Welcome back, | Log Out

electrologue

Music Industry News

  • Mackenzie Shivers is Keyboard Magazine’s Talent Scout Artist of the Week
    Mackenzie Shivers is Keyboard Magazine's Talent Scout Artist of the Week

    Keyboard Magazine has featured some of the most talented musicians such as Elton John, Tori Amos, and more! Joining the list is Queens, New York singer-songwriter and pianist, Mackenzie Shivers

    Mackenzie has been featured in Keyboard Magazine's Talent Scout feature as the Artist of the Week. You can read the whole feature here where Mackenzie talks about her musical training, her favorite keyboards, her influences, and so much more.

    Hear Mackenzie's beautiful piano playing for yourself on her read more

  • Dove Audio WTF MU Oscillator Exclusive to KMR
    Dove Audio WTF MU Oscillator Exclusive to KMR

     

    It's not that often we see something genuinely new in the synth market, not to sound defeatist or anything like that, but it is quite rare to see something that's not been directly influenced by an already existing design, again not that that's a bad thing, but refreshing new tools are just that, refreshing. And when they can inject as much sonic potential into your patches as the... read more

  • The Word Is Bond is loving Nick Andre’s “Turn Back”

    The new Nick Andre track “Turn Back” features “a classic team” according to The Word Is Bond: Gift Of Gab (Blackalicious), Eric Boss and Lateef The Truthspeaker.

    The site goes on to say “over a percussion-driven soundscape, the duo goes for the jugular with their thought-provoking lyrics in a tag team fashion while Eric Boss comes in with additional vocals for the chorus. It is really a delight hearing seasoned verbal jousters doing what they do best sans label red-tape resulting in an all-out... read more

  • Emmeline

    read more
  • Silverbacks new single out now
    Silverbacks new single out now

    Single release: ‘Just In The Band’ by Silverbacks
    Release date: Out now
    Label: PK Miami Records
    More info: read more

  • Hajk new single out now
    Hajk new single out now

    Single release: 'Keep Telling Myself' by Hajk
    Release date: out now
    Label: Jansen
    More info: Band website

    Today, Hajk... read more

  • Maxïmo Park new album out 22 February 2019
    Maxïmo Park new album out 22 February 2019

    Album release: ‘As Long As We Keep Moving’ by Maxïmo Park
    Release date: 22 February 2019
    More info:... read more

  • Jaws new single out now
    Jaws new single out now

    Single release: ‘Driving At Night’ by JAWS
    Release date: Out now
    More info: Band website

    Birmingham dream-pop trio... read more

  • Elmore Magazine Exclusively Premieres “The Canyon” from Mackenzie Shivers
    Elmore Magazine Exclusively Premieres "The Canyon" from Mackenzie Shivers

    Mackenzie Shivers has been working her way towards her second solo LP release, The Unkindness, which comes out February 2019. Leading up to the release, she has released two singles, "Believe" and "tears to Keep Me Warm", and now Elmore Magazine is here with an EXCLUSIVE premiere of another new song, "The Canyon". Read the full feature here.

     

    When talking about "The Canyon", Shivers told Elmore: 

    "I wanted it to feel like you’re moving in a forward motion, so the chorus... read more

  • THE BEASTS! Announce ‘Still Here’ Album & 2019 National Australian Tour!
    THE BEASTS! Announce ‘Still Here’ Album & 2019 National Australian Tour!
    Former Beasts of Bourbon Kim Salmon, Charlie Owen, Boris Sujdovic, Tony Pola and Tex Perkins reinvent themselves in a recorded project entitled ‘The Beasts Still Here’. THE BEASTS NEW ALBUM ‘STILL HERE’ read more

Featured Articles

  • Nicolas Winding Refn's Drive-Reposted from Jeremy Richey’s blog Moon in the Gutter

    Every time I go to the movies I hope and pray that I will come across a new film that moves me as much as my favorites from the seventies and early eighties. With each passing year it seems like I find fewer and fewer modern works that spark that special flame in me but when I do I am both exhilarated and grateful. Drive, the masterful new film from director Nicolas Winding Refn is one of those rare new movies that hits me as hard as those films that I routinely list as my favorites, like Arthur Penn’s Night Moves and Wim Wender’s Paris, Texas. It’s an audacious, gripping and absolutely pulverizing work that combines the themes of the seventies existential neo-noirs with the dazzling style of the eighties Cinema du Look.

    Like a film that it owes much to stylistically and thematically, Paul Schrader’s still-stunning American Gigolo (1980), Drive is centered on man who has become a prisoner of a persona he has tried so hard to cultivate. Like Schrader’s lonely Julian Kaye, Drive’s unnamed main-character is a man who has worked his whole life pushing people away when all he truly wants is to let someone in. As played by Ryan Gosling, who delivers a elegiac and poetic performance that stands with the best I have ever seen, the character in Drive is a man who seems to be having a constant inner-monologue…a man who finally realizes that beneath the cool façade he has worked so hard to create lies a human being with the capability of doing something meaningful and pure. As my buddy James Hansen writes in his eloquent piece over at Out 1, “He is nothing if not a reluctant super hero decidedly unaware of his powers due to their quotidian function in his life.”

    Opening with a long near-silent sequence that pays homage to the works of Michal Mann (who owed much to Jean-Pierre Melville), Drive suddenly becomes a work driven by sound during its striking opening credit sequence, which seems to pay homage to incredibly both American Gigolo and Risky Business. From the first frame to the last, Drive is a stylistic triumph for Refn but it’s also filled with the kind of emotional depth rare for American films released today, especially the many modern action films that Drive could have become in less intelligent and thoughtful hands.

