Heathen wrote:Fantomas: Le Faux Magistrat CD/2LP available on Tompkins Square, July 2014
In celebration of the centenary of Louis Feuillade’s Fantômas silent film series, James Blackshaw was invited by Yann Tiersen to perform a live score to the fifth and final film, Le Faux Magistrat, at the beautiful and prestigious surroundings of the Théâtre de Châtelet, Paris on October 31st 2013.
Fantômas – a master of disguise and symbol of terror - is one of the most popular characters in French crime fiction, as well as a favourite with the avant-garde, particularly the surrealists.
Tim Hecker, Amiina, Yann Tiersen and Loney Dear also performed during the event (which was broadcast live on the European ARTE channel) each bringing their own unique sonic perspective to the other installments in the series.
Written during the course of a few months, James Blackshaw drew influences from French impressionist composers, Brazillian guitar music, musique concrete and the works of other film composer such as David Shire and Pino Donaggio, to create a noirish score that is in turns sinister, quietly profound and thrilling.
Personally invited by James Blackshaw, experimental musicians Duane Pitre and Simon Scott (also of Slowdive) contributed drums, electronics, synth, bowed guitar, bass and more to Blackshaw’s nylon string guitar and grand piano, with multi-instrumentalist Charlotte Glasson adding violin, vibraphone and several wind instruments to the 75 minute long work.
Heathen wrote:Fantomas: Le Faux Magistrat CD/2LP available on Tompkins Square, July 2014
In celebration of the centenary of Louis Feuillade’s Fantômas silent film series, James Blackshaw was invited by Yann Tiersen to perform a live score to the fifth and final film, Le Faux Magistrat, at the beautiful and prestigious surroundings of the Théâtre de Châtelet, Paris on October 31st 2013.
Fantômas – a master of disguise and symbol of terror - is one of the most popular characters in French crime fiction, as well as a favourite with the avant-garde, particularly the surrealists.
Tim Hecker, Amiina, Yann Tiersen and Loney Dear also performed during the event (which was broadcast live on the European ARTE channel) each bringing their own unique sonic perspective to the other installments in the series.
Written during the course of a few months, James Blackshaw drew influences from French impressionist composers, Brazillian guitar music, musique concrete and the works of other film composer such as David Shire and Pino Donaggio, to create a noirish score that is in turns sinister, quietly profound and thrilling.
Personally invited by James Blackshaw, experimental musicians Duane Pitre and Simon Scott (also of Slowdive) contributed drums, electronics, synth, bowed guitar, bass and more to Blackshaw’s nylon string guitar and grand piano, with multi-instrumentalist Charlotte Glasson adding violin, vibraphone and several wind instruments to the 75 minute long work.
wish I had known this was broadcast on TV
any chance of a tv rip?
Sometimes I wanna drive around and find you
And act like it's a random thing
Buddy's blog (http://onebaseonanoverthrow.blogspot.com/) put up a track a few months ago, I think. Followed em on FB and they just put up the link to the full length. Really good stuff. May is looking great so far.
David Yow wrote:How are Pearl Jam any different from Toto?
super nintendo chalmers wrote:
Yi Crying
Some of the weirdest of the weird punx going right now. These guys are doing everything the right way. Free digital download.
super nintendo chalmers wrote:
Yi Crying
Some of the weirdest of the weird punx going right now. These guys are doing everything the right way. Free digital download.
digging these guys
this is excellent
Jorge wrote:I remember I was in Miami when it happened. I was posting from the balcony of my apartment overlooking the beach. And I was having an argument with Adamdude.
Right when the blizzard ends, they throw a fucking huge parade-
A great excuse for celebration of the mess they've made.
But then when the streets get flooded, we know what proximity’s worth,
‘cause we're already here, in the same place when our phones don't work.
So then we lie down in our field and just do nothing at all,
and I’m getting ready for when everything is wonderful
for just a couple pairs of broken bones with broken feathers in blood,
in a meadow, uncut and understood.
We can be an island apart from a ceaseless war on our heart,
Harbored in a fortress insurmountable,
Taller than affliction, safe wherever we are.
Erasing horror and disgust,
Rewinding the sorrow and the rust.
Before our suffering’s suffering, hadn’t we suffered enough?
On the morning that we're both 19 and newly on our own,
and all we know is “each other” and invisible homes,
we find two empty seats in the back of a car in an empty parking lot,
where all our bridges are abandoned and the cops have forgot.
And I can feel the difference when the day begins,
like all I know is, "This year will be the year we win."
We smoke the paper from the banner from our past parades
and start again, before the memory of the mess we've made.
Sometimes I wanna drive around and find you
And act like it's a random thing
