DARK STAR, "TRAVELOGUE II"
Nearly seven years ago a CD resembling this one appeared, sharing seven tracks, four of which featured members Edward, Phil and Ryan of Legendary Pink Dots. The main core of Dark Star decided to record a sequel but it never surfaced. In the meantime, the original disc was difficult to obtain and most likely went out of print. This release basically serves a couple purposes. It reintroduces seven songs from the first release, keeping the music available and adds four newer ones, remnants from an uncomplete sequel. For LPD fans who don't already have the original release, this is a great chance to get all the songs as they originally were recorded, fans of the original release can get over a half hour of new music, while people who bought it and don't need to hear any more can easily pass on slapping the money down for it. As for the music itself, the four new songs fit rather well with the rest. The music is generally an eerie mid-paced electronic throb with either a distorted guitar or ballsy bass. Both old and new songs would appropriately score a chilling futuristic horror film. My only issues lie with the tacky lyrics from the non-Kaspel singer.
Nearly seven years ago a CD resembling this one appeared, sharing seven tracks, four of which featured members Edward, Phil and Ryan of Legendary Pink Dots. The main core of Dark Star decided to record a sequel but it never surfaced. In the meantime, the original disc was difficult to obtain and most likely went out of print. This release basically serves a couple purposes. It reintroduces seven songs from the first release, keeping the music available and adds four newer ones, remnants from an uncomplete sequel. For LPD fans who don't already have the original release, this is a great chance to get all the songs as they originally were recorded, fans of the original release can get over a half hour of new music, while people who bought it and don't need to hear any more can easily pass on slapping the money down for it. As for the music itself, the four new songs fit rather well with the rest. The music is generally an eerie mid-paced electronic throb with either a distorted guitar or ballsy bass. Both old and new songs would appropriately score a chilling futuristic horror film. My only issues lie with the tacky lyrics from the non-Kaspel singer. samples:
Call it what you will, electro femme vox twee dreampop, this debut album from Mahogany fills emptiness left in your heart when The Sundays stopped recording albums. Indie geeks have been known to sport rods hearing the super-high pitched airy vocals of bands like this or Pram, I find it rather irritating, dull and get damn sick of it before long. Personal preference aside, the vocals are truly poorly mixed, without much depth or clarity. The duets between the female and male vocalist are even more unnecessary. Unfortunately some of the music on this disc is absolutely incredible sounding, an almost perfect match of delayed atmospheric guitars with electronic percussion and effects. In all honesty at the end of the disc, I'm rather fond of it and have a couple tracks stuck in my head. Damn you, damn you, I can't really hate anything from Dearborn, Michigan. 
Ilpo and Mika have come a long way from their beginnings as Panasonic. The music which at one point utilized a minimal amount of effects and sources, creating an aggressive and direct mixture has become a more resourceful blend with a deeper understanding of variety and reflection, sonority and permanence. Their fourth full-lengther together is once again rather chunky to swallow all at once. With 17 new tracks totalling over an hour's worth of music, I must admit I wasn't a big fan at first. Further listenings have unearthed what appears to be both organic and synthetic sounds, a production approach which is very matured in comparison to 1997's 'Kalma,' and a distinct identity between songs. Minimalism, this isn't. It's not all subtle and introspective, however. Unlike 'A,' this album does indeed reach a climax. Towards the end of the disc, the energy builds up to a monsterous roar, good for some wall-shaking needs, which leads me to believe they might be storing an arsenal of more beefy 808-kick tracks for another 12" release as stellar as 'B' was. 
Jason Noble and Jeff Mueller's musical collaborations first manifested on the only release from Rodan back in 1994. Following the split, Jason went to the Rachel's and Jeff to June of '44 but the two came together along in 1996 to record with for the PBS program "This American Life." Kyle Crabtree (from Eleven Eleven) joined in 1997 and a debut album, "Save Everything" was released. Four years later, a second album has arrived with help from Christina Files (Mary Timony, Victory at Sea) twiddling knobs.
