Album: Amazing Spiderman 2 soundtrack by Hans Zimmer, Pharrell Williams, and Johnny Marr
My Enemy by Hans Zimmer, Pharrell Williams and Johnny Marr (Thanks Jaina from Time Well Spent!)
That's My Man by Liz (Very catchy)
Album: Indie Cindy by Pixies
(Not a fan of the rest of the album, and people are saying the comeback material is not as strong as the old stuff. Still, I enjoyed these two tracks below)
Green and Blues by Pixies
Jaime Bravo by Pixies
Album: Trouble by Hospitality
Last Words by Hospitality (Not a great album, but I love that beat)
Rockets and Jets by Hospitality (The single)
Album: Girls Talk / Time Will Destroy Everything - Record Store Day 2014 by Garbage
Girls Talk by Garbage (featuring Brody Dalle) (So passionate, I like the beginning especially)
Time Will Destroy Everything by Garbage (A soundscape, b-side )
Album: Diploid Love by Brody Dalle
(I already shared the single Meet The Foetus, these are other tracks I liked)
Parties For Prostitutes by Brody Dalle
Dressed in Dreams by Brody Dalle
I Don’t Need Your Love by Brody Dalle
Album: Blue Smoke by Dolly Parton
If I Had Wings by Dolly Parton (I didn't expect I would be listening to Dolly! This track and Try are quite inspirational)
Agree or disagree? Heard any of these albums yet, and what did you think? Which music are you listening to, old or new? Did you discover any music from Record Store Day April 19? As always, share your opinions in the comments
A very impressive 15 hour documentary, which everyone interested in cinema should see. Hugely ambitious, a look at key moments in the innovation of film from its inception in the late 1800s up to the present day.
Encourages you to seek out films that are mentioned during the episodes. You also become aware how film history is influential on the films that followed afterwards. There are those who were put off by the narrators vocal delivery, and that is a fair point, his voice is very distinct and some find it annoying.
As blogger A Fistful of Films wrote, you need to look at films of yesteryear through the eyes in which they were created and the times in which they encompassed, and I think director/narrator Mark Cousins does a good job of that.
However it’s not perfect, Cousins passionately speaks like everyone should accept his statements as the truth, but they are really only subjective opinions of his. He is clearly biased, preferring arthouse and foreign films, over mainstream Hollywood. He does get sidetracked quite a lot, so films from different eras are confusingly talked about out of context, however I didn't mind this approach, because Cousins is brilliant at comparing films in an interesting way.
Mark Cousins is interested in innovation in cinema, and is very good at highlighting key innovations. Yet some of the films are not particularly fascinating except maybe 1-2 scenes. Just because a work of art is groundbreaking in its form or content, doesn’t mean it’s something you actually enjoy. Some of these films may not appeal to anyone except hardcore cinephiles. I feel Cousins fails to discuss this matter, and neglects to point out that while innovation is praiseworthy and an important step forward, it doesn’t necessarily equal a great film. Sometimes it takes a few tries before the innovative technique is turned into a great film. The first attempt is not necessarily the best.
Having said that, the documentary is a treasure trove of great films to explore. Here’s a letterboxd list of all the films mentioned in The Story of Film An Odyssey, and wikipedia provide lists of films for each episode.
My notes on each of the fifteen episodes:
Episode 1 - Birth of the Cinema
Wasn’t aware widescreen became widespread in 1950s. Interesting to learn about the technical innovations in late 1800s/early 1900s, that we today take for granted: close-ups and cuts, and quite fun that audiences were scared of the train approaching on the screen in: Arrival of a Train at La Ciotat (1896)
Discoveries: The Champ (1931)
Episode 2 - The Hollywood Dream
1918-1928: The Triumph of American Film...And the First of its Rebels
About the rise of Hollywood’s studio system, and the pros and cons of that control.
The Thief of Bagdad (1924) starring Douglas Fairbanks is highlighted as a 1920s production that could stand for many of the films of the era.
Buster Keaton, Charlie Chaplin, and Harold Lloyd are the great comedic innovators of the time.
Most interesting to learn was The Kid (1921) recreated Chaplin’s own childhood poverty, and likewise many of his movies pointed towards Chaplin’s empathy for the poor.
Documentaries are also examined, Nanook of the North(1922), The House is Black (1963), Sans Soleil (1983), & The Perfect Human (1967).
