Quicksand announce fourth album ‘Distant Populations’ with single ‘Missile Command’

Quicksand have announced their fourth album ‘Distant Populations’ – listen to the new track ‘Missile Command’ below.

The NYC post-hardcore band will release the 11-track record digitally on August 13, with a vinyl edition later arriving on September 24 via Epitaph. You can pre-order/pre-save it here.

Following on from 2017’s ‘Interiors’ – Quicksand’s first studio effort in 22 years – the forthcoming collection was recorded at Studio 4 Recording in Conshohocken, Pennsylvania alongside producer/engineer Will Yip.

Accompanying today’s album news is the group’s new single ‘Missile Command’, which arrives with an animated official video – watch below. Emerging from a live jam session, it comes after the release of the song ‘Inversion’ in April.

“It really kind of focuses on Sergio’s [Vega, bassist] whole motif in a very simple way,” explained frontman Walter Schreifels of the latest release.

“He and Alan [Cage, drummer] just have this really kind of trademark groove, and I think that really sings on this one to me. I just felt like it’s a kind of song that is very us, but we hadn’t written it yet.”

The aforementioned tracks will feature on ‘Distant Populations’ alongside cuts such as ‘Lightning Field’, ‘Brushed’, ‘Phase 90’ and ‘Compacted Reality’ – check out the full tracklist and artwork below.

  1. ‘Inversion’
  2. ‘Lightning Field’
  3. ‘Colossus’
  4. ‘Brushed’
  5. ‘Katakana’
  6. ‘Missile Command’
  7. ‘Phase 90’
  8. ‘The Philosopher’
  9. ‘Compacted Reality’
  10. ‘EMDR’
  11. ‘Rodan’ 

Quicksand album art
Quicksand – ‘Distant Populations’ official artwork. CREDIT: Press

According to Schreifels, the album tackles delves into the duality of our simultaneous existence in individual relationships and as part of a mass society – presenting the feelings of alienation and loneliness that come with it.

“Everyone is on the one hand so connected with each other, and on the other hand, is so far apart.” he said.“We’re checking out each other’s social media and we know what everybody’s doing.

“But when we’re sitting in the same room together, we’re looking at our phones.”

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New Career-Spanning Aretha Franklin Box Collects Hits, Rarities

A new career-spanning box by the late Aretha Franklin will be released on July 30. The set, which gathers the bulk of its content from her celebrated decade with Atlantic Records, was originally scheduled for release last year.

Aretha, which includes 81 newly remastered tracks and ranges from Franklin’s earliest songs to her most recent recordings, will feature alternate versions of some of the Queen of Soul’s biggest hits, demos, live performances and more.

In addition to classic songs like “I Never Loved a Man (The Way I Love You),” “Do Right Woman – Do Right Man,” “Respect” and “Chain of Fools,” the collection highlights a number of memorable collaborations, including “Sisters Are Doin’ It for Themselves” with Eurythmics and “I Knew You Were Waiting (For Me)” with George Michael.

A previously unreleased 1978 studio version of Franklin’s cover of Debby Boone’s “You Light Up My Life” is among the previously unreleased material gathered on Aretha.

You can hear the song below.

The four-CD collection, which will also be available as a single disc featuring 20 songs,  will arrive just before of the premiere of Respect, a biopic of Franklin’s life starring Jennifer Hudson.

You can see the track listing for Aretha below.

Aretha Franklin, ‘Aretha’ Track Listing
Disc One
1. “Never Grow Old”
2. “You Grow Closer”
3. “Today I Sing The Blues”
4. “Won’t Be Long”
5. “Are You Sure”
6. “Operation Heartbreak”
7. “Skylark”
8. “Runnin’ Out Of Fools”
9. “One Step Ahead”
10. “(No, No) I’m Losing You”
11. “Cry Like A Baby”
12. “A Little Bit Of Soul”
13. “My Kind Of Town (Detroit Is)” – Demo *
14. “Try A Little Tenderness” – Demo *
15. “I Never Loved A Man (The Way I Love You)”
16. “Do Right Woman – Do Right Man”
17. “Respect”
18. “A Change Is Gonna Come”
19. “Chain Of Fools” – Alternate Version
20. “(I Can’t Get No) Satisfaction” – UK Single Version
21. “(Sweet Sweet Baby) Since You’ve Been Gone”
22. “Ain’t No Way”
23. “My Song”
24. “You Send Me”
25. “The House That Jack Built”
26. “Tracks Of My Tears”

