Table Of Content

January2007-VolumeXLII,IssueIII Hef a Brain? LaurenPincente waboKitlfayl;ltntoHmednconrlydhnlaesy'oib«'tseeslinmTin<tadiheSeetfefoUrsstr'mt,pehoGaeaenriKiltrtr'nyilashons-tmmodfteehNiewsataeal,ht-x,mteltlohaweHitmnnhoumDgpbiyeo-ytelcons,aytrlomiltaeImeiow>Jn'es-nbdmsiamnegeadtscbirlishnoiosiptergmi»zuetoeespedrttud,oht.louehlaf-erstI1 aTpuwhtfiuoanehlpbenre"llrtodabidiowyhcionebaiawgosnsry-syec,tltIntoahwohhteiteobinec\oeggk'nwtiîsaauhrslli-nrisissbntosnesohaoudewtnine'tod-llst,wiyhsgSsoeemogipwti.amosr*luikrcw,tlniwahutoisnuaaagtgtogntrhihmeaoitopedhnhuhiohebsiimemoenlc.sctyw.foaaehudteHgaesaletuettshb,idgsecnaohhghd?tseehaHalmHflemeneooeme-.dr, gcaoeVairrxfoircepflmeseeeswpcndhrctdieailtenratitcdionmiinebsdgbhrAeuaianwttpnrtichtpcdlleaoeeiisntapns'tlste?hwtfnheahhtreyieeobasmHmla)selcbe.ytfikrhtipNteolaoTeautfrhrysueesrtatahyloohleiweulrtbayetyi,:rtasdcswtshhhhfoepaaowebltgllooiaoipurdfwnlilttssmdee:rwrtTtelThthhiriehianee\eyt- hreihvbtsivochevseuienrtiuohs,imnH,otngadeliecgiin.fgaoantitmoTgzrilplsihsalotn'egneohuetikdeumleratmoall)enf-'ynadaumaegmp-suimsjfisoiolsiitgtrinosleinlfenot-shinfaasiunok.lsfs-rieai,Wnmsnmwgsenaeyhonnotaaeaseuadltsiilvnisosalhdkna-inenyb,nt!yfopastogwtugHrhiatteeotîsti^cwhdonaiae-fgrntm HieIpfelnsnahifdmihl;ga'elyihrysavtgndeyra)nhi\mpdgc'nniiesnggswrcmgtmyoohtleoeamlenwciunmohstgtevuoychhonnMaMmtaiatoHsisdcfetmttmag.f-aeiitdnrwrhkroeleoseefnrrsrsrtdiHju.eheumlunsgyeedgt1sr;bhewnfuweaaiftsoHnnnnedmtmdifdioenntsedsBehorjtrregroi,youiodsnfrgfwsinehtssathaaohltl'rolw-e.st, o"wpdtaianinehnTrmendnfthe.trge.iosnoTenGbMxtinhetlraheteol«senswfsTweON.vOheocaenesunSoxmliamt\ettaGmet'nenDtifaseoonon'egorrobo>pfgimjtoui—neh,ntsuesoLWmHTdalts.ophehdtoleieueolBipdnkIyruiIi:,dsmt'nciiKhoyegoieoycvyuwuaenebc'»nornd,hridfdraeelaylrasgwDipeaauiowaniictcmtsannrt,kt,edailcninnoaCBkhkg.nnehryeoyi,edtctodnhuhuogeeodrleeify--dtrr gdles.KfI1titeioyir,sv>orltnsVle)n«dSc''eftnraoasa-onamcardot.eifib.nalnioogi-gmtCrrniocuntvhtontdiehueioasnatet.gtbnoios(ltnatuHhhit'hoteemuedeltorialw,scvHyt-.mhi.o,ueanaCe'n.tulfwBwgotrirwhoiwItiynakd'hothgdpioaheenoptntnghew,otedn.sbtheeHaxetsdlCd-ehwl.ifuecieao'atnaCungskmrsudietiltectroyhnxklaeepgetd.trraoo:shlenetiCeBiskowsurnserHigihtyendoteufognhitnp,-t-neo wwpbthsAteearhieslhleieiteettdhitftmH'ohoeuyeeaanrpfcstntes.'uioytuhlsrphroeBlfaenteudtekheitwtlesnlehsteaotoadlsrhotwaastmekesynrwodHlawhihwuoeshesehrfteeehigseifnsaniansu\sgvd's»tei.deishntinucaIgetg,i.tcoinhfrnmit<eiosgeotaarlh\seaiXleott.'weyoansot)'accevanty,a,cs-tfrdauhIhw?cyiloierac;w1tmwwnmhhnahoaobiimftttes. aAcrfnitudedcrsihebemyaprgpcaatyrt).l'aiynmieun—cgahdniodavtheemrapsgouacwzceierneeeddemdaltlaotoftmhihalit-.s subeaplcofknsitnamgteehe,etitlihnnegeyotwhfeerfeiwreop.rmeTethtneymgiiunrclsthhcebolmGoprwleaneinonfefRdoadsoiaimtf bstehytetughiperlwtsoodimlsoecounkssolifhkeo<iwsTlhuttehs,eIytlhweeewr»Heebnfuottrtehosanptloytnhdaetsytawwciekdriee,d sonwoneteetds,taaycyhcootcrUoualepasteteo,-cahoinvsdemrfeaordgadoznriceena,emtbihseecbHaoueusfnedwihltelo lLbafiaoneorldcnrlsayojmawuegeFnglddylani(stnape,gnltdtagtiyihdnrbegelobfaymraihauheicninghmdhssegedosal)tutfi,abnbydoptarilcrmeahdedya;.irsnahogTceothwneeprorstmoHolbeeibaknfe-e rbttfehehaaeermlryleeoy.nwaewerB:areuenttjtuhnseedtodigdbtiaorotlnodshyieasymuh?sptoooouOcrglcftrdeaarpnchhtoma.uvtoreoWmsaplesearfsnntwsoitrhnu;ioggphmtstjohiutnegshtneesypnrneeuacaalimnnlay-ddl, M1tthhheuIeePnw'dehid/elelo,lragsdtsnhtoeafaftonnrdwddetewrhfpeheieynnnlikdacHd-eoicteIlohsnll.eymomSue.wurare»eGn.d,rt,eshw\aanettl(ol)wstbibhloeeltyrchfgreoisiyvmmeeenwadtach!hnkiestNmooobvnaueweUtr wrpdtihooaeanuyst'rotswtfhhkoeetusnhnteoe,wwtftoheohemarocemvwhenairuntlagoPtrlepyaoloympabuoeyonrnyigostbnougfaisnfrnn.lwidse1hsealol'vilvewsentem-hfprewoierhdsenittrothoetye- bmedptlgftHtirlliiehhheevsyavsreeuefyecemgsdepoHnstoagreocvgeetr,csrueeoelfsdtrwtsvothbisehnorooetetaassuehdnhttlmmtcelew«aeihowwyekrrig,opeieatmnlrdwhnnsabirslioyoeazuiitteltebatemfrhhhfvdsosreeeeIuroondttt.tmHuahpihoetbaeehmSihRteofdoriapicres,tdraacl7hapiolou(ewshaintsbir,hrnmwdwelmHekaiaoaeuonistttnttmtnmhhmihmdssgbeioeeasc(nyoHomnwra.nideffo)nldyli?wrlWldoebt,oophwehTlundncnoieahhialioosnyflnoedcett-g-l o»wPttdoat(,ephreslhnmleapek^reiyeyyoebnevarsdqgiagaitnyiscgulnuaidtorelluonnhenasoantieedBsswttidmrstiPecy.,itnwharsodgh,nooooOu«geddfwuancetyuslnhsDthcgcadyuoehotaepyoddairniponbuotvnsdaoieerhingtrieinaRctJnopgdotaaitgonipshlhnnyeaoierwg«tryrcbeasheBêeyceThOneweh/sot'anjhoasiwrloDrasunc,yniaorwtlo1t-cneio-dt'ntlrntbhonieaovheleoegmrtaidelslcsuel»lootalwrlHfnfu,an(obtrtsernllehotteeloleohwybiamhssesk,lnofehewfsooefhalhKdtnatmlora)aiyihdahsis.ylacneletnhseth-sesr,g,d? wgsWsastkHVioaoawnoneitllnedtmeheftdteiewiwe-notsrinmdgnhssblig)otetaby(gu,hIot,ewgeystctbirwmelbpaeunAwriahle,utigrahants)irtwtlbhoeit'eionaeigsaiwtmndutwnpilghayeiiotoet.snniUbhooytnsj'oNkuuigonyshhsosfdbeifoatftiltsdrstv,eebrmieciolejaaennhfimcrumnnkvolaataddaeeroyr.gguv,lt;wmesedhvShiahieroeeemztnanediab)hdtgstmneoreireybanwetihul)saneyeBatywbgdbhcpsielioirebh.tlcneoeiecahsaheaon,ar,oyukguosbsBbbssflpooealeuieiynrokctt«a,ehbnr)ataedeTbtdyhhredlehahiiea,ytteesee wstldrafusleheaeoornlla;,lnlsmtdedvg'eieaaeisesztrsmnnremthtdytahfoiahretdnltlehetllighwaisfacifteiaestohorynnree(hlhotyatiehrupeeshtio.agaeoslhnrhe,AMenwxoltveacatfiredeyonvis,sdregHscs.iheiritweHhe)fovYoeaaevnortfdbbeeu'kluecr;sinetrcyafidguaenwtmsuslytphebbausyartogleolsecaeytetoor,sslttrn-we,h,yttc1aweroistrmyolhaehlulatowelnecpilnmodlyaheot-,,lt The Innis Herald www.innisherald.com InnisCollege•Room210•2SussexAve.•Toronto,Ontario•M5S1J5 [email protected]•416-978-4748 Editor-in-chief:JenniferCharles/AssociateEditors:ChristineCreighton&MarcSaint-Cyr/InternalOfficer:SuzannaFung/FilmEditor: Daniel CDo'nAtrIiibmuotnotres:/EDdaintioerl-Da't-ALIairmgoen:teSt/eJpuhsetninHHuatlcheiys/oAnl/exPahnodtroaEdHieteonre:yT/imChRriicshHaerrdosn//WeSbtempahsetnerH:utMcihcihseolnle/NJgaumyeesnR/aLnagyo/uCth:anCdhlriesrHLeevraocnk LaurenPincente/TimRichards/MarcSaint-Cyr The Precis *«Femakaimaliansanalwaysbitltrinu-arJspcopUlhalurrprrlUrrthanthm»(p.3). *<.Vhcpill!iiwrcpleku-ilhrerrslnpiiiparts»(p.8). *«ittwIhtyoungest,UastrducaUd,anilIcaslprrs/igioiisofihcennreclass»(p.2). *<(////h,Ihir,!ucliifihifilmhvadthj/"„/<ofminrulineheal»{p.8). *III'magmnsiomnightstandsforthatnason-yoiineverknowifjoucouldbesleepingwithadistant *«Theagila/edvii-lun<ofihfsir.iuls.ir.ihe.ily'immimls^'(p.8-9). cousin»(p.2). *aMumperseii/dfinilrhnp^l,ih>lnnr.imil-afyM.ilvf'liiirnrhhplayoul>>(p.9) *nThehomoeroticsubtextrtmainsonfyjainlfydetectabley>(p.3). *«Th'O"jerks»dîîninjrx-jg^rni!iiig/}'Jrwgth'siJaia^^^ (p.10). *aAgrnerationivbrrenoslal^stemslocomedimlfyfremWesAndersonfilms (p.3). *VAtthescnrior^^parly,whiletibsen-ingihcritual-sexactivilics,billistuarnedbyatall,beautiful "*«Thispwmois[...]lobecontrarian»(p.A-l). maskedwomany(p.11-12). ofgradscIh'ovoel,nodewspbietgeusntilmlysufsfeecroinngdptoesrtr-a Memoirs of a Grad Student eentinyBritaIinnoawndhCaavneadaassi>.nkAinndgftehealtinwgasthiatt. traumatic stress syndrome from the first. StephenHutchison thisiswhatIcanexpectifIdecidetopur- Idadyidfonrotthwiongstbruatigwhrtitweeeeskssay'asnd16rheotuurrsneda Berkeleyofcourse,butthatdidn'tfrightenme:U taken.Ashywomanintroducedherselfasafirst ssueeemls,awI'svcehosiomlp!n)e'xbteyceoarm.eSrceasriygntehdotuoghthiet toTorontoaweekandahalflater.Asyou ofTprofessorsallhaveabsurdlyeliteeducations. yearPh.D.student,andmodesdyinformedthe factthatIhavenochoicebuttocompete can imagine, extricating my brain from Whathadmequakinginmyurine-filledboots classthatshehaddoneherfirsttwodegreesat against people of this calibre. 1 initially «vacationmode»hasbeendifficultindeed. weremyclassmates.Astheybegantointroduce Stanford.ThepetiteLidynexttoherwasathird panicked,figuredI\vasinovermyhead, Myclass today,however, jarred themselves,IcouldIfecimysphinctersbeginto yearPh.D.studentonfullscholarshipalltheway anddecidedtodropthecourse.Irecon- me, kicking and screaming, out of my gjveway.Thefirstwomantospeakalreadyhada from Poland, Finallysomeoneannouncedthat sidered,however,aftertheprofessorbegan stress-induced coma. Forsome reason,I B.A.,M.A.,andLL.B.,andwasworkingonher hewasdoinganM.A.inthedepartmentofhis- todiscussthecasesthatwe'llbestudying thoughtiiwouldbeagoodideatotakea LL.M.NextwasasecondyearJ.D,studentwho tory.MyfaceUtupforabriefmomentbefore untilreadingweek: theattemptedassassi- jointgradschool/lawschoolcourseabout didhisM.Phil,atCambridgebeforeworkingfor hecrushinglyaddedthathehaddonehisB.A. nationofBritishPrimeMinisterSirRob- modernpoliticaltrials.LastsemesterIfelt anNGOineastAfrica.AthirdyearJ.D.student atJohnsHopkins.Therestoftheintroductions ert Peel, the treason case of Louis Ricl, some intimidation from studying along- andformerUNESCOworkerwasnext.Thefel- weresimilariygrandiose.Iwasoneofthelastto andtheOscarWildetrial.Imightnotbe sidePh.D.smdentsintheirlate20s.This lowbesideherwasdoinghisLL.D.Afterheintro- speak,andwasbythenquiteawarethatIwasthe anIvyLeaguer,butwiththesetopicsI'll class,however,bringsnewandhorrifying ducedhimself,theprofessorpraisedhimprofusely youngest,leasteducated,andleastprestigiousof atleastbeplayingWonhome turf In the meaningtothephrase<iinferioritycomplex». foranarticlehehadrecendypublishedinaschol- theentireclass.Iadjustedmycollarbeforemeek- wordsofGeorge Bush:«bringIton». Theprofessor,MichaelMatrus,is arlyjournal.Sweatwaspouringdownmybrow. lyandlaconicallyinformingtheclassthat«I'm Also, I have a hot- theformerChairofHolocaustStudiesatU Ihadhopedtofindsomesolacefrom doingmyM^.inthedepartmentofhistory.Jdidniy ter girlfriend than they do. ofTandquiteabrilliantfellow.Hestudiedat thehistorystudents;1\vas,however,sorelymis- undergradhereatUofT.I'minterestedinnineteenth- Ancestry or Incest-iy? LaurenPincente Last ight /as a bad night. I whatwouldonecalltherelativesofourfu- couldn't sleep 1 was having the ture?I'vedevelopedafewideas. nightswLMis.Not)u' regularnightsweats Procestors;itonlymakessense. bu( those rcnchcd-i WLiit-c.in't-sleep-all- Anantagonististhenegativeofthepro- l-fuei-is-niiiin--..iinndd--totnomorrow-rm-cxpecting- tagonist,sowhynotmakeaprocestorthe to-wakc-up-\\Tdi-thc-iiunightsweats.Let's positiveoftheancestor?Itmakesthefu- justsayitwasbad.Inordertodistractmy- tureseemmoreambitiousandoptimistic. self,Ibegan10theorize.Istartedthinking