Until yesterday, I sincerely couldn’t be bothered to contribute my personal take to the already irritatingly loud buzz that keeps growing around Avatar, but too many people I know and respect have said good things about it for me to repress the sudden urge to write up a shiny rant.
(Yes, there will be spoilers, which [...]

Radiohead has described In Rainbows as “almost embarrassingly minimal”, and it is. With Hail to the Thief, they had already shown their desire to move past the deconstructionist experimentations of Kid A and Amnesiac.
Rather than digging further in its beautiful alienation, the band has grown more intimate and, it seems, more serene. Although [...]

I posted a review of William Gibson’s Spook Country, in French, on the Xénobiophiles blog. Here is the English version of it.
“We’re all doing VR [Virtual Reality], every time we look at a screen. We have been for decades now. We just do it. We didn’t need the goggles, the gloves. It just happened. [...]

Ouverture des hostilités, donc, au travers d’un film qui ose mélanger SF, fantastique et métaphysique, dans une histoire en trois épisodes étalée sur 1000 ans et avec deux Wolverine de plus que la plupart des films à l’affiche (Le Prestige, Scoop, Flushed Away), soit trois.
Ça s’appelle The Fountain.

From the first bass note, the music immediately brings to mind Serge Gainsbourg’s legacy. Be it the texture of drums or the bewitching repeated melodies, Serge’s heritage is omnipresent, with reminiscences of Je suis venu te dire que je m’en vais, La Ballade de Melody Nelson, etc.
5:55 takes you to a whole new universe, [...]

Unlike Daft Punk’s Human After All, the title of which turned out purposely misleading, Ladytron’s latest record is definitely more human than their previous works.