Dirty Beaches – Badlands (2011)

From the EXCELENT BLOG : http://obscuresound.com/

Posted by Mike Mineo on 2/16/11 • Categorized as Reviews

by Mike Mineo

If I were to play Dirty Beaches’ debut full-length, Badlands, loudly in my apartment, my neighbors would likely suspect one of two things. Either I pulled out an old-fashioned phonograph and started playing tattered vinyls of early-era rockabilly, or I was blasting a documentary focused around novels like On the Road and Fear and Loathing in Las Vegas; the narrative allure of the open road left a distinctive mark on American culture and works like these are best representative of that, along with their supplementary soundtracks of course. Dirty Beaches, the one-man project of Alex Zhang Hungtai, captures a feel and essence that literary classics like these established, and that later films like Albert Brooks’ Lost in America and David Lynch’s Wild at Heart enforced with lovable nostalgic sentimentality. In Wild at Heart, Nic Cage’s character (Sailor) was essentially half-Elvis impersonator and half-hipster, making the bizarre sights and sounds that much more entertaining. WithBadlands, I tend to envision a character like Sailor or Sal Paradise singing over what Hungtai calls “minimalist rockabilly”, all while picturing visions of rural landscapes speeding past me as I traverse along an unknown highway where both American stereotypes and counter-stereotypes merge for a distinctive trip into both the familiar and unknown.

The reason I picture a film character in place of Hungtai is actually a complement to Dirty Beaches’ distinctive display of stylistic nostalgia and the contemporary lo-fi movement. Badlands finds many comparisons to Springsteen’s cult-favorite album Nebraska, where he would alternate sparsely haunting folk music with glimpses of rockabilly aided by the occasional Elvis-like yelp. If the album title was extracted from the Springsteen song of the same name I wouldn’t be surprised. The outstanding narrative power of that Nebraska is undeniable, and Dirty Beaches follow a similar path in a concise 27-minute release built on nostalgia, imagery, but most importantly great songwriting that finds perfect accommodation in its unconventional lo-fi production. Polish is not a main priority or even one at all. Depth, feeling, and emotions that quiver with a ghostly whimper are the main components at play in Badlands. Mix in a dose of proto-punk cultists Suicide, with their stripped-down infectiousness, and you have the wonderfully eclectic hybrid that is Badlands.

Hungtai was born in Taiwan, but since then has moved around. Toronto, Montreal, and Honolulu are a few places he called home, and one could surmise from his music that he has ventured on trips beyond these. These characteristics are telling when you compare your music to “the sound of waves against a picturesque and putrid shore, the silent rumble of a Chevy as it speeds by in slow motion.” Usually descriptions like this are superfluous nonsense, but this one actually works pretty well. One of my favorites from Dirty Beaches, “A Hundred Highways”, illustrates this “silent rumble” pretty well; multiple guitars crunch in unison with both low frequencies that resemble bass and high frequencies that approach synth-like qualities. This is lo-fi production at its best, with Hungtai stretching his guitar’s range out to include characteristics of both rhythm and key-laden melodies. There are no keys, of course, but the manipulation of sound here is more convincing than ever. Like early Suicide or Ariel Pink material, Dirty Beaches make pretty majestic works out of a limited instrumental arsenal.

The mixture of screeching ambiance and thumping guitar frequencies throughout “A Hundred Highways” actually serves it as one of the more maximized tracks on the album. Alternately, “Horses” is barebones rockabilly minimalism at its best, with Hungtai alternating between Elvis/Tim Buckley croons as he practically mimics the sound of an old car’s engine trying desperately to start. “Sweet 17” is more affixed to the aforementionedNebraska comparisons, with yelps and moans that make Hungtai sound like a rougher and tougher version of Conway Twitty. It is far from the haunting folk of Springsteen’s Nebraska, but it concocts a similar atmosphere with its driving rhythm guitar pulsating over padded hi-hats. The second half of Badlands is more in line with that subdued folk feel, especially the elegant “Lord Knows Best”. A gentle guitar progression jumps around quickly over a choir accompaniment, with Hungtai showing his romantic side with lines like “I’ve walked through the valleys and lord knows best that I don’t give a damn about anyone but you.”

Second-half highlights like “Lord Knows Best” and the fluttering “True Blue”, which sounds like a cross between early Brian Wilson and sentimental Lou Reed, help maintain the album’s consistency and unique stylistic fervor. The ominous instrumental “Black Nylon” and wastefully ambient “Hotel” are both tedious ways to close off a very impressive album, but the six preceding tracks are all very worthwhile. Hungtai has produced something very special with Badlands, which mixes nostalgic aspects of both culture and musical genres into songs that are hauntingly infectious (“True Blue” and “A Hundred Highways”) and atmospherically overwhelming (“Lord Knows Best” and “Sweet 17”) to the point of a film by David Lynch, Wong Kar-wai, or a novel by Kerouac or Capote. The only two gripes I have regarding Badlands are the last two songs and the length. I want more than 27 minutes. After grasping Badlands’ unique appeal (which only takes a few listens), I bet you will want more too.

