The Kills, “DNA”
Ms. Mosshart sings about the stuff of film noir, the overlapping obsessions of love, fury and raw need.
Steely Dan, “Green Earrings”
At least half of the songs on The Royal Scam could have been themes to ’70s cop shows or crime films.
Mono in VCF, “Spider Rotation”
I believe this Tacoma, WA-based band have since broken up, unfortunately. Truthfully, this song makes me think of a summer in San Francisco, with my now-wife, her cousin and his wife. One night, we drove through neighborhoods like Pacific Heights, ones filled with ornate houses and sprawling evening vistas. I still sometimes make a little film noir in my head building off those scenes, with songs like this as the soundtrack.
Nick Lowe, “Basing Street”
What Lowe brings instead is sharp observation of a horrific crime scene. In two and a half minutes, he paints a detailed picture of the action on the street and across town as a radio announcer prepares to break the news. Lowe doesn’t bother stepping back to reveal anything about what actually happened before the cops showed up, because that’s not what interests him, which is how the effect of one brutal moment ripples through a city. He also provides subtle descriptions of people enduring sadness by simply doing their jobs: the police, the DJ, the firemen washing the blood away.
Sons & Daughters, “Breaking Fun”
Any number of old S&D songs could (and probably will) show up on this blog. But for now, here’s the first video from their upcoming album Mirror Mirror, due out in mid-June.
Sam Phillips, “Edge of the World”
There is no trap so deadly as the trap you set for yourself.
—Raymond Chandler, The Long Goodbye
Weird Hot, “The Shadows”
If you’re in the Philly area, Weird Hot’s record release show is tonight (May 26) at Johnny Brenda’s.
Joy Division, “She’s Lost Control”
REFN… For the music, the one thing we knew was there was going to be no rock and roll in cars. If this movie was a piece of music it would be Kraftwerk because Driver is half man, half machine. Kraftwerk was about taking technology and make it melodic, so that was the right approach. We wanted electronic but not retro. Matt Newman, who edited the film, is a very obsessive guy and he came to us with a lot of interesting pop songs like the French [electronic musician] Kavinsky, which does the opening song with the credits, “Nightcall.”
GOSLING A lot of it is this dark disco sound: hyper-romantic dance music that has a menacing undertone.
REFN It’s a bit like Joy Division with a beat.
Roxy Music, “Same Old Scene”
When I turn the corner
I can’t believe
It’s still that same old movie
That’s haunting me