a cura diF.D.S.
  • thursday, 8 september 2022

Dreamin’ Wild_There’s no question that Dreamin’ Wild is a hauntology film, where songs produced thirty years ago (it was the year 1979) resurface in Donnie Emerson’s life as distorted, ghostlike images. Phantasm of the past haunting the present. Nostalgia is, in this instance, a return of ideas and memories one cannot control, and end up disturbing and perturbing one’s present. We must also add that the Emerson Brothers’ musical gem, Baby, was covered thirty years later, which worked wonders for the Everson revival, by Ariel Pink Haunted Graffiti, who turned the sugary glurge of the original song into an indie piece that respected the original and had a vague military air to it. One more thing, on January 6, 2021, APHG was in D.C. as part of the Trump-supporting crowd waiting to assault the Capitol. He maintained he was there to sing, though when the assault began, he quickly took cover in his hotel…


The Son_The last few years have been extremely fruitful for Hans Zimmer: in 2021, he authored the score for No Time to Die, this year, the score for Top Gun: Maverick. We weren’t particularly enthused by his work for The Son – his approach was quite sober in accompanying the film, maybe in the (correct) assumption that the borderline depression of the teenage protagonist, in its quasi-pornographic precision, didn’t need anything too personal or too distracting.