TheCityofTorontowouldeatthatshitup aboutat!thedifferentracesintheworld.1 intheirnextmarketingcampaign. wondered,wasthereanoriginalracethatall Incestors.Whynot?Whenwe're theotherracesevolvedfromr'Asians,-blacks so farinthe future,sleepingaroundand andwhitesarealldistinctivelydifferentso baby-makingwithinournewhybridbrown- theymustbeindependentofoneanother. skinnedrace,thereisachancethatwe'llbe WliaiaboutMediterraneans?Theyareccr- with someonewhose ancestorswere the [amlydifferentfromIcelandicpeoples.And s^ne as ourown. Chances arc some of as I was wondering and questioning the youaredoingitrightnow.Hell,I'magainst historyoftheworldfromtheuninformed, onenightstandsforthatreason-younever unanlliropologicalbasisIhave.Ibeganto knowifyoucouldbesleepingwithadistant wonderifonedayhumanswouldevolve cousin.Andthat'sjustgross.Mightaswell intoonespecies. acknowledgeoutgrossnessbycallingthem Naturally,itwouldbebiUionsof ourincestors. yearsinthefiiturcbythetimeweallbecome IproceededtocheckDictionary, oneraceandthenexticeagewouldprob- com'sthesaurusonthematterandthereis ablyhappenbeforeweevenhadachance noexactoppositeforancestor.Theonly tokeepmatingwithotherraceslogelfar antonyms given were « descendant » and enough, but could ithappun? I'd like lu «progeny».Ithinkit'stime1createanew thinkso.Ialsothinkwe'dallbebrown.Any word.I'mgoingtoworksohardwiththe kidwhohaseverplayedwithfingerpaints word«incestors,mypersonalfavourite,until knowsthaiv\'hcnyoumixthered,ycUow, larcraftinclementar)'school-andmyteacher, So,nowthatI hadconcludedthatI Webster'srecognizesitasmcatiing«future black,andwhitetogether,youalwaysendup Mrs.Stuart,warnedusnottoshakethemand,of wasalmost100%surethathumanswouldevolve descendant». If BeyonceKnowles canget withbrown.(I'\'ehadexperience.Inthesec- course,1shookminejustbecauseshesaidnotto intoanewhybridbrown-skinnedrace,Icouldn't bootyliciousinthedictionary... ondgrade,wetookusedbabyjarsandfilled andthesandturnedallbrown.(Mypoormother, helpbutwonderwhatnextpoppedintomymind: themwithdifferentcolouredsand—apopu- receivingsuchathingformother'sday.) ifourancestorsareourrelativesfiromourpast. geidTdacoHrteablcssttVrtimfffisfauiienehoikmfuaxaoaenoohanpotrlfrservebdnrntcwcndn,tnleenoeubkeGlereteceuetiek.ratrlynee.rsdcoeepnontgPsdycyootilpHegtmodegrteeHeowpaoglfnoaenpienlhdtosfeiriaancalkcmtKnulin.efdtsousristiioeihng,FiaregtlhVenb(nhwnIsgemhareostyiaadndtTgkss'-lASoi,ewcdttoesmite..hlcfirncnefialudhhasfnryaoinovisdmoUlaotoemiiigrsTgfPnsokroet,edovgurwgNcceltesoafirhhruiieanvbdrno.horhtecotmdhrosnranfseaine,ahenhedeastaorrtBwvgaeoipcdcyhpdntiroiinf,hraunbmfaaaNtesorhhatdDudgidufnapdnionaretetlycdsanaGerbltlsaretddittdov-ntjrreogmvseaepcBwhtkipdmdoihskee,iepooelzectraicermeaftihoprtsanhdMisrkfeaci.mmhndiaplev1ssnacicysylsnatseeotrsoiaaihkmpcittpx.ictrolnaHrendoondbtunouoiihlhneecaisDnu.gghTtloafnynsfnnapeceralleeoeempmasrfriohgn.nyrxomaTclscdcipsrktyraaeburlFueti,cfktbhyaesohoifHmfesrsarlphessrlwtlcteoofmbrsdniaaeltrrM,iteeDeikifmfidieseMncaesuowtsaeaaggp.shicxhcf-yztbtnlrpnuhce,risnuofulinttRhibiseeasraoghPoifmtcealaKw,aiablnmiUgaryeoqtfnnecainraahL.opc,rlbmtusyatsrtaaosiepfioTleetteibotttttulsgisitlroekcaowoehesesshhhhheahctitfarlgfahfs-s-ed--seeee.--e,y-e--s- 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emccefhAlsawqaaTrurpabmcoiwew1dixeslliesuleeifopiiieyrohfoloitnlsnuofevtconpnstttemepoosfltrtswheereasdeeusIcthteahimnmn..feanyebspewsnrreoa».kioouaalte...lnhanisrHlitctnIpnsisia-sriinaeIconisqthosrHetiIbNec.engonuaZssnechgennoPnetoclegeflecosdieonoomyv«osmysdkfuot,eepneeantaetbimte.o.pmntmhgh.gaeseinYhihnssieniuoteedisrdoguohieBi,nemlNtdencnnnsuHtou,shorgtaenryhyems'a-dfuweonoio«etogvkmevteblthasoagonuIettedsseiyweraebzf'ahgtwskahtiesscfvpynnhgqeeuitfeiabemhnaocaotlfdotutaadosanmvoprttnolorwlojeebeertmrgwJarutirdueeietsunanhniwlobm.uaigstrqetrhtottonric/Ddaeymtnusentmiieumhwuargic.gesssoechedgsaoesiviaioaoteatilkHpsoarsvmnktwtsiSnfmssicoeyaermrhufaihieietkcm»rshryyddiloomnrtr.onitneiipahrotinlqgkhtpsahhdnsatogarnwbstafuHmeiheoeechilflng,eocoioispwisn»olav,ligerehsre,nliruvToHsokuiemrslreeybtuss,nHhdtsoreeuiurmchaaetyatiswaskpnknrydmrcoIsceanepei-hrcsievecm..hieotpfbreUemdhitk'reieisnsqpavlnmahmphfhmgsIssnldtthuibeenobttGrom,onymIrgarreiheoarlrsoo,anesfoa'oiioewarsmms.iewnsatzy\rncmlst,ute'satshyetleihlasaasionaseeikariaHmhfdotrrhOhinn'nrd,celosesrtdeioestiiri«eymedfson-,lghfn-k,-sy,ssr.sst.-- gDreocsisTfMeoifitaMsdcihnloisnsg,l»)o.osReelcyenttrlaynslsactreedenased<taTthae Tplhoetftilhmroiusgahclaemvuersipnagsticafhfee,ctraetvieoanlsi.ngTahesimupnl-e Hreelealsieghtrsasapy,ne\wnscccirgaalretstoeu,ncdl-eartihnegshoisuntdhrooaftatior pbeerhseolndalgietnyi,us1,c—anoromnaldynewsosn.d•erwhetherI Dance Cave Drinking Game aAgadianr:ktbheelIDl'aovwenicnsegaiCcdaavviteeowisnhceheripesatgneodropdIuHrhgiapstsaotyreyri.st ChandlerLevack •tyeoSrumeridlSitanhtgeurdmdeoassypitntiergihtdthiecaudflvaoceutnsmterhanetsv.iyroSoumnimhlaeivnnetgebfneo--r gotodie,weseethemintheirnaturalhabi- causeeveryso tat,fromthebrightiycoloredPanic-At-The- often,yourealizethatyoureallydolikethe Discospecies,tothesweatervestSethCo- lookofneckerchiefsandthatoldBroken henset. Sod:dScenesingleisacnjallyquiteprett\' Isupposethere'ssomethinginthe ,indsometimesits mceto hangour\vith water(alsoknownusbadlymixeddrinks) your friends and search for love because thatsetsthebloodpumpingforalldance ever\fonegetssouprightinUniversityand ciivL-.irfcndants,asirnowapparentiytheen- maybeits okav to express fhe things re- vironmentwheresomeovcdysweat\'drunk pressedbecausel;unes[oyccisallaboutdutt gu\ canapproachyou,tellvouthaiyou're anyways.Soreallywhatyou'redoingnghi a tiiliilhtilli:-<•andine\itablytryromake now(grindingupagainstastrangeras\<>u outwithyouasthatsongfromNafMileonUy- talkaboutdiefactthatvoubothtookdie namikplays.Acavewhereitistoodarkto sameanonymiai-lir-tiL.irphilosophyclass, seeanyone'sfacebutbrightenoughtocom- hishandswiuidLniiL'.cM'umentionDes- plimentthemontheircoordinatednecker- cartes),isareflectionofallaspectsofthe chief,theidisallowedtorunrampantas so-called«UniversityE>,perience».Evenifits youlookoverthegyrating,sweat-stringed morepatheticandpost-modernthanyou crowd, searching for a nostalgia they've anticipated. neverexperienced. Whatisthemusicofourgenera- • Crazydancingbyacrewofboisterous tion?Becauseit'ssureashellnotTheCure, bytakingasmanycameraphoneshotsofthem- •«Mapsi>byTheYeahYeahYeahs frat dudes. Moves include: <( ihe shopf:'w^ althoughevery19yearoldseemsperfecdy selves,linedupinarowofmostdesperateto nMr.Brigh/side»byTheKillers cart»(marchinginplacewhichyouminn, abletoprofesstheirlovefor«ôysDon'/Cry happilycoupled,waitinginvainforthenextguy •«BoysDon'tCry»byTheCure searchingforramennoodlesonimaginary ».Inagenerationwherenostalgiaseemsto totakeaturnatrheirglue)'woman'slips. •(tTakeMfOufabyFranzFerdinand shelves),«thefisherman»{castyourimagi- comedirectlyfromWcsAndersonfilms,if narynetwhileyourfriendpretendstoget seemsthatwecanonlyappreciateaband •Oneguywhowearsstrictlyfiannelmen'spaja- (Becausechancesare,ifit'sanindiesinglebya hooked)andxIhesprinkler»(jerkymove- likeTheRamones,ifweweartherequisite masandastraighdypartedshoesalesmanhair- bandmainstreamenoughtogetonthecoverof mentswithyourhandsandheadshowcase CBGBt-shirt(theDanceCaveuniformIf cut.IntheworldofDanceCaveheisagladiator, SPINMagazine,you'llbehearingitatDanceCave, themomentumofthemachine).Thisal- youaddpumps)anddrinkironicshotsof andwomenshouldbeofferedlikesacrificesfor everysingletimeyougothere.) lowsthemto«noldancei>butstiUdenotesa JackDanielstoemulateourpossiblytame hissweetdancingskillsand;ibiilt\'toneversweat funupbeatattitude. Canadianlifestyle. evenbylast-lastcall. Bonuspointsaregivenforthefollowingitems: Infacthere'sachecklistofthings Thereasonthaipeoplecometoa youshouldprobablysecthenexttimeyou're •Twovaguelycmogendemenwhoseemcom- •Anyclothingyoufindontheground,nowde- placethathastheword<iCave»inthendeis attheDanceCave.Takethiswithyouand fortableenoughwilhtheirse\ualit\'10grindup sertedbyacavedweller.(1forinstance,founda becauseit'sa)freeforUofTstudents,and dooneshotofthecheapestbeeryoucan againsteachother,allapparendyintheiratrtmpi whitestuddedbelt,whichIimmediatelywrapped b)totallyridiculous.Nomatterhowmany findwhenyousee: toworkacrowdandwootheartciidonofanygirl 'roundmytorsotofitinwithmysurroundings.) timesI'vesworn thatI willneverreturn withAstuddedbelt.Whentheydoscorethegirl (onetimeIendedupdancingwithaguyin •Anextremelyawkwardlookingguywear- widithebelt,theyspendmostofrheirtimestill •Theline«/amsonotdninkt»gi\'cnbyanyone adressonHalloween),itdrawsyouback. ingdie<iheyIdon'thaveapersonalitybill»uni- grindingupagaihsianother, - isobviously,quiteImpairedtotheirunfortunate Leading me to believe thai Dance C.ive formofabuttondowndressshirtandan caretakerfortheevcQing. istheoneplacethaiholds;uieeriemysti- oversizedleatherjacket,dancingaloneand DooneshotofJackDanielswhenanyofthe calqualtyandthe".("-/'.W-//j-tW,>appeal. staringsadlyuponyourlaughingcrowd, followingsongsareplayed; •Agrossmakeon!sessionthatresultsinyougiv- LikeFuiiirtsH.ikLTv,mdTheGreenRootn, ingouE\>luriuLorreciphonenumberonpurpose. theD.iiKLI ri.-,tilvisn'ttijatwonderful. •Threeemaciatedclubgirlswhoseemto •<iDeceptacon»byLeTigre {Iliketocallthese«haie-oiils».) Andvet\wkeepcomingback,searchingfor expresstheirloveforBrokenSocialScene •«ThisChanningMan»bytheSmitlis InkeepingwiththeHerald'snew The Forty Best Albums of 2006 designs on indcpendently-nrainded form, RanBlake'sAllThatisTied voiceandstyle,includedhereisalistof ChrisHeron TTiirdStreampianistRanBlaketakes the fortyalbumsreleasedin2006thathavenot opportunityonAllThatisTiedtorevisit beenpresentonanyoftheyear-endlists pieces from his four-decade strong cata- compiledby the Universityof Toronto's logue. Though there is no new material, otherstudentnewspapers.Thisprovisois that Blake approaches these pieces with noitobecontrarian,butrathertoencour- thesamevigourandcandorthathaschar- age interest in alternaOve selections, es- acterizedhisplayingthroughouthiscareer peciallyasquiteanumberofgenreshave ensurestheseperformancesneverrunstale. goneunaccountedforthisyear. Liketheformofthealbum,thekeyranges. Furtfierinformationabouteach Blakeexperdyelicitscoundessstylesfrom releasecanbefoundonourwebsite,includ- hissolopianoplaying,yetnonefeelsuper- ingitspositiononthispastyear'snon-Voice fluous orimpenetrable in theirinclusion. incarnationofthePnxz&Joppollhosted Rather,theycontributetothegreaterdrama byIdolater,aswellasfift>'morecampus- that'sinherentintheplayingitself,evident idadons. ineachpiece (v.g.