sur Nick Drake
Disparu il y a un peu plus d'un an, le 22 janvier 2008, l’acteur australien Heath Ledger aimait Nick Drake jusqu’à la déraison. A tel point que les destins du chanteur aérien et de son jeune fan se sont entrelacés à trente-quatre ans d’intervalle de manière troublante, les deux étant morts d’une overdose médicamenteuse quasiment au même âge. L’année précédant sa disparition, le héros du Secret de Brokeback Mountain et Joker du dernier Batman (The Dark Knight) avait réalisé un petit film à l’occasion d’une installation d’art contemporain en Australie, se mettant en scène en train de se donner la mort sur l’air de Black Eyed Dog, l’ultime chanson enregistrée par le Nick Drake dépressionnaire de 1974. Ce film, prélude stylé d’un futur biopic que Ledger n’aura pas eu le temps de réaliser, suscita un certain émoi lorsqu’il fut diffusé lors d’une émission télévisée australienne et commença à circuler sur internet. La controverse reprend aujourd’hui de plus belle alors que, à l’occasion du MidemNet à Cannes, un certain David Schulhof, en charge via sa société Evergreen Copyrights des droits posthumes de Nick Drake, a annoncé que le clip morbide allait être inclus dans un DVD accompagnant un futur album hommage consacré au chanteur, sur lequel figureront entre autres Dave Grohl, Norah Jones et Jack Johnson. C’est sur le label de ce dernier, Brushfire Records, que le disque sera publié, mais les amoureux authentiques du plus raffiné des songwriters anglais seront moins chagrinés par le film de Ledger que par la présence en ce magasin de porcelaine du pachyderme Eddie Vedder (Pearl Jam), dont on attend la reprise avec autant d’impatience que la prochaine guerre nucléaire.
From Terminator Salvation
Don't even try to trash Christian Bale' scene! I dare you...
We knew since the promotion of "The Dark Knight" that C. Bale could be violent. He hit his mom in his hotel room in London... But with this MP3, we can really say he is hot-tempered! Amy Winehouse should go on vacation with him, and maybe she would stop messing around... ;)
http://www.aolcdn.com/tmz_audio/020209_christianbale.mp3
We knew since the promotion of "The Dark Knight" that C. Bale could be violent. He hit his mom in his hotel room in London... But with this MP3, we can really say he is hot-tempered! Amy Winehouse should go on vacation with him, and maybe she would stop messing around... ;)
http://www.aolcdn.com/tmz_audio/020209_christianbale.mp3
An American genius, a Californian siren, 2 girls make their mom dancing on the dancefloors and a fallen fighter come-back
The web sensation for a couple of years, the American Fredo Viola has his first album out in 2009 : a polyphonic electronica pop music universe and a hallucinating home made DVD. There's only one thing to say, this guy is a genius.
After "The Pirate's Gospel" in 2007, the Californian siren Alela Diane is back. More fleshy, well-adjusted, symphonic and dynamic, "To Be Still", her second album, gives an other dimension to the lady and should bring her at the top of the folk. More sensual, Cat Power should watch out.
Telepathe, is a girls band. Busy Gangnes & Melissa Livaudais compose a mutant dance pop music while before, their music was more experimental. As a good Brooklyn neighbour, David Sitek (TV On The Radio) produced "Dance Mother", their first album. So exit New Young Pony Club and welcome Telepathe.
After the wonderful "The Fountain", Darren Aronofsky is back with a wonderful drama, full of charm and beauty. This is the story of a fallen fighter who is ready for everything to smell another time the sweat perfume of the ring. Mickey Rourke is stunning in this movie and no one could be better than him because that's the story of his life! His craggy face and his tired but muscular body will haunt you for a long time. His sensibility makes of him the perfect incarnation of a modern times Frankenstein. So don't miss "The Fighter", it's worth it... Golden Globe for Mickey Rourke.
