#anthony naples

[voskhozhdeniye]

#Music #Anthony Naples

[imathers]

Top 20: a.s.o. — a.s.o.

[PLEASE NOTE: there's some flashing stuff in this video! Might be bad, I'm not sure. Here's the Bandcamp if you'd rather not risk it.]

A quick reminder what this is; over the next few weeks I'm going to go over my favourite records of the year and a couple of other things. "2023 review" is the tag if you want to avoid it (or find it, I guess!) and both this list of albums and any other lists are in alphabetical order only.

This first entry is actually one of the later additions to my list; I'd never even heard of a.s.o.* until people and places starting posting their own year-end lists. I forget which one had a blurb on this record that made me look it up on Bandcamp, but I am sure it mentioned "trip hop." And while I was never the biggest enthusiast of the genre back in the day (loving Massive Attack and Portishead and that one Sneaker Pimps album everyone played at every party for a few years is still kind a surface-level engagement with it!), it is a kind of sound I'm fond of. So as soon as this record started up with some dusty-ass loops and some languid, melancholy singing I was hooting and/or hollering (see also Anthony Naples excellent-but-not-on-my-lists orbs, specifically this track; if that whole vibe is coming back, count me in).

But while the sound absolutely would make this a keeper for me, that alone wouldn't have gotten me to play it so much/gotten it a place here. It really is the songwriting, and the way the duo subtly branches out in places. Occasionally, as on "Love in the Darkness," it feels like they're merging trip hop with post-Blue Nile sophisti-pop and if you know me you can imagine how much that increases my hooting and/or hollering.

*AKA singer/songwriter Alia Seror-O'Neill, although given that the whole record is produced by Lewie Day and both of them wrote and record it together and they're both on the cover, maybe it's kind of a band name too?

#2023 review #music #a.s.o. #anthony naples

[dustedmagazine]

Dust Volume Nine, Number Nine

Body/Head

The days are getting shorter, so why not a few more short reviews from Dusted writers?  This month we cover a pretty wide swath of possible musics, from tech death to ambient electronics to improvised guitar duets.  Contributors included Jonathan Shaw, Tim Clarke, Bryon Hayes, Ray Garraty, Jennifer Kelly, Andrew Forell, Bill Meyer and Ian Mathers. 

Acausal Intrusion — Panspsychism (I, Voidhanger)

Acausal Intrusion continues its journey from the extremes of utterly demented tech death (see the band’s first LP, Nulitas) to this most recent version of the band’s sound. To be sure, Panpsychism still disturbs and confounds, but you can track the progression of song forms through most of the record’s eight tracks, and when the needle lifts at the close of “The Beauty Within,” you will likely be able to locate your extremities in physical space. Your mind? That depends. You can get pretty lost in the twists and inversions in the middle section of “This Inward Separation,” and “Molecular Entanglement” works pretty hard to deliver on its title’s premise (hold on tight through the tune’s second half…). Still, these new songs are much more interested in creating interesting riffs and repeating them than in turning the structures of temporality inside out. It may be telling that the longest track on Panpsychism is called “Pillar of Rationality.” Is Acausal Intrusion becoming invested in cause-and-effect relations? Only time will tell — assuming you can figure out which way time is running after giving this record a spin.

Jonathan Shaw

Arrowounds — The Slow Boiling Amphibian Dreamstate (Lost Tribe Sound)

The Slow Boiling Amphibian Dreamstate by ARROWOUNDS

Back in March, Arrowounds’ In the Octopus Pond cast a spell that’s been hard to shake. In my Dusted review I wrote, “Though there are plenty of precedents for what Chamberlain is doing here, there’s a cohesive vision to this record that proves intoxicating.” This follow-up, the aptly titled The Slow Boiling Amphibian Dreamstate, also has a cohesive vision, but one that’s much darker and more abstract than its predecessor. Aside from a distant muted rhythm on opener, “All Life Dissolved in the Deep,” this is a largely beatless album, with ambient textures brought to the fore. For the majority of these 45 minutes, very little happens at all, aside from the looming of unsettling reverberations, throbbing bass tones and modulated sounds that could be the buzzing of flies. There’s the feeling that something ritualistic is unfolding in the shadows, something that may prove to unleash malignant forces. It’s certainly an evocative listen, but one that requires patience and the casting aside of any preconceived expectations. This one’s all about the atmosphere.

Tim Clarke

Blood Oath — Lost in an Eternal Silence (Caligari Records)

Eternal silence? Not likely when these Chilean freaks are around. Blood Oath plays a proggy variety of death metal, long on musical technique and a lot spacier than not. But those ambitions and atmospherics never get in the way of satisfying tunefulness, and when guitarists Ignacio Canales and Iganacio Riveras (yep, two Iganacios) indulge their desires to shred, there’s plenty of thrashy antics and dive-bombing abandon to enjoy. This reviewer really digs “Reflections of Darkness,” which is shot through with a groovy weirdness; the soloing verges on hair-metal heroics here and there, but in this context, that turns out to be a lot of fun. Lost in Eternal Silence is more smoked out than grossed out, and some of us like our death metal a bit soggier and smellier. But there’s no denying the musical invention on display here, and the speed and dexterity nears intoxicating levels.