«Birmingham U.S^.») aswellastheirrelationtooneanother:the a!vanote'sFor lumbering«Epilogue»ismorestrikingafter ForisacollectionofworksbytheGerman theemptyspacecalmof«Sontagism»,but artistcomposediniJicpastfouryearsfor likemanyofthepieces,ittoofadesaway (hereinformingthetitle)variousindividuals initsconclusion.Yet,precedinghistakeof andtheirendeavors,eachnamedalongside «LatterRainChristianFellowship»intheset, the corresponding track. This collecdon onecannothelpbutlaugh.Thisisbutone marksareturntotheoutstandingelectronic ofmanyfeelingsevokedbythisgreatwork minimalism that characteri2ed his earlier andbythecareerofRanBlake. work,andthoughtherhythmisnotasclear- lyemphasizedashisbass-drivenworks,it Burial remainsasintriguingasever—especiallyin OnBurial'sdebutalbumthereisapersis- theforegroundofthecyclicalmeioêsof tentcrackleofstaticthatrunsthroughthe «Jrn.Thewealthofst^-lesisperfectlysuited at-oncebrittieands%velteringenvironment,. tothealbum'sdedicator)'nature:themys- It'sacoarsenessthatisbothinvitingand ticelectronicsofJhonnBalance{«odradek cautioninducing.As this soundbecomes n) juxtaposedwiththelightboxesofCa- more and more rain-like, thetradingbe- nadianphotographerJeffWall{«wallanjang tweenskeletal,winsomecoldnessandbus- »)demonstrateshowdifferentinfluencesso tling, hazy friction begins to conjure the understandablyconflatein theexpressive However,Bailey'sadventurousnessandpenchant elementswithdrumsthatwouldbeathomeon industrialcityscapesofEnglandthatspawn nuancesofalvanotaIt'sthistenderregard forplayingwithyoungerplayersensuresarich, areleasefromSquarepusherorlabelmateVene- thispowerfullyemerginggenre—thecity's foravarietyofmaterialthatmakesthisre- typicallyengagingset,aidedinnosmallpartby tianSnares.Thisapproach,alongwithtrackslike pirateradiostationsalsoevokedfromthe leasesocontinuallyrefreshingtolistento, Bruise's own talent. The electronic contingent «Mossy»anditsbrieffreejazzsax,arcemblem- sound.Likeacity,thisisaworkthatexists andsoabsolutelyengag^g. meldsbeautiftillywith Bailey's softerside,just aticofthegenre'sseeminglyconstantinvitation asthesumofparts,envelopinganumber ashishistorywithsaxophonistTonyBevansuc- ofmanydisparateelements.Likeothernotable ofstaples that, thoughbotnofdifferent Amerie&DJQue'B cessftiUyencouragesthetraditionallyconvoluted dubstepalbumsfromthisyear,includingBurial genres(especiallythevocalsamples,which htcaust1LeixIt,Vol1 aspectofhisplaying,notoncebeinglostinthe andKode9+theSpaceape,Boxcutterexcelsin applyjustasmuchasajungleandgarage Amerieistoooftenconsideredoneofmany morebrashmoments.Asthetracknames«Search thisenvironmentbycraftingaimiquevoicewhile tropeasthesourcesthemselves),arcunder- Beyonceclones,butthesecretisgradually »,«Locate»and«Destroy»indicate.Bailey'snusen operatingcomfortablywithinthedubstepsound, Stoodassharingacloseproximity.Though gettingout:she'sactuallymuchmorein- d'etrecreates-andthusthriveson-obstacles,and andthemanytraditionsthatinformeditsexis- dubstepalbumsarenotincrediblycommon terestingThisfall,AmeriedidwhathasCo thisisaparticularlyexcitinglate-perioddisplayof tence.Theconsiderabledrive,generousreverb, atthemoment,eachfacetofthismulti-di- beafirstforanR&Bsingerbyreleasinga itseffectiveness, soiJfulvocalsamples,abstractcutting,flourishes mensional,ever-shiftingworkissofullyre- mixtape-yes,inthehip-hopsense,andit offluteandincomparablemelodyofOneiriccon- alizedthatitmastetftiUymaintainsasingje followsexactlythattradidon.Immediately, Boris'sVan tributetomakeeverytrackasappealingasthey prominent,complextoneoverthecourse shetakesaimatasingerwhorecentlytook Borisreleasednolessthanthreealbumsin2006, arenoteworthy,andpresentsjustoneofthepow- ofitsnear-hour-longportrait. agreenlighttobileAmedc'sstyle,deliv- notincludingtheircollaborativealbumwithSurm erftilcombinationswe'reaffordedbythisgenre. eredwiththetypicaltalentandconsicdon O))),soitwasdifficulttochoosejustone.Pink JohnButcher&EddiePrôsfb thatseparatesherfromtoomanysingers becameacritic'sdarling,incorporatingthepsych- CartaBozulich'sEvangelista Inienivrkt lackingthelatter.Furthermore,Ameriehi- rockpreoccupationsoftheshorterAkumaNo Ifthiscanbecalledcountry—andmorethana Thisisatitanofarelease,basedbothonthe jackstheproductionofanumberofhip- Ufawithequallyappetizingambientstretches.Yet fewmaybeledintotheBozulichworldfromher namesinvolvedandthemusicwithin,AMM hoptracks,includingKanyeandPharrcU's Vein,avinyl-onlylimitedrelease,wastheirmost re-envisioningofWillieNelson'sTheRedHeaded alumPrevostfocusesprimarilyonbowed «NumbtrOne»,Cam'Ron's«WethndLovt exdtingreleaseoftheyear.Comingintwoparts, Strangerinasong-for-songcoveralbum-ittakes symbolsandtamtamhere,whileButcher's »,Lil'Scrapp/s«MoneyintheBank»and the(relatively)moreeasilyavailablefirstpartis alltheconventions—theseclusion,regret,anger, playingisbasedinthenuanceofreverbera- RickRoss's«B/ow»-whichisphenomenally thefocusofthisrating,andisdifferentiatedby religion, national identity-and explores every tionthathascharacterizedhismostrecent. executed-atonceshowcasingherabilities, itstwelvetracksfeaturingvocals;thesecondpart dark,obscurecorner,especiallyontheopening ElectroAcoustic Improvisation informed hersharedsensibilitieswithhip-hop,and beingtwoinstrumental,noise-basedpieces.The «EvangelistaI•».Thisexperimentalapproachis work.ThedroneofPrevostcarriesthere- avitalconsciousnessofthisgrowingme- openingtwotracksactasareminderof,or,more nothingnewforBozulich,butonthisfirsttrack lease,though,lettingButcherfluttertongue dium.Finally,previewsofthenextalbum, Ukcly,informationalsessionpertainingtoBoris's it'sasmuchaprimerasascorchingcalltoarms. andescapewithineachnotewithoutrequir- alsoentitledBecauseILoit//,arcpresenn« avant-gardeanddoompedigreethatdominated Thatitisbrilliandytemperedwiththerelatively ingthesamepatienceonthebehalfofthe Thai'sWhatYouAre»and«TakeControh,, theirearlierworks.Bytrackthree,themorere- conventionalrenditionofthetraditional«Steal listenerasCavernwithNightlife,oreventhis theCce-Loguestingsinglethatiscurrendy centrockleaningsareusheredin,butwithawel- Awayi>thatfollowsisatestamenttothisalbum's year's collaboration with Christof Kurz- destroyinganythingelseonthepopcharts. comeincreaseofrecklessabandon.Themajority variety,withtheremainderofthealbumsituating mann.Thatistosay,Butcher'sunmistakably Thisisheadsandshouldersaboveanything ofthetracksblister,takingtherecentbrevityto itselfadmirablyinthespacesbetweenthesetwo inventivesaxophoneplayingisasgripping elseinthegenre. crustpunkregions.Thefinaltrackisanincredible extremes.IfnEvangcUstaI»wasashock,these asever,it'sjusteasiertogetcaughtupinit mutationfromthisnewattackbacktothedoom moresubdepieceshitevenharderbyvirtueof here.What'ssignificant,though,isthatthe This AuguBsrtuise20ui0t4hDpeerrefkoBrami/aenyce featur- athnedidmrmoendei,atwehihcohokfsraomfesPitnkh,ebruelteafsoer.itTshaidsdiltaicokns utinveealyrtchailnmgaenvdencamsuoarlemavnanrieart.ioTnhseinfisnaulceh,«aErmenla-- eHenrde'esffhecotpiisngnothleessesatwroe,vwelhaotorhyaveexpsepreinetncfea.r inglegendaT)'freeimprovisarionaiguitar- totheBorisoemnandAtsuojoininginonvocals, gelisla11»,seesthemostendearingvocalsofthe toomuchtimebetweentheirfewcollabora- istDerekBaileyandBritishimprovgroup thisisanevenmoreinteresting,invigoratingand albumtreadingoveranexperimentalbackground tions,reunitemorefrequendyinthefuture. BruisewasBailey'slastin Britain,having flat-outfunrelease. (theConstellationcrowdarefoundthroughout movedtoSpain,and,unfortunately,pass- thealbum),beforethey'releftalmostcompletely ChristinaCarter'sI^ceHeart ionfg2a0w0a5ydusehorttolmyotthoerrenafetuerronondisCeharsie.stTmhaes NorthIrelandBdouxbcsuttctpera'rtsisOtneBiorxiccutter'sfirstal- aelxoprneesisnivtehneesasstoofunCdairnlga'ssevcooincde,haalsfbTrhasehlsyoudlrfau-l LlaacmebiHdeeasr'tCihsritshteinlaateCsatrtCerD'-sRMafnroymBCrheaartah-s diseasewasalreadybcgjimingtotakeitstoll bumisanexcellentdocumentoftheelectronic maticasitisgende,isthestarhere;we'rejust label.Likelastyear'sHumanAsGuitar,this andBailey'sinabilitytoholdapickneces- contingentofthegenre.«BadYouDo»perfecdy formnatc to receiveaccompanimentthatis as foregroundsCarter'ssolemnandbeautiful sitatestherelativelysoftplayingfoundhere. encapsulateshissound,meldingtraditionaldub richlydynamic. guitarandvoice,while temperingitwith Witnamaaeesfptottuddlsbsiai1vgasoafntthnisayynooihchmieineielnitsiitiflehtdisneagdactehcsnasupca\unoluirant.eoemtebaulbxcarythnhneoeOrndgensvthcsteai,sy-lofarosrvleoanlrnn.haihlsrieenroaisoetgSeysdpeaipsdanoaot(cmjpgldietTuhoJawtieautryntirnfeoacoetocmeouahbcmnscevzaeenvsgaruoitownossaiieanndrotidlelicserdbfuolttdflnua«Abrtldiisditlneendorenyesyeolsbceeheuaeewnynehn,Ifgti,lrmijrGudeallnskgiiyhlatneymadiAaelmrpupCrrtlnugt.,tOatceusnioscsuupaoaoaridoampimdohOhaetyddnmdgtttnswapgnvtirimenn,cefeel-etstastoeotiannmsmenfeuahtisoieihwoetttSacnpiftrdeeashdnentmmnrnheemethgiihrmifceeetihirrnstadegfsptClhee'aarortaiohmntaei,tlwairnes,ahlssrnlieoeunnmutmddaaneeahobnaiqit»usyuoadbrfCdneu'yiadiixpe.dsgstpucltilmsighefscoddusmetmUphsitiehwrtkiatMsheethliirenbcntbo,aeeroeibeotcl'\orasanteaeiSaauor-ceigx'uhtr.yossuehnflttktmniotqcttdemrheapewkwiacehetdtaeaueiaeucukibrisnlfItiya.iGnraldliadtlnedntwonnleiusyetcoivssaVs.isihyio'vfirnatTdltatgMheetyiifntaspecaetrtscsteh-rlhJdtikortcsth,aGuieariTeenyhidiealnikLrtiuvaenlettrnaorfaxeohlkhsnsdleohPepiiminirmcgrecnityangitl-a.aarnnealiegmsviJeesvjsi,socsatsutmtyvbechesnlant-ecfapoaTtateespslremtlzetsaeryoeectcsrfsrdhfhuhospalzeaoppaastrbreariee,klselcrenervleioefgelssmsisrleibeaurmlotcocpeaoptirtsssieytorsrtsaatapttveeusnUtiaaattunhunticleiratreneenwtgsnhndoahcgticsleisehatllaelinord)eetho--oneggy,fnfh-efhoedll--y- 