Monthly Archives: October 2011

Watch: A Serbian Film DVD

 

 

Released
this week on DVD and Blu-ray by Invincible Pictures, the NC-17 rated sex/torture
porn flick ain’t exactly one to watch with the kids. (Warning: film trailer
below is fairly graphic.)

 

By Jonah Flicker

A Serbian Film’s director, Srdjan Spasojevic, was bestowed a rare honor after the film was
screened a few years ago at a festival in Spain – a charge of exhibiting child
pornography and an arrest warrant issued by a Spanish prosecutor. Defenders of
free speech and fellow purveyors of torture porn, including Eli Roth, were
completely outraged by the charge. But it must be said that, while obviously
none of the scenes depicted are real and the movie is definitely not a snuff
film, A Serbian Film is by far one of the most extreme examples of the
torture porn genre. It’s a very difficult film to watch, all the more so for
the fact that it’s actually fairly well made, shot brilliantly and woven
together expertly by its provocateur director. It rolls along ominously for the
first 30 to 40 minutes, showing nothing more shocking than explicit sex that
stops just short of actual penetration. But when the film hits, it hits hard
and shies away from very little. If you find the concepts of murder by blowjob,
decapitation during sex, and newborn porn disgusting, you are probably a fairly
well balanced person. But you should also not watch this film, and perhaps you
should stop reading this review now.

 

 

Srdjan Todorovic plays
Milos, a retired porn actor who is trying to
lead a normal family life, even if his young son occasionally finds and plays
one of his sex DVDs in the living room. Just when he thought he was out, he
gets sucked right back in – pun definitely intended – by a sinister character
called Vukmir (Sergej Trifunovic), who is attempting to make art out of porn,
or vice versa. He gives Milos very little
details as to the plot of the film he’s making, asking him to sign the contract
blind so that his motivation will be natural and pure. Milos agrees, but soon
regrets it. As they begin filming, unsettling scenarios play out, involving a
woman who may not be just acting like she’s been severely beaten, and her
pre-teen daughter who watches Milos as he
performs. By the time he’s decided he’s had enough, it’s too late. After being
drugged with a “cattle aphrodisiac,” the violent sexual carnage really gets
going in a shocking and disturbing manner.

 

 

 

Many scenes of the
most extreme gore and graphic sex have been trimmed in order for the film to
find distribution, including the aforementioned newborn porn scene and the
horrifying climax. Even though it’s all smoke and mirrors, as is the nature of
the medium, the actions playing out are despicable and beyond disturbing. There
is undoubtedly a point here, at least in the mind of the director, which
probably has something to do with the violent and sexual nature of our society,
and our complicity in it as both an audience and a consumer. Despite all of
this, it’s sometimes hard to see what all the fuss is about. The movie uses
graphic but rather cheesy special effects to make its point, a tradition dating
back to Texas Chainsaw Massacre, stretching through the Troma Studios
output all the way to the Saw franchise. Each time something new comes
along to push the boundaries, there is blowback. A Serbian Film happens
to take it much farther than ever before, but such is the nature of provocative
art. It’s hard to see a redeeming social value through all the blood, violent
sex, and cringeworthy imagery, but that’s not necessarily the responsibility of
any film director. The only real responsibility a director has is to make a
picture that’s coherent and entertaining, and A Serbian Film at least
achieves the former.

 

Director:
Srdjan Spasojevic

Cinematographer:
Nemanja Jovanov

Stars:
Srdjan Todorovic, Sergej Trifunovic, Jelena Gavrilovic

 

View
the full trailer at
www.invinciblepictures.com

 

Report: Grass Widow Live in Easthampton

 

San Fran’s Grass Widow, plus openers Coasting,
Troop of Echoes and Outdates, bring the girl power to the Flywheel in
Easthampton, Mass., on October 17.

