Push it to the limit!
Push it to the limit!
Haven’t watched it yet, but based on a quick peak, I’d say highly promising. Ya might wanna watch it soon, being that it may get pulled.
My favorite Christmas mash-up.
As I was pouring through music for a non-traditional Holiday mix the other day, I was totally bummed by the lack of Hanukkah related material. Thanks to Miss Jones and The Dap-Kings for recognizing the need and freaking the funk.
The most recent animation from the PBS Digital Studios series covers a 1968 Nina Simone interview conducted by Lilian Terry.
Not sure who’s singing on this, but it sounds like a Grinch Who Stole Christmas, Thurl Ravenscroft homage. Apparently this is the second Treehouse bit that Mr. Kricfalusi has done.
Less than a month ago, I posted that the animated Japanese Psychedelic film, Belladonna of Sadness, was receiving both a restoration and eventual home video release. Well, according to Andy Votel’s twitter, his label, Finders Keepers Records, will be granting Masahiko Sato’s original score a much needed reissue, as well!
In my continuing posts of new Jane Weaver videos, I present the third video from her sixth LP, The Silver Globe, which recently received a deluxe issue with an extra ten track EP, The Amber Light. Technically The Silver Globe came out last year, but with this reissue, I’m not gonna let that stop me from putting it on my Top Ten new releases of the past year, a fact repeated on the singles list with Don’t Take My Soul (I admit, kinda obsessed with that one).
Jane Weaver has been turning out delicately crafted, high quality releases of Acid Folk and Psychedelic Space Pop, predominantly on her on Bird Records, since the late nineties, but The Silver Globe is, without question, her most fully realized work to date. With a production team that includes her husband, Andy Votel, and fellow obscure record hoarder David Holmes, Weaver’s psychedelic tendencies are on full display, seamlessly incorporating Pop sensibility with dreamy lysergic hallucination, and that’s the real genius of the album. It veers from the Pop to the Psych so subtly, that you don’t realize the amount of each in the other. Quite a feat, and it’s how the album can shape shift from the Krautrock of Argent, to the synth, almost New Wave (think The Cars meet Robert Calvert) of The Electric Mountain, followed by the ghostly Badalamenti vibes of Arrows, then the Kate Bush update of Don’t Take My Soul, all sequenced as though on a precious mixtape, one song meaningfully segueing into the next. It’s a classic record in that sense, best listened to from beginning to end, in order to truly grasp it’s strength.
Oh, and she just released an extended 12″ of experimental synth work in collaboration with synth pioneer, Suzanne Ciani! (search the archives here for great vintage footage of Ciani at work)