Taking my cue from John’s playlist blogs, I thought I’d compile something similar – a playlist (or, more accurately, a viewing list) of film trailers I’ve been watching in the office.
The cover image of Promised Land Sound’s debut album, an old Nashville street map, clearly asserts the geographic and aesthetic loyalties of Sean Thompson, Joey Scala, Evan Scala and Ricardo Alesio, and their press biog has the requisite classy endorsement from local grandee Jack White's Third Man Records.
The new issue of Uncut should be in UK shops today, with an exclusive in-depth look at the new entry in Dylan’s Bootleg Series, plus Nilsson, Canned Heat, Morrissey, Armando Iannucci, Linda Thompson, Julianna Barwick and, I’m particularly pleased to say, Rocket From The Crypt. More here…
Bob Dylan’s on the cover of the new Uncut, which goes on sale tomorrow, July 31. The occasion? The release of The Bootleg Series, Volume 10 – Another Self Portrait (1969 – 1971) a typically fascinating glimpse behind the curtain of the Nashville Skyline, Self Portrait and New Morning sessions.
Gearing up for the Atoms For Peace show tonight with this lot: please note (and in some cases listen to) new Forest Swords, Feral Ohms (another Ethan Miller band, this one very much in the Comets On Fire zone) and a reissue for Robbie Basho’s long-unavailable first Windham Hill album. The Desert Heat record sounds better with every play, too…
Sacha Baron Cohen has reportedly quit the forthcoming biopic of Freddie Mercury over creative differences with Queen.
The actor has been attached to star as Mercury since September 2010, but Deadline reports that he's now pulled out of the project because he and Queen, who have script and director approval, can't agree on the type of movie they want to make.
The band apparently want the biopic to be a PG affair, while the actor is keen to delve into the grittier aspects of Mercury's lifestyle.
Wadjda is the first full-length feature film shot entirely inside Saudi Arabia, a conservative Islamic country where women are denied civic freedoms or any public role. It’s director is Haifaa Al-Mansour, a Saudi-born female filmmaker who now lives in Bahrain. While shooting on location in the Saudi capital, Riyadh, Al-Mansour had to hide in a production van, directing her actors via walkie-talkie, because she could not publicly mix with her male crew.
