Fushia Funky

Fischerspooner in the Mix

2005-08-27T23:52:00.000+01:00

"Brooklyn's own electro-pop duo Fischersponner delivers an exclusive Dj mix of their favorite tracks for AOL Music that is not to be missed. Also, check out the abstract new video for Never Win."(in Aol)

Tiefschwarz em Alcântara

2005-08-26T14:20:00.000+01:00

A dupla Tiefschwarz actua dia 3 de Setembro na Gare Marítima de Alcãntara.

Programa:

Tiefschwarz (fourmusic / classic, DE)
Nuno di Rosso (Sweet&Sour / Ofirprod. PT)
Hugo Santana (Sweet&Sour, PT)

Revista Cânhamo

2005-08-25T12:14:00.000+01:00

"Já não é novidade para ninguém. A discussão sobre a legalização do consumo de drogas leves parece que já atingiu o seu pico e a opinião pública está mais focalizada para outros assuntos que dominam a sociedade. O debate desapareceu mas o problema mantém-se. As opiniões dividem-se e existe uma necessidade de informar os interessados, através de uma escrita directa e sem rodeios.

A Revista Cânhamo nasceu sensivelmente há um ano, com o objectivo de colmatar a falta de informação sobre um assunto “tabu” na nossa sociedade.

Tendo algumas caras conhecidas como “porta-estandarte” da publicação e da luta (por exemplo Miguel Guedes dos Blind Zero que é o director-adjunto), a Cânhamo tem tentado abrir algumas consciências através de um jornalismo factual e informativo.

Para além das notícias/artigos sobre os desenvolvimentos medicinais e terapêuticos relacionados com a utilização de algumas substâncias (entre as quais a canábis), podemos encontrar informações diversas sobre muitas outras substâncias. Assim, desfolhando a Cânhamo podem encontrar reportagens sobre as diferentes espécies canábicas, sobre a história e produção da cocaína e do ópio, bem como entrevistas a activistas e pessoas ligadas ao movimento de legalização das drogas.

Toda esta informação encontra-se disponível através de uma impressão bem cuidada e de qualidade, onde a fotografia tem um papel muito importante. Quem se interessa por este tema vai ficar maravilhado com algumas das fotografias que a revista apresenta, algumas delas em forma de poster central.

A revista foi pensada como bimensal, mas devido ao mercado “em crise” de todo o género de publicações, passou a trimestral. Podem encontrá-la em muitas papelarias/livrarias espalhadas por todo o país, bem como no web site – www.canhamo.net.

Para percebermos um pouco mais o que motivou a existência deste tipo de publicação em Portugal, colocamos algumas perguntas ao director da Cânhamo, Ricardo da Silva, que nos falou desse e de outros assuntos bem mais delicados, que uma revista deste género pode levantar."

Fiquem com a entrevista.

Pedro Marques

(in Rua de Baixo)

10 Anos de Leftfield

2005-08-23T16:27:00.000+01:00

"Os britânicos Leftfield vão editar em Outubro uma compilação, intitulada A Final Hit, para assinalar o 10º aniversário do lançamento do seu álbum de estreia, Leftism.
O duo londrino formou-se em 1990 e Leftism, editado em 1995, é considerado um marco na história da música de tendências dançáveis.
O registo, com edição agendada para 3 de Outubro, reúne alguns dos temas mais conhecidos do grupo, incluindo versões mais extensas da primeira fase da carreira.
Para os fãs mais fervorosos, estará disponível uma edição especial que inclui um DVD com os videoclips de Open Up, Original, Afro-Left, Release The Pressure, Afrika Shox, Dusted e Swords."

Alinhamento de A Final Hit:

Release The Pressure
Afro-Left
Song Of Life
Original
Storm 3000
Open Up
Dusted
Phat Planet
Afrika Shox
Not Forgotten
A Final Hit
Swords
Shallow Grave
Snakeblood
More Than I Know

(in Diário Digital de 19-08-2005)

ELLEN ALLIEN, Your Body Is My Body (Remixes)

2005-08-22T12:24:00.000+01:00

Ellen Allien
Your Body Is My Body Remixes (12" )
Bpitch Control
08-2005

Tracklisting:

a1 - your body is my body – troy pierce remix
a2 - your body is my body – original
b1 - your body is my body – kiki remix

"With the your body is my body remixes, ellen allien follows the course she has established with “magma” and her third album “thrills”: dance, lose control, turn your inside out!
troy pierce’s mix comes across as a calm, minimal version, sprucing up ellen’s elechtech from a straightforward, hypnotic angle. pierce turns it into a neat dance floor track. all you wanna do is nod your head to the beat to forget where you are. later on, you might ask yourself what that name on your door is supposed to mean. and of course, the minus-bpitch control connection is a welcome revival of the old detroit-berlin axis. the original version is the best example for what ms. allien has always associated with hypnotich elechtech: straight and clear lines with few distractions and discreetly placed vocals make it so you can (and must) dance with your eyes shut and your ears wide open.
bpitch control label-mate kiki opens a pandora’s box with his mix and dissects ellen allien into tiny slices, which are merely held together by the power of the pads and melodies. what remains is ellen allien’s voice, which before was more integrated into the sound, but now acts as the track’s common thread." (in Bpitchcontrol)

Charlie and the Chocolate Factory

2005-08-21T14:02:00.000+01:00

Charlie and the Chocolate Factory
Tim Burton
2005

Há muito tempo que não via um filme tão bom. O filme perfeito para Tim Burton, a personagem perfeita (Willy Wonka) para Johnny Depp. A beleza (lá está) reside nos pormenores, juntamente com uma criatividade sublime. A não perder..

DJ HYPE, Drum & Bass Essentials

2005-08-20T11:43:00.000+01:00

Various Artists
Drum & Bass Essentials (Mixed By DJ Hype)
Warner Music
08-2005

Tracklisting:

Disc 1

1 - Traantula - Pendulum, FreshFeat. $pyda, Tenda Fly
2 - Slippery Slope - Clipz
3 - Dubplate Killa (Tear The Roof Off Remix) - DJ Hype, J Majik, Wickaman Feat. Daddy Earl
4 - Selector - DJ Hazard
5 - Play Me (Vip) - Mampi Swift, Fresh
6 - Revolution (Hype Special) - Distorted Minds
7 - All That Jazz - DJ Fresh
8 - Masochist - Pendulum
9 - Warp Speed - G Dub, Taxman
10 - Impact Music - Roni Size, Die
11 - Bass Cone - Dillinja
12 - Feelings - Shy FX, T Power
13 - Use Your Brain - DJ Hazard
14 - Original SES (Police In Helicopter) - Topcat
15 - Fauit X - Icarus, Trevelyan
16 - Ask Not (Vip) - Q Project
17 - Don't Follow - Cyantific
18 - Sicknote (Ill Skillz Remix) - Ed Rush, Optical
19 - Malice - Shimon
20 - Dub Specialist - Zen, Psyche

Disc 2

1 - Big Tings (Hype Special) - Drumsound, Simon BasslineFeat. Skibadee
2 - X Ray - Sub Focus
3 - Junglist (Serial Killaz Vip Mix) - Rebel Mc, Peter Bouncer
4 - Solar Burn - Blame
5 - Operation Pipe Dream - Baron
6 - Leviticus - Big Bad
7 - Squelch (Sub Focus Remix) - Baron
8 - Racing Green - High Contrast
9 - In The Grain (Dillinja Remix) - Dillinja
10 - Duppy Man - Chase & Status Feat. Capelton
11 - Vault - Pendulum
12 - Plastic Soul - Shy FX
13 - Now It's Over - J Magik
14 - Tink Ya Bad - G Dub
15 - Twist 'Em Out - Dillinja
16 - Smack My Bitch Up (Sub Focus Remix) - The Prodigy
17 - Rapture - Sparfunk
18 - Style baby - Capone
19 - Desperado - Artificial Intelligence
20 - You're Mine (Hype Special) - Potential BadBoy Feat. Yush

Disc 3

1 - 2 Tone Sound - Crystal Clear, Code:BreakerFeat. David Boomah
2 - Lion Dub - Trevelyan, Icarus
3 - Going In Circles (Artificial Intelligence Remix) - Total Science
4 - Malice - Krust
5 - Off Road - Potential BadBoy Feat. Yush
6 - Swan Cake - Twisted Individual
7 - How It Is!!! - Phantasy, Mayhem, Gurley
8 - Gunz At Dawn - Baron Feat. Pendulum
9 - Citizen Kane - Sub Focus
10 - Blazin Jazz - Sparfunk

Warner Music & DJ Hype have teamed up yet again to bring you the biggest, in your face Drum and Bass tracks exploding all the biggest raves up and down the country every weekend.

Essentially Hype is to drum and bass as Afrika Bambaata was to the development of hip-hop. He first became involved in music through the legendary Shut Up and Dance sound system. Spinning reggae, house and hip hop throughout the eighties, his skills behind the turntable grew to the extent of winning the London heat of the 1989 DMC's and going on to represent Britain in the European championships. While continuing to play at high capacity events Hype also made the move into radio, becoming involved with influential pirate station Fantasy FM before taking up a position at Kiss FM - his Sunday night sessions some of the most popular and securing him Best Male DJ and Best Radio DJ at subsequent Hardcore Awards. Today he is one of the leading Drum & Bass DJs around, pulling crowds up and down the country and all over Europe. You think Drum & Bass …. You think DJ Hype!!!!!

Hype and Warner Dance have worked together on the massively successful Jungle Massive series, so this time they have come back together with a 3CD set with the biggest, freshest and upfront Drum & Bass tracks which any respectable Drum & Bass raver should be ashamed to be without!

This album takes you much further than the regular run-of-the-mill TV projects. Each track is breaking the dance-floors of the Drum and Bass Raves now, this isn’t a round up, it’s a forthcoming of what is hot and will be hot, with just a few classics thrown in for good measure! (in thisisthenortheast)

Pixielândia

2005-08-19T11:45:00.000+01:00

Na maior noite de sempre do festival minhoto, 25 mil pessoas viram, em grande estilo, a banda de Frank Black. O 'hip hop' dos The Roots foi a lufada de ar fresco

Marcos Cruz

Façam previsões, que eles superam-nas a noite do meio foi toda dos Pixies, responsáveis pela maior enchente de sempre em Paredes de Coura. Apesar da (obes)idade - o parêntesis serve sobretudo para Frank Black, mas perde sentido se o assunto são as canções -, a banda norte- -americana apresentou-se em pico de forma, levando ao delírio 25 mil pessoas.

Não houve uma única quebra, num repertório de êxito atrás de êxito, quase sem falas entremeadas. Primeiro em registo mais acústico, depois a inchar de electricidade, o quarteto tocou praticamente um tema por milhar de espectadores, e mesmo assim saiu de palco dando a sensação de que ainda lhe sobrava corda.

Apoiada sobre a enorme barriga de Black, a guitarra parecia um cavaquinho, coisa mínima, com aquela mão sapuda sempre a chegar-lhe como se estivesse a deitar açúcar nas farturas. Gordas, naturalmente, estavam também as linhas de baixo, motores de muitas memórias. E tudo funcionou na perfeição, até mesmo a raridade de vermos os músicos a conversar uns com os outros, descontraídos e bonacheirões, tentando arranhar umas expressões em português.

decibéis. Um pouco antes, havia-se declarado aberta a temporada de caça aos tímpanos, com o débito de decibéis verdadeiramente assassino que marcou, pela negativa, o concerto dos Queens of the Stone Age. Aí, valha a verdade, mais foi menos, até porque àquela potência não se pode ter um equivalente em qualidade. Tirando isto, a banda destilou o seu rock selvagem e perigoso, mostrando com que armas fez o género dar um salto em frente, quando já muitos o viam sem outro horizonte que não o belíssimo pântano de depressão criado pela genialidade ímpar dos Radiohead, para o qual ainda hoje se fartam de saltar projectos.

Mas a vida não pára, e como ela também a actuação dos autores de Lullabies to Paralyze, um jorro permanente de electricidade, pujança rítimica, imponência harmónica e sensibilidade melódica, não tão infalível quanto o disparado um dia antes pelos Foo Fighters (que, esses sim, são a verdadeira máquina), mas nem por isso menos impressionante. Onde há sangue nos Queens, na banda de Dave Grohl já quase todo foi trocado por óleo. Uns dão concertos sem cenário, outros fazem espectáculos que só estão prontos a servir após mais de meia hora em mudanças de palco.

PRAZER. Para quebrar a tendência roqueira do festival (com predomínio daquela franja, agora muito apreciada, que vive na fronteira entre o punk e a new wave), os The Roots, porta-estandartes do som de Filadélfia, vieram mesmo a calhar. Não é difícil imaginar o prazer de um hip hop deliciosamente cool, com infusões de jazz, rock, funk e trips instrumentais mergulhadas em ácido, a fazer a ponte entre o carnaval fúnebre dos Arcade Fire e o grind abrasivo dos Queens of the Stone Age. A diferença? Dança o corpo todo, dos pés à cabeça, e contra isso não há outro argumento que não o arrogante, mas inquestionável, ou se tem ou não se tem. A moldura humana de Paredes de Coura não teve muito, mas houve ali focos dispersos de puro deleite.

Em condições mais adversas (à luz do dia, o que para eles deve ser quase o mesmo que para um vampiro), os Arcade Fire defenderam bem o aclamadíssimo Funeral, confirmando a tremenda criatividade que por ali circula, a sensibilidade musical que subjaz a toda a carga emocional das canções, o saudável espírito de festa que prevalece sobre a morbidez da matéria-prima - alguns dos temas foram feitos na ressaca de mortes de familiares -, mas também o feijãozinho que lhes falta comer em termos de execução instrumental. Um dia, estes Arcade Fire poderão ser uma das melhores bandas do mundo, mas dizer que o são hoje, como aqui se ouviu, é um verdadeiro exagero. Têm crescendos lindíssimos, envolvendo guitarras e violinos em tapetes percussivos que levantam voo, e harmonias de voz arrepiantes, mas também têm coisas aborrecidas, como Cold Wind, a música que compuseram para a série Sete Palmos de Terra.

