Here’s case number 1,289,948 of the old “company doesn’t properly license a piece of music for a commercial, makes a ripoff of it instead” story. In this case, the ripped-off artist is SOHN, the British-raised and Vienna-based electronic producer who released his debut album Tremors earlier this year. The ripper-offer is Audi, who used a track that sounded a lot like SOHN’s rippling single “Lessons” for a commercial. As NME points out, SOHN noticed, and he had things to say about it:
Nine Inch Nails main man Trent Reznor and frequent collaborator Atticus Ross have gotten together to score David Fincher’s new movie Gone Girl, just as they’ve done with previous Fincher movies The Social Network and The Girl With The Dragon Tattoo. A few days ago, they shared “The Way He Looks At You,” a track from that score. And today, they’ve posted a 14-minute Soundcloud playlist of music from the score. “The Way He Looks At You” is on there, but so are three new tracks. “Sugar Storm” is a warm, amorphous pulsating electronic fog. “Background Noise” is all tinkly piano ambiance. And “Just Like You” is deeply pretty and reassuring synth music. All told, the music doesn’t sound much like anything Reznor’s ever done, and it’ll be interesting to see how Fincher uses it in the movie. Listen to all of it below.
This is one of those difficult weeks, one of those weeks when choosing one favorite album becomes a near-impossible task. It’s the week when Aphex Twin came back after a decade-plus absence with SYRO, a warm and welcoming but also complex and overwhelming piece of work. And even though I already wrote about SYRO, and we don’t do Album Of The Week pieces on albums when they’ve already been Premature Evaluation, that one feels huge enough that it could’ve been an exception. This is also the week that SBTRKT cashed in all his collaborator chips with the strange, beguiling Wonder When We Land and that Leonard Cohen went all Waitsian blues-mutter on Popular Problems. Julian Casablancas + The Voidz and Alt-J both put out big, fascinating, conversation-starting albums today, and even if I don’t really like those albums, it’s fun to have them around to pick apart. Bonnie “Prince” Billy and King Tuff and Mr Twin Sister and NehruvianDOOM and Tweedy all put out records that I really do like, to varying degrees. It kills me that I’m not giving Album Of The Week to GOAT’s percussive, reverb-heavy psych-funk workout Commune; I love that goofy thing to pieces. There was heavy, heavy competition this week, and yet there was only one real choice. When an already-powerful artist makes a big leap into the unknown, switches up sounds, and takes chances that pay off, that album deserves to be recognized. And it’s been a long time since anyone has made that leap with the sort of grace and force and style that Perfume Genius brings to Too Bright, his third album.
That has to be Thundercat on the bass, right?
The drummer’s Daddy, it might be worth mentioning, is Max Weinberg. Also, Jay was really fun to watch onstage, and he totally acted like he was the frontman of the band. SO MUCH stick-twirling.
Great answer. I was thinking possibly Scarface too, but he’s been pretty inactive for the past few years.
Try this one on for size: http://www.newyorker.com/culture/sasha-frere-jones/u2s-forgettable-fire
These are the things that happen when you’re trying to speed-write. Fixed, thank you.
You have to adjust for distance. Sam Smith is sitting one mile away from the camera.
They were great! Early on, anyway! But the idea of grouping them into a hot-new-scene with Portishead was a fundamental misunderstanding of everything all 3 of them were doing, as was the idea that they represented the music of the future.
Yes. This is not up for debate. Nobody has ever cried to Aesop.
Man I’m just fucking with you. Lese Majesty is a fine piece of arty rap splurge, but I don’t love it the way so many of y’all do. And I can’t get my mind around the idea that it’s better than a sparkling, insightful, gorgeously recorded Jenny Lewis album.
Thanks guys. Fixed.