Author Archives: Matt K

Oscar Madness: Five Nominees For Best Film Song of 2010

2010 was a great year for music at the movies, especially if the kind of music you like is A-list Hollywood stars singing tender versions of famous pop ballads. There’s Annette Bening’s awkward-mom-at-the-dinner-table spin on Joni Mitchell in The Kids Are All Right; Christian Bale’s wheedling take on the Bee Gees’ “I Started A Joke” in The Fighter; and most memorably, Ryan Gosling’s “You Always Hurt The One You Love,” delivered with a ukulele and aching human charm, about halfway through Blue Valentine. (See here for an amusing reprise that is only partially degraded by the presence of Jimmy Kimmel.)

At the Academy Awards on Sunday evening, the world’s attention will congregate around the five best original songs written for films in 2010. But who cares about original songs? Especially when one of them features Gwyneth Paltrow  impersonating a country singer?  I’ve been done with the “Best Song” Oscar ever since Bruce Springsteen’s “The Wrestler” was snubbed back in ’08.

Instead, I thought I’d provide The Official NoiseNarcs Selections For Best Unoriginal Film Song of 2010. This is judged not by pure quality of song, but how well the song is integrated into the movie, with assistance provided by the very useful film music reference site what-song. And the Nominees are:

5. Bill Withers, “Lovely Day,” from 127 Hours. Is there a better possible tune to accompany a beautiful morning sunrise, while you sit trapped in a Utah rock crevice, all alone and dying of thirst? No, there is not. But Withers’s gentle joy at life is so infectious that he almost makes James Franco’s desperate escape maneuvers look like fun.

4. Chic, “Le Freak,” from Toy Story 3. It’s Barbie’s Ken trying on outfits, from Apollo 13 astronaut garb to Black Forest lederhosen. The music could have been provided by Jefferson Starship and it still would be awesome.

3. Gunther Feat. Samantha Fox, “Touch My Body (Remix),” from Restrepo. Probably the best moment of this entire Afghanistan documentary comes not when the troops are dodging bullets but when they crank the Samantha Fox remix.  Virtually stranded in the distant netherworld of the Korengal Valley, and worn down by the daily strain of trying to stay alive, it takes some techno-fied ’80s for them to fully reclaim their humanity. The raucous, ingenuously homoerotic dance circle is a treat to watch, but for all the bumping and grinding the encounter seems much less about sex than the even more elemental human need for the companionship of touch. Be careful: if Samantha Fox pipes her way through any speakers when we’re hanging out, I promise I will touch your body.

2. The Strokes, “I’ll Try Anything Once,” from Somewhere. I’ve already blogged about the joys of the pop music from this movie, and this song is the best of a delicious bunch. When Johnny and his daughter slip underwater for their brief hotel pool tea party, Julian Casablancas’ voice seems to capture both the fleeting joy and the underlying melancholy of the moment.

1. Penny and the Quarters, “You and Me,” from Blue Valentine. This is both the most heart-breaking and heart-roaring movie of the year, and Cydney has already done it ample justice on her own page. This song appears twice in the film — first, as doomed lovers Michelle Williams and Ryan Gosling prepare to spend their hellish evening in “The Future Room,” it provides a brief, woozy hallucination of couplehood before the truth of their estrangement barks out. Second, and in keeping with the film’s jumbled account of their romance, we hear it produced as “their song,” and it plays while they make love at her parents’ house. In both its wrenching sweetness and almost claustrophobic vision of romantic love, it’s the perfect song for this magnificent movie.

The Strokes – I’ll Try Anything Once (You Only Live Once demo)

Penny & the Quarters – You and Me

Oh, and PS. For the benefit of NoiseNarcs’s vast and transcontinental readership, I realize I must plug my own quasi-blog, which is currently running down my 25 favorite films of the year.  Don’t worry, Gwyneth Paltrow is not invited.  Join us!

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That Asian Chick, What Was Her Name

In honor of David Lynch’s release on vinyl of his single “Good Day Today” (and our love of all things Lynch), Noise Narcs is posting on the music of, for, and about David Lynch this week. See our intro post (and claim of Lynch as a Philadelphian) here, and see the rest of the DLW posts here.

Given the luminously high quality of the David Lynch posts so far*, I figured it was about time for me to come in and lower Lynch Week’s overall average by at least 2.0 standard deviations.

