Archive for the ‘Kathleen Winter’ Category

SOUNDTRACK: TINDERSTICKS-Claire Denis Film Scores 1996-2009: L’Intrus [CST077] (2004).

This score comes from Claire Denis’ 2004 film L’Intrus.  The soundtrack was done by Stuart Staples.  In the booklet he talks about how conventional scoring just didn’t seem appropriate for the film, so he chose this rather noise-filled style.

It is a noisy, menacing work (L’Intrus means The Intruder, so that makes sense).  The sounds are clanky and squeaking, creating an ominous atmosphere.

But what’s most interesting about the score is that despite this limited collection of sounds, he creates a musical work out of it that is interesting to listen to on its own.  The track “Horse Dreams” is full of discordant notes and screeches.  While “The Black Mountain” features a solo horn over the noises.  It’s not easy listening, but it is certainly evocative.

This score is also very short about 25 minutes or so).  The movie is 130 minutes.  I wonder what other sounds are in the film?

[READ: June 15 2011] “Madame Poirer’s Dog”

This is the second story in The Walrus’ Summer Reading issue.  As I mentioned, the intro states: “We asked five celebrated writers to devise five guidelines for composing a short story or poem. They all traded lists–and played by the rules.”  Kathleen Winter was given rules by Alexi Zenther (which I posted below).

I didn’t enjoy this story all that much.  More specifically, I enjoyed the story within the story, but the full, proper story was a little too indistinct to me: It felt kind of all over the place.  In some ways this is appropriate as the story is set in an old folks’ home.  The titular dog comes into play throughout the story and the hard and fast facts of the dog’s tale give some grounding to the story.

The dog’s story is told in a just-the-facts, not-the-details style.  And the dog’s story is a funny story.  It involves a chastity belt (for the dog), and another dog’s skill at the belt’s removal.  But  the funniest part came at the end when the narrator criticized her son’s wife because she would be the kind of person who would ask for details “that no one cares to remember: what exactly does it look like, a chastity belt for digs, and of what material is such a thing made?”

The bookend parts that surrounded the story just kind of fade from my memory.

The five rules from Alexi Zenther: (more…)

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SOUNDTRACK: TINDERSTICKS-Claire Denis Film Scores 1996-2009: Vendredi Soir [CST077] (2002).

This score was created by Dickon Hinchliffe and the liner notes indicate that it was something of a jumping off point for his future film scores.  This was the third score that the band created for Denis (after Nenette & Trouble).  Stuart Staples was working on the latest Tindersticks album so Dickon took over all of the duties on this one.

This is a beautiful, melancholy soundtrack, full of gorgeous swelling strings and simple piano notes.  It doesn’t remind one all that much of  Tindersticks, but it’s not terribly far removed from their sound either.

The whole score (which is paired here with the score from L’Intrus) is 25 minutes, which made me wonder whether this is a full length film, or just a film with lots of silence (or, perhaps non-Hinchcliffe music that wasn’t included here).  [The film is 90 minutes long].

Pairing it with L’Intrus makes sense in terms of space, but the two scores could not be more different from each other.

[READ: June 15, 2011] “The Cat”

This is the first story in The Walrus’ Summer Reading issue.  As I mentioned, the intro states: “We asked five celebrated writers to devise five guidelines for composing a short story or poem. They all traded lists–and played by the rules.”  Sarah Selecky was given rules by Kathleen Winter (which I posted below).

The first line of the story really sets up the whole thing: “I am not at all surprised that my father has come back to earth in the form of a grey and white cat.”  And indeed, the rest of the story discusses her relationship with her father (those awful fishing trips when she could neither speak nor move) and how he never seemed to be pleased about her.

Now that he’s back as a cat, the dynamic has changed.  Although there’s still fish in their relationship.

I really enjoyed this story,  For although it was brief, it was wonderfully evocative.

Kathleen Winter imposed these rules on the story: (more…)

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SOUNDTRACK: CITY AND COLOUR Live at the Sasquatch Festival, May 29, 2011 (2011).

City and Colour have a new album coming out soon.  So it’s kind of surprising that this seven-song show is three songs from their previous album, two from their first album, a cover, and only one new track (“Fragile Bird”).

This is the first time I’ve heard City and Colour live with a band (most of the recordings I have by them are just Dallas Green solo).  It’s nice to hear how powerfully they work together (giving some of those songs an extra push).

Despite the brevity of the set (and the amusing banter about airport etiquette) you get a pretty good sense of what the “pretty-voiced guy” from Alexisonfire can do on his own.   I found the cover, Low’s “Murderer,” to be a really perfect choice–one that suits the band and their slightly-off harmonies, rather well.

I’m looking forward to their new release–“Fragile Bird” is another beautiful song.  But in the meantime, this is a good place to hear what they’ve been up to.

[READ: early June 2011] 2011 Fiction Issues

Five Dials seems to always generate coincidences with what I read. Right after reading the “”Summer’ Fiction” issue from Five Dials, I received the Fiction Issue from the New Yorker.  A few days later, I received the Summer Reading Issue from The Walrus.

I’m doing a separate post here because, although I am going to post about the specific fictions, I wanted to mention the poetry that comes in The Walrus’ issue.  I have no plan to write separate posts about poetry (I can barely write a full sentence about most poetry) so I’ll mention them in this post.

The main reason I’m drawing attention to these poems at all is because of the set-up of The Walrus’ Summer Fiction issue.  As the intro states: “We asked five celebrated writers to devise five guidelines for composing a short story or poem. They all traded lists–and played by the rules.”  I am so very intrigued at this idea of artificial rules imposed by an outsider.  So much so that I feel that it would be somewhat easier to write a story having these strictures put on you.  Although I imagine it would be harder to write a poem.

The two poets are Michael Lista and Damian Rogers.  I wasn’t blown away by either poem, but then I don’t love a lot of poetry.  So I’m going to mention the rules they had to follow. (more…)

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