The Futureheads e Hot Hot Heat foram, por esta ordem, as calçadeiras da jornada, podendo queixar-se do sol alto na dificuldade em impor a sua (lá está) pop new wave injectada de punk, embora os segundos, por obra e graça de um vocalista divertido e francamente mobilizador, tenham saído dali com alguns novos adeptos. (in Diário de Notícias, 19-08-2005)

Em jeito de sugestão fica aqui a link se quiserem ouvir o Pixies documentary passado dia 1 de Agosto no Lamacq live da BBC Radio One.

AFX, Analord 10

2005-08-15T15:35:00.000+01:00

AFX
Analord 10 (12")
Rephlex
08-2005

Tracklisting:

a1 - Fenix Funk 5
b1 - Xmd 5a

This is it folks....Analord 10 is finally made available to public consumption (following on from original copies only available to a priviledged few who bought the analord binder back in January)..and this time it's pressed up as a picture disc baring the legendary Aphex insignia! The tracks are the same as the original pressing - "Fenix Funk5" on the a-side and "Xmd5a" on the flip. What you waiting for??!!?! (in Boomkat)

Pump Up the Volume

2005-08-13T15:44:00.000+01:00

Encontrei no blog Power Up. É um documentário sobre a evolução da música electrónica, sob um olhar muito british. Está Dividido em 3 partes:

Pump Up the Volume, 1ª Parte

Pump Up the Volume, 2ª Parte

Pump Up the Volume, 3ª Parte

4 Aphex Twin Videos

2005-08-10T19:18:00.000+01:00

Come To Daddy, 47MB
Donkey Rhubarb, 39MB
Ventolin, 40MB
Window Licker, 106MB

Download Here

Slyde on Radio1

2005-08-09T17:37:00.000+01:00

Ainda sem nenhum álbum lançado até à data, os Slyde (ex-12 Tree) actuam no legendário show de Annie Nightingale na Radio One da BBC. Será na próxima 5.Feira pela 1 da manhã (ou seja 6.feira) e, naturalmente, os amantes do breakbeat deverão estar atentos às manobras desta dupla.

Disco-breakz-funkster combo Slyde is made up of two well-worn and respected veterans of the dance music world: Robin 12Tree and Jason Laidback.

First up is Robin 12Tree, who originally hails from Wiltshire in the West Country which may account for his love of good cheddar… He was in his first band at the age of 14, continuing on to play bass and guitar in various groups before to heading to the bright lights of London to take his career to the next level. Signed to Regal Records as 12Tree, he released 'Back In Town Again', 'Club Bastard' and 'Izzy Was A Groover', with further releases on Tummy Touch Recordings and Positive Vibrations. A spate of remix work followed for various acts including Moloko and the legendary Shirley Bassey.

Partner in crime Jason Laidback was an accomplished scratch DJ by the tender age of thirteen - a result of passionately tuning in to Tim Westwood's shows on pirate radio back in the day. His new found passion for the beat progressed to bunking off college in favour of time in the studio, and eventually resulted in Jason getting a contract with the label Big Life. He then went on to remix chart-topping hits such as De La Soul's '3 is the Magic Number' and Naughty By Nature's 'O.P.P', and toured the UK on the back of his club hit, 'A Juicy Red Apple'. Jason’s unique breaky sound has seen him release two well-received albums on Bolshi - the second of which won Best Dance LP of the Year 2002 on Amazon.co.uk. His success has led him to doing several tours of the US, Canada, Australia and Europe, as well as being none other than Kylie Minogue's scratch DJ on her 'Fever' tour.

After their initial meeting through Bolshi, it wasn't long before 12Tree and Laidback's mutual love for funk and breaks saw them united in the studio and from 2002 collaborate under the new name of Slyde. Resulting in some immensely huge and popular releases for their new label Finger Lickin', the guys are currently working on the first Slyde album and are also producing tracks for a major artist in LA and working with a new and exciting female rapper. You can be sure to expect some big things from these boys in the future! (in http://www.spraci.com/)

Fringe Festival, Edinburgh

2005-08-08T20:55:00.000+01:00

De 7 a 29 de Agosto

Chegou a altura do ano em que Edimburgo é tomada de assalto pelo teatro, música, dança, cinema, literatura, distribuídos por vários festivais. O maior deles, o Fringe Festival, aposta no teatro e começou ontem (anteontem).
O princípio do Fringe Festival é simples: não excluir ninguém. Aqui, todos podem subir ao palco.(...) A adormecida capital da Escócia torna-se numa espécie de campo aberto das artes. Os bares servem de ninho à germinação de novas ideias e à negociação de contratos para as digressões internacinais. (por Cláudia Monteiro in O Público - 8 Ago 2005)

The story so far...

The Fringe story began in 1947, when the Edinburgh International Festival was launched. It was seen as a post-war initiative to re-unite Europe through culture, and was so successful that it inspired more performers than there was room for.

Well aware that there would be a good crowd and focused press interest, six Scottish companies and two English decided to turn up uninvited and fend for themselves.

The Fringe is now 58 years old and still young. It lives in the present, shifting and changing from year to year to accommodate all of the people who want to attend. Over the years, as the Fringe Organisation got bigger so did the programme. Companies began multiplying as soon as the Fringe got its own phone, and by the time the computers were installed over 30 years later, hundreds were coming.

Fringe Controversy

It is no surprise that the Fringe has a temper and a rebellious streak. Held up against the official Edinburgh International Festival, it is an interloper a youthful, impetuous, attention seeking hanger-on. In the early days, political theatre was suspected of propagandist motives and revues were chastised for their 'scantily clad ladies'. Scripts were required by law to be read by the Lord Chamberlain's office and approved, a practice that continued until 1968. Another law enforced the police to move on or arrest buskers and street entertainers, which meant that until the beginning of the Eighties, the Fringe did not live in the streets as visibly as it does now.

Without censorship of its own, calls to ban events on the Fringe have come from outsiders. The Lord Chamberlain, the police, the licensing department, the council, individual critics, trade union actions and the public itself have all taken a stab at show-stopping, some with the law behind them, or in the case of the audience, simply by choosing not to attend.

One of the very first shows to cause moral outrage was a play called Futz, by La Mama Theatre Company. To find out why, click here.

Being made of pretty strong stuff, the Fringe has rarely lost to the challenge of banishment. Performers miraculously find ways of jumping through regulatory hoops. On the Fringe, artistic freedom rules. When Lady Chatterley's Lover was refused permission to play in a Catholic Church hall used by Richard Demarco for the Fringe, they moved venue, taking their nudity and a whole lot of publicity with them. A Slovenian group, again brought by Richard Demarco, this time to the august surroundings of George Heriot's School, stuck their heads through the floor of the stage and put audience and cast in danger with real fire as the main prop. Three shows went ahead before a safety officer's ban closed them down, but their point had been made.

There are also the rows which change the course of history, as happened in the early days of the Traverse Theatre. Artistic pioneers are an emotional, committed bunch, as vulnerable to casualty as they are prone to success. At the Traverse, first on the block was founding artistic director Terry Lane, whose achievements in launching the theatre and bringing in foreign plays were lost in what was a personally directed, acrimonious sacking in 1964. Jim Haynes, the keystone founder and later artistic director was next. In 1966, over a dispute about the right to hire full time staff, he offered his resignation to the board, which to everyone's surprise was accepted. The press reacted with passion, as expressed by Harold Hobson in the Sunday Times; 'I cannot think of any happier preliminary to the 1966 Festival than Mr Haynes should be asked to reconsider his resignation. It is, I repeat, a matter of international importance to the theatre'.

He was not reinstated, and the Traverse continued to develop as one of the Fringe's most important venues, both for the social life of its club bar and its theatre.

There are even rows about the way the Fringe organises itself. Since the Fifties there have been complaints that it is too big, too risqué, too open, too unruly and, most recently, too commercial and too professional. And relations with the official Festival have at times been unseasonally frosty for August. In the Sixties, advice for Fringe performers was, 'Festival vs Fringe. Do not expect much help from the official Festival Society. As a body it resolutely refuses to recognise its poor relations'.

By 1969 the Fringe was at least mentioned in the Festival brochure. A more friendly relationship developed and it was not until 1991 that the two had their next spectacular clash. Frank Dunlop, the outgoing Festival director who had previously enjoyed good relations, called the Fringe 'a third-rate circus', letting loose a full-blown media spat. He left and the Fringe of course survived.

Today, relations are good, with both festivals respecting each other's very different territory. However; as the Fringe grows and grows, eclipsing the Festival with its sheer size and vivacity, who knows what kind of fireworks might be round the next corner. (in Fringe)

Diamanda Galas Regressa a Portugal

2005-08-07T20:42:00.000+01:00

Concertos dias 15 e 18 de Setembro

Diamanda Galás está de volta a Portugal para dois concertos. O primeiro, a 15 de Setembro, será em Lisboa, ainda sem local confirmado; o segundo, no Porto a 18 do mesmo mês, na Casa da Música. A performance vai ser La Serpenta Canta, nome do seu último álbum, no qual a cantora faz várias covers de músicas originais de artistas como Hank Williams, John Lee Hooker ou Screamin' Jay Hawkins.

No site da Mondo Bizarre podem encontar uma curta entrevista à cantora mais extrema da música moderna.

Underworld, O Rolo Compressor

2005-08-06T19:08:00.000+01:00

Festival Sudoeste- Com os Underworld, o palco principal fez uma viagem pelos tempos áureos da dança ao ar livre para multidões, em estádio ou campo, que dominaram a segunda metade dos anos 90. O chão da Casa Branca transformou-se pela primeira vez nesta edição do Sudoeste numa gigantesca pista de discoteca. Os ingleses Underworld, agora reduzidos de novo ao duo Karl Hyde e Rick Smith, deram um Live Set taõ espartano a nível de recursos sonoros utilizados como decidido na sua optimização: electrónica algures entre o big beat e o tecno, remas longos e ritmos simples esticados ateá à saturação e dominação dos espectadores, e utilização precisa de samples e das curtas intervenções vocais de Hyde. Correcto para uma madrugada de descontracção, mas o futuro da dance music já não passa por aqui. (por E.M. in O Público, 8 Ago 2005)

Mondo Bizarre # 23

2005-08-05T21:29:00.000+01:00

MONDO BIZARRE # 23 - Julho de 2005

Guided By Voices / Robert Pollard - Kubik - Oneida - Sleater-Kinney - Dr. Frankenstein - Gang Gang Dance - AGF/Delay - The Ponys - Electrelane - d3ö - Autechre - The White Stripes - Magnolia Electric Co - William Elliot Whitmore - Stephen Malkmus - Maxïmo Park - The Rise - Loosers - Aavikko - The Tears

A Mondo Bizarre é uma publicação trimestral de distribuição gratuita dedicada essencialmente à divulgação de música de carácter alternativo, onde é possível encontrar também artigos sobre artistas gráficos, publicações, banda desenhada, livros, dvd's ou cinema.

3 Videos of Kraftwerk

2005-08-04T19:07:00.000+01:00

The Robots
Neonlights
The Model

Download Here

Brave New Waves

2005-08-03T12:48:00.000+01:00

Brave New Waves is dedicated to new underground music. This could mean anything from indie rock to dance, experimental electronic and avantgardisms of every shape. We include the widest universe of genres possible every single night.

The essential rhythm of Brave New Waves includes profiles (extended discography/biography), interviews (filmmakers, composers, cartoonists, bands, regional correspondents), and occasionally our own Brave New Waves sessions. Every Friday night we get loose and wiggly from 2am onwards with the Official State Radio Disco Hour. (in http://www.bravenewwaves.ca/)

Neste Site podem ouvir entrevistas a nomes como: Aesop Rock, AGF, Ellen Allien, Ho Che Anderson, Anticon, Beans, Jello Biafra, Kevin Blechtum, Bomb Hip Hop, The Books, Boom Bip, Coil, Robbie Conal, Rhys Chatham, Billy Childish, Daedelus, Dat Politics, Deadbeat, Matthew Dear, Jim Derogatis, Donna Summer, Warren Ellis, elP, Ron English, Frog Eyes, The Evolution Control Committee, The Ex, Sue P. Fox, G7 Welcoming Committee, Diamanda Galas, Bruce Gilbert (Wire), Michael Gira (The Swans), John S. Hall, Hrvatski, Philip Jeck, Kid 606, Kid Koala, Kompakt, Felix Kubin, Mike Ladd, Leila, Lesser, The Locust, Ian McKaye, Magas, Manitoba, Matmos, Ben McOsker (Load Records), The Mountain Goats, Christof Migone, Mr. Lif, The Need, Alexis O'Hara, Old Time Relijun, Phoenecia, Prince Paul, Princess Superstar, Pole, Polmo Polpo, Patrick Rosenkranz, Sage Francis, Joel Schalit, Doug Pray, Submission Hold, Suction Records, Techno Animal, Ultra-Red, Chris Ware, Wobbly, Wolf Eyes e Xiu Xiu.

Flickr

2005-08-02T21:50:00.000+01:00

Para quem gosta de fotografia ou simplesmente procura imagens para inserir no seu site ou blog.

Flickr

Tarnation, by Jonathan Caouette (2003)

2005-02-11T11:02:00.000Z

Jonathan Caouette¹s spellbinding debut TARNATION reimagines the whole idea of what a documentary can be.

Caouette has been documenting his life since he was eleven years old. With TARNATION, he weaves a psychedelic whirlwind of snapshots, Super-8 home movies, answering machine messages, video diaries, early short films, snippets of 80s pop culture and dramatic reenactments to create an epic portrait of an American family torn apart by dysfunction and reunited through the power of love.

TARNATION begins in 2003 as Caouette learns of his mother’s lithium overdose in his native Texas. Faced with the haunting remnants of his past, including a family legacy of mental illness, abuse, and neglect, Caouette returns home to aid in his mother¹s recovery. Slipping back into the archives of his youth, we watch Caouette grow up on camera, seeking escape from family trauma through musical theater, grade-B horror flicks and the forging of his identity through popular culture.

Having relocated to New York in his twenties and subsequently attaining peace in the form of a supportive mate, Caouette discovers that family ties are never truly unbound. He rekindles a touching relationship with another victim of a tumultuous childhood - his own mother Renee.

TARNATION is a raw and sensual display of self-destruction and rebirh that announces the arrival of an exceptional new cinematic visionary.

www.wellspring.com

Closer, by Mike Nichols (2004)

2005-02-11T10:56:00.000Z

Dan (Jude Law), an aspiring novelist who earns a living writing obituaries, meets Alice (Natalie Portman), who becomes his muse. Through her, he blossoms and becomes confident enough to approach the woman he believes he's in love with, Anna (Julia Roberts), a successful photographer and recent divorcée. After meeting and flirting with Dan, Anna marries Larry (Clive Owen), a handsome, self-assured dermatologist, while carrying on a secret affair with Dan.

