January2007-VolumeXLII,IssueIII Hef a Brain? LaurenPincente waboKitlfayl;ltntoHmednconrlydhnlaesy'oib«'tseeslinmTinJn'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.tcoinhfrnmitlnnr.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 meaningtothephrasehemmaehteiiTocani'h.llehpmlrrtdhrsrpbhtsacwasaysirireetp,iitHyuutharpuafeeigcsomlctdlpviesyseglrshviMra,oheiinti:cntshiiureeiansibadeethicweonemtlcilnslayesesannci-bwhbfoaprycsstisgsfelyesleercvaimeinci,ewsbLdoireshleroossevenelototaoelqauunbleenawyhshdeootlneurcdsleoreiteeies-»yafnhcpd-hen-y-na,ot-s.s, 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.osReelcyenttrlaynslsactreedenasedu 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- placethathasthewordappeal. staringsadlyuponyourlaughingcrowd, followingsongsareplayed; •Agrossmakeon!sessionthatresultsinyougiv- LikeFuiiirtsH.ikLTv,mdTheGreenRootn, ingouE\>luriuLorreciphonenumberonpurpose. theD.iiKLI ri.-,tilvisn'ttijatwonderful. •Threeemaciatedclubgirlswhoseemto •'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 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gesttsaBhbttfhhaoheheoroeaacuceuanLautttihnsdremnwg,cd,esedealdid,srseebainiheainscneeytatrorldydmbhtgniurerepertdndaihatmhrwcepdeboahewdsothsnutsoyyhriariiufekatarMno»zgr,thic,nseaihneohsah(sitimttlaGtesodmvhvebiiDodisetelsarynrhsyidtnmaegngie-dscanaawcoctrhmervfdteoBaieivhyDrudtnceeayaaMirgisnltn.pnremiecC)sairetofm.urwis,olnuceiofnclsctfnStr(reaioehecaobeistrsphiemlcis.mten,eofsiaweniuoDdcTdsvlntamthohihhrne'inaainked,sspntg JiilMv(IlMihoiiiieiek/lls/itaviensehnhdeitis'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: / »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;iirnflramoment,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--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 andthedriWngsingleiiuj'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 >tnfCacl.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.

Innis Herald, Volume 42, Issue 3 - January, 2007

Similar Innis Herald, Volume 42, Issue 3 - January, 2007