Concert Review: White Lies at The Opera House

By Less Lee Moore

Toronto, ON
October 1, 2013

Waiting for White Lies to take the stage on Tuesday, I think I might have been trembling just a bit. If you’ve heard me raving about their recent (and third) album Big TV then it won’t surprise you (review). If you haven’t, then you need to hear the album immediately, but only if you love sweeping, mildly melancholic pop with damn-near-poetic lyrics.

Opening act In The Valley Below had a cool look and a sound to match. The male members of the band were dressed in shirts, pants, and leather suspenders, while singer Angela Gail showed off a stunning white prairie dress and a black hat. She and guitarist/singer Jeffrey Jacob had lovely, mournful harmonies and their music was just dark enough to provide a nice appetizer for White Lies.

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Assemblog: September 27, 2013

I stole this photo from SPIN. It’s totally appropriate.

New this week on Popshifter: LabSplice says DO NOT WANT to Ulli Lommel’s Black Dahlia; Chelsea likes the way Gimme The Loot portrays a side of New York that’s normally unseen; Jeff learns about double entendres in “Midnight at the Oasis”; Paul gets to know Irish singer/songwriter Tiger Cooke; Lisa compares Daniel Jacksons in her article on Stargate; Melissa reviews lots of new releases: Tom McDermott, Allen Toussaint, Kelley Stoltz, and Headstones; I think Simon Killer is an outstanding film and encourage everyone to check out the new Blu-Ray of Two Men in Manhattan; and say a sad farewell to Pat Fear.

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In Memory Of: Bill Bartell, a.k.a. Pat Fear of White Flag

By Less Lee Moore

Photo by Patrick Houdek

When I heard the news that Bill Bartell had died, I felt like I’d been kicked in the guts. I don’t think I’ll ever get used to a world without him in it.

I first met Bill in 1994, when White Flag played a show in New Orleans. The exact date and location escapes me (but no doubt, Bill, with his insanely proficient memory would remember). I went with a friend and we both wore Redd Kross T-shirts in an attempt to “impress” him. Haha, if only I had known.

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Blu-Ray Review: Two Men In Manhattan

By Less Lee Moore

There’s a quote from Quentin Tarantino on the Blu-Ray case for Two Men in Manhattan: “Jean-Pierre Melville is to the crime film what Sergio Leone is to the western.” Those who’ve not yet heard of the French filmmaker might expect his films to be as brash and blood-soaked as Tarantino’s. Although Melville’s milieu was far more restrained, it’s no less exciting to watch.

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DVD Review: Simon Killer

By Less Lee Moore

How long has it been since you’ve come across the term “”mise-en-scène” (film students excepted). If most of the film reviews you read come from websites and blogs, it’s probably been a while. Although mise-en-scène, which “refers to everything that appears before the camera and its arrangement—composition, sets, props, actors, costumes, sounds, and lighting” is applicable to every film, it’s the gestalt of these individual aspects that differentiate a regular movie from the work of an artist in full command of the medium. Simon Killer belongs, wholeheartedly, in the latter category.

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Music Review: Various Artists, The Exquisite Corpse Game

By Less Lee Moore

I first head the term “Exquisite Corpse” in the Bauhaus song of the same name, but I didn’t know what it meant or about its history. Popularized by the Surrealists, it is “a method by which a collection of words or images is collectively assembled. Each collaborator adds to a composition in sequence, either by following a rule or by being allowed to see only the end of what the previous person contributed” (Wikipedia).

This method seems perfect for a variety of artistic collaborations, particularly music, where it can be utilized to create a textured mixtape quality. Musician Kavus Torabi decided to embark on an exquisite corpse project through his own label, Believers Roast, and the results—two years in the making—are remarkable and intoxicating. Each artist was only allowed to hear the final 20 seconds of the previous installment and was not allowed to hear the entire collection until it was completed.

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Assemblog: September 13, 2013

Director Jim Jarmusch is still recovering from that embarrassing “Did it hurt?” question at the Only Lovers Left Alive Q&A

I’ve been busy writing over at the TIFF Vanguard Blog, but guess what? TIFF is almost over! So we’ll soon be back to our regularly scheduled Assemblogs. In the meantime, here’s what’s new on Popshifter this week.

Brad has the scoop on new releases from Scream Factory, I Come In Peace and X-Ray/Schizoid; Melissa has good things to say about San Fermin’s debut and the latest from Glen Campbell; Jeff talks about phasing in this week’s Waxing Nostalgic; Chelsea examines ZZK Records comp ZZK Sound Volume 3; I am impressed by the creature design in Frankenstein’s Army, overwhelmed by the wonderful Forever by Holograms, and grateful to have seen Brazilian Western and iNumber Number at TIFF.

—Less Lee Moore, Managing Editor

TIFF 2013 Review: iNumber Number

By Less Lee Moore

iNumber Number is a thoroughly enjoyable heist film from writer/director Donovan Marsh. There’s not a bit of flab to be found in its taut 96 minutes, all of which crackle with tension.

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Music Review: Holograms, Forever

By Less Lee Moore

The first time I heard Holograms’ second album Forever, I got goosebumps. It was like being transported back to 1985, listening to college radio late at night, rushing to press the RECORD button on my stereo, waiting for the DJ to reveal the name of the band. But Holograms is not a post-punk ripoff.

The album takes off like a rocket with “Sacred State”: booming drums, bass dancing around the jagged guitar edges, and enormous vocals from singer Andreas Lagerström. The frenetic energy is undeniable. It’s tempered only slightly by a instrumental bridge towards the end that prepares you for a melodic assault of guitar slowly building to an intense emotional peak before the vocalized chorus joins in again. And that’s just the first song.

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Blu-Ray Review: Frankenstein’s Army

By Less Lee Moore

Frankenstein’s Army is the feature debut of director Richard Raaphorst, who’s worked as a concept artist and visualizer. A few years ago, he released some impressive teaser trailers for a planned film called Worst Case Scenario, which unfortunately never came to fruition because his financing fell through. Fortunately for us, he used many of those ideas in Frankenstein’s Army.

Frankenstein’s Army is less like a straight-up horror film and more like a home movie of a haunted house or a survival horror video game, but don’t let that scare you away, because then you’d be missing out on some incredible visuals.

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