Other early directors looked at are Erich von Stroheim (1924’s Greed) and King Vidor (1928’s The Crowd)
Episode 3 - The Golden Age of World Cinema
1918-1932: The Great Rebel Filmmakers Around the World
Continued look at filmmakers of the 1920s. Interestingly I had never heard of director Abel Gance, and La Roue and Napoleon are films I hope to see in future
Cousins definitely has high praise for little known Asian movies, he calls A Page of Madness (1926) and Souls on the Road (1921) the two best Japanese films that exist.
Another new discovery for me is the director Aleksandr Dovzhenko, and his films Earth (1920) and Arsenal (1929).
I don’t share Cousins’ love for Ozu, but you can’t fault his enthusiasm in telling us about the Japanese director.
Cousins concludes the episode by making a strong argument for the Chinese actress Lingyu Ruan to gain wider recognition in film encyclopedias, and claims she was the first actor to do realistic acting, decades before Marlon Brando
Notable oversight by Cousins is FW Murnau’s Nosferatu (1922)
Episode 4 - The Arrival of Sound
The 1930s: The Great American Movie Genres... ...And the Brilliance of European Film
Alfred Hitchcock, Howard Hawks, Jean Vigo, Jean Cocteau, Leni Riefenstahl, gangster movies, westerns
Episode 5 - Post-War Cinema
1939-1952: The Devastation of War...And a New Movie Language
John Ford westerns, Italian neorealism, film noir, The Third Man.
Episode 6 - Sex & Melodrama
1953-1957: The Swollen Story: World Cinema Bursting at the Seams
Indian cinema, Cairo Station, Apu trilogy, Kurosawa, Ikiru, melodrama, Douglas Sirk, Johnny Guitar, On the Waterfront, Red River
Episode 7 - European New Wave
1957-1964: The Shock of the New - Modern Filmmaking in Western Europe.
French New Wave, Ingmar Bergman, Jacques Tati, Robert Bresson, Pasolini, Sergio Leone, Michelangelo Antonioni.
Episode 8 - New Directors, New Form
1965-1969: New Waves - Sweep Around the World.
Andrzej Wajda, Roman Polanski, Milos Forman
Like Polanski, Forman was Jewish, both his parents were killed by the Nazis, and he was a film school graduate. According to Cousins, Forman “saw life as comic, almost absurd”
Firemen were supposed to be portrayed as heroic public servants in the communist world. In Forman’s film Fireman’s Ball, authority are incompetent and immature. Deadpan, documentary-like, making the firemen look clueless and funny.
Episode 9 - American Cinema of the 70's
1967-1979: New American Cinema.
Robert Altman’s McCabe and Mrs Miller is described as an anti-western. Unlike John Ford westerns, there are no heros here, just characters lost in the snow, out-of-their depth, and uncertain about the world.
Paul Schrader’s Light Sleeper (1992) is described as a masterpiece. Drug dealer spiritually empty, and Schrader wanted to show the rescue from this emptiness.
Killer of Sheep
Episode 10 - Movies to Change the World
1969-1979: Radical Directors in the 70s - Make State of the Nation Movies.
Wim Wenders, Rainer Werner Fassbinder, Pasolini,
Bertolucci: The Spider’s Stratagem (1970), The Conformist (1970)
Documentary: Minamata: The Victims and Their World (1971)
The Holy Mountain (1973): Jodorowsky studied Zen Buddism, the idea that men should dethrone themselves. And Jodorowsky studied Carl Jung, so this scene in a way is a man climbing into the maze of his own mind, where he discovers strange images and archetypes that he shares with all human beings. A journey of self-discovery and self-loss. The thief’s journey of self-discovery mirrored that of 70s cinema itself, its political innovative filmmakers had stripped cinema naked, loaded it with symbolism about self-hood, and turned it into gold. And they used movies to ask, who are we as modern Europeans, Asians, Africans, South Americans.
Episode 11 - The Arrival of Multiplexes and Asian Mainstream
1970s and Onwards: Innovation in Popular Culture - Around the World.
The Indian epic Sholay
Once upon a time in China
George Lucas and Star Wars
Steven Spielberg and Jaws.
Episode 12 - Fight the Power: Protest in Film
The 1980s: Moviemaking and Protest - Around the World.
Come and See (1985)
Long Goodbyes (1971) Theme is about psychological bondage and the way people can suffocate each other.