Synthetics and organics coexist in harmony on this full-length release from multi-instrumentalist Xian Hawkins. Some might recognize his name from the Silver Apples reunion assembly as the "other guy" than Simeon, but this New Yorker has an identity all his own. This music originally served as the score for a 1999 independent suspense/thriller film by Patrick McGuinn, "Killing Me Tomorrow," and is composed of 14 tracks which total about 41 minutes-worth. The songs are short, sweet and waste no time, with shimmering guitar melodies, subtle string sounds and low-tempo electronic beats in parts. The unobtrusive mix makes it perfect for a film score, with fade-outs it has obviously been slightly tailored for the commercial release. I'm now looking forward to finding out where Hawkins' career is headed next. 
There are certain thingsyou can always count on when purchasing a release from In the Nursery.The melodies are always emotionally charged, the production shines witha signature decadent brilliance and the sounds do an excellent job ofimitating a full orchestra.
Three days in mypossession and I can't stop playing this three tracker over and overagain. For those who have been fortunate enough to witness Antony &the Johnsons live, this provides an excellent souvenir of favorites noton the debut album. 
Slammin' mutherfuckingballsy-ass shit. This debut CD release is probably the most excitedI've been about a new rock-genred band in as long as I can remember.The energy is fierce, the music is fast, funky and full of wakka wakkaguitars, crazy effects, beefy bass chops, electronic and organic drums,wild cheering, hoards of percussion and a splash of horns. 
Two years in production,
with 30 pimps interviewed in 15 cities has come together in one of the
most bold, entertaining and insightful documentaries in the last few
years. Questions like "Why does a ho need a pimp?," "What does a pimp
do?," as well as definitions like Mack, Player, and Knockoff are all
covered in the words of active and retired pimps and hos. From the
ruthless player types to the seasoned professional, from the nation's
capital to Hawaii, the characters are genuine and enlightening.
'American Pimp' documents what is generally believed to be the origin
of the pimp, through the uprise in popular culture to the present day,
where many of the film's stars have retired and moved on. The truth can
be glamorous yet unsettling, with the perpetually looming dangers of
drugs, jail and death. The lyrical mastery and swave debonair of
real-life players Fillmore Slim, Payroll and Gorgeous Dre are
alarmingly more animated, intelligent and lovable than much of the
fictitious characters often portrayed on the screen. An undertaking
like this is a triumph for the Hughes Brothers, as the subject matter
must make it difficult to seek out the stars and capture them in their
own words. Seek it out.
I can truly say I agree
with Tom the Fish on a movie. Although the bastard was too lazy to
write about it, I thought I'd give it a shot. This Chinese film centers
around a restless, disrepsectful and arrogant aristocratic young girl,
Jen (played by Ziyi Zhang) who is facing an arranged marriage she
doesn't want to go through with. Chow Yun Fat plays a legendary warrior
who is tired of the warrior life and is trying to retire a 400-year old
magical sword, the Green Destiny. The love of his life is a female
warrior, Shu Lien, who is played by Michelle Yeoh. From early on, young
Jen expresses to Shu Lien that she too wants to be a warrior and leave
the aristocratic life. Little did everybody know from early on that Jen
is indeed the hidden dragon: powerful yet stupid. Chow Yun Fat might be
the most Amercan known actor in the film but the ladies take center
stage in this film, all of whom kick some serious ass. The fighting
scenes are stunningly choreographed, meshing martial arts, ballet and
inventive camera angles and effects. The scenery is breathtaking on the
large screen and the interplay between Jen and her true love, Lo are
amusing and entertaining as well. Throughout the course of the film, an
alarming number of people take an interest in leading young Jen down a
path they all feel is right for her. I'm not going to give the ending
away, but I will say the three of us who saw this film on Christmas Day
all had a different take on what actually happened in the end. It all
depends on how pure you, the viewer, believe her heart actually is.
This movie has definitely become one of my top choices for best film of
2000.
Bill Drummond is most
known for his involvement in the KLF and related incarnates, but the
guy has put in his time as a musician and record executive since the
early 1980s. "45" was planned when he was 33 1/3 years old, in 1986
upon his release on Creation Records as The Man. The book collects
various thoughts and observations of the music world around him through
his experienced, yet jaded and cynical eyes. Various short stories
provide basically a snapshot in his life at 45, including some of the
bizarre attempts at cheating pop music and scoring well with the
masses, comments on self-righteous and somewhat worthless musician pop
stars. It's an entertaining and light read, with dimensions that would
fit perfectly with other 45rpm 7" records. Worth tracking down even if
you have to order it from the UK.