Jonathan Shaw

Body/Head — Come On (Longform Editions Remix) (Longform Editions)

Come On (Longform Editions remix) by Body/Head

Kim Gordon and Bill Nace have been exploring the mind-body divide for over a decade, yet they still manage to surprise and delight. The duo sprung the Come On EP on us earlier this year, without notice. Replete with short, song-like impressions, the brief recording was a subtle evolution in the Body/Head oeuvre. They astonish once more with this extended remix of the EP’s leading track, stretching it into a 20-minute ambient opus. Only faint echoes of the piece’s guitar noise remain, as Nace dons his dub producer’s cap to create a smoke-filled atmosphere. Gordon’s sultry voice beckons, yet through time dilation seems to call from the edge of the universe. She and Nace are joined by music video director and Peaches collaborator Vice Cooler, whose slippery synth squiggles add a gritty snarl to the otherwise soothing vapor trails. This is a potent brew, a beguiling chanson rooted firmly in the ever-expanding Body/Head universe.

Bryon Hayes

DJ Muggs — Soul Assassins 3: Death Valley (Soul Assassins Records)

The third part of the DJ Muggs’ trilogy has got an impressive list of guests. How can one even get a verse from Ice Cube and MC Ren these days? But despite the shocking number of rap stars (many of them fell off, to be honest), hardly anything on Soul Assassins 3: Death Valley feels like a real song. These are projects, with phoned-in verses, and Muggs was just doing construction work, putting these verses together. Only three solo tracks with Boldy James (“It’s On,” “Where We At, and “We Coming For the Safe”) sound like he was really working for it. After half a dozen of listens not a single song sticks in mind. You just keep listing these big names in your head.

Ray Garraty

Duffy X Uhlmann — Doubles (Orindal)

Doubles by Duffy x Uhlmann

Meg Duffy is a heck of a guitar player, witness their support work for Kevin Morby, their own Hand Habits and this year’s yes/and all-instrumental collaboration with Oneohtrix Point Never producer Joel Ford. Now the artist teams up with Gregory Ulhmann, likely encountered on a recent Hand Habits/Perfume Genius tour in 2022 for an album of improvised guitar duets, laid down in one single takes, look ma, no net. These cuts are lovely and varied. “Half Smile” is precise but lyrical. One guitar sets up a clock-like rhythmic foundation, while another splays lingering chords and pensive runs of melody atop this architectural structure. “Etch” is more luxuriant, with high tremulous melody stepping nimbly over scratchy strums and flowering in harp-like profusion. “Which One Is You” has a pulsing, electronic mystery, guitar notes scattered over an eerie Burial-ish atmosphere (or possibly some of that Oneohtrix Point Never influence rubbed off). “Braid” is cerebral and austere, the notes clipped short, so that guitar sounds like a malleted percussion instrument. The two parts interlock like delicately tuned machinery, the one fitting where the other stops, and both dancing in airy, contemplative joy.

Jennifer Kelly

Alabaster DePlume — Come with Fierce Grace (Intl Anthem)

Come With Fierce Grace by Alabaster DePlume

Alabaster DePlume recorded material for these 12 tracks at the same time as he was making GOLD, working with20 other musicians in various configurations and laying far more sound to tape than he could use, even for a double album. And yet while this music is, strictly speaking, leftovers, it is, in some ways, far more visceral and affecting than its sprawling predecessor. The sounds are rougher, warmer and less baroquely poised. There are African rhythms and tones in many of these cuts, in this rumbling, rattling foundations of percussive “To that Voice and Say,” in the desert flutter of spare haunting “Give Me Away.” DePlume, himself, sings less and plays more, entering into swaggering, blistered dialogue with a drummer, in “What Can It Take,” overblowing long, trembling vibrations on abstract “Fall on Flowers.” Where he does foreground singing, it’s likely to be someone else, like the Guinean artist Falle Nioke in “Sibomandi,” carving rough shadow-y blues arcs across complicated volleys of percussion and sax. Or London-based Momoko Gill, who breathes silky smooth R&B lines into a thicket of plucked bass notes, sounding very much like Sade but without the sheen of slick production. I was lukewarm on GOLD, but I like this one a lot. Let’s hear it for leftovers.

Jennifer Kelly

Erik Enocksson — Räkna evighet som intet (Irrlicht/Ideal)

Räkna evighet som intet by Erik Enocksson

Swedish composer Erik Enocksson explores grief and transcendence in two longform pieces on his new release which translates as “Count eternity as nothing.” Written for a string quartet, voices overlaid and electronic effects, with a libretto taken from the poetry of Lotta Lotass, Enocksson invokes the confusion and despair essential to the mourning process and the redemptive power of prayer, poetry and music. The work plays out like a non-linear operetta, shifting between emotional states and intensity.