Based on the award-winning play by Patrick Marber.

www.tribute.ca

Billy Elliot, by Stephen Daldry (2000)

2005-02-11T10:39:00.000Z

Billy Elliot ha tomado la decisión de estudiar ballet, y de hacerlo en serio. En cualquiera de las sociedades occidentales que conocemos esto puede dar lugar a prejuiciosas suspicacias, pero los prejuicios se potencian si Billy forma parte de una familia popular de mineros del norte de Inglaterra y más si se trata de una familia sin madre, con hermano mayor y padre politizados, y todo en medio de la dura huelga que en 1984 tuvo en jaque a Margaret Tatcher, la dama de hierro.

El filme podría haber dado tela para esas puestas aleccionadores practicadas desde hace tiempo por los grandes estudios de los EE.UU., pero tal como dicen los créditos, el filme es inglés.

Billy Elliot remite al triunfo de la perseverancia y la dedicación de una manera verosímil, con personajes humanos, no arquetípicos (a diferencia de Cielos de Octubre, también de mineros y también distribuida por United International Pictures).

Tiene escenas tragicómicas, dramáticas y de acción. La experimentada Julie Walters, como la profesora que descubre las dotes Billy y lo apoya a bailar, compone un personaje frustrado pero digno, que no tiene desperdicio (está postulada al Oscar como actriz de reparto). Tiene escenas sobreactuadas que dan cuenta de que Daldry proviene del teatro (cuando el padre entra al trabajo pese a huelga pues necesita el dinero, es apoteótico). Pero el director compone buenos escenarios cinematográficos (los piquetes de la huelga, la prueba de Billy para entrar a la escuelas de ballet) y sus personajes evolucionan de manera convincente a lo largo de la trama.

Para Stephen Daldry, el filme representa el debut como director cinematográfico y una postulación al Oscar como director. Reconocido como la cara del teatro contemporáneo, Daldry es el director artístico del Royal Court (el teatro más exitoso de Inglaterra), y el productor, director y creador de una sucesión de producciones teatrales que se han presentado en los escenarios de Londres y de Broadway. - Gustavo Camps

www.canalok.com

The Party, by Blacke Edwards (1968)

2005-02-06T16:22:00.000Z

In one of their few non-Clouseau efforts, Blake Edwards and Peter Sellers preserve the spirit of the French bumbler in the person of Hrundi V. Bakshi, an accident-prone Indian actor. Brought to Hollywood to play the title role in SON OF GUNGA DIN, Bakshi destroys the film's most elaborate set with his bungling and is banned from the set by Edward Clutterbuck (J. Edward McKinley), the film's producer. But because of an error by the producer's secretary, Bakshi's name is added to the guest list of his next party, an A-list affair. Shortly after arriving, Bakshi begins accidentally dismantling Clutterbuck's carefully staged event, destroying a flower bed, knocking a servant through a bay window, and triggering the lawn sprinklers, soaking the producer's pretentious guests. When the producer's daughter, Molly (Kathe Green), and a group of her friends arrive with a Day-Glo-painted elephant, Baskhi is shocked by the sacrilege and insists on washing the pachyderm in one of the house's indoor pools. As the other guests begin to join in the fun, pandemonium erupts. Sellers is typically brilliant in a film abounding in sidesplitting sight gags.

movies.yahoo.com

Tiefschwarz: Misch Masch (Fine, 2004)

2005-02-06T16:02:00.000Z

Tracklist:

Disc 1

1. Andre Kram - Safari - Firm
2. Mathew Jonson - Folding Space - Substatic
3. Sleeparchive - Elephant Island - Sleeparchive
4. Dominik Eulberg - Adler - Trapez
5. Temptation - Sound Dealers - Dancefloor Killers
6. Max Durante & Keith Tucker - Digital System - Electrix Records
7. Think Twice - ITWFM - Fcomm
8. Drama Society - Crying Hero (Tiga Remix) - Turbo
9. Mylo - Drop The Pressure (Riton Remix) - Breastfed
10. Kiki - Run With Me - Bpitch Control
11. Mathew Jonson - Decompression - Minus Inc
12. Drama Society - Papa Luciani’s Strange Death Turbo
13. Code 6 - Quad 1 - Nu Groove Records
14. Derrick May - The Dance - Transmat
15. Severed Heads - Dead Eyes Opened (Joakim Remix) - Kill The DJ/Tigersushi
16. Popular Computer - I Can’t Forget - Kitsune

Disc 2: The Remixes

1. Micatone - Plastic Bags & Magazines (Tiefschwarz Remix) - Sonar Kollektiv
2. DJ Tal - Digital World (Tiefschwarz Remix) - Art Of Disco
3. Unit 4 - Body Dub - Clone
4. Phonique - The Red Dress (Tiefschwarz Remix) - Dessous
5. Lopazz - I Need Ya (Tiefschwarz Remix) - Output
6. Spektrum - Kinda New (Tiefschwarz Remix) - Playhouse
7. Tiefschwarz - Blow (Dub) - Int. Deejay Gigolo’s
8. Hell - Listen To The Hiss (Tiefschwarz Remix) - Int. Deejay Gigolo’s
9. Mocky - Mickey Mouse Muthaf*ckers (Unreleased Tiefschwarz Mix)- Fine.
10. Truby Trio - Universal Love (Unreleased Tiefschwarz Dub) - Compost
11. Lost n Alive - Feels Like Love (Tiefschwarz Remix) - Milk & Sugar

The Schwarz brothers have produced a fantastic two-CD compilation, showcasing the best of electro-house on CD1, and their best remixes on CD2.
A dark machine groove threads through CD1, with Matthew Jonson’s work receiving well deserved prominence. Both his tracks are stunning, with 'Decompression' in particular hard enough to satisfy anyone who thinks electro is just a load of fashionable nonsense. The mix is broadened by the inclusion of the classic Derrick May track, 'The Dance'.
And the remixes? Well, there’s 'Kinda New' which you should have heard by now. Otherwise check out 'Digital World' for the best acid keyboard this side of ’88, and 'Listen to the Hiss' for twisted, funky brilliance.

www.trustthedj.com

21 Grams, by Alejandro González Iñárritu (2003)

2005-02-04T11:11:00.000Z

Life has a way of coming up with resonant metaphors, incredible ironies, and surprising coincidences.

Chained to death's door, Paul receives the gift of life, only to surrender it so that another can go on.

A devastating event in the present forces Christina to return to her past and reject her future.

Trapped by his spiritual mission, Jack carries such great guilt that hope and redemption seem beyond possibility.

At the crossroads of life and death, all three collide in a whirlwind of revenge and forgiveness.

21 Grams is the weight we lose when we die, the weight carried by those who survive. 21 Grams: the gravity of life.

www.21grams.co.uk

The Hacker: Rêves Mécaniques (Different, 2004)

2005-01-27T17:15:00.000Z

Tracklist:

1. Flesh & Bone Feat. Perspects
2. Sequenced Life
3. Masterplan Feat. Miss Kittin
4. Village Of The Damned
5. Electronic Snowflakes
6. Traces Feat. Mount Sims
7. It's The Mind
8. Radiation
9. The Brutalist
10. Sleeping Machines

Best known for his electroclash collaborations with Miss Kittin, Michel Amato aka The Hacker’s second album is certainly not an electroclash production; not even the track that he teams up again with Miss Kittin on. Mainly falling under the genre of techno, the album also borrows heavily from nu-wave and electro influences, with a dark, gothic vibe running through many of the tracks and resulting in a soundtrack-ish feel.

Masterplan is the new collaboration with Miss Kittin. She lends her deadpan vocals and deft lyrics over spacey analogue synths and techno beats. Michel also teams up with Ian Clarke aka Perspects for album opener and first single Flesh & Bone. A grinding electrotech affair leaning towards the nu-wave side, the subtlety vocodered vocals bring the track to life. The final vocal contributor on the album is Mount Sims on Traces, a nu-wave track heavy on 80s sounding synths and cheesy gothic keyboards.

Sequenced Life strongly reminds me of Kraftwerk, with one particular sequence reminiscence of Trans Europe Express. The moody, spacey sounds of

It’s The Mind also shows Kraftwerkian influences.

The remainder of the album reveals a darker side. As would be expected from its title, the atmospheric, driving techno of Village of the Damned is steeped deep in dark, gothic vibes. Radiation layers dark, industrial sounding synths over bouncy acid house beats. This is followed by the equally dark and industrial driving techno of The Brutalist. The quirky Sleeping Machines brings the album to a close. Opening with an eccentric keyboard melody, it’s a atmospheric and gothic piece of minimalist techno.

Reves Mecaniques has an at times soundtrack feel to it, with a level of atmosphere often missing from techno music. Taken together with the breadth of the electrotech spectrum that The Hacker deftly brings together, the album marks him out as one of today’s most talented and innovative artists on the French dance music scene.

www.inthemix.com.au

David Carretta: Kill Your Radio (Gigolo, 2004)

2005-01-27T15:32:00.000Z

Tracklist:

1. Hertz Anthem
2. Lovely toy
3. Te quiero me amor
4. Colors (Transmition Mix)
5. The blue box
6. Home P
7. Ta liberté c'est ça
8. Pop et synthetique
9. Kill your radio
10. Extreme body
11. So lonely
12. Vicious game (Radio Edit)
13. The rebirth

David Carretta is back with ‘Kill Your Radio’ his much awaited second album release on Gigolo Records and follow up to recent single, ‘Lovely Toy’.

David Carretta was born in Marseilles where he grew up, experimenting with synths, sequencers and early samplers. Combined with influences from New-Wave bands such as Front 242, Depeche Mode and D.A.F., David formed his first band, Art Kinder Industrie. Then in 1993, during the very beginning of the techno movement, he released his first EP for Harthouse under the name, Calyptol Inhalant.

Later on in his career, whilst touring in 1995, David met Helmut Geier. It was a defining moment for both David and the man now known to us all now as DJ Hell. David Carretta could almost be classed as a co-founder of the label as Gigolo’s first release featured his track ‘Innerwood’, which has been cited by Hell as the record that convinced him to finally start his own label. For that alone, he surely deserves a place in the annals of modern dance music history.

David continued to hugely influence the early sound of Gigolo and in ‘96 met Caroline Hervé aka Miss Kittin with whom he recorded a cover version of ‘Down in the Park’ by Gary Numan. He proceeded, alongside fellow compatriots Miss Kittin, The Hacker and Terence Fixmer to build a name and sound for DJ Hell’s now world-renowned label. He later followed up ‘Innerwood’ with three further releases before his debut album ‘Le Catalogue Electronique’, in December ‘99.

‘Kill Your Radio’ marks David’s return to his Gigolo roots having recently been releasing on various French and English labels. Sonically, ‘Kill Your Radio’ is everything one would expect from a person who was present at the founding of Gigolo. David’s vocals feature alongside dirty basslines and fast and heavy synth drum beats and a strong Industrial/EBM feel prevails. Whilst ‘Lovely Toy’ is a more vocal heavy track, the album pace picks up into a straight-up techno sound.

Distorted guitars, electro bleeps and twisted vocal samples are blended on tracks such as ‘Kill Your Radio’ and ‘Vicious Game’ to great effect, giving rise to the deep and dirty sound which brought attention to Gigolo in its formative years.

Confidently throwing aside the hundreds of meaningless sub-genres that have been pushed our way, ‘Kill Your Radio’ can be safely described as techno in the true Gigolo style. David Carretta’s latest album is a reassuring reminder that despite all the pretenders to the throne of modern electro music, and the past fads of electro-clash, electro-this and electro-that, those who were there first still know how to rock.

www.electronicpm.co.uk

The Hacker/Various: The Next Step of New Wave (UWE, 2003)

2005-01-27T15:15:00.000Z

Tracklist:

01. Dopplereffekt: Scientist
02. Le Car: Cinamatic-Automatic
03. The Silver Locusts: A Barren Garden
04. Plasma.Co: Modern Romantics
05. I.F: Secret Desire
06. Oxia: Situation
07. Perspects: Tender Taming
08. Artist Unknown: Anthem
09. Oxia: Story
10. Japanese Telecom: Japanese Animation
11. The Hacker: Nebel
12. Aiden Tyrell: Love Explosion
13. The Advent: Visualise
14. Acrosome: Gametetrans
15. Adult: Hand To Phone
16. The Hacker: Fadin Away
17. Rude 66: My 909
18. The Hacker: Fadin Away
19. Random Factor: Broken Mirror

Michel Amato, AKA The Hacker, has seen his profile rise considerably in the last few years. The Gigolo phenomenon, and Michel’s collaborative work with Miss Kittin (resulting in their ‘The First Album’ long player), helped boost interest in his work and thrust him into his current position as one of France’s hottest talents.

Less known, however, is Michel’s work aside to the Gigolo tie-in. Amato co-runs the Goodlife imprint along with two colleagues from the Grenoble (his home town) techno scene – one of whom is Oliver from Oxia, who’s work also features heavily in the Goodlife catalogue.

Whilst The Hacker’s love of 80’s style electronic music is obviously apparent in his production work, many of his 4/4 influences have been ignored in the hype surrounding his Gigolo releases, though they are clear to anyone who has checked his work on other labels. It is certainly Michel’s intention to ensure that people realise that there are many strings to his bow, and one way he puts this across is through his DJing.

Like Miss Kittin, The Hacker is also a talented DJ, although his work in this field has been more prominent in mainland Europe. However, his deck skills have had years to develop, and this facet of The Hacker’s career should not be viewed as a mere backup to his studio work.

‘The Next Step Of New Wave’ is The Hacker’s first commercially available mix CD. As the title suggests, it’s Michel’s take on the future of electro – a genre which has displayed strong staying power over the years – always there in the background, until last year, when all eyes seemed to be turning it’s way.