RIYL: Bruce Springsteen, Elvis Presley, Suicide, Tim Buckley, Bo Didley, Conway Twitty, The Beach Boys, Ariel Pink’s Haunted Graffiti, Jeans Wilder, Minks, Ducktails, Wavves, Reading Rainbow, Keep Shelly in Athens, Weed Diamond, Julian Lynch, No Joy

8.5/10.0

Dirty Beaches – True Blue

Dirty Beaches – Lord Knows Best

Dirty Beaches – Sweet 17

Dirty Beaches – Horses

Official Blog / MySpace / BUY

Radiohead, The King Of Limbs

Radiohead
“The King Of Limbs”
auto-edição
3 / 5

Chegou como uma surpresa para muitos, anunciado há cerca de uma semana e lançado no sábado, por enquanto apenas em formato digital (mas desta vez a troco de uns trocos), a edição física estando anunciada para mais tarde, e sem uma grande editora associada, segundo um modelo que já tinham usado no anterior In Rainbows. Com o título The King Of Limbs, o oitavo álbum de originais dos Radiohead não só segue na forma de chegar aos nossos ouvidos os modelos usados no disco anterior como, de certa forma, nele encontra um ponto de partida para a expressão de uma certa lógica de continuidade. Estamos por isso novamente num terreno dominado pelas electrónicas, talhado numa filigrana de pequenos acontecimentos pensados com gosto pelo detalhe, o protagonismo das guitarras sendo cada vez mais uma distante memória da etapa de afirmação que o grupo viveu nos noventas. Porém, se o fabuloso dípticoKid A (de 2000, e ainda o melhor disco do grupo) e Amnesiac (2001) definiram uma mudança de orientação que vincava novos caminhos, mas sob a presença de uma suculenta ementa de canções, a verdade é que nos seus últimos discos temos encontrado nos Radiohead uma banda ainda firme nesse saudável gosto pela ousadia e pelo desafio, mas nem sempre secundadas por feitos no mesmo patamar quando chega a hora de dar forma às experiências. Um primeiro encontro com The King Of Limbs pode mesmo sugerir um momento de relativa desilusão. Mas vale a pena não desistir à primeira. Mesmo sendo certo que aqui não reencontramos ideias ao nível das que nos deram nesse duplo jogo de álbuns editados entre 2000 e 2001, o novo disco revela, pela habituação (e consequente descida do grau de expectativas), alguns momentos com interesse. Lotus Flower foi bem escolhido como single cartão-de-visita, o travo mais familiar de Little By Little sugerindo depois, juntamente com Morining Mr Mpontes para com ecos da etapa Kid A / Amnesiac. Codex revela mais sólida escrita, desta vez com o piano como protagonista, a voz por perto e as electrónicas por sonoplastia em volta... No resto do alinhamento, as ideias acontecem por entre estas mesmas cercanias, mas em canções de formas menos definidas (o que não é necessariamente mau, entenda-se) e, em alguns instantes, um tanto inconsequentes. Estamos por isso longe de ver em The King Of Limbs um álbum com peso determinante na obra do grupo. In Rainbows guarda a memória da forma como foi apresentado o seu programa de distribuição (cada qual pagando o que entendesse, mesmo que nada). Desta vez, sem o valor acrescentado desse contexto, ao álbum cabe o papel de ser apenas mais um entre o lote de títulos medianos que o grupo tem sucessivamente editado desde o díptico Kid A / Amnesiac.

Publicada por Nuno Galopim soundvision

Berlim 2011 — 35 anos depois

Apetece dizer que nunca vimos assim a obra-prima de Martin Scorsese. E, objectivamente, assim é: a cópia de Taxi Driver (1976) passada na Berlinale foi uma estreia absoluta, já que resulta de um recentíssimo processo de restauro, em digital"4K", coordenado por Grover Crisp (Sony Pictures) e supervisionado pelo próprio Scorsese e pelo director de fotografia do filme, Michael Chapman. A projecção, realizada no imponente Friedrichstadt Palast, foi apresentada pelo próprio Crisp, acompanhado por Paul Schrader, argumentista de Taxi Driver e futuro realizador (American Gigolo, Cat People, Mishima, etc.). Como lembrou Schrader, os filmes que resistem ao tempo e vão persistindo no imaginário de sucessivas gerações são aqueles que nasceram a partir dos gestos mais genuínos dos respectivos criadores. Ninguém sabe prever os ciclos nem as singulares medidas do tempo cinematográfico: não sem alguma saborosa ironia, Schrader lembrou que, afinal, estávamos ali 35 anos depois do lançamento do filme, do mesmo modo que tinham passado 35 anos entre o aparecimento de Citizen Kane/O Mundo a Seus Pés e a estreia de Taxi Driver.

