Next year's SCMS conference is in Boston. I, for one, am looking forward to panels on all the Bawhstan flicks and parodies.
The Guardian considers Can: the ultimate film soundtrack band.
The good news is that the best of those "lost" movies featuring music from Can Soundtracks is to become available for the first time. This is Jerzy Skolimowski's Deep End, which the BFI is re-releasing in May. A teen drama set in a swimming baths at the end of Swinging London, it features the most legendary song on Can Soundtracks: Mother Sky, which plays as the hero trawls through sleazy Soho, steals a cardboard cut-out, makes the acquaintance of a prostitute with a broken leg and buys a hotdog from Burt Kwouk. Mother Sky is quintessential Can: a mighty 15-minute psychedelic wig-out with crazy screeching guitar, minimalist bassline, clockwork drumming and indecipherable Damo Suzuki chanting. It's garage punk with a longer attention span, math rock with a human soul, and prog without the self-indulgence. Nobody could get away with that now, not even Radiohead.
SoundWorks Collection: Gary Hecker - Veteran Foley Artist.
Foley fx! [via] Incidentally, I heard an excellent paper at SCMS called "Unpacking Punches: Synchresis and Schizophonia in the Combat Foley of Fight Club."
The cinetrix used to want a aftermarket Sleep Sheep --it'd have to be black, of course* -- that played only dub. [Although, that the actual item plays whale songs is pretty fuckin' great. Talk about yer contrapuntal sound!] Now, however, I want one that tunes into Listening to Montréal. [via Hilobrow] Or, OK, in descending order, its sister cities: Chicago, New York, Los Angeles. Mmmm... Chicagoland cop accents! Perhaps Boston will be next?