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JammaomaipTdlmniktmmbrohrlttttbfttdtfutnevaefreilheaoaahaeihrohhoeayfhvaasttavorxieonaltceeeemvbwrrctntetksnenaantighLitaeee»cutmeiRastltrcycfresynagrntearloahol:lya-mnh,,-msttoeotekneghe.stseiooJnutlegguotvclttsmsnoasn,nitigbpjiafiarnashaiKudsfsltrksefhos«ToihuiairrfrsgRioozsnchoeeidn,hwsctinAtneddmdecmaacruenkodsinVttfaedIlcesgie.jeegrnoRbmneaghtiotyhka,aphoeenduacemorpfumaydveidnwrismae'll'uxdars/heareosafTsoeathreoiemderatsbrestgbntdaereeptjixm-hoannyuevbra/fussiuseenhaxrtlo.iAruspmisgdpeo,i'stmotreeoiture-fbiodanrcaionouhio,snltIci»acnennesseeldenciudsuhnai-icgekvimbttacsioe.ratvMedrnangtslsfogixhMeteeheltvimpetnwcdedoeiosaiouephessltedieleipAiotnresotooi^rmnleld.uooyeotam1sfnopreiivatn,aeeconcfsbnednonfaa'.0ulpasmfebTulsilnatasifufdlsryeplftonrsitalrcbisehmcaltoima:MoioriishytnnutlyesMortethiorDe,vmpuemanbnelrhhlcsiahpeuiienttuartsseofgvegntueoaoe.nceroshwthunitsristtiuaisrutdwhohenottennhtehsaaaidofcflTsoseeoitleoioeigleisetlvpyniienhonnoinsfuornMraban,sekeeslerneiacsrsdettsitcgrtsxecaeenllussethsapreensshxsermohsctlyye&aeysxtmoissMcmssdidanaeiesffho,l.tnnhnicuierrf,-odeirfmitwerlirinhemeymsedriso'voemmoipeongvimtmticteiirerwtsRfapalectalilnmehaoiilthectbhidiaiixsanahlhcienepsheapct,fe«tneisdirdfeptnrg.deleohnrs,fettirieaineiisJmbrausbyiVssetrrifresttrtacdteecfccooeinonueneeboebiihzhhiihasakrlo;ienret-ft:sey-mdeee-ys-mdesls-tsr-rs Othcetosbpeotrli2gh0t0,5Tlwiiitshlihviespbearfnodrmoafnctehefrlaosmt bhiymssoellifciTtihnegapuvnirktupailecpeesrsaorennneoltabbalseedexscoelpetliyonosn, hheerrtmoobroethavtahents-ugbalridmeellyeasniimnpgls.eaFnodrttehnissioanlbwuimt,h srtejblec-lslitohne.msAeplavrets,ftrhoemmetirieesjtuxatsappeocstistiionnrahii bamthnourdwceeehtdhy,meeaaaurynnsddbefheeriassttthusaeronenhdsaiDtrnewmgnootalhboraeddsyisosecshos,a-nrpiepls—eurpchchkoueeswdnseioavomnen-dr, epfhrsieosa\it-hnuiit-rlfoiainrsgtithoaeupnsunndeacexchhtmivanelligrkyebtaohanfrndovuEoiigcnsahleasnad.sdntiyEetaiiincodhnefoiptllioomeg,cDye.daiyceDraaaiysnm'hds-- 'osFpptioeenscrgteajestnr,igccitandolelGlsweihrvuiemprcaoyhn-n.mssThaeehdveeeanapopcnlcl1i9yoedmsmipoaIcrnkeeitnmtseuurnnrnytmki,isnGttgeharowkuamhgbaehlnn,y cdeWunoittremimnnsoIitSWswjieoalrolrbifGynegotlhptheoefndseaoHyrnowt«mh.e-Favrlncieredans,tdd.sdriTooehfnreerS.aobitfcnasUniingo»Te,l,ri1-;e apaenrtlaeealdu.pslebTayyheditdish.reoidsuriigan\hcn'oleuunistnbifyoetnchttehoieofsusestta.hrmeeeSlaekduaidsseint,eeinnawcccetc'sevsononniagjcps--e efnaenscecerisgnsyaatriiyns.gi,nfiencstpiioruisnginantdhejasrarimneg:mbaynnaenryamseaitniss iist<shujeci-yhhnitaaedrsgiere«aglMWieutvhsoeniintikihnle»e,»awaolrbcncuoamntt.uhegexCmtloeatnwshtiseiterchdahlbta-hynleedpa,hinaaiinrnsgomtopjrnuieiseactctaeea.dss rabneraosesitisaicennygltetovohenidln,ogatobhsmeuttrataoilnlgblmneueiljmty,aKMmlalp:oatvrnieicdsotnht.ffoilrrainotomirilosimuneiiLi'iaV.ng-A;\i.tuihtn.e,,ii andearformelodythathascharacterized E-40'sMyGhettoRsporlCard tojarring,downrightferociouselectricguitaras GlennBranca-esque"OeaillGlider».TTiis atlhlishinsewworekn,viwrhoinlmeewnhto.llTyherebparlelsaednstaatrievepaorf- AGhscl«/oTeRlltpAloeriWChaerndliosGtohe»meafifencsttirveelaymililnutsrtroadtuecs,tiAolny aernwiisneescbaepaablceoncvoeunnttieornpaolinftoltkonwuhmabterm.igFhotstoetrh'-s ihsopaefsuulplyremonelymedtihetatbieogninonninggenfroersftuhrattheirs ticularlypoignanthere,placedemphatically toHyphy,andfittinglyso,asitisoneofmanyin- wayofcreatingsuchapervasiveatmosphereis mcta-hybridsforthesegenres. amidsta break-neckset,andwithi<Sweet novationstowhichE-40hasbeenattheground whatmakesallherworksocompelling,andthis Talking»beingasemotionallyappealingas floor.Theacknowledgmentmaybebelated,but isnoexception.Theemploymentoffieldrecord- JuniorBoys'SoThisisGoodbye thebestwe'vecometoexpectfromCole- it's fitting that the movement be usheredinto ingsthroughout,andthethunderousn.-iufeiner Forbetterorworse,whatsets SoThisis man'sbodyofwork.Coleman'sinterestin thespotlightbyitsmostconsistentiystrongper- Burg»contributetogiveanominousbentthatis Goodlyeapartfromtheoutstandingdebut sthwaorinnegwthienteexrppreertiaetnicoenswiotfhclhaisssibcaCnodljeimeladns dfeolrimreiro.uslNyohtoto,nlbyutiseqtuhaellfyirgstrehaatlftroacfksthleikeal«bYueme Ihta'srdantoinstrhiagkuei,ngelvyeondideurrwionrgldtlhyerleilgehatseertnhuamtbdeerms-. BLaosytsEvxoiitceishatshaetmaermgeodr,erdeesfuilntiitnigveinJuwnhiaotr pieces(mTurnaround»and«J"o/(gX»),and 11arealsopepperedthroughoutthesecondhalf. onstratesthatthefolktradition'simaginationcan canmorecomfortablybelabeledanalbum. althoughit'sadisappointmentthatthere- Duetothislevelofqualit)',analmostunavoid- onlygainwhendieformreflectsthecontentas WithJonnyDark'searlydeparmreduring ccleundtevde,r«siSoonnôfX«I)TcolnoesleysU't'h'eomaanlb»uwmasfinttoitngilny:- aqbuliecksslaancdkdoofes«GoicmcmuireneHaeradthne,aenndd,tshuecshkiatsstahree itdocshere. cLlasctmcEnxiist,asrcomneoowfgdoinee,mobruetctlheear-aclubtucmluibs thoughColemanleadsthegallopingcharge, almostdisastroustothealbumasawhole.How- TimHecker'sHamiotreinVltraviokl, nonedieworseoff.It'snnst:ilgi.itliait!n\e^ cdirce.ifi:consistentiyoperatinginone ever,E-40'spresenceondiemicisundeniably AtthispointinTimHecker'scareer,hisambient thiswork,fiionidieIvncsuf (omit \":,- insciousncss—withonegrammar—tocre- engaging,evenwhenhefalters,andthoughdie tracksareallsoexperdycraftedthathemakesthe ixrdrsiianditsdistinctDLpechcmode tu somethingoftheirowninthei guestappearancesareuniformlygood,thatone affairseemeffordess,whichiswhywhenhehis therenovationsmadeonSinatra's«NoOne couldcomplainhowtheylimithisversespersong athismoreabrasivehisworkasawholebecomes Caresa.Ascanbeinferredfromthealbum CountBass-D'sAc/YourWaisiSi:{( onlyconfirmsthequalityoftloisoutstanding,im- especiallymoving.TakingcuesfromMjLoreis tide, theseareaffectingmoments («good- CountBass-Dhasbeengiventheshortend portantrelease. Rottento/heCare,trackslike"S/.igs.Ainraf/,Kings bye"),linkedbj'therangeofemotiondiey ofthesticksooftenthatitpermeatesevery andSecretaries»and«SpringHeeledjaekFliesTonight conveybyvirtueoftheirdecontextualiza- cornerofhisrecentwork,andthisalbumis PeterEvans'sMoreisMore »crackleandbuzz,temperingthelongerstretches tion.Lackinganyoftheawkwardposturing exception.He'stheultimateunderdogof MoreisMoreisthefirstPeterEvansreleasetobe ofmoretraditional,palatablewashesofsound, thatburdenedmanyelectronicpopreleases tthyebbeatcwkepeanckhissedte:litvheerrey'sanadnMotFabDloeosmi'misl-ara- mit'asdmeoraveaitlhabalnewteolacormeela.tiAvedloypwtiidnegaaudniuemncbee,raonfd Sdiimeielqaudayl,bthuet«opHpaorsmiotreiychinarBgieneo»fs«uiRtaediisooSfpfi-rsieetomby» lfyrodmradmiaitsipcasotryoebarv,iowuhsi,leit'nsevtehirsbsecirnagpobvoeork- collaborator,noless-andhisbeatsalmost freeimproNHSationaltechniquesnormallyassoci- andthetwo-part«Wl/itecapsofWhiteNoisenthat mentalitybornoutoftheinherentlackof come with a qualit)'guarantee,but heis atedwidisaxophones—EvanParker'sinfluence follow,justbeforetheconclusionofthealbum identitydiatCanadiansfacethatthejutiior givennoquarter-Uteraliy,Likelastyear's iscertainlyfelthere-Evanshasreleasedasolo returnstheworktoitsvitalequilibrium.Tliere Boyshaveadepdydrawnuponforoneof Begborrowsieal,thisworkstotheCount'sad- trumpetsetthatisunlikeanyother.Furthermore, arcincalculablenuances%vithineach,butitisthis themostsophisticatedandsatisfyingpop vantage,renderingtheadventurous,attimes allbuttwoofthepiecesareperformedonapic- pushandpullthatHcckeremploysforthefirst releasesthisyear. rickety,booro-bapproductionasadespiie- colo CrumpetTherangeofplayingespecially timesopromincntiyvvithinasinglealbumthat 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diiscaTteflfneiionnwo.sar:lrsvggoxilmqolili.;pussimotdatcocgheffThrhhiseasceenthsaiunmstnbedttustacogeatilhhanoreeritctoelanyf,rskownrretJqensaesroicuaaicneenhsoadnwendnd.sryaiapeinshnfacDyt-dtpeaotyogegrrsellearepskeefhxnlrsausdaerr,aoberstvomoufnsoetc.epmmmdpdifalid,loncIacitlnngd'tlehirocaihdhcneyoemefniecgfmprotndocnuprpolrgmyraooalppimmormntaeodreoemitblbadrltrneciitetbtb,erasinceue-,uhvtwae-wnlimenrhotadisioeifiPttianvls-lflhorymieeoatetncca,ltnrghaoikoeenicoenmit-fauvyfmrcgpartmeolnaMbeeoanouotlecklualldrthefr-ed,e---ys-.e 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JiilMv(IlMihoiiiieiek/lls/i<i/iMLbovnnonLtnbolis,tnil1..k.l1i^nijm)r.i-e7iâ!,li.rekM9sipe•(.iu(dniIstirfihhsHvic^tsiisi-mJnhatetelci',lhwauesacra-lrgkr-cd,eâ;eniinfKcriddb-oinyelisscilniouuoilefrblnwncsitebliens.usyqgi'cuâpyhPiegaouonaicunrrtiknp;nieogl<scld,etk/ o\sl.1ipnnnerlgaohegkwliiIehcjncaiTgltil,cresomintaub'isnncnoasnnbeggttrrroeutashtcteihoavevstefet,foruorrar)itstlhiuaetKlpchlsgeatrrottoohrusueapncnekddtes.rdaw.pchrkiPsologeihrneettashevsdoilseiyern sbmodtthreuhnoaiempmtntaoegheknriisisbnssntrt<etgre(ax-aaGpdptceeieoihd.ercingWtetgiNehhaWed.esai.auwr.tbytjocnB"eOouec(rbnstlecshuela.».ueni,mskbxii-iplteloi'iolsnhneu*.Wmwpnnrai.ihidIy>taviensehnhdeitis'tsftsehotiaxnenrtaotsoatswfpbnhnesreerrooawallmrptiuepoittvinteehonghlem,eg-ya TBitkshiercieroespooaobkltlMoeeyondneuitnMfdihoirutuimuorhspiteloiMyhrraouitunsairtenn*rhlctoueoTcvsrhkaap',esnoptwLnaeihopcvtniptoigcriohcoScneaaoilcnsotwhtfimiitonhoudsiertnnsuomniisoshi.-eem unkni.wnpnJi-luLtr-thaiweren'tgiventhe Liaxs*Dnim'sNotDead deftnessassharpastheindictmentleveledagainst communit)',asshowcasedhere:the insiru- mkinl.l.w"nfJ.i\atKibhkiiTnl,krI.MikiekLihe,ilms.o>ri.eikwcisdtehliys TheimprovementstheLiarshavemadewitheach thepresident.TTiemostinterestingrapreleaseof maAgncadnitnelr»e,ecftlgreiocvnteisscstphroenopcaujtaKenrmiwsnau-i-tiuoieihLr'lieJii.<-Mlloiini;i,',Mn.i MreiêiVitcHdowoenveCri,howshtesrealibluum^,>,tVhLerey.pAeerrf-ercetpl-y a\sV'1a^n>\aanncdhoprlawyisthliuinitnhipeiwirats.uhieiscionliiinioeirspoeiioint .i...iikmipnglismhconttsaKiilelveerrvtMhiiknef';s,easpppercioaalclhythheorsee: <tuWrnhattoKfniojrcmS,a^f-te..r.ct:)hve-ercaollm,p:tulu:s3tsipveeUtsyamerle-- mposin.ms.,fauihonu. //>/ »en- lowedSlowGlobes,dioughthatsoundhas capsulaleseverMliingili.n u.,<..l-.mthis carriedoverhereon»TheBurnsofVhan .