Archive for Anton Corbijn

We Wish The Vacant Lots’ “Endless Night” Lasted Forever

Posted in Music with tags , , , , , on May 6, 2017 by johnbuckley100

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It might be easy to categorize The Vacant Lots as a sophisticated art project, given their album covers are as distinctive as their sound.  But from the very start, Jared Artaud and Brian MacFadyen proved their mix of garage psych and synth-driven pop was aimed at pleasing aural canals.  They have aimed to become a great band, associated with the likes of Dean Wareham, Anton Newcombe, Sonic Boom, and Alan Vega, and their debut album Departure has stayed on our playlist since the summer of 2014.  And yet none of this prepared us for Endless Night, which from its start to its historic finish is astonishing.

The duo, co-located in Burlington and New York City, gave us a fresh glimpse of greatness when their Berlin EP, a collaboration with Newcombe in his adopted hometown, came out last November.  It simultaneously sounded like the best of recent Brian Jonestown Massacre albums and the apotheosis of that swirling, disorienting sound The Vacant Lots had contributed to our permanent playlist.  But just a few months later, Endless Night shows that Artaud and MacFadyen’s vision has become realized.

Take the opener, “Night Nurse,” which has Artaud pick out a sinuous rockabilly lead above a disco beat, and quickly transports you into the demimonde of a tiny club, hermetically sealed against outside influences.  We’re going to be in for, well, a pleasurably endless night.  “Pleasure & Pain” is not the first of these songs to call to mind progenitors Spaceman 3 and Spiritualized, and in fact, “Dividing Light” has the power of Jason Pierce’s most compelling work.  Throughout Endless Night, the hitherto unappreciated juxtaposition of disco and techno, psych and soul,  rockabilly and garage, makes the blood pulse like Molly just arrived.

We said the album’s finish was historic, and by this we mean that Alan Vega of Suicide, who died last July, brings his final growl to “Suicide Note.”  What a way to go.

With Endless Night, The Vacant Lots serve notice that they’ve entered the front ranks, and we anticipate that when the story of 2017 is told — musically at least — and Top 10 lists are fashioned, The Vacant Lots will be among the last men standing.

On Anton Corbijn’s “The American”

Posted in Uncategorized with tags , , , on September 12, 2010 by johnbuckley100

The first Leica I ever saw in use was when Anton Corbijn took photos of Gang of Four for a piece I wrote on them in the Soho Weekly News.  I remember him from those days as a tall, quiet presence who made full use of the non-threatening size of a Leica M — what would it have been? an M3? this was 1980, I think — to take these spontaneous, intimate fully realized photos of the band. Nothing staged or artificial, though those qualities would later creep in when he took album cover photos of U2 and the like.  (Not a criticism; that’s the different nature of an album cover versus photojournalism.)

The photo of Gang of Four that ran in the Soho News piece I wrote showed them isolated against a crowd walking up 5th Avenue from the old WEA offices where the interview took place — a perfect example, though I didn’t know it at the time, not having yet been rebitten by my teenage photography bug, of bokeh, the Japanese word for selective focus, the image a mix of what is perfectly in focus, and the rest somewhat blurred. (See the post directly below this one.)

What brings this to mind is having seen last night The American, Anton’s thriller starring George Clooney.  It is a fairly ridiculous film, but as a work of visual art by a photographer now given use of a movie camera, it is brilliant. Orson Welles once said something to the effect that making a film gives a director the chance to play with the best toy train kit ever, and Corbijn makes full use of his opportunity to bring something visually wondrous to the screen. Some of the images from the small Italian city Clooney finds himself in could have been framed by Henri Cartier-Bresson, another Leica photographer. The landscapes are framed with a still-photographer’s eye.  A magnificent visual experience, even if the plot is silly.

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