Los Angeles
Nick Hasted
Aaron Moorhead and Justin Benson deal in the modern eerie and truly weird, placing relationships under supernatural pressure with unsettling empathy. Where genre-schooled peers such as Ti West and Adam Wingard splice post-slacker, naturalistic conversation with skin-flaying horror, Moorhead and Benson scare with cracks in reality, reflecting quietly broken protagonists.Styled as Moorhead & Benson, Benson writes, Moorhead is cinematographer, and the pair co-direct, produce, edit and sometimes star. Their self-sufficient cult has led to Marvel TV work on Moon Knight and Loki, but their Read more ...
Nick Hasted
In 1970, the coffin of America’s new vampire count travels to his lair in the hills of LA on a pickup truck. A giant billboard for John Wayne in True Grit observes his passage through Hollywood’s urban bustle, as this Gothic monster enters the then modern world.Soon retiring the increasingly cosy familiarity of Hammer’s period-set Dracula series, the two Count Yorga films restored the ferocity of the 1958 original, when Christopher Lee’s lofty aristocratic veneer hid feral violence. They played to a late hippie crowd hip to camp and the put-on, and drive-ins demanding date-squeezing shocks. Read more ...
Thomas H. Green
Does the world need to hear more from Red Hot Chili Peppers? Outside the bouncin’ bro’ fanbase, a regular consensus is that, despite being one of the biggest bands in the world, doing their global stadium rock thing – with free added funk! – achieving the highest level of commercial success, they're not of actual interest.Then they release two very long albums within six months of each other, Return of the Dream Canteen being the second. Who the hell needs that? Turns out that anyone with an ear for joyously executed West Coast-flavoured pop-rock just might.The twofold keys to its Read more ...
peter.quinn
Lauded by Elton John (who called their 2020 debut EP Love and Hate in a Different Time “probably one of the most seminal records I've heard in the last 10 years”), a show-stealing performance on Later… With Jools Holland in 2021, fêted at this year’s Glastonbury Festival. The inexorable rise of LA-based trio Gabriels – Jacob Lusk, Ryan Hope and Ari Balouzian – continues with the release of this mesmerising, superbly crafted debut album.Produced by Grammy-winning Sounwave (Kendrick Lamar, Beyoncé), Angels & Queens, Part I (Part II will follow in March next year) is a collection of seven Read more ...
Kieron Tyler
Marina Allen’s singing voice fluctuates between the conversational and the flutingly melodic. In one song, she can be asking “Why do I sing my song for you” in a no-nonsense Randy Newman manner and then shift into a series of spiralling, ascending arpeggios. Centrifics, her second album, is about contrasts.While the LA-based Allen is most probably aware of Judee Sill and Laura Nyro, there’s a jazziness (especially on “New Song Rising” and “Foul Weather Jacket Drawing's" vocal vamping) and a fondness for songs with multiple counter melodies which places her as more than a Seventies-influenced Read more ...
Mark Kidel
Demi Lovato doesn’t do things by halves. She has one of the most powerful voices around, as suited to the yang of punchy hard rock as it is to the sensual yin of R&B or or the contagious sweetness of girly pop.Self-professed gender fluid, her latest album showcases a perennial love of metal: pumping rhythms, hard-edged guitars and a heavy dose of aggro – but her brand of anger is tinged with an appealing touch of vulnerability. The material is as provocative as ever, with a showers of the F Word, used as an adjective as well as a call to arms. The album is not called Holy Fvck for Read more ...
Nick Hasted
His car skids through an LA stoplight, then Walter Neff (Fred MacMurray) enters his insurance office in the small hours, taking a lift as if to the scaffold, coat hanging like a cloak, a dark stain on his shoulder. From his upstairs office, the desks below look like a hellish pit, the lamps insectile. Even with the light on, his face stays eaten by shadows at first. Fumbling for a cigarette, he turns on a voice recorder to confess. “Yes, I killed him. For money. And for a woman. I didn’t get the money. And I didn’t get the woman. Pretty, ain’t it?”Phyllis Dietrichson (Barbara Stanwyck, Read more ...
Graham Fuller
The film title Pleasure begs the question, whose pleasure? Since first-time feature director Ninja Thyberg’s cautionary drama depicts the journey of a newcomer intent on becoming the Los Angeles adult film business's top female performer, the pleasure self-evidently isn’t hers, but that taken by the hordes of men who’ll watch her being systematically degraded on Pornhub and its ilk. Doubtless some women porn stars enjoy their work. Women are increasingly vocal about enjoying porn, and there are, of course, adult films that prioritise female sensuality and satiety. But Pleasure’s milieu Read more ...
Joe Muggs
Kendrick Lamar is so breathlessly revered it’s sometimes hard to pull apart what’s going on in his records. It’s sometimes felt like he might become the rap game Radiohead: exploratory, aware, hugely technically accomplished, endlessly thematically “important” – but not actually that interesting to listen to.And certainly on the 18 tracks of his comeback album after a near four-year break – five since his last album proper, DAMN. – there’s a lot that’s potentially extremely worthy. There’s a lot of moody piano lines, there’s a lot of ultra-intricate rhyme patterns, and Read more ...
Saskia Baron
Fifteen years after John Carpenter scored a massive box-office hit with his ingenious low-budget sci-fi thriller Escape from New York (1981), he was given a free rein to make Escape from LA. Unfortunately, unlimited access to extras and all the toys available in the special-effects cupboard in 1993 didn’t make for a better movie. The original dystopian satire turned Kurt Russell into a star as leather-clad, eye-patch-toting Snake Plisken. Former soldier turned convict Snake was offered his freedom if he could rescue a corrupt POTUS from the prison island of Manhattan, Read more ...
Barney Harsent
Radiate Like This is the first album in six years from American indie rock outfit Warpaint. The wait is, in part at least, down to Covid, which took hold just after they’d finished early recording sessions, forcing the band – like the rest of the world – into a solitary stasis of sorts.This resulted in time to tinker – space to iron out the creases and finesse the folds as band members Emily Kokal, Jenny Lee Lindberg, Stella Mozgawa and Theresa Wayman recorded their parts in isolation, building the songs slowly, carefully, layer by layer.The result is really quite beautiful. Read more ...
Tom Birchenough
Danya Taymor’s production of “Daddy” A Melodrama has a huge exuberance: a tour de force in itself, it's also a scintillating introduction to the work of Jeremy O Harris. The young American dramatist earned considerable attention, and acclaim for the acuity of his investigation of race issues, for his 2018 Slave Play, but it's this earlier piece, written when Harris was in his mid-twenties, that reaches London first (after a two-year Covid delay).The music, lighting, movement and sheer dramatic craft – not least the stage-front swimming pool in which a fair part of the action takes place – has Read more ...