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Corman's World

É um dos mais sugestivos e divertidos cartazes aparecidos nos últimos tempos: um filme cujos estreantes (introducing) são, entre outros, Jack Nicholson, Martin Scorsese e Robert De Niro. Que é como quem diz: Corman's World propõe-se revisitar os tempos áureos das produções de Roger Corman, há mais de 40 anos, quando para ele trabalharam alguns dos nomes decisivos da história moderna do cinema made in USA. A realização é de Alex Stapleton e o filme fez parte da programação do último festival de Sundance.

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Legos nos discos

Capas de Discos Lego II

Acabam de ser divulgadas mais vinte e cinco capas de discos reproduzidos com peças da Lego. Recordo que no verão de 2008 a Lego teve uma iniciativa semelhante e que dei conta AQUI.

AQueen - Queen II

Oasis - Definitely Maybe

Moby - Play

Radiohead - In Rainbows

The White Stripes - White Blood Cells

Franz Ferdinand - Tonight

Pink Floyd - The Wall

The Beatles - Abbey Road

Queen - The Joshua Tree

Outkast - Stankonia

Moon is Here

Radiohead - Lotus Flower

New Radiohead: “Lotus Flower”

Posted by Mike Mineo on 2/18/11 • Categorized as Weekly

Here is the first unveiled track from upcoming Radiohead LP8 The King of Limbs, which will likely be released sometime in the next 24 hours. In the meantime, check out this bizarre video of “Lotus Flower”. Even back when “Moon Upon a Stick” was also attached as its title, it was evident that “Lotus Flower” could be something special with some keen studio work. I haven’t listened to “Lotus Flower” enough yet to form a definitive opinion, but there are certainly some great moments in there (I love the synth pad/drum interaction two minutes in, and the lovely atmospheric interlude at 03:22 – short but sweet). Anyone else getting Hail to the Thief vibes? Some glimpses of “Where I End and You Begin” in there. Some of the percussion-heavy In Rainbows tracks also ring a bell. Either way, it looks like Radiohead followed through on an initial promise again. This certainly makes up for canceling the unveiling in Japan. Enjoy!

The MP3 is not very high quality, so I suggest you click on the Youtube video, select the 1080p option, put on some nice headphones, and enjoy…

Radiohead – Lotus Flower

in

Lego nos Óscares

Algumas cenas carismáticas dos filmes nomeados para os Óscares de 2011 foram reproduzidas com peças Lego, pelo artista Alex Eylar...

Natalie Portman em Black Swan de Darren Aronofsky

Cena de The Inception de Christopher Nolan

Christian Bale e Mark Wahlberg em The Fighter de David O Russell

Jeff Bridges em True Grit, dos Irmãos Coen

Annette Bening e Julianne Moore em Minhas Mães e Meu Pai de Lisa Cholodenko

Cena de 127 hours de Danny Boyle

Jesse Eisenberg em A Rede Social de David Fincher

Colin Firth em The King's Speech de Tom Hooper

Jennifer Lawrence em Winter's Bone, de Debra Granik

E o autor destas verdadeiras obras de arte.

Com os agradecimentos especiais ao STIPE07... also kown as the Man on the Moon

New Radiohead album

Just a bit of quick news: Radiohead announced just a half-hour ago that their new album, The King of Limbs, will be available for download this Saturday, February 19th. Just like 2007′s In Rainbows, this announcement comes as a nice surprise. Anticipation will surely be mounting for the elusive LP8, which can be purchased for $9 on Saturday here. That’s just the basic MP3 version. The band is also offering a $48 package that they call a “newspaper album”. Here are the details:

Radiohead’s new record, The King Of Limbs, is presented here as the world’s first “Newspaper Album”, comprising:

Two clear 10″ vinyl records in a purpose-built record sleeve. 

A compact disc. 

Many large sheets of artwork, 625 tiny pieces of artwork and a full-colour piece of oxo-degradeable plastic to hold it all together. 

The Newspaper Album comes with a digital download that is compatible with all good digital media players. 

The Newspaper Album will be shipped on Monday 9th May 2011 you can, however, enjoy the download on Saturday 19th February 2011. 

Shipping is included in the prices shown. 

One lucky owner of the digital version of The King Of Limbs, purchased from this website, will receive a signed 2 track 12″ vinyl

sound + vision: Já com sabor a Verão...

sound + vision: Já com sabor a Verão...: "São de San Diego (Califórnia), apresentam-se habitualmente como um duo, mas por vezes são um trio... Editaram recentemente o seu disco de e..."

