Recently Watched: Control
Control directed by Anton Corbijn — Released in 2007, this film is a black and white biopic of Ian Curtis, the lead singer of Joy Division who killed himself at the age of 23. The soundtrack, comprised mostly of Joy Division songs performed by the actors, is an unbelievable accompaniment to the powerful visual experience provided by 
the photographic talents of Anton Corbijn. Prior to viewing the film, I knew next-to-nothing about Joy Division. I was never exposed to their music, and though I had heard vague stories of the singer’s suicide, I recalled very little. For someone with this limited knowledge, the film literally knocked me on my ass. I was impressed by Sam Riley’s performance as Ian Curtis — He literally embodies the quirks, spirit and movements of the troubled singer: the awkward dancing, the poetic inclinations, the simultaneous sense of an outcast and a star. In fact, the character reminded me a little of Jim Morrison, particularly in his moody vocals. Hours after viewing the film, I was still awestruck with emotion. I am not suggesting it’s perfect — I do believe the movie is flawed. It calls upon this powerful story of suicide and provides us with only allusions as to the reasons why. Nonetheless, the discovery of this music, and the story, was, to me, inescapable.
Allen Ginsberg and William Burroughs were truly counterculture. The three were introduced by 
In fact, there are six actors, each performing a version of Dylan’s character at different times in his life. Blanchett’s role is Jude, Dylan at the height of his 60s fame clad in black sunglasses and a suit. Among the other actors are Heath Ledger, Christian Bale and Richard Gere. Even with these male interpretations, Blanchett is the flawless embodiment of Bob Dylan:
Death Cab’s most memorable songs contain snapshots from its walls: Gibbard has sung about an incriminating kiss in a photo booth, discovering forgotten pictures of an ex in his glove compartment, and an especially bleak Kodak moment from a doomed marriage. On “Cath . . . ,” from the band’s new Narrow Stairs, he finds a girl “in a hand-me-down wedding dress,” and the details feel like knife twists: “As the flashbulbs burst, she holds a smile/Like someone would hold a crying child.” That sort of heartbreak defines Narrow Stairs. But where Death Cab’s past records made it easy to empathize with Gibbard’s narrators, the group’s second major-label release zeros in on characters who are often more creepy than cuddly. The result is a dark, strangely compelling record that trades the group’s bright melancholy for something nearer to despair.
first death cab song that really won me over. this, along with the following song, were the theme songs for my last break-up in 2006. i remember not being able to get the tune, nor the lyrics, out of my head. death cab recently released a new c.d., anyone heard it yet?
this week after hearing another track of theirs on grey’s anatomy. simple, yet sweet. most of his music is instrumental, but the tracks that have lyrics are all good. i recommend writing on the wall and wherever i go as well. 
genre these guys fit into, but they rock. this is, yet again, only one of the songs from this album that i have listened to too many times (see below: !!! (chk chk chk). to give you a better idea of what they’re like, 
this guy through myspace and bought the album a fly guy’s theme. this is some great underground, undiscovered hip hop. dope is kick-ass. bonney is originally from west africa and has opened for ll cool j and outkast, among others.
even know there was a second disk until recently and damn! both of these albums would not even leave my 5 disc c.d. changer. top tracks? all i need, jigsaw falling into place, videotape, mk1, up on the ladder.
a bit infatuated with this duo of canadian sisters. aside from the con, we also recommend so jealous and if it was you. first discovered tegan and sara with the l word, then they were played incessantly on the first season of grey’s anatomy. now they are played incessantly in the a.r.w.’s car and headphones. best tracks off the con? — dark come soon, the con, knife going in, call it off.
favorite songs of the year. rolling stone said, “always too cute for serious indie cred, jenny lewis slips four songs about dangerous sex in which she herself might be indulging — right now, in her pretty prosperity — into music that’s defined rather than just decorated by its stylistic flirtations….here a soul horn section, there a fleetwood mac homage, there a synth outro and almost nowhere much guitar-band alt-rock.” need i say more? the moneymaker, under the black light, and dejalo — definitely worth a listen.
worth the wait. i’ll let rolling stone say it for me: “it’s been ten years since the world last heard from portishead, the u.k. trip-hop trio, and they do not sound like they’ve spent the past decade going to therapy, listening to new music or making friends. actually, they sound like they spent it locked in a tea cupboard underwater off the coast of bristol, with a piped-in orchestral soundtrack from dario argento horror movies. is this a problem?”
now it’s all i can listen to