\ atluim.andsi;,ndsasone-.f (he bestrap compellingpsychdroneodysscy.Including siiiiiles frniiil;istycar.Overall,it'safairly SamaraLubelski'sviolin-firmlyinHenry 1th\eenr-ehl.aitnidoendshilpootkheaytsdhraurgeslionwAomrekriincgahaanrdd Fhlayvnetfast)ocnocuentrcoyn-floante"d7.diiggfifierralesnt».sMtoruetnghtuhss Inelevateone'spositioninless-than-ideal andtakenthingsforward,creatingastriking tircumst^mces(anaptmetaphorforbusiness additiontoanalreadypotentdiscography. iwn,iL^'ênie.rnalr).,ipwolhic(hipmraakhe,'-l^moJsbivcramnedntBsusohf-thteo MyMy*8SongsforIheGtnllt •nvirenpaomigenaantf:ew-.oT/f)fhmismntniinrigeKlisi—irytehmatadmeuwcahs SlionngtshfeodretehepGhenoiulseeh,trtihoeMdyebMuyt.aTlhbuomugbhyBtehre-y ,1,1'iin>i;iirnfl<llliiifBushAu/rpoorpeople,heit sharetheirlabelwithlastyear'scritics'dar- biiikorti-hik«.Civerthetwodiscs,thisdocs lingIsolee,MyMyhaveamoremeasured, ninlagfi>ramoment,andthatithadtobe restrainedsoundthatalmostdisguisesthe self-released is as much an indicationof numerous styles called uponwithin their rtiiwsinthelabelsystemasitisatestament house template. The pastoral cover con- ti)Mike'stenadtyandrelevance. mfiurcmhstahsemthoedesnta,met.ranWshiteionnalalabpupmr-oparcohpears Kode9+theSpacciapc's endswith«SecretLifeofPants»,thebrilliant Mtmorifsoftheftiliire hip-hophybridisnotasnoticeablesiylisn- iTeKs.hi.l.i.'f'f.i.n'.ilhil.l..snî[Rl',lcne;.lhp/ercpil.leMchilaarsnuiVToll-. cfaalrlyasasMitymiMghytbseinagsleassatraendcaolnocneertnreadc,k-ita'ss beri>f iheir sinule^ ..m thisdebut release stillrelativelysubde.Itsemphaticposition, lorKodc'J'sownlabel.Ascanbeinferred though, is indicative of another use of fromthedtic,dubstep,aldioughcomprised thealbumformanThesetprogressesasa of ii numberof getiresand tropes from whole,driftingfromtheearlyheadphone ilirnughoiiliheyears,hasthegreatestclaim richness to the more obvious club fare, luihefuture<ifmusic:!tthemoment—even kickingoffwiththeoutstandingtiPropain» ifthatmightentaildystopia(appropriately, releasecannotbeunderstated.Widitheirthird. theyearfromthegenre'smostinterestingyoung beforeclimaxingwith«Pants»(especiallyin "backnard».foundhere,wasfeaturedin Drum'sNotDeuii. the days of the unformnatc thoseleft-fielddrumroLshalfwaythrough). thefilmChildrenofMen).Theconnecdon name<idunce-punk»arethankfullythatmuchfar- Morethanacollectionoftracks,thisisa withHyperdubsigneeBurialisobviousin therinthepast.Thealbumcoalescesthemany Matmos* greathousealbum. themusic,whichIsonthecoldandmedi- greatexperimentalaspectsofsophomorerelease TheRaseHasTeethinIheMouthofaBeast tadvcsideofthedubsteprealm,although Thr)^WereWrong,SoWeDrvumedwithafocusand Electronic duo Matmos add another compli- TheNecks'Chemist theneedledropsmoreoften'onthebrighter cohesionnecessititedbythecomplex,mysterious catedworkofsamplingtotheiralready-impres- Themostimmediately notableaspect of sideofthesoundspectrumherewithout conceptual narrati\'e framingtherelease. Each sivediscography,butwhatmakesthisespecially thisreleasefromtheconsistcndyoutstand- the foregrounded emodonal melodrama. trackperfecdystraddlespopandtheavant-garde- interestingisthattheformatoftheworkisas ingAustralianjazztrioisitsdeparturefrom TheSpace:ipeco-biiUngisessendal,andtoo -energyandconfidentrestraint—asemblematize diverseasonewoiJdthinkinherenttosampling their traditional one-Uack-per-work ap- ofienforgottenorwrittenoff.Hislyricsare bytwoofthepremieresongsoftheyear(«Let's lobe^nwith.Thefocusofthesourcematerial proachintomultiple pieces. Certainlythe consistcndyengagingandhispresenceboth NotWrest/eMl.HeartAttack»and«TheOtherSide isagainfittedtotheconcept,buttheconceptof natureofeachofthethreecwenty-minute affectsandreflectsKodcO'swork,beitinhis ofMt.HeartAttack»),makingLiarsoneofthe anumberofdedicatorypieces(notunlikealva compositionspresentedherewarrantsthe repentions.grimpicturesnrevenmelody, onlyrelevantAmericanrockbandsoftoday.Un- noto'sPor)allowsforawiderangeofopportu- separation,butthefinalproductisnomore xvbiehcropsupmure..fieii(h.in..„emight likethepeaksandvalleysofWronganditspuz- nitiesloamasssoundparticularloeachtrackin consumableasthat term and this formal im.jginthere-OfibebesiJubviepalbums zlingsequencing,almosteverj'trackherestands andofitself.Furthermore,aseachindividualwas changemayimply. Theminimahsibenthas releasedibi- ihi-.crninlv i-ihemost inandofitself-mostwithincrediblehooksfor selected basedon the two's owninterests, the theworksjustasmeticulouslypacedasone popinformed,.mdil ib.,i ...entKeîheco- suelianaininspbere-buttakenasawholethisis choicesforbothsamplematerialandtheguest hascometoexpectfromtheensemble,and hesion of Bvjri.il'. ..Ibuin, ii increases the iliLmiisieiimpellingcasefortherockstapleof appearances(Antony,BjotkandZeenaParkinsto justasrewarding.Themysteriousplodding ninge,affordedbyasong-basedformat, dieLuneepi .illiuinsinceits ineeptionandsub- nameonlyafew)ateasimaginativeandexpres- grooveof«Fatal»isstageforAbrahams's sei|uen(K dubiMi.senneal r.isun.mon.Thelevel siveastheyareastute.Asthefulldossierofthe anxious, fluctuating piano, conjuring die LcafcuttcrJohn'sTheForestjiidtheSea olengrossmentisunparalleledIjy,in)thinginthe album'smakingisavTiilableonline,Iwon'tdelve noirthetideconnotesasitinterweaveswith TheproblemwTihirmsrhybridsoffolkand genrethisyear. toodeeplyintothesefascinatingmethods,but« increasinglyurgentstrokes of noise.The electronic music is ihatit's:ilmosi always GermsBurnforDarbyCrash"bestrepresentsdie employment of the minimalist electron- completelydieformer,withcondescending Lil'Wayne&DJDrama'sDedication2 project:Thepieceisasbrattyandcoarseasone icsattheonsetof«Buânl»dramatically appropriationofdielatterinthemostba- PickingaUl'Wayneinixtapeisasdifficultatask wouldexpectforsuchapersonality,butthatthe shiftsthepace,introducingtheirtraditional restraintintothealbum,whileencouraging gitBnoruocumukni'ninsdtd,e,etxThctoeehsleeltehdfniiystnnaeladnmrdtiu,rcamcawpknoold«reskAw:ihiStinuhltrkogamiltnbh»guedmserfroatvirmteelas-e tiitthnrfgaalcsDkioneoedshfeefaolasnpbsleee'viesnrt.oudnnyTednheaairtnns'utscocorncdioleetnlagirvteaorsnytsd,uadyeaisnotchhosaeuhiarevaetignhl,-ey wwmprsstiohieaoebieitnekrlinhdimikrtte.s\nm'robg,eeeytddbuoiteAvthsfbiraaoosterpricpaejvxrahuespostatcahmfercilstadhosnuyilrhspiiititosehnmashratemtatrsl-eci.lriorgytomuiTsrcifnhikmnosgegireidstRnasdaetdylbiodnielctitshethtsh-eieaeesoeccisnntctsqteiouosrtpien-oy,s dmmelaotyitalonasialrcitwbtyiicooohsnrhnreiicsnaesnttltsedd,iaetcimtotcadtarmaneayylodj-dse-s-vlawcoptirlhofghcyochretirtdfarchhcsyaeeetlidimlhritneyesoivitplrhaaruaoienlssscaptdttro-ap-hnhtwomoesitoluprinrriso.gasski,cth,cakLeeatssinhdl;kidllmeseyiayvdkide-eDssrdio,»ituffshtioNuaeiirttno'om'';-gs-ns gsIdaTodcpadttIaeriheiehuhklftoweeibstceiscnuiEaonmetgstadipnassse(o,gesepdnsohnxhlrmot.b.eg-embopira'SuOesTf»Waonslclt,ph-mtuekhtedicefmemo'ihhsicrhpfebfecanstiaolnefavhervsrntltroesCtetewug-risthooinomemnhsettnat-osneagiaccUh'sfolfytkrreimafrmceoddraasilpntnrieucjificlosoemdfcglotoioacsaterohsld-lmlhkpuioneaadimaotfngryrcrnirodiyidragIntt^tutithesierugoihhnoceeadrifecsxcsieBtmgra,ilskroi,,eos»ssurerhtsv,ssAedtsabbtrpiil,s«uruheeytoneodrectwnFamgiiefn.lsGsrfr.aiIicieiit,wgrkna'ctl^lisTdlaiofahiatitilhgoelnnnhnhlnirioiedog-yge>--grf, Siemmttotmopfirpnnehhofueudotcargedrenvtciee,iisritehfssfeaip.arhilsiicpnasyoienttsitcsdipmtreeeRttehoc,rphaicejenphernefLaisroileaRrzs;elmedecepaziltuciislorn-fyannutacdvci.atlTfroiaientoieoottlfirtolmHtleelcoandchodudcwfl-T,sreewu'ooe,nopseetgruoca5nxhvEia<(elntacrploelldide'neSen'rt,esnepd,rsh,cnasaieytcuslmSetactrgssopaeaiahngoeosa-fnberIedflAcst'sisrfrctratefts-orso;lhi,ssomsatprueprslcauoeesgtiurtdnncuuzumeaeiteidfncilsfn»tend.bisaasrchuhiT;rsmaaiamohleftrn'ttftllewedso---oy therepeationevenmallyusheringinnirvana, gairsooTawbhleeesnrmeetf.fhiocaOcinvauelstrhattelohloat,tfhtiebte'esnst-taoweusranunadpdcrehberiymieenvglgerysaVneaittrnisivnaselgiilonaoigpinusialnroag-nr gaIeinunbcdeareg;iiebcl-!oeynciopsog:mrtacaetepsdlitimshioocm-suoltrIisinntateopspdctaeohrninesssnetdt,r,ruatcahwtnesdajcatcolzhneze.s-Ugdi"entfnulriuec- release. themostennclungaspeciofthisconiple> IllustriouEsviamnprPoavrksearx'ospThoinmiesLtapEsveanPark- wmmoeerrnket;lsySdotohemjouliocnghitchaselofcotolhndactilnuwsdhiieoenn.thbiErraadscpsharietnx,sptilrtuoi--s er'sfirsteffortforJohnZorn'sTzadiklabel rationofthisCDhasyieldedsomuchdiat asottteavnerkedpner:sadctmueoPusbamlrbbbtkieiienptnrgl'weseesoefjEntuvsmhasdueonyllmtociPwpeaprlliekeetrebhfrrsosaot.rtlhmeoeTdaipnnmseceeorexlfsLtooaarptlnmaosdalgeeintnccahtal-esl- mmksdaieonyenroadewonanyatildtliyiboeiunrnnmegoisssuefmtgrohvrhaadtstiiu\iisrvsoeina.ptphrpIoatghrhraeeavnpmeto,taieitntn'tstmihdaiyislffolrificeumclneotimntt-oeo es,atoncerelyingonParker'shistory,while pushing the final presentation forward, WolfEyes'HumanAnimal «yi/R-Kok-Decr»isaparticularlywell-crafted WolfEyesareanoisegroup,buldieirhigh eenxtasmpalesuiotfablteheennveiwrotnecmhetnitiqufeo.rTthhiesoprrgeasn- vtiesirbmililto)-osieslyi,nd.iiecacuevsLs-ihoilfind.ieiRri,gi.;merdnI:u\smec periehceeairndcPlaurdkeedrheprlea,yabnefionrse,trbuumtenmtanI'avgeensevt-o 'lemazseesdjtuochbe:isthHeune/.mtsiie.sristarnn.iic;i:primfituen,tbhuel- evoke hischaracteristicvoice nonetheless. Asthepiecesrangefromthelastfiveyears, sition.ItbelieswiiatmakesWolfL.>essn thedialogueconstructedandiraplicarions allPolwechsel,appreciatesovermne. TliirstyEar'sBlueSeries,Shipptookabre:ikto interesting,andthatistheirstrikingr.iiige. raisedinthejuxtapositionofthetwoforms recordsoloforacousticpiano.Likehisplajing whichallowsfornoisetoalsoseemaccessi- arc notable-especiallybetween theover- JanekSchaefet*sMiration ingeneral,thisisaworkthatrevealsitselfwhen bleinthefirstplace.Choosingbetweenthis dtautbisontohenmsqeulesvteiso-npsraovniddienmgotainoansstuctoenmjeudrie-d MsiogurnadttironackistoJaanseiktesSpcehcaieffiecrd'sancmeoschdoyreeolgerctarpohneidc ttraakcekns.asSahilpopngceornsdturcettcsh,aasnoupmpboesredoftositnjd'lie\s'idaunadl wrieltehasAenatnhdoBnlyackBrIaxotmoitn,,thweas\'iactocrhioavriel,lebsuett in the tide.Thisisoneof Parker'smost byNocmieLa&ance.Asthealbumandtrackti- historythroughoutdiework,makingdiisanen- theyarcnotdissimilarreleases.JonOlson's compellingrecentefforts. desmightimply,diisisareleasethatispredomi- joyablesummationofinfluenceswhileremûniog saxplaysaprominentrole,framingwhat nandyshifting. Soundsdriftinandoutjustas wellwithinShippterritory,underscoringthein- issatisfyinglypresentedasawholealbum. FortPhoislwheacthOseLPOsGAYrcehfifvoerst,ofEtlfe>ecNtorrotAhcous- tinhsepifroactuisonjwuamspsfobuontdhicnlenaartlyurea,ndanadbrsuppedcyif.icTalhley ofrluennocteoyfouclassuspicpaolrmtustihceoanrghuismepnltaysinga,gaWihncsttliteher Tfihriststirsaaclks"oTashesMpaarnsgeleasm,stwrehticlleieaslolofwiIn'gomtihfes 00 Improvisation powergroup Polwechsel themigrationpatternsofbirds,whocanbeheard purportediimovarionoftheBlueSeries'smore electronicstobemoreprevalent,creating lose mainstay guitarist Burkhard Stangl, amongthefieldrecordingsfeaturedonthesubde electricfare,thisisareleasethatfunctionswith- a richness diatthestudiosettingaffords. butgainpercussionistsMartinBrandlmajt introductorypiece.Alsoincludedtosignificant outdiispretense,showcasingonlythesignificant Thisdemonstratesa facetofWolf Eyes andBurkhardBeins.Theirpresenceisim- emotionalresonanceisanorganfromachurch abilitiesofShippasaplayer. notoften recognized outside of the lis- mediatelyfeltontheopeningpiece,meld- inLourdes-aninstrumentwhosesoundoften teningenvironment:Patience.Contrasting ingseamlesslywiththerestofthegroup. floatsnotunlikethestudiedaves.LiketheChalk Subtle'sforhero:farfool withtheSubPopdebutBurnedMind,tinsis SaxophonistJohnButcherisattopformon releasediscussedprenously,there'sanethereal AnticonalumSubdearcahip-hopgroupthatoc- largelyacold,sparse,measuredwork,and «Miironi,butthehighpointslieinthelast dimensiontotheproceedingsthatreflectdiese, cupyanunfotmnatelymalignedareabetweenthe whilethickshowersofnoisecertainlybreak twoworks.Thefirst«MagneticNorth»,is literally,atmosphericconcepts-Lafrance'sdanc- backpackingunderground and the avant-garde, through, the spectrum effecti\'el)' created animprovisation,;ind theloosenessplays ersbeingsuspendedhighabovetheaudiencevia Tliisworkmaintainstheirtrademarksprawl-es- makesthisthemostcohesiveofWolfEyes integralcrjntr.i.