 

Text &
photos by Jennifer Kelly

 

It’s a
pretty good night for girl power at the Flywheel. Grass Widow, maybe the best
of the current crop of female-centric post-punkers, is here from San Francisco to headline, while Coasting, a
guitar-and-drums duo from Brooklyn and Nashville
that is just starting to make a splash, has the #2 slot. The locals on the bill
are more gender neutral – with jazz-rock-fusionists Troop of Echoes holding
down for the boys, and shout punk Outdates two-thirds male, but with a
long-haired and ethereal looking girl bass player thumping out a Wipers-esque
low-end.

 

 

Outdates
are just finishing up when I arrive, their fast-charging punk rock in the
aggressive-but-not-quite-thrashy mode of the Volcano Sons and, as I said, the
Wipers. They’re not bad, in a hard-shouted, righteous kind of way, playing
right down on the floor, amid the kids, Marc Candilore leaning over the mic
until he almost touches the nearest people, Andrew McCarthy drumming with
full-arm-extended abandon, the bass player Ally Einbinder stoic-faced and
resplendent in fishnets. Their last song starts in a bashing, smashing,
freight-train attack on the drums, and a raucous, sped-up surf guitar riff that
would make Dick Dale proud. Candilore stands motionless, mouth wide-open as he
rants into the mic, the kids bouncing off each other and the pillars and the
walls.

 

 

 

Troop of
Echoes, next, is the only band on the bill to fall outside even the loosest
definition of punk rock. They play in the jazz-into-prog-into-experimental
territory of all those bands on the Cuneiform label, their grooves a little too
complicated for jam, a little too warm and sunny for post-rock. It’s like
Tortoise, but for dancing (except that, admittedly, sometimes Tortoise is for
dancing), the blare of sax wheeling in dissonant abandon over viscous, bouncy
basslines.  The bass player, Harrison
Hartley, is fun to watch, a big guy, totally enrapt in what he’s going,
bobbing, weaving, jumping up and down, banging on his four-strings with a
borrowed drum stock, and not missing a lick, sometimes locked in dialogue with
also-excellent drummer Daniel Moriarty.

 

The band’s
evident skill – and its reliance on Peter Gilli’s alto and soprano sax for
melodic flavor – makes them seem like a grown-up, slightly anarchic version of
the world’s best high school jazz band. They play an interestingly angular,
rhythmically intriguing piece called “Golden Gears”, and a slower, smoother,
lite-jazzier one named after a city in Maryland.
Guitar player Nicholas Cooper switches over to synth for “Little Bird,” giving
the band an even more pronounced fusion-y flavor, but not in any kind of
chilled, hypertechnical, cerebral way. This is post-rock played with the same
fever and joy as post-punk. The instruments are different but the enthusiasm is
not.

 

 

 

Coasting
comes on next, a pair of young women in lady-like summer dresses and flats,
whose music is anything but prim. They are, specifically, Madison Farmer on guitar and Fiona Campbell
on drums. Campbell lives in Brooklyn
and has played with the Vivian Girls. Farmer lives in Nashville
now, but the pair of them met in Brooklyn
while both working for house show impresario Todd P. After helping out with a
parade of DIY shows, the two caught the bug themselves, and Coasting has the rough-edged,
rough-housing jubilance of the best kind of untutored music.

 

To begin
with Fiona Campbell hits pretty hard at her kit, setting up rackety, locomotive
cadences on tom and snares, then blowing them up with rapid-fire fills and
rolls. Farmer is no wallflower either, scrubbing out angular, rubbed-out chord
patterns and trading yelped, sung, shouted and spat-out vocal lines with Campbell. The two of them
sing in strident unison sometimes, joining, at one point for a joyful, defiant
chorus of “You’ve got that right.” Still more often than not, they fill in each
other’s gaps, Campbell
tossing a line out, Farmer tossing it back, guitar breaking into flourishes
when the drums stop and drums exploding into sudden scraps of white space. There’s
an asymmetry to their melodies that you might associate with earlier post-punk
bands – Delta 5 and Ut come to mind – but also a flirtation with softer, girl
group forms of pop. They’re not especially loud, this duo, but they have a kind
of unremitting energy that is like high volume, but only softer.

