Filmwell Update: My review of “Scott Pilgrim vs. The World”

Scott Pilgrim vs. The World

I’ve just posted my review of Scott Pilgrim vs. The World over on Filmwell.


Slowdive’s “Pygmalion” has been reissued

As I was catching up on Twitter this morning, I came across this tweet from Mark Van Hoen linking to Cherry Red Records’ recent reissue of Slowdive’s Pygmalion. Which ought to be welcome news to many shoegazer fans, seeing as how Pygmalion—the band’s final album, released in 1995—has been out of print for quite some time now.

The reissue is a two-disc release that includes the remastered original album, a second disc of Pygmalion demos (which, up until now, have only been available via less than legitimate channels), and new sleeve notes courtesy of Kieron Tyler (who also compiled the recently released Slowdive anthology The Shining Breeze).

The complete tracklist is below.

Disc 1 - Original Album

  1. Rutti
  2. Crazy For You
  3. Miranda
  4. Trellisaze
  5. Cello
  6. J’s Heaven
  7. Visions Of La
  8. Blue Skied An’ Clear
  9. All Of Us

Disc 2 - Pygmalion Demos

  1. Miranda
  2. Watch Me
  3. Yesterday
  4. To Watch
  5. Option One (Instrumental #1)
  6. Carfo
  7. Sinewaes
  8. Ambient Guitar
  9. Crazy For You (Alt Version)
  10. Krautruck
  11. Changes
  12. Red Five

Enter the world of “Coma”

Coma

All too often, the only video games that get significant amounts of attention are the Halo and Call of Duty type games, and understandably so. They’re produced by major game studios with multi-million dollar marketing budgets dedicated to embedding them into the subconscious of every Xbox 360, Playstation 3 and/or PC owner out there. But every so often, along comes a game that is the complete antithesis of those games, a game that is unassuming and at first glance, rather plain—but that turns out to be engrossing and enchanting in a way that big budget mainstream games can never hope to be.

Coma is one such game. Developed in Flash by one Thomas Brush, Coma is the tale of a young boy named Pete who finds himself in a world that, as the title implies, might be his own subconsciousness. But Inception this is most definitely not. As he moves through the strange world, he receives clues about an imprisoned sister and a villainous father, and sees random hints about doorbells and the falseness of the world surrounding him. But the only way to make sense of it all is to keep exploring.

Coma is a very simple side-scrolling puzzler of a game: a moderately good gamer can probably finish it in 20 minutes or so. However, you may find yourself wanting to take longer than that in order to soak up the game’s simple yet evocative (and slightly ominous) atmosphere and settings: the creepy mansion in which the game begins, flowery pastoral fields, subterranean passages filled with giant worms, haunted forests, and so forth. They all seem rather straightforward when you begin, perhaps even too much so. But to Brush’s great credit, the simplicity and ambiguity slowly begins engaging the player’s imagination to fill in the blanks and wonder more about the world.

Coma‘s Flash animation is flawless, the puzzles are clever but not frustrating, and the sparse dialog is cryptic yet whimsical. The game is full of little details that generate equal amounts of whimsy and dread. For example, you are followed around by a tiny bird companion who is continually shedding feathers, a seemingly trivial touch that nevertheless enforces a certain sense of mortality and mono no aware. I would be sorely remiss if I didn’t also mention the game’s music, also by Brush, which blends acoustic guitars, electronic beats, field recordings, and wordless vocals in a way that adds an extra level of wonder and poignancy.

All told, Coma is a true delight to play. A puzzle game, an adventure game, a psychological thriller, and even a bit of a sandbox game, Coma pulls it all off gracefully and movingly. If a game’s success can be measured by the engrossing nature of the virtual world into which it places its players, then Coma is just as successful as its bigger budgeted cousins—perhaps even moreso given its humble origins and aspirations.

Related: PopMatters’ in-depth—though slightly spoiler-filled—review.


New music from Sufjan Stevens: “All Delighted People”

Sufjan Stevens - All Delighted People

Sufjan Stevens is embarking on a pretty ambitious tour this autumn, and to help set the stage—so to speak—the man is releasing a brand new EP entitled All Delighted People. Sufjan has never been known to do anything small, so his EP is 60 minutes long—and you can listen to the entire thing for free.

