Following a listening party on Monday, Deerhoof dropped a surprise new album, Love-Lore, via Joyful Noise Recordings.
Love-Lore was recorded live in the studio over a single afternoon at Rivington Rehearsal Studios in New York City. The album contains a medley of 43 covers, which range from the Velvet Underground to Krzysztof Penderecki.
Muindi Fanuel Muindi wrote an essay to accompany the release, while Benjamin Piekut wrote the liner notes. “Deerhoof is not the future of music and doesn’t want to be — they simply want to embrace you, here and now,...
Love-Lore was recorded live in the studio over a single afternoon at Rivington Rehearsal Studios in New York City. The album contains a medley of 43 covers, which range from the Velvet Underground to Krzysztof Penderecki.
Muindi Fanuel Muindi wrote an essay to accompany the release, while Benjamin Piekut wrote the liner notes. “Deerhoof is not the future of music and doesn’t want to be — they simply want to embrace you, here and now,...
- 9/28/2020
- by Angie Martoccio
- Rollingstone.com
Tony Sokol Nov 12, 2018
Skip The Beatles' "Revolution 9" at your peril. It's music, not noise.
Turn me on dead man.
Long before conspiracy-minded rock fans screwed up their needles playing records backwards, to paraphrase George Carlin, The Beatles’ “Revolution 9” was a spooky experimental tour de force of hidden meaning. Marketed as one of the first boy bands, the mop topped sensations were best known for being at the toppermost of the pops. The ultimate pop band was also at the forefront of the rising underground scene.
While The Beatles are best known for writing love songs, not only catchy romantic ditties, but songs about the larger concept of love, they had a very dark side to their output that defied easy categories. John Lennon could be particularly scary. He forced George Harrison to arrange a guitar solo that had to sound better backwards on “I’m only Sleeping,” and shoveled...
Skip The Beatles' "Revolution 9" at your peril. It's music, not noise.
Turn me on dead man.
Long before conspiracy-minded rock fans screwed up their needles playing records backwards, to paraphrase George Carlin, The Beatles’ “Revolution 9” was a spooky experimental tour de force of hidden meaning. Marketed as one of the first boy bands, the mop topped sensations were best known for being at the toppermost of the pops. The ultimate pop band was also at the forefront of the rising underground scene.
While The Beatles are best known for writing love songs, not only catchy romantic ditties, but songs about the larger concept of love, they had a very dark side to their output that defied easy categories. John Lennon could be particularly scary. He forced George Harrison to arrange a guitar solo that had to sound better backwards on “I’m only Sleeping,” and shoveled...
- 4/18/2018
- Den of Geek
Music and Sex: Scenes from a life - A novel in progress by Roman AkLeff (first installment can be read here; second here; third here; fourth here; fifth here).
[Warning: the chapter below contains "adult situations." Seriously, this one's not for the faint-hearted.]
Walter’s new home, Carman Hall, was an utterly soulless pile of cinder blocks. No effort at all had been made, during its design and construction two decades earlier, to build in anything conveying the slightest sense of warmth. No carpeting in either the halls or in the suites, no wood anywhere except the doors, no decorative touches, nothing but bare straight lines. One imagined it had been designed so it could be hosed down with minimum effort between school years to as to be literally as well as aesthetically antiseptic. There was not even any accommodation made for cooking; not only were there no kitchen nooks, even hotplates were forbidden (though, given that they were horrific fire hazards, that made sense,...
[Warning: the chapter below contains "adult situations." Seriously, this one's not for the faint-hearted.]
Walter’s new home, Carman Hall, was an utterly soulless pile of cinder blocks. No effort at all had been made, during its design and construction two decades earlier, to build in anything conveying the slightest sense of warmth. No carpeting in either the halls or in the suites, no wood anywhere except the doors, no decorative touches, nothing but bare straight lines. One imagined it had been designed so it could be hosed down with minimum effort between school years to as to be literally as well as aesthetically antiseptic. There was not even any accommodation made for cooking; not only were there no kitchen nooks, even hotplates were forbidden (though, given that they were horrific fire hazards, that made sense,...
- 6/16/2015
- by RomanAkLeff
- www.culturecatch.com
Polish composer of film music best known for Bram Stoker's Dracula, Death and the Maiden, and The Pianist
Very few 20th-century classical composers set out with the intention of writing music for films. Wojciech Kilar, who has died of cancer aged 81, was no exception. Would he ever have dreamed, when he was studying composition in Poland, that he would later go on to score more than 100 films and build his reputation on that body of work rather than in the concert hall? It took Kilar more than 30 years of composing music for Polish films before he became internationally recognised because of his creepy score for Bram Stoker's Dracula (1992), directed by Francis Ford Coppola.
The acclaim that Kilar accrued from his music for Coppola's pyrotechnical horror movie led to work on other widely shown English-language films, such as Jane Campion's The Portrait of a Lady (1996) and three by Polish-born Roman Polanski...
Very few 20th-century classical composers set out with the intention of writing music for films. Wojciech Kilar, who has died of cancer aged 81, was no exception. Would he ever have dreamed, when he was studying composition in Poland, that he would later go on to score more than 100 films and build his reputation on that body of work rather than in the concert hall? It took Kilar more than 30 years of composing music for Polish films before he became internationally recognised because of his creepy score for Bram Stoker's Dracula (1992), directed by Francis Ford Coppola.
The acclaim that Kilar accrued from his music for Coppola's pyrotechnical horror movie led to work on other widely shown English-language films, such as Jane Campion's The Portrait of a Lady (1996) and three by Polish-born Roman Polanski...
- 1/7/2014
- by Ronald Bergan
- The Guardian - Film News
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