mardi 27 janvier 2009
Transatlantic
He spends most of his time alone
He enjoys the rain
He never fils in
He hasn't been the same since he got the news
He tried to sleep
He couldn't make up his mind
He couldn't make any friends
He asked for advice
He tried everything and nothing worked
So he left and never looked back
He enjoys the rain
He never fils in
He hasn't been the same since he got the news
He tried to sleep
He couldn't make up his mind
He couldn't make any friends
He asked for advice
He tried everything and nothing worked
So he left and never looked back
lundi 26 janvier 2009
Gallery Piece
I wanna be your love
I wanna make you cry
And sweep you off your feet
I wanna hurt your pride
I wanna slap your face
I wanna paint your nails
I wanna make you scream
I wanna braid your hair
I wanna kiss your friends
I wanna make you laugh
I wanna dress the same
I wanna defend you
I wanna squeeze your thighs
I wanna kiss your eyelids
And corrupt your dreams
I wanna crash your car
I wanna scratch your cheeks
I wanna make you sick
I wanna sell you out
Want to expose your flaws
I wanna steal your things
I wanna show you off
I wanna tell you lies
I wanna write you books
I wanna turn you on
I wanna make you cum
Two-hundred times a day
I wanna dry yours tears
Every time your sad
I wanna be your what's happening
I wanna be your only friend
I only go all the way
This time I'm not pretending
I can't take the trash
Your trashy friends are spreading about us
They've got like fifty personalities
Oh girl, that's so messed up
You see that sculpture on the hill?
That's where she cleared me out forever
They're monitoring my sub-conscious massacres
I know, bringing it closer to the surface
So it's easily pervertable
I want to be your beast
I want to make you proud
And play with your head
I want to take you out
Make you feel adored
And buy you everything
I want to hurt you bad
Make you paranoid
And say the sweetest things
I want to help you grow
And for eternity
I want to be your what's happening
What's happening?
I wanna make you cry
And sweep you off your feet
I wanna hurt your pride
I wanna slap your face
I wanna paint your nails
I wanna make you scream
I wanna braid your hair
I wanna kiss your friends
I wanna make you laugh
I wanna dress the same
I wanna defend you
I wanna squeeze your thighs
I wanna kiss your eyelids
And corrupt your dreams
I wanna crash your car
I wanna scratch your cheeks
I wanna make you sick
I wanna sell you out
Want to expose your flaws
I wanna steal your things
I wanna show you off
I wanna tell you lies
I wanna write you books
I wanna turn you on
I wanna make you cum
Two-hundred times a day
I wanna dry yours tears
Every time your sad
I wanna be your what's happening
I wanna be your only friend
I only go all the way
This time I'm not pretending
I can't take the trash
Your trashy friends are spreading about us
They've got like fifty personalities
Oh girl, that's so messed up
You see that sculpture on the hill?
That's where she cleared me out forever
They're monitoring my sub-conscious massacres
I know, bringing it closer to the surface
So it's easily pervertable
I want to be your beast
I want to make you proud
And play with your head
I want to take you out
Make you feel adored
And buy you everything
I want to hurt you bad
Make you paranoid
And say the sweetest things
I want to help you grow
And for eternity
I want to be your what's happening
What's happening?
vendredi 23 janvier 2009
Sigur Ros - Heima
Last night, I watched the documentary about the music band Sigur Ros called “Heima” – which means both at home and homeland.
After a worldwide tour during many years, the Icelandic psychedelic rock band Sigur Ros, went back home in the endless magic hour of the Icelandic summer. During this season, the band made a free and mostly unannounced tour around their homeland. The concerts combined both the biggest and smallest shows of their career. The whole thing has been filmed by director Dean DeBlois and his team. During 2 weeks, the director has alternated pictures of the concerts and pictures of the beautiful Icelandic landscapes. The movie now provides one of the most amazing and priceless look into the very creative universe of one of the less understood band ever.
The success of the movie not only results in the live concerts but also in the wonderful photography and the stunning contrast of colours. Indeed, “Heima” is a movie about Iceland too. So the documentary or let’s called it a journey will lead you into an unusual and fascinating environment.