Part 1 begins with a babble of voices, an invocation. Inchoate strings and electronics gradually coalesce into form, a wordless male voice, cantor-like, answered by a choral libretto based on the poetry of Lotta Lotass. In Part 2 swirls of feedback, like nails on a blackboard, the bottom end of the strings distorted, again searching for meaningful form. The choir liturgical, before Sara Fors’ vulnerable soprano comes to the fore, barely there in lonely prayer, before a lengthy fade into eternal silence. Räkna evighet som intet is a hauntingly evocative work which doesn’t shy from darkness but ends in purifying light.

Andrew Forell

Devin Gray — Most Definitely  (Rataplan)

Most Definitely by Rataplan Records

One truth of performance is that the performer spends the whole of their life preparing for something that another person might only see during one brief and circumscribed moment. Devin Gray, a drummer who has worked with Kris Davis, Ellery Eskelin and numerous other singular jazz musicians, recreates that phenomenon on his debut solo recording, Most Definitely. If you want to get in touch with the reflection and effort that go into the self-creation of an artist, go to this album’s Bandcamp page when you have some time and read the two exhaustive texts he wrote for it. But in the spirit the actual music, this review will be brief. Gray limited himself to one six-hour session, during which he improvised from a series of prompts. With one exception, the album’s 23 tracks are quite short, and each uses a laser focus to express a particular sound, idea or transitional event. As befits a guy who is engaged with the freer end of things, but also engaged with the music’s ongoing historical development, you can hear a spectacular breadth of sounds, some of which become brief homages to his inspirations.

Bill Meyer

Anthony Naples — orbs (ANS Recordings)

orbs by Anthony Naples

Dusted last checked in with producer Anthony Naples back in 2015, when Patrick Masterson noted that his Body Pill LP made for a transition away from Naples’ dancefloor work to “a peaceful, nocturnal release built for life’s simple, quiet moments.” On the evidence of the lush, accomplished new orbs, Naples has continued to go in that direction, and it’s paying dividends. From the opening “Moto Verse” finding a middle ground between trip hop and ambient to the closing “Unknow” evoking a kinder, gentler Boards of Canada (albeit with a prominent bassline). orbs succeeds in both its sound design and its construction. These ten tracks (kept to a trim 43 minutes and change, although the pace never feels rushed) seem drawn from the same pool of nighttime calm Naples was channeling back on Body Pill, but if anything his approach has gotten more refined and potent with time.

Ian Mathers

Eddie Prévost / NO Moore /James O’Sullivan / Ross Lambert — CHORD (Shrike)

CHORD by Eddie Prévost | NO Moore | James O’Sullivan | Ross Lambert

Shrike emerged in 2021 as an outlet for London’s thriving free improvisation scene. A survey of their Bandcamp page indicates that capitalization matters, so let’s ponder for a moment the determination to render in all caps something that you’ll listen hard to find on this recording. It is a studio encounter between three electric guitarists and the esteemed percussionist, Eddie Prévost, whose involvement ensures that the music is going to enact a process of exploration, but suffice to say that no one is searching for the lost chord. No, they’re looking for ways to contribute to a dialogue of arcing tones, shimmering decays, rough-edge scraps and feedback that’ll resonate in your ribcage. By dint of being the only non-guitarist, Prévost becomes the agent of contrast and focus across seven absorbing exchanges. It appears that Shrike prioritizes visual presentation, and CHORD’s trifold sleeve is a thing of beauty. One hopes that in the future the label will extend that respect to the format itself and put it on a glass-mastered CD instead of the short-run, blue-faced disc used here.

Bill Meyer

Radian — Distorted Rooms (Thrill Jockey)

Distorted Rooms by Radian

Experimental trio Radian — Martin Brandlmayr on drums and electronics, Martin Siewert on guitars and electronics and John Norman on bass — create a splintered, deconstructed form of post-rock with industrial leanings and the low-slung funkiness of instrumental hip-hop. Their sounds are metallic and dank, often blown out with distortion and scattered across the stereo field to give the listener just enough grounding to follow their rhythms, but frequently upending expectations of where their meandering compositions may venture next. Radian’s last album, 2016’s On Dark Silent Off, is probably their finest and most cohesive to date; their new album, the fittingly titled Distorted Rooms, feels like a more fractured effort, its six tracks taking a more abstract course across 40 minutes of music. The band’s sounds are always interesting, but there are passages here where you have to wait patiently for everything to lock into place. Distorted Rooms’ finest moments are probably “Cicada,” which features some of the record’s more breakneck and addictive rhythms, and finale “S at the Gates,” which coalesces its sound sources into something ominously atmospheric.

