Pages tagged “catching up with”

Writer/director Ari Folman's Waltz with Bashir is something audiences may not seen before: an animated documentary. In the film, Folman tries to piece together the gaps in his memory from serving in the Israeli Defense Force during the Lebanon War in 1982. And though the images are animated, their power and meaning remain intact, and the conflict's full destruction is on display.

Darren Aronofsky’s latest film, The Wrestler, is a surprisingly tender portrait of a washed up professional wrestler played by Micky Rourke, the 52-year-old actor who might be called a shell of his former self if he weren’t giant, muscle-bound, bleach-blonde and sporting spandex. He’s a hulk of his former self, which lends the film an almost documentary realism at times, as Aronofsky and screenwriter Rob Siegel weave their funny, unflinching story around a character who isn’t so far removed from Rourke himself. Paste caught up with Aronofsky in Chicago.

Paste: So, The Wrestler. What a piece of work.

Aronofsky: Thank you.

Mathieu Amalric of the latest James Bond film and Catherine Deneuve—of a hundred classic movies—lead the impeccable French cast of A Christmas Tale, the story of the Vuillard family's contentious Christmas gathering in the shadow of cancer. Deneuve plays the aging matriarch, Junon, who can only be saved by a bone marrow transplant, but finding a donor won't be easy because she has a very rare type. "I never doubted it," says her husband, congratulatory.

Lance Hammer's quiet debut film Ballast continues to defy expectations. When we saw it at Sundance earlier this year we felt that it marked a new direction for independent American film, a lightly traveled path that's more commonly associated with European masters than with guys who shoot in the Mississippi delta.

Since releasing its full-length Floating World in 2006, Anathallo has played a slew of festivals, toured extensively and relocated from the band's hometown of Mount Pleasant, Mich. to Chicago, where members have taken up residence among a community of artists near Uptown. This change of scenery set the stage for their new album, Canopy Glow, out now on Anticon. Paste recently caught up with trombonist/percussionist/vocalist Bret Wallin, who filled us in on life in the Windy City, the new album and more, just before the band set off on its winter tour.

When Sixpence None the Richer split in 2004, co-founders Leigh Nash and Matt Slocum broke away to pursue other music: Slocum formed The Astronaut Pushers, and Nash-- whose breathy, dulcet voice we remember from 1997's pop smash “Kiss Me”-- recorded a solo album, Blue on Blue. But both missed Sixpence, their artistic home, which Nash, who'd been with the band since age 15, described as “some comfortable old shoes.” Both musicians are in a different stage life now-- Nash has a four-year-old son, and Slocum just became a father himself-- but they've reformed the band and just released a Christmas album, The Dawn of Grace. The birth of Slocum's child inspired “The Last Christmas,” one of the album's two originals, and both bring three years of fresh experience to the table now. But, according to Nash, they're still “the same Sixpence, in a way.” Paste recently talked with Nash and Slocum about their reunion and getting in the holiday spirit.

While most people who co-wrote and directed a hit comedy like Role Models might be content to take the rest of the year off and bask in their awesomeness, David Wain is proving yet again that there is no rest for the wickedly funny. Fresh off the success of the Paul Rudd and Sean William Scott-starring film, Wain is reuniting with his two main Michaels (Ian Black, the driest man alive, and Showalter, man-boy supreme) for an East Coast tour with the absurdist comedy trio Stella. Starting with MTV’s mid-'90s sketch comedy series The State, and on through projects like the film Wet Hot American Summer and the Stella television series, Wain had established himself as powerful force for smart-yet-goofy humor, both in front of and behind the camera. Paste caught up with Wain about his many upcoming projects and to answer yet another question about the fabled State DVD collection.

In the last month or so, news stories featuring DJ/composer/producer Moby have mostly focused on the artist's unfettered habits and public posture. Recent headlines include "The Box Is Too Degenerate for Even Moby," "Moby: No one buys records anymore," and perhaps the best of all, "Moby: 'I Don't Advocate Sobriety for Anyone Who Can Drink Successfully.'"

[Above: Detail of illustrated tote bag by Nina Barnes' Gemini Tactics for Of Montreal's limited-edition Skeletal Lamping swag.]

Of Montreal frontman (and Paste's November 2008 cover subject) Kevin Barnes and his wife Nina have been through a lot together since they met at a music festival in Oslo, Norway in 2001: A few amazing nights in Europe, months of long-distance email correspondence, flights across the Atlantic, a tour, plenty of musical and artistic collaboration, a wedding, a child, struggling to pay the bills, a painful breakup and a joyful reunion. In this exclusive Paste interview, Nina Barnes sheds some light on her husband and his work, and tells her side of the Of Montreal story.