<a href="http://sufjanstevens.bandcamp.com/album/all-delighted-people-ep">All Delighted People (Original Version) by Sufjan Stevens</a>

From Asthmatic Kitty’s announcement:

The EP, All Delighted People, is built around two different versions of Sufjan’s long-form epic ballad “All Delighted People,” a dramatic homage to the Apocalypse, existential ennui, and Paul Simon’s “Sounds of Silence.” Sounds delightful, yes! The song was originally workshopped (oh we hate making workshop a verb, but time is money!) on Sufjan’s previous tour in the fall of 2009. Other songs on the EP include the 17-minute guitar jam-for-single-mothers “Djohariah,” and the gothic piano ballad “The Owl and the Tanager,” a live-show mainstay (and Debbie Downer if you ask us; what’s it doing on a “Delighted” EP?).

And here’s the complete track list:

  1. All Delighted People (Original Version) - 11:38
  2. Enchanting Ghost - 3:39
  3. Heirloom - 2:55
  4. From The Mouth Of Gabriel - 4:03
  5. The Owl And The Tanager - 6:39
  6. All Delighted People (Classic Rock Version) - 8:07
  7. Arnika - 5:14
  8. Djohariah - 17:03

I’m still making my way through the EP, but at first blush, it sounds like Sufjan is attempting to blend the huge, lavish orchestrations that he’s become known for with quieter, intimate moments à la Seven Swans. The Steve Reich-isms that he’s so well known for are diminished, if not entirely absent, with Stevens going for a more abstract, experimental sound which flows quite nicely into choirs and folksy acoustic guitar/banjo ballads.


Stars of the Lid cover Justin Bieber’s “U Smile”

My apologies for the attention-grabbing headline. However, give Shamantis’ ultra-slow version of Bieber’s “U Smile” even just a cursory listen and tell me the thought doesn’t cross your mind. Using some software called PaulStretch, Shamantis slowed down Bieber’s track by 800%, turning the three minute pop single into a thirty-five minute piece of droney ambience, with Bieber’s voice transformed into a wordless angelic choir.

This isn’t the first time someone has used extreme time-stretching to completely alter a pop song: a couple of years ago, someone turned Kelly Clarkson’s “Since U Been Gone” into a My Bloody Valentine-esque track using similar techniques (though in not so nearly an extreme fashion).


Elsewhere, August 17, 2010

Elsewhere: A collection of interesting links and articles that I’ve come across in the last week or so. Follow me on Twitter for more of the same.

Damaris Zehner on “The Myth Of Autonomy”:

Enough balderdash. Let’s debunk this mythology of honorable autonomy and consider the nature of our true relationships with the world, each other, and God.

First of all, we aren’t living the autonomous life that we idealize. All of us depend on other people every day. Even the few who look like they’re self-sufficient really aren’t. The survivalist hunts his own meat and tans the hide, but did he smelt the ore to make his guns and traps? Amish farmers raise both food and buildings, but they didn’t plant the trees that they cut down for lumber, nor did they mine the iron for the nails. In fact, they didn’t give the trees the power to grow or place the raw materials in the earth. They—we—all rely on provisions from outside ourselves for life.

Even the autonomists who say that they’ve worked for all they have, that they’ve never taken a hand-out from anyone, aren’t telling the strict truth. They may have started their own business, but they didn’t make the economy or customers or infrastructure that made the business possible. They didn’t create and raise and educate the human capital that keeps their business running. And ironically, not only do they rely on others for their success, but others rely on them to provide something they need. Even autonomists are part of a web, not an isolated entity.

An interesting comparison of the importance and significance of the Qur’an and the Bible to their respective religions:

The interesting point of contrast emerges when you ask what position each religion assigns to its book. For Islam, the arrival of the book, the revelation of the Qur’an, is the central event in the history of salvation. According to Islam, Muhammad entered a cave and Allah made his word known to him through Gabriel. The reason there is a Muslim religion, according to Muslim theology, is that the word came to the prophet: There is one God, and his prophet is Muhammad.

What role does Christianity assign to its book? Certainly a very high role, with a claim of divine revelation and therefore a position of authority. But the coming of the book is not the central event in the history of revelation. The coming of the Son of God is that central event. The Bible is the prophetic anticipation of Christ (OT), and the apostolic interpretation of Christ (NT). One part of it looks forward to the central event, and one part of it looks backward to the central event. But the central event itself is not the arrival of a book; it is the arrival of God the Son.

How relevant are major labels in light of the success of indie acts like Arcade Fire?

Traditionally, independent labels have been a haven for bands that don’t fit in the mainstream. But musically, at least, Arcade Fire has enough in common with long-established acts like Bruce Springsteen and U2 that there isn’t much of a case to be made that the band is defining itself through novelty or innovation. The difference between major and indie labels now has less to do with aesthetics than with the way bands conceive of their careers. For Arcade Fire, independence and control may be ultimately more profitable.