    Directed with a fierce fluidity by Refn, Drive is a, rightfully, propulsive experience that manages to feel frenetic even when it is chillingly still. While the film features several of the most shocking and well-done sporadic moments of violence I have seen in quite a while, Drive is at its most potent in the scenes between Gosling and the character played by Carey Mulligan, who says more with her touching smile than most actresses can say with the best dialogue at their disposal. The two have a palatable chemistry that radiates off the screen, and at times it feels like Refn is allowing us to look at a private, but destined to be doomed, intimacy we probably shouldn’t be allowed to see.

    While the film is controlled by Gosling and Mulligan’s poignant performances, Refn has gathered together a truly outstanding cast of supporting players including a magnificent Albert Brooks, a menacing Ron Perlman and a wonderfully damaged Bryan Cranston, who plays Gosling’s mentor and only friend in the world. Christina Hendricks (good in a part originally meant for Bobbi Starr), Oscar Isaac and Andy San Dimas also pop up in the film, one of the most perfectly cast of the year.

    Along with Refn’s confident and expertly handled direction, and the performances given by his cast, much of Drive’s success is due to the wonderfully sleek and shimmering photography of cinematographer Newton Thomas Sigel, a gifted artist who has usually been confined to photographing films that aren’t deserving of his talents. With Drive Refn really allows Sigel to shine, and if all the film had to offer was its look it would still be among the most notable of the year.

    Also delivering devastating work is composer Cliff Martinez, as his score here joins the ranks of his best (which include Solaris and the more recent Contagion). His music, as well as the songs carefully selected for the film, tells us as much about Gosling’s character as Tangerine Dream’s score did for James Caan in Thief or Moby’s “God Moving over the Face of the Waters” did for De Niro and Pacino in Heat. Martinez’s score becomes its own character in Drive, a work in which each sound seems as carefully chosen as every movement.

    Drive has had its critics (including my friend Tony Dayoub over Cinema Viewfinder) but it moved me like no other film has in a very long time. It even provoked a physical response as I left the theater shaking and I have barely slept since I saw it, as images of Gosling’s haunted stare keep replaying in my head. Drive left me feeling shook-up, dazed and, like my favorite films, if left me feeling like I had been granted a glimpse into part of myself that I didn’t know (or had forgotten) about.

    No Comments
  • John Carpenter's The Ward-Reposted from Jeremy Richey’s blog Moon in the Gutter

    While I am one the biggest Ghosts of Mars fan on the planet, I think that John Carpenter’s latest film The Ward may very well be his best work in more than twenty years. Carpenter’s first feature-length film since Ghosts of Mars a decade ago might not be as ambitious as his In the Mouth of Madness (1993) or as exciting as his Vampires (1996) but he hasn’t delivered a work directed quite as beautifully directed since They Live, his sadly undervalued masterpiece from 1988.

    Set in the mid-sixties and starring the fascinating young actress Amber Heard (finally an ‘it’ girl with some real chops) as Kristen, a troubled girl who ends up in an all-female wing of a mental hospital after burning down a farm house for no apparent reason, The Ward is a smart and sneaky fright-film from the pen of Michael and Shawn Rasmussen, a young writing and directing team responsible for 2005’s Long Distance. While there isn’t anything particularly original about the script and the film’s ending is perhaps a little too transparent, The Ward is a real filmmaker’s film as Carpenter’s skill behind the camera easily makes up for any pedestrian moments the plot suffers from.

    While Carpenter’s direction controls the film, The Ward is a production overflowing with talent in fron of and behind the camera. With its splendid supporting cast, including Mamie Gummer, Danielle Panabaker, Laura-Leigh, Lyndsay Fonseca and the always great Jared Harris, lively score courtesy of Mark Kilian (sitting in for Carpenter who opted out of providing the music for this one), and eerie photography by talented cinematographer Yaron Orbach (a man not usually associated with horror films), The Ward is an extremely well-rendered film that is so much more successful as a true fright-film than any other released in 2011.

    Even though Amber Heard is absolutely terrific as the lead, the real star of The Ward is indeed Carpenter’s direction, which is at its confident and controlled best. When I met John Carpenter a few years back, around the time he had finished up working on his Masters of Horror episodes, about the last thing he seemed interested in was directing another feature so to see him come back with a work so polished, muscular and beautifully finessed is a really fabulous. The Ward is also incredibly contemporary feeling and outside of a marvelous visual and musical cue inspired by Halloween this is not at all Carpenter in summation mode…this is the man firing on all cylinders again and the news that he is preppy another film is extremely welcome.

    Like most of John Carpenter’s great films, The Ward was released to a mostly hostile critical reception earlier this year and sadly it didn’t even have a chance to become a popular success as its time in theaters was limited at best. Pity, as this is a wonderfully elegant and well-made horror film overflowing with style. Watching this I kept saying to myself, ‘This is how you do it…this is how its done’, and I felt truly privileged to watch a new film by of our great American masters, who has been out of sight far too long.

    The Ward looks fabulous on both DVD and Blu-ray but sadly it has arrived with only extra, an enjoyable audio commentary track from Carpenter and Jared Harris. While many have gone out of their way to trash The Ward, I found this to be quite a return to form for the great Carpenter even if it finally doesn’t rank among his very best, as it doesn’t have the transformative power of Assault on Precinct 13, Halloween, The Fog, The Thing, Escape From New York or Christine. I am confident that time will catch up with The Ward though and it will eventually be viewed as quite a special little-film from one of our great American auteurs.

    No Comments