- Kendrick Lemar - Good KidLemar's debut is absolute perfection to me and this song by far stands out. Close runners up are The Recipe (as stated in last months playlist), Swimming Pools (Drank) and Compton. This song reminds me of Andre 3000's "The Love Below" especially in the second half of the first verse where the vocals layer and echo and the choice of samples also has hints of J. Cole's début From these two comparisons alone, it's safe to say the song is complete genius. Good Kid, m.A.A.d City is extremely well polished for a début but with enough grit within the lyrics to make way for a new rapper.
- Miquel - The Thrill
- Alpines - Cocoon
- John Mayer - Ain't No Sunshine (Cover)Wow. I have an extreme dislike for covers of Bill Withers' Ain't No Sunshine as I feel it is never done any justice but this has by far got my certificate of approval. Its been given a Californian freshness and ease to the song without losing its original soul and character.
- VAST - Pretty When You Cry
- Ben Howard - Oats In The WaterStill has the charm and atmosphere of his first album but explores a darker, more nostalgic side.
- GOOD Music - Sin City
- Nas - Roses
- Breakbot - Baby I'm YoursSo much funk, its hard to handle. A bit like listening to Passion Pit in the 80's. Or, as my friend who introduced this song to me said, "a modern Bee Gees".
- The Villagers - Becoming A Jackal
Thursday, 29 November 2012
Mass Hallucination Baby, Ill Education Baby.
Labels:
Alpines,
Ben Howard,
Breakbot,
GOOD Music,
John Mayer,
Kendrick Lemar,
Miquel,
music,
Nas,
The Villagers,
VAST
Sunday, 25 November 2012
"If I've Made It A Little Easier For Artists To Work In Violence, Great! I've Accomplished Something."
Quentin Tarantino is an absolute
favourite director of mine purely due to his fearlessly bold and offbeat
approach to the crime action genre. An array of fake blood dominates every
scene as well as an endless stock of outrageous caricatures and whilst his
films seem to jump through scenes of complete surrealism, he still manages to
keep a consistently light yet unique humour throughout.
Now, let’s start with some prime examples of this blunt signature
humour.
- Reservoir Dogs, (1992): *inserts
entire Madonna discussion between Mr Brown, Blonde, Orange, Pink, White
and Nice Guy Eddie*
Yeah, that’s pretty much all I need to prove my point.
What interests me the most that
how he translates his personality into his films, unlike some directors who
remain nameless throughout each and every film because their only concern is
that the camera doesn’t jerk. However, Tarantino is still able to adapt himself
into his more modern cinematic creations such as Inglorious Basterds (2009) which may
not have similar stylistics to his previous work but is as wonderfully shocking
and upfront gruesome as always, if not more.
Even Sin City (2005), in which he was a
guest director, had the grit of Tarantino written all over it and is a true visual
interpretation of a comic, a still-shot of any scene could easily be printed
onto paper and sold as a comic in stores, unlike the polished American marvel
films, some of which I do enjoy, but don’t stand a chance against the technicalities
of Sin City’s opening scene.
However his classics such as
Jackie Brown (1997) and Pulp Fiction (1994) have such a recognisable and iconic style to them
that they can never really age and even what may be considered as his least successful
(particularly after the 2nd film, despite my own acclaim) film, Kill
Bill (2003, 2004), will still have a devoted Tarantino audience (population: me + many) in
the 3rd instalments upcoming release next year along with a new
creation; Django Unchained (2012).
Please note, that whilst I am
quite obviously a fan, if you haven’t watched any or even all of his films, my
recommendation could not be more serious.
On a second note, if my word is
not good enough… then maybe Brad Pitt can convince you…
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