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Loving this minimal Japanese version of the poster for Kill Bill Vol. 2

‘Kill Bill vol.2’ (2004) japanese poster

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Japanese posters of David Lynch films. h/t Biblioklept

[ian-keith-rogers]

Seconding this. All of it. Watched it this week and it's one of the most tense things I've seen in a while. Also has that magical quality to it in that it shows 'around' something we've all seen i.e. the footage of Snowden in the Hong Kong hotel room talking about oppression. I went in totally cold so this was an ah-hah moment for me. 

How did they get this footage? Oh this looks familar! Oh shit! This is footage shot around the actual media kit! 

If you need any further enticement, Steven Soderbergh is an executive producer. How often has he let you down? A: Not often. Twice, tops. 

Citizenfour (2014)

A.O. Scott:

It’s a tense and frightening thriller that blends the brisk globe-trotting of the “Bourne” movies with the spooky, atmospheric effects of a Japanese horror film. 

Filed under: my watching year 2015

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PHOTOGRAPHY: Expired L.A. by Vicky Moon

"I wanted to shoot at night because I feel that L.A. changes drastically from night to day. There’s this quietness that L.A. has when it’s dark that is really nice," photographer Vicky Moon says. “It’s like you can finally have a conversation with the city without having to shout.”

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Page Hamilton (Helmet) on 'Overrated'

"There's also some Melvins influence in there as far as I'm concerned, because they would write such cool songs that never came back to a section. They would just go A, B, C, D, and then done. And we had played with the Melvins on one of our first tours — seven guys in one van. They're a great band. So there was definitely that influence here . . . although the vocals are really different."

This is my favourite song off the Betty album. I guess this makes sense because Helmet were totally my gateway drug to the Melvins and now they're my religion. 

From a track-by-track on Helmet's 'Betty' LP located here.

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Darkness on the edge of town, Patrick Joust

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[ian-keith-rogers]

This is something I had a hand in.

Australia’s Wood and Wire label has been regularly releasing experimental music across multiple genres since 2012, yet this collaborative release from No Anchor and the Rational Academy guitarists has the label truly coming of age. This record is at times a brutally minimalist post-punk exploration of loathing and at others a miserably nostalgic trip through a bad 1960s acid trip. Harsh Out is driven in equal parts by noise rock’s harsh guitar, and a sense of sonic adventure and true experimentation. Album highlight “Omens” recalls an early Sonic Youth no wave aesthetic, if they abandoned all pretence of accessibility, and that it is the very core of the album. This doesn’t seem like a record intended for anyone at all; songs cut out too soon or go on too long, silence interrupts beautiful passages of dark noise, and the whole thing is over in under 23 minutes. This frustration only adds to album’s intrigue though, as it makes us question the ideas of nostalgia and longing so built into the record’s lyrics and sounds. Black Pines have released a powerful statement here, and no one summed it up better than themselves, “No jams. No art. This is criticism.”

Listen to it here: https://woodwire.bandcamp.com/album/harsh-out

[ian-keith-rogers]

As I mentioned the other day, I re-read Raymond Chandler's 'The Big Sleep' recently. Now I'm reading about the novel and it's writing. Tom Williams' biography of Chandler 'A Mysterious Something In...

I've been blogging about Raymond Chandler again. #RCREARM 

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Mix-tape spine-art

Read the rest…

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He went on, “Some people think it’s because I’m lazy or I’m just being contrary. But, no, I think it’s just—I’ve had my say. If I put out an album now, it would probably sell pretty well, because of who I am, but that’s no reason to do it. I’d want it to be good. And I’ve seen artists on that treadmill, putting out albums year after year, and the albums get worse and worse, less and less interesting, and it’s, like, maybe you should stop.”

[ian-keith-rogers]

Stevie Nicks hangs out with the ladies in Haim, and when she hears none of them journal (Este says she keeps notes on her phone), Nicks brings out one of her leather journals (see above) and tells them how it’s done:

On the right-hand side of the page you write what happened that day,...

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Apart from the stuff about the opener playing for more than 30 mins, I'm all about this. I think EVERY band should be careful about playing over 30 minutes unless they have lasers.

All Shows Should Be Three Band Shows

October 3, 2014 by Bryne Yancey

“Always leave them wanting more.”

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the original recording chart from Phil Elverum’s recording session at Dub Narcotic

“Learning the secrets, it turns out, does nothing to remove the mystery.”

[ian-keith-rogers]

I say this as a beneficiary of that older system. I earned hundreds of thousands of dollars in advances for my last two books, to say nothing of the opportunities those books opened up, so the system has worked admirably well for me. However, I am a WASP, an Ivy League graduate, a tenured professor, and a member of the Sancerre-swilling East Coast Media Elite. Of course the existing system works well for me — it’s run by people like me, for people like me. Despite my benefitting from it, I am unwilling to pretend that this system is beneficial for readers or for writers who lack my privilege. I’d always aspired to be a traitor to my class (though I’d hoped it would be for something a bit more momentous than retail book pricing), but treason is as treason does, so here goes: The reason my fellow elites hate the people who run Amazon is that they refuse to flatter our pretensions. In my tribe, this is a crime more heinous even than eating one’s salad with one’s dessert fork. The threat Amazon poses to our collective self-regard is the usual American one: The market is optimized for availability rather than respect. The surface argument is about price, but the deep argument is about prestige. If Amazon gets its way, saying, “I published a book” will generate no more cultural capital than saying “I spoke into a microphone.”

https://medium.com/@cshirky/publishing-and-reading-6a80139d13cc

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Everybody look busy, the boss is back. 

Really looking forward to this because my favourite stuff by Marcus is where he does exactly what he talks about in this video: divining the DNA of rock from a single moment of its history.

Marcus is all about playing up to his strengths as a writer and a thinker. Consider this: he's one of the most famous music writers in the world and he doesn't interview people or -- to any real degree -- review new music. He kinda never has. None of his celebrated work bares much resemblance to conventional music journalism. Instead, his career is purely tactical. 

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Pretty impressed with this.