A review of the new movie “Inherent Vice” in the magazine “Uncut” says Neil Young’s Young’s “Journey Through The Past” is critical to the film.
But we learn little else about the soundtrack, other than it is provided by Jonny Greenwood, and is said to be: ” a beguiling mix of his own compositions (check out the loose, burbling rhythms of “Shasta Fey”) alongside Can and Neil Young.”
The film by Paul Thomas Anderson is based on a Thomas Pynchon novel, and is described as: a crazy, out-of-whack principality where the funky hippie vibes of the previous decade have been replaced by Nixon, Manson, Vietnam, urban riots and assassinations. Anxiety and remorse are the principal emotions. There’s a sticky, faintly claustrophobic tone to the film, with its talk of “karmic thermals” and heroin addicts, midday naps and shapeless days. As one character says in voiceover, “American life was something to be escaped from.”
Uncut critic Michael Bonner writes: “in the middle of all this is muttonchopped private eye Larry ‘Doc’ Sportello (Joaquin Phoenix), sporting what look conspicuously like a succession of Neil Young’s cast offs from the Buffalo Springfield days.
Bonner says Anderson uses the soundtrack to highlight flashbacks of Sportello and Shasta in happier times. “But it also serves to articulate a deeper subtext at work in Pynchon’s novel; the sadness of lost potential. Pynchon seems to suggest that “the ancient forces of greed and fear” at work in today’s world have their roots in California during the period the film is set in,” he writes.
This review is steeped in jargon and if you can get much out of it, more power to you. Really annoying when writers don’t just talk straight, instead of the pseudo-intellectual jargon.
Music Times ranks Neil Young’s “Dead Man” music score number 2 out of 7 top rock music scores of all time.
Guess which one is number 1#.
The publication writes:
“Neil Young’s score for Jim Jarmusch’s western Dead Man wasn’t actually composed. Rather, Young stood in a recording studio with some instruments and simply improvised music while watching a cut of the film. The resulting music is at times atmospheric and chaotic.”
A Greenpeace movie that Neil Young will present during the week’s concerts at Honor-The-Treaties. Neil said “Petropolis” was “probably the most devastating thing you will ever see.”
A trailer and more info can be found here:
Shot primarily from a helicopter, filmmaker Peter Mettler’s “Petropolis: Aerial Perspectives on the Alberta Tar Sands” offers an unparalleled view of the world’s largest industrial, capital and energy project.
Canada’s tar sands are an oil reserve the size of England. Extracting the crude oil called bitumen from underneath unspoiled wilderness requires a massive industrialized effort with far-reaching impacts on the land, air, water, and climate.
It’s an extraordinary spectacle, whose scope can only be understood from far above. In a hypnotic flight of image and sound, one machine’s perspective upon the choreography of others, suggests a dehumanized world where petroleum’s power is supreme.
The October 2013 issue of Uncut features a DVD review of Jim Jarmusch concert documentary “Year of the Horse” shot in 1996.
They write: “This isn’t older musicians trying to sustain some delusion of youthful potency; this is a bunch of middle-aged men, led by a surly, stomping guitarist in baggy knee-length shorts and a nondescript T-shirt.
” But the very lack of self-conscious stagecraft carries with it the implication that what you’re being given is something purely musical, unmediated by modern digital strategies that demand everything be a multi-platform, multi-media, interactive experience. It’s pure rock’n’roll, as the introductory tagline explain:
“Made loud to be played loud. CRANK IT UP!”.
It’s far from the ideal Neil and Crazy Horse setlist, Uncut opines, with only a handful of classics – including a version of “Tonight’s The Night” following a segment about the deaths of Danny Whitten and Bruce Berry – sprinkled parsimoniously through the show.
But it barely matters: as Young maintains, “It’s all one song,” an ongoing flow of music hewn into eight-to ten-minute chunks. And any technical effects are kept to a minimum, and used subtly, as when stage footage of the band playing “Slips Away” is blended with a tour bus shot of passing sky and landscape.
Neil Young Films Alchemy Concert Movie In Melbourne, Australia
by Paul Cashmere on March 14, 2013
With a capacity of 5000, tonight’s Neil Young & Crazy Horse at Melbourne’s Plenary Hall was the smallest room Young has ever played in Australia.
Tonight, Neil Young fans got to see him up close and personal for one of his most ferocious shows ever, with thanks to his band of pitbulls, Crazy Horse. I challenge any musician even two thirds younger than 67-year old Neil Young to go a few rounds with him on stage. He would destroy you musically.
I’ve seen Neil Young on every one of his Australian tours and by far this was his most powerful. In total, three hours from head to toe. Neil Young & Crazy Horse were like a hurricane this evening. Tonight he was totally switched to 11.