 

They also
are clearly still in the whoa-this-is-so-fun stage of the rock travelogue. At
one point, behind her kit, Campbell suggests a song, Farmer plays a looping
riff from it, and Campbell breaks out into a huge grin, as if it were her very
favorite. They also mention, two or three times, how psyched they are to be
playing with Grass Widow. Their excitement – at playing together, at being
there, at making these songs – punctuates staccato, wordless choruses with
extra exclamation points. “Oh! Oh! Oh!” the one sings. “Oh! Oh! Oh!,” the other
answers.

 

 

 

Coasting
is right to be amped about performing with Grass Widow. They play next, and,
after a long, frustrating struggle with the Flywheel’s amplification set-up
(has anyone ever played here and
heard anything in the monitor?), the
three of them decide to “Just try it and see what happens.”

 

Grass
Widow is a three piece, tall willowy Raven Mahon on guitar, wise-cracking
Lillian Maring on drums and Hannah Lew on bass. The three parts seem equally
important, Lew’s abstract, Cubist-funk bassline intersecting in interesting
ways with Maring’s blustery beat, challenging the slash and clangor of Mahon’s guitars. Vocally,
too, the duties (and emphasis) are shared, in tightly coiled calls and
responses and blossoming three-part harmonies that glisten like a slick of ice
over notched and jittery post-punk mayhem.

 

Past Time, Grass Widow’s first full-length, came out last
year on Kill Rock Stars. They plan to release their next, now that KRS is out
of business, on their own label. Lew tells me that the second record is done
but not quite ready for release. In the meantime, they have some 7″ singles out.
The set list mixes old stuff and new, starting with long-time staples. There’s
“Tattoo,” with its lacerating beat and soothing harmonies; “Celebrate the
Mundane” with deadpan verse and swooping, circling refrain and bass-thumping,
out-of-whack-riffed “Out of Body Experience,” to start, and then new single
“Milo Minute.” The blistering post-punk rampage of “Rattled Call” breaks and
turns, somehow, in an a cappella madrigal. The three women charge ahead
chaotically, arms flying, notes pinging off each other like shrapnel, then when
you least expect it, pull back into the sweetest kind of tuneful-ness.

The set closes with “Manniquin,” the other side of “Milo Minute,” and no one is
ready to let them go. Maring explains that they have never liked the idea of an
encore, even in Europe where it is almost an
insult to an appreciative crowd if you do not walk off the stage, then return
for a few more songs. Lew says, “But you can just do this,” and turns her back,
then turns again to face us. “We’re back.” And everybody claps. There are two
more angular, angsty, oddly pretty songs, and then the night is over. I’d say
that if it was a contest – and it probably wasn’t – the girls won.

 

 

Pollard Posts New Guided By Voices Song

 

Sounds like classic
Who to us! (And that’s a good thing…)

 

By Blurt Staff

 

Word arrived not long ago that Jan. 1 is the target date for
the new Guided By Voices album Let’s Go
Eat the Factory
(on the GBV Inc. label). Meanwhile, a 7″ single, “The
Unsinkable Fats Domino” b/w “We Won’t Apologize”, will arrive Nov. 22 via
Matador.

 

You can hear the A-side all over the web by now – like,
below – for download or in handy streaming form. It’s also at Robert Pollard’s
website
, natch.

 

 

Video Premiere: New Jason Isbell

 

Brand new clip, “Alabama Pines,”
one of the key tracks on Isbell’s latest record.

 

By Fred Mills

 

We’ll come right out and admit it: here at BLURT we consider
Jason Isbell one of our patron saints. He has yet to put out a bad record, and
it seems like every time he steps on stage, either solo or with his band The 400
Unit, magic happens. So we’re dead chuffed to bring you his new video, for the
song “Alabama Pines” off his latest album Here
We Rest
(Lightning Rod Records).

 

It’s a sleek, country-flavored, deceptively upbeat
toe-tapper of a tune that contrasts with its moodier, contemplative lyrical
thrust; the images convey a range of emotions that’ll be familiar to fellow
musicians and road warriors alike (and pay attention to the little girl).