Disc Two
1. “Baby I Love You” – Live
2. “Son Of A Preacher Man”
3. “Call Me” – Alternate Version *
4. “Let It Be”
5. “Young, Gifted And Black” – Alternate Longer Take *
6. “Bridge Over Troubled Water” – Long Version
7. “It’s Not Unusual/See Saw” – with Tom Jones *
(Originally Broadcast On This Is Tom Jones, October, 9, 1970)
8. “You’re All I Need To Get By” – Work Tape *
9. “Brand New Me” – Work Tape *
10. “Spanish Harlem” – Alternate Mix *
11. “Rock Steady” – Alternate Mix/Take
12. “Day Dreaming”
13. “Share Your Love With Me” – Live
14. “Don’t Play That Song” – Live
15. “Dr. Feelgood” – Live
16. “Spirit In The Dark” (Reprise with Ray Charles) – Live
17. “How I Got Over” (Single Edit) – Live
18. “Master Of Eyes (The Deepness Of Your Eyes)”

Disc Three
1. “Somewhere” – Alternate Version *
2. “Angel” – Work Tape *
3. “The Boy From Bombay” *
4. “Til It’s Over” – Demo *
5. “Oh Baby” (a.k.a. “There’s Something Magic About You”) – Demo *
6. “Until You Come Back To Me” – Work Tape *
7. “I’m In Love” – Alternate Vocal
8. “Without Love”
9. “Mr. D.J. (5 For The D.J.)”
10. “You”
11. “Something He Can Feel”
12. “Look Into Your Heart”
13. “Break It To Me Gently”
14. “When I Think About You”
15. “Almighty Fire (Woman Of The Future)”
16. “Ladies Only” – Short Version
17. “You Light Up My Life” *
18. “Ooo Baby Baby” – with Smokey Robinson *
(Originally Broadcast On Soul Train, December 1, 1979)
19. “Amazing Grace”
(Originally Broadcast On Royal Variety Performance, November 23, 1980)

Disc Four
1. “Think”
2. “I Say A Little Prayer” – with Dionne Warwick *
3. “United Together”
4. “Jump To It”
5. “The Wind”
6. “Freeway Of Love”
7. “Sisters Are Doin’ It For Themselves” – Eurythmics & Aretha Franklin
8. “I Knew You Were Waiting (For Me) – Aretha Franklin and George Michael
9. “Oh Happy Day” – with Mavis Staples (Live at New Bethel Baptist Church, Detroit, MI – July 1987)
10. “A Rose Is Still A Rose”
11. “Someday We’ll All Be Free”
12. “The Makings Of You”
13. “Nessun Dorma” – Live
14. “At Last” – with Lou Rawls *
(Originally Broadcast On American Soundtrack: Rhythm, Love And Soul, March 2003)
15. “You’ve Got A Friend” – Ronald Isley featuring Aretha Franklin
16. “Rolling In The Deep” – The Aretha Version
17. “My Country ’Tis Of Thee”
18. “(You Make Me Feel Like) A Natural Woman” – Live *
(Originally Broadcast On The 38th Annual Kennedy Center Honors, December 19. 2015)

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How Silvertein’s Shane Told Learned to Scream

Silverstein vocalist Shane Told is the latest guest on Loudwire’s ‘How I Learned to Scream’ video series, recollecting his journey in figuring out the extreme vocal technique.

As is the case with most vocalists who execute any sort of screaming vocal (growls, barks, gutturals, roars, pig squeals, and, yes, plain ol’ screaming), this didn’t exactly come naturally. Mistakes were made, lessons were learned and parents usually try to stand back and be supportive while quietly wondering what on earth their kid is up to.

Told was first introduced to extreme vocals through Slayer when he heard “Angel of Death” as a kid, which instilled a bit of fright in him as he marveled at the menacing Tom Araya. As for his first-ever attempt at screaming himself, that came in public… onstage… at Warped Tour as part of a trivia contest where he was tasked with impersonating a vocalist.

Moving on from that experience, he pursued “the screaming thing” as his parents called it. “I think their main concern was that I was going to wreck my ‘beautiful’ singing voice,” said Told, who admitted it was a concern he held as well.