Michel’s position as a forerunner in this form of music enables him to select knowledgably from the growing number of producers in the field – resulting in a varied, forward-facing collection of tracks. Amato’s presentation of tracks in the mix highlights his professional touch – the tracks themselves remain the focus of the exercise, while the overall flow is tight and energetic.

www.electronicpm.co.uk

Damian Lazarus/Various: Rebel Futurism Vol.1(Crosstown Rebels, 2004)

2005-01-27T03:40:00.000Z

Tracklist:

01. Dj Maxi - Rebel Intro
02. Kiki & Silversurfer Feat. Capt Comatose - Shake
03. Le Dust Sucker – Mandate My Ass
04. Joakim - Come Into My Kitchen (Chateau Flight Mix)
05. Dj T - Freemind
06. Tiga - Burning
07. Silversurfer - Welcome To Berlin
08. Dave Clarke Feat Chicks On Speed - Disgraceland
09. Bushwacka! - Nettbugs
10. Martin Solvieg - Heartbeat
11. Russ Gabriel - Patience
12. Jahcoozi - Fish
13. Digital Tongues - No Way You Can Sleep
14. Helicopter Jackson - Booty Song
15. Phonique - Where's The Party At?
16. Sascha Funke – Bravo
17. Robbie Hardkiss - Everything Is Changing
18. Avril - French Kiss

Already tipped as one of the hottest compilations this year, ‘Rebel Futurism’ is the first album from the cool Crosstown Rebels Recordings label.
Crosstown Rebels is the new home of cutting edge underground electronic dance music. Inspired by the new energy in international club culture, our records offer twisted angles for worldwide party rebels. Set up by DJ and City Rockers A&R man Damian Lazarus, Crosstown Rebels is a brand new organisation that loves quality alternative sounds, adores a great party and thrives on creative, young people armed with something new to say.

Last year they decided to continue to re‑launch the “Futurism” compilations, which Damian Lazarus compiled and mixed for City Rockers, and re‑brand it for Crosstown Rebels. After months of planning, mixing and experimenting, the finished album is ready to go and will be released in March 2004.

Featuring 18 awesome tunes from our friends including Tiga, Digital Tongues, Avril and Bushwacka and exclusives from Chicks on Speed, Kiki & Silversurfer, Helicopter Jackson and Phonique, this album is packed full of gems that when put together, sound like a fresh new instalment for dance music.

Laying down the foundations of a new sound or maybe a new era…

www.godbrain.ch

Cypher, by Vincenzo Natali (2002)

2005-01-27T03:09:00.000Z

There is an exceptional low-budget film called "Cube" that won over critics and audiences at the 1997 Toronto Film Festival. The charm of that sci-fi film is implicit is its dramatic story of strangers trapped in a dangerous labyrinth, whose only escape is by death or mathematical genius. "Cube" poses important provocations: Can the primal instinct to survive defy basic humanity? Will evil corporations tear away the flesh of modern society? Despite some minor character inconsistencies, "Cube" fires on all cylinders of imagination. "Cypher" is another sleek film made by the same director, Vincenzo Natali, but this is where all similarities end.

Constructed on a weak foundation of borrowed ideas from great films such as "Dark City" and "Total Recall," the first casualty is originality – a prerequisite for any science fiction yarn. But that is the least of "Cypher's" problems; convoluted storytelling, poor pacing and bad acting adds more to make less. In all fairness to director Natali's sharp sense of design (the film looks gorgeous for its mediocre budget) I believe the real culprit is the humdrum screenplay by Brian King.

Jeremy Northam plays Morgan Sullivan, a bland accountant, recruited by a monolithic corporation called DigiCorp. to attend business conventions across American and engage in important reconnaissance. But there's something strange: Sullivan suffers from splitting headaches, nightmares and nausea. He wakes up in strange places with no idea of how he got there; he also develops a taste for Cohiba cigars and single malt whiskey even though he doesn't smoke or drink. Could he be living someone else's life? Why should Sullivan believe the mysterious Rita (Lucy Liu in sleep mode) when she tells him that his life is in danger? Should he accept the offer of rival company Sunways to act as a double-agent and steal information from DigiCorp? If you're not confused by now, take my word, by the end of the film you will be; bored also you'll be because logic and reason are mercilessly thrown out of the window in favour of faux suspense and unnecessary emotional titillation. Another note - if the film falls apart with its preposterous plotting then it burns into cinder by a corny romance.

You could say that "Cypher" is cut from the same cloth as "Cube." There is stark claustrophobia; isolation; paranoia; corporate espionage; and a delightful cameo by one of the characters from "Cube." But it lacks the appetite, the wit and skill needed to make an engaging science fiction film. And you don't need a critic to tell you that this makes making comparisons seem even more unfair. - Adnan Khan

movies.theemiratesnetwork.com

Behind the Weel (Depeche Mode)

2005-01-27T03:04:00.000Z

My Little Girl
Drive Anywhere
Do What You Want
I Don'T Care
Tonight
I'M In The Hands Of Fate
I Hand Myself
Over On A Plate
Now

Oh Little Girl
There Are Times When I Feel
I'D Rather Not Be
The One Behind The Wheel
Come
Pull My Strings
Watch Me Move
I Do Anything
Please

Sweet Little Girl
I Prefer
You Behind The Wheel
And Me The Passenger
Drive
I'M Yours To Keep
Do What You Want
I'M Going Cheap
Tonight

You'Re Behind The Wheel Tonight

www.elektrolurch.com

Finding Neverland, by Marc Forster (2004)

2005-01-27T02:52:00.000Z

Director Marc Forster's follow-up to "Monster's Ball" is "Finding Neverland," a tale of magic and fantasy inspired by the life of James Barrie, the real-life author of the children's classic Peter Pan. Set in London in 1904, the film follows Barrie's creative journey to bring Peter Pan to life, from his first inspiration for the story up until the play's premiere at the Duke of York's Theatre - a night that will change not only Barrie's own life, but the lives of everyone close to him.

movieweb.com

Zivot Je Cudo (Life is a Miracle), by Emir Kusturica (2004)

2005-01-22T14:33:00.000Z

Bosnia, 1992. Luka, un ingeniero serbio de Belgrado, se ha instalado en un pueblo en medio de ninguna parte con su mujer cantante de ópera, Jadranka, y el hijo de ambos, Milos. Luka está preparando la construcción del ferrocarril que va a transformar la región en un paraíso turístico. Completamente absorto en su trabajo y cegado por su optimismo natural, está sordo al cada vez más persistente rumor de la guerra. Cuando el conflicto estalla, la vida de Luka se ve alterada: su mujer, Jadranka, desaparece del brazo de un músico mientras que su hijo, Milos, es llamado al frente. Siempre optimista, Luka aguarda el regreso de su familia, pero Jadranka no vuelve. Milos es hecho prisionero y el ejército serbio nombra a Luka guardián de Sabaha, una joven musulmana que ha sido tomada como rehén. Al poco tiempo, Luka se ha enamorado de Sabaha, pero la joven está destinada a ser intercambiada por un prisionero serbio: su hijo Milos.

www.festivaldesevilla.com

Dom Za Vesanje (Time of the Gypsies), by Emir Kusturica (1990)

2005-01-22T14:20:00.000Z

Filmed in Sarajevo, this is a film everyone should see .... twice.
The story centers around Perhan, a young Romany Gypsy who has inherited telekinetic powers. He lives with his grandmother, a gifted healer; his little sister, who is physically handicapped; and his uncle, a ne'er-do-well gambler, hopelessly in debt to the local thugs. They live together in a little house on the outskirts of Sarajevo, surrounded by the Gypsy community that is the focus of their lives.

Perhan is tricked into traveling to Italy with Ahmed, a local Gypsy lord. Ahmed traffics in everything from selling babies to pimping. Perhan is forced to lead the life of a petty criminal while, back in Sarajevo, his grandmother has promised to look after Azra, his fiancée. Ahmed promises that he's sending money back to Sarajevo each month, to be put towards the costs of the new home he is having built for Perhan and his fiancée. When Perhan returns home, he discovers that there is no house being built, that his fiancée is now pregnant with what may be his uncle's baby, and, most tragically, that his little sister, thought to be receiving medical treatment, has in fact been forced to beg in the streets to survive. These revelations change Perhan's heart irrecoverably and he sets out on a mission to destroy Ahmed and find his sister.

The rare glimpse into the Romany Gypsy culture is enough to make this film interesting, but the story is so compelling, the cinematography so excellent and the characters so fascinating, that it takes on the proportions of a major work of film. Emir Kusturica won the award for Best Director from the Cannes Film Festival for Time of the Gypsies (1989). We cannot recall any film delivering so much of that which we all watch foreign films for. Remember, we recommend that it be watched twice, in order to absorb the ambience.

www.1worldfilms.com

Mystic River, by Clint Eastwood (2003)

2005-01-19T13:59:00.000Z

When they were kids growing up together in a rough section of Boston, Jimmy Markum, Dave Boyle and Sean Devine spent their days playing stickball on the street, the way most boys did in their blue-collar neighborhood of East Buckingham. Nothing much out of the ordinary ever happened, until a moment's decision drastically altered the course of each of their lives forever. Twenty-five years later, the three find themselves thrust back together by another tragic event--the murder of Jimmy's 19-year-old daughter. Now a cop, Sean is assigned to the case and he and his partner are charged with unraveling the seemingly senseless crime. In the wake of the sudden and terrible loss of his child, Jimmy's mind becomes consumed with revenge--and his own plans to find the killer. Caught up in the maelstrom is Dave, now a lost and broken man fighting to keep his demons at bay. As the investigation creeps closer to home, his wife Celeste becomes consumed by suspicion and fear, while Jimmy's wife, Annabeth, draws her family tighter together in order to weather the storm.

movies.yahoo.com

The Chemical Brothers: Push the Button (Virgin, 2005)

2005-01-18T23:25:00.000Z

Tracklist:

01. Galvanize
02. The Boxer
03. Believe
04. Hold Tight London
05. Come Inside
06. The Big Jump
07. Left Right
08. Close Your Eyes
09. Shake Break Bounce
10. Marvo Ging
11. Surface To Air

11 years and 8 million albums since bursting out of the UK's underground club culture, The Chemical Brothers are back.

With their fifth studio album, Push the Button, Tom Rowlands and Ed Simons once again demonstrate that, when it comes to beat-based innovation, inspired collaboration and sheer sonic excellence, they are matchless.

The first single “Galvanize” is a Middle Eastern-flavored juggernaut, featuring A Tribe Called Quest legend Q-Tip. "Galvanize" will be released on January 18, 2005.

Old sparring partner Tim Burgess continues a run of sublime hook-ups with “The Boxer”.

Also representing the hip hop world that was Tom 'n' Ed's first love is Anwar Superstar, brother of Mos Def and vocalist on the new classic “Left Right”.

From the other end of the cultural spectrum comes Kele Okereke, singer with hot new art-rock outfit Bloc Party; his chopped up, mantric vocals on “Believe” show why he's one of the most exciting new frontmen in Britain.

“Close Your Eyes”, meanwhile, recalls the psychedelic soul of the Chemicals' past collaborations with Mercury Rev and Wayne Coyne of The Flaming Lips. This time, their creative partners are the massively-tipped The Magic Numbers, the double-sibling foursome who have been causing all manner of fuss on the London gig circuit. You heard their Mamas & the Papas-type harmonies here first...

That's The Chemical Brothers in 2005: still bringing you the good stuff, and the new stuff, ahead of the pack. Defying expectations and reinvigorating music are what the brothers do best - and this album proves it yet again.

Watch this thumpingly well-produced, screamingly bold, utterly infectious space...

Push The Button will be released on January 25, 2005

www.astralwerks.com

Adult.: Anxiety Always (Ersatz Audio, 2003)

2005-01-18T21:40:00.000Z

Tracklist:

01. the cold call
02. shake your head
03. glue your eyelids together
04. blank eyed, nose bleed
05. turn your back
06. people, you can confuse
07. nothing of the kind
08. nervous (wreck)
09. we know how to have fun
10. kick in the shin

Over the past few years, this whole electro, synth pop revival has been fun, but only to a certain degree. You can listen to all those revivalists recreate the electronic music of the early '80s all day long, and although you'll come across more than a few very cool tunes, you're left in the end with a hollow feeling inside. At times it can be highly enjoyable, such as the cheesy vulgarity of Peaches, the entrancing, hypnotic melodies of Ladytron, the house fused strains of Felix Da Housecat, the artsy pretension of Chicks On Speed, or the all-out celebration of pop culture of Fischerspooner (whose album will likely be one the few defining records of the genre), but to get to the good stuff, you have to wade through a lot of sludge. You're bombarded by overtly robotic vocals, vocoders galore, an endless soundtrack to old Intellivision games, and dozens upon dozens of auteur wannabes who have absolutely nothing to say. The one thing missing from most of the new electro music? Passion.

Enter the snarky Detroit husband-and-wife duo Adult. One of the pioneering groups in this big synth pop revival, Adult. were doing this before it became fashionable and got its own brand name (the oft-scorned title "electroclash"). Since 1998, Nicola Kuperus and her hubby Adam Lee Miller have built up a cult following with their own version of minimalist, Eurotrashy techno, with such songs as "Dispassionate Furniture", "Nausea", and especially the wickedly nasty "Hand to Phone", as well as their 2001 album Resuscitation, which was basically a compilation of all their early singles. They've also put out many notable remixes, including brilliant versions of Fischerspooner's "Emerge", Felix Da Housecat's "Silver Screen, Shower Scene", and Death in Vegas's 2002 UK hit, "Hands Around My Throat" (on which Kuperus contributes vocals). So now, nearly two years after their first full-length release, Adult. have surfaced once again, but this time, with a record that's an album in the truest sense, a more focused effort that tries to take their trademark synth sound in a new direction.

Anxiety Always is, to put it bluntly, one pissed-off album, a snide, sarcastic, bitchy commentary on trend-followers, relationships, and the brainwashed masses out there, and it's so up front in its condescension that you're taken aback at first, so punk-like is Adult.'s sound. It's like Ian MacKaye fronting an electroclash band. Gone are the layers of synths that dominated much of Adult.'s early work; here, the sound is even more stripped-down than before, the very simple synth melodies heavily influenced by early Eighties punk, and the songs' messages are much more pointed, more direct. Kuperus's vocals, while still sounding as disembodied and cold as heard on early Adult. tracks, are now right up front in the mix, with no vocoders masking what she has to say, and when Kuperus does have something to say on this album, she does not mince words one iota.