 

 

 

 

 

More Isbell at BLURT:

 

Here We Rest review

 

Jason Isbell & the
400 Unit
review

 

“Leap Of Faith” interview (April 2011)

 

The Blurt Video Interview + Unplugged Performance

 

 

Isbell and The 400 Unit will be on tour from now until Nov. 13, plus selected additional dates in Nov. and Dec. Check the itinerary at his official website.

Report: Kevin Spacey Plays Richard III in San Francisco

 

The veteran film star
plays the power-mad hunchback king to the hilt during a two-week run at San Francisco’s Curran
Theatre. (Shows run
through Oct. 29.)

 

By
JUD COST

 

Kevin
Spacey has been unintentionally groomed to play the lead in Shakespeare’s
Richard III for decades. And he plays the power-mad, murderous, hunchback king
as an uncontrollable force of nature. It’s a breathtaking performance to
experience in the close confines of San Francisco’s
Curran Theatre, as Spacey does everything short
of confronting the audience directly to accomplish his mission. 

 

Spacey
has a long history of playing unsavory characters. He shone bright in David
Mamet’s 1992 film Glengarry Glen Ross as part of a marvelous ensemble cast that included a roomful of scheming,
foul-mouthed real estate salesmen played by Jack Lemon, Alec Baldwin, Al
Pacino, Alan Arkin and Ed Harris. Spacey was also right at home with Russell
Crowe and Guy Pearce in 1997’s L.A.
Confidential
. Primed by the evidence-tampering in the O.J. Simpson murder
trial, the movie portrayed rampant corruption within the Los Angeles Police
Department. Spacey even played a crippled con artist in 1995’s The Usual Suspects and won a best
supporting actor Oscar.

 

Unlike
Ian McKellan’s version of Richard performed in the 1990’s at London’s National Theatre and set in Hitler’s
pretty much humorless Third Reich, Spacey milks certain situations tonight for
laughs with the timing of a skilled standup comedian. But when it’s time to
howl at the moon like a rabid and wounded jackal, he delivers the goods.

 

Directed
by Sam Mendes, who won a best picture Oscar for 1999’s American Beauty, which starred Spacey as a suburban dad with
unacceptable (and dangerous) sexual cravings, the sharp pacing tonight is
suited to a filmmaker’s eye. That in spite of the self-imposed limitations of
Tom Piper’s sparse set which consists of a large room with multiple tall doors
through which the proper furniture was carried between scenes. Things brighten
considerably when images of moving storm clouds are projected above the doors
on the left. A squadron of live percussionists playing very large drums
punctuates certain scenes with all the fury of an indoors thunderstorm.

 

This
traveling version of Richard III wowed critics in its original engagement at London’s Old Vic theatre
and is now slated for limited runs in select worldwide markets. Dressed in
unremarkable late Victorian attire by Catherine Zuber, most of the players,
including Spacey, speak in their own native version of the English tongue.
British accents are forced upon no one. The cast of 20 is almost equally
divided between British and American actors.

 

Strapped
into a thigh-to-ankle brace that apparently helps keep one leg canted inward at
a painfully awkward angle, and bent from the waist with a large hump protruding
from his shoulders, Spacey hobbles and skitters around the stage like a large
poisonous crab.

 

When
the current King of England, Edward IV, dies, his deformed brother, Richard,
Duke of Gloucester, is far down the line of succession. But not for long.
Richard conspires to have everyone ahead of him murdered, including the King’s
two young sons (played curiously here by a pair of young women).

 

One
incident is particularly unsettling. When the head of Hastings, who protests
Richard’s murderous ambition too loudly, is brought into the room in a
cardboard box, Richard stabs at its contents vigorously with his cane, and the
sickening squish, something like a pumpkin being prodded by a fireplace poker,
is all too audible.