Rather than belting out violent sounds from behind a bedroom door, the aspiring vocalist instead took trips out to a field in his car, where he would practice instead. And then a couple times the cops showed up wondering what was going on. “Don’t mind me, cop, I’m just in my car screaming my head off,” Told says laughing.

Later in the episode, we get the Silverstein frontman’s hot take on cupping the microphone, some pro-tips for pacing yourself onstage, an important message about proper hydration and a cry for the return of guitar, bass and drum solos to give him some reprieve while screaming his way through a set.

Watch the full episode below.

Follow Silverstein on Facebook, Instagram, Twitter and Spotify. Get your copy of the band’s latest album, 2020’s ‘A Beautiful Place to Drown,’ here.

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David Archuleta Feels ‘So Much Relief’ After Coming Out

But the singer continued, saying that over time, he’s learned to accept himself as he is, rather than hoping for change later on down the road. “I’ve had to learn how to love myself, even when I don’t understand why I’m the way I am, but to learn that’s how God has created me,” he said. “I have to discover that, and there’s so many millions of other people who’ve gone through the same thing as me where they’ve tried to change who they are.”

The Idol star first came out to his fans in an Instagram post earlier in June, where he wrote that he initially came out as gay to his family in 2014, but later found himself struggling with attraction to women as well as men. He asked his followers to be “more understanding” for closeted LGBTQ people struggling with coming out, especially when those individuals are also struggling with their faith.

“Please consider making room to be more understanding and compassionate to those who are LGBTQIA+, and those who are a part of that community and trying to find that balance with their faith which also is a huge part of their identity like myself,” he wrote. “I think we can do better as people of faith and Christians, including Latter-day Saints, to listen more to the wrestle between being LGBTQIA+ and a person of faith. There are more than you may realize going through that wrestle after all the misunderstandings that come with it.”

Check out the clip from Good Morning America below:

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Mick Jenkins Shares Video for New Song “Truffles”: Watch

Mick Jenkins is back with a new song called “Truffles.” It’s produced by Monte Booker and features a visual directed by Andre Muir. Watch the quietly eerie video below.

“‘Truffles’ attempts to address the idea that Blackness, no matter what, can always be weaponized,” Jenkins said in a statement. “From a young man actually committing a crime, to being somewhere we aren’t ‘supposed’ to be, to even being an agent of change in our own and other communities. It’s a statement that can be heard about Black people of all walks especially when doing something unconventional in white spaces. As complex as Fred Hampton, or as simple as moving into a nice neighborhood, we can always be viewed as ‘n—as making trouble.’”

Jenkins’ last full-length was The Circus EP in 2020. Read “Mick Jenkins Wants to Give You a Piece of His Mind” over on the Pitch.

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Elton John announces return of Farewell Yellow Brick Road: The Final Tour – Music News

Sir Elton John has announced the return of his ‘Farewell Yellow Brick Road: The Final Tour’, and the final dates in the UK, Europe and North America.

The 74-year-old music icon had just finished the first leg of the mammoth run of gigs last year when the coronavirus pandemic forced him to cancel the rest of the 2020 shows, but he will hit the road again on May 27th, 2022 for a performance in Frankfurt.

Elton will make stops at major European cities Milan and Paris in June next year, before heading to the UK for shows in Norwich, Liverpool, Sunderland, Bristol and Swansea later in the month, and he will then travel to the US and Canada for gigs from July to November, 2022.

The ‘Your Song’ hitmaker will take his final bow of the year with back-to-back shows at Los Angeles’ Dodger Stadium on November 19th and 20th, 2022 – to commemorate his iconic performance at the venue in October 1975.

He said: “Hello, all you wonderful fans out there.

“I’m coming to you today with an announcement I’ve been working towards for, well, all my life: the shows that I announce today will be my final tour dates ever in North America and Europe.

“I’m going to go out in the biggest possible way, performing at my very best, with the most spectacular production I’ve ever had, playing in places that have meant so much to me throughout my career.

“Whether it’s next summer in Frankfurt or at the legendary Dodger Stadium for the grand finale in the United States, I can’t wait to see you all on the road one last time.

“This has been an incredible tour so far, full of the most amazing highs, and I look forward to making more wonderful memories with you at these final shows.

“To all my friends Down Under, we’ll be seeing you too. Thank you and I look forward to seeing you in your town.”