You will enjoy Sigur Ros playing in deserted fish factories, behind a movie screen or an animated curtain, at the rock bottom of a mountain, in a tiny village, in front a church… You will also find out more about the 8 members of the band.
So instead of having a real leader like Ian Curtis, Thom Yorke, Stuart A. Staples, Kevin Barnes or Mick Jagger, Sigur Ros has a real universe which makes their music so good and addictive. Their influence in our nowadays music world is as important as Radiohead or Animal Collective. They are pioneers.
Here’s the track list of the movie:
- Glosoli
- Sé Lest
- Agaetis Byrjun
- Heysatan
- Olsen Olsen
- Von
- Excerpt from Sugarbush
- Sildarvalsinn
- Gitardjamm
- Untitled # 1
- Chris Watson Vatnajökull
- Ekkillinn
- A Ferd Til Breidafjardar Vorid 1922
- Staralfur
- Hoppipolla
- Untitled # 8
- Untitled # 3
The trailer
Reykjavik final
jeudi 22 janvier 2009
Aer Obama
Some crazy guys celebrate the 44th POTUS by a Daft Punk remix, called Aer Obama, and the less we can say is that the video is pretty cool !
Daft Punk vs. Adam Freeland - "Aer OBAMA" from Gold Greendot on Vimeo.
Daft Punk vs. Adam Freeland - "Aer OBAMA" from Gold Greendot on Vimeo.
mardi 20 janvier 2009
Lady Liberty
I have seen so many things in my life,
Ordinary, strange and normal things,
It is an opera of what is life,
So I will never change a thing.
In their Wall Street suits,
My party animals and disco biscuits,
For the passion of a pursuit,
They will share the happiness of my fruits.
I opened my eyes this morning,
And I saw you arriving.
From the top of my buildings,
Basquiat sold his paintings,
Whoever you are, I have seen war.
I am not afraid of a teenager,
So another new stranger,
Or the shadow of the World Trade Center.
For the grace of your friendship,
The Giants won the championship.
On my promised land,
My artificial lords ride Neverland.
If you can not sleep at night,
The morning after midnight.
My yellow cab army,
Will always drive you safely.
Even with a broken collarbone,
You will never be alone.
I am the guardian of freedom,
Enjoy the sidewalks of my kingdom.
Ordinary, strange and normal things,
It is an opera of what is life,
So I will never change a thing.
In their Wall Street suits,
My party animals and disco biscuits,
For the passion of a pursuit,
They will share the happiness of my fruits.
I opened my eyes this morning,
And I saw you arriving.
From the top of my buildings,
Basquiat sold his paintings,
Whoever you are, I have seen war.
I am not afraid of a teenager,
So another new stranger,
Or the shadow of the World Trade Center.
For the grace of your friendship,
The Giants won the championship.
On my promised land,
My artificial lords ride Neverland.
If you can not sleep at night,
The morning after midnight.
My yellow cab army,
Will always drive you safely.
Even with a broken collarbone,
You will never be alone.
I am the guardian of freedom,
Enjoy the sidewalks of my kingdom.
dimanche 18 janvier 2009
Highway to hell
There are beautiful readings as great movies. We know from the first page or the early pictures that we are dealing with a work of exception. Cormac McCarthy is one of the greatest contemporary American writers. He won the Pullitzer Prize in 2007 for an outstanding book, The Road.
“Cormac McCarthy sets his new novel, The Road, in a post-apocalyptic blight of gray skies that drizzle ash, a world in which all matter of wildlife is extinct, starvation is not only prevalent but nearly all-encompassing, and marauding bands of cannibals roam the environment with pieces of human flesh stuck between their teeth. If this sounds oppressive and dispiriting, it is.”
Reading is haunting, it requires time to adjust because McCarthy does not write conventional. He disrupts your habits. Punctuation is reduced to its minimum, sentences are short, sometimes nominal, the dialogues are not reported by traditional dashes. To the desolation of the world, Mc Carthy responds by a writing skinned, almost ascetic. This technique, which describes only the minimum refers to Faulkner. You never know what happens, what has caused this devastation. But he constantly stirs our curiosity. The story, in its form as much as in substance, becomes breathless.