The Troll Hunter

O ponto de partida da ideia não mora muito longe do que em tempo vimos em The Blair Witch Project ou, mais recentemente, em Colverfield. The Troll Hunter (no título originalTrolljegeren), do norueguês Andre Ovredal é um “mockumentary” que nos apresenta o que supostamente seria a montagem de gravações encontradas e nas quais é reconstituída a tentativa de rodagem de um documentário sobre um caçador de trolls... Estamos algures por uma região montanhosa na Noruega, longe de grandes centros urbanos. Uma equipa de estudantes, com um projecto de cinema em mãos, escolhe um estranho e calado homem como alvo da sua curiosidade, acabando por descobrir que se trata de um caçador de trolls, com ele partindo em missões que uma outra equipa tenta manter em segredo a todo o custo, escondendo da população a existência destes monstros que todos acham não existirem senão em lendas e outras narrativas de ficção.

Se o dispositivo narrativo (e visual) segue o dos que os filmes acima referidos já experimentara, o valor “acrescentado” de Troll Hunter nasce de um permanente cruzar da acção (onde não faltam os inevitáveis arrepios com sons e perseguições no escuro) com instantes de hilariante humor, da soma resutando um filme que mais parece piscar o olho aos códigos da comédia que aos do cinema de terror.

Imagens do trailer de The Troll Hunter.

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Arcade Fire e Mumford and Sons vencem Brit Awards

Semana em cheio para banda do Canadá. Depois dos Grammys, Arcade Fire brilham nos Brits. Justin Bieber e Laura Marling também premiados. Veja lista dos vencedores. Os Mumford and Sons venceram esta noite (15 de fevereiro) o prémio mais cobiçado na cerimónia dos Brit Awards: o de Melhor Álbum Britânico, pela estreia Sigh no More .

Depois da conquista do Grammy para Melhor Álbum do Ano, nos Estados Unidos, os canadianos Arcade Fire brilharam também em Inglaterra, arrebatando os brits de Melhor Álbum Internacional e Melhor Grupo Internacional. Por seu turno, Justin Bieber "desforrou-se" da derrota nos Grammys, ganhando o Brit de Melhor Revelação Internacional (entre os outros nomeados encontravam-se os National e os Temper Trap). Outro grande vencedor da noite foi o rapper Tinie Tempah, que conquistou os brits de Melhor Single, com "Pass Out", e Melhor Revelação Britânica. Laura Marling, Cee-Lo Green e Rihanna foram igualmente distinguidos na cerimónia dos Brit Awards 2011, em Londres. Veja aqui a lista dos premiados: Melhor Álbum Mumford and Sons - Sigh no More Melhor Single Britânico Tinie Tempah - Pass Out Melhor Artista Britânico Plan B Melhor Artista Britânica Laura Marling Melhor Grupo Take That Melhor Revelação Britânica Tinie Tempah Melhor Produtor Britânico Markus Dravs Melhor Álbum Internacional Arcade Fire - The Suburbs Melhor Artista Internacional Cee Lo Green Melhor Artista Feminina Internacional Rihanna Melhor Grupo Internacional Arcade Fire Melhor Revelação Internacional Justin Bieber fonte

sound + vision: Novo álbum dos Radiohead

sound + vision: Novo álbum dos Radiohead: "Os Radiohead vão editar um novo álbum este fim de semana. The King Of Limbs tem primeira edição apenas por download, o lançamento físico dev..."

Gigante

Jara (Horacio Camandule) tem 35 anos e trabalha como segurança nocturno num grande supermercado em Montevideu, Uruguai. A sua tarefa é controlar todas as câmaras de vigilância do edifício, algo que se adequa perfeitamente à sua personalidade calma e solitária. Um dia, através dos monitores, Jara descobre Julia (Leonor Svarcas), uma das empregadas de limpeza, e, sentindo-se atraído por ela, começa a seguir-lhe os passos através das câmaras, durante as suas longas horas de trabalho, e pela cidade, durante as folgas de ambos. Assim, nessa perseguição, Jara descobre tudo sobre Julia, ligando-se cada vez mais profundamente a ela. E o que era apenas uma atracção, transforma-se num amor intenso... 

Primeira obra do argentino Adrián Biniez, foi o grande vencedor no Festival de Berlim de 2009, onde conquistou o Urso de Prata - Grande Prémio do Júri, o Prémio Alfred Bauer e o Prémio para o Melhor Primeiro Filme.