Kieslowski’s Short Film about Killing
Yeelen (1987) directed by Souleymane Cissé. According to Mark Cousins, as big as Lawrence of Arabia and as shape shifting as 2001: A Space Odyessy. A magic realistic film, and one of cinema’s most complex.
David Lynch. His “eye of the duck” is the key scene in any of his films that often combines the beauty of life with its terror. As Lynch puts it, when you look at a duck, the eye is always in the right place.
Like Ronald Reagan, Lynch had an almost abstract fear of the outside world. But he didn’t try to push that fear away, he stared at it, through a brilliant frame.
A Zed & Two Noughts (1985) directed by Peter Greenaway.
Episode 13 - New Boundaries: World Cinema in Africa, Asia & Latin America
1990-1998: The Last Days of Celluloid - Before the Coming of Digital.
Starts off talking about Iranian director Abbas Kiarostami, especially his Koker trilogy.
I do find his condescending comments about such films as Terminator 2 and Avatar pretentious and off the mark.(he does praise T2s innovation in E14). Just because they are not his favorites, doesn’t mean they are not as technically important to the evolution of the medium as foreign arthouse films. I understand Cousins wants to highlight overlooked cinema from other countries than US, and that’s fine. But those Taiwanese films he mentions that hardly anyone has seen simply don’t have the same appeal to most audiences as aforementioned blockbusters.
J-horror is next, about The Ring and Audition (1999)
He movies on to Dogme movement from Denmark, followed by French, Belgian directors, Michael Haneke.
I’m beginning to wonder if the documentary should have been titled: “The Story of Foreign Film”
Surprised Kieslowski’s Three Colors Trilogy is not mentioned (though Cousins does show a clip from Blue in E1)
Episode 14 - New American Independents & The Digital Revolution
The 1990s: The First Days of Digital - Reality Losing Its Realness in America and Australia.
Tarantino, Coen Brothers, Gus Van Sant, Paul Verhoeven, Baz Luhrmann
Episode 15 - Cinema Today and the Future
2000 Onwards: Film Moves Full Circle - and the Future of Movies.
Documentaries are big business, started by the success of Fahrenheit 9/11.
Also Korean, Romanian, Swedish(Roy Andersson). Russian Ark is highlighted for its no cut style.
While flawed, I would still recommend watching, especially for cinephiles. Best watched as a subjective interpretation, not as a definitive history of film. If you don't care for his personal take on the subject, you may want to skip this one. Rating 4.5/5.
Agree or disagree? Have you seen the documentary, or want to see it? In your opinion, what did Mark Cousins do well, what could he have done better? Was he right to highlight obscure foreign films, or should he have stuck only to films we know? Perhaps part of the fun of watching for cinephiles is disagreeing about what should be included. As always, comments are welcome
She Used To Love Me A Lot by Johnny Cash
Inmadura by Elsa y Elmar (Thanks senalradionica)
Old Time Glory by Keep Shelly in Athens
Capitol by TR_ST (Thanks Burning Reels)
Mejor Animal by Ciegossordomudos
I Won't Let You Go by Snow Patrol (From Divergent soundtrack) (Thanks Inspired Ground)
Sing by Ed Sheeran (Thanks Nostra)
Maiden by Mø
Love Is To Die by Warpaint
The Morning by WhoMadeWho
Everything Is AWESOME!!! by Tegan and Sara feat. The Lonely Island (From The LEGO® Movie soundtrack)
Funnel Of Love (featuring Madeline Follin) by SQÜRL (From Only Lovers Left Alive soundtrack)
Magic by Coldplay
The Upsetter by Metronomy
West Coast by Lana Del Rey
JJ by Reptile Youth
Marilyn Monroe by Pharrell Williams
Cult of Love by Dum Dum Girls
I See You by The Horrors
Coming Home by Kaiser Chiefs
Down in The Hole by Bruce Springsteen
What Would You Do by Joan as Police Woman
Under The Pressure by The War On Drugs
I Need You by M83 (From Divergent soundtrack)
Blank Project by Neneh Cherry
Perfect World by Broken Bells
Red Eyes by The War on Drugs
Waking Light by Beck
Meet The Foetus Oh The Joy (feat. Shirley Manson of Garbage and Emily Kokal of Warpaint) by Brody Dalle
All of The People by Panama Wedding
Seasons (Waiting on You) by Future Islands
Disappearing by The War On Drugs
Digital Witness by St. Vincent
Johnny and Mary by Bryan Ferry & Todd Terje (Robert Palmer cover)
Coming of Age by Foster the People
Happy by Pharrell Williams
I hope you enjoyed listening! Agree or disagree? Did I miss any of your favorites of 2014? Interestingly, The Needle Drop listed Disappearing and Johnny and Mary as his least favorite tracks on those albums, I guess my taste is very different to his.