The style is very poetic, we could almost say metaphysical. It is hard to forget about this book. We are forced to lay in it. It focuses on the "Man" and his "kid" as they will always be pointed out. Because they are the last shred of humanity which to hang. Their world is terribly hostile, it seems to share their journey on this horrible road. We feel their pain, their hunger, the death surrounding them and the permanent cough of the man. Their exchanges are as simple as necessary. We are alone in the dark, without knowing more than they.
What holds the grace? Perhaps only this: all the stories were told, but never like this. The affection between the father and his son in a world in ruins is harrowing. Everything is fair and beautifully described: the abandoned cities, the remains of the lost civilization…
Reading this book becomes an intense and almost painful experience. This novel is a must. It is violent, dark and singular. It is a poetic masterpiece.
The adaptation of the book has been filmed and the main role went to Viggo Mortensen!
Here's one of the first pictures of the movie.
jeudi 15 janvier 2009
Animal Collective
Animal Collective is a great band and its 9th album Merriweather Post Pavilion is just excellent. So I just want to share these 8 remixes by the band itself...
http://mybraindance.blogspot.com/2009/01/in-mix-25-animal-collective.html
GENESIS † HOUSE
Here are the designs of the "GENESIS † HOUSE", a project from the design company Planda. Behind this initiative, Julien Jacquot & Marc Antoine Maillard, 2 architects installed in New-York, have imagined a construction on the shape of the logo of Justice, also symbol of christianism. As many churches, the "GENESIS † HOUSE" looks like a latin cross. But, the "GENESIS † HOUSE" includes a home-cinema, a bar, a sun lounge and a swimming-pool on the roof. Enjoy the video.
GENESIS † HOUSE from PLANDA on Vimeo.
mercredi 14 janvier 2009
Where you go I go too
Next time I see you around, with your great ideas,
The way home will be long but I will follow you.
For a brand new start,
I will play the part.
But I don't want you to watch me dancing,
Shoulders to shoulders, with strangers.
Keep in mind how to hang a Warhol
Because we all have ghosts under rocks.
On the flip of a coin, on the edge of a cliff,
Dying is fine.
It's a daily routine.
Can you tell, too too bad.
Everything is borrowed but I'll be lightning.
I love you more,
Heaven for the weather.
And no one should call me a dreamer.
I am only human, an original man.
But you are the strongest person I know,
So do I deserve a second chance?
Let's gather in a chapel and decide will a scalpel.
In the flowers,
Also frightened are my girls.
Summertime clothes they wear,
But I do not care.
I can see you in guys eyes, so don't blush,
That makes me like a lion in a coma.
No more runnin',
I want to taste you.
Skinny love, it's a sad song but we are a team.
You are a butterfly, I am a vampire.
I want to lose myself in New York.
Music moves my feet,
It is such an energy spent.
Lullaby,
I want to fire your belly.
Remember when,
I was a wise man.
You now call that friendship but,
I am only the shadow of your man.
You are my creature,
I feel the fear.
I can be the intreprete but,
If it kills me in a beautiful mess.
It is better to be,
Wide awake on the voyage home.
This place is killing me,
Oh, la.
I am yours.
Make yourself mine.
I am a strange boy,
Who wants to have good time.
For you,
Never, I will give up.
For the love of a child.
Each year,
And every winter.
Let's be together.
We are two lucky wolves.
The way home will be long but I will follow you.
For a brand new start,
I will play the part.
But I don't want you to watch me dancing,
Shoulders to shoulders, with strangers.
Keep in mind how to hang a Warhol
Because we all have ghosts under rocks.
On the flip of a coin, on the edge of a cliff,
Dying is fine.
It's a daily routine.
Can you tell, too too bad.
Everything is borrowed but I'll be lightning.
