| | Marie Antoinette Soundtrack CD (1 Customer Review)
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In keeping with her reputation for remarkable soundtracks (THE VIRGIN SUICIDES, LOST IN TRANSLATION), writer/director Sofia Coppola, in collaboration with music supervisor Brian Reitzell, offers up an inventive and eclectic two-disc collection for her 2006 film, MARIE ANTOINETTE. While the mood of the French period-piece is captured by Reitzell's classical performances (see the delicate rendering of Scarlatti's sonata, "K. 213"), that stately aesthetic is playfully juxtaposed with a slew of British post-punk classics, including Siouxsie & the Banshees' "Hong Kong Garden," New Order's "Ceremony," and the Cure's shimmering "Plainsong." Other significant additions to the album are tracks by 1980s "Burundi beat" acts, including Bow Wow Wow, whose "I Want Candy" and "Fools Rush In" benefit from excellent remixes by My Bloody Valentine recluse Kevin Shields.Q (p.163) - 3 stars out of 5 -- "Coppola and Reitzell retain their reputation for musical rigour." Marie Antoinette Soundtrack Music Marie Antoinette Soundtrack Songs Marie Antoinette Soundtrack Music Review Marie Antoinette Soundtrack CD Purchase Music From Marie Antoinette CD To buy, Click on price to add to cart | Miles Davis Kind Of Blue CD (1959) Bonus Track; Remastered
Marie Antoinette Soundtrack
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With BIRTH OF THE COOL, Miles Davis distilled a new tonal palette for jazz. As early as 1954, Miles reacted to the escalating chordal complexity of hard bop by fashioning an evocative blues based on a simple scalar pattern ("Swing Spring"). KIND OF BLUE was the ultimate fulfillment of this approach, with Miles providing his collaborators little more than outlines for melodies and simple scales for improvisation. By emphasizing the blues and the improvisor's melodic gifts, KIND OF BLUE precipitated a major stylistic development--modal jazz.
Charles Mingus had experimented with pedal points throughout the 1950s, and the melodic freedom of Ornette ...
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Marie Antoinette Soundtrack
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The Organ's 2002 debut EP Sinking Hearts was more captivating than most of that year's full-length releases: over the course of just 15 minutes, the band crafted chiaroscuro meditations on falling in and out of love that were just as light and jangly as they were dark and brooding. The EP was a promising beginning, and Grab That Gun, the Organ's first album, builds on that promise by delivering more appealingly moody music instead of reinventing the band's sound. It's tempting, initially, to be slightly disappointed that the Organ didn't broaden its sonic territory. But, even though the music remains remarkably focused, Grab That Gun proves that the band has plenty of room for expression within its rather limited palette of droning organs, succinct drumming and sharp, upturned guitar lines that give new meaning ...
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Marie Antoinette Soundtrack
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On this immensely appealing debut, SILENT ALARM, the London-based quartet Bloc Party fulfills the promise of their barnstorming 2004 singles "Banquet" and "She's Hearing Voices." Led by magnetic frontman Kele Okereke, the band extracts the most fascinating aspects of the previous 25 years of British indie rock and fuses them into a new entity--complete ...
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A remastered and greatly expanded version of THE WHO SINGS MY GENERATION was released in 2002 as MY GENERATION: DELUXE EDITION.
This 2-CD deluxe edition of MY GENERATION includes previously unreleased bonus tracks plus alternate and full-length versions of the original recordings.
Includes liner notes by Mike Shaw, Shel Talmy and Andy Neill.
This is a Super Audio CD playable only on Super Audio CD players.
"Ours is a group with built-in hate." Pete Townshend said that in 1965, around the time that THE WHO SING MY GENERATION came out. That hate--or, more accurately, angst--jumps out of the grooves on the album. Although the line between righteous anger and self-centered bitchiness occasionally wears thin, there is no denying that the Who were truly revolutionary. The arresting teenage anthem "My Generation," the shaky solidarity of "The Kids Are Alright," the dizzy confusion of "Instant Party (Circles)"--never had pop music expressed such raw emotions in such an uncompromising manner.
At the same time, Townshend, despite his bluster, could not escape the fact that underneath his rage lay a melodist worthy of the Brill Building. On tracks such as the crystalline, harmony-laden "Much Too Much," he proved that ...
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None can contest Grave's historical significance as one of the Swedish death metal movement's founding bands; with roots dating back as far as the late '80s, they were an integral part of developing a rich and diverse scene whose tendrils are still expanding today. Yet, between their well-publicized breakups and makeups over the years, and albums often characterized by competent but spark-less representations of the genre's core stylistic hallmarks, Grave have also failed to scale the heights of success attained by more individualistic contemporaries like, say, death rollers Entombed, progressive alchemists Opeth, or melodic experts In Flames. Obviously there are those who would describe Grave's basic niche as a niche just the same (look what wonders ...
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