James and Andy of V/Vm
wake up one morning to find a lifetime supply of pudding in their
cabinets, Andy's car is missing and neither can remember what happened
last night. An answering machine message is left by their girlfriends,
the twins, played by Mira Calix and Andrea Parker, bitching them out
for the mess they made last night and how they forgot it was their
anniversary. Now the two are screwed because they can't find their car
with the anniversary gifts they bought for the girls. On their journey
into the town Wendy Carlos tries to run over Andy, Colin Newman and
Malka Spiegel try to run over James. They meet up with their old friend
who's played by Andrew Mackenzie. From there, the three drive to get
some Chinese food, where Takako Minekawa gives them hell on the
drive-through intercom. After a small incident, Mackenzie takes off and
leaves the two to try to piece everything together. A hot girl from
school, played by Bettina Richards sees the two on the street, flirts
with Andy as her boyfriend and some other thugs (played by the Isotope
fellas) show up and threaten to beat our two heroes up. A run in with a
transgendered girl played by Riz Malsen (Neotropic) at a strip club
adds another twisted piece to the ever-growing puzzle, while an Asian
tailor, played by Masami Akita hooks them up with hip Addidas outfits
with magical pockets. 
Upon leaving the shop, the two are abducted by the Add N to (X) folks
who play a gang of underground nerds trying to communicate with space.
This is where it gets weird: the Add N to (X) crew (who later torture
the main characters by playing some of their music) inform them that
they need the Continuum Transducer to save the universe. Once our
heroes break free from the nerds, Chicks on Speed show up also wanting
the treasured Continuum Transducer. But it gets even more bizarre:
Stefan Betke and Florian Hecker also appear in the film, claiming to be
the keepers of the Continuum Transducer and well, the rest of the story
has young James and Andy running around, trying to get the car and save
the universe and figure out what happened last night. Honest!
The eponymous thirdfull-lengther from Kreidler is almost a futuristic nod to theinnovators of 70s Kraut Rock. The disc is nearly all instrumental, savetwo tracks with vocal contributions from artful indie clown Momus andArgeninian pop star Leo Garcia (not to be confused with the Dominicanbaseball player, professor, Wyoming politician, classical guitarist, orSalsa dance instructor). The quartet is down to a trio since theirbassist departed as his side project, To Rococo Rot become more of amain outlet. The bass lines are beefier than ever however, and whetherthe songs are serene throbbing electronic easy listening gems like"Bewitched", a Can-like vocal tunes as "Mnemorex" or a Kraftwerkianhook-based ditty like "Do It", the production is slick and inviting.Kreidler's tunes are pretty damned catchy and their generally jovialfeel suggests these Germans are undoubtedly having fun. Put yourlaptops down and start having fun.
It's a good thing that I
haven't filled out the survey for the best stuff of the year yet,
because now I can honestly say I can add this film to it. I must admit
I was worried that this film would be too MTV-generation, but the quick
camera shots, center stage sound fx / score, and creative photography
made this film all the bit more intense and entertaining. Ellen
Burnstyn's role of the television slaved mother turned speed addict was
a performance actors dreams are made of. Her character's physical and
emotional transformation from start to finish of the film was
absolutely intense. Jared Leto's role as her son was excellent as well,
along with his strung out girlfriend and best friend, played by
Jennifer Connelly and Marlon Wayans, respectively. The film was bold in
its portrayal of these four main characters and how their lives were
ruined over the course of three seasons by compulsion and drugs. It was
unsettling, uneasy, yet I couldn't remove my eyes from the screen. It
was impossible as every single second, every image on the screen would
make for a perfect picture. In no way is there a happy ending,
everything is destroyed, everybody loses. It's most definitely more of
an anti-drug propaganda film than Trainspotting. A requiem is more or
less a song for a funeral, and "Requiem for a Dream" was truly a
thrilling modern nightmare. 
How's this for Hollywood trash? Sure, it's a movie about the insane asylum days of the Marquis de Sade (from which Sadism was coined for all you newbie gawths), but it's very VERY loosely based on historical events. Keep in mind if you see this that the film is in fact based on the play, and should be viewed for entertainment purposes ONLY. Aside from that the performance by Geoffrey Rush was incredible as Sade, the elegant and innovative use of sound was a pleasant unexpected surprise, and the supporting cast of imbeciles was exciting to watch. However, I can't get past a few grave inaccuracies and personal issues.