Kevin Barnes is responsible for the music of Of Montreal, but his brother, visual artist David Barnes is a major factor in the band's aesthetic concept. David has worked on everything from T-shirts and posters to the band’s mind-boggling stage show and trippy album art, including the groundbreaking packaging for Of Montreal’s latest release, Skeletal Lamping (pictured above). While working on our November cover story, Paste associate editor Steve LaBate sat down with David for some insight into his work and relationship with his brother.

The Watson Twins' break came with Rabbit Fur Coat, their 2006 collaboration with Jenny Lewis. From the album's cover, which featured the petite Lewis flanked on both sides by the willowy Watsons, to the rich harmonies the twins wrapped around the Rilo Kiley frontwoman's tunes, their presence was immediately felt among fans of indie-country. In June, Vanguard Records released the twins' debut album, Fire Songs, which offered two summer gems: the Goffin-and-King-esque original "How Am I To Be", and their laid-back cover of The Cure's "Just Like Heaven."  

Paste met up with The Watson Twins in Portland, Ore., several hours before their headlining show at The Doug Fir Lounge. The tour manager introduced me first to Leigh and her easygoing charm set the mood; Chandra appeared soon after wearing pinstriped flares, the only sign of fashion-consciousness among the two on this breezy summer evening. 

[Above: Noot d' Noot performs outside Criminal Records this year on Record Store Day.]

Growing up in Athens, Ga., I spent my entire life surrounded by musicians. A night out meant going to the bar around the corner to see whatever local act wasn't too drunk to get on the stage and play a little rock 'n' roll. When you're bred into music, you have a special place in your heart for hometown acts, and I loved local bands. Or anyone from Georgia, actually. But by the time high school rolled around, I had a definite favorite, and he'd just taken himself solo. His name was (and still is) Butch Walker.

Danny Boyle's time has come. While the renowned and talented British filmmaker has been churning out respected films for over a decade, he's teetered on the edge of notoriety in the minds of the public at large.

Carry the Weight is an apt title for Philadelphia-based folk singer Denison Witmer's latest record, in terms of both his recent professional and personal life. Professionally, Witmer has enjoyed a steady, incremental increase in his fan base over the years, especially after 2005's Are You a Dreamer?. That record—his first with indie label The Miltia Group—featured a guest spot from indie titan Sufjan Stevens, and garnered positive reviews with everyone from Pitchfork to Entertainment Weekly. After nearly 10 years in the business, Witmer found himself privvy to a burgeoning, expanded new fan base.

As one of the first bands to join the garage rock revival of the late nineties, French Kicks have made a name for themselves through their low-fi alternative pop and lush harmonizing vocals. With 2008's Swimming, the group softened their dynamic approach with subdued melodies and acoustic ballads before releasing a collection of homages on their digitally-released Covers EP. Vocalist/multi-instrumentalist Nick Stumpf recently chatted with Paste:Local NYC about the band's musical evolution, the current musician immigration into Brooklyn and growing past genre labels.

Since they first joined forces in 2001, Ratatat's Evan Mast and Mike Stroud have kept the music world on its toes in more ways than one. Not only does their innovative sound continue to defy categorization, but once our ears get a whiff of those catchy beats we can't help but start moving. The duo once again gave us an excuse to break out the middle school dance moves with July's LP3. Almost constantly on the road since the release of Classics in 2006, Ratatat is at it again. We caught up with Stroud on the tour bus as it was making its way to the band's stop in Pittsburgh.

One thing you will not learn from the following conversation that nonetheless deserves mentioning: even at 11:30 in the morning in a midtown Manhattan hotel room, Nick Cave still dresses like it’s 2 a.m. on a riverboat casino. (Dapper dark suit, several large necklaces and no less than three large rings, in case you’re curious.) Although he has been on the road supporting this year’s full-throttle rock record, Dig, Lazarus, Dig!!!, multitasking apparently comes to him as easily as lushly nocturnal songwriting. In addition to touring, Cave is working on a both a new script and a new score for cinematic partner John Hillcoat, who previously directed 2006’s outback epic The Proposition from a script written by Cave. As if that weren’t enough, next year he will release his first novel since 1989’s Southern Gothic tale And the Ass Saw the Angel. When Paste caught up with him, Cave was cordial, discussing his upcoming projects, time-management techniques and when we can expect a new album from his side project, Grinderman.

Ray Raposa, frontman of the pioneering folk outfit Castanets, rarely stays in one place for too long, and his band's ever-changing lineup is reflected in music that never bows to genre conventions. City of Refuge, their latest offering (out Oct. 7 on Asthmatic Kitty) took a different tack with Ray sequestering himself in rural Nevada for a month to probe the southwestern aesthetic.

When Paste caught up with Raposa, he was waiting in Portland to kick off his early-fall European tour, and let us in on the recording process behind his new album, how his boat nearly sank in the Intercoastal Waterway and the state of freak folk today.

