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Return to Beyond the Black Rainbow

Posted by Charles Reece, September 11, 2012 11:54pm | Post a Comment
beyond the black rainbow blu ray

There were only 11 films from 2011 to make my illustrious 'best of' list earlier this year and one of my favorites, Panos Cosmatos' Beyond the Black Rainbow, has finally received a blu ray release as of today. Before home video, digital recording devices and illegal file sharing provided us the liberty of watching pop culture when we want as our founding fathers had promised (control of property being the basis for liberty), a drug-addled consciousness, in the early morning hours, would be retuned to reality through a forced choice of bad cable movies or informercials -- the remote control providing only the remotest semblance of control. The mind was in a particularly susceptible state during such inert periods and, having so little control on media saturation (like having to listen to an entire side of an LP all the way through), it became shaped, one might say enamored, by televisual junk. Set in the time of Orwellian dystopia, Cosmatos' film captures this shaping of the android mind as telepathic domination. The editing feels like pushing the button on the remote at random, which eventually coalesces into something of a cross-channel narrative thread between a self-help guru with a narcoleptic delivery and the final girl sequence in a slasher film. The 80s sci-fi hues turning into hypnotic visual patterns accompanied by Wendy Carlos drones and John Carpenter melodies pull the viewer into the nostalgic abyss. The laissez-faire decade was when most Americans were rebuilt by aliens; only a few escaped.


Amoeba's patented What's in My Bag? with the writer-director of Beyond the Black Rainbow

Album Picks: Thee Oh Sees, The XX, The Raveonettes, Plus Albums and Blu-rays Out Today

Posted by Billy Gil, September 11, 2012 05:45pm | Post a Comment
thee oh seesThee Oh Sees – Putrifiers II
 
S.F. psych-rockers Thee Oh Sees’ cult seemed to overflow with two great albums released last year, the scuzzy lo-fi pop of Castlemania and its more acid-tinged follow-up, Carrion Crawler/The Dream. Putrifiers II works off that momentum and delivers on its promise, scaling back the noise of their more rambunctious moments to offer hypnotic, low-key psych-pop. “Wax Face” features some of Thee Oh Sees main man John Dwyer’s idiosyncrasies, with wacked out harmonic guitarwork and echoing, screechy vocals, but with that familiarity out of the way, the album’s next two songs feel new for Dwyer, as “Hang a Picture” is nostalgic, even sweet jangly pop, and “So Nice” takes a Velvets-inspired trip through stately drone. “Flood’s New Light” sounds like a cleaned-up version of the off-kilter Turtles-style garage rock the band previously produced, and with its cleaner production, Dwyer’s pop songwriting smarts come through more clearly, as does his way of subverting his pop arrangements with slightly atonal melodies. As the album’s noise-and-space epic title track flows into the ethereal, strange ’60s pop of “We Will Be Scared,” it becomes clear this is Dwyer’s strongest material to date. For all his prolificacy, Putrifiers II is remarkably consistent and a fine statement of purpose moving forward for Dwyer.
 
the xxThe XX – Coexist
 
The XX dig further into their shrouded corner of the universe with Coexist, an album that finds the trio even more assured in producing their minimalist, romantic sound. “Angels” opens the album breathtakingly as Romy Madley Croft’s vocal coaxes intensity with just a few simple refrains. Co-vocalist Oliver Sim pulls a similar trick on the yearning “Missing,” while “Chained” is one of the best examples yet of how Jamie Smith’s production meshes perfectly with Madley Croft and Sim’s simple yet divine vocal interplay and subtle guitarwork, its beats coming in offtime to break the spell at just the right time. Coexist works when its trio supports each other with the just the right amount effort, such as on “Reunion” and “Sunset,” in which Smith’s lush keyboards and muffled beatwork provides a perfect backdrop in which the vocalists can swim, or when Smith largely removes himself for the first half of the haunting “Tides” before coming in with his most pronounced beat of the album. At times it threatens to blow away in the wind, given its lightness of touch. But taking the view that there’s a time and place for most music, Coexist plants The XX firmly in nighttime music territory, and for such times — for sleep, romance, introspection — there’s nearly nothing better to suit the mood.
 