Following his Los Angeles gigs, Elton – who admitted in August 2020 he would “definitely” go back on tour once the coronavirus pandemic has passed – will kick off 2023 with two shows in Auckland, New Zealand, followed by soon-to-be announced dates in Australia.

The epic tour will conclude Down Under later that year.

American Express Cardmembers will get exclusive presale access to all UK show dates beginning Thursday 24th June at 10am until Tuesday 29th June at 10pm.

Public on-sales begin Wednesday 30 June at 10am for UK Dates. Tickets are available from Ticketmaster, AXS, Alt Tickets and Gigantic.

Elton John’s Farewell Yellow Brick Road: The Final Tour European Dates:

Friday 27 May 2022 – Frankfurt, Deutsche Bank Park

Sunday 29 May 2022 – Leipzig, Red Bull Arena

Saturday 4 June 2022 – Milan, San Siro Stadium

Tuesday 7 June 2022 – Horsens, CASA Arena

Thursday 9 June 2022 – Arnhem, GelreDome

Saturday 11 June 2022 – Paris, La Defense Arena

Wednesday 15 June 2022 – Norwich, Carrow Road

Friday 17 June 2022 – Liverpool, Anfield Stadium

Sunday 19 June 2022 – Sunderland, Stadium of Light

Wednesday 22 June 2022 – Bristol, Ashton Gate Stadium

Wednesday 29 June 2022 – Swansea, Liberty Stadium

Farewell Yellow Brick Road: The Final Tour North American dates:

15 July 2022 – Philadelphia, PA, Citizens Bank Park

18 July 2022 – Detroit, MI, Comerica Park

23 July 2022 – East Rutherford, NJ, MetLife Stadium

28 July 2022 – Foxboro MA, Gillette Stadium

30 July 2022 – Cleveland, OH, Progressive Field

5 August 2022 – Chicago, IL, Soldier Field

7 September 2022 – Toronto, ON, Rogers Centre

10 September 2022 – Syracuse, NY, Carrier Dome

16 September 2022 – Pittsburgh, OH, PNC Park

18 September 2022 – Charlotte, NC, Bank of America Stadium

22 September 2022 – Atlanta, GA, Mercedes-Benz Stadium

24 September 2022 – Washington, DC, Nationals Park

30 September 2022 – Arlington, TX, Globe Life Field

2 October 2022 – Nashville, TN, Nissan Stadium

21 October 2022 – Vancouver, BC, BC Place

29 October 2022 – San Antonio, TX, Alamodome

4 November 2022 – Houston, TX, Minute Maid Park

12 November 2022 – Phoenix, AZ, Chase Field

19 November 2022 – Los Angeles, CA, Dodger Stadium

20 November 2022 – Los Angeles, CA, Dodger Stadium

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Quicksand Announces New Album, ‘Distant Populations’, Fall 2021 U.S. Tour

QUICKSAND Announces New Album, 'Distant Populations', Fall 2021 U.S. Tour

New York City post-hardcore band QUICKSAND will release its fourth studio album, “Distant Populations”, digitally on August 13 and on vinyl September 24 via Epitaph Records.

Recorded at Studio 4 Recording in Conshohocken, Pennsylvania, “Distant Populations” was produced and engineered by Will Yip (THE MENZINGERS, CODE ORANGE, DEFEATER), and mixed by Josh Wilbur (LAMB OF GOD, MEGADETH, AVENGED SEVENFOLD). The album is the follow-up to the critically lauded 2017 release “Interiors”. Sonically it has a punchier, more up-tempo sound than its predecessor, with its 11 songs being concise, carved sonic jewels boasting not a single wasted note. Its gripping lyricism and raw power leap out from the very first listening.

Throughout the album’s 11 tracks, QUICKSAND explores the duality of our simultaneous existence in individual relationships and as part of a mass society, while also examining the alienation and loneliness of it all.

“Everyone is on the one hand so connected with each other, and on the other hand, is so far apart,” says frontman Walter Schreifels. “We’re checking out each other’s social media and we know what everybody’s doing. But when we’re sitting in the same room together, we’re looking at our phones,” he adds point out the sad irony of it all.