«...desenganem-se se pensarem que há algo de amoral, repugnante, aqui - pelo contrário, "Gigante" fala do modo como hoje nos parece ser mais fácil fazer amigos virtuais sem sair do nosso casulo do que sair para fora dele e dialogar com o mundo real. Horacio Camandulle tem uma presença extraordinária como o segurança de bom coração cuja paixão virtual pela mulher da limpeza que apanha de relance uma noite a lavar os corredores do hipermercado onde trabalham o leva a entrar na vida real e assumir finalmente a sua idade.» Jorge Mourinha, Público

Título original: Gigante

Ano: 2009

Realização: Adrián Biniez 

Interpretação: Horacio Camandule, Leonor Svarcas

Origem: ALE/Uruguai/ARG/HOL

Duração: 84 min

Classificação: M/12

True Grit

Não deixa de ser uma ironia desconcertante. Na sua 61ª edição, o Festival Internacional de Cinema de Berlim/Berlinale, pólo histórico e simbólico da identidade europeia do cinema, abriu com um filme... genuinamente americano: True Grit, de Joel e Ethan Coen [estreia portuguesa, com o título Indomável, marcada para 17 de Fevereiro].

Mas é uma ironia que importa saborear, em vez de com ela atrairmos as mais preguiçosas dicotomias "Europa/EUA". De facto, mesmo com altos e baixos, os irmãos Coen são dos mais legítimos representantes de um desejo de reescrita das narrativas clássicas que, em boa verdade, atravessa quase todas as cinematografias de todos os continentes. Desta vez, reencontrando Jeff Bridges [foto], revisitam o país dos cowboys numa época em que a questão da Lei e Ordem está contaminada por toda uma ambivalência do território e da justiça que, agora, de forma soberba, serve para relativizar a arqueologia tradicional dos heróis.

Detalhe não secundário: tal como no primeiro True Grit (1969, com John Wayne), a personagem da rapariga que jura encontrar o assassino do pai (Hailee Steinfeld, numa fabulosa composição que lhe valeu, para já, uma nomeação para os Oscar de melhor actriz secundária) instala uma duplicidade da idade, do género e do corpo que, podemos apostar, não será estranha a vários títulos deste festival. Citemos, para já, o magnífico Tomboy, produção francesa dirigida por Cécile Schiamma, centrada numa menina que se assume como rapaz... por nada, apenas porque o seu desejo a leva a passar de Laure a Mikael.

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Capa do novo álbum dos Strokes

Silver Swans’ Secret

Silver Swans’ Secret

Posted by Mike Mineo on 2/12/11 • Categorized as Features

I am accustomed to quality material from Twentyseven Media. The NYC-based label broke out local bands like The Drums and This Is Ivy League, exposed underrated Swedish gems (Acid House Kings, Irene, Pelle Carlberg) to American audiences, and are headed by people who are music fans first and foremost. If founder Clyde Erwin Barretto focused full-time on compiling music recommendations through a personal blog, it would be quite popular simply because of his knack for discovering artists with lofty potential. Their latest discovery is a duo by the name of Silver Swans, a San Francisco-based project starring Ann Yu and Jon Waters. Like most artists past and present on Twentyseven, their material is extremely accessible despite a sound contrary to conventional radio pop. With graceful electronic-pop artists like Portishead and Ladytron showing off as influences, Silver Swans produce sounds detailing a perfect fusion of both members. Waters’ experience as a producer and DJ is prominent on Silver Swans’ impressive Secrets EP, as are Yu’s melodic charms. They are the same charms that earned her openings alongside acts like The Radio Dept., Mates of State, and Jose Gonzales throughout her various projects.

Lead single “Secrets” begins with Yu’s ghostly croon assembling itself over a post-punk guitar progression, which reverberates in a way reminiscent of late ‘80s/early ‘90s indie-rock acts. The intro has no evident boundaries until some crisp drum loops and synth-bass establish it with an authoritative electro-pop swagger. This stylistic reveal arrives with little surprise considering Yu’s vocal strengths, which like Portishead’s Beth Gibbons feature a tendency to turn minimal key-driven arrangements into grandiose hooks with her impeccable tonal development. Yu’s voice nearly sounds like a shiver in the intro when only accompanied by the percussion, guitar, and synth-bass. As she opens with “are you happy? I know you shiver like a stone”, it is clear that her vocals contain an almost ethereal child-like quality that some modern punk-rock bands view as the golden goose egg. Fortunately for our ears, both Yu and Waters specialize in electronic hybrids of pop, not melodramatic nonsense for MTV audiences. Their songs contain just the right amount of subtle confidence and production chops to sound original, resulting in a smart mix of electro-pop and indie-rock that remains polished without being overly glamorized; Waters’ production does not disrupt the naturalistic flow of their music, preventing any songs from sounding stiff or over-produced. Such is the work of an experienced DJ/producer.