1.) Life During Wartime (From 1979's Fear of Music)
2.) This Must Be the Place (From 1983's Speaking in Tongues)
3.) Burning Down The House (From 1983's Speaking in Tongues)
4.) Psycho Killer (From 1977's Talking Heads: 77)
5.) Once In A Lifetime (From 1980's Remain in Light)
6.) Road To Nowhere (From 1985's Little Creatures)
7.) Found A Job (From 1978's More Songs About Buildings and Food)
8.) Making Flippy Floppy (live) (from 1984's Stop Making Sense)
9.) Girlfriend is Better (From 1983's Speaking in Tongues)
10.) Born Under Punches (From 1980's Remain in Light)
And She Was (From 1985's Little Creatures)
Cities (From 1979's Fear of Music)
Heaven (From 1979's Fear of Music)
Take Me To The River (From 1978's More Songs About Buildings and Food)
Television Man (From 1985's Little Creatures)
Nothing But Flowers (From 1988's Naked)
Pulled Up (From 1977's Talking Heads: 77)
Papa Legba (From 1986's True Stories)
Warning Sign (From 1978's More Songs About Buildings and Food)
Love For Sale (From 1986's True Stories)
Any thoughts on my list? Agree or disagree? Did I miss anything by Talking Heads you love?
When you talk about the history of cinema, the Czechoslovakian films of the 1960s are for many cinephiles an underseen part of exploring the cannon. Winning Academy Awards for Foreign Language Film for Closely Watched Trains and The Shop on Main Street, and nominations for Loves of A Blonde and The Fireman’s Ball, the 1960s was an innovative and creative period for the region, due to the lack of restrictions, and talented new filmmakers making their mark.
Trademarks of the movement are long unscripted dialogues, dark and absurd humour, and the casting of non-professional actors. The films touched on themes which for earlier filmmakers in the communist countries had rarely managed to avoid the objections of the censor. Their objective in making films was "to make the Czech people collectively aware that they were participants in a system of oppression and incompetence which had brutalized them all."
I won’t go into detail about the Czech New Wave, as others have already done so. Bonjour Tristesse, The Droid You're Looking For, and Greencine already wrote fine introductions about the filmmaking of that era.
I have only seen 9 Czechoslovakian films, most of which are considered important works from the period. So what I’ll do is share my reviews:
Audition/Talent Competition (aka Konkurs) (1964)
Early film by Milos Forman. It was influential in Czechoslovakia for the style, incorporating a mix of documentary and fictional elements, inspiring filmmakers to experiment with amateur actors in a documentary setting.
Gives a depiction of youth culture of the era. Split into two segments, the stories deal with youths wanting to make it as singers and musicians, kind of like the talent contests today. The film consists of music and singing, and for me is a tedious watch, with a few traces of a story in the last 30 minutes. A situation, not a fully formed screenplay, so I can’t recommend it. The innovative style is praiseworthy, but the actual story is below average.
Black Peter (1964)
Directed by Milos Forman. A black-and-white coming-of-age drama with likeable characters. The boy gets a job in a shop, and awkwardly tries to court a girl. There are scenes at a lake, at a dance, and him looking out for shoplifters at the grocery store.
As with Audition (1964), Foreman uses non-professional actors, and Black Peter sees him experiment a lot with close-ups. There’s a sense these moments could be real life scenarios. The awkwardness of getting along with your parents, and approaching the opposite sex are situations viewers can mirror from their own life.
Loves of A Blonde (1965)
Directed by Milos Forman. Nominated for Best Foreign Language Film. Continues the black-and-white coming-of-age approach of Black Peter (1964).
The strongest parts of the story are the beginning and ending. At first, we see soldiers trying to court girls. Towards the end of the film, a girl visits her new boyfriend, only for confusion to ensue.
The parents of the boy don’t know what their son is doing, and they just sit and watch TV. Famous for the iconic image above of the two lovers.
The funniest scene to me is when the lovers attempt to close the window blind.
