As I mentioned the other day, after a grim 2011 it looks like 2012 has the makings of a good year for film. Later this week, I’ll be posting Jonathan Romney’s review of Alexander Payne’s tremendous The Descendants. But meantime, I hope you’ll indulge me while I throw forward to one of February’s best releases, Young Adult – a terrific sort-of-comedy from the Juno team of director Ivan Reitman and screenwriter Diablo Cody.
The 2012 Academy Award nominations have been announced today (January 24) in Los Angeles. Martin Scorsese's 3D children's film, Hugo, leads the way with 11 nominations, closely followed by Michel Hazanavicius' black and white silent movie, The Artist with 10.
Here's the nominations in the key six categories: Best Picture, Best Director, Best Actor, Best Actress and Best Supporting Actor and Actress.
White Denim, as their frenetic live shows would suggest, are not a band much given to idling. Last summer, while the master tapes of their scintillating third album D were withering on the reel, awaiting record company approval of a reworked song that the band never wanted on the album in the first place, the Texan crack shots decided to use their downtime productively.
It didn’t require a telescope to spot Craig Finn’s first solo record glinting on the horizon. The most recent Hold Steady album, last year’s Heaven Is Whenever, hinted at creative restlessness within the ranks. The band carved out a little more space and Finn scaled down his narratives to something less obviously cinematic, yet it seemed clear there was ample room for further exploration.
“David Byrne, all neurasthenic nettles pointing inward. He looked like someone who’d just OD’d on Dramadine – all cold sweat clammy and nerve net exoskeleton… just looked like some nut just holidayed from the ward with a fresh pocket of Thorazine, that’s all. There was something gentle, shy, reflective and giving about his hideous old psychosocial gangrene.”
That’s Lester Bangs, in full flow, recalling the first time he saw Talking Heads live, around 1976, in a rambling, sometimes flashing essay written in 1979 as a review of the Fear Of Music album, but only published for the first time now, as accompaniment to this superbly conceived DVD.
MC Taylor, a songwriter and a student of folklore, is not a declamatory man. His songs are compressed and poetic, with nary a syllable out of place. You will hear echoes of familiar things – a bit of Van Morrison’s mystical warmth, or John Martyn’s angst, and the language will be unfussy, and derived from the folk tradition.
It is a sad fact of life that a man from any walk of life – even the often preposterous world of music – will struggle to be taken seriously if he wanders about wearing a beard the size of Gibraltar, decorating his face with white stars and red war paint, growing his hair down to his waist, then dying it yellow on one side of the parting and blue on the other. So it is with Roy Wood, still best remembered for his terrifying dayglo clan chief appearance than the succession of superb pop songs he wrote for The Move, ELO, Wizzard and – perhaps most impressively - as a solo performer.
Ahead of a UK dates to support the new Waterboys album, An Appointment With Mr Yates, Mike Scott will answer your questions in Uncut as part of our regular Audience With... feature.