Tim Clarke

Shackleton & Waclaw Zimpel ft  Siddhartha Belmannu — The Cell of Dreams (7K!)

The Cell of Dreams is a collaboration between producer Sam Shackleton, Polish polymath Waclaw Zimpel and singer Siddhartha Belmannu. Shackleton and Zimpel use harmonium like drones, keyboards, alto clarinet and hand percussion to develop serpentine trance-like ragas. Singing in his native language Kannada, Belmannu, a rising star in Indian classical music, moves through registers of his voice with magistral grace. The 19-minute opener “The Ocean Lies Between Us” features long cycles of drone and buzz, minimal percussion, lapping water and Belmannu modulated and serene intercut with wordless runs through the higher registers. Not understanding the words, you concentrate solely on his tone and emotion to the extent that when he sings in English on “Everything Must Decay” it takes a little readjustment of focus, but the combination of Belmannu’s voice, Zimpel’s treated alto clarinet and Shackleton’s production effects is mesmerizing.

Andrew Forell

Superposition — Glaciers (Kettle Hole Records)

Glaciers by Superposition

Superposition is Todd Carter and Michael Hartman, who also comprise two thirds of the category-noncompliant trio, TV Pow. TV Pow rarely gets together these days since its members have lives and the third member, Brent Gutzeit, left Chicago years ago. But Superposition’s existence proves that Hartman and Carter are still playing together, and still adhering to the essential TV Pow tenet that if they get in the same room and make some sounds, whether they issue from computers, conversations, made-up instruments or a nice grand piano, those sounds might end up on a record. The ten tracks on Glaciers are made by stacking layers of spare keyboard lines and muffled drum tracks, and periodically interrupting their trundling passage in ways that suggest that something has gone somewhere, then stopped and done something else. If that description seems non-specific, so is the music; while just enough of the track titles relate to glaciers to make you look for a concept album in this stuff, it could just as be set to driving instruction films or the progress of Mario from one side of your video screen to the other. This is a feature, not a bug. Put this on and do something. 

Bill Meyer

Thrash Palace — Go (Sub Pop)

Part of the Sub Pop Singles series, Thrash Palace’s “Go” rips as hard as it’ll go, a bludgeoning assault of guitar noise, thwacked to bits by hard, block-simple drums. You might recognize the singer’s florid, blues-nodding belt or her guttural grunt: that’s EMA doing her best rock goddess. The rest of the band is likewise impressive. Sarah Register of Talk Normal and Kim Gordon’s band plays guitar and XBXRX’s Vice Cooler plays hits those brutalist drums. The flipside “Teenage Spaceship” is quieter but also full of drama. Here EMA’s voice tamps down to a whisper, and the atmosphere envelopes rather than blowing the house down. Both are quite good, intense, theatrical and inventive in a way that evokes Savages and, naturally, Kim Gordon. Thrash on, ladies. We need a full-length.

Jennifer Kelly

Vengeance — Sewer Surge (Dying Victims Productions)

Nasty, grimy and dank, Sewer Surge is the first proper LP from Vengeance — or, as they seem to prefer, Fukkin Vengeance. That additional term in the band’s name is close to risible, but it helps to distinguish this speed metal act from at least two other Polish metal bands that call themselves Vengeance, in addition to the dozen or so other outfits claiming the moniker (from Brazil, Germany, the States and elsewhere). Polish? Yep, but you’d be forgiven for assuming that an obscure NWOBHM band recorded Sewer Surge sometime in 1983. This is metal for a bar fight, for a biker run, for a night of whites and pints of Ballantine Ale in Sheffield (or in Warsaw, one supposes). The band seems to be clued into the layers of allusion and potential ironical goofiness that come with this sort of earnest love letter to those halcyon days of leather, spikes and Flying Vs: the best tune on the record is called “Disappointing Parking Lot Sex.” That’s really funny, and the song is pretty great. Just don’t expect Fukkin Vengeance to get out of the gutter (or sewer) any time soon.

Jonathan Shaw

Dustin Wong — Perpetual Morphosis (Hausu Mountain)

Perpetual Morphosis by Dustin Wong

Dustin Wong creates outlandish and beautiful sound worlds that are inspired by his limitless creativity. Originally a denizen of the weird and wonderful Baltimore music scene – he was a member of both Ecstatic Sunshine and Ponytail – the guitarist has since created a solo career around his mastery of loop pedals. Not keen to sit still, Wong continues to extend his performative toolbox. Perpetual Morphosis, his sophomore Hausu Mountain joint, finds Wong fusing instrumentation and digitally sourced sounds. The resulting compositions reside somewhere between the intricate patterns of American minimalism and the post-modern zaniness emanating from the Orange Milk catalog. Fractalized percussive patterns bounce around, obfuscated by neon-colored tone clouds and the gently wafting breeze of Wong’s treated vocalizing. His guitar interjects repeatedly as we traverse this technicolor dream world, zooming in and out of focus as the composer straddles the fragile boundary between inspiration and outright madness. Perpetual Morphosis pokes at Wong’s charged up cerebellum, proffering a pleasant jolt in the process.