The Shop on Main Street (1965)
Directed by Ján Kadár and Elmar Klos
Won Oscar for Best Foreign Language Film. With a bit of editing, this film could have better. Well-acted, but the movie drags, and didn’t need to have a running time of over two hours. Could easily have been told in 80 minutes. The realistic story is quite good, and something that could be watched by anyone, so I can understand the oscar love, as the Academy have a thing for the plight of the Jews during WW2. From what I could gather the charming old Jew lady really was oblivious to the situation, and I found that hard to believe, that she could be completely blind to what was going on in the town. Maybe she was senile. The ending in the shop is powerful, but again overlong. Not among my favorites, but it is an essential watch, if you are exploring the best of the Czech and Slovak films. The themes are still fresh, and could have been made into a film in 2014.
Sometimes referred to as the best film of the Czech New Wave. Words to describe it would be atmospheric and colorful. Very distinct and inventive editing. The story is a simple one of two mischievous, free-spirited, directionless, rebelling teenagers having a good time, messing about, and looking for experience and attention. The girls make use of men before men can make use of them. The dinner table scene at the end was definitely the highlight for me, and put a smile on my face, despite the aberrant behavior. The stylish visuals by the filmmaker seem to be as playful as the girls’ attitude. A film about rule breaking and freedom of speech. Both by the filmmakers and by the characters.
As another reviewer writes: “Its rebellious protagonists and freewheeling spirit were essentially an allegorical but brazen denunciation by the director of the then regressive regimen behind the Iron Curtain”. It was released in its home country in 1966 but subsequently banned.
The director herself described it as being about ‘destruction, or the desire to destroy’. Her cinematographer, Jaroslav Kucera, wanted the film image to escape from a strictly objective vocation. Kucera believed that the film should acquire the same power of 'subjective meaning' as other modern arts such as poetry, music and painting. The audience's role in creating the film's meaning is crucial. The symbols throughout the film are open to multiple interpretations.
Closely Watched Trains (1966)
Won Academy Award for Best Foreign Language Film. Set during WW2 and the Nazi occupation of Czechoslovakia, a coming of age story about a few people, who work at a train station. We follow their daily life.
I didn’t think it as remarkable as others seem to, but it does have a certain charm. The juxtaposition of darkness and comedy one after the other was unusual, and those two scenes are what I remember most vividly, when he has a bath, and when the other station worker fools around with the stamp equipment with the young woman. The opening of the movie was also well-done, in introducing the young man’s family members in a humorous way.
As Lisa Thatcher wrote in her review: “In this film Czech sexual liberation is posited against Nazi oppression”
Favorite quote: “If she bent over me, the whole world would become dim”
The Fireman’s Ball (1967)
A comedy that has a lot of energy, despite made in the 1960s. Nominated for Best Foreign Language Film, yet banned in its native Czechoslovakia when the Soviet troops occupied the country in 1968. Different to Milos Forman’s previous films, which had moments of subtle humor but were essentially dramas, Fireman’s Ball is comedy in a more obvious over-the-top way. Was his first film in color. I’m pleased I don’t have an unspellable Czech name like those girls did :)
According to Mark Cousins in The Story of Film, Forman “saw life as comic, almost absurd”
Firemen were supposed to be portrayed as heroic public servants in the communist world. In Forman’s film Fireman’s Ball, authority are incompetent and immature.
I did find it funny. But also a little creepy that these old guys are drooling over the younger females, something which runs through many of the films of the period.
The house next to the party is a little too convenient for the story, even so, you forgive that, because it’s so fun and entertaining.
According to the dvd extras, the screenwriters experienced a real fireman’s ball that turned into a nightmare, and this inspired the script. The screenplay was not approved by Czech censors, and risking a 10 year imprisonment for “economic damage to the state”, Forman managed to smuggle a copy of the film to France.
40.000 firemen quit their job as a protest against Forman, only to return to work after the director had assured them that the movie was not criticizing firemen specifically.
The Cremator (1969)
A horror /drama directed by Juraj Herz.
I loved the pre-credits scene at the zoo, the extreme close-ups and eerie soundtrack immediately made me feel uneasy. The opening credits are also really interesting, and cast a spell on you, so that you want to get to the bottom of all this. The first 5 minutes I would give 10/10. The rest of the film is pretty good too. Several stand-out scenes, when he’s showing the new guy the ropes at the crematory was creepy, as was the “puppet” show, and of course the ending, which I won't reveal.
Superb performance by Rudolf Hrusinsky, as the cremator, his voice is remarkably chilling. Even his wife is scared of him, so I kind of felt sorry for the poor guy, because it seems he was creepy all the time. Then there was a twist I wasn't expecting, which changed my perception of the characters.
