‘Thee Black Boltz' by Tunde Adebimpe Review: A Solo Record's Homemade Sound
For the first decade of this century, the New York rock scene was defined by a cluster of talented bands—the Strokes, Interpol, LCD Soundsystem—borrowing elements from underground movements of the past and making them their own. Part of the fun of experiencing these acts in their earliest days was the legibility of their references, from Joy Division to Television. TV on the Radio, an art-rock outfit founded by singer Tunde Adebimpe and multi-instrumentalist David Sitek in Brooklyn in 2001, was a little harder to figure out, which became part of its allure. As it added members and built a following leading up to its 2004 debut, 'Desperate Youth, Blood Thirsty Babes,' and its 2006 breakthrough, 'Return to Cookie Mountain,' the group became increasingly hard to pigeonhole, and it wasn't just because of its musical influences.
TV on the Radio was a mostly black band in a mostly white scene, and wrote elliptical songs that sometimes touched on politics—its members seemed more serious, and also more musically ambitious, than their peers. After 2014's 'Seeds,' the project went on an extended hiatus, though the past year has seen a buzz of activity, including a tour. There's no word yet of a new record, so for now Mr. Adebimpe's debut solo LP, 'Thee Black Boltz' (Sub Pop), out Friday, will have to tide fans over.
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New York Times
2 days ago
- New York Times
They Led the 2000s Indie-Rock Boom. Now They're Vying for Oscars.
When Daniel Blumberg ascended the stage at the Oscars this year to accept his best original score trophy for 'The Brutalist,' the bald, mild-mannered Englishman in the all-black suit read nervously from notes. 'I've been an artist for 20 years now, since I was a teenager,' he said, perhaps jogging some music fans' memories: This was the once curly-mopped singer and guitarist from the 2010s indie-rock band Yuck. His Academy Award put him in good company. Trent Reznor and Atticus Ross of Nine Inch Nails have won the category twice, while Radiohead's Jonny Greenwood is a two-time nominee. And bubbling up beside Blumberg are a crop of artists from New York's early 2000s indie boom, when idiosyncratic and ambitious bands made their careers on blog love, critically acclaimed albums, relentless touring schedules and the occasional lucrative sync deal. Two decades later, entering their midlife years, an increasing number of their members are turning to film scoring as a new creative outlet — one they can pursue from home studios — rather than rely on the millennial nostalgia industry. David Longstreth, the central figure of Dirty Projectors, created the imaginative and sprawling score for the fantasy journey 'The Legend of Ochi,' which A24 released in theaters this year. Paul Banks, Interpol's frontman, recorded propulsive music for Magnolia Pictures' deadpan satire 'Sister Midnight,' which opened in New York in May and will soon expand nationally. Various permutations of Animal Collective have provided haunting sounds for small-budget projects, including the stripped-down sci-fi tale 'Obex,' which Oscilloscope Laboratories will distribute later this year. 'The creative conversations I find really interesting,' said Christopher Bear of Grizzly Bear, who is now a prolific film and TV composer. 'You're not necessarily talking about music references. Often it's more interesting if you're not, because then it's about story and picture and just more aesthetic questions. I find myself doing creative things that I probably wouldn't if I was just left to my own devices in my studio.' Want all of The Times? Subscribe.
Yahoo
23-05-2025
- Yahoo
'They don't make movies like this anymore': John Krasinski and Natalie Portman on their new Guy Ritchie movie Fountain of Youth
When you buy through links on our articles, Future and its syndication partners may earn a commission. Hold onto your fedoras and flashlights! Director Guy Ritchie is delivering pulse-pounding stunts, exotic locations and Indiana Jones-style mysteries in new action-adventure movie, Fountain of Youth, streaming on Apple TV Plus from May 23. The globe-trotting caper follows squabbling siblings Luke (John Krasinski) and Charlotte Purdue (Natalie Portman), treasure hunters who reunite for a wild expedition to unearth age-old secrets and locate the mythological fountain of youth. Luke is a daring, rule-breaking artifact hunter, while Charlotte enjoys her grounded, stable life as an art curator in London. But when Luke steals artwork from his sister's gallery and upends her whole world, Charlotte has little choice but to join Luke's madcap mission funded by mysterious billionaire Owen Carver (Domhnall Gleeson). As their puzzle-solving heist spans Bangkok, Vienna, London and Cairo, hot on their trail are the Thai mafia, Interpol and a dangerous secret sect led by the enigmatic Esmé (Eiza González). What to Watch chatted with John Krasinski, 45, and Natalie Portman, 43, to find out more… John: 'Characters like Luke don't come along very often. He's a fun-hearted, adventurous spirit and sees Charlotte as a stick in the mud. But I think everyone becomes a Guy Ritchie action hero once Guy has time with the character. I've loved this experience from head-to-toe because of him.' Natalie: 'I'm an only child and have always dreamt of having a brother, but not the sort who would drag me into trouble like Luke! Charlotte got married, had a kid and decided to have this safe, controlled life. There's a lot of sibling rivalry, but she rediscovers the beauty of adventure with him.' Natalie: 'Absolutely! Anything I've done on this scale before has had so much CGI, but most of the action is in real places with real people. We were filming car stunts in Liverpool and you'll see genuine terror and screaming from me because we were really whipping around corners in a chase.' John: 'I've done action sequences before but nothing on this scale. A perfect example is the fight I have with Eiza González in Vienna. I've been in fight scenes, but never in a national library flying a drone around. It was surreal and really fun.' John: 'Seeing these places up close and shooting at the base of the Great Pyramids was thrilling. It was a long shoot with a lot of travelling, but my kids were with us in Vienna. They loved Guy Ritchie and were hanging out in his trailer.' Natalie: 'I wish we'd had more time in these incredible places. The Pyramids is by far the most insane location I've ever shot at.' John: 'Well, they don't make movies like this anymore, but to be in a Guy Ritchie version of this genre is what made it so unique and fun for me. It's the movie I got into this industry for, and I hope all the fun we had making it pops through the screen. It's so family-friendly, even my own kids can't wait to see it.' Natalie: 'Guy knows how to entertain and this is the sort of escapism we need right now. I've never experienced this scale on any film: it's the kind of epic family adventure that we don't get to see these days. It's also unusual to have a film led by siblings of opposite genders.' John: 'We had this conversation every day in Guy's trailer. For me, the fountain is more of an idea of enlightenment, as you realise that you're living in a moment that is potentially the most joyful of your life, so act accordingly. I'd look for ways to find happiness in my life rather than constantly search for something I don't have.' Natalie: 'I love the metaphor that the external search for it symbolises an internal desire to recapture the wonder, passion and adventure of youth. All we really want is to feel that excitement and awe of the world.' Fountain of Youth is available to stream on Apple TV Plus from Friday, May 23.