Crowd Sourcing Loses Steam:

There’s no shortage of theories on why Wikipedia has stalled. One holds that the site is virtually complete. Another suggests that aggressive editors and a tangle of anti-vandalism rules have scared off casual users. But such explanations overlook a far deeper and enduring truth about human nature: most people simply don’t want to work for free. They like the idea of the Web as a place where no one goes unheard and the contributions of millions of amateurs can change the world. But when they come home from a hard day at work and turn on their computer, it turns out many of them would rather watch funny videos of kittens or shop for cheap airfares than contribute to the greater good. Even the Internet is no match for sloth.

Huffington Post: “Netflix Streaming Selection Expands To Include Paramount, Lionsgate, MGM Movies”:

Netflix Inc. will pay nearly $1 billion during the next five years for the online streaming rights to movies from Paramount, Lionsgate and MGM in a deal that could help convert even more people to the idea of getting their entertainment piped over high-speed Internet connections.

[...]

Mark Greenberg, the president of Epix, told The Associated Press that the channel had discussed a digital distribution deal with many potential partners including the online video site Hulu, Amazon.com Inc., and Google Inc.‘s YouTube, but the Netflix deal made the most sense because it had healthy subscriber revenues.

“We’re putting our bet on Netflix. They’ve done a great job and they’re a great brand,” Greenberg said.

That sound you hear is Blockbuster execs wailing and gnashing their teeth.

A growing number of video games are forcing players to wrestle with moral choices:

How far would you go to save your child’s life? Would you kill somebody? How about on a broader scale – would you be able to stand by and watch a terrorist attack if it meant saving more lives?

These are scenarios from two of the highest profile videogames of the past year, respectively Heavy Rain and Modern Warfare II, but difficult ethical decisions are becoming more and more common in games.

Christianity Today interviews Anne Rice concerning her recent decision to “quit” Christianity:

What will it look like follow Christ without being part of the institutional church?

The most important thing Christ demands of all of us is to love our enemies as much as our neighbors. That is the radical core of his teaching. If we do that, we can transform our lives.

Christ reaches out to us individually. He’s saying “Come follow me; I am the way, the truth, and the life.” These are beautiful things. I read Scripture every day, I study it every day, I’m mindful of it every day. I don’t claim to have the right interpretation of every passage, but I wrestle with it, and that’s what I think he wants us to do.

Within the larger church there have always been people with diverse views, since the history of the church is a history of contention for the truth. Why do you find it untenable to be a part of a church that is so very pluralistic in its very process?

I don’t feel called to examine various denominations and decide what is the most comfortable or the best. I don’t feel called to have to defend that kind of decision publicly. I feel called to declare that I’m a believer. I have my Bible, and I’m deeply committed to Christ. I don’t contest people who do it the other way.

There may be a time in the future when I’ll feel the necessity to join a community. Keep in mind that I am 68 years old. I live in a Christian household. My two assistants, members of my family, are believers, so I’m not isolated at all. I am with people for whom Christ is the center of their life. I also have a community online. Since I made the decision, it’s become very clear to me that there are thousands of believers who have walked away from organized religion. The body of Christ is much bigger than any one organized church. The decision to walk away from the church is just as valid as shopping for a denomination that you feel more comfortable with.

What makes Arcade Fire “indie”?

In today’s music industry, however, every band, big or small, has to push as hard as possible. And most do. What separates Arcade Fire from most others isn’t the band’s tactics; it’s that those tactics have worked.

“Everyone wants to be more popular; you don’t want to be less popular,” said Doug Brod, editor of Spin magazine. “So you take what steps you need to take to get there. What they’re doing, people may find it vulgar, but I think they’re doing it the right way.”

Ultimately, the most indie thing about Arcade Fire might simply be that it owns its means of production. Unlike most bands, which turn over many of their rights to a record label in exchange for financial support, Arcade Fire owns its music and licenses it to labels around the world. (“The Suburbs” was also No. 1 on the British, European and, of course, Canadian charts.)


“Wetlands” by The Green Kingdom

Prismatic by The Green Kingdom

When I first heard “Wetlands”, one of the tracks on The Green Kingdom’s upcoming Prismatic album, I found it completely engrossing—which some might chalk up to the fact that it was nearly two in the morning at the time. However, I’ve listened to the song many times since, and the fascination remains.

