Clinton Krute
We often think of music as flowing from memory or being committed to memory. Music With Memory—the title of a new LP of three ’80s-era performances of works by the composer David Behrman—implies some conversation and interplay between the two.
From deep within Louis XIV’s billowing gray afro—more a cloud than a sun—the once lively eyes of Jean-Pierre Léaud gaze out vacantly. Over the course of Serra’s simultaneously tedious and fascinating film, Léaud’s Sun King drifts and snoozes through his remaining days in a state of almost catatonic nonchalance, occasionally stopping to doff his hat or eat a fig to the great applause of courtiers.
“Making music work to the lyric, and making the lyric work to the note.”
Träd, Gräs och Stenar and the democratizing power of the riff.
What began as an art project with the overt purpose of confronting and confounding “straight” society ended up as something resembling a pro football game for people on psychedelics, and nearly as profitable.
The Glasgow-based singer just released a self-titled album of music rooted in and pushing Scottish folk traditions. With Krute, he touches on individuation, syncretism, and the risks of nationalism.
Selections by Deana Lawson, C. Spencer Yeh, Andrew Bourne, Orit Gat, Clinton Krute, and Brian Evenson.
The allure of “ethnomusicological” records is, for me, only partially derived from their exoticism.
The Clean, The Heavy Eights, The Bats, and smoking hash with Alex Chilton.
Blues, free improvisation, Portugal, and the abstract truth.
Composed of the first line of every review on the first four pages of a google search return for “Bill Orcutt, review,” accessed on Wednesday, February 4, 2014.
Matías Piñeiro makes intricate films that play with literature, history and language. His Shakespearean Viola opens on July 12 at the Film Society of Lincoln Center alongside a retrospective of his films.
Jacques Rivette’s Le Pont du Nord and Bob Byington’s Somebody Up There Likes Me are abstract in different ways, but for the same reason: lack of funds.
Sensations’ Fix has been in need of some attention for a while now.
Watch a BOMB Extra Video with artist Bjorn Copeland, whose band Black Dice has a new album, Mr. Impossible, out now.
Clinton Krute peers into the inscrutable world of filmmaker Hong Sang-soo, exploring the puzzles of The Day He Arrives.
Wooden Shjips new album West strings out the quartet’s psychedelic, garage rock feel. While the Shjips are on the move, organist Nash Whalen stops to chat about San Franciscan culture and European tour mates.
In Attenberg, filmmaker Athina Rachel Tsangari tells the story of a young woman’s coming-of-age while highlighting the political situation in Greece and the age-old clash between our human and animal instincts.
In homage to ’80s cult band Felt, artists Christian Flamm and Mike Sperlinger crafted an encompassing, investigative fanzine of a book.