Jamie Lidell’s self titled is his 5th on Warp Records, yet this album is a step in a different direction for the Brit born artist.
With a bombastic voice and killer beat boxing skills, Lidell has always had some serious mouth talent - his one man laptop band has explored a huge range of genres; mostly tinted with a raw, soul sound.
On this album he seems to have turned to slick electronic production, paying homage to Prince and the 80s with his band Super Collider. The first single, You Naked, is a great tune and surely the best track on the album. Its edgy synth bassline, popping percussive accents and unusual, soul-style melody makes for an absolute banger of a pop tune. Other standouts for me were Big Love (talk about the 80s), What A Shame (down and dirty pop with hints of dub and a whole lot of overdrive) and In Your Mind (did Michael Jackson come back to life?) An interesting addition was why_ya_why - almost sounded like a Gorillaz track.
To me, many of the songs on the album are awash with too many layers of sound, and with almost every one hitting the four minute mark I find myself wishing for an aural break every once in a while.
A seasoned player in the music scene, Lidell is embracing the possibility of a well-deserved, successful pop album. Will his old fans like this direction? For now I think this is a fun record and an interesting change for the experimental and eclectic, Jamie Lidell.
I think I just made the worlds greatest salad. Candied walnuts (homemade), raisins, avocado, green apple, feta, cocktail olives and baby spinach. (Taken with instagram)
Such a beautifully constructed video and awareness concept. Watch the whole thing. Get involved. I personally know amazing people who have been working for Invisible Children for years, and I am grateful to them for all they’ve done for this cause, and to make it so easy for everyone to help out.
It is actually incredible the way Invisible Children have created something so modern and cohesive with today’s technologically saturated society - it makes me excited to get involved.
I stumbled across this video and had to post about how appalling it is. Firstly, I know you can sing Shakira. I might hate your warbling, kermit-like sound, but I know you can sing, and this song’s octave rang and boring melody is something that an auto-tune artist would sing.
Secondly - I think video clips have reached a new pornographic level. Sure, we remember Christina’s Stripped album where the video clip for “Dirty” was shunned for it’s blatant sexualised nature, but at least she wasn’t trying to hide it behind a teeny-pop facade. You’re 35 Shakira! We know you have an awesome body that can contort in ways that men can only dream of - congrats. I don’t need to see your vagina. Or almost.
The beginning and end of this clip confuses me as well because it starts as what looks like an homage to Michael Jackson’s “Thriller”, except Shakira is by herself, in a cave, styled as if she’s dived into the intestines of someone who’s swallowed a bottle of glitter. Then at the end we get this weird interpretive dance sequence, which switches from her looking like a dork, to her looking like she’s in drama class and has asked to portray a Tarantula.
Good on you Shakira for staying healthy and fit, not so good on you for showing teenagers the difficult positions in the Karma Sutra book.
Recently I had the privilege of scoring some tickets to see an advanced screening of The Adventures of Tintin in 3D.
I’m not usually into 3D films (more often than not the “3D” part seems to be a novelty rather than an enhancement), nor am I into the newer generation of cartoons (such an old fogey for classic Disney), however there are always a few exceptions - Tintin is one of them.
As in the classic Tintin comics, the film is a rollercoaster adventure based on a mystery, with fantastic chase scenes and comedic punctuations throughout. Those familiar with the comics (and cartoon) will be pleased to see the familiar faces of Captain Haddock and Detectives Thompson and Thompson, as well as the clever Snowy as (ingenious-as-ever) Tintin’s sidekick.
I was skeptical about how one could recreate such a beloved series. Spielberg stays true to the comic in so many ways, while breathing fresh life into it that such technology can allow - this is what 3D has been waiting for. The characters are so detailed in their mannerisms and expression that at points you catch yourself forgetting it is animation at all.
In this adventure, Tintin stumbles across a model ship called the Unicorn, and is soon caught up in its dangerous secret; pursuing over seas and to the sandy shores of Morocco. On the way he picks up a drunk Haddock (captain not fish) who helps to unlock his family’s secret and avenge his ancestor.
Spielberg has really hit the nail on the head with this film, and I think having Peter Jackson on board was a winning move - his appreciation of special effects and technology has allowed this beloved comic to take 3D animation to where it should be.
Tonight I saw the freshly dropped film by Woody Allen, Midnight in Paris. No it’s not another Hilton home video (though with Woody, who’d be surprised), but his latest starring Owen Wilson, Rachel McAdams and Inception’s Marion Cotilliard.
The film opens with a sequence of shots of Paris as if taken throughout a day and tells of a couple who are visiting with the bride’s (McAdams) parents. Without giving too much away, Gil (Wilson) is a writer looking for more, and discovers it in a world of his artistic heroes, entranced with his imaginings of a ‘Golden Age’.
If anyone were to score a cast like this, it would be Woody. As characters are introduced more familiar faces appear -Adrian Brody as Dali, Kathy Bates as Gertrude Stein and Alison Pill as Zelda Fitzgerald - all brilliant.
In particular, Marion Cotillard for me gave an enchanting and candid performance as Adriana. One really felt like she was having a casual conversation as she drew us in with her cool nature and worldly yet girlish manner.
Owen Wilson was a nice surprise for this type of film. While we are very familiar with his work in romantic comedy, he seemed to me at first as an unusual choice, mainly due to his appearance in what I like to think of as the commercial Hollywood formula film.
However he suits the roll well, and while he plays the same free loving, naive character he so often does, it’s what the role requires.
Rachel McAdams also brought back her Mean Girls persona and played the spoilt, heartless b**ch again well.
The film felt a little more safe than I feel Woody has played in the past, but his touch of absurdity was definitely still there.
All in all a very enjoyable film with a great cast and some lovely performances. Who wouldn’t want to see a glimpse of the Parisian landscape amongst characters who happily worship it.
Dancers and colors and drums — oh my! Bloc Party is releasing a new album this summer, and their delightfully frenzied video for “Octopus” has us chomping at the bit.
Music for the Weekend:Hyper Worm Tamer (UNKLE Remix)by Grinderman.
This song has been on repeat as the soundtrack to a scene I’m writing in my Paul Pope screenplay. Super sexy girl, Corto Maltese hat and two-tone shoes, a giant glass arboretum, a tattooed Korean gangster in fatigues with a vintage Denver Nuggets Alex English warmup, and a lot of spicy Indian food.
I’ve never really wanted to live in Denver. Until now, that is. The Jay Shaw-curated “The Machines Are Winning: A Tribute To Sidney Lumet” show looks to be an incredible display of talent and opens on Friday, September 9th at 7PM. Any leftovers (and I hope there will be some) will be available through the Kingdom of Nonsense store the next day. If anything is left I’ll be sure to do an in-depth write-up. Head over to Kingdom of Nonsense for more info on the show and follow him @tweetofnonsense. I’m really starting to regret not buying into Jay’s Ninth Circle!