There's a particularly uncomfortable theme of brutality, of unease on Anxiety Always that's more than obvious in the song titles, such as "Glue Your Eyelids Together", "Blank Eyed, Nose Bleed", and "Kick in the Shin". "Shake Your Head" has an industrial pop feel, with its ominous synth programming and cacophonous beats, as Kuperus sounds vicious as she hollers, "If you don't know/Ask your mother/The end of guessing games." The very punk "Turn Your Back" actually has bass guitar (played by Miller) and some frenetic, barbed ranting by Kuperus ("Slowing up and speeding down/I'm out of time and out of tune"), while both the instrumental "Nervous (Wreck)" and the searing "Nothing of the Kind" are menacingly nihilistic ("Walking in the void/Too much space/Nothing in my mind/It's all erased"). The album saves the best for last, as "Kick in the Shin", despite its simple synth arrangement, manages to rock harder than most electroclash songs out there. Kuperus shows a tiny bit more vocal range on the song, and it makes all the difference, adding a deliciously sarcastic tone to her lyrics ("At this point in time/You should read between the lines/A kick in the shin/A punch in the chin/Where to begin").

The album is at its most acerbic, but also at its weakest, on three songs, which seem to be a thinly-veiled attack on the more fashionable electroclash artists and all their uber-hip followers. "Glue Your Eyelids Together", "People, You Can Confuse", and "We Know How to Have Fun" all seem to have a deliberately stiff "electroclash" sound, as well as some caustic, venomous lyrics that make you think Adult. are mocking the scene that they had a profound influence on ("The conversation/Of a conceited bore/Is usually over before it's done"). The thing is, the music is so by-the-book, that the message will likely be lost on the people who will wind up enjoying the music the most, rendering the whole exercise pointless.

Thankfully, it's a mis-step that doesn't mar the album that badly. With Anxiety Always, Adult. prove once again that they're still more than capable of holding their own among the more fashionable nu-electro outfits out there. In a genre that's absolutely overflowing with empty, mindless novelty acts, it's good to hear an album that has some kind of human quality to it, even if that human quality makes you want to hide under the bed.

www.popmatters.com

The Talented Mr. Ripley, by Anthony Minghella

2005-01-18T21:10:00.000Z

The story follows Tom Ripley who travels to Italy to coax a young American, Dickie Greenleaf, back to his wealthy father. Tom is unsuccessful at his mission. And through his logic, Tom in desperation has no other choice but to kill the young man. Say What? Well, it seems logical to Tom. Tom then assumes his identity, and lives the life of a rich playboy. For a while.

www.casenet.com

Melinda and Melinda, by Woody Allen

2005-01-18T20:46:00.000Z

A New York, au cours d'un dîner entre amis, deux auteurs, l'un de tragédies l'autre de comédies, se remettent en question : "L'existence humaine n'a en vérité rien de drôle, elle est pathétique", dit le premier. "Pas d'accord, répond l'autre. Si les philosophes disent de la vie qu'elle est absurde, c'est parce qu'on finit toujours par en rire, et que nous en avons besoin !"
Prenons le personnage de Melinda par exemple : cette jolie jeune femme déboussolée fait irruption dans un dîner mondain. Elle s'incruste dans la vie de deux couples, suscitant ici la tentation de l'infidélité, là une délicieuse passion amoureuse. Melinda va révéler l'érosion de leurs sentiments et leurs difficultés à communiquer.

www.allocine.fr

Scarface, by Brian De Palma

2005-01-18T03:29:00.000Z

Al Pacino owned the 70s, diversified in the 80s and continues to be one of the most versatile character actors in movies today.

After being denied an Oscar for his outstanding performance in "The Godfather Part II", the man decided against sending a horses head to members of the academy, and instead found himself collaborating with Brian De Palma ("The Untouchables") and an embittered young screenwriter by the name of Oliver Stone ("Platoon").

Pacino had already established himself as a great young actor willing to take risks with films "Dog Day Afternoon", "Serpico" and "Cruising".

Scarface, by comparison, was a low key reworking of the 1932 Howard Hawke's classic, an atypical gangster movie in terms of it's political statements about Castro's Cuba and the futility / hypocrisy of the drugs war (also explored in "Traffic").

Scarface is about a Cuban refugee who builds a powerful cocaine empire through a ruthless reign of ultra violence and business savvy. Tony Montana believes that "…first you get the money, then you get the power and then you get the woman…"

Pacino's partner in crime is an old friend from Havana called Manny Ray (the excellent Steven Bauer) together they fight their way out of a refugee camp, take out rival dealers and eventually whack the bosses to become the main men in downtown Miami... But hedonism and the pursuit of absolute power leads to paranoia and psychosis.

In the end, it all goes up in a hail of bullets and hellfire: Tony 'Scarface' Montana was a man so obsessed with the American dream, that he didn't realise it had consumed him in every way possible.

www.fast-rewind.com

Ricordati di me, by Gabriele Muccino

2005-01-17T15:37:00.000Z

Il nuovo film di Muccino esce nelle sale proprio il giorno di San Valentino e tutti si aspettano un altro capolavoro, bello almeno quanto L'Ultimo Bacio. Prestigiosi gli interpreti di Ricordati di me: Fabrizio Bentivoglio, Laura Morante e Monica Bellucci. La storia di una famiglia (genitori e 2 figli) ossessionati dall'idea di fare successo. Muccino ha dato particolare risalto alla figura di Valentina, la figlia, (interpretata dalla debuttante Nicoletta Romanoff) che aspira a diventare valletta tv e per riuscirci è disposta a tutto, anche se in realtà non possiede nessun talento. E' proprio questa l'accusa che il regista romano si sente di fare alla TV, quella di dare spazio a persone che non hanno nessuna preparazione.

www.publiweb.it

The Dead Texan, ZDB

2005-01-15T01:19:00.000Z

Música e imagem. Uma combinação quase perfeita. Uma onda hiptnótica vaguea pela sala, ornamentada por sons etéreos de piano. De lamentar apenas a curta intervenção deste duo norte-americano.

Biography - As a live sound engineer Adam Wiltzie has worked with Labradford, The Flaming Lips and Mercury Rev. He currently lives in Brussels, recording and working at live shows across Europe. It seemed inevitable that, given the extended process of recording Stars of the Lid's albums, Wiltzie would turn to solo recording. Adam Wiltzie did collaborate with Bobby Donne of Labradford on the self-titled Aix Em Klemm album, however The Dead Texan album presents a collaboration of a different kind.

The Dead Texan is a continuation of Mr. Wiltzie's nocturnal musical fumblings. Many of these songs could have been beginnings to new SOTL tracks, but he felt they were too aggressive for the new Lid record, which is still being recorded as we go to press.

Christina Vantzos is a filmmaker and video artist whose work has been shown in film, music and art festivals in Baltimore, Kansas City, Chicago and Brussels. She has accompanied musicians as a VJ and is working on a video documentary on teenage life in Scotland. Although Wiltzie began composing and recording the music on his own, he dabbled with combining his music with Vantzos' videos; this eventually became a mutually collaborative project with the composition of the music and the creation of the videos becoming simultaneous. Both mediums played off the other until audio and visual came to support each other seamlessly. The DVD is divided into seven sections which add up to a half hour's viewing time.

The eleven tracks on The Dead Texan are sonatas to Stars of the Lid's noctambulant fugues. Or as Adam Wiltzie describes them, mini symphonies. The presence of piano and strings are reminiscent of Zbigniew Preisner's soundtrack work and the feel is suggestive of George Delerue's early 60's soundtracks, but the surreal smear of guitars is Wiltzie's unmistakable contribution. Wiltzie has been living in Brussels, Belgium for the past few years. A decidedly European, filmic sensibility wafts through The Dead Texan as a song title like `La Ballade de Alain Georges' (with its reference to the 1940's French actor). Tracks vary from the flowing, transparent melody on `A Chronicle of Early Failures - Part 2' to delicate and fleeting vignettes. Combined with the creation of the seven video segments that accompany The Dead Texan, the tracks appear and depart as brief chamber pieces yet still fit into a greater whole.

www.southern.com

Dogville, by Lars Von Trier

2005-01-14T11:19:00.000Z

Anos 30, Dogville, um lugarejo nas Montanhas Rochosas. Grace (Nicole Kidman), uma bela desconhecida, aparece no lugar ao tentar fugir de gângsters. Com o apoio de Tom Edison (Paul Bettany), o auto-designado porta-voz da pequena comunidade, Grace é escondida pela pequena cidade e, em troca, trabalhará para eles. Fica acertado que após duas semanas ocorrerá uma votação para decidir se ela fica. Após este "período de testes" Grace é aprovada por unanimidade, mas quando a procura por ela se intensifica os moradores exigem algo mais em troca do risco de escondê-la. É quando ela descobre de modo duro que nesta cidade a bondade é algo bem relativo, pois Dogville começa a mostrar seus dentes. No entanto Grace carrega um segredo, que pode ser muito perigoso para a cidade.

adorocinema.cidadeinternet.com.br

24 Hours Party People, by Michael Winterbottom

2005-01-14T11:06:00.000Z

Finales de los años 70. Tras asistir a un concierto de Sex Pistols, Tony Wilson y sus amigos formulan un plan que a lo largo de las dos décadas siguientes cambiará la faz de la música pop y dará notoriedad a Manchester. De esta forma crean la discográfica Factory Records, lugar de origen de grupos como Joy Division, New Order y Happy mondays. Tras lanzar Factory Records, compran un local y ponen su propia discoteca, Hacienda, que pronto se convierte en una de las más conocidas del mundo. Sin embargo, la fiesta no durará eternamente. La película, una historia de música, sexo, drogas y personajes estrafalarios, muestra la visión de un hombre que quiere dejar libres a sus artistas, lo cual, a su vez, será su perdición.

www.tiramillas.net

Zhang Ziyi

2005-01-11T13:09:00.000Z

Fiquei rendido à beleza desta mulher..

2046, by Wong Kar-Wei

2005-01-11T13:00:00.000Z

Hong Kong, 1966. Dans sa petite chambre d'hôtel, Chow Mo Wan, écrivain en mal d'inspiration, tente de finir un livre de science-fiction situé en 2046. A travers l'écriture, Chow se souvient des femmes qui ont traversé son existence solitaire. Passionnées, cérébrales ou romantiques, elle ont chacune laissé une trace indélébile dans sa mémoire et nourri son imaginaire. L'une d'entre elles revient constamment hanter son
souvenir : Su Li Zhen, la seule qu'il ait sans doute aimée. Elle occupait une chambre voisine de la sienne – la 2046…

www.cineweb.lu

American Splendor, by Shari Springer Berman, Bob Pulcini and Robert Pulcini

2005-01-10T14:40:00.000Z

www.americansplendormovie.com

Jour de Fête, by Jacques Tati

2005-01-10T14:37:00.000Z

During Bastille Day celebrations in a sleepy rural backwater, the village postman (Tati) sets out to modernise his mail delivery system, with no more than a bicycle at his disposal. Jacques Tati's Jour De Fete was an instantaneous success, winning huge public acclaim as well as a best script award at the Venice Festival. Gently satirising the modern age's obsession with labour-saving devices, the film has proved to be enduringly popular in its portrayal of the simple postman's hapless endeavours.

www.sendit.com

Sylvia, by Christine Jeffs

2005-01-08T14:04:00.000Z

Ariel

Stasis in darkness.
Then the substanceless blue
Pour of tor and distances.

God's lioness,
How one we grow,
Pivot of heels and knees!--The furrow

Splits and passes, sister to
The brown arc
Of the neck I cannot catch,

Nigger-eye
Berries cast dark
Hooks----

Black sweet blood mouthfuls,
Shadows.
Something else

Hauls me through air----
Thighs, hair;
Flakes from my heels.

White
Godiva, I unpeel----
Dead hands, dead stringencies.

And now I
Foam to wheat, a glitter of seas.
The child's cry

Melts in the wall.
And I
Am the arrow,

The dew that flies,
Suicidal, at one with the drive
Into the red

Eye, the cauldron of morning.

Sylvia Plath

I Robot, by Alex Proyas

2005-01-07T13:04:00.000Z

1. A robot may not injure a human being or, through inaction, allow a human being to come to harm.
2. A robot must obey orders given it by human beings except where such orders would conflict with the First Law.
3. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.

www.moviesonline.ca

Radio Soulwax on BBC

2005-01-06T13:24:00.000Z

Já pouco tempo resta para disfrutar do fantástico dj-set apresentado no início deste novo ano pelos 2 Many Dj´s na Radio One. Uma tracklist que faz lembrar a sua última e memorável actuação no Lux com uma mão cheia de faixas que por lá se ouviram.

