I happened to be at Chalk Farm tube yesterday, waiting for a train. As a bus user, I’m always curious to see what kind of ad campaigns studios are running on the underground for their current releases. At the moment, as a right-thinking film fan, you might be in a state of near-priapic delight at the wealth of prestige movies in cinemas. There’s posters up for The Wrestler, Slumdog Millionaire, The Reader, Milk and Frost/Nixon, breathlessly described with attention-grabbing quotes like “the feel-good film of the decade”, or “a contender for Best Picture”. It is, of course, January, and rather shamelessly the studios are chucking out their high-calibre movies as we pile headlong into Awards season.
Not for the first time, we’re starting to get an inkling that Neil Young might have been distracted from releasing “Archives” again. The latest digression was signalled on his run of American shows before Christmas, when something like ten new songs gradually made their way into the setlist.
Another follow-up on a request this morning: a grapple with the great reverberant sprawl of “RTZ”, two CDs of Six Organs Of Admittance’s early work and marginalia.
Yesterday’s playlist provoked a bunch of requests from a few of you, requesting more info about the new things from Bon Iver, Six Organs Of Admittance, Arbouretum and Alela Diane (the Neil Young presence is caused by an Uncut staffer buying a bunch of CDs on the cheap, incidentally, rather than any new reissue campaign. Looks like “Toast” has slipped off the schedules again, by the way, while we’re on the subject of Neil’s capricious archives management).
This late period in Clint Eastwood’s career is a source of pretty endless fascination for me. At a time when most filmmakers have either called it a day, or are spoiling their reputation with increasingly disappointing movies, Eastwood has proved, conclusively, that he’s still capable of greatness as he nears 80. The run that started with Million Dollar Baby shows no signs of abating, and this slew of movies are among the best of his career.
Sometime before Christmas, I mentioned an artist called Sun Araw whose 12-inch, “Boat Trip”, I was very keen on. Happily, I’ve now got hold of his most recent album, “Beach Head”, and I’m pleased to say that’s awesome, too.
Apologies for the long hiatus; I tried to stay away from computers for as long as possible over the holidays. Not a complete break from music, though, thanks to a four-year-old alternating between his versions of “Barbie Girl” and various Joanna Newsom songs, and a bunch of records I kept close to me for the fortnight.
Coming up to the end of the year, it occurs to me that there are a few records that have been kicking around my desk and home for a while now, getting a fair bit of play and love, but not much attention here.
Over the past year or so, the Drag City label have quietly embarked on a series of reissues whose provenance is so obscure that I’ve briefly suspected them of being exquisite fakes: my favourite reissue of this year, Suarasama’s “Fajar Di Atas Awan” from Sumatra; the incredible Gary Higgins album; JT IV and so on.