îto(hemeasuredandmini- bungeecords.Itisthisinstrumentthatintroduces peciallymultipledirectionswidiineachsong—al- releases to feature many separate tracks. malisipiLCL-sfh:iiprecede.«SiteandSettings, theactualdance,wliichisfarmoredynamic,as diough it employs a more sarisfjingstrucmre That said, theirpatented met;d/hardL-nre (hefinaltrack,isjustascomparativelybusy wellasaccessible-theworkofChristianFennesz tlianthepreviouseffortsthatmakesitsiteasier informedworkstillfindsahomehere.\uth as('North)>,butitscompositionis^-ignettc- isi4n.ncalled tnmind.Overall,anenveloping, as one completework. Aptcomparisons have acoverofNoPuckers«NoiseNotM/'x/r like, resultingin adifferentrichness Ulan acLi-Mlik rtk.isL thatstandsonitsownbyso beendrawnbetweenthisalbumanddieband's andthedriWngsingle<T/ieDiilUr••.Wolf thefirstthree.Whetherthisnewline-upis adcpclyretkcungandencapsulatingtheconcepts animatedliveperformances,andthemusic,ap- Eyesconsistendyearndieirpositionai(he animprovementremainstobeheard—the thatenlisteddieworkitself. propriately,drawsonboththeirlastalbumand topofthenoiseheap."Tiirlherrciidingfortins newdynamicwilltakesomegettinguseto theprenousEP'sforthedifferentstyleswhile iirticleisimiilabkatimv.innisherdlJ.com. forbothperformersandlistenersalike-but MatthewShipp'sOne ejectingthemwithanaddedadrenaline.While diisisastrongstart,nevertheless,andlike Afterastringofelectronicreleasesascuratorof thischangeinproductiondepartsslightlyfrom MyUjiI'OQl(1989), suppnstdly Three Films ofcourse,whenherdressiscaughtinher Jim Shcndan's masterpiece, is a self-pro- aunt'strunkattheport;hetearsherdressin clairacdsentimentalpiece,andaverywell AlexandraHeeney theprocessofremovingitfromtheCrunk. dbuotneDoannieelatDthaaty.ILetwhiinskgIipvreesfearIwnonAdmcernftiaa,l (JosephGordon-Levitt)cx-girlfriendand«soiil- elementsoftruth.Tliefcmmefatalewassovery oSnhethheatsepsoth.iHmeitmrmaecdkisahteerlyd;ohwenfianllascihnalromv-e performance.It'sagoodStorythatiswell malc»ismysteriouslykilled,Brendansetsouton blah;IneverbelievedthatshehadanyNvhcrenear inglystiilker-ishmannerasonlyFredAstairc toldandverywellacted;averygoodfilm atnissiontofindoutwhy,withthehopeofset- enoughintelligencetopulloffmuchofanything iscapable;sheresentshimforitbuteventu- butnotafavourite.DanielDayLewisplaj-s tingdiingsright.Brickwassoverywonderfully asidefromplayingchauffeur.Butitisabcaud- allyfallsforhim.Theysinganddance,there Chnsrj' Brown, bornwith cerebral palsy, stylized;thedialoguehadthosestrimgcpatterns fiilly photographed film; the cinematographer aremistakenidentities,andmoredancing. andonlyreallyabletocontrolhisleftfoot. somewhatreminiscentofoldnoilbutwithanew couldeasilyearnhimselfaplaceamongtheranks They simply do not make musicals like Throughmanystruggleshebecomesanac- twist.Scenetransitionswerenifty,andaccompa- ofgreatslikeRobertRichardsonandCesarChar- thisanymore.TheFredandGingermov- complished,somewhatself-sufficientpaint- niedwidiasuitablescore.JosephGordonLevitt lonc-Althoughaveryflawedpicture,ifwriter/ iesalwayshadgreatmusicbyColePorter, er,andasuccessfulwriter.Hecomesfrom hasbynowlongsinceprovenhimselfasaserious directorRianJohnsoncouldimprovehiswriting Ir\'ingBerlinorGeorgeGershwin.Music .m1epnoosrlefeapmiilnyainsiDnugblleibne,d,whaenrdeienigwhhtigchrotwhne atchteorploouttswiadseorefpl«etTehiwridtRhevderYyrosmtupTihdeSpaurnts».tBhuatt etivveenfisllmigsh.tly,hehasthepotentialtomakeinnova- dthaantcmeaakleosngyowiudjiu.stTwhaendtatnocitanpgaisndsesciongndantdo familyeatsporridgeforbreakfastandlunch madenosenseandthataresimplyunforgivable TheCayDiwrcre(1934)isoneofFred none:FredAstairewzsalwaysaperfection- sothattheycansavemoneylobuyChristy Thepicturekepttrjingtoconvinceusthatits AstaiieandGingerRogers'best(andIhaveseen ist, soeverythinggotrehearsed endlessly s:itowrhieeesl,chbauitr.itsItciosnovninecionfgtahnodseI«nteovuecrhinfgel»t sptlyolte(cmoauyldbesuict'csestsrfyuilnlgybruitsefaabiloivngetaonboenseTnhseicBailg Aitsmaalnwyayrsi,mAess)t,aiarlconagndwiRtohgeTropsHaarettahnedpSeurvf'encgtTipmiec.- punatyislForfefdWwiatshsawtoisnfdieerd-fualndntuhmisbecrerstaliinkley cheatedor that myheartstringswere be- S/erp?).1amnorreallysureIboughtthecharac- tureofromance,singinganddancingintoeach «TheConfinenlal»,«Don'/MeanToBotherYou ingpulled.Thepictureearneditsrightto ters-theirmotivationwasneverreallyexplained others'hearts.Inthisone,Rogersplaysanun- ».«Let'sKnockKnees»andalight-hearted •sentimentality,andthat'sacnicrarityinthe andIamnotsurethatIbelievesuchascenario: happilymarriedwoman,seekingdivorcebyget- romanceplot.TheGayDivorceeisajoyto penre. don'ttheyevenconsidergoingtoclassoreversec tingherselfcaughtinthearmsofanotherman. watch. InBrick(2005),whenBrendan's theirparents?),thoughIknowthereatecertain She meetsFred Astairc, aprofessional dancer Three Films from 2006 NotesonaScandal JustinHaley versecoloursoftheCanadianlandscapeas' Adeliciouslysa\'\'yandentertainingpicture itpassesthrougheachseason,IadoreSarah thatanchorsitselfontheincredibleperfor- parallelsandcomplimentsthesky-rocketinges- comeOscartime.TheChicks'musichasbecome Policy,andthisfilmmademeevenprouder mancesbyCafeBlanchctiandDameJudi trogenlevelsofDenchandBlanchctt. richerlyricallyandinstrumentallypost2003,and tohaveherasafellowCanadian.Sheisin- Dench.Watchingthesetwowomengohead theirnewfoundstrengthanddedicationforeach creasinglyshowingherselfasoneof the toheadinsomeofthemostrawandfear- DixieChicks:ShutUpandSing otheriswhatmadeoneofthebestalbumsof mostinfluential Canadian artists. I wasa lessbattlesisnothingshortofthemostas- It'senthrallingtowatch threehimible country theyear, licde distraught, however,aftertalkingto tonishingactingseeninyears.Basedonthe girlsnrrnintoself-affirmingdivasasaresultof KayArmatageoftheCinemaStudiesDe- novelbyZoeHeller,thefilmisapsycholog- their unrelenting bravery. Their infamous, so- AauyFromHer partmentaboutthisfilm.Afteranadvanced icaldr:imnof\()rK,inwhichDenchcomes calledi<iinpatriolic»remarkshadthosesouthern Thisisthecrowningachievementintheworldof screeningofthepictureforKay'sincredible lupriividi-.1>iiuj'jmr!fyskm»forBlanchctt yVmericanpoliticiansandcountryfansdiligendy filmthisyear.AwayFromHertsadirectorialdebut FilmFestivalseminar,sheinformedmethat îficr Jhu tniLtN inin .in adulterous affair burningtheirCD's,whilelabelingthechicksas« thatisbeyondexquisitefromSarahPoUey,our theproducersofthefilmwereworriedthat \urhoneofheryoungsttidcnt.'s.Thepicture commiiiiisisi>.BarbaraKoppolahaspiecedtogctiiier proudfearlessCanadiangirl.Herewehavethe itwillhaveadifficulttimefindinganaudi- isstrong—ilhasatoneandedgeihatisin- apicturerevcahngthestrengththatresidesbe- storyofGrantandFionawhoselivessuddenly enceduetoitsheav)'andolderdicmes.Af- describable.Itgetsunderyourskinmaking tweenthese threeartists, friends,andmothers. takeonadifferentdirectionafterFionaisdiag- terhearingthisInearlysobbed.AaiiyV-rom youiich formorefierymomentsbetween Thereisnothingbetterthanseeingtheferocious- nosedwithAlzheimer'sdisease.Thepictureisin- Hernagreatpieceofart,andIcringeatthe theseglorious actresses. Dircclor Richard lyfabulousNathalieMainesrespondtothe«tAfy crediblymovingandundeniablyhonestinitspor- thoughtofthepopularagedemographicig- I'.yTL'shouldalsobepraisedforhischoice shniildn'IhuttIhnrfeelingshurl»comment.Sheelo- trayaloftheeffectsthisdiseasecanhave.PoUey's noringdiisfilm.Beautiful,honestandreal, ci-i riK-wilt)'BillNighy..5 Bl.incl)errs quendyretorts:nGeorgeBush...youanadumbJuck! directionisstunning.Sheisbreathtakinglygood AnayI'romHensarewardingpicturethatI uiikn-wiu)^husband.Inthetliirdactofihe X.ThisISalovelyandpowerfiJpieceoffeminist atcapturingthesimphcitiesofhercharactersac- encourageyoutoexperience. filmheaddsatouchofmascuUneheatthai filmmakingandKoppolashouldberecognized tions.Hercanvasisdrenchedwiththegloriousdi- Like11j>o!l-modemism»,«Ji/mnoirn Noir Ambience arc the city's criminals, who e^ntually ISacomplex,ambiguoustermthatisoften makeplanstocatchthekillerthemselves. misunderstood and misused. When most MarcSaint-Cyr Thiswidevarietyofcrookssportstriking peoplethinkof«noir>\theythinkoftough faceswithharsh,prominentfeaturesasthey tdreeandclhycofaet-mcmtcasd fadteatleccstiavensd,dabreka,utiffoiriel-byoedt-- tahefiirlmroaostnso-ira.nBdyofetxeanm,itnhiatn'gsaflilrsitfMtak(epsoslosicbllaysstihfey athhaotvtcheloeonktiirnegcidtô'wisnvuolnnearagbilveentostthreeetu,nsiemepnlykiilnlg- csittryatteogiscaaflellyypwoastitcihonovtehremthseelcvheisldwrietnh—inthtehey ingstreetcornersandalleyways.Whilethe firstandoneofdit-greatestserialkillerfilmever er(anobsen'ationwhichisgivenleveragewhen literallybecomethefaceofthecity,andlike first twoare more stereotypicalelements made),thenScvai.I'lldescribehowFincherused weseethekillersittingbythewindowofhisup- thecitytheypatrol,itisoftenunwashed, offilmnoir,itisilicthirdtraitthatmost manyofthesamenoir-ish traitsLangdisplays perlevelapartmentashewritesatauntingletter grimyorsimplyugly.Therealstandoutsare intimatelyresonateswiththetrueessence inhispicture,aindhowbothdirectorstookthe tothepress).Mostofthepicturetakesplaceat the headsof thevariouscrimeorganiza- ofnoir,whichwillbeexploredinthises- fullestpossibleadvantageofcinemaincreatinga night,andthestreetsarcdepictedasdark,noctur- tionswithinthecity,acolorfulbunchledby say.WheneverImentiontheterm"noirn, specificatmosphereforeachindi\'idualfilm. nalpassages,thelightfromlamppostsilluminat- thenotoriouscriminalSafebreaker,whoin I'llbereferringlotheatmospherecreated **Whatmakesthesefilmnoir*s ingthedamppavementandheav)'fogthathangs hisbowlerhat,blackglovesandlongblack bicyst(hleigthnniisigc,-cpn-hsocteongeraapnhdyc,inetecm)atoifcaaesgtihveetn- work is their craftsmanship loofwtihnetfhielma,irt.hAesciRtoygienrMEbiesrntotniocteeasbliynhfiilsthrye,vainedw terryenbcihtcloiaktetdhreapuenddearrwoournlddkhiinmg,pilnoookfsneovi-r film fvithcr than ihe more genre-bound withinthecinematicmedium intliebars,taverns,boardroomsandbasement lore. tWrhaidleemaBrrikcskocfoncthaairnasctcelarssaincdnopilrotterloepmesenltisk.e itself— these films look and hstiadienaewdaybsc,etrhsetepirness,epnlcaettoefrssoufchgrfielatshyisfpoeords,isctiegnta:r deservestOrenaetmecnhtariasctBeerckewthtohimdseeflinfi—teolry hu.rirdn-pbroislediiIdkiaplnoigiuiefa?n\dimsshiogcn,attuhreecfhearmamcc- fteheelirlirkoeotfsi"lmnoir*sstraightto bouftLcsigaanrdsmaoshk,e.anMdor{eaolvmeors,tMalwdaeylsv)esthiinctkopaluwmiedse reantcheer,isthperewsaeyntebdywwihtihcihnhMis.cIhillaltihncgrptrheasn- iX.nm.:ihIli-,'Hih.IkshI,Kllmri>,.rv>v..