I wanted to write something on Lynch’s use of popular music, but gave it up when I realized I’ve only seen Twin Peaks and about two and half Lynch films, and I didn’t feel like going on and on about obvious moments of genius like “In Dreams” and “Sixteen Reasons” alone. Even if they are, perhaps, two of the all-time greatest uses of early ’60s pop in entertainment history (“Mad Men,” eat your heart out).

No. Instead, I decided to post my friend Pete “Sugglife” Sugg’s 90-second “Twin Peaks” freestyle.  This was delivered at an after-the-wedding party on a back porch in Hood River, OR, and Sugglife, I promise you, had absolutely zero advance notice of his freestyle topic.  It doesn’t have MC Chris’s sweet Badalamenti sample, but it’s still a pretty awesome party trick. Enjoy:

Sugglife: Twin Peaks Freestyle from Matt Karp on Vimeo.

* Is there anything more insufferable than a group blog filled with posts praising the other group bloggers’ entries?  Dave, don’t feel bad, your latest concert review was also luminous.

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Colin Farrell’s Taste in Hotel-Waiter Music Can’t Be Wrong

Remember "American Dreamz"?

I don’t generally fall for music videos or concert films, and with the obvious exception of American Dreamz, I don’t have any special affinity for movies that are  centered on the music industry. But I’ve always been interested in the ways that movies use preexisting pop songs, and I love being introduced to random scraps of pop through film. (A classic instance, yes, is The Beta Band’s “Dry The Rain” in High Fidelity, but there are others.)  I also love when movies – even movies I don’t love – produce a new perspective on songs I thought I already knew. It pains me to admit this, as much as I worship the Kinks and cherish a healthy skepticism toward the live-action films of Wes Anderson, but The Darjeeling Limited did push me into an even richer appreciation of “This Time Tomorrow” and “Strangers.” The all-night champagne parties in Sofia Coppola’s fluffy Marie Antoinette vaulted New Order’s “Ceremony” from a random ‘80s synth riff to The Most Played Song In My iTunes.

All movies should have "Guitar Hero" scenes.

This is all a very roundabout way of suggesting that if you haven’t yet, you go see Coppola’s latest, Somewhere. Sure, most of the movie is just Stephen Dorff lounging around his Hollywood hotel room, playing Johnny Marco, a kind of moody, melancholy version of Matthew McConaughey in his bachelor days.  (Ah, the limitless pathos of Matthew McConaughey!)  But the use of music is subtly awesome. Coppola bf Thomas Mars of Phoenix contributes a few well-handled tunes; Gwen Stefani turns out to be the best possible accompinement to a preteen figure skating routine; and there’s even a great guitar hero sequence where Dorff doodles along to T.Rex’s “20th Century Boy” and The Police’s “So Lonely.” OK, so not everything about the music is subtle.

The best bits, though, fit into both categories above: in the old-music-in-a-new-way department, the opening scene, set to the the Foo Fighters’ “My Hero,” is utterly transformative. Well, maybe not, but it does involve graceless (but not sexless) pole-dancing, and from a comic perspective certainly far outstrips the band’s own Mentos-parody video back in 1996.

In the new-music-to-me department, there are two clear winners.  First, an early demo tape of the Strokes’ “You Only Live Once”, this one called “I’ll Try Anything Once,” and prominently featured in the trailer.  Soggy-sweet and slowed to a crawl, it blows the 2006 album version right out of Johnny Marco’s pool. Second, a brief little guitar version of “(Let Me Be Your) Teddy Bear,” performed by the legendary Hollywood hotel waiter/singer Romulo Laki.  Well, I’m not sure how large his legend is, but Colin Farrell thinks he’s awesome, and so do I.

The Strokes, “I’ll Try Anything Once (You Only Live Once demo)”

Romulo Laki, “(Let Me Be Your) Teddy Bear” [embedding disabled by copyright holder]

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Hot Tub Rock Show: Mainstream Matt Edition

This week, Noise Narcs answers the age-old question: What five bands would you travel back in time to see in their prime? To see other responses, jump in the hot tub.

As someone not unacquainted with the joys and perils of pointless list-making, I had a particular problem with this Top 5.  It grows out of a paradox familiar to all written prose, but especially piquant in list-composition — that is, the uncomfortably close relationship between banality and truth.   While I’d like to be the kind of person whose totally sincere Top 5 Rock Shows of All Time are Pere Ubu, Chaka Khan, Quicksilver Messenger Service, Screamin’ Jay Hawkins, and Pat Benatar (correction: no I wouldn’t), I am just not that kind of person (second correction: hmm, I may have to rethink this Screamin’ Jay Hawkins thing… I do love nose horns).  So be warned: obviousness lies ahead.