the raveonettes observatorThe Raveonettes – Observator
 
After spending the better part of a decade producing huge, wall-of-sound, Jesus & Mary Chain-style guitar noise, The Raveonettes continue the scaling back of their sound begun on the darker, unfairly maligned Raven in the Grave on Observator. Though it still eschews the campiness that marked much of The Raveonettes earlier work, Observator is a sunnier affair than Raven, full of sparkling guitarwork and Sune Rose Wagner and Sharin Foo’s twinlike harmonies. The beginning songs on Observator sound like a back-to-basics approach to their sound, Buddy Holly melodies over tinny beats, but the Ride-like rush of “Sinking With the Sun” and lovelorn single “She Owns the Street” display an interest in jangle pop, without as much of the shoegaze sheen the band used to coat their songs with. This is a more melody-focused rendition of The Raveonettes’ sound, and thus its emotional quality comes through more clearly. Observator’s noise-flecked pop in songs like the glorious closer “Till the End” relay a lonely sense of wonderment, like staring at the stars alone.
 
Also released today:
 
st vincent and david byrneDavid Byrne & St. Vincent – Love This Giant
 
An old art school meets new art school dream collaboration comes to us from David Byrne and St. Vincent’s Love This Giant, which plays to the strengths of both artists with a dynamic, eclectic sound, immaculate production and deft arrangement. The Byrne-led “Who” calls to mind classic Byrne/Talking Heads with its quizzical delivery, while “Weekend in the Dust” makes St. Vincent’s Annie Clark into a worldbeat dance diva. “Dinner for Two” is a sublime duet, nicely interrupted by horn-work that dots the album and holds it together, especially coming into play on the funky pop of “The One Who Broke Your Heart,” featuring Antibalas and The Dap-Kings. “I Am an Ape” and “I Should Watch TV” find Byrne at his most satirical, while Clark shines on “Optimist,” one of her sweetest vocal performances to date. Some of the album’s middle tracks mesh Byrne’s and Clark’s styles so well, such as the clockwork sound of “Lazarus,” that a future collaboration to see how these two could get into even more interesting territory seems like a sure thing — at least we can hope, because Love This Giant already is a slyly rewarding gift from two artists, one over many years and one in just a short time, who have given us plenty already.
 
calexico algiersCalexico – Algiers
 
Calexico’s noir folk sound grows even more majestic on Algiers. The band’s eighth album finds them as confident in their sound as they’ve ever been, becoming more soulful, more embracing on tracks like opener “Epic,” which balances warm verses with a darker chorus. In particular, Joey Burns’ and Jacob Valenzuela’s vocals mesh beautifully on the propulsive “Splitter,” and Burns carries “Sinner in the Sea” through its spooky, spiritual setting of sparkling piano and minor-key guitar, suggesting the New Orleans setting the band has said helped inspire the record. Calexico have often evoked various times and places, namely the desert setting of their namesake, and Algiers can’t help but feel like the work of a band at some mysterious port-town dive, whether that be in New Orleans, Algiers or any number of Spanish-speaking cities, calling out Santo Domingo and strumming Spanish guitar in “Puerto” and going back to their mariachi-inspired roots on the Spanish-sung “No Te Vayas.” Surprisingly, Calexico’s globe-trotting, more pronounced than ever, holds together and doesn’t feel like dilettantism; rather, it helps not define Algiers by one specific time or place, instead conjuring unspeakable feelings of nostalgia and becoming lost in another culture. Wherever Algiers puts you, you know the feeling.
 
