Soon I'll be posting my interview with Ekhi Lopetegi of the Barcelona group Delorean, whose new album Subiza might be the year's most resplendent. Lopetegi had things to say about luminsecent atmosphere, building songs from vocal samples, the greatness of Prefab Sprout, the rewards and dangers of love, and the rude brilliance of New Order, as well as the looseness of Barcelona's community of musicians. But for the sake of timeliness, I'm posting his thoughts on Rafael Nadal, before Nadal faces his arch-nemesis and the only player to have beaten him at Roland Garros, Robin Soderling, in the Sunday final of the French Open.
To name a song “Midnight Lover” is ambitious, and perhaps dangerous. A song with a title so classically charged with sex and romance had better deliver. Luckily, this track from Kisses' upcoming album Heart of the Nightlife (Surround Sound) possesses enough swoon-worthiness to compensate for its relative lack of lust. This duo is romantic, and has the disco credentials – love of Cerrone and Gino Soccio; tutelage under Alec R. Constandinos – to deliver the sleek seduction. Read more »
Maybe now that Apichatpong "Joe" Weerasethakul has won the Palme d'Or at Cannes, the art film world can be forgiven, but many of my favorite movies of the past few years have been made for Vimeo or YouTube more than for DVD rental, let alone the big screen. I'm thinking of Damon Packard's SpaceDisco One, and most of all, I'm talking about music videos shot right here in San Francisco: Skye Thorstenson's fantasia for Myles Cooper's "Gonna Find Boyfriends Today," and Justin Kelly's numerous videos for Hunx and His Punx. Read more »
Last week I was able to go on Miguel Pendás'Vertigo tour. Creative Director at the San Francisco Film Society, Pendás led a group of ten on a van journey that concluded at the foot of the Golden Gate Bridge.
LIT/FILM "I'm a lifelong space fan old enough to remember the Apollo era and grow up on Star Trek — when I was little, the Apollo missions and Star Trek merged in my mind," says Megan Prelinger. "I lived my life, but kept one eye on space, watching and waiting to see what would happen. As I got older I realized that the general public is disenfranchised from having an opinion about or experience of space. I thought I could make an intervention — an intervention into space."Read more »
SFIFF The evening breeze caresses the trees tenderly early on in João Pedro Rodrigues's To Die Like a Man. This shift from the furious winds of Rodrigues' Odete (a.k.a. Two Drifters, 2005) is a signal that the director, ever aware of the lexicon he's blooming, is adopting a languid pace. Rodrigues' third feature film isn't immune to irony, a main one being that slow death allows his cinema to breathe most deeply.
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