 

As
his brief reign begins to crumble before a decisive battle with supporters of
the Earl of Richmond at Bosworth Field,
Richard is slumped in fitful slumber to the far right of a long table spread
across the stage. With Richmond
seated far left, the middle of the table is occupied by the ghosts of the seven
people Richard has murdered in his rapid ascent to the throne, and they aren’t
very happy. It’s also a chilling and ominous reference to Da Vinci’s The Last
Supper, that things may not go well tomorrow.

 

The
brief final sword encounter (“My kingdom for a horse”), skillfully
performed by Richard and Richmond,
ends with the dispatching of the bloodthirsty, crippled monarch. But one final
thrill remains for an audience, already wrung dry from this energetic
performance. A long rope dangling from above is lowered to the ground and
looped tightly around Richard’s ankles. As the crowd gasps, the dead King is
slowly hoisted to a dangerous height and left dangling upside down for what
seems like a very long time before Richmond
intones the final stanzas of the play.

 

Spacey  and the cast received several well-deserved
standing ovations, and bouquets were also in order for the fine performances of
three veteran women: Haydn Gwynne as Queen Elizabeth, Gemma Jones as Queen Margaret
and Maureen Anderman as the Duchess of York. The exit-poll verdict seemed
unanimously favorable among those leaving the theatre. Even the guy waiting in
line with me to get into the restroom at the Jack In The Box across the street
was very impressed. As she collected her things after Spacey’s inglorious trip
to the rafters, the elderly lady seated next to me could only shake her head
and say, “Poor Kevin.” To which should be added, Bravo Kevin. He’s
set the bar very high for future performances of this endlessly rich work.

 

 

 

Akron/Family Launches Record Label

Family Tree – “a new
home for outsider behaviors. First signing is Denver’s
Bad Weather California.

 

By Blurt Staff

 

Akron/Family has now made the unofficial official with the
inauguration of their Family Tree Records. In 2012, the label will issue Sunkissed
by the Denver
misfit band Bad Weather California, produced by Akron/Family’s Seth Olinsky. Check out this video of BWC:

 

 

$$$ BWC SUNKISSED PROMO $$$ from J Logan Corcoran on Vimeo.

 

Family Tree Records follows in the footsteps of John Fahey’s
Tacoma Records, Elephant 6 and Young God Records (the band’s first home),
artist-run record companies born from a desire to create their own context to
more truly reflect their music and artistic vision, driven by a sense of
independent thinking, ideas, and values.

 

Right from the start, Akron/Family was inspired by the likes
of the Sun Ra Arkestra, Grateful Dead and Wu Tang Clan, and envisioned
operating as a group of friends and artists, creating in ever-shifting
combinations, drawing on an ever-widening circle of collaborators. Since
Akron/Family started exploring music in 2002, their penchant for the unpaved
road has brought them opportunities to collaborate onstage and in the studio
with musicians from their own free-jazz heroes Hamid Drake and William Parker
to legendary Japanese free-shredder Keiji Haino to the members of Woody
Guthrie’s family to the several thousand people who have been invited (either
by the band or by their own excitement) to sing with the band at live shows.
Family Tree Records will be the home for the sound documents produced by this
process.

 

All along Akron/Family has collected recordings outside the
norm of what appears on more commercial albums. They have edited together
limited-run releases from live performances, dimly lit, all-night home
sessions, and/or field recordings of wind and insects. These were lovingly
hand-packaged and sold primarily on tour. Over time, these were referred to as
their “Family Tree Records.”

 

Family Tree Records started this year with the co-release
(with Dead Oceans) of <bmbz>, a musical survey and documentation of a
Banksy-an Internet prank where Akron/Family’s latest album was demolished and
reconstructed by seven different artists, then leaked online throughout the
Christmas season.

