MONDAY 2.01.2017 USA 03:50

Wild Year

Columbian Necktie

In director Pablo Larrain’s Jackie, unlike almost any movie made about the assassination of John F. Kennedy, there are no hints of shadowy puppet masters or boogeymen: there is simply the spotlight on one person’s grieving, complicated by the grief of an entire nation. Accompanying the film is a score written by Mica Levi, whose work in film in the last three years is slowly surpassing any of her output as an experimental producer or art-pop rocker (with Micachu and the Shapes). Her score for Jonathan Glazer’s Under the Skin proved Levi’s ability to create sound that is not only atmospheric, but definitive to the film itself. With the power of an orchestra behind her, Levi provides Jackie a palpitating pulse for the film’s portrait of a seemingly unknowable historical figure. The score introduces itself in the film immediately as Natalie Portman walks through autumnal grounds of the Kennedy compound. She is walking towards her home, to meet a reporter (Theodore H. White, who wrote a LIFE magazine article that largely began the Camelot myth surrounding the Kennedy administration) to discuss life after November 22.


This project is about getting to know new music. The website is presenting unkown bands, which were choosen by a curator. If you like a song you can share it by sending a postcard to your friends. At the end of every month we will publish a journal with all the important information about the songs, bands and curators.
Fiona Federspiel, Meret Fischli and Fernando Obieta

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Compared to their delightful first two records, their descent into R.E.M.-like morose folk-pop intellectualism is pretty sad. Their dreamy roots only resurface in Eden, while their erstwhile playfulness and diversity is nowhere to be found. Their newfound appetite for the dead-serious and the epic succeeds in Tolerance, but mostly this is a yawn fest. Iva Dudley
10,000 Maniacs without Natalie Merchant, and apparently without any memorable tunes as well. There's nothing specifically wrong with the vocals of Mary Ramsey, but they add absolutely nothing to songs that are already incredibly bland. The only track here that remotely stands out is the piano-driven ballad A Room for Everything. The rest of the songs range from merely nice Love Among the Ruins, Even With My Eyes Closed, Green Children to sleep inducing Girl on a Train, an amazingly uninspired cover of Roxy Musics More Than This, Across the Fields. Although I doubt that Natalie Merchant would have been able to save most of these songs, it still would have been nice to see her try. Joan Lewis
Stumbled across this in the CD racks and glad I took a £4.99 gamble. I knew it wasn't from their 'classic' 80s era and Nat wasn't in the line-up, but I thought I'd investigate. This is not a bad album - it has strong elements of the trademark Maniacs sound. It's well-played folky-pop and Mary's vocals are pretty good. Prince Knox
I wasn't at all surprised that this album was a disappointment. Let's face it, replacing Natalie Merchant was more then just replacing the voice of the band. Seriously, it would be like replacing Sting in the Police or Plant in Zeppelin. Merchant brought so much to the table that helped define the Maniacs sound. Lyrically poignant, sensually mysterious, sporting an engaging, unique can't help but be pulled in. The band is still here. Churning out gripping arrangements. Complex, textured sonic landscapes. Unfortunately, new vocalist Mary Ramsey isn't up to task. Where Merchant brought depth and tension, Ramsey seems forced and contrived. One semi bright spot is the cover of Roxy Music's, but even that makes you wonder how much better it would have been with Natalie. Glenn Mccoy
This album is not that bad if you enjoy folk/ traditional celtic music. I think Mary has a great voice and hearing her cover these classic tunes was a nice experience. Don't expect to be blown away by the album but if you enjoy this type of music there is no reason to not give this album a try. Wyatt James
When I played this album again recently, I consider I must have been living in a rock wilderness in the eighties. When I see some records I bought around this time, this, Lone Justice and others that I will not mention I must have been really confused. The end of the seventies was a cataclysmic event for me. Doyle Alvarado
My rating reflects an average of my rating of the album's first half, which I like very much, and my rating of the second half, which I find merely listenable. This album has a mix of some very forgettable songs and some very good songs. I can't understand a single thing she says, but it's definitely worth getting to know at least the first half. Cathy Swanson