just ordered. it's on amazon and Rough Trade as well.   on ABKCO records

www.brooklynvegan.com/jarvis-cocker-preps-french-pop-covers-album-a-companion-to-wes-andersons-the-french-dispatch/

serge's requiem is such a great song. hope it has that infectious beat!

-- Edited by robbroncs on Tuesday 14th of September 2021 04:58:27 PM

Not necessarily, Eamonn. Jarvis' band could have knocked up the backing tracks in a week or two, and Jarvis wouldn't have needed more than a couple of days to sing the pieces. He could still be working on something else in the meantime. If his muse hasn't deserted him, I suppose! It doesn't feel like it's being promoted as a Jarvis/Jarv Is thing, but an 'in universe' addition to a Wes Anderson project.

Loving the first 'single', btw. Sounds exactly as over-the-top and silly as you'd want Jarvis singing a French song in a Wes Anderson film to be.

Shame he didn't cover Les Roi de Fourmis again. That was a cracking FrenchPulp tune that is harder to listen to than it should be!

Hopefully you're right, Stephen.

He's a lazy bugger though. Signed a book deal four and a half years ago and still no sign of it.

I like Aline though, stirring stuff and I love some of those old French chansons.
Actually has a hint of Bar Italia in the verse melody.

I really like this. I have a few CD's of chanson, mostly compilations of pre-1950's singers, but would like hear and learn more.

I pre-ordered my copy from recordstore.co.uk , where they gave a 10% discount for registering on a mailing list. They are listing the LP release date as 12/Nov, CD 22/Oct.

I think this is the first new music I've bought since Beyond The Pale. Just seemed to lose interest in everything during Covid, and feel like I'm finally waking up after a long slumber. Finally got back into the library last week for the first time since early 2019 (apart from pre-ordered collections from the front desk), and it was such a pleasure - so easy to take for granted, but it's such a treasure.

Just finished listening!! I absolutely love it!!

Nice photo here with the singer from Aline. She sounds pretty hyper excited about getting to do this.

https://www.instagram.com/p/CVUi7TEASU4/?utm_source=ig_web_copy_link

inspirit wrote:

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Has anybody got a copy yet?

There are a bunch of LP copies for sale on Discogs, all from the USA - looks like it has not been issued yet in the UK.

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Out on 12th November in UK.  Must have managed to press a few before Adele took every press in the world for 500,000 LPs.

https://www.vulture.com/2021/11/adele-30-vinyl-records-delay.html

Eamonn wrote:

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Adele has royally buggered-up us independent artists vinyl orders. I like her but this behaviour and one too many boring ballads is really making me reconsider...

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No time for her after cancelling the Wembley gigs that I had planned as a date night and losing the pretty hefty booking fees.  They were the price of a gig in their own right.

As an aside, vinyl seems to have got very expensive in recent months.  Latest Bowie box set is over £360, which is about twice what the earlier boxes cost.  And considering its not half as good as them

I mainly want Toy, but am not paying £115 for it on its own on 6 10" discs   Hoping the main box set reduces significantly in price though not holding my breath.

These days, I am picking up lots of old CDs for 10p at local charity shops.

timahall wrote:

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The vinyl of the album was on sale at the Bristol gig last weekend.

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 Think it was at Roundhouse as well, but I never bother with the merchandise stand these days.  Did buy a Pulp T Shirt at Albert Hall, but that was the last time I remember getting anything.

It's an interesting article and Adele/box office artists keeping pressing plants clogged with orders is only a symptom of the wider issues. Interesting that her likeability/relatability and preservation of said, is what the headline wants to focus on.

The whole system is fcuked and unless digital payouts improve for the 99% of artists who struggle to keep afloat as a creative entity, we'll all be worse-off culturally.

Cool! Discovering a record by chance is often the best way. Certainly the most memorable.

Is the film good? Been thinking about going to see it but I find Anderson a bit patchy/too zany. After all the whopping about Grand Budapest Hotel, I was a bit underwhelmed when I finally got round to watching it.

Yeah, no excuse. I work for the BFI and we are showing it a lot!

saw119 wrote:

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It's an incredibly dense film scriptwise. In fact the script is sensational. So yeah, I love it but I love all his films. 

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 Yes! It was incredibly dense visually too, there were frames packed with so much stuff it was impossible to take it all in. I think I'll have to freeze frame when the bluray comes out. I loved the tableaux vivant (unsure about that plural) recurring through the film. The whole thing was gorgeous, exquisite production design, striking cinematography.

It's loaded with obscure references, and I assume a great many that go over my head. It's also quite funny too, in a gentle way.

There was a group of old ladies in the screening I saw, obviously a cinema group, who discussed the film afterward. Their main criticism was how they could not emotionally connect with the characters. It's the standard criticism of Anderson films, and I have to agree that it is true of this film. He's proven that he can do 'emotionally moving' within his style - I found Moonrise Kingdom quite touching - so it's an aesthetic choice, to make the visual effect the primary thing.