Today, the band shares “Missile Command”, a song that emerged from a QUICKSAND rehearsal jam, recalls Schreifels. “It really kind of focuses on Sergio‘s [Vega] whole motif in a very simple way. He and Alan [Cage] just have this really kind of trademark groove, and I think that really sings on this one to me. I just felt like it’s a kind of song that is very us, but we hadn’t written it yet.”

“Distant Populations” track listing:

01. Inversion

02. Lightning Field

03. Colossus

04. Brushed

05. Katakana

06. Missile Command

07. Phase 90

08. The Philosopher

09. Compacted Reality

10. EMDR

11. Rodan

In support of “Distant Populations”, QUICKSAND will be hitting the road this fall. The headlining run will begin September 28 in Boston and wrap on October 31 in Philadelphia. Tickets go on sale Friday, June 25.

QUICKSAND tour dates:

Sep. 28 – Boston, MA – Paradise Rock Club

Sep. 29 – Asbury Park, NJ – The Stone Pony

Oct. 01 – Lancaster, PA – Tellus 360

Oct. 02 – Albany, NY – Empire Live

Oct. 04 – Detroit, MI – El Club

Oct. 05 – Chicago, IL – Metro

Oct. 06 – Minneapolis, MN – Fine Line Music Cafe

Oct. 08 – Denver, CO – Bluebird Theater

Oct. 09 – Salt Lake City, UT – Urban Lounge

Oct. 11 – Portland, OR – Wonder Ballroom

Oct. 12 – Vancouver, BC – Rickshaw Theatre

Oct. 13 – Seattle, WA – Neumos

Oct. 15 – San Francisco, CA – Great American Music Hall

Oct. 16 – Los Angeles, CA – Troubadour

Oct. 18 – Phoenix, AZ – Valley Bar

Oct. 19 – Santa Fe, NM – Meow Wolf

Oct. 21 – Austin, TX – Mohawk

Oct. 23 – Houston, TX – Studio @ Warehouse Live

Oct. 25 – Atlanta, GA – Masquerade (Hell)

Oct. 26 – Charlotte, NC – The Underground

Oct. 27 – Washington, DC – Black Cat

Oct. 29 – New York, NY – The Bowery Ballroom

Oct. 31 – Philadelphia, PA – Theatre of The Living Arts

Formed in 1990, QUICKSAND made its full-length debut with “Slip” — a 1993 release praised by The A.V. Club as “a nearly flawless record that combines the irony and heaviness of HELMET with FUGAZI‘s penchant to dismantle sound in the most energetic ways.” Arriving in 1995, their sophomore album, “Manic Compression”, appeared at No. 1 on the Top Five Best Post-Hardcore Records list from LA Weekly (which noted that “if there were any justice in the world, QUICKSAND would have been the biggest underground band of the ’90s”).

Throughout the early ’90s, QUICKSAND toured with bands like HELMET, FUGAZI, RAGE AGAINST THE MACHINE and ANTHRAX. After disbanding in late 1995, they reunited for a one-night performance in June 2012. They’ve since appeared at festivals like FYF Fest and Pukkelpop, and in 2013 embarked on their first North American tour in 15 years. In 2017, the band released their long-awaited third-studio album “Interiors”, which saw Consequence Of Sound praise the band for their sound “that nobody else has been able to replicate in all the time they’ve been gone.”

QUICKSAND is frontman/guitarist Walter Schreifels, bassist Sergio Vega and drummer Alan Cage.

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YouTube not liable for hosting unauthorised works, European court rules

YouTube is not liable for its users uploading unauthorised material to their website, Europe’s top court has ruled.

The Google-owned video site, along with other online platforms, is in a long-running dispute with Europe’s $1 trillion creative industry, which is opposed to copyrighted works being shared without permission.

“As currently stands, operators of online platforms do not, in principle, themselves make a communication to the public of copyright-protected content illegally posted online by users of those platforms,” the European Court of Justice said (via Reuters) yesterday (June 22).

“However, those operators do make such a communication in breach of copyright where they contribute, beyond merely making those platforms available, to giving access to such content to the public.”

The court said that streaming services such as YouTube could be liable if they fail to operate without appropriate technological tools in place to tackle copyright infringement by their users.

Media platforms could also face legal action if they are aware of unauthorised content being hosted on their sites without “expeditiously deleting it or blocking access to it”.