Bryon Hayes

75 Dollar Bill — Power Failures (Karl Records)

Power Failures by 75 DOLLAR BILL

75 Dollar Bill was that last band I saw before the pandemic closed everything down. They played a riveting set in a refurbished industrial space on the campus of Amherst College about a week into 2020, and, as a famous playwright put it, the rest is silence, at least for a couple of years. Power Failures comes from that period, as the two principals put together live and unreleased recordings as a way to stay relevant during the lockdown. It came out digitally in 2020 and is just now getting the vinyl treatment. The disc captures 75 Dollar Bill’s hallucinatory desert blues drone, its long haunted notes, punctuated by an ecstatic, primal drumming. Sounds of audiences, of birds, of children filter in through these shape shifting meditations, incorporating the real world like certain just-before-the-alarm dreams bring ambient noises into their narratives. “Snow Jumper’s Harp” shimmers and smolders, the steady friction of shaken percussion intersecting with an elemental blues riff repeated till it transcends itself. “15 (YASI)” sputters with electric distortion, knocks insistently on wood. A flute comes in, dreaming its own dreams. It is very serene, but also full of fire. The long set recorded at the Noguchi Gardens in Queens allows the sounds of nature to drift past, as Che Chen searches for the essence of single notes, letting them hang, repeating them, letting them die out, stopping time, in a good way, not the way the pandemic did.

Jennifer Kelly

#dusted magazine #dust #acausal intrusion #jonathan shaw #arrowounds #tim clarke #blood oath #body head #bryon hayes #dj muggs #ray garraty #meg duffy #gregory uhlmann #jennifer kelly #alabaster deplume #eric enocksson #andrew forell #devon gray #bill meyer #anthony naples #ian mathers #eddie prevost #radian #shackleton #super position #thrash palace #vengeance #dustin wong #75 dollar bill #Youtube

[viciouscyclesradio]

Event Flyer Roll Call: Sept '23

A visual gallery of selected events in the tri-state area

#ben klock #knockdown center #frankie bones #sess1ons #rtdfraveradio #dance planet #kevin saunderson #paragon nyc #lauren flax #silo #silo ny #tony humphries #le bain #aurora halal #mike servito #dj minx #anthony naples #nowadays #stacey pullen #moma ready #basement nyc #grandbrothers #dennis ferrer #the bunker nyc #good room bk #good room nyc #elsewhere nyc #anthony parasole #bas mooy #antenes

[musicollage]

Anthony Naples – Chameleon. 2021 : ANS.

#electronic music #ambient music #house music #techno music #anthony naples #2021 #ans records #2020s #2020s electronic

[seanmorroww]

Aurora Halal & DJ G - “Off the Top”

Air Texture VIII [Air Texture, 2022]

#Auroral Halal #DJ G #DJ Python #Anthony Naples #techno

[radiophd]

anthony naples -- morph

#2020s #electronic #techno #anthony naples

[thegardencharts]

July

Brigid Mae Power : Dream From The Deep Well

Bobby Lee : Endless Skyways

Yussef Dayes : Black Classical Music

Guided By Voices : Welshpool Frillies

Creep Show : Yawning Abyss

Anthony Naples : Orbs

Flaer : Preludes

Greg Foat & Gigi Masin : Dolphin

Teenage Fanclub : Nothing Lasts Forever

Rrose : Please Touch

#teenage fanclub #rrose #greg foat #flaer #anthony naples #creep show #Yussef Dayes #guided by voices #Brigid Mae Power

[biscuitlion]

#anthony naples #2023

[diz-cover]

Anthony Naples Orbs 2023

#Anthony Naples #Orbs #album cover #album art #cover art

[conformi]

Anthony Vaccarello, Saint Laurent, Women’s Winter 2024 Ready-to-Wear Collection VS Antonio Corradini, Modesty, Cappella Sansevero, Napoli, Italy, 1752

#saint laurent #ysl #yves saint laurent #anthony vaccarello #fashion #paris fashion week #fashion week #fashion show #cappella sansevero #napoli #statue #sculpture #collage #collage art #antonio corradini #naples #italy #italia

[voskhozhdeniye]

#Music #Anthony Naples

[denimbex1986]

''Does the world need another cinematic representation of the Ripley story?' That is the question I asked myself when the teaser, and then trailer, of the new Netflix series dropped a few months ago.

I answered the question myself: 'Yes, of course, we can definitely do with more Ripley on the screen, even when I know the story so well.'

I have been a fan of the films based on the character Tom Ripley, a conniving imposter, an insecure man and yet utterly charming, created by Patricia Highsmith in her five Ripley books also referred to as Ripliad, starting with The Talented Mr Ripley (1955), the source for the 1960 French film Purple Noon directed by Rene Clement (the restored version of the film was re-introduced to the world in 1996 by Martin Scorsese). The same book was also adapted by Anthony Minghella for his 1999 film, also called The Talented Mr Ripley.

