July 15, 2021
July 15, 2021
Fusing neo-jazz with folk and rock, Joni Mitchell’s sixth studio album – Court and Spark – deftly weaves a sonic tapestry whose lyrical tenor plays counterpoint and asks the listener to weigh the costs of emotional commitment against the benefits of casual relationships.
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July 8, 2021
July 8, 2021
Stripped of any Venerum Americana infusing typical western films of the time, The Good the Bad and the Ugly preserved cinematic focus in 1966 by remaining morally ambiguous.
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May 12, 2021
May 12, 2021
Understanding how time limits and binds the human capacity for awareness is the key to breaking an interstellar code for a linguist and physicist in Canadian director Denis Villeneuve’s stark, contemporaneous and cerebral 2016 sci-fi thriller Arrival.
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May 7, 2021
May 7, 2021
Triggering an emotion may be easier with a melody than rhythm, according to brothers Mike Sandison and Marcus Eoin of Boards of Canada, but the faded patina of melancholy saturating the pair’s 1998 debut studio album Music Has The Right To Children, is as apparent in its tempo as its theme.
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May 4, 2021
May 4, 2021
Cited as one of the best records of the nineties by most major music publications and included in Time Magazine’s list of greatest albums of all time, one of the keys to the resounding impact of DJ Shadow’s Entroducing can be found in the title of one of its less substantial cuts, a 43-second interlude entitled “Why Hip Hop Sucks in ‘96”. It kind of did.
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April 3, 2021
April 3, 2021
By Christmas 1969, Paul Simon and Art Garfunkel were tired. Tired of touring, tired of filming a TV special, tired of the grind that recording Bridge Over Troubled Water had become, but mostly, they were tired of each other. Simon felt the partnership was over. So, he did what anyone does after a breakup; he took time out to reassess.
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March 27, 2021
March 27, 2021
Certain movies in cinematic history stand as cultural sentinels, containing scenes which telegraph love, hope, humour, sadness… or unbridled horror and incomprehensible primordial fear as Stanley Kubrick’s film, The Shining, did upon release in the spring of 1980. The fact this dance macabre is orchestrated to one of the creepiest and haunting – yet temporally ambiguous – soundtracks in modern film history only bolsters its place in the pantheon of greatest movies of all time.
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