I won’t lie, though: being in a bleary, partially awake state isn’t a bad thing when it comes to music like this. Digitally manipulated soundscapes, spectral drones (imagine a choir Gaussian blurred a couple of times), groaning violins, simple piano figures, and acoustic guitar all combine to create a truly intriguing sonic environment, one that brings to life the rainy setting of the song’s title.

Obvious points of reference include Tujiko Noriko and Múm, but there’s a pensiveness and melancholy at work within The Green Kingdom’s (aka Michael Cottone) music that gives it a singular emotional heft all its own. In other words, at five minutes or so, “Wetlands” is too short: it’s the sort of ambient track that you want to meander around within and explore for awhile.

Prismatic will be released by Home Assembly Music on September 6, 2010.


Fumihiko Sori to direct “Dragon Age” anime

Dragon Age

Anime News Network is reporting that Fumihiko Sori will be directing the previously announced Dragon Age anime. Honestly, I’m not sure how I feel about this. I liked Dragon Age: Origins quite a bit and am definitely looking forward to the sequel, and I think it would be an interesting world in which to set other stories, be they animated or otherwise. However, I’m torn on Sori directing.

I loved Ping Pong for its energy, emotional depth, and clever use of CGI, and it continues to grow on me with each new viewing. On the other hand, I found Vexille—Sori’s 2007 CG/anime film—to be rather underwhelming, especially once the explosions and action subsided and the film tried for quieter, more character-driven moments.

I’m sure that Sori will be able to pull off the spectacle aspect of Dragon Age—i.e., epic battle scenes—but if that’s all the anime really has to offer, I’ll be disappointed.


Bands I Miss: Labradford

Labradford

There’s something especially frustrating about a band that’s gone on an apparently “permanent” hiatus, as opposed to simply breaking up, calling it “quits”, etc. If the band packs it in, there’s at least some measure of closure amidst the overall suckiness of the event—the band members are (theoretically) moving on, which makes it easier for fans to do so (mostly). However, when a band doesn’t ever “officially” disband, there’s always the tantalizing but ultimately frustrating hope that they might, someday, get back together and release some new music.

Such is the case with Virginia’s Labradford. Arguably one of the most important and influential “post-rock” bands, the trio of Mark Nelson, Robert Donne, and Carter Brown haven’t released a new album since 2001’s Fixed::Context but they’re still listed as part of Kranky’s current roster. Their Kranky website bio even concludes with:

Although the members are now dispersed from their Richmond, VA point of origin, Labradford is, in our minds at kranky anyway, an ongoing project.

Their first album, 1993’s Prazision, never did much for me. It wasn’t until their 1996 self-titled album that their sound really clicked with me, and did it ever. The self-titled album is still my favorite, from the opening ghostly sounds of chains being dragged over Co2 canisters to the fragile organ melodies and haunting lyrics of “Pico”, from “Scenic Recovery”‘s glorious, sepia-tinged guitar/violin waltz to the cinematic denouement that is “Battered”.

The follow-up, 1997’s Mi Media Naranja, delved deeply in Morricone-esque soundscapes, and their final album, the aforementioned Fixed::Context, may have only been 37 minutes long, but it still managed to sound vast and endless. After that, however, the mighty Labradford fell silent—which seems ironic considering how the band’s music had grown progressively quieter and more sparse with each album.

The three members have moved on to other projects: Pan-American, Spokane, and Aix Em Klemm. But there’s still a part of me that holds out hope that the trio will reunite for a proper farewell, and delve once more into the haunting, graceful-yet-ominous ambience that they have explored with such skill and effect in years past.


Joy Electric’s Ronnie Martin presents Said Fantasy

Ronnie Martin in Said Fantasy

Ronnie Martin may be best known as the synthpop genius behind Joy Electric, but over the years, he’s also released music as Ronald of Orange, The Brothers Martin (with Starflyer 59’s Jason Martin), The Foxglove Hunt (with Fine China’s Rob Withem), and of course, Dance House Children. And now, there’s another moniker to add to the list: Said Fantasy, a trio that Martin has formed with B Caroline and Missy Dawn.

According to the band’s MySpace page, they sound like “the inside of one hundred clocks.” Which, if their first track “Horse of Faded Grandeur” is any indication, means that they basically sound a lot like Joy Electric, what with the analog synth pings and squiggles, Martin’s fey vocals, and cryptic lyrics—as well as the retro/nostalgic vibe that has characterized Martin’s music since time immemorial, a vibe that I’ve always found rather fetching.