\.inrcjhu-svt-ilalsaiena),sialyfbielmcllaiske- A landmark in German cinema, M vliavriinegtyqouafrttehres,citpy'lsuimnmteetriionrgspsatcaeisrcaasseswelaln:dspcalruste- elevnecnepaanrdti/aolrlypedrevpeircstiionngotfhehihsorcrriifmiecsvoino-- Mlied:isa filmnoirwithoutanyofthese barkensbacktofilmsfromitscountry'sExpres- tered,darkcornersofdesertedbuildings—includ- screen, the picture used subder methods 'r.il[^,idL'ntjficdassuchprimarilyforitsuse sionisterainitsskillfulmanipubtionofthemise- ingthestorageareawhereBcckertholesupashis withinthemise-en-scenetomerelysuggest ti>-l.md.IirnS.,s.iLiNdproefssMio,msFtriictzimLaagnegr'ys.1T9h3e1smaamse- eNons-fsecrcanien.:ASucShymppihcotnuyreosf(TwthrirocrhainndclTuhdeeCtahbeinseilleonft hobusnetsesrisvelitheurnaltlyfotreatrheitiraqpuaarrtryi.ntheirmethodical, Beencckecrtto'susceritmheesi,rothwunsiamlalgoiwniantgiotnh.eWahuedin- lerpiLccaboutachildkiller(playedtoper- DrCaligari)werenotedfordieircreativeuseof In such a foreboding setting, these littleElsieBeckmanniskidnappedin the >tn<otiiurdGoiensrombnyaenPyeotfeArncooLntorthreeemr)poesrxtaaalrmkypilndgeirtoehcfetosartrfDeieatl-sm wfthiheliimcrhsoetpfsrtoeapnne-drtloylrimcge.hn^ttipnregcdssicnehdacrrtaehcaetteiirnsng.nearMgtohutonhudigechrtttsaokooekfs, sdiemeaarrgwceohrreylrds-o-fbsoiLtganhnigft'ihsceanppdioyclmircaeed.danTtdhoethtpehoeclrigicrmieitmnteaynlnuoanir-re pnaisocrthuetrreh'ewsoarcotrpuieaenldiknmigodtnshaceepnprei,cnrgineeissitoshueeetrn.htehIrensntkiaelamldee,r vidFinchcr'sbestfilms,Snvn.Whatmakes similarstrategiesinordertocreateamenacingur- intimidatinggiantsintheirlongblackuniforms onthesoundtrack,thefilmcutstovarious wtihtesheinfitlhmenociirn'esmwaotirckmisetdhieiurmcriatfstelsfm—antshheispe bluarnksseatntdinghitdhersouwhgihlwehtihcehctithye'skiilnlherabHiatannstsBelcivkeetitn acintdizpenosinatsedthheeylmceotnsd,utcotwemrulitnigploeverraitdhseionrdsieanracrhy Wloecatsieoensthweitbhaillntshheecwitays,aplllagyliarnigngwliytvhacmaenrte. filmslookandfeellikefilmnoir'sstraightto constantterror.Manyoftheshotsaretakenfrom ofthekiller.Thea^tatedvictimsoftheseraids secondsagorollforlornlyalongtheground. 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ipwldawrScmwuthpMebbstSmeistsanfffftnilaiioaeiioUilhoureooahheenxocoo'mlgeslopblmsssuerreibsoartnemrydlwllmssuiyisror-tythvrdaer)se,,yeltrnnfatnhge'liaeiFcnrlaehhitaiapeetffanftnwasipryromnednsecnhictitnnarhhsooiaasntrenleugeleeioefercetdsrglulFehnultcssdtmitaistpreeihteimostkicnicihtnkhrddniuo,sdtrceoatanuaeilinihndfea,carclshTetrwillrteosgofcntaluwtcnisicnlyhnahiiiiaustcchhkbgefiiuifedtUgotidl(rticemheontpnerradmen.omahltsmhoe-rsovtyverdainr,clltcerohaturuiAataetwfossoZchMkebtioaphnprrorgwrieomowgwoeuadeontfhlamgleoiite.irfhir.hf.aiyedadarlaarhdLliomsiioaitrspclptistiiilcTecnStoacuucaunlhrbrakoWicpheanoelrhsduhiefeteeaadilohaorinuvpbsc,suarfnnsdiebningimser1retdescrebbaissndciitcarSesnieaZa9eyorhuthtilskech)diedrsrgo)i6iehianirandaytetveeseadbolluhe0i-nelrmeoenncan.saqs-iblncadwrlnstnsgipdohksoprabelhnuoibg.ephikeiirceimtkooyvneyasoMtsieefc,iraeirtlthgtesnliuowafctoioanfwneecslwel.Dwnrncukkal—ctinneed,dldhhtobiloeoartFuleeourn(smsd.iiTtefehcueorvlsR,odobmsaag,c7rkerehhd.gekiaramvyevgh.oh0tFsniwdemlidaneenpskbtrsrhseehoreedshLlenaUptanuirnceomne.ZaatreisaeeynraPrgrderegnnaisaeoyuluhlsbtrhemeiedre,ineicwiHscednlretwiehtrsnslisolctnatthlieitbaintihEboceeolitidyh(haiuoeaaetnav^marushfnehnvsaoidcawpfshncdny,-e,ng-t-tseae,tgss-rt Future Noir Ifigurethatsomeofmyfavorite JamesKang brightblueandorangethatcoverupthe picturesarcsciencefictionfilms,manyof darknatureofthecharactersandsettingIt themsetinthefuture.AtthesametimeI notrobotshavetheabilitytocreateandsustain makewrongthingsright,butiscaughtupina juxtaposespolaroppositestoseeiftheyfit lookbackonsomeoftheclassicfilmsof humanidentity,andwhetheritmanersifthey situationthatputshiminacompromisingsitua- togetherorrepelviolendy the fortiesand fiftiesandrealizeIreally can. Thislinksupwiththecotnmoathemesof tion. Thus,heisforcedbeyondhiswilltofight The future presented in these enjoynoir. IalsoloveRobertSiodmak's theclassicfilmnoirperiodwherethequestion- againstthelawinordertoclearhisname. picturesisunsettling,especiallywhenthe TheKilknandAnthonyMann'sJW'DeaL ingofidentityisraised,whetherifisself-iden- Athird,andfinalfilmthatusesmany ftiiure from the presentperspective is a IespeciallyloveRidleyScott'sBladeRunner, tityoridentityasawhole. TakeforinstanceRao' noirelementsinafuturisticenvirotimentisThe grimone. Itisinterestingtosaythatour StevenSpielberg'sMinorityReportandLuc Deal. Identityoffemalecharacterischallenged Fi/ibElemertt.Althoughmanyoftheseelements Bresson'sFi/ibElement.Havingaddeddiese constandywithquestionsarisingfortheaudience atehiddenbehindthepositiveenergyofthepic- "The future presented in lppaeescetirastl,hlrytehewathfeinlnomisr,haeIvliwenamgsenatthdsiinsakctiuensgsstiirollencpearnmedvoyan,lgeesnstt- aatisnvdetofwuhwnachttoiopnutsrh.epIomnsaetihsnehfefuetsmuearrelv.eesBclahasadrefaRac/rt;e/a7rsOTatrhcpetreunsaêrynrtais-s ttRuehrpieon,rgtt,sheethefemustfuirtleomigissosbtilwlarlnoaknefgat,teadlbiusittnicmliougnchethwMlhaiekneryeMioenfvoertrihyte-y ttlhiensge, epsipcetcuiraellsyiwsheunnsethte- infilmstoday. Thatofcourseisobvious, thesethemesjustaswellassomeofthemore film'sshotstakeplaceduringtheday.Thearchi- future from the present bSpuitelIbaermg'wsoMnidneorriitnygRweployrptiacntudreRsidlliekeySSctoetvte'ns Irnetcelelnitgepnciec:tAu.r!e,ssauncdhatsheStaafnolreeymKeunbtriiocnke'dsAMritnifoirciitayl pteucltpurneoviselisnsapinrdednobiyr-ainGsopidrieidcc4o0*msicprbeosoenktsedliiken perspectiveisagrimone. BladeRunnerexploreelementsofearlynoir Report. TheSandman. Also, there are prototypical noir Itisinterestingtosaythat style. Surelyitdesintonotionsofadark MinorityReportalsodealswithinadark tropessuchasthefemmefatale.Itdiffersinthis ourfuture isgoingtoget pfirietsueren,tedsapeycifailllmymafkreorms.tThheepreersipsecatifveeelionfg nfaottalitsoticblawnokreltd.hisHwoowrelvderin,liStperiaellbdearrgkncehssoolsiekse ftaillem,ahnodwelveeard,hseirnocieneL.eeSlhoeoipsladyasngbeortohusfeamnmdecfaan- worse, because it draws ofuneaseinsuchpictures,andthisleads thetraditionalnoirsetting,butinsteadusesthe lead themaincharacter,KorbenDallas,tohis attentiontothepast." to an extremely fatalisticview. Forsome problemsofsocietytosymbolizethedarkness destruction.Atthesametime,sheisthekeyto oddreason,itseemsthatmonegoersenjoy ofnight.Thisintelligendyreflectsadarkworld savingtheuniverseItisaninterestingtwistto fiiture is going toget worse, becauseit watchingfatalisdc,post-apocalypticworlds inadaytimesetting,muchlikesomeoftheclas- haveafemaleplayboththekeytolifeanddeath draws attention to the past However, playouLPerhapsweenjoywatchingimages sicnoirs thatavoidnighttimesettings such as withintheflituristicworld. litdehaschangedsincethenoirfilmsbe- thatremindusthatlifeisnotsobadafter Kubrick'sTheKjllitig.Forinstance,thefuturistic Dallassharesqualitieswiththeafore- ingmadeduringthefortiesandfifties. We aU. worldinthepictureissupposedlyasaferenviron- mentionedAnderton fromMinority Report. He stillhavefatalistictendencies,warandfam- BladeRunner,issetinadarkand mentnowthatthemurderandcrimeratehave isabrokendowncabdriverandretiredsoldier ine. Itisaconstantreminderthatwemust fatalisticworld. Itisfirstandforemosta dropped. However,thereisstillafairlylargedrug whoisdownonhisluck.Althoughnotasbleak neverforgetthatthingscouldgetworse, steelinfestedhubpopulatedbyprosriwtes problem.Themaincharacterinthefilm,John asSpielberg'sfilm,thispicturemakesmoreuse and thatwemuststrive to be reminded andbums.Thehomelessarcrampantinthe Anderton(Cruise),isadrugabuserhimself It ofthedangerouswomanfoundinclassicnoiis constandythatweashumanbeingshave streets. Ifyounotice,thedepictionofthe isironicseeingashowheistheonlysymbolof ofthepast,asLeelooleadsKorbenintoanodd aconsciouschoicetomakeadifference, futureinBladeRunnerisblanketedwithan justiceandlaw. Butmanyofthecharactersin journeypittinghimindangeroussituations.To Furtherreadingforthisarticleartavailableat impendingsenseofdoomanduneasiness. noirfilmsareflawed,usuallywithpaststheywant drawonemoreconnection,thefilm'sancagotiist antni:inmsheraldcom. Thisisinlinewithbothclassicandpost toforgetIntheend,thefocusofanoirfilmis (playedbyGaryOldman)isunforgi\'ingandruth- 1970noirpicturessuchasPolanski'sChina- onthebroken-downcharactersandtheirbattles less,muchlikeRickCoyleinRawDeal.Hehas townandAlcman'sTheLon^Goodbyewhere formeaning.Andertonissuchacliaracter. He hisownagendawithintheworld,andismdirecdy darkthemesoflossanddoomextendto haslosthischildandisobsessedwithobliterating linkedtoLeeloothroughthe5elements. characierswithinthestory,astheyareof- crimesothatsiriiationslikehiscanbeaverted. Besson'sintentistoshowaflamboy- tenconcernedwiththeiridentityorlackof However,becauseheloseshissonhismarriage anttheatricalpresentationofanotherwisedark one. InfuturisticfilmssuchasBladeRunner, ultimatelyfallsapartAndertonislikemanyof andfatalisticstory.HetakesanotefromBladt