The new Netflix series, written and directed by Steven Zaillian (Oscar winner for Schindler's List), is based on Highsmith's first book.

While I will admit I have not read Highsmith's books (her 1950 novel Strangers on a Train was adapted for the screen by Alfred Hitchcock), I have been engaged with the Ripley films for some time, including Ripley's Game (2002) starring John Malkovich. No spoiler here, but Malkovich makes a surprise appearance in Zaillian's Ripley.

There is also a Wim Wenders' take on Ripley's Game called The American Friend (1977), which is on my watch list. In last year's Saltburn, Barry Keoghan plays a Ripley-like character. Emerald Fennell's film is clearly inspired by the Ripley story, but it also takes many departures from Highsmith's narrative.

So I really waited for the Netflix show.

There were many reasons why I was looking forward it, one of which was that it stars Andrew Scott -- the 'hot priest' from Fleabag, who recently shattered our hearts into small pieces with his tragic performance in All of Us Strangers (a film criminally ignored by Oscar voters).

Zaillian's eight-part slow-burning, moody and at times riveting show, with stunning black and white cinematography stands on its own. But I could not help that the other versions of the Ripley story played in my mind at the same time.

In a 1971 short French documentary, Highsmith talked about seeing a man walk on the beach in Positano, Italy. The documentary is available on the Criterion Channel.

It was in the early 1950s, 6 am.

The man looked upset.

From that image of the man who Highsmith did not speak to, she created Ripley, her most famous fictional character who impersonates his friend, is an expert at forgery and even kills to survive in the world of the rich and the famous, where he is an outsider. In the same interview, Highsmith said she did not think Ripley was very likable.

But the Ripley in Zaillian's show, as well as in Purple Noon (a very handsome Alain Delon) and The Talented Mr Ripley (an equally handsome Matt Damon) are all very likable. That is why we care so much for the character. We want Ripley to survive even when he leaves a trail of crimes -- horrific murders and forged bank checks.

A part of it has to do with Ripley's insecurities and how he is taunted by his friend -- Richard Greenleaf, better known as Dickey, played by a charismatic Johnny Flynn in the current show. Flynn is good, but possibly overshadowed by Jude Law, who played a very sexually charged Greenleaf in Minghella's film, which also had the most gay subtext among all the representations of the story.

Ripley was sent to Italy to track Greenleaf by his wealthy shipbuilding father, played in the show, by a subdued, yet tough Kenneth Lonergan, better known as a playwright and director of films such as Manchester By The Sea.

Greenleaf Senior funded Ripley's trip to Italy. But when his son shows no signs of returning to the US, he decides to cut the flow of money and cancel the large sum he had promised Ripley upon completion of the job.

That is when Ripley's life, his plans and dreams start to fall apart.

In order to pick up the pieces and stand back on his feet, Ripley starts to commit crimes: Some that take place in the heat of passion, while others are meticulously planned and executed.

We watch Andrew Scott's Ripley struggle through the mess he has created, at times finding it hard to keep it straight in his head if he is Ripley or Greenleaf, while the police are trying to track the two down and solve the complex twists in the narrative.

He jumps hotels and moves from one Italian city to another.

The show at times becomes a tourism piece for Italy where the camera lovingly strolls along the beaches, streets, old historic parts and steps of several Italian cities including Rome, Naples, Palermo, Atrani, San Remo, even Venice.

The show takes its own pace to pick up, but then when you least expect, it grabs you by the throat.

There are some delightfully dark and creepy moments. An entire episode set in Rome is dedicated to Ripley trying to dispose of a body, as he drags it down a staircase (the elevator in the building keeps breaking down) leaving a trail of blood, that looks rather gooey in dark shades of black.

We also find a lot of beauty in Zaillian's show, especially in the performances of two of the principal cast members. Dakota Fanning plays Marge Sherwood, Dickie Greenleaf's love interest who quietly suffers as Ripley gets close to her boyfriend.

Zaillian made a very unique casting choice by casting Eliot Sumner (Sting and Trudie Styler's non-binary child) to play Dickie's wealthy friend Freddie Miles. Eliot has soft, gentle features which makes his Freddie quite menacing.

In Minghella's film, Philip Seymour Hoffman was cast as Freddie and he used his deep voice and physicality to scare Ripley, and make him nervous.

But the real star of the Netflix series is its stark black and white cinematography -- the work of master cameraman Robert Elswit (Oscar winner for There Will Be Blood).

Every shot, every frame is precious.

It is film noir at its best but inspired by classic films such as Citizen Kane (1941) and The Third Man (1949).

I wish I could have spent time taking screen shots of many of the scenes on my laptop but Netflix's copyright laws do not allow that. If a coffee table book is produced of the images from the show, I will be first in the line to buy it.