Tracklist

David Bowie - 'Rebel Rebel' [Soulwax Edit] (White)
Soulwax - E-Talking [Soulwax Nite Version Feat.Nancy Whang] (PIAS)
Unknown - 'Martini Bros' (White)
Tiga vs Human League - 'Unknown' (White)
Thomas Anderson - 'Unknown' (Bpitch)
P.Diddy (With Felix Da Housecat) - 'Jack U' (White)
Bob Seger - 'Ramblin' (White)
Unknown - 'Gamblin Man' (Capitol)
Whitey - 'Y.U.H.2.B.M.' (1-2-3-4 Records)
Ladytron - 'Sugar' (Island)
Fisherspooner - 'Just Let Go' [Thin White Duke Remix] (EMI)
Sweet Light - 'Abusator (Freak 'n' Chic)' [Soulwax Edit] (White)
Vitalic - 'Valletta Fanfares' (PIAS)
Miss Kitten - 'Requiem For Hit' [Soulwax Edit] (White)
Simian Mobile Disco - 'The Count' (Kitsune)
Who Made Who - 'Satisfaction' (Gomma)
Jackos One - 'Bats Danse' (Toxic Wreckords)
Zongamin - 'Bongos Song' (White)
Midnight Mike - 'Hot In The Kitchen' (Gomma)
Hot Chip - 'Over And Over' (White)
Beastie Boys - 'Stand Together' [Soulwax Edit] (Capitol)
Annie - 'Chewing Gum' [Acapella] (679 Records)
Nocturnal Emissions - 'Unknown' (Sterile Records)
Queens Of The Stoneage - 'First It Giveth' (Interscope)
ODB - 'Got Your Money' [Acapella] (Elektra)
Fatal Error - 'Fatal Error' (R&S)
Adriano Celentano - 'Alright' (Prisencolinensinainciusol)
The Girls - 'Zebra Jeans' (Wall Of Sound)
Kling Klang - 'Heavydale' (Rock Action Records)
LCD Soundsystem - 'Daft Punk Is Playing In My House' [Soulwax ShibuyaMix] (Emi/DFA)
Franz And Shape - 'Countach' (Relish)
Yellow House - 'Jack My Body' (Dance Mania Records)
Jersey Devil Social Club - 'Homage At 121bpm' (Environ Records)
Tiga - 'Louder Than A Bomb' (PIAS)
!!! - 'Louden Up' [Rub'n Tug Mix] (Warp)
Whitey - 'Leave Them All Behind' [Soulwax Mix] (Regal)
Jon Spencer Blues Explosion - 'Unknown' [DFA Remix] (Mute)
Johanman - 'Move My Body' (Turbo)
Linus Loves - 'Night Music' (Breastfed)
Lopazz - 'Blood' [Tiefschwarz Remix] (Output)
Static - 'Dream It' [US Rave Mix] (Strictly Rhythm)
Human Resource - 'Dominator' vs '808' (White)
State - 'Cubik' [Soulwax Renominator Mix] (White)
Audion - 'Kisses' (Spectral/Ghostly International)
MU - 'Paris Hilton' (Output)
Mr. Oizo - 'Flat Beat' (F Com)
The Ark - 'Mr Oizo Remix' (White)
Soulwax - 'Teachers' (PIAS)
Gary Numan - 'Steel And You' (Beggars Banquet)
Jimi Hendrix - 'Little Miss Lover' (Polydor)
MIA - 'Galang' (679)
ZZ Top - 'Cheap Sunglasses' (Warner Bros)
Jay-Z - '99 Problems' (Roc-A-Fella)
Meat Beat Manifesto - 'Pressure' (Waxtrax)
Snoop Dogg - 'Drop It Like Its Hot' (Doggystyle)
Public Enemy - 'Channel Zero' (Def Jam)
Siouxsie And The Banshees - 'Supernatural Thing' (PVC)
Kraftwerk - 'Man Machine' (EMI)
Dutch Breaks - 'Unknown' (Demon Fuzz Records)
Ronnie James Dio - 'Unknown' (White)
DJ Shadow - 'Number Song' (Universal)
The Animals - 'A Girl Named Sandals' (IRS)
Chemical Brothers - 'Galvanize' (Virgin)
Dizzee Rascal - 'Fix Up, Look Sharp' (679)
DB - 'Future Now' [DB Remix] (Future Now Records)

www.bbc.co.uk

The 25th Hour, by Spike Lee

2005-01-05T23:19:00.000Z

The clock is ticking on Monty Brogan's freedom-in 24 hours he goes to prison for 7 years. Once a king of Manhattan, Monty is about to say goodbye to the bright lights. In his last day of freedom, he tries to reconnect with his father and gets together with his 2 best friends. Time is running out and there are choices to be made.

romanticmovies.about.com

Land of Plenty, by Wim Wenders

2005-01-04T17:03:00.000Z

After years of living abroad with her American missionary father, Lana (Michelle Williams) returns to the United States to begin her studies. But instead of focusing on her education, Lana sets out to find her only other living relative - her uncle Paul, her deceased mother’s brother. A Vietnam veteran, Paul is a reclusive vagabond with deep emotional war wounds. A tragic event witnessed by the two unites them in a common goal to rectify a wrong, and takes them on a journey of healing, discovery, and kinship.

www.wim-wenders.com

Tracklist

2005-01-03T04:21:00.000Z

The best of drum & Bass 2004 for Fabio & Grooverider

10) Fresh - Tomb Raider (DOA)
9) Adam F & Fresh - Original Jungle Sound (breakbeat Kaos)
8) Dillinja - In The Grind (Valve)
7) Roni Size - out of Breathe (Liquid V)
6) Drumsound & bassline Smith - The Odyssey (prototype)
5) Calibre - Mr Maverick (Signature)
4) High Contrast - Racing Green (Hospital)
3) Calibre - Drop it Down (Signature)
2) Pendulum - Another Planet (Breakbeat kaos)
1) Artificial Intelligence - Uprising (V Recordings)

www.bbc.co.uk

De Volta..

2005-01-02T03:00:00.000Z

It´s All About Love

2004-09-23T13:18:00.000+01:00

In the not-too-distant future, when global freezing has spread worldwide and grief and loneliness can be quite literally fatal, John (Joaquin Phoenix) arrives in New York to finalize his divorce with famous ice skater Elena (Claire Danes). He's warmly welcomed by her relatives, but the head of the family has a sinister plan that may lead John and Elena into danger.

http://movies.go.com/

Fahrenheit 9/11

2004-09-09T10:24:00.000+01:00

A strong toxic requires a strong antidote.

Jeffrey Westhoff

Zoom 8

2004-09-05T10:21:00.000+01:00

Opto
2nd (Carsten Nicolai And Opiate)
2004, Hobby Industries

Tracklisting:
01. When the Going Gets Tough, the Tough Get Karazzee
02. Pardon My Freedom
03. Dear Can
04. King's Weed -
05. Hello? Is This Thing On?
06. Shit Scheisse Merde, Pt. 1
07. Shit Scheisse Merde, Pt. 2
08. Me and Giuliani Down by the School Yard (A True Story)
09. Theme from Space Island
10. Shit Scheisse Merde, Pt. 1 [Instrumental]

Opto is the collaborative project of two highly respected and influential electronic music composers : carsten nicolai and thomas knak. Nicolai has recorded under the ‘noto’ and ‘alva noto’ monikers for some years and is part of the revered Raster Noton collective. Thomas Knak is best known for his work under the ‘Opiate’ moniker and was involved in writing and producing Bjork’s ‘Vespertine’ album as well as releasing for pole’s Scape imprint together with friends under the collective title ‘System’. ‘2nd’ is a follow up to ‘Optofiles’, released by the raster-noton label back in 2001. Back in early 2003 Nicolai found an old battered cassette in a forest, north east of Berlin. The tape contained almost inaudible lo-fi recordings of someone playing small guitar pieces intermingled with an unusual forest ambience - noises that would become the template for ‘2nd’. Nicolai got help from assistants to restore the recordings of the found magnetic audiotape and passed the guitar files to thomas who started working on beat structures, eventually adding recordings of a nearby forest to further widen the scope of the project. these recordings were made at different hours during two days, hence the tracktitles - guiding you through 48 hours in about 40 minutes. The result is a haunting, mesmerising siesta, dense and intense static crumbling into a crisp grain of acoustic sounds, traces of piano and loose limbed guitar. If you can imagine a cross between Snd and Max Richter, or maybe Ryoji Ikeda and Sylvain Chauveau, you'll have an idea of what to expect. Sublime.

www.boomkat.com

Small Time Crooks

2004-09-03T09:47:00.000+01:00

Small Time Crooks, written and directed by Woody Allen, offers a comedic view on the effects that excessive wealth has on love, trust and self-identity. Although Small Time Crooks exposes the themes of poverty and of the popular desire to become rich and famous, the film does not intend to offer a serious commentary on such issues. Instead, Small Time Crooks focuses on its protagonistic couple's cat-and-dog relationship, its naiveté, bad taste and overall clumsiness.
Small Time Crooks tells the funny tale of the impoverished Ray Winkler (Woody Allen), a dishwasher, and his wife Frenchy (Tracy Ullman), a manicurist. The film visits the couple after 25 years of an imperfect marriage, when their situation forces them to question their self-worth and to hope to rekindle long-forgotten dreams of success. Driven by an unfounded self-confidence, Ray decides to rob a bank with his equally eager and ignorant buddies (Jon Lovitz, Michael Rapaport and Tony Darrow), and manages to set up a cookie shop near the bank, from where to dig a tunnel. Unexpectedly, Frenchy succeeds in "making good dough", and their cookie shop cover-up promises to become a moneymaking emporium.

Although the plot of Small Time Crooks offers the viewer a series of humorous surprises, character development is also unexpected and inconsistent. Initially, Small Time Crooks establishes Frenchy as patient, strong and somewhat sensible, while Ray is portrayed as childish, overly anxious and prone to failure. Surprisingly, these characterizations are switched without sufficient evidence of the characters' transformations. Frenchy's lifelong personal qualities, including her unconditional loyalty to Ray, are instantly replaced by the accessories of financial success, making her weak and vulnerable in her obviously risky dealings with the attractive David (Hugh Grant: Mickey Blue Eyes). On the other hand, the once childish Ray is suddenly defined by a mature sense of self and of his love for his wife, rendering him suddenly immune to his familiar desire for money. Nevertheless, Small Time Crooks is a film guided by the spontaneity of its resolutions, and is successful as it creates uncomplicated comedy by placing its laughable characters in amusing situations.

www.cinephiles.net

Punch-Drunk Love

2004-09-02T23:08:00.000+01:00

Paul Thomas Anderson knocked me out with his six-degrees of-separation classic, Magnolia (1999). And I admired the stylistic moves of his ode to '80s sleaze, Boogie Nights (1997). Anderson's personal panache, coupled with a provocative performance by the startlingly underrated Adam Sandler, yields a win-win proposition.

It's a smorgasbord of the bizarre, delivered on a vibrant silver platter. Sandler is the ill-at-ease Barry Egan, a neurotic small-business owner who has been permanently damaged at the hands of seven tyrannical sisters. Barry's insular universe is blown apart when he meets Lena (Emily Watson), an attractive Englishwoman who miraculously appears to be interested in him. Barry's goofball paranoia is a delightful counterpoint to Lena's measured, honest restraint, resulting in a love story of peerless depth.

Anderson's gift is to start with a simple narrative foundation, and craft it into an invigorating pastiche of colorful radiance. Barry's idiosyncrasies fuel the greater good (in this case, the story) -- his wounded emotion, his violent temper tantrums and his childlike capabilities for love. An imprudent phone call evolves into a sinister plot suggestion that pursues Barry with a vengeance.

Punch-Drunk Love defies categorization. It's an acquired taste; chock full of unforeseen hostility, suspended by an arrhythmic score and saturated with poignant pity. Sandler's perverse anxiety consumes the screen with a kinetic energy that's as frightening as it is funny. Watson matches him scene for scene, never wavering from her faithful competence. Invigorating, surreal and resonant with a rainbow of emotion -- this is P.T. Anderson' world.

Jeanne Aufmuth

Yellow Suitcase

2004-08-31T13:26:00.000+01:00

Boys Bands dos Anos 70

Férias: Marselha

2004-08-30T12:54:00.000+01:00

Ikea

2004-08-14T00:28:00.000+01:00

O conceito de negócio da IKEA é oferecer uma gama ampla de mobiliário e artigos para o lar, funcionais, com design e a preços acessíveis para a maioria das pessoas. Assim, depois de fazer as compras ainda fica com dinheiro!

Geralmente, os móveis e objectos para a decoração do lar que são muito bonitos e têm design, são acessíveis só para alguns, para aqueles que os podem pagar. Desde o início, a IKEA escolheu um caminho diferente. Decidimos estar ao lado da maioria das pessoas.

Isto significa que temos que estar preparados para responder às exigências sobre mobiliário e artigos para o lar, que qualquer pessoa no mundo possa ter. Pessoas com diferentes necessidades, gostos, sonhos, objectivos e meios. Pessoas que queiram redecorar a sua casa e criar para elas próprias um dia-a-dia melhor.

É fácil fabricar móveis bonitos e caros. Nesse caso, podemos gastar dinheiro, porque depois é o cliente quem paga. Mas, fabricar móveis bonitos e duradouros a preços baixos não é assim tão fácil. É preciso encontrar soluções simples, evitando despesas desnecessárias e poupando em tudo o que for possível, excepto…nas ideias!

Mas não podemos fazer isto sozinhos. O nosso conceito de negócio baseia-se na colaboração com o cliente. Primeiro nós fazemos a nossa parte: os nossos designers trabalham com os fabricantes para encontrar formas inteligentes de fazer móveis utilizando processos de produção existentes. A seguir, os nossos compradores procuram, em todo o mundo, os melhores fornecedores que tenham as matérias primas mais adequadas. Por fim, compramos grandes quantidades, a nível global, para conseguir os melhores preços e para dar aos nossos clientes preços mais acessíveis.

Depois, é você que tem que fazer a sua parte. Vendo o catálogo IKEA e visitando a loja, escolhe os seus móveis, e em seguida você mesmo os vai buscar ao Self Service. Como a maioria dos artigos vêm em embalagens planas, pode transportá-los facilmente até sua casa. Também pode montá-los você mesmo. Isto significa que não incluímos no preço o trabalho que você mesmo pode fazer, sem grande esforço. E assim, juntos, poupamos dinheiro … para um dia-a-dia melhor.

www.ikea.pt

Zoom 7

2004-08-13T00:33:00.000+01:00

!!!
Louden Up Now
2004, Warp Records

Yellow Suitcase

2004-08-10T21:23:00.000+01:00

Bandas da actualidade que continuam a sonoridade 80s: Röyksopp

"Os Röyksopp pertencem à chamada nova escola do electro "made in" escandinavia. Os seus dois membros, Tobjorn Brundtland e Svein Berge, conheceram-se no início da década de 90. Começam desde logo a compor ainda que de forma mais experimental e quase que em tom de brincadeira tudo aquilo que lhes ia na alma. Tudo sempre com fortes e explícitos conteúdos que nos remetem de imediato aos saudosos anos 80 e aos sintetizadores que são na realidade a grande imagem de ligação de todos aqueles que gostam de sons com uma base mais electro e que hoje ainda une gerações ainda que de décadas diferentes.

Em 2001 nasce o primeiro cd "Melody A.M". Os dois primeiros singles, "Eple" e o "Poor Leno", tornaram-se quase que instantaneamente presenças obrigatórias nas play list das principais rádios e referencias obrigatórias nas pistas de dança, oferecendo uma alternativa pelo menos distinta a todos os que procuravam por algo diferente e refrescante no campo da electro.
O som dos Röyksopp acaba na realidade por ser quase que uma ponte de ligação que combina sons deste século e sons mais clássicos. Saltam desde logo á vista um conjunto de sons repletos de um exotismo muito próprio que só é entendível se tivermos em atenção um vasto leque de nomes e influencias que ditaram certezas em seus campos de intervenção e constituem melhor ou pior bases, fontes e referencias para muitos artistas e géneros musicais de várias épocas."