I love you more,
Heaven for the weather.
And no one should call me a dreamer.
I am only human, an original man.
But you are the strongest person I know,
So do I deserve a second chance?
Let's gather in a chapel and decide will a scalpel.
In the flowers,
Also frightened are my girls.
Summertime clothes they wear,
But I do not care.
I can see you in guys eyes, so don't blush,
That makes me like a lion in a coma.
No more runnin',
I want to taste you.
Skinny love, it's a sad song but we are a team.
You are a butterfly, I am a vampire.
I want to lose myself in New York.
Music moves my feet,
It is such an energy spent.
Lullaby,
I want to fire your belly.
Remember when,
I was a wise man.
You now call that friendship but,
I am only the shadow of your man.
You are my creature,
I feel the fear.
I can be the intreprete but,
If it kills me in a beautiful mess.
It is better to be,
Wide awake on the voyage home.
This place is killing me,
Oh, la.
I am yours.
Make yourself mine.
I am a strange boy,
Who wants to have good time.
For you,
Never, I will give up.
For the love of a child.
Each year,
And every winter.
Let's be together.
We are two lucky wolves.
Låt den rätte komma in (Linda this is for you)
Last night I met a vampire and I kissed her. Now I am a moon' sister and a wolf's brother.
If Tomas Alfredson delivers a new full-length film of this level, no doubt: it will be necessary to count on him these next years. His film is just the best vampiric variation since The wisdom of crocodiles. It's a Swedish film so it's rare enough to mention. 2 thumbs up !
Cela faisait longtemps que l'on attendait un renouveau. A des kilomètres de la série True Blood, de Alan Ball. Ici, il suffit de quelques plans (des flocons de neige qui illuminent une banlieue paumée de Stockholm, des rues désertes, des meurtres en plein air, les paroles atrophiées d'un garçon ou la première apparition fugitive d'une fille comme en lévitation) ; et c'est l'électrochoc. Ce film, on le soupçonne vite, ne sera pas comme les autres. Une nouvelle forme d'obscurité profonde se déploie devant nous, sans balise ni rien (ce qui peut dérouter), il suffit juste de fondre. Au premier degré, Let The Right One In peut être vu comme un conte initiatique sur toutes les formes de peurs avec sa nuit noire, son atmosphère de purgatoire tout blanc, sa nature inquiétante (le corps d'une victime, balancé dans l'eau, qui exhale une vapeur et s'évapore, sous nos yeux), ses routes désertes à emprunter, ses tunnels à traverser. Et, sur ce territoire, plane une menace redoutée et attendue : un mystère, une force animale, une présence maquisarde qui fait très peur. Celle d'un "enfant vampire", improbable dans cet havre d'ennui, qui a 12 ans depuis une éternité.
Talent inconnu dans nos contrées, Tomas Alfredson construit un univers où chaque élément (son, durée des plans, hors-champ) renvoie à l'autre dans une discrète et inquiétante harmonie, travaille les cadres avec une précision d'orfèvre, joue sur les couleurs (du bleu et du rouge) pour multiplier les contrepoints. Sur un plan thématique, il révèle une obsession du délabrement - social, familial, psychique et organique - en prenant comme héros deux enfants : Oskar, un garçon blond solitaire qui subit les brimades de ses camarades de classe ; et Eli, une fille vampire en quête d'un nouveau complice. Le spectateur observe le passage de l'innocence (le jour, la neige) à la démence (la nuit, le sang), du rêve au cauchemar dans le même prolongement cotonneux. A tous les niveaux, cette variation vampirique n'appelle pas de comparaison cinématographique (on ne pense pas à un autre film du genre en le regardant) et s'impose comme la plus inspirée depuis... Depuis Aux frontières de l'aube, de Kathryn Bigelow, qui n'a certes strictement rien à voir mais propose le même genre de choc durable.