Ripley streams on Netflix.

Ripley Review Rediff Rating: ****'

#Ripley #Netflix #Eliot Sumner #Freddie Miles #Steven Zaillian #Philip Seymour Hoffman #Patricia Highsmith #The Talented Mr Ripley #Anthony Minghella #Andrew Scott #Hot Priest #Fleabag #All of Us Strangers #Matt Damon #Jude Law #Johnny Flynn #Dickie Greenleaf #Marge Sherwood #Dakota Fanning #Rome #Naples #Venice #Palermo #Atrani #Kenneth Lonergan #Robert Elswit

[deep-dive]

2023

albums/eps: a.s.o. - a.s.o. Amaarae - Fountain Baby Amnesia Scanner & Freeka Tet - STROBE.RIP André 3000 - New Blue Sun ANOHNI and the Johnsons - My Back Was a Bridge for You to Cross Anthony Naples - Orbs bar italia - Tracey Denim Beach Fossils - Bunny Ben Vida, Yarn/Wire & Nina Dante - The Beat My Head Hit Beverly Glenn-Copeland - The Ones Ahead Biosphere - N-Plants Blonde Redhead - Sit Down for Dinner Bored Lord - Name It Call Super - Eulo Cramps Carly Rae Jepsen - The Loveliest Time Caroline Polachek - Desire, I Want to Turn Into You Chuquimamani-Condori - DJ E Cole Police - If I Don’t See You in the Future, I’ll See You in the Pasture Dean Blunt - Give me a moment DJ Lostboi - Music for Landings DJ Sabrina the Teenage DJ - Destiny Double Virgo - hardrive heat seeking Eartheater - Powders The Embassy - E-Numbers Everything But the Girl - Fuse Fever Ray - Radical Romantics Freak Heat Waves - Mondo Tempo Headache - The Head Hurts but the Heart Knows the Truth Hiroyuki Onogawa - August in the Water: Music for Film 1995-2005 Jam City - Jam City Presents EFM James Ivy - Everything Perfect Jessy Lanza - Love Hallucination Jim Legxacy - homeless n****a pop music Joanne Robertson - Blue Car Jonnine - Maritz Kelela - Raven Khotin - Release Spirit Kota Hoshino, Shoi Miyazawa - Armored Core VI OST Laurel Halo - Atlas Loraine James - Gentle Confrontation Maria BC - Spike Field mark william lewis - Living Matmos - Return to Archive MIZU - Distant Intervals ML Buch - Suntub Noriko Tujiko - Crépuscule I & II Nourished by Time - Erotic Probiotic 2 Oneohtrix Point Never - Again Osmotic & Fennesz - Senzatetto Pierre Rousseau - Mémoire De Forme Purelink - Signs Ryuichi Sakamoto - 12 Sofia Courtesies - Madres ssaliva - sector6park/counterfeit Sufjan Stevens - Javelin Tim Hecker - No Highs Tirzah - trip9love…??? Wild Nothing - Hold Yves Tumor - Praise a Lord Who Chews but Which Does Not Consume; (Or Simply, Hot Between Worlds) µ-Ziq - 1977 7038634357 - Neo Seven

songs: a.s.o. - Love in the Darkness Addison Rae - I got it bad Alex Kassian - Leave Your Life (Lonely Hearts Mix) Amaarae - Reckless & Sweet Amnesia Scanner & Freeka Tet - Clown André - Ants To You, Gods To Who ? ANOHNI and the Johnsons - Can’t ANOHNI and the Johnsons - It Must Change Anthony Naples - Silas Armin van Buuren & Punctual - On & On (ft. Alina) bambinodj - High as Ever Still Passin' Through (Remix) bar italia - Nocd Baths - Do I Make the World Worse Beach Fossils - Don’t Fade Away Beverly Glenn-Copeland - People of the Loon Bibio & Óskar Guðjónsson - Sunbursting Björk & Rosalía - Oral Blawan - Toast Bored Lord - Wait Wait Wait bvdub - Days on Heaven and Earth Call Super - Coppertone Elegy Carly Rae Jensen - Psychedelic Switch Caroline Polachek - Bunny Is a Rider (Doss Remix) Caroline Polachek - Crude Drawing of an Angel Chuquimamani-Condori - Eat My Cum Chuquimamani-Condori - Know Dean Blunt - Rinsed (ft. TYSON) Dj Lostboi - PUF 2 LAX DJ Sabrina the Teenage DJ - For Now and Forever Double Virgo - gainfully deployed EASYFUN - Long Long Time The Embassy - Amnesia ESP - North Fever Ray - Kandy Freak Heat Waves & Cindy Lee - In a Moment Divine Fwea-Go Hit - Back Wildin Headache - That Thing with the Rabbit Headache - Truism 4 Dummies Hemlocke Springs - sever the blight Hudson Mohawke & Nikki Nair - Demuro Ike - Rose Quartz Jam City - Magnetic James K & hoodie - Ether Jessy Lanza - Don’t Cry On My Pillow Jim Legxacy - amnesia111 Jim Legxacy - candy reign (!) Jonnine - Tea For Two (Boo) Kelela - Divorce Khotin - Computer Break (Late Mix) Kylie Minogue - Hold on to Now Laurel Halo, Bendik Giske, Lucy Railton & James Underwood - Earthbound Loraine James - Tired of Me Lorenzi - Lonely Cowboy Tales (Crayon Moon Remix) LSDXOXO - Devil’s Chariot Maria BC - Still Maria BC - Watcher mark william lewis - Living Mc LcKaiique, MC Celo BK & DJ Jeeh FDC - Quem Tá de Motão, Vou Sarrar Puta Na Marcone (ft. DJ Biel Divulga) ML Buch - High speed calm air tonight Nation & Ecco2k - Ça Va Nicole Dollanganger - Gold Satin Dreamer Nourished by Time - Rain Water Promise Oliver Coates - One Without Oneohtrix Point Never - Krumville Purelink - We Should Keep Going Shoi Miyazawa - Rough and Decent Slayyyter - Miss Belladonna Sufjan Stevens - Shit talk Tim Hecker - Total Garbage Tirzah - u all the time Troye Sivan - Got Me Started Wild Nothing - Suburban Solutions Yves Tumor - Echolalia Yves Tumor - Fear Evil Like Fire µ-Ziq - 4am