As Bonjour Tristesse wrote in his review: “someone you are compelled to watch, but would never want to be alone in a room with.”
Favorite quote: “I am sure you love music, Mr. Strauss. Sensitive people do. The poor pitiful souls, who die without knowing Schubert, Liszt.”
Valerie and Her Week of Wonders (1970)
Impressive visual style, but little story to speak of. It can’t figure out if it wants to be a horror film or a children’s film. Perhaps that's what makes it unique, that's it's both.
Marked a shift away from the acerbic social dramedies that had characterized the director’s work, towards a more apolitical, lyrical approach in his later films.
The film probably inspired Neil Jordan’s The Company of Wolves (1984), which has the same strengths and weaknesses.
Have you watched any of these Czech/Slovak films? Are you interested in exploring the cinema of that era? Which films should I watch next? As always, comments are welcome
The most visually dazzling movie I’ve seen in quite some time! Happy I saw it on the big screen. Doesn’t have a dull moment, I was captivated by that world that was created, wanting to step into it, and was tapping my foot along to the score. Apparently different aspect ratios were used in each respective flashback, and each era has a distinct color palette, but I didn't even notice that.
Loosely based on Beware of Pity by Stefan Zweig, and perhaps a tribute to a bygone era. The actual story is simple, with entertaining and amusing dialogue. Ralph Fiennes' character is fairly odd, yet I couldn’t wait to hear what he’d say next.
I used to not get the director’s light-hearted style, which I found pointless and lacking in depth, but I‘ve begun to warm to Wes Anderson’s work, as I mellow with age, and just accept it for the quirkiness, charm, playfulness and eye candy. Yes, it may be style over substance, but sometimes that’s ok. You could probably watch The Grand Budapest Hotel like you read a comic, in fact I wouldn’t be surprised to see Anderson’s movies adapted to graphic novels.
I wouldn’t have minded it went on 20 minutes longer, so several of the supporting characters were fleshed out a bit more, and not merely cameos. There are other weaknesses too, the film’s resolution of the murder plot, and the fact F. Murray Abraham doesn't look anything like another character.
I have read critics complain that the characters are unpleasant and lacking in redeeming virtues, but I didn't see it that way myself. While there is pending gloom, violence and greed, the film also highlights what used to be, and still is, important: Decency, meticulousness, manners, eloquence, presentability, being the best at what you do, looking after your fellow employees, and so on.
As Andy Buckle wrote in his review, Anderson is able to "find humour in the most sad and mundane events"
Agree or disagree? As always, comments are welcome
Too True by Dum Dum Girls (January 28)
Thoughts: Thanks to Steven at Surrender To The Void for the recommendation. An impressive album that I completely overlooked, full of powerful tracks. While some of the lyrics are a bit repetitive, you sort of forgive that, because the sound is so well-produced. Has been described as a career pinnacle for the band.
Favorite tracks: Cult of Love, Lost Boys And Girls Club, Too True To Be Good, Rimbaud Eyes
Album rating: 7.5/10
No Mythologies to Follow by Mø (March 11)
Thoughts: I almost didn't bother, as I thought it might be trash. I had zero expectations for this pop release by rising star Mø. A strong debut album, with a number of solid pop tunes. On first listen, it hit me with one good track after another. However on repeat visits I'm not as enthusiastic, so maybe it isn't quite as great as I initially thought. As you can hear, I'm still kind of undecided about my verdict.
Critics have complained that many of her tracks sound the same, and that her music is too similar to other contemporaries such as Lana Del Rey, Lorde, Chvrches, and so on, and I tend to agree with that. The songs didn't get stuck in my head, but I can see myself returning to the album.
Favorite tracks: Pilgrim, Maiden, Never Wanna Know, Walk This Way, Slow Love, Waste Of Time,
Album rating: undecided
Love Letters by Metronomy (March 18)
I didn't think it was that good on first listen. wow was I wrong. Really improves on repeat spins. I liked the variation in the instrumentation from track-to-track. Especially the first half of the album impressed me.
I'm pretty certain Aquarius (Let the Sunshine in) by The Fifth Dimension was an influence.
Favorite tracks: The Upsetter, I'm Aquarius, Love Letters, Monstrous,
Album rating: 8/10
Which are your favorite new albums? Heard any of these releases yet? As always, comments are welcome.