Word: angellic
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...case we're unable to comprehend all this, the filmmakers are, careful to provide us with subtly suggestive foreshadowing. Should we have doubts, for example, about the inherent goodness of ladies of the evening, one of Angel's friends tells her customers she's studying to be an accountant. "I don't know about you girls, but I'm getting out of this town," she tells Angel before, coincidentally enough, the ominous music begins and she gets bludgeoned to death by the necrophiliac. And, in case we weren't quite receptive enough to realize that the necrophiliac's sexual frustration...
Predictably, as in all poor-street-girl-wasting-her-life-away movies, this film has its heroes: the cop, who nobly dedicates his life to saving girls like Angel with lines like "You're living in a dream world, baby,"; the college counselor, who visits Angel's roach-ridden tenement in an I Magnan's dress to save the bright, ambitious student; and, of course, the strectfelk--including the protective transvestite, the pistol-toting imitator of Kit Carson, and the tobacco-chewing; gun-wielding landlord...
...would be nice to expect more from Angel than the run-of-the-mill locker room scenes and street chases Hollywood producers thrive on. And it would be equally gratifying to see a decent movie made about adolescent troubles. But even if Angel isn't able to do either, sociologists in the year 2000 should at least be grateful that it paints an accurate picture of what movies in 1964 were all about...
Anderson's sing-song vocals surprisingly not only fit in which the exotic settings of the sings, but are also integral to the album, especially the slow moody songs like "League of Amour", "Gravity's Angel", and "Blue Lagoon." As usual, Anderson has her eccentric, funny phrasing. But much more importantly she fuses normal speech and her sexytiful singing voice together. As a result, many of the songs become ritualized, electronic storytelling, as if the world of "big science" and an African tribal society have collided. In "Langued' Amour." Anderson (using both her normal voice and vocoder) retells the Adam...
Similarly, "Gravity's Angel" and "Blue Lagoon" are quiet, meditative pieces in which Anderson's soft strange voice lulls the listener over calm, lush synthesiser settings. On "Gravity's Angel", she alternates her voice between a high whisper and an unexpressive monotone while the music (like "Born Never Asked" and "Let X=Y" on Big Science) breaks in and out of slow, staccato climaxes. "Blue Lagoon" is a static, serene number, which contains one of Anderson's funniest vocal effects since "Walk...