Fifteen years ago, writer/director Kevin Smith took the independent film world by surprise with Clerks, a slacker-style, low budget movie that has earned an intense cult following. With his newest film Zack and Miri Make a Porno, Smith is back with his sometimes-gross, sometimes-controversial and always-irreverent style of comedy that makes the fanboys smile and the straight-laced avoid at all cost. Talking with Paste recently, Smith covered it all, including his new comedy with “that dude” Seth Rogen, his plans on being more serious for his next film, plus kazoos, economics, movie protests and shit shots...

It's been a big year for It's Elephant's. The band released its first full-length, Little Trouble In Chinatown, in April (for free) and recording has already commenced on a follow-up. Somehow, between various local shows-- including performances at Atlantis, Corndogorama, Grant Park Summer Shade Festival and a session with HaveYouHeard.net-- the band had time to create a very special Halloween gift for their fans, which involved a trip to a Civil War cemetary that's reportedly oozing with paranormal activity.

Paste recently talked with the band-- vocalist Brent Jay, vocalist/percussionist Garrett Range, vocalist/keyboardist Matt Compton and vocalist/multi-instrumentalist David Fountain-- about touring, the benefits of free music and where the guys came up with that baffling name.

After its critically acclaimed sophomore album, A Weekend in the City, climbed to no. 2 on the British sales charts, Bloc Party’s knee-jerk reaction was to dive back into the studio as soon as possible to record a raw counterpoint to the band's previous atmospheric rock and jagged chord play. The result is Intimacy, a record Bloc Party digitally released only three days after announcing it online.

Paste caught up with drummer Matt Tong to discuss the group’s musical evolution, lead singer Kele Okereke’s political reputation and whether the music industry is a progressive and equal environment for a rock band with a black lead singer.

For the better part of the last decade, the Irish pop/rockers of Snow Patrol have dominated the airwaves, permeated nearly every form of media including films and TV, and sold millions of records. The band's colossal hits "Run" and especially "Chasing Cars" have afforded it the kind of success usually reserved for industry titans Coldplay and U2.

Director Tomas Alfredson’s Let the Right One In has been the talk of the film-festival circuit for months—the “Swedish vampire movie” that has transfixed audiences with its keenly attenuated evocation of adolescent loneliness and budding first love in the apartment blocks of suburban Stockholm, framed around a latter-day reinvention of the vampire myth. Its two central characters, Oskar (Kare Hedebrant) and his counterpart Eli (Lina Leandersson), both played by remarkable young actors in their first movie, are a bullied and alienated 12-year-old boy and the mysterious dark-haired girl who only appears at night, and warns that she is not at all what she may seem.

When Copeland was gearing up for the release of its fourth album (which dropped this week), You Are My Sunshine, the band decided to tackle the publicity angle Dark Knight-style. Frontman Aaron Marsh spearheaded the effort to pirate fan traffic in August's viral campaign phenomenon.

[Above: Model Gerren Taylor as featured in America the Beautiful.]

Shot through the history of comedic cornerstones like The Simpsons, Saturday Night Live and Spinal Tap is comedian Harry Shearer. His newest project, Songs of the Bushmen, takes musical aim at the Bush Administration, lampooning Colin Powell (“Smooth Moves”), Paul Wolfowitz (“Wolf on the Run”) and Karl Rove (“Turd Blossom Special”) amongst others. The album’s cover even features a portrait of George W. Bush with a bone through his nose—offending Clear Channel enough to get banned from billboard advertisements.

From the outside, it might seem like Rachael Yamagata has developed a split personality since the release of her debut record. The smoky-voiced, raven-haired singer/songwriter's much-delayed sophomore release, Elephants...Teeth Sinking Into Heart, is a 14 track double album (featuring a hidden song). The first disk is composed of atmospheric, elegiac and emotionally naked tales of lovelorn relationships. The second disk is louder and livelier, brimming with hot-boiled angst so much so the album has been slapped with a parental advisory sticker.

As ringmaster of 29-person pop-monster I’m From Barcelona, Emmanuel Lundgren usually has a lot on his plate. So it was almost no surprise—almost—that when Paste rang, the Swede was in the middle of cleaning up Malaysia.

Until this summer's Forth, The Verve hadn't released an album since 1997's critically acclaimed Urban Hymns, and many of the band members hadn't seen each other since that period of time. But now, over a decade later, the band is back to try and recapture the momentum of what was once considered one of the biggest forces in music, though they're now playing largely to audiences that were just discovering the radio when “Bitter Sweet Symphony” ruled the airwaves. Paste recently caught up with bassist Simon Jones to talk about The Verve's new music, the ever-present rumors and how the reunion came about.