5. T-Rex, 1972. It’s hard to think of an act more outrageously, goofily sexed-up than Marc Bolan’s T.Rex in their early/mid ’70s prime.  Seriously, check out their 1971 appearance on Top of the Pops, with the stage and set laden almost past breaking with drugged out blondes and confused-looking brunettes.  But I wouldn’t want to see T. Rex in ’72, just after the release of Slider, just to try to hook up.  I’d come for the unapologetic rawk, and I’d stay for Bolan’s spooky, pre-glam trippiness, doled out in small but triumphantly weird doses.  Here’s a great live version of “Cosmic Dancer”:

T.Rex, “Cosmic Dancer (Live, Wembley Stadium, 1972)”

4. New Order, 1987. I suppose this is a little past their early ’80s peak, when the post-Joy Division crew first assaulted audiences with swirling, majestically poppy masterpieces like “Ceremony” and “Blue Monday.”  But I think I’d like to see the Trainspotting ’87 version of “Temptation” — backed up, if possible, with images of Reagan and Gorbachev on a projector screen.  Plus, they were touring that year with Echo & the Bunnymen, also on the top of their game.  It would be arena-ish ’80s rock, but it would still be rad.  Here’s a potent “Age of Consent” from that year:

New Order, “Age of Consent (Live, Brixton Academy, London, 4/4/1987)”

See WHO’s next on Matt’s list after the jump…

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Department of Tender Sci-fi Beast Videos

Just yesterday a friend directed me to Yeasayer’s new “Madder Red” video: it features a gooey-eyed Kristin Bell as the caretaker of sad, doomed alien creature, and I was all set to throw it on here and announce a two-data-point trend of star-laden, indulgently melancholy sci-fi videos (the other point, being, of course, Christina Hendricks’s Broken Bells turn a few months ago).

Then Dave goes ahead and posts MGMT’s “Congratulations” video.  So now the Yeasayer vid is officially Data Point Three!  And, of course, more evidence for the irresistible pathos of decaying Jim Henson creatures.

Yeasayer, \”Madder Red\”

As for the song itself (wait, this is a music blog?), I think I like it, but can’t quite tell if that’s just the papier-mache armadillo-alien thing talking.  Come back to me when I’m further along in the mourning process.

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Of Death and David Lynch

(I think I promised David that my first post would be a close reading of Usher’s “Confessions pt. II”, maybe subjoined to an exegesis of Akon’s “Birthmark,” but that’s going to have to wait).

Given this blog’s voracious appetite for all things Lynchian, I’m surprised that nobody has had anything to say about the Vancouver band You Say Party! We Say Die!, whose 2009 release, XXXX, was headlined by a single called “Laura Palmer’s Prom.”  Sadly, the lyrics don’t name-drop Audrey Horne or Leo Johnson or Nadine, or do anything quite so satisfyingly specific within the Twin Peaks theme.  But really, they don’t need to.  The fabulously moody, synth-swollen atmosphere captures everything dark and steamy and desperate in Lynch-world, and ties it up with a thumping, irresistibly catchy bow.

Pitchfork seems to want to compare singer Becky Ninkovic and the band to the Yeah Yeah Yeahs, or Siouxie and the Banshees, but really, I think they sound more like peak-era New Order (think “Temptation”, “Age of Consent”, etc) than any male-voiced contemporary band that I can recall.  Maybe to you that makes them derivative, but to me it makes them divine.

The tragic postscript here — more gruesomely Lynchian than ever — is that just this April, the band’s drummer, Devon Clifford, collapsed onstage at a show in Vancouver, and died two days later of a brain hemorrhage.  The band is soldiering on, minus another member who quit, under the shortened name ‘You Say Party.’   From what I’ve heard of them — just “Laura Palmer’s Prom” and a few other similarly synthy tunes on their Myspace page, I hope they stay together, not just because it’s the only decent thing to hope for, but because they’re making some pretty terrific music.

You can buy XXXX here, in digital, CD, or LP format.

You Say Party! We Say Die!, “Laura Palmer’s Prom”

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