 

In celebration of 2012, the year of the Mayan calendar’s
solar cycle prophecies, Family Tree Records is releasing Bad Weather
California’s Sunkissed. These Denver-based street partiers have been playing
house shows and biker bars out West for years and are ripe to enter a wider
world. Sunkissed features  exquisite
beached out, afro-cana punk anthems with ripping guitar and street wise lyrics,
all dedicated to the cellular source of life on this planet – the Sun! This
skater-friendly, hippie/ punk aesthetic hearkens back to the glory days of
early 80‘s SST Records:  the Meat Puppets
(who’ve they’ve worked with), Minutemen and early Flaming Lips. Those bands
emerged at a time when the punk tenets of artistic freedom  and militant individuality had gone out of
fashion, only clung to by the most dedicated of outsiders.

 

The label has many other plans in store for 2012. Miles
Seaton from Akron/Family is producing a record for Ju Young Lee AKA Praything,
a wunderkind outsider-pop luminary who surfs the waves of Bruce Springsteen and
Laurie Anderson in the Magic Kingdom of Orlando, FL.  There’ll be a vinyl-
only release of visionary electro-acoustic drone poet Greg Davis’ Full Spectrum
series.

 

Also in the planning stage is a touring performance series
using portable, custom-built venues. There are plans for releases of Akron/Family
side projects and previously un-issued band recordings.

 

 

PJ Harvey UK Show to be Pay-per-Streamed

 

Next Monday, Oct. 31
is the date. Check those international time zones, fans.

 

By Blurt Staff

 

PJ Harvey’s second of two sold-out shows at London’s Royal Albert Hall on Monday, October
31 is scheduled to be streamed live. The streaming will be in real-time, in HD
audio and video, by LoveLive.

 

It will be available worldwide – for a price. In an
intriguing twist, fans without tickets for this sold-out event will be able to purchase
access codes for the live stream of the show on pjharvey.netfacebook.com/pjharvey and guardian.co.uk/music.
(No word on whether fans with tickets
will be able to access the stream for free and watch it on their smart phones
while attending the show…)

 

 The Royal Albert Hall shows on
Sunday  October 30 and Monday  October 31 are the first
appearances at the London venue for Harvey, and her last UK shows of 2011. She will
be playing material from Let Engoland
Shake
and other albums, with a live band comprising of Mick Harvey, John
Parish and Jean-Marc Butty.

 

Read the BLURT interview with Harvey right here.

 

 

Record Store Day Does Black Friday

 

Best reason NOT to go
to the local mega-mall on Novermber 25 this year…

 

By Fred Mills

 

Tha annual Record Store Day held the third Saturday in April
has become the equivalent of Christmas, Easter, Thanksgiving and the 4th of July all rolled into one for music headz and record collectors. By all
accounts it’s been a huge success for bands, stores and fans alike. The
organizers aren’t resting on their laurels, however, as they’ve announced they’re
doing it again next month – November 25th to be precise, aka Black
Friday.

 

 

It’s not specifically RSD Pt.2, however – more like bonus
beats. According to the RSD website, under Black Friday FAQs, we learn the
following:

 

“In the past Black
Friday was an American event celebrated by large corporate retailers as a
shopping day that promoted mass produced items at super low prices in hopes of
driving customers into their stores. RSD’s Black Friday subverts the model and
creates pieces of art in the form of limited special editions, often numbered,
from some of the most revered artists of our time. RSD’s version of Black
Friday is an excuse to celebrate the specialness of music in our lives by
putting out these unique releases. In other words, cheapness is not a main
goal. Celebrating art is.

 

“The special releases for Record Store
Day are made to be sold solely at independently owned record stores on the day
that Record Store Day takes place (the third Saturday of every April) whereas
Black Friday releases are made for the holiday season. This means stores will
launch the special releases on Black Friday but may choose to carry them beyond
Black Friday (as supplies last). 

 

These independently owned record
stores/shops will also choose whether or not they want to sell their Black
Friday releases on their websites to draw attention to the fact that many of
them offer an excellent customer service option for those who wish to support
independently owned record stores via internet purchases during the holiday
season and beyond.”

 

It should be pretty awesome, however. Take a look at some of
this year’s proposed releases – the full list can be found here, and more are
sure to be added – and meanwhile, start scoping out your favorite store and
talk to them directly about what they plan to carry.

