One of the finest music documentaries to arrive so far this year is Cobain: Montage of Heck, the first fully authorized film about Kurt Cobain. Co-produced by his daughter Frances, it features all of Cobain’s family and his widow Courtney Love. Director Brett Morgen takes full advantage of this unlimited access, making this a intimate and personal portrait of Cobain as an artist, and an in-depth look at the road leading up to his tragic fate. The film is fully compiled of Cobain’s own art, from paintings (coming alive through some very impressive editing), music and never before heard audio recordings that are accompanied by some breathtakingly beautiful animation. It’s tough to take, in particular if you still carry Nirvana and its front man close to your heart, but at the same time makes for a rewarding viewing and a memorable experience that stays with you long after you leave the theater.
Director Laura Poitras took home the Oscar for best documentary this year with her spellbinding work documenting Edward Snowden’s disclosure of his own government. Citizenfour arrives in timely fashion after the worst hysteria has dialed down, but still remains highly active and unfinished. It’s a fascinating and thrilling document that lets you into the room where Snowden made his knowledge and findings known to a carefully chosen few members of the world media. There is no fancy camerawork or fast paced editing at work here (a trick often used by directors trying to make political discussions entertaining), just a sensation that you are in fact witnessing history being changed right in front of you. It’s an utterly compelling piece of work that deserves all the accolades it’s receiving. You’ll probably never see anything quite like it again.
J.C. Chandor is making a name for himself as one of the most exciting and surprising young filmmakers working in Hollywood today. After his thrilling debut Margin Call (2011), which earned him a best screenplay Oscar nomination, he went on to make a film without hardly any dialogue – the Robert Redford tour de force All Is Lost (2013). This month he returns with A Most Violent Year, a well composed and wonderfully acted out crime drama. Oscar Isaac and Jessica Chastain both deliver excellent performances as the married couple going to extremes to protect their business and family in a time dominated by violence, crime and corruption. It’s a study in subtlety and attention to detail as Chandor gracefully maneuvers between loaded scenes of dialogue, foot chases and acute scenes of drama. Another triumph that should allow Chandor even greater opportunities for his next outing, whatever that may be.
ESSENTIAL LISTENING THIS MONTH:
One of the most anticipated albums of the year in many circles is Sound & Color, Alabama Shakes' follow up to their critically acclaimed debut Boys & Girls from 2012. The tough outfit from the deep south swayed many rock lovers last time around and their sequel should firmly satisfy their fans’ need for more. Whether they will gain more new support is perhaps more uncertain, as this record has less of an earth shattering approach to things. By all means, there is still a fire to each tune, but at the same time the band are clearly trying to establish themselves as a group not afraid to experiment both in mix and production. But there is no mistaking its pure and rough around the edges blues rock, that should fit perfectly into any playlist that needs a little bounce this summer.
One of the finest singer / songwriters operating in Scandinavia today is Daniel Norgren from Sweden. In many ways he’s considered a one-man orchestra, handling his guitars, drums and voice with an impressive ratio making him a small, but awesome act to experience live. His recorded albums don’t have the same immediate impact, but there is still always plenty to take in. This month he arrives with his sixth studio album, an impressive feat considering he is still just barely past thirty years of age. Alabursy is his first record since 2013s excellent Buck, and even though it is recognizable and undeniable Norgren, there is another layer of poetry and raw emotion present here. It makes for an even more intimate encounter, particularly upon its second or third listening session. He still wears his inspirations on his sleeve, rooted in classic American country, blues and gospel. It is another impressive record, further establishing his name and reputation as one of the most reliable sources of strong tunes in the northern hemisphere.
There have been many attempts at branding Calexico. Genres describing them have varied from indie, rock, Americana, Texan, folk rock or just the wide concept people refer to as alternative. Truthfully they can fit into all of these, depending on your definition. Regardless of what you end up calling it, it’s certainly an almost constant production of great and vastly impressive tunes. Their ninth album Edge of the Sun arrives this month and it is another triumph for the Arizona group. Within the album’s twelve songs (there is also a deluxe edition available, featuring six additional bonus tracks) you’ll find low and soft – almost ballad like – love songs as well as larger scale rock tunes. There are even hints of electronica sounds here and there, but it is without a doubt their trademark desert-like anthems that suit them best. The album is a lovely ride that grows in emotion with each visit. Hopefully it will be heard from around many street corners this coming summer.
Check out the opening track from the album, Falling from the Sky featuring Ben Bridwell from Band of Horses. It also comes with a deliciously absurd video by director Mikel Cee Karlsson.