The hazy synth line in the gradually appearing chorus of “Secrets” is subdued yet melodic, resembling Sally Shapiro’s acclaimed takes on italo-disco with Yu’s sweet-as-sugar vocals coating the elegant synths that eventually dominate melodically without taking over the production. Again, Silver Swans are not going to blow your socks off with anthemic bluster. But like most electronic-pop acts that have aged well, like Portishead and Massive Attack, their music resonates enough to haunt listeners in the best way possible. They also make the type of music that results in great remixes; there are already interesting remixes of “Secrets” (by Letting Up Despite Great Faults) and “Best Friend in Love” (by Bachelors of Science). Another Silver Swans highlight, “Holidays”, will likely get similar treatment. Jingle bells? Check. Breezy, gospel-like vocal harmonies? Check again. Add to these a bubbly synth-bass and percussive pitter-patter and you have another Shapiro-like take on electro-pop and italo-disco. Perfect for future remixes and pretty damn good on its own too. It has a fun factor inherent in a lot of Swedish electronic-pop, so it is hardly a surprise why this appealed to Twentyseven Media. The hook – “I only dance when it’s the holidays” – adds that essential dose of melancholy-over-upbeat-music trend that Swedes seem to do so well.

Also to note is Silver Swans’ cover of The National’s “Anyone’s Ghost”, one of the best tracks from one of last year’s best albums, High Violet (#11 on my Top 50). The brooding bass line is hardly different from The National’s unbeatable original, but Waters’ use of eerie synths in the background really adds to the heartrending allure of the song. The synth-strings during the chorus are minimal but affecting as well, as is the push of percussion during the verse’s second go-around. Here the chorus repeats like before, but now the additional percussion breathes new life into an already moving interpretation. It is interesting to note that Yu’s angelic voice is nearly the opposite of Matt Berninger’s solemnly poignant croon, so that she carries over the emotion from the original successfully is a major achievement and demonstration of her dynamic range. It is a great job by Silver Swans, even if they would admit themselves that covering a great song like “Anyone’s Ghost” is pretty much a win-win for any competent group. With inventively catchy and memorable songs like “Secrets” and “Holidays” though, there is certainly no questioning Silver Swans’ originality and promising future. More of the same from Twentyseven.

RIYL: Portishead, Sally Shapiro, Ladytron, The Knife, Massive Attack, Francis International Airport, maus haus, La Sera, Lamb, Hooverphonic, Archive, Bjork, Morcheeba, UNKLE

Silver Swans – Secrets

Silver Swans – Holidays

Silver Swans – Anyone’s Ghost (The National cover)

MySpace / BUY

IN OBSCURE

Bono e Edge no sofoco da teia.

O musical "Spider-Man: Turn Off the Dark", o tal com música de Bono e The Edge, está a ser massacrado pela crítica bem antes de sequer ter estreado perante o grande público, na Broadway nova-iorquina.

A estreia daquela que é tida como a mais cara produção de sempre da Broadway foi mais uma vez adiada, o que prolongou também a duração do embargo às críticas. Só que publicações como o New York Times, Chicago Tribune, Washington Post e a Variety, entre muitos outros, decidiram publicar as suas opiniões porque o espectáculo já está a ser pré-exibido desde final de Novembro.

Entre as piores críticas está precisamente a do New York Times, segundo a qual «"Spider-Man" é a pior produção da história da Broadway». Os produtores da peça responderam através do Entertainment Weekly: «toda a gente que comentou o espectáculo e que diz que a peça não se consegue redimir, não o diz com legitimidade. É difícil ver pessoas que não têm cultura popular a criticarem um evento de cultura popular», disse o executivo Michael Cohl. Por seu lado, o porta-voz da produção atira contra os críticos por terem quebrado o embargo: «as suas acções não têm precedente e são de mau tom... Ainda estão a ser feitas mudanças no espectáculo. Qualquer crítica que seja publicada antes é completamente inválida».

A estreia está agora prevista para 15 de Março. Aparentemente, na última performance, no passado domingo, o actor principal, Reeve Carney, ficou pendurado sobre a plateia. Este foi apenas mais um dos problemas técnicos que têm afectado as pré-exibições deste espectáculo que custa mais de 700 mil euros por semana para ser mantido em palco.

Filme ou Telefilme?

É talvez inevitável um desabafo, tecido de desencanto e mágoa: como é que um típico telefilme histórico, tipicamente centrado numa personagem que supera uma limitação que bloqueia o seu "destino" (o Rei Jorge VI e a sua gaguez), se transforma no acontecimento central dos Oscars? Isto no mesmo ano em que, por exemplo, Shutter Island obteve... zero nomeações.

