Purpulan

...damn, I've got the Morandini...I feel like a B-movie cinephile..... ;)

I wasn't trying to be polemical...it was just a clarification on my part, gbrunoro, cheers...

Okay, sorry, my understanding might come across as rather personal. I associate the (subjective) term "post-rock" with certain musicians and the Louisville-Chicago axis (and the mid-90s, which is why Gastr Del Sol can also be included), while I can't stand the subsequent generalizations (when, for instance, many people became aware of Sigur Ròs and shoved them into the genre... who knows?!...)... that's all.

This is more than questionable... but just to avoid digging too deep... De Palma had already made three films back then, including "Greetings" ('68)... just to mention one that has little to do with "Easy Rider"...

If you trust me, see for yourself. As a debut, it's more than good, even though certain references to the father's work are a bit too obvious (these Edipus complex Japanese don't care, Year aside).

Furthermore, "Easy Rider," with all its flaws, has contributed to substance the categorical term "Road Movie," in light of which many other feature films, even those predating it, can find their own place, and the exemplum "Ombre Rosse" fits perfectly... the coordinates of the film on the road are identifiable... but Poletti (understandably) defines it as the prototype of "Western"... well, it remains the fact that Ford himself made his debut with a silent western in 1917: "Bucking Broadway" (and at least two more followed). All of this is to say that ultimately we are hitting against the boundaries of epistemology... and frankly, it seems somewhat out of place, given the premises from which the review took its cue.

Just one note (but I think it will be a rather ordinary thing): if we're talking about post-rock (the real deal) and its precursors, start with Slint and then throw in Tortoise, Gastr Del Sol, June Of 44, Rodan, etc., etc...but the various epigones and those (like Mogwai) who forced themselves in don’t deserve too much credit...

Oops, my apologies. Since I’m considered a stickler for details, I went to dig up the article on "Man With A Movie Camera" and found the typo: the editor mistook Vertov's work for a documentary (which is understandable, but this isn’t the right place to discuss the Soviet director's theory), so we're talking about the film's soundtrack, which was commissioned from the Cinematic Orchestra to be performed live during the screening of the film at the Portuguese Film Festival in A.D. 1999, which indeed took place. And this is the version to be validated. Regards.

However, while reading around, it seems to me that the path of the Cinematic Orchestra is not well illustrated. This is effectively their third studio album after "Motion" and "Every Day." "Man With A Movie Camera," on the other hand, is taken from an "original" live performance by our group dating back to 1999 (the year "Motion" was released) and published after a post-production effort in 2003 (this is, among other things, the musical commentary of a Portuguese documentary on the genesis of the well-known film by Vertov/Kaufman and not an ideal soundtrack for the latter, as is often reported). This obviously explains why "Ma Fleur" is nothing but the natural evolution of Swinscoe and company along the path already taken with "Every Day," that is, an increasingly prominent approach to the song form. And for those, like myself, who loved the "cut and paste" of a more electronic, as well as cinematic, nature present in "Motion," such developments seem rather lacking in bite. Fortunately, a couple of years ago that crazy head Jack Dangers surprised us with an unexpected gem, with his Meat Beat Manifesto, named "At The Centre"...

Yes, but it always concerns a passive role, Bubi... in "Easy Rider" it has its own semantic topography that evolves with the story and ends up encompassing the story itself.