"I decided to visit Georgetown, Guyana for the first time, the town where my mother is from. She, herself has not been back for 30 years, 3 years before I was born. I tracked down family members, including my 92 year old grandfather, who I had never met before. In this video you will see our first ever meeting.
The wonderful female vocals on this track are performed by Caroline Polachek from the band “Chairlift”. Special thanks to Yulandi, Tyrese Gomes, Samantha Urbani, The Crandons & Adam Bainbridge.
This is the first single from my new Blood Orange album titled “Cupid Deluxe”. Enjoy.”
Really excited for this record, actually. It’s so clear Dev is the producer of both Everything is Embarrassing and Losing you, particularly Losing you. And the video is so visually interesting, and clearly belongs to Dev, as an aesthetic.
"As Lapalux, 25-year-old Essex producer Stuart Howard creates music from the disintegrated remains of vocal parts, samples, drum machines, and synthesizers. His first two EPs released on Flying Lotus' Brainfeeder label in 2012 buried wistful melodies under glitchy mosaics of acid jazz-pop. “Without You”, from Howard’s upcoming full-length debut Nostalchic, represents a different side of the young producer, as he peels away most of his compositional tricks to reveal a jilted, R&B slow burn.
It’s one of his least busy tracks yet, and the bracing clarity allows each sonic component to create its own harmonic negative space: the thick, lurching synth line, the recurring ring that dissolves into echo, the dew drop drum beat, and Howard’s androgynous voice. The chorus reassembles the track’s components into a myriad of zoetic configurations, but “Without You” works because Howard reins in his kitchen sink tendencies to deploy his sound in a measured, potent dose.”
super into this, actually
STRANGER BY THE LAKE
"For all its steaminess and emotional punch, switch Seydoux for a guy and Blue would constitute a fairly conventional relationship narrative. Alain Guiraudie’s naturalistic thriller is much more radical and challenging in its exploration of power and risk. It turns on the pastime of cruising, demystifying it in a sunny lakeside setting and recognising that sexuality does not always emulate an ideal of settling-down monogamy.
While gay characters have traditionally often been vilified on screen as murderers, Giraudie interrogates the mould by presenting a killer through the eyes of the affably likeable cruising-spot regular who has been hooking up with him - and who continues to amid great emotional conflict after witnessing that fatal side of him. It’s an incredibly fascinating and nuanced exploration of desire, of which Guiraudie told us:
"I wanted to make a film about anguish, and put my character between his desire and big moral questions of what he’s willing to do to realise his desire. I only saw Cruising after I’d written the script.William Friedkin’s gaze is very outside the story; too sociological for me. I think San Francisco was really like this in the ’70s and early ’80s before AIDS, but his point of view’s too spectacular; a Hollywood point of view. I think it’s because he’s not homosexual. Like Friedkin’s film, Kechiche’s is on the side of show business and spectacle, and like voyeurism. I was very impressed by it but more impressed than moved. I couldn’t help wondering what it means for a heterosexual man to direct two women making love. A lot of porn films for men use those kind of scenes.”
Unsure of how I feel about this, but love the production, the seemingly referential spirit of Radiohead and maybe even Moby(?), and the contemporaneity of the atmosphere of the song.