theailmentispresentedastowhetheror theprototypicalnoirhero'sinthatheistryingto Rj/nnerandbecomes congestedwithcolorsof AcpppcdEm{aoomrpehatfbiipewfDctr;rileiitnna1ialirhmninnoihhreara)msestdm9mioeeacndnsefxnnochoua\dec5iceccm,oeoiaerodlldmnPoann5iecw7a\menessmtmrutosisene)Vrbnlohdiaphacpi'wnnfoelg.xlchfeelaIf\jTiohmiiftltuxuitosnyoSiuematfabvcnnoanoohrhiitwtyirpaneoeivn.ol,rnrdglao.ner.indscea.rsrn,neN'saetIiairteeahgiimgt.onrIihtrivKrscISfsiIKyit.lreoteetynspadeooiiehtJmtinwlelVsit,trmdoieIt/lrvlsawaiwalrefaewigroi/tdk.ovihisfhiIroemrlleaolnorhunstcrihitiiepecfierbhlssftlnGy'ntdennechtnaer'(nswinYluoslafpetjgilcgaai1apsedsiaoi2oto.oootriisKlnhsheIdro9rdosaiirin0irswGSrhtfeiibgsa-t9isyKen,rd-Mh0elsteditiiopsak,mhoi9swceosiiofceo/asmneftsslp)baxuanmStcdDbrritirL:acpLihsbifoeshvtnopir-ihvosna>fCacl.toeliuvoaevaooeeA2rraninendfilsiuiwncevthetirainaprje.ths0\trgaltnogaeb.caaramlrslryutGdii0s-uathswurSieohtrTnay;ecltcsegte1esmist«rr^pwis-iaasGdlxyhuohaishowsaonr.euoaoitvsinfrl,cirniujiocnlcirerrccmuatdhidsacyehdnerKnoanetnyreryogebMg-hlawceaefugguoonaadieoCovnaGl.sdhhprfonssOobacrhmld«rnuDlrkesleraiiefd.mofprfrnaohio.neaeaedaoiDcyrincpoohsriisglenhddme\rddsendtclantseiaIariasisnKceiiiisTg.opmlmecstdnscinrickv\eemo(anyhslo'tpatrult\mcVeoar'-yeltl,.rgi7seaosoeaiu1mfeilneedi,chsnrsescamlsrorfsrnfoo9alnexcapluthiIe'.hiaey-mt6ygfsffomclesunsbsnnfncpbegsb8-sitetnTpottijidaohiKdtta,aeoicrpennhdtttlsoctlsiehfishrihyninnoxlncunrutdyehhhryamhaisocalasaseeemg--eond-,,eeety-ldsrts-.aeert-tst, TaaigwcwsrrGclamhitolpActstlsiebiueolaoionhhoefeshtasvbfoortcvseunirpletnesjlrdvtaethtrrDsellhfsmeeitiptueaiesiadeccanaher)cnincisaoakevtt'asetea.cinbtcpifniyissltetsusosdmsvods,atahesssi(pyisfirnsfilhseleholmtlcjtimGyceesysotieodhyeonaCOizlrfDurhlDtioanlecafVgoiewlytcaenaGlncrlaaNircair.aarhh,rlrooegvdvtdiDmnmsnalimugoipyeityau.caeyaoanVtsoiurlo.vnisonpernycivsairnaaesUwaianahaynrtaytldonllononltstiAwecoh-iefodtfocl(r*dtpsfehesawwpfyr'lrkisnptitVnrwrosGaieehemGshthuiuciredlrwn-tsoleeelesonlthpnociteiGhoflttccadtehtrGencf-efrramleeopdiaiilinthaaooidsnsnuornDartcontsatrraionnctaitc.resoitaciDegsirv'hdidgooiliogvohgiarreeasiolrnenoncaenn.eie'syv'\oylaentlavisscnsw]syrtsiaslisouetetotitoi)lacscotvbiharpwstyitthbhe|vemahnoencchhottaeeoeacDslcvirrahsuahtrncnetsskniueiealcGlnekedhgv\rotadtetlrd-eeeteohiaeuoaesionanlw.phviwntrvgtgnqw,arbstcthiesh-yirhuAehieihtitcue-uirobeaaertollherjytlobwanSsi)alcoaeurttnoihijneiire.oczhiaowstenhepstatdz\dktenricclWcoolmh'-epuVtrsstithtnei(ultldeeasiveSttii,sigaoihastgeonenaehvhntekitsiatDshhiafdt--eetoeeegl.-ssaa-.t'nAhGgaovds.aatDttDtf1licrrilfehharliha1lgfa1trwfe"fHeemofravoomel\sfsiiauryoyrtiauwewvImio7nhhlid'ssr'enienamtalitanssnsstlsdiosnsdweiya1LesmondioalnhgxiHtafccywntosKofpehtthhonhoroyhbhwvaotseiiehoimoimwe-ruissswetellfmpsidarcatstewhcdcleals-otolmrsesciooKIuteemeyeltoawonmtTonDwhiytronosonid\engparhadmtedudsvndhalTiiluomv-eoistaeilcnrhTwbp.utotyfawtsyielishgI(elsshuagatisanbhmtdiasreioaslcfissdsopTlnnqrinemlki'hoeosboicuwmdilehohnneennireywreellgboaaerlorckul.ilnehdnsnedsislsontltutcwadsftgshohTml(ielrfra.tihhebeaieifaeihssdtiynygntxfhocHts)elrhmneaadftcrlf.actsoeati.iureeeorbaghienmsigspa"wrsoSthwhtdiadriptmithonksumekCrooaneeidrfbhinfsduicgftwlehedOryaoonslhhosioierrauaulrdlaistrnmpneintrvtdmt)tuesoi.gflhch.mael,vuahmlitycseoeiLntteseha,aKB.fatnBgilcddreoleainrihctypritItcinGettndiltthidiigbfgleevheeaoenwcrlhnlcaoidsnsittdeeeteaPlo-orcnntuhciaeowbowiaknathratnslsnfayf,-l-oseetlg! elgWttscsbavpeoaieaapfnbDouaeacffitootknerxhhgroeatninirgahfinreahmefnnhfphrntcleeaooronialweevcaavedo-aedgcooteefimssdcicutwsryhnirtvu.oimaHloctnpvifknpknbhi1eocn'ptgirnnsrlsrosensaekteimdfotr8hbisltBeeguoaeddtttsgtcscElotee)haxela0niewsnsDonyetttoryhtlemw.msdonyiaCetsercrmsabt-ieeueywodiallonesminlIk.trmvteyTossveeab.drantefwiogndatadheoeootnjfhfsgllnxgnIhygnoaeotanintnTWeabhetisVetiIedadgtsrotsnodetoithgeiwojdcitcipiasroieeem.ltdsgoihdihcftitedrnsqnonlsqroetpoioinr.iaicKsceioheifldusniusRnnh.ionlflfvatnegdsfuatcntwooerie-egaaneSfhWpeiniefiilgarbtoguwHoesnlvhhnntvsofhvteen,tbkWmhdlhatrikcsuospoceoiiapa'eehCyteeeepetsttiwaecehhvrlerlnsdemss-sp,afbin.omthaisnracaasaiKtlbgctaetoonvortsettp,droctsteekiicupoa-hyyentithtniaseteehigtdhtacnbsimeoewernwiiy(scocaeaeiDop-vnmargeotcoiarccenittrotnnontneotase.daisdtamvagaemteyieiDdtnimitontcnec.eitrtai\lt,kacrKsnoegt,oogaasldnkorhhetwnizing7ehehnipnDteeleagl'encvhn,wHoaemiKsoisrtaolnsdesesdgseeayoatoy.yzegoltuseKmfuttairdirriihhlavnwetstliysaDbaehfuetrne'itoTtltmeirellgiohadesfyaerrnsxsbky.eidnenfheairnh)eeisefyvesoitdrsstit.sKppgraeg'r,yeaaos,ecIponsitoiloaer,hvmenwdiest'lrhnfpsnhaktAtcffneofeneiotiotsosVeeedihtcudtttiknalfsciennsshoofqacithreirCiheliewebnetgtotoemwpfudlea,bolndsgcenndresnaofwlbcsetaonliotaaohtracgetrtelffcylrKiohehwvsnactrcludrteftoineiiatiingssoaioiuerdeeokankskehoielnlvdatnukIltfeinnm-.d-yfkrredsnmyedii-dsmyeskgtttsn---tgts L-eveevniidêntfoclsusreh.siiitDs.eilvfy'msosrtelcyounotnincghaorf- if Ttohegetraapifdeelcuotftinhgisaelxsoperhieelnpcsetiondtihseorninegn.t sub|ectivit)'withinhisownsubjective theviewer.Thismakesithardtoestablish perspetove, spadalorganization,butnonethelessgives SiishhaoctrtesDaato\e-fd\'toAhauetnfd^coniiftCtyivilcnaodonnindacve\esliyirdvbeeaannidonadtriiaeknnggdearntiphdceersccwemetopitrtvil)end.'g wam(aacnstudccbhajn.neacrTtsrhiaaivytseitoiphnsaottiohnneatllgtoohofaetlhwveohirfoelswtteyh)loeifswptoiitccrhtkeeurlbteeoomsxeirinnentcpsge- atmosphere.Kubrickhasgoneonrecordto resentDa\7'ssubjectivestateandpointof sohnaefev;ru.li!lli-i.i/'Sll:i.rii.-ij,:i.uI/ImiIJJ^h'lni.tlIicmlhIli.'ii.ciluokhcv(.iemnmrsrtltrolhaf,feffiiehcttmliflpieettewolyenatlpnyadprwatcivootleofh-r Kubrick'sdistinctuseofnoirlightingtoconveycharactersubjectivity. vcvtiiooeanwtwfae.irrdVfmsorioctamhee-reoCatvlleeainssrtsdiiaeccnnacdlpyorfsotltrfaaasnyhKdabiallalrcedrok'sfsedKatiinhstesdintwgowoaodldresdk-o .haesdcviivi.ip\eniii;ciLn-dmqguiiveeisrcohoafsteoptoovDearvlyoookninag anupbeatjazztrack.Similarly,inthebeginning andT-Meiiwherenmlightijigdisappearswhen- seumbbjeecdtidveedly.flAatshtbiamcekswthheerepicDtauvrey'susevsoiice thaesin'(esilstiiailnd"lciotn)'e.liInnessshoarrte,sifgenelailnegdsinofshuont-s ainngddernudmbsecaetn.esMotrheeovfielrm,iwshmeanrkmeudsibcypaarnlaeysscapllato-t edvrearmaatsiicngslielhhoauredt-tlesi.ghHtesroeu,rKcuebirsiucskeda,chrieesuvletsilngugihn fthreompastth,ebpurtesoevnetraellngiatgeemsplwiotyhsaanscaelnle-emi-n uchasthese.Moreover,shotsliketheseare motivationitisalwaysmarkedbyareturntothe contrasteffectswithfilllightsodiatforeground bracing voice-over/flashback- This flash- asicrloconnect tocharactersubjectivity' melancholicjazzthemethatcapmresthespiritof andbackgroundaredifferentiatedwithoutcreat- back/voice-overtechniqueisawaytogive whenwehaveotherindicessuchasDav)''s Davyand,toalesserextent,Gloria. ingsilhouettes.'Theoneexceptionisthescene analternativeviewoftheworldpresented fishbowl, his letter from Uncle George, On-locationshootinggivesthefilma whereVincent'shenchmenkillDa^ysmanager. byDavyasopposedtodominantideology. andotherobjectsfromhisapartmentihat realismthatwouldnotbeachievedinaset(i.e. Ratherthanafilllight,asinglelightsourcefrom InKiller'sKiss,thegrittyanddarkworldcre- areconnectedtolusstateofmindvisually. foginskyandheatfromsewer,etc)-Shotsofthe behindtheactorsisusedtocastsilhouettesjust atedbyDavy'sflashbacksbecomesaunique EachsKotaddsasubjectiveleveltotheal- cityarcdarkoremptyandusuaUycorrelateto likeinT-Meii.Inotherscenes,Killer'sKissemploys perspectiveof theworldthatisdifferent readyunfamiliar(darkandempty)objective Davy'soudookonlife(i.e,thedreamsequence), standardnoireffectssuchas«VillainLighting», fromtypicallyclearandconcisedepictions world. butnonedielesstheyareall filmedon-location whereVincent's(andDavy's)faceisillutninated presentedinClassicalHollywood. Kubrickdevelopscharacterstate and thereforebearanclementof realismand byalightsourceunderneathhim.Thisexagger- Onaformallevel.Killer'sKissis ofmindfurtherwhenheaddsanotherlevel authenticity.Thisalsohelpstomakehappenings atestheunevensurfaceofhisface^.e.eyesock- acomplexstorywithadistinctsubjective toDa\y'ssubjectiveworld bygoinginto withinthedty—suchasthetwo«Jerksndanc- etsdarkerthancheekbones). viewofaciry.Thismakesthefilmboth greatdetiiilaboutthebackgroundofGloria. ingexaggcratinglyalongthesidewalk—morebe- Thelightingisaidedbycinematogra- complex and realistic as it goes beyond WhenDavyasksherhowshebeganwork- lievable. Moreimportant, on-location shooting phy.Likevirtuallyallfilmnoirsoftheperiod,this simpledepictionsofanexternalandobjec- ingforVincent,aflashbackintroducesus allowsthefilmmakerstorelymoreonthedark picturereliesonwide-anglelenses.Asaresult, tiveworldbyforcingtheviewertocorre- tothemelancholicworldGloriacamefrom. andnaturallookofnightwhileatthesametime almosteveryshotisdistortedwithobjectsloom- spondtoDavy's(andGloria)perceptions Alihoiinh onlyêchersisterdancingtoa forcingthemtolightscenesaccordingly.Gritty ingexaggerabnglytowardthescreen(fishbowls, ofthatworid.Byoperatinginthisdistinct -.MnL;.Iktvoice-overinformsthat low-keylightingistheresult. staircases).Thebenefitofsuchalensisitsabil- fashion,thefilmbecomesbothinnovative shtliiM.--liLTmi>thtr.herfather,andfinally SimilartoOiilofihePast.Killer'sKisscm- itytofilmwithextremedeepfocus.CHi^nKane, andideologicallydisplacedwhencompared hersisiur,vvli<. lursilL"Ihev..ice-over ploysrimlights(flood)appropriatelypositioned OrsonWelles film made 14yearsearlieris,to toClassicalHollywood(i.e.OnfyAngelsHave H:isIi1mc1. ^n-.^- n.iv\ .md [W .u.diencca totheside-rearofactorsandaboveorbelowthe myrccollecncin,thebestexampleofsuchfocus. Wiigs).ThismakesKiller'sKissafilmnoir. c;imcra to differentiate foreground (character) The afnrcmeniiuned apartment scenebetween WithdiereleaseofEjesWideShiil44ye, .111.1 li.ickground,Nowhen- iv tins in->r> .ippir- D.ixVJiid(Munaisonlypossiblebecauseofthe later, Kubrick reestablishes .i iiciir world iniihiminthemiddleofdupiciur.-whircIXivv ilipih<>[ liL-Maffordedbythewide-anglelens. throughmood.Exceptthistime,he Ic flashbacksuggest;,thaillisconcernedmore studiesGloriaacrossthecourt)-ardinherapart- Ihewide-anglelensalsomakesIteasiertocast goesimitationandpushesthenoirmoodto with ilic feeling associated with Gloria's ment.WefirstseeDavyrestiinginthediu-kwith deepshadowsthatinturnsignalthegrittyurban itsradicalconclusion.