YouTube (Picture: Gabby Jones/Bloomberg via Getty)

A spokesperson for YouTube has since responded to the new ruling, saying: “YouTube is a leader in copyright and supports rights holders being paid their fair share.

“That’s why we’ve invested in state of the art copyright tools which have created an entirely new revenue stream for the industry. In the past 12 months alone we have paid $4 billion to the music industry, over 30% of which comes from monetised user generated content.”

The case stems from a 2008 lawsuit that was filed by producer Frank Peterson against YouTube and Google over the public sharing of recordings to which he claimed to hold the rights.

Earlier this year YouTube defended its royalty scheme for artists, claiming that it was close to being the top revenue source in the industry.

Katie Oyama, the site’s director of government affairs and public policy, faced MPs in February as part of the Digital, Culture, Media and Sport’s (DCMS) ongoing inquiry into the economics of music streaming.

She said that in 2019 YouTube “sent $3 billion to the music industry” and suggested its royalties would eclipse Spotify‘s.

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‘Logan’s Run’ Presents Utopia With a Catch

“Welcome to the 23rd century, the perfect world of total pleasure” began the tagline for Logan’s Run when it hit screens on Jun. 23, 1976. It ended with: “ … there’s just one catch.” And while the catch proved an imagination-grabbing concept, it was the movie’s age-old epic journey to victory, combined with very mid-‘70s social commentary, that made it such an influential piece of work.

Everything seems bright in the Domed City – its inhabitants want for nothing in a lifetime of hedonism. Their world is controlled by a benevolent computer named Deep Sleep that provides for every need. Each citizen has a life clock implanted in the palm of their hand, which changes color as they age. When they reach Last Day, their 30th birthday, they take part in Carrousel, which is a form of personal renewal. The “catch” is that “renewal” is actually death: In order to maintain the same population size, no one is allowed to live beyond their Last Day. Naturally, some people might rebel against the concept, suspecting it to be what it really is. So, a force of Sandmen – basically cops – are deployed to kill any Runner who tries to flee their fate.

Life is good for the Sandman Logan 5 (Michael York), until he’s deployed to kill a Runner, which leads to the discovery of a group that helps people get out of the city. Deep Sleep reveals to Logan that more than 1,000 people have escaped to a place called Sanctuary and tasks him with finding it. In order to do so, his life clock is pushed forward to Last Day, and he has no choice to become a Runner. He teams up with Jessica 6 (Jenny Agutter) to face the challenges of escaping from his former friend Sandman Francis 7 (Richard Jordan), and what he discovers beyond the city leads to Deep Sleep’s destruction and humanity facing a more difficult, but more hopeful, future.

Directed by acclaimed British filmmaker Michael Anderson (The Dam Busters and Around the World in 80 Days), Logan’s Run was originally scheduled for production several years earlier, as studios tried to cash in on the success of 2001: A Space Odyssey and Planet of the Apes. But the special effects challenges meant that by the time it was ready to start shooting, studio bosses thought the sci-fi boom was over.

Production began only after a series of changes at the top. The script, which went through many rewrites, was based on the book of the same name by by William F. Nolan and George Clayton Johnson but featured significant changes. The death age was raised from 21 to 30 so casting options could be better, the concept of Carrousel was introduced to present screen candy and the year in which events take place was changed … perhaps just because everything else was changing.

Watch ‘Logan’s Run’ Trailer

Jerry Goldsmith spent eight months crafting a soundtrack that merged traditional music with cutting-edge synthscapes, while the Mister Roger’s Neighborhood-style city set was an ambitiously large creation, one of the biggest ever built. Filming took place near the beginning of America’s mall era, so city scenes shot in the Dallas Market Center look quaintly retro today, but it also helps in suggesting that, under such living restrictions, humanity becomes time-locked and almost valueless.

Intending to illustrate just how hedonistic life is in the future, there was more nudity in the original cut until studio heads decided they needed a PG rating to maximize profits. While the Carrousel scene itself is massively ambitious and you can’t quite see the cables holding up actors, one of the movie’s best moments comes as Logan and Jessica encounter the robot Box (Roscoe Lee Browne). Later, the hologram effects during Logan’s interrogation represent the first time audience encountered such images.