Ce qui frappe le plus, c'est la rigueur mathématique avec laquelle Alfredson enchaîne les évènements louvoyant entre horreur et beauté, éclat et silence, réalité glauque (une série de meurtres) et éblouissement soudain (une lumière vers laquelle se dirige le jeune Oskar). Avec la même détermination - calme, jamais brutale -, il alterne les points de vue de différents personnages pour évoquer un malaise collectif diffus. Qu'ils soient enfants ou adultes, les personnages secondaires qui gravitent autour d'Oskar et d'Eli alimentent la tension de manière étonnante. Dans un écrin froid, des vendettas personnelles font exploser la colère sous la glace. Elles sont toujours motivées par des blessures intimes (venger son honneur ou son meilleur ami) qui renforcent le potentiel universel de cette histoire (il n'est pas nécessaire d'aimer les films de vampires pour apprécier celle-ci). D'autres artifices qui relèvent de la dramaturgie classique étendent le pouvoir d'attraction de cette aventure exotique au-delà du seul cercle de spécialistes.
Ce qui peut induire en erreur, c'est que les éléments les plus voyants, ceux que les amateurs du genre attendront de pied ferme, ne sont pas nécessairement les plus importants. Pour donner un exemple, une scène à la fois effrayante et grotesque où des chats s'acharnent sur une pauvre femme qui vient d'être mordue par la jeune vampire menace soudainement de faire sortir le spectateur du film. Pourtant, il est moins question de saluer la réussite des effets spéciaux (par ailleurs rares) que de considérer cette séquence sur un plan humain : un homme, aveuglé par la mort de son ami, n'essaye même pas de sauver sa femme. Sur ce même régime, Alfredson trouve une jonction idéale entre Grand-Guignol (à deux doigts de la folie baroque) et drame poignant dans un contexte à la fois réaliste (l'anonymat des lieux) et irréel (la neige qui enterre tout, jusqu'à l'identité) afin d'exacerber la dimension tragique de ses personnages (les échecs répétés du vieux complice silencieux d'Eli, tracassé par un con de chien ou des adolescents ; l'effet double-face lors de la superbe scène à l'hôpital ; la femme qui demande à ce qu'on tire les rideaux parce qu'elle se sait condamnée). En résultent des visions surréalistes (un corps mort, coincé dans un bloc de glace) et des personnages pittoresques (le professeur d'éducation sportive).
Le scénario s'est débarrassé des connotations sexuelles, inhérentes au genre, pour les minorer, de manière presque subversive : Oskar aime Eli d'un amour platonique, au-delà de son identité, parce qu'il ne peut pas survivre sans elle et que cette union fait leur force (Oskar est cérébral, Eli est physique et les deux endurent le même ostracisme social). S'ils ne s'étaient pas rencontrés, ils se seraient manqués et les conséquences auraient été désastreuses pour l'un comme pour l'autre : Oskar serait resté une tête de turc toute sa vie, plongé dans les jupes de sa mère possessive et martyrisé par ses camarades ; Eli n'aurait pas trouvé de complice capable de la nourrir ou de la protéger. De la même façon, le cinéaste sous-entend que le père d'Oskar a probablement décidé de refaire sa vie avec un homme, mais il faut toujours faire attention à la manière dont le spectateur peut interpréter les regards et les gestes.
Le rapport à la souffrance est également très juste : Oskar a tellement l'habitude de vivre dans la peur que l'on peut lire sur son visage une étrange extase SM au moment où l'un des jeunes bourreaux le frappe, comme s'il avait absorbé cette violence et qu'il s'en nourrissait à son tour. Joie de la dépense totale, de la transgression ultime qui passe par tous les excès (ivresse, peur, jouissance). Tous, sauf les larmes de crocodile qui sont réservées aux faux durs et aux vrais faibles, à ceux qui ont une trouille bleue de la violence, à ceux qui s'en prennent à plus fragiles qu'eux, de peur de se prendre des coups de bâton à leur tour. Rien n'est explicitement dit, mais tout se ressent (le ton reste léger, le montage extrêmement fluide). C'est aussi une manière subtile de suggérer que tous les maux découlent d'un manque de communication : la neige qui tombe est moins un effet de style poétisant qu'une vision mélancolique pour traduire la solitude, ce néant blanc que Oskar regarde de sa fenêtre. C'est certainement en raison du caractère exclusif de cette relation que les distributeurs français ont choisi de rebaptiser le film sous le titre «Morse» qui fait allusion au moyen secret de communication entre les deux enfants. Le titre international ("Let the right one in"), lui, évoque une particularité rarement exploitée dans la mythologie des vampires : leur obligation de se faire inviter avant d'entrer chez quelqu'un.