Boston Globe
14-05-2025
- Boston Globe
Once part of the millennial indie rock boom, TV on the Radio is back on the road
That time is now. After having carved a swath through ten years of the post-9/11 musical landscape with a quintet of dense, fiery art-rock records that litter best-of-the-year and best-of-the-decade album polls, TV on the Radio has returned to the fray, hitting the road on a tour that brings them to Roadrunner on July 30. Given that the band had plenty to say about the Republican in the White House when it first appeared on the scene in 2001, the decision to regroup might seem like it was inspired by its thoughts about the current occupant. But Bunton suggests that the timing simply seemed right for the band to resume operations. Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up 'It seems temporally appropriate for whatever reason, but I can't say that was the impetus. I don't think any of us have that much of an inflated sense of self-worth, [of] being like 'The world needs us now!,'' Bunton says. Instead, he sees TV on the Radio as paying inspiration forward, just as he was inspired by other artists. 'I'm a firm believer in [our] music and its authenticity and its sincerity, and I think it adds something to the global conversation.' Advertisement Despite the protestations, it seems in some regards as though TV on the Radio's work isn't done, that the heady swirl of agitation that the band explored so well speaks as much if not more to the Trump era as the Bush era. In fact, it can be overwhelming to revisit the band's albums — all thick guitar churns, unsoothing electronic enhancement and the unrelenting (if charismatic) intensity of Tunde Adebimpe's vocals — at length in the current day, when a constant buzz of agitation seems to exist perpetually as foreground noise. Taking in the entirety of the band's catalogue is enough to mess with someone's head. Bunton doesn't see that discomfort as a bad thing. 'Sometimes being challenged or being asked difficult questions is great. Sometimes it's just annoying. I can't tell you, and we could definitely be both,' he says with a laugh. At the heart of it, he sees the post-9/11 world as being rife with internal conflicts and contradictions, many of which are still being reckoned with. 'I would feel remiss if I didn't include those conflicts and that contradiction into music. It is accurate to the mirror that I see, so I'm not surprised that it feels agitated.' Advertisement It's always uncertain whether music with such a level of unease baked in will find its audience — 'It's like being seen,' offers Bunton, 'that's what 'misery loves company' is' — but TV on the Radio pulled it off. Possibly too well. 'Once you have that level of success, I've realized it just doesn't belong to us anymore,' says Bunton. 'I remember I saw myself on a poster on the subway, and I was like, 'Oh, you're a commodity now. You're like a potato chip.'' It may have helped that TV on the Radio didn't have to navigate the wilds of acclaim and success alone as it headed out of Brooklyn into the larger world two decades ago. It was one of a wave of buzzed-about New York City bands making their names at the time; Bunton — who began as TV on the Radio's drummer, stepped in for bassist Gerard Smith after his death of lung cancer in 2011 and currently plays guitar on stage — talks about living in the same loft as members of the Yeah Yeah Yeahs, Metric and Liars, with the Secret Machines as their neighbors as they rehearsed next door to 'This stuff only happens in retrospect, but we never saw it as a scene. We never saw it as a global takeover,' Bunton says. 'I didn't feel like any of those bands were trying to sound like anything but themselves. I think that was part of the ethos of the neighborhood, for sure.' Advertisement And as TV on the Radio returns to active duty more than a decade after its last album, there's the matter of the most obvious, most boring question hanging in the air. Bunton insists that he must give the most boring answer and remain mum on whether new music is forthcoming. 'I have to have no comment on that question,' he says. 'For now, we're really happy doing what we're doing. We're really happy we made this decision. It's been a great joy to everyone. We kind of suspected it might be, and when it actually started happening, started playing shows, it just felt very, very right. I hope people come out. I'm very proud of what we're doing right now.' TV ON THE RADIO At Roadrunner on Wednesday, July 30. 8 p.m. Marc Hirsh can be reached at officialmarc@ or on Bluesky @