Music of the Week – Francis Lai – Anima Persa (Movie OST)

Time to dwell among the best reliques of old-school Italian cinema…a psychological, eerie and gothic masterpiece by Dino Risi, Anima Persa (lost soul ; known in France as Ames Perdues), which I will probably review here in the near future. The movie is incredibly good with a stellar cast (Catherine Denevue of Belle de Jour fame and Vittorio Gassman), a wonderful trip of discovery inside the darkest recesses of the human soul.

By the way, I think I’ll open the cinema reviews section in 1/2 weeks at maximum, with more or less a new review once a week. I guess I’ll start with Young and Beautiful (Jeune et jolie) by Francois Ozon. Sorry to have made you wait!

And now, time to enjoy some very good music…

Music of the Week – Alice Cooper – No Tricks

This week I’m offering you a rare B-side from the genius of Alice Cooper. This song was released as a B-Side of the single of “how are you gonna see me now?” off the (very underrated) 1978 album, from the inside.

Also. I’m happy to announce that the work for the cinema section is proceeding very well! I’ve written more reviews, and when I’ll have a sufficient number of them I’ll start posting slowly here on the site.

Meet the Crooked Man…

I’ve written a review for an interesting Japanese freeware horror game, created with the Wolf RPG Editor. An intriguing psychological tale named the crooked man…read the review and leap into the abyss! You won’t regret it.

Music of the Week – Laurie Spiegel – The Expanding Universe

Laurie Spiegel, born in 1945, is an avant-garde musician, interested in the cybernetics, the automation and in the experimental music writing using mathematical algorythms. However, unlike many other avant-garde musician, her focus is on what automation can’t accomplish, and she doesn’t want to cut off the link with the traditional music like folk or classical music.

The track I’m presenting to you this week, the expanding universe (title track of the album from which it’s from), was released in 1980, but was written in the ’70s. The recording process itself was very pioneristic: the album was recorded with a DDP-224 computer, a computer so big that filled an entire room, and was remotely operated via a joystick and a keyboard in a room nearby.

The result is astonishing and still very fresh and original, despite the sound can result somehow dated to the modern (and often, sadly, musically illiterate) listener.