A questão está minada, eu sei. E tanto mais quanto a mesma imprensa que favorece uma visão pitoresca do cinema transfigura os Oscars numa redundante avalancha mediática a que não é fácil subtrairmo-nos. Afinal de contas, é preciso encarar os Oscars como produto de uma estrutura industrial grandiosa e muito específica, não como um exercício científico para satisfazer os "meus" ou os "teus" pontos de vista.

Não se trata de demonizar ninguém, não precisamos de pensar o cinema como tantas vezes se discute o futebol... Mas há um dado que importa reter: numa conjuntura de muitas e, por vezes, fascinantes transfigurações técnicas, temáticas e simbólicas dos filmes, os Oscars celebram O Discurso do Rei, um telefilme de rotina, obviamente alicerçado em talentos inequívocos — desde logo, claro, Colin Firth no papel do Rei —, mas cuja identidade histórica tem tanto a ver com o presente como com a produção (televisiva) de há 20 ou 30 anos.

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Toy Division - Transmission

Muito haveria para dizer sobre este post. O trabalho do autor é irrepreensível, a sincronia do som e movimentos é muito boa. Até juntaram uma parte da introdução que pertence a outro vídeo da estreia dos Joy Divison no programa So It Goes de Tony Wilson (quando fizeram Shadowplay). Mas o melhor é mesmo verem e deliciarem-se com os "Toy Division"

Ah!... escusado será dizer que esta música é qualquer coisa! Os bonecos playmobil também não estão mal...

Comparem com o "original..."

'I have a tattoo of Bruce Springsteen wearing 3D glasses on my leg'

Mike Skinner signed off what was to be his final interview as the Streetswith the comment: "I've got fans with a lot of tattoos, you know." It got him thinking. Why would anyone get an artist inked on to their skin? How do they feel years later if their fandom has slipped? And why the hell would anyone want Bruce Springsteen in 3D glasses tattooed anywhere on their body? He wanted answers. And so, as part of his guardian.co.uk/music takeover, he sent Rosie Swash on the hunt for people with band tats. Here's what she discovered ...

Ryan Duffy, 28, New York, originally from New Jersey

Tattoo: Bruce Springsteen on calf

The Boss enjoying Avatar in 3D, perhaps? Photograph: guardian.co.uk/music

I've thought about getting a Springsteen tattoo since I was 18 and moved from NJ to NYC. I'd always thought about a Bruce tattoo because growing up in Jersey, he was a huge part of my childhood. He was handed down to me from my Dad. The design went through various iterations in my brain: "Someday we'll look back on this and it will all seem funny" across my chest, a simple Jersey state outline with a Bruce banner across, etc. But I never got around to it until I was 25.

My friend Scott Campbell is an unbelievably talented artist who got his start tattooing, but has since moved on to fine art. He's hands down the best tattooist I've ever come across. Anyway, he sent out a note to a group of friends saying that he was preparing a piece for Art Basel in Miami and did we want to get our favorite celebrities tattooed on us, by him, for free. Only catch was they had to be wearing 3D glasses, which obviously wasn't a catch for me at all. So Bruce is part of a larger 3D-glasses-clad army: Frankenstein, Michael Jackson, Liza Minnelli, etc.

The Boss reminds me of everything I loved – and still love – about New Jersey. Bruce obviously became a bit fashionable a few years ago with bands such as Arcade Fire and the Hold Steady citing him as an influence, but the reasons for it are undeniable: unbelievable songwriting, evocative lyrics and an enduring image.

That said, most folks love the tattoo, but some people seem to think it's the guy from Loverboy, which is OK too, because its a nice litmus test. If you can't tell the difference between the Boss and the guy from Loverboy, you can fuck right off. Do I regret getting it done? No, I love it.

Natalie Briscoe, 26, teacher, from the Wirral

Tattoo: Modern Life Is Rubbish (Blur) on left wrist

A no-nonsense reminder of teenage fandom Photograph:guardian.co.uk/music

Although the album Modern Life Is Rubbish was released in 1993, I only had this tattoo done a few weeks ago. I like tattoos that mean something to people, rather than just a random picture or symbol, and I've been a huge Blur fan since I was eight. I grew up listening to them. Not only was I too young to see them the first time round, but I was struck down with ME when I was 11 and was housebound for many months. It took years to get my life back. While I was recovering, I used to play Modern Life Is Rubbish all the time; it made a horrible time more bearable. Plus, the older I get, the more I understand how true the saying is.

I finally got to see Blur play Manchester in 2009 when they re-formed, which was an amazing night. It seemed fitting to make Blur a permanent fixture on my body, but it took me a while to get it done. I just decided one day to go ahead, so my decision was pretty spontaneous – but the idea had been in my head for a long time. I played around with fonts first because I wanted it to look a specific way and asked my Dad which type he preferred. My Dad is pretty laidback and he likes all my tattoos. My Mum was convinced I was going to get blood poisoning. She appreciates it, but she still doesn't like tattoos. But I don't have any regrets at all about getting this done. I love it.