York argued that one of the movie’s strongest points was that its story remained distinct from the effects. “Those wretched guns misfired as much as they fired,” he said in 2008. “There were a lot of highly technical things, yes, but thank God we weren’t standing against blue screen all the time! I think in a way you have an advantage that the special effects don’t overwhelm the story. The cart is not before the horse. … Probably for a younger generation it will look enormously old-fashioned because you’re not being whizzed around the set. But, again, that’s what I see as an advantage.”

Watch ‘Logan’s Run’ Carrousel Scene

Logan’s Run made $25 million at the box office from a budget of $8 million and won a Special Achievement Oscar while being nominated in the Best Art Direction and Best Cinematography categories. It spawned a 14-episode TV show, and talk of sequels and remakes have continued ever since.

“It prefigured many things, like the malling of America, these great, giant indoor spaces that were soon anywhere, and plastic surgery on demand,” York mused in 2016. “There was a certain prophetic truth to what it was positing about the future. … I don’t regret anything, and just feel very pleased that … it’s still entertaining audiences. With any picture, I don’t think we really ever can tell the outcome, because it’s a question of whether the ingredients come to the rise or not, and there’s no predicting this. As we know, big studio pictures go flop.”

Agutter noted: “It has a slightly old-fashioned feeling about it. It has this episodic storytelling to it, and sense of discovery. … P art of me wonders whether the writing for a woman today might be different than it was then. Jessica would probably be made to be much more a strong young woman coming out of that world.”

“A lot of people say to me [that] when they were growing up, the film had a tremendous effect,” York summarized. “It touched something in the youthful psyche. Now, whether it was having a parentless society or being able to completely indulge. … I think it both delighted and scared in equal measure. Or maybe [it’s] the thought of, when you’re young, it’s all going to be taken away from you.”

Watch ‘Logan’s Run’ Box Scene

Presented as an action movie, most of its framing questions remain unaddressed. Why was the city created? Was Deep Sleep following its program or did something go wrong? How long has humanity been cooped up? Are there other cities? The only hint at some of those answers come from the Old Man (Peter Ustinov), who’s spent so long alone that his mind and speech are no longer fully connected.

At the time, these and other open questions were interpreted as a warning against following the path of consumerism and even as warning to counterculture-era generations to respect their elders. Valid arguments. But today, the doubts serve to describe the position of the citizens at the end of the story: Children might be cast out of the Garden of Eden, but armed with freedom, possibility and the naivete and arrogance of youth, that just might see them through.

“The human adventure is only beginning . . . “

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Burton C. Bell Sings Fear Factory Song With Restaurant House Band

Last week, former Fear Factory vocalist Burton C. Bell finished a solo DJ set in Australia with an encore that saw the musician sing a classic Fear Factory track. Backed by the house band at Sydney restaurant and music venue Frankie’s Pizza, Bell performed Fear Factory’s 1995 Demanufacture song “Replica.”

The performance was part of Frankie’s Pizza’s June 16 “Total Recall” event. Bell promoted the show ahead of time on Instagram, noting he would be “spinning my favorite heavy cuts spanning my 30 year career,” including tracks from his current act, Ascension of the Watchers, along with Fear Factory and other bands.

But the night ended with the unexpected live version of “Replica” and fan-captured footage of the performance has now emerged online. Watch the video down toward the bottom of this post.

Two days after Bell’s live solo “Replica” rendition, Fear Factory, led by founding guitarist Dino Cazares, released Aggression Continuum, their first studio album in six years. The album contains Bell’s vocals, but following years of band-related legal entanglements, he parted ways with the outfit last year. Cazares recently revealed the group has found a new singer.

In a September 2020 statement, Bell explained he was “announcing to my fans my departure from Fear Factory, to focus all my energy and attention toward the continuing success for Ascension of the Watchers and all my future endeavors.”

Referencing Cazares and other Fear Factory bandmates, he added that the “past several years have been profoundly agonizing, with these members bleeding my passion with depraved deceit. As a direct consequence of their greed, these three have dragged me through the unjust judicial system, resulting in the legal attrition that has financially crippled me. In the end, these three members have taken possession of my principal livelihood. However, they will never take my 30-year legacy as the beating heart of the machine. A legacy that no other member, past or present, can ever claim.”

Ex-Fear Factory Singer Burton C. Bell Performs the Band’s “Replica” With Frankie’s Pizza House Band – June 16, 2021

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Plenty of bands play albums in full on anniversary tours, but performing a new record in it’s entirety is a rarity.

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