bob dylan tempestBob Dylan - Tempest
 
Over the opening sounds of steel guitars and a bouncing bass, Bob Dylan’s ever-growlier voice comes in like a train conductor from another time and we’re whisked away to an Amierca of yore in Tempest opener “Duquesne Whistle.” Tempest is classic Dylan, full of his trademark detail and skillful incorporation of various threads of classic American styles. Dylan and his band tunnel through the country blues of “Narrow Way,” as Dylan delivers irresistible lines in his rambling fashion like “It’s a long and narrow road/If I can’t work up to you/You’ll surely have to work down to me some day.” Tempest isn’t all dusky blues, though, as its ballad “Long and Wasted Years” is one of its best, Dylan offering romantic lament (“I wear dark glasses to cover my eyes/there’re secrets in them that I can’t disguise”). Tempest’s strongest moments come in its closing tracks, the immaculately detailed murder ballad “Tin Angel,” hopeful album closer “Roll on John,” and sandwiched between them the title tracks, an already much-discussed near-14 minute tale of the Titanic “sinking into the underworld” (and also, “Leo and his sketchbook”), over a stately mix of country blues and sea shanty, buoyed by transcendent violins that give pause to Dylan’s depiction of tragedy and what it brings out of ordinary people, good and bad. Tempest ends leaving listeners with renewed interest in the complexity of humanity, as the best of Dylan’s work often stokes our desire to know ourselves and others more deeply.
 
guano padanoGuano Padano – 2
 
Along with Calexico’s Algiers, this week has seen a wealth of Western-inspired rock released. Guano Padano are an instrumental three-piece who move from nourish country (“One Man Bank”) to Middle Eastern-inspired surf rock (“Gran Bazaar”) to glitchy jazz (“Lynch”) and just about anywhere else their instruments can take them, incorporating your basic guitar, piano, bass and drums, plus banjo, eerie steel guitar, Chinese instrumentation (“Miss Chan”) and anything else that might seem appropriate while retaining their Spaghetti Western sound. Mike Patton shows up to lend his howling vocals to the dark “Prairie Fire,” and the band turns in a dreamy cover of Santo & Johnny’s “Sleep Walk,” but these moments aren’t even necessary diversions — Guano Padano’s cool, kitschy sound stands on its own, soundtracking imagined, unmade films and allowing the listener to explore their own interpretation or simply bask in the sound.
 
amanda palmerAmanda Palmer – Theatre is Evil
 
Amanda Palmer drops some of the theatricality of Dresden Dolls for this synthier, poppier album with backing band The Grand Theft Orchestra.
 

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Best 11 Films of 2011

Posted by Charles Reece, January 8, 2012 11:25pm | Post a Comment
Last year wasn't too good for movies, but it was great for scores. I can't remember a year where I listened and re-listened to so much music from films: Cliff Martinez electronic-based Drive, Contagion and The Lincoln Lawyer; Alexandre Desplat's The Tree of Life and The Ides of March; Alberto Iglesias' The Skin I Live In and Tinker, Tailor, Soldier, Spy;  and, probably my favorite of the year, The Chemical Brothers' Hanna (much better than Daft Punk's overrated TRON: Legacy). I'll be surprised if any but Desplat gets nominated for an Oscar, though. Another likely Oscar candidate is Atticus Ross and Trent Reznor's The Girl with a Dragon Tattoo, which I really liked, but haven't yet had a chance to listen to it independently of the film. And Jeremy Schmidt's analog sound designs for Beyond the Black Rainbow are amazing (somewhere in the territory of Wendy Carlos' The Shining), but I'm not quite sure what's diegetic and extra-diegetic until an album is released.

As for my list of best films: most of these I enjoyed some parts of, while not exactly the whole. I'd say the overall best of the bunch are Tinker, Tailor, Soldier, Spy, Meek's Cutoff and Super, but my favorite sequences of the year came from Hanna, Drive and Beyond the Black Rainbow.

13 assassins poster kevin graham poster
13 Assassins - Takashi Miike

I never seem to tire of action films questioning when it's appropriate or moral to use violence. As I previously discussed, 13 Assassins does a good job of critiquing the aestheticization of violence while aestheticizing the violence. 

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November 9, 2011: Beyond The Black Rainbow

Posted by phil blankenship, November 9, 2011 09:24pm | Post a Comment
Beyond The Black Rainbow movie ticket stub

SF at the AFI Fest

Posted by Charles Reece, November 1, 2011 09:37pm | Post a Comment
afi fest 2011 poster

Among the standard schlocky dramas (J. Edgar), this year's AFI Festival has surprisingly quite a few works of speculative fiction. Here are the trailers:


Beyond the Black Rainbow


Melancholia


Carré Blanc


Extraterrestrial


Target

Overall, there's a lot more decent genre material than in years past, and it's free.