Bryce Franich, 29 years old, from Jackson Hole, Wyoming

Tattoo: Willie Nelson, right arm

Bryce models ... Bryce? Willie Nelson? Photograph: guardian.co.uk

About four years ago one of my good friends was working at a tattoo shop in Brooklyn. I spent a lot of time there and the owner (who couldn't remember my name) kept calling me Wyoming Willie because of my resemblance to Willie Nelson. My buddy thought that would be a hilarious tattoo and drew it up. He said he would never tattoo me again if I didn't get it right then and there ... so I did.

My tattoo is also a self portrait, although it's commonly (and fittingly) mistaken for Willie Nelson. And honestly, what isn't there to love about Willie Nelson? He was just busted for pot possession – again! – and apparently with no real legal repercussions. His weed knocked Toby Keith and Johnny Knoxville on their asses. He declared bankruptcy while owing something like $1.5m to the IRS, then put out "The IRS Tapes". And with all proceeds going directly to the IRS the debt was payed off in three years! Amazing.

I've never met Willie but I've seen him play a handful of times, including last year in Wyoming. I sat at the Million Dollar Cowboy Bar (where he played in the 70s) for a couple of hours hoping he'd come in for a beer. No such luck. I don't regret my tattoo at all, most tattoos I love started as the absolute worst ideas.

Tony Sylvester, 37, label manager, writer, and singer in a band called 33, from London.

Tattoo: Johnny Cash/C.R.E.A.M.

Johnny Cash Rules Everything Around Me Photograph: guardian.co.uk/music

It was either me or tattooist Chad Koeplinger who came up

with the idea; Johnny Cash came first and the Wu-Tang Clan pun seemed too good to resist – C.R.E.A.M. stands for Cash Rules Everything Around Me, from 1993's Enter the Wu-Tang (36 Chambers) album. It works because it appeals to my sense of humour, and I have a genuine reverence for both parties. There's something nice about making hitherto unseen connections through lightheartedness.

It probably took me minutes to decide to get it done, certainly less time than it took to do the actual tattoo. Why Cash and Wu-Tang? I admire the simplicity of Johnny's delivery and arrangements and the moral ambiguity in his storytelling; sometimes sacred, sometimes profane,

always entertaining. Shame they had to ruin it with that rotten film,

but that's the way of the world.

With Wu-Tang Clan, I'm a fan of their occulted view of the mundane and everyday, specifically seeing the trials of streetlife through the prism of martial arts and Oriental philosophy. But they never let these elements weigh down a good track. They're unparalleled in hip-hop.

There's certainly a connection between outlaw country and hip-hop; the central theme of both is money and women. The Wu and Cash could be seen as offering a little broader scope and a spiritual dimension to the mire; some content beneath the braggadocio. I'm not about to get a Gucci Mane tattoo, put it that way.

In my questionable yearn to look like a French criminal from the 20s, I'm steadily covering my body with tattoos that mark important events, people, rites of passage and sometimes just jolly nice imagery. I don't love all the tattoos I've had done, but the person who lives without regret is either shallow or lying. The tattooist Thomas Hooper once told me that you have to make sure you like what you have tattooed on the front of your thighs as they're the first things you see every morning when you get out of bed. Actually, he might have said when you sit on the toilet, but the point is the same. I've never regretted this tattoo for a second.

Sam Hart, 23, writer, from Brighton.

Tattoo: White Stripes lyrics, forearm

White Stripes Photograph: guardian.co.uk/music

My tattoo reads: "The coldest blue ocean water cannot stop my heart and mind from burning," from The Same Boy You've Always Known bythe White Stripes. I knew I wanted lyrics as a tattoo because music is a huge part of my life, and these lyrics just spoke to me more than anything else I could think of. It was always going to be something Jack White had written as he is my musical idol and the White Stripes are my favourite band. I love the idea behind the name of the song as well, so it all just came together perfectly.

There are two meanings that I take from the lyrics. Firstly, it means that no matter what difficulties and hardships come my way (the cold water), nothing will keep me down. My heart and mind will always carry on through. And secondly, to flip it around, it can mean that no matter how much you can try and sooth a situation, to forget or try to move on, whatever is hurting you might never go away (the burning of the heart and mind, the pain). Sometimes it's just not right, or possible, to forget. So it has both positive and negative connotations for me.

I have a couple of tattoos (and I want more), but this one I regret the least. I think because it is relatively ambiguous and unknown it doesn't seem too corny, which can be a problem with a lot of tattoos. It only means something to me, which I like.

As told to Rosie Swash.

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