The FADER Interview: James Blake on firing his inner critic

Kevin Bacon had to make a strange deal to buy his farm.

Brian Eno has poked fun at James Blake for his use of a so-called “asshole chord” in one of his biggest hits.The moment took place during a new interview between the two, titled Talking Robots Into Heaven – A Conversation Between James Blake & Brian Eno.Uploaded yesterday (September 20), the conversation comes as part of a follow-up to Blake’s latest studio album, ‘Playing Robots Into Heaven’, which arrived earlier this month.A highlight of the discussion came when the two took a look back at one of the singer-songwriter’s previous hits in which he embedded a chord that Eno has a certain distaste for.“You once accused me of using the ‘asshole chord’,” Blake said to the English musician, composer, and record producer, leaving him to recall which is the chord in question.“There’s a way of resolving things in songs which always disappoints me,” Eno explained. “You have a sort of setup, and you think: ‘Don’t go to that one.

Louis Theroux Interviews, including Pete Doherty and RAYE.The six-episode series sees the journalist and broadcaster interview various celebrities about their lives and careers. In the first series, which aired last year, Theroux met the likes of Rita Ora, Yungblud and Stormzy.In the second series, Theroux will meet The Libertines and Babyshambles frontman in Normandy, where he lives with his wife and daughter.

Despite fears for the future of film in the new, seemingly disposable digital era, there are still many auteurs holding on out there in the modern movie landscape. For example, there’s Quentin Tarantino, Christopher Nolan and even Michael Bay (for, as director Tarsem said of the latter’s work, “You may not like it, but you know who made it”). But few directors are as instantly recognizable as Wes Anderson. Nothing happens by accident in a Wes Anderson movie: the camera moves are perfectly choreographed — sideways tracking shots are a specialty — and the sets don’t even begin to aim for realism. Clothes are tailored, hair and makeup is scrutinized all the way down to lipstick and nail polish, and music is key, creating a subtle, sometimes melancholy and always wholly effective emotional backdrop.

EXCLUSIVE: “The UK’s role in the media multiverse” will take up plenty of airtime at the RTS Cambridge Convention, according to Theresa Wise, as the great-and-the-good of the TV industry prepare to gather for the biannual get-together.

As word spread of contract talks resuming between the striking Writers Guild and the AMPTP, striking SAG-AFTRA members continued with their pickets on Friday morning outside film and television studio addresses in New York City.

McConaughey’s scary-accurate figure, which is now on display at Madame Tussauds in New York City.“Wow,” McConaughey said as he approached the figure, “I feel like AI’s alive and well.”“I don’t remember when, but I did wear this suit,” McConaughey said of the stunning green look he wore on “The Tonight Show starring Jimmy Fallon” back in December 2021. “And I remember those shoes,” he said of the black and white loafers.

Aquaman is back.

After 2018’s “Aquaman” grossed nearly $1.2 billion dollars, becoming the highest-earning entry in the DC Extended Universe, there was little surprise at the announcement of a sequel. It was a given, an expectation.

Even though Gareth Edwards broke out with his debut feature, “Monsters,” back in 2010, we really don’t know too much about him, as a filmmaker. He followed that film up with “Godzilla” in 2014, which was fairly well received, but it’s his third film, “Rogue One: A Star Wars Story” that most people remember him from.

TORONTO – Considering the explicit gravity of her previous films, “The Burial” is an unexpected detour for filmmaker Maggie Betts. Likely considered a dramatic comedy by most, the MGM release centers on a 1995 lawsuit where a Mississippi small businessman, Jeremiah Joseph O’Keefe (Tommy Lee Jones), took the Loewen Group, a Canadian funerals services company, to court.

Jem Aswad Executive Editor, Music Newer fans may not be aware that in the early years of his career, James Blake’s music was really, really weird. The largely instrumental tracks featured lots of blipping, angular grooves and warped sounds and voices that were initially totally disorienting but would always coalesce into something melodic or rhythmic (if sometimes testing the boundaries of coherence).

It’s Friday, Friday, gotta get down on Friday — especially when it’s New Music Friday! We’re breaking down this week’s best new tracks to keep on your radar.

McKinley Franklin editor Team Spidey of “Marvel’s Spidey and His Amazing Friends” is collaborating with the Fantastic Four’s very own The Thing — also known as Ben Grimm — in a special Rosh Hashanah-themed episode which is set to premiere on Disney on Sept. 15. For this holiday episode The Thing, who was created by Jack Kirby and Stan Lee, teams up with the kid-centric characters Miles Morales and Peter Parker to both save and celebrate this year’s Rosh Hashanah.

EXCLUSIVE: Fox Nation has set a September 12 premiere date for its original series The Killer Interview With Piers Morgan.

Freestyle Digital Media, the digital film distribution division of Byron Allen’s Allen Media Group, has set theatrical and digital release dates for Linh Tran’s debut film Waiting For The Light To Change.

The first trailer for Netflix’s “Pain Hustlers” is here.

The winners for the 2023 National Television Awards have been announced at a star-studded event in London. Happy Valley was the big winner of the night, picking up two awards, along with a special recognition gong for its star Sarah Lancashire.

They don’t make them like this any more, except when they do. Bastarden (disappointingly renamed The Promised Land in English) is a historical epic out of Denmark that has all the virtues of a midday movie remembered from childhood, the kind of thing you watched when your mother kept you home with a bad cold: a setting sometime in the olden days, a lawless frontier, sword fights and a gaggle of delectably evil baddies. Those seamy aristocrats and their henchmen, given to torturing, murdering and raping their oppressed tenants, are just lining up to have the tables turned, giving them a rich dose of their own torturing, murdering medicine. Hooray!

Speedy Ortiz’s Sadie Dupuis is this week’s guest on The FADER Interview podcast. In a wide-ranging conversation with The FADER’s Walden Green, Dupuis — who’s shepherded Speedy from its 2011 origins as a solo endeavor to its current form as a full-blown indie rock juggernaut — dug into the group’s first album in five years, Rabbit Rabbit, coming this Friday, September 1 via Wax Nine Records. Among the many Rabbit Rabbit tracks Dupuis discusses in the new episode is “Who’s Afraid of the Bath,” an as-yet-unreleased, mid-album cut that she reveals was directly inspired by Deftones’ 2000 track “Digital Bath.” Read Next: Speedy Ortiz’s “You S02” is a dismissal of music industry phonies “I love Detones.