 

 

Syd Barrett: “Mick Rock: Syd Barrett – the Photographs of
Mick Rock” 7″ 45

Beastie Boys: Hot Sauce Committee Part Two Book/Blu-Ray/DVD/CD
The Beatles: The Singles 7″ vinyl box set
The Black Keys: “Lonely Boy” 12″ single

Byrds: “Eight Miles High” & “The Tiems They Are A Changin'”
7″ers

Miles Davis: Miles
Davis Quartet” 10″ LP

Doors: LA Woman 7″
vinyl box set
Bob Dylan: “Can You Please Crawl Out Your Window?” 7″ vinyl box
set

Justin Townes Earle: “Slippin’ and Slidiin'” 7″

Fear: “Have Yourself a Merry Little Christmas”
Iron & Wine: “Morning Becomes Eclectic” LP/CD (Live at KCRW)
John Cale: EP: Extra Playful
John Lennon: Imagine 40th Anniversary Box Set
Nirvana: Nevermind -The Singles 10″ vinyl box set

 

 

Tom Petty and the Heartbreakers: Kiss My Amps Live vinyl LP
Pinback: “True North” 7″

Pink Floyd: The Wall 7″ vinyl box set
Ryan Adams: “Do I Wait”/”Darkness” 7″
Sharon Jones & the Dap-Kings: Soul Time! LP
Soundgarden: Live on I-5–Before the Doors Soundcheck EP 10″ colored vinyl

Pete Townshend: The
Quadrophenia Demos Vol. 1
10″ LP

Warren Haynes: “River’s Gonna Rise” 7″

Wheedle’s Groove: Seattle’s Finest in Funk
& Soul 1965-79
7″ vinyl box

Wilco: “Speak Into the Rose” 10″ (pictured at
top, above)

Yardbirds: “Ten Little Indians” & “Ha Ha Said the Clown”
7″ers

 

 

 

Watch 3 Film Clips from U2 Doc

 

Full documentary airs
this Saturday night on Showtime.

 

By Blurt Staff

 

U2 recently posted 3 clips from their forthcoming Davis Guggenheim-directed From the Sky Down documentary about the
making of their 1991 album Achtung Baby. The first clip features a story about Larry Mullen being harassed by an East German police
officer, after his car had broken down on the road. The second clip features bassist Adam Clayton talks about the beginnings of the band and their
lives after school. The third clip features rare uncut 16mm footage
of the band around the time of the Achtung Baby sessions. More clip
clips from the documentary will be unveiled soon on www.u2.com.

 

Watch the 3 clips, below.

 

From the Sky Down” is
included in the Uber and Super Deluxe 20th Anniversary Editions of Achtung
Baby
, which are available November 1st, and will be premiering on Showtime
Saturday, October 29th at 8pm. BLURT will also have some special U2 coverage
next week, so keep your eyes peeled.

 

 



Leonard Cohen Preps New Album

First set of studio
recordings since 2004.

 

By Fred Mills

 

The New York Times is reporting that songwriter Leonard Cohen is planning to release a new album
titled Old Ideas in 2012. It will be
his first studio album since 2004’s Dear
Heather;
during the interim he has released a number of live recordings,
both archival and new, including 2009’s Live
In London
CD and DVD set.

 

“I’ve played it for a few people, and they seem to like it,”
Cohen told the Times. “You know, when
you’re writing, you’re always an absolute beginner. Each time you take up your
guitar and sit by a blank page, you start from scratch. It’s a struggle.”

 

Cohen was in Spain
at the time to receive the Principe de Asturias Prize for literature (for his
poetry).

 

Next week Cohen releases the Complete Studio Albums Collection 11-disc box set comprising,
naturally, all of his studio albums to date: Songs Of (1968), Songs From A Room
(1969), Songs Of Love & Hate (1971), New Skin For The Old Ceremony (1974),
Death Of A Ladies Man (1977), Recent Songs (1979), Various Positions (1984),
I’m Your Man (1988), The Future (1992), Ten New Songs (2001), Dear Heather
(2004).