Photographer Chris Jorgensen has set up shot at Bonnaroo, a four-day, multi-stage music and arts festival held on a 700-acre farm in Manchester, Tennessee. Each day we’ll be posting some of his up-close-and-personal shots of the bands, the fans, and the press events. And check out Bonnaroo’s live social webcast schedule here.
Beach House (#1–10 of 6)
Romantic idealism and environmental psychology become enmeshed, and indistinguishable, in the intimate Nights with Theodore. Sébastien Betbeder’s Paris-set tale opens with a kaleidoscopic observation of the nooks and crannies of the Parc des Buttes Chaumont, layered with a pleasant, Wikipedia-esque voiceover introduction that summarizes its historical and mythological elements. It’s a sublime device of immersion, establishing the uniquely hilly park and its unique attributes—the grotto, “suicide bridge,” storied underground caverns, the Belvedere de Sybil—that evoke a voyeuristic thrill and suitably set the tree-filled stage.
Louise Erdrich’s The Round House wins the National Book Award for fiction.
Check out the trailer for the Netflix original series House of Cards from David Fincher.
Sarah Paulson on the bloody face reveal from yesterday’s American Horror Story: Asylum.
Filmmaker interviews Larry Clark.
Beach House, “Myth.” Beach House seems to have known from the beginning what they wanted their music to sound like, and their past three albums are devoid of major stylistic departures. So why does this band keep surprising me? “Myth,” like Teen Dream’s best tracks, is only startling for how good the band has gotten (again), for how much more emotional nuance and audiophile drama Beach House can wring from the foundational interplay of Alex Scally’s luminous guitar patterns and Victoria Legrand’s glass shard of a voice. Sounding warmer and less austere than anything from Teen Dream, “Myth” is also a bit weightier, gentle enough that you can let it wash over you harmlessly, but still deep enough to drown in if you had a mind to. Matthew Cole
With no knockout punch, a bruising battle plods on.
The Tribeca Film Festival announces half of its 2012 slate.
Kristin Thompson on the John Ford and Citizen Kane assumption.
Robert B. Sherman’s career in clips.
Bully petition gains more than 200,000 signatures.
Dennis Kucinich is defeated in Ohio.
- Andrzej Zulawski
- beach house
- broken tower
- citizen kane
- daniel kasman
- david ehrenstein
- dennis kucinich
- James Franco
- John Ford
- jonathan franzen
- kristin thompson
- mitt romney
- republican party
- rick santorum
- robert b. sherman
- stephen colbert
- super tuesday
- terra nova
- Tribeca Film Festival
- while the city sleeps
- william heirens
Beach House is a band with a problem. Their self-titled debut seemed fully formed: nine songs virtually indistinguishable on first listen, relying on a command of minimal instrumentation and slow tempos. Further listens revealed that the songs were actually structurally and melodically quite different, but it’s drug music: hazy, narcotic stuff, gaining its initial impact from uniform atmosphere first and difference later. Where to go next but repetition?
Devotion (technically coming out next week, but surely blowing up a million BitTorrent feeds near you) blows past the sophomore slump in record time. It’s a more expansive album in every way: rhythmically, instrumentally, better mastered (no hiss anymore), you name it—and the really amazing thing is that they manage to keep upping the ante for most of the record rather than blowing their bag of tricks in the first five minutes. Of course, it helps when you’re starting from nothing, and opening “Wedding Bell” is just about poised there: the first sound is literally sandpaper shuffling. But the shuffle is the key—in the band’s micro-sealed dynamics, adding a little swagger is crucial. This is one of those follow-ups that retroactively points out the flaws of what seemed fully-formed at the time (cf. Talking Heads’ More Songs About Buildings And Food—or, on less rarefied ground, You Could Have It So Much Better vs. Franz Ferdinand).