Agostinho Spinola

Music of My Life 4

2004-08-08T12:48:00.000+01:00

Portishead
Dummy
1994, Go Beat!Records

Tracklisting:
01. Mysterons
02. Sour Times
03. Strangers
04. It Could Be Sweet
05. Wandering Star
06. It's a Fire (not on UK version)
07. Numb
08. Roads
09. Pedestal
10. Biscuit
11. Glory Box

Avec le recul, il est clair que Dummy a laissé une trace indélébile dans l'évolution de la musique anglaise. Les publicités ayant pour fond Glory Box ("Give me a reason to be a woman...") et le clip de Sour Times en boucle sur MTV sont des indices qui ne trompent pas. Une génération semble s'être reconnue dans les mélodies amères et attirantes de ce groupe venu d'un petit port triste d'Angleterre.

Strangers nous plonge dans l'atmosphère du groupe: glauque, hésitant entre mélancolie bienfaitrice et désespoir profond. Puisant sa force dans le hip-hop américain, des rythmes durs soutenu par des basses imposantes constituent la trame de base de ce disque. Mais ce qui choque le plus dans les constructions expérimentales de Portishead, c'est l'incomparable beauté qui s'en dégage. It Could Be Sweet par exemple est loin d'être morbide, et s'avère même être une pure merveille: le beat très dub ne fait qu'ajouter à la douce tension de la voix de Beth Gibbons. Chaque air s'accroche à l'auditeur et réussit, loin de toute ressemblance avec une ritournelle pop, le pari de devenir une mélodie intime en rapport avec son histoire. Chaque morceau est différent, et même si Glory Box est loin d'être le plus représentatif, l'album possède une réelle unité, à travers ses arrangements de guitare noisy et ses claviers atemporels.

Parfois imité, mais jamais égalé, cet album constitue le témoignage parfait de la tension de cet automne 94, un chaud-froid parfaitement en phase avec son époque. Tout simplement le spleen idéal.

Florian Fossa

Zoom 6

2004-08-07T11:56:00.000+01:00

Various
Studio One Classics
2004, Soul Jazz

Tracklisting:
01. Horace Andy - Fever
02. Carlton and the Shoes - Love Me Forever
03. The Skatalites - El Pussy Ska
04. Dennis Brown - No Man Is An Island
05. Slim Smith - Rougher Yet
06. Cuss Cuss - Lloyd Robinson
07. Bob Marley and The Wailers - Simmer Down
08. Sugar Minott - Mr D.C.
09. Alton Ellis - I'm Just A Guy
10. Lone Ranger - Automatic
11. Heptones - Pretty Looks Isn't All
12. Sound Dimension - Rockfort Rock
13. The Paragons - Have You Ever Been In Love
14. Johnny Osbourne - Sing Jah Stylee
15. Don Drummond - Confucious
16. Jennifer Lara - Consider Me
17. Sound Dimension - Full Up
18. Prince Jazzbo - School

With the sad and very untimely recent demise of Clement 'Coxsone' Dodd, King of Sound Systems, music lost one of its truest and most long-term visionaries. Here Soul Jazz touch their ninth essential collection of his output, and it makes no excuses for its celebratory leanings. Michigan and Smiley and Johnny Osbourne both version 'Rub a dub style', Heptones' mighty 'Pretty Looks', original deejay version of Burning Spear's 'Rocking Time', Dennis Brown, Alton Ellis, Horace Andy, Jazzbo's superb 'School' and a wonderful Lone Ranger 'Automatic' over a tune i know as 'Place called africa'. Too much else to mention in full in the 18 tracks, Slim Smith, Jennifer Lara, Sound Dimension, Don Drummond, The Wailers - damn, the man was a genius, and his spirit will live forever in this incredible music.

www.boomkat.com

2004-08-07T00:52:00.000+01:00

Fiquei perturbado. Sempre tinha acreditado que a lógica era uma arma universal, e apercebia-me agora como a sua validade dependia do modo como se usava. Por outro lado, frequentando o meu mestre, tinha-me dado conta, e dei-me conta cada vez mais dos dias que se seguiram, que a lógica podia servir de muito com a condição de entrar dentro dela e depois sair.

O Nome da Rosa, Umberto Eco

Home Cinema 4

2004-08-05T10:42:00.000+01:00

Peeping Tom
directed by Michael Powell
1960

Traumatisé par un père qui se sert de lui pour des expériences de résistance à la peur, Mark Lewis est devenu aussi un maniaque de l'enregistrement, sons et images. La caméra, objet du voyeur, se transforme entre ses mains en instrument sadique et meurtrier contre les femmes légères. Seule Helen, jeune fille sérieuse au visage ingrat, est épargnée, quand elle découvre le Secret dans l'intimité de la cinémathèque de Mark. Démasqué par la police, il s'inflige le sort qu'il réservait à ses victimes.

Peeping Tom was made in 1959 by British director Michael Powell. It is not only an extraordinary movie but it has an extraordinary history. On its release, it received such devastating reviews that it has slowly, over the last 30 or so years, been recognized as one of the British cinema’s most interesting films and, more generally, as one of the great films about cinema. Michael Powell himself held that the reception of Peeping Tom contributed to the collapse of his own career at the time. In his words, the distributors “canceled the British distribution, and they sold the negative as soon as they could to an obscure black-marketer of films, who tried to forget it, and forgotten it was, along with its director, for 20 years.” Powell’s own favorite among the many insults slung at him was: “The only really satisfactory way to dispose of Peeping Tom would be to shovel it up and flush it swiftly down the nearest sewer. Even then the stench would remain.” This, alongside: “The sickest and filthiest film I remember seeing.” Or quite simply, “Ugh!”

Gradually, Peeping Tom acquired a cult reputation, but prints were hard to come by. It has been critics, archivists, and enthusiasts who have worked to put the film back into circulation, initially through restricted screenings at festivals and retrospectives. Martin Scorsese, who has loved Powell’s films as along as he has loved the cinema (that is, since childhood), paid for a print of Peeping Tom to be brought to the New York Film Festival. Although it can now be seen on British television, the 1994 Criterion laserdisc issue (here on DVD for the first time) might be considered to have been the re-release of a film that was denied release in its own time, in its own country.

Why was the film such a critical disaster? The story reaches both back into the history of British film culture and forward to new developments in film criticism which have attempted to account for its shock effect. Peeping Tom, as its title implies, is overtly about voyeuristic sadism. Its central character is a young cameraman and thus the story of voyeuristic perversion is, equally overtly, set within the film industry and the cinema itself, foregrounding its mechanisms of looking, and the gender divide that separates the secret observer (male) from the object of his gaze (female). The cinema spectator’s own voyeurism is made shockingly obvious and even more shockingly, the spectator identifies with the perverted protagonist. It is this relentless exposure of cinematic conventions and assumptions that has attracted the interest of feminist film critics, and the recent application of psychoanalytic theory to film theory clearly reveals the film’s psychoanalytic frame of reference.
Peeping Tom is a film of many layers and masks; its first reviewers were unable even to see it at face value. Entrenched in the traditions of English realism, these early critics saw an immoral film set in real life whose ironic comment on the mechanics of film spectatorship and identification confused them as viewers. But Peeping Tom offers realistic cinematic images that relate to the cinema and nothing more. It creates a magic space for its fiction somewhere between the camera’s lens and the projector’s beam of light on the screen.

Michael Powell has always disturbed boundaries and muddied safe demarcations. During the 1930s and ’40s, this most English of directors welcomed the cosmopolitan influences brought to the British film industry by European refugees. Powell had started his life in the cinema in France, working for the great American silent director, Rex Ingram. His later collaboration with Hungarian Emeric Pressburger, through their company The Archers, produced his most original and successful films, including The Red Shoes, Black Narcissus, and The Tales of Hoffmann. But the story of The Archers is like a microcosm of the trials and tribulations suffered by independent producers who attempted to preserve their creative autonomy within the British film industry. Peeping Tom’s portrait of Pinewood Studios is a farcical, bitter, almost vengeful picture of an industry’s total complacency in the face of creative and economic decline. Powell, knowing that The Archers represented the best of British cinema, deeply resented their marginalization.

Powell always identified with the “fantastic” strand of English culture, and succeeded better than anyone in adapting it for the cinema. The “fantastic,” or the “gothic,” not only aims to disturb its reader or spectator; it disturbs the boundaries of cultural tradition. It stands in opposition to British realism and merges with the European fantastic, such as E.T.A. Hoffmann and Hans Christian Andersen, and also hovers on the edge between popular and high cultural traditions, marking the uneasiness of English culture, split as it has always been along class lines.
Peeping Tom is a summation of Powell’s life in the cinema, perhaps particularly his polemics and his disappointments. The film also suggests that there is always more to cinema than meets the eye. Powell’s project was to make visible on the screen the invisible, the intuitive, and the hidden in human life through films that were “composed” out of all the aesthetic elements of the cinema. It is the spectator’s task to decipher the hieroglyph that the voyeur may see but cannot understand.

Laura Mulvey

Zoom 5

2004-08-04T12:21:00.000+01:00

Merck/Various
Merck Mix 3 - Summer 2004
2004, Merck

Tracklisting:
01. Landau - Six Ways To Sunday
02. Machine Drum - New Too
03. Adam Johnson - Some Say
04. Sense - Korma (exclusive)
05. Machine Drum - Lackluster Mix
06. Ilkae - Setzer Remix
07. Esem - Kyes Ivrload
08. Proem - Pinching Point
09. Proswell - Columbo Theme
10. Secede - Bye Bye Gridlock Traffic
11. Proem - When Frailty Fails
12. MD - 5n9
13. Ilkae Remix - Proem
14. Deceptikon - Way Of The Samurai
15. Helios - Velius
16. Frank And Bill - MAox4
17. Ilkae - Smok Ballet
18. Aphilas - Collective Memory Loss
19. Proswell - S Sixty E
20. Landau - Brokenfader Break
21. Blamstrain - List
22. Chimerical Child - Serene
23. Ilkae - Cinnamon Dragon Blues
24. Tiki Obmar - Adolescent Blues
25. Secede - Greetings Twinsunian
26. Machine Drum - Hello My Future
27. Ilkae - Landau Remix (exclusive)
28. Vae - Possible To Rue
29. Deceptikon - Germanic
30. Mr. Projectile - I Am Back
31. Oblq - Pain In My Gulliver
32. Deceptikon - Inaccessibility
33. Brothomstates - Suntrapez Mix
34. Aphilas - Blind Matador Techniques
35. Lackluster - 030503 (exclusive)
36. Mr. Projectile - Slow Rewards
37. Shift - Bottle Caps
38. Deceptikon - Narcissus
39. Ilkae - Scarlet
40. Syndrone - Cessation; Summation
41. Lackluster - Strateface
42. Landau - Ways Home
43. Helios - Clementine
44. Mr. Projectile - You Need
45. Proswell - Duck
46. Proem - Place Gun To Head

The 4-year anniversary of Merck brings us their third mix CD. Composed entirely of tracks from the Merck catalog and containing all tracks not previously used in any Merck Mixes. Artists included: Adam Johnson, Aphilas, Blamstrain, Deceptikon, Esem, Frank And Bill, Ilkae, Landau, Lackluster, Machine Drum, MD, Mr Projectile, Proem, Proswell, Secede, Sense, Syndrone, Tiki Obmar and more. Spanning the Merck time-line, the full spectrum of styles is represented. Containing previously unreleased and exclusive tracks by Sense, Lackluster and a remix of Ilkae by Landau thrown in for that 'trainspotter' touch. Mixes that weave the songs together in a variety of creative and interesting ways, even the most die-hard Merck fanatic will have something new to enjoy. This is the second mix to be done by Ben Cormier and Dan Hartrell from Toronto, who displayed their adept mixing skills on Merck Mix 2.

www.skimo.com

Music of My Life 3

2004-08-04T01:36:00.000+01:00

Sonic Youth
Dirty
1992, Geffen

Tracklisting:
01. 100% 2:29
02. Swimsuit Issue 2:59
03. Theresa's Sound-World 5:28
04. Drunken Butterfly 3:04
05. Shoot 5:16
06. Wish Fulfillment 3:26
07. Sugar Kane 5:57
08. Orange Rolls, Angel's Spit 4:19
09. Youth Against Fascism 3:36
10. Nic Fit 0:59
11. On The Strip 5:42
12. Chapel Hill 4:47
13. Stalker (VINYL BONUS TRACK) 2:58
14. JC 4:03
15. Purr 4:22
16. Creme Brulee 2:32

"Dirty" was Sonic Youth's ninth album, and the second recorded for DGC/Geffen. They went into the studio with a perhaps unprecedented abundance of material, and ended up issuing a double-vinyl release w/ an exclusive bonus track, "Stalker". A "limited" amount of the CD versions featured a "dirty picture" in the tray liner. Four singles were released, each with a video -- though these videos ("100%" "Youth Against Fascism" "Sugar Kane" & the fanmade "Drunken Butterfly") remain uncollected, along with the other post-Goo music videos. "Dirty" also marks the first significant appearance of three-guitar/no-bass Sonic Youth, present on "Swimsuit Issue" "Wish Fulfillment" & "On The Strip". Kim also plays guitar on "Creme Brulee".

www.sonicyouth.com

Reading #1

2004-07-22T16:24:00.000+01:00

O Nome da Rosa
Umberto Eco

Este romance de Umberto Eco já alcançou, no Brasil, a venda de mais de 500 mil exemplares e no mundo a cifra chega a mais de dois milhões. Tal é sua força, e reconstrução histórica, que foi levado para o cinema num filme dirigido por Jean-Jacques Annaud e magnificamente estrelado por Sean Connery, como o frei Guilherme de Baskerville, e o jovem Christian Slater como o aprendiz Adson de Melk. Pelos nomes dos dois principais personagens já se percebe a influência de Connan Doyle e seu Sherlock Holmes. Mas fica somente nisto. O romance vem recolocar a necessidade de se rever na formação do brasileiro a reintrodução do Latim como disciplina de estudo para maior domínio da nossa língua. O livro é cheio de citações em Latim (não traduzidas) e o leitor perde muito da sua leitura se não consegue compreender o que Eco escreveu. É uma reconstrução muito bem feita, onde o autor mostra grande conhecimento da filosofia medieval, da política da Igreja e do ambiente que dominava as abadias dos beneditinos.