mixes: CFCF - CFCF for TERMINAL 27 Chuquimamani-Condori - Fact Mix 937 PC Music - 10 Physical Therapy - car culture remissions vol. 4 plush - LIVE AT SKSKSKSK S-candalo - Fact Mix 897 WHY BE - OdyXxey Radio Mix

movies: Afire (Christian Petzold) All the Beauty and the Bloodshed (Laura Poitras) E6-D7 (Eno Swinnen) Evil Dead Rise (Lee Cronin) Grown in Darkness (Devin Shears) How Do You Live? (Hayao Miyazaki) The Killer (David Fincher) Killers of the Flower Moon (Martin Scorsese) Knock at the Cabin (M. Night Shyamalan) Last Summer (Catherine Breillat) May December (Todd Haynes) Oppenheimer (Christopher Nolan) The Outwaters (Robbie Banfitch) Rotting in the Sun (Sebastián Silva) Showing Up (Kelly Reichardt) The Zone of Interest (Jonathan Glazer)

games: Alan Wake II Armored Core VI: Fires of Rubicon Baldur’s Gate III Blasphemous II Diablo IV Humanity Legend of Zelda: Tears of the Kingdom Lies of P Metroid Prime Remastered Octopath Traveler II Pikmin 4 Star Ocean: The Second Story R Super Mario Bros. Wonder Theatrhythm Final Bar Line Wo Long: Fallen Dynasty

[viciouscyclesradio]

Event Flyer Roll Call

A selected, visual gallery listing of forthcoming events, which may be announced on this month's show

#knockdown center #basement nyc #slam #francois k #danny krivit #joe claussell #nina kraviz #teksupport #good room bk #good room nyc #galcher lustwerk #juan atkins #model 500 #h0l0 #mean red #anthony naples #nowadays #kevin de vries #aurora halal #joey beltram #paragon #umfang

[genderkoolaid]

quick question, you switched the last letter of your name from an o to an upside down e, is it still pronouced the same or is there a different way :0?

(also swag new pronouns 👀)

Ah someone noticed!!! Finally an excuse to talk about the schwa and my nerdy transness :]

So the reason I go by Antonio is because it was a name that got passed down in my family when they first immigrated from just off Naples in Italy. It was passed from father to son but my my great-grandfather anglicized his name to Anthony to assimilate better, and then it stopped being used in general. & as I've done more and more Thinking and Researching into the assimilation of Italian American culture & rejecting the homogenized concept of whiteness & etc etc I decided to use the name Antonio as an homage to that and the name my family used before we fully assimilated into Americans ™.

Recently, I've been tossing around the idea of going by Antonia, too, as I've gotten more comfortable with the idea of being a trans woman. Ironically this happened directly because a TERF tried to bully me by calling me Antonia but it just gave me gender euphoria lmao. Anyways, the schwa ("ə") is used to represent an "uh" sound like in "sun". It's used in Neapolitan specifically to show how both the masculine "-o" ending and the feminine "-a" ending can sound like "uh", which kind of makes it gender neutral. I also recently read about a nonbinary autistic person in the book Spectrums who spells xyr name evender*, specifically lower case and with a silent star. So I was like, after all, why not? Why shouldn't I spell it Antoniə to show how I'm fine with -o or -a and to just have some quirky transgender swag?

so yeah that's why it has an upside down e now lol. Although I'm still fine w Antonio or Antonia. & the pronouns are just for fun :)