En restant très fidèle au roman d'origine (le script est adapté par l'écrivain John Ajvide), le cinéaste oublie les clichés du vampirisme en même temps qu'il explore des zones plus ambiguës sans tomber dans le postmodernisme. L'action, située dans les années 80 (on le comprend par les fringues et la BOF), monte en puissance jusqu'à la dernière scène, clou du spectacle, qui exploite le contexte d'une piscine pour organiser des plans esthétiques mémorables. C'est le crépuscule que l'on redoutait et qui fout les jetons, le sommet paroxystique d'une succession de salves fulgurantes entre rire et effroi. Etre ébranlé et désarmé, ne plus savoir si l'on aime ou pas, ne pas trouver la grille de lecture adéquate ; c'est ce qui peut arriver avec un film d'une telle envergure. On peut ne pas être sensible au rythme lymphatique - la beauté de Let The Right One In réside justement dans les longueurs (le temps nécessaire pour se trouver, se connaître et s'aimer) - mais son intensité ne nous quitte jamais. Plus on y repense, plus le film prend de la valeur. Le studio Hammer films a tellement été séduit par cette proposition de cinéma qu'un remake américain, réalisé par Matt Reeves (Cloverfield), est déjà en route.
mardi 13 janvier 2009
Great DJ played in acoustic
You might not think that a band like the Ting Tings would be able to function without all their synth beats and what not, but apparently they can, and quite well.
http://www.youtube.com/watch?v=3oRZSzrNHPQ
Take Away Show
La Blogothèque is a website that gathers a lot of take away shows with a touching & refreshing note about music. Always in acoustic or in a total improvisation, these artists perform in unusual environments (a street, a coffee, a bus) & often in front of an audience amazingly stunned. These small improvised concerts are pure musical wonders to consume til death!
I dare you to forget his smile !
Heath Ledger in his villainous role as the Joker in the Batman movie "The Dark Knight" won Golden Globe awards yesterday as the Hollywood honors reached their midpoint.
The award for Ledger, who died of an accidental drug overdose last year, was accepted by "Dark Knight" director Christopher Nolan who said the loss of Ledger was like "a hole ripped in modern cinema."
"All of us who worked with Heath accept this with an awful mixture of sadness but incredible pride," Nolan said. "He will be eternally missed, but he will never be forgotten."
The souvenir of the beer I shared with him at Beatrice Inn 2 days before he died, will forever stay in my memory.
NYC will be freezing at the end of the week, but not New-Yorkers' ears
Of Montreal is one of my favorite band and there is their new video clip called "An Elardian Instance". A song with trumpets inside, made to melt the cold wave. As usual, it's very joyful and colorful, I love it.
Of Montreal ~ An Eluardian Instance (2008) Dir: Jesse Ewles from jesse ewles on Vimeo.
Of Montreal ~ An Eluardian Instance (2008) Dir: Jesse Ewles from jesse ewles on Vimeo.
A Cross The Universe
This merciless sound party restores marvelously the atmosphere of Gaspard Augé and Xavier de Rosnay behind their computers. But the cherry on the cake is that the documentary will take you to a 70 min journey on the American tour of Justice.
Enjoy the first part!
Enjoy the first part!
Late Night Tale
My vampire side is awake tonight and my soul is diving into a bottle of vodka while my lungs suppress of Davidoff... I guess another long night is knocking at my door and the dirty sidewalks of Paris are whispering my name.
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