I was slightly disappointed not to see 'Tip-Top' in the film in person; I thought I read that JC had a non-speaking cameo, but if he did, I missed it. My main criticism was the presence of Chalemet: I just don't get it; yes, he's a bonny lad, but his acting is lifeless. The remainder of the cast were pretty well perfect in every way.

Overall it's just wonderful that a film like this can be made and released to a mass audience.

inspirit wrote:

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saw119 wrote:

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It's an incredibly dense film scriptwise. In fact the script is sensational. So yeah, I love it but I love all his films. 

---

 Yes! It was incredibly dense visually too, there were frames packed with so much stuff it was impossible to take it all in. I think I'll have to freeze frame when the bluray comes out. I loved the tableaux vivant (unsure about that plural) recurring through the film. The whole thing was gorgeous, exquisite production design, striking cinematography.

It's loaded with obscure references, and I assume a great many that go over my head. It's also quite funny too, in a gentle way.

There was a group of old ladies in the screening I saw, obviously a cinema group, who discussed the film afterward. Their main criticism was how they could not emotionally connect with the characters. It's the standard criticism of Anderson films, and I have to agree that it is true of this film. He's proven that he can do 'emotionally moving' within his style - I found Moonrise Kingdom quite touching - so it's an aesthetic choice, to make the visual effect the primary thing.

I was slightly disappointed not to see 'Tip-Top' in the film in person; I thought I read that JC had a non-speaking cameo, but if he did, I missed it. My main criticism was the presence of Chalemet: I just don't get it; yes, he's a bonny lad, but his acting is lifeless. The remainder of the cast were pretty well perfect in every way.

Overall it's just wonderful that a film like this can be made and released to a mass audience.

---

 

Exactly...what you said about Chalamet. The guy irritates me to not end! He pretty much ruined the new Dune movie for me, too. Substanceless pretty boy. 

A different actor could've changed everything for both movies, I assume. 

Fran wrote:

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inspirit wrote:

         I was slightly disappointed not to see 'Tip-Top' in the film in person; I thought I read that JC had a non-speaking cameo, but if he did, I missed it. 

---

 We are going to see it tonight. From what I understood from the interviews, Tip-Top's only presence is Aline playing on a jukebox somewhere. I suppose I'll find out tonight. I was wondering if the brief clean shaven look around the time of the premiere was just being in character as Tip-Top for that event.

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There's also a scene where a small poster of Tip-Top gets ripped off the wall and tossed. Lol

saw119 wrote:

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I know the standard criticism of Anderson seems to revolve around an inability to empathise with characters and a lack of emotion but I usually find his films very touching and The French Dispatch was really quite moving, I thought. Granted, the emotion is often undercut with a deadpan humour but it is there, or it is for me anyway. 

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 It's there for me too, I've never wholly agreed with the criticism, but I can understand it. Though I admit I wasn't moved much by French Dispatch, even though I thought it superb... but I will have to watch it again.

I've often been very moved by characters in Anderson's films: the central couple in Moonrise were very affecting throughout (I love you, but you don't know what you're talking about), and the sections with Bruce Willis and Sam; in Darjeeling, when Irrfan Khan collapses in the river, it was heartbreaking; in Grand Budapest when it seemed for a while that Agatha had been decapitated, that was awful... these spring to mind, there must be many more.

 

The French Dispatch is coming out in Australia soon so I'm very excited to finally see it. I've never seen Chalamet before but I guess I'll find out what he's like soon.

I was under the impression that Anderson's appeal stems from how constructed and artificial his films are. I think he sets out to explore how films shouldn't have to obey any rules regarding believability. The sort of meticulously/delicately constructed lives and scenes we see in his films are unachievable in the real world, so I think he really amplifies that. His films seem deliberately fantastical. It's all very stylised. I'd rather him be stylised than be clueless about his direction.

I absolutely understand the criticism of how his characters often aren't expressive/hard to connect to, but that has never been a problem for me because I don't necessarily want to connect to them. Sometimes I just wanna watch these strange characters interacting and going on weird adventures. His films are just fun, busy, entertaining, and interesting. That's all I really need to have a good time.
Another criticism I hear is about how his films look the same, which is true, but that's the point of having a distinct style. I'd like to imagine watching Wes Anderson's films as collecting your favourite novellas - why get random editions that are all different sizes and have different covers if you have the opportunity to get the same size books with matching spines that fit nicely on a shelf as a set? This analogy is silly, probably obscure, but that's just how I see it. Sometimes Anderson seems more like an author writing an anthology than a director making a bunch of different movies. The text of each story is different but they all have a similar feel (aka Anderson's style links them together).

This comment is long but I can't help myself - I'm just so excited about The French Dispatch. I haven't seen a new film since The Lighthouse!