CDs/DVDs
Graham Fuller
Marlene Dietrich and Joan Crawford camped it up superbly as 1950s Western matriarchs in Rancho Notorious and Johnny Guitar respectively. Yet they were outflanked by the steelier Barbara Stanwyck, an actress passionate about the genre. She carved a niche for herself as a fierce, cynical frontierswoman of property in The Furies, Cattle Queen of Montana, The Maverick Queen, and Forty Guns, though love or justice typically compromised the feminist slant of these films, which led Stanwyck eventually to her 1965-69 Western series The Big Valley.Forty Guns wasn’t as thematically rich as Run of the Read more ...
ellin.stein
The clue is in the name: Selma, after the Alabama city that was the site of three crucial confrontations in the 1960s struggle for African-American civil rights, not King, after the eloquent spokesman and de facto leader of that struggle. Because director Ava DuVernay is more interested in saluting the power of a grassroots movement than in lionizing a Great Man of History, this inspiring, profoundly moving film avoids the pussyfooting and over-reverence that has afflicted biopics of other secular saints like Gandhi, Lincoln, and Mandela.The moral courage of David Oyelowo’s Martin Luther King Read more ...
joe.muggs
The story of singer-songwriter-cellist-composer Arthur Russell is tragic and life-affirming in equal measure. A Zelig-like figure, from his corn-belt beginnings he glided through underground scenes in the 1970s and '80s, collaborating with everyone from Alan Ginsberg to Talking Heads to Philip Glass. Though he died aged just 40 in 1992, he directly inspired everyone from the early pioneers of house music to current luminaries like Sufjan Stevens and Hot Chip.When I interviewed his biographer Tim Lawrence for theartsdesk in 2009 it was clear that interest in Russell's work was continuing to Read more ...
Kieron Tyler
Lesley Gore: California NightsThe reissue of 1967’s California Nights is a timely tribute to both Lesley Gore, who died in February this year, and Bob Crewe, the producer of most of the album’s tracks, who died in September last year. Gore first charted in 1963 with “It’s my Party”, which was followed by a string of hits including the feminist-slanted “You Don’t Own me”. Crewe was prodigious: he was a songwriter, manager, producer and singer. With Bob Gaudio, he steered The Four Seasons to success and wrote or co-wrote classics like "Big Girls Don't Cry" and "The Sun Ain't Gonna Shine ( Read more ...
Lisa-Marie Ferla
Trying to pigeonhole Apocalypse, girl, Norwegian artist Jenny Hval’s third album under her own name, is like trying to grab onto a snake that is in the process of shedding its skin. It’s a simile that you can’t help thinking Hval would enjoy: “Kingsize”, the spoken word performance poem that opens the album, employs what might be an extended metaphor about bananas rotting in her lap – although it could just be about bananas.The word “album” itself barely seems to fit Hval’s work. It has nominal track divisions, but repeated themes and lyrical snippets cause the lines to blur. Sexual imagery, Read more ...
Nick Hasted
Heimat was already one of cinema’s most extraordinary, majestic achievements. Edgar Reitz’s three series of films for German TV spent 53 hours exploring the humanity of the inhabitants of Schabbach, a Rhineland village much like Reitz's own roots, throughout Germany’s cataclysmic 20th century. It was a chronicle built from often fond, sometimes horrifying memories, mesmerically deep, leisurely detail, and a gorgeous cinematic eye. Reitz was 79 when he added nearly four further hours, revisiting Schabbach in 2012. This could have been hubris. Instead it’s a wonderful (presumably) last visit to Read more ...
Thomas H. Green
Giorgio Moroder has long been adopted by the cognoscenti. He’s the studio wizard who gave us key Seventies disco hits, iconic in the development of electronic music and club culture. The culmination of this archiving tendency was the tribute song on Daft Punk’s Random Access Memories, indeed, the whole album seemed sprinkled with shiny Moroder synth polish. It was undoubtedly this that resulted in Sony hauling him from retirement to work with a who’s who of contemporary chart-pop. The result is appalling, a catastrophic mire of Costa del Dumb Euro-cheese, pitched in some teeth-jarring Read more ...
peter.quinn
With slowly chiming piano chords, an impossibly high sustained note on the accordion, and a melody of the utmost loveliness on alto clarinet, the achingly beautiful “Walking by Flashpoint”, the opening track of The Thompson Fields, welcomes you into a sound-world of rare eloquence.Presenting eight new pieces written by the composer, arranger and bandleader Maria Schneider for her renowned 18-piece jazz orchestra, the ensemble's first outing since the superb Sky Blue (2007), the album celebrates its composer's love of her childhood home in southwest Minnesota. Entirely Read more ...
Barney Harsent
When International Feel label boss Mark Barrott moved from Uruguay to Ibiza, it was surely only a matter of time before he hooked up with Café Del Mar’s legendary sunset soundtracker José Padilla – inevitable even. The choice of producers to work alongside Padilla on this, his fourth album, is far from predictable however – in fact it’s inspired. Alongside Padilla himself and Barrott are Henning Severud (Telephones), Jan Schulte (Wolf Müller) and Lewis Day (Tornado Wallace). Padilla is in good company here – a fact he has been keen to acknowledge himself.On first listen, this seems Read more ...
Kieron Tyler
The Dancing Years and The Rat are seemingly very different films. The Dancing Years (***, 1950) is a British musical which defines frou-frou. With a springing-off point in the dizzy world of the waltz-obsessed Vienna of 1910, its lingering shots of spectacular scenery, meringue-light music, pastel-shaded costumes and unrequited love, it’s the sort of film a fan of Barbara Cartland romances would love. The Rat (***, 1937) is black and white and also set in a continental European capital city, this time Paris. The story of a master criminal who sticks to the promise he made to look after a Read more ...
Matthew Wright
No one can accuse Gardot of stinting on the shoe-leather. For her previous two albums she has trotted the globe, drawing together samba, tango, bossa nova and calypso into a rhythmical pot pourri. This time, for the fourth album in seven years, Gardot turns her attention to the streets of LA, which she pounds, discovering, according to the release, the “helpless, homeless and hungry”, whose stories she tells here. Amid some undoubtedly charismatic performances, it feels as if the work’s main discovery has been the particularly diverse instrumentation settings menu in the production suite. Read more ...
Kieron Tyler
The Mothmen: Pay Attention!On their 20-minute “Mothman”, Manchester’s The Mothmen took a trip fusing bendy Captain Beefheart-style guitar, dub, insistent percussion and a Krautrock sensibility. The side-long track closed their album Pay Attention!, originally issued in March 1981 by the On-U Sound label. As a sign-off, “Mothman” was undoubtedly arresting but however absorbing it was, this was the sound of history. The workout was recorded by a line-up of The Mothmen which split shortly after it was recorded in May 1980.The band carried on with a reconfigured membership, but Pay Attention! is Read more ...