O ritmo do livro é setenário, pois toda a história ocorre em sete dias, e cada dia é dividido nas partes que a Igreja usava para que seus clérigos rezassem: Matinas, Laudes, Primeira, Terceira, Sexta, Nona, Vésperas e Completas. O Nome da Rosa é um mergulho nos anos de 1316 a 1334 quando João XXII era o Papa. Sete mortes misteriosas ocorrem durante aquela semana e todas elas ligadas à existência ou não de um livro de Aristóteles sobre a Comédia. Eco critica impiedosamente as questões, mais do que sibilinas e ridículas, que os teólogos trocavam entre si se Jesus Cristo sorriu alguma vez na sua vida, de alguma situação ou de alguém. Para eles, tal comportamento era incompatível com a gravidade da missão do Filho de Deus. Ele não poderia demonstrar alegria, e, realmente, os Evangelhos não mostram nenhum momento em que o Cristo tivesse sorrido.

Pelo seu grande poder de indução, Frei de Baskerville começa a investigar aquelas mortes misteriosas que são todas ligadas ao livro de Aristóteles que estaria oculto numa das partes da complexa biblioteca. Quem ganhar, neste Natal, este livro deverá munir-se de um bom dicionário de latim para traduzir passagens que entram no texto sem que o leitor espere. Eis alguns exemplos: «o cavalo como verbum mentis ou ainda Alan das Ilhas dizia que omni mundi creatura quase líber et pictura nobis est in speculum». Não sei, portanto, como em nosso país este magnífico livro foi um best-seller.

Durante alguns séculos, no Brasil, a Igreja sustentou o patrimônio que a língua latina nos deixou e os padres (e quem estudava nos seus seminários) sabiam muito bem e o seu latim. Com a influência, negativa, do Ponto IV, diga-se, dos Estados Unidos, na década de 50, caiu o estudo do latim para que se desse uma formação mais técnica aos ginasianos. Hoje, nem os seminários da Igreja Católica ensinam, como se esperava, o latim. Como poderão os padres e os filósofos, teólogos e outros terem acesso aos clássicos do pensamento que escreveram em latim ou grego e estão na Patrologia de Migne? É urgente, se desejamos escapar à globalização americana da nossa cultura, que recuperemos decididamente a nossa origem latina. Somente os bárbaros que não sabem construir uma frase é que podem perguntar «Para que serve o latim?». A resposta mínima que posso dar é: «Para você ler, pelo menos, O Nome da Rosa, pois, caso contrário, tenho que colocar, sub rosa, a sua ignorância».da Rosa, pois, caso contrário, tenho que colocar, sub rosa, a sua ignorância».

Antônio Ribeiro de Almeida

Acen

2004-07-22T16:18:00.000+01:00

Dirty Raver

Glowsticks, smilies, whistles, and tie dyed hooded tops! They say about the sixties that if you remember them you weren't really there. Well, the same may be true for the early '90's. If you remember Acen it must be due to the Lovehearts you got ripped off with thinking they were happy pills, in the Forest of Dean.

Acen is a genuine Hardcore Hero. In the early '90's he was responsible for several huge Rave anthems. He beat Prodigy in the charts with Trip To The Moon‚ and Close Your Eyes was Music Week's Dance Single of the year. His remix of Baby D's Let Me Be Your Fantasy went to Number 1 in the National Charts.

dance-c

Zoom 4

2004-07-19T21:35:00.000+01:00

Akufen/Various
Fabric 17
2004, Fabric

Tracklisting:
01. Philippe Cam - LFO Drive
02. Matthew Dear - Dog Days (Pantytec remix)
03. Cabanne - Karashik
04. Krikor - 1968 (Ark remix)
05. Pantytec - Alabaster
06. Kalabrese - Set Me Free
07. The Rip Off Artist - Little Tiny Eight Inch Jack
08. Senor Coconut - Smoke On The Water
09. Dub.e.us - Blood Red (Lyin Beats)
10. Wighnomy Brothers & Robag Wruhme - Bobb
11. S-Max - Red Fibreglass
12. Ultrakurt - M'Gell
13. Herbert - Close To Me
14. Freaks - Instrument (Soul Capsul On It remix)
15. Crackhaus - Ample Slacks
16. Mossa - Bucolik
17. Luciano & Serafin - Yaki Soba
18. Soul Center - Funky Sterling
19. Horro Inc. - Siamese Twins (Mike Shannons Incisiom mix)
20. Jeff Milligan - In My Life
21. Stephen Beaupre - My Old Lady

A minimal house tour-de-force from Canada's Marc Leclair (aka Akufen) bursting with energy and invention. Clever, catchy and brilliantly detailed, Leclair’s love of all things quirky bleeds from the grooves on this superbly mixed digital delight.

Festival República Independente, Algoz

2004-07-19T18:06:00.000+01:00

Em Destaque...

Felix Da Housecat
Já de manhã, um bom pequeno-almoço sonoro.

Chemical Brothers
Um bocado curto, mas eficaz. No Sudoeste estiveram melhor. Ainda assim, um grande concerto.

Justin Robertson
Dj-set inteligente e intenso.

Leeroy Thornhill
Foi muito agradável ouvir alguns beats dos lendários Prodigy. A actuação não se ficou pela nostalgia..ouve muito mais a registar.

Home Cinema 3

2004-07-19T13:19:00.000+01:00

Parade
directed by Jacques Tati
1974

Jacques Tati’s last film, PARADE, was shot on video for Swedish television and completed the same year the master filmmaker filed for bankruptcy. The semidocumentary work presents a joyful look at the circus as well as the behind the scenes antics that go into its production. Tati’s figurative roll as ringmaster of the innumerable gags, stunts, and jokes within his previous six feature films becomes literal as he leads hundreds of eager viewers and two especially excited small children through the delights of mimes, mimics, clowns, acrobats, and magicians. With Tati himself contributing several of his own subtly outrageous mime routines--the most memorable being an imitation of a lackadaisical goalie with comedic sound effects from the orchestra--the film bounces back and forth between the appreciative audience and the various expert performers. As the swan song of his remarkable cinematic career, PARADE stands as Tati’s earnest homage to the circus, displaying his reverence for film as a form of pure entertainment.

Zoom 3

2004-07-14T06:29:00.000+01:00

Electronic System
Disco Machine
2004, Musique Belgique

Tracklisting:
01. Flight To Tokyo
02. Cosmos Trip
03. Fly To Venus
04. Sailing To An UNknown Planet
05. Time Trip
06. Rock Machine
07. Back Home

The freshly-founded Musique Belgique Archive, a Lowlands Records subdivision, dedicated to long-lost forgotten treasures in the history of Belgian music, is proud to present the re-release of Electronic System’s ‘Disco Machine’ on CD and LP.

It’s an album of seven original compositions from Dan Lacksman, who’s better known as being part of the group, TELEX. Impressively, this material was recorded way back 1977, pre-dating his involvement with the aforementioned electronic pioneers.

Listening to ‘Disco Machine’ not only challenges you to ‘move that body’ in the direction of the disco floor but, more importantly, also suggests that Dan Lacksman’s influence for the later Telex sound was indeed decisive. A perfect example of this is ‘Rock Machine’ – extremely comparable to ‘Twist à St.-Tropez’ - the track that was later recorded by Telex into one of the craziest cover versions of the French twist hit, and also Telex’ first single.

Picture an evening down Studio 54, with the Kraftwerk guys shaking a leg on the floor with Giorgio Moroder, Tangerine Dream and Klaus Schulze, and you’re not far off the sound and vibe of this project. Here’s a little more about the extensive history of Mr. Lacksman.

A little peek into history…:
1978 - DAN LACKSMAN founds the world-famous avant-garde electro project TELEX together with MARC MOULIN and MICHEL MOERS (Dan is the one with the ever-present moustache and cigar). Telex is released successfully in many countries, including the US, for which a contract is signed with Sire Records (owned by Seymour Stein, the man who discovered Madonna). Global hits include ‘Moscow Discow’, ‘Twist à St.-Tropez’, ‘Spike Jones’ and ‘Peanuts’.

1979 – He co-produces parts of LIO’s first self-titled album (released in 1980) together with Marc Moulin; the first single ‘Banana Split’ becomes an international multi-million seller; the album also includes ‘Amoureux Solitaires’, ‘Amicalement Vôtre’ and an overwhelming cover of ‘You Go To My Head’. The then 17-year old LIO was rocketed to fame and dubbed the Lolita of the European music scene (just as Vanessa Paradis a decade later). A few years after they produce another LIO hit called ‘Les Brunes comptent pas pour des Prunes’…

1980 – Dan founds ‘Synsound Studio I’ in Brussels, Belgium.

1983 – Records Thomas Dolby’s second full album ‘The Flat Earth’.

1985 > 1990 - Works with Sparks (Alain Chamfort, Etienne Daho, Pascal Obispo), recording 3 albums with them.

1993 – Produces the first album by Deep Forest, winning golden and (double) platinum records the world over. ‘The Best Of Deep Forest’ is confirmed to be released early 2004.

1995 - Founds and manages ‘Synsound Studio II’ where he also works as Programmer / Engineer. Haruomi Hosono, known as the leader of Yellow Magic Orchestra (also member of Atom Heart's HAT and Sketch Show...), has a studio called LDK which was inspired by the compact design of Dan's studio. In 2004 the studio is still operative (opening up a brand new digital studio, Synsound Studio III) and run by Dan, his wife and Luc Van Acker (Revolting Cocks, Arbeid Adelt!, Mussolini Headkick...); their most famous clients include David Bowie, Thomas Dolby, Patrick Hernandez, Janez Dedt, Youssou n'Dour and Belgian artists like Will Tura, Zap Mama, Hooverphonic, Axelle Red, Urban Trad, Arno, K’s Choice...

More recently, Dan is mainly known for his work as Producer of Sandrine Collard - the Belgian singer (and Dan’s ex-wife). He is also musically involved in The Belgian Beatles Society (not a fanclub!).

The Earth From Air

2004-07-14T01:51:00.000+01:00

Yann Arthus-Bertrand
Praça do Comércio, Lisboa
até 30 de Setembro de 2004

Iceland

United States

Germany

Australia

Mexico

Japan

Kenya

Some WORLD FACTS:

In the last century, the population of our planet has been multiplied by 3, the world fresh water consumption by 6.

20 % of the world population lacks access to improved water supplies.

20% of the world population living in the richest countries consume 60% of commercial energy.

40% of the world population does not have access to electricity.

World population :
1800 : 1 billion
1960 : 3 billion (30% urban)
2000 : 6 billion
2050 : 9 billion (70% urban) projected

Every week, more than 1 million people are added to the urban population in the world.

The amount of oil consumed in 6 weeks, half of which is used in transportation, would have lasted 1 year in 1950.

The decade of the 1990’s was the warmest since 1861.

Half of humanity lives on less than 2 dollars (2,18€) a day.

Total world military expenditure : $798 billion

Official Development Assistance : $53.7 billion

In industrial countries, the volume of garbage generated per inhabitant has tripled in the last 20 years.

World available reserves of fresh water :
in 1950 : 600,372 cubic feet per capita
in 2000 : 275,465 cubic feet per capita

Between 1990 and 1995, 250,971 square miles of forest (an area larger than France) disappeared in developing
countries.

826 million people are under-nourished in the world.

11 of the 15 major fishing zones in the world are in decline today.

One out of five adults is unable to either read or write ; 98% of them are in developing countries and 66% of
them are women.

Average temperature has increased by 0.6 °C in the last century; it could increase by
2 to 6 °C over the next 100 years.
This phenomenon is not homogenous: in North-western Canada, temperatures have increased on average by
1° C every 10 years over the last 35 years, causing changes in the ecosystems and population transfers.

CO2 releases due to human activities are responsible for over 60% of the increase in greenhouse effect.

The average thickness of the Arctic ice field has dropped from 3.12 m in the 1960s to 1.8 m in the 1990s.

During this century, ocean levels should go up by 50 cm . Holland could see 6% of its lands disappear
under water, and Bangladesh, 17%.
The evacuation of the Tuvalu archipelago in Micronesia has already started.

The frequency of climate related natural catastrophes has more than doubled between the 1970s and the 1990s.

From the 1980s to the 1990s, the number of people affected by natural catastrophes has increased by 50%,
and the related costs have multiplied by 10.

The death toll of a natural catastrophe is 47 times greater in developing countries than in rich developed nations.

In 1979, in the United States, the richest 1% of the families had an income
10 times greater than the average family.
In 1997, it was 23 times greater.

From 1970 to 2000, the mortality rate of children under 5 has gone from 96 to 56 per 1,000 live births, but each
day, 30,000 children die throughout the world from illnesses that could be cured or prevented.

1 Earth dweller out of 120 is a refugee.

Every year, there are 15 to 20 thousand casualties due to antipersonnel land mines and other unexploded
devices.

Throughout the world, over 300,000 children, both boys and girls, are soldiers. Many of them aren’t even 10
years old.

Over the last 10 years, public aids to development have dropped by 29%.

On average, an American draws 600 litres of water per day, a European, 250, an African, 30.

Insalubrious water causes 5 million deaths each year.

80 countries, accounting for 40% of world population, suffer from serious water shortage.

70 % of fresh water are used to irrigate cultivated farmland.

A third of the world landmass suffers from desertification.

Since 1950, about 40% of cultivated land on the planet has been degraded through intensive farming.

In developing countries, 80% of farmers do not need to alter their production methods to be certified organic.

The making of a personal computer necessitates 8 to 14 tons of non-renewable raw materials.

In the course of his or her life, a child born in an industrialised country will consume more and generate more
pollution than 30 to 50 children born in a developing country.

40 million people die of starvation every year in a world that produces 356 kilos of cereals per person.

The food industry spends 40 billion dollars a year in advertising.
Children are the first victims: 10% to 30 % of children in developed countries suffer from overweight.
At the same time, 500,000 children throughout the world become blind each year for lack of vitamin A. *26

Pesticides cause the death of some 20,000 farm hands per year.

At harvesting time in Kenya, 30% of coffee pickers are children.

The sales of fair trade products in Europe are going up, but they account at best for 3.5% of purchases on their
leading product – coffee.

600 million people throughout the world live in the insalubrious shantytowns around big cities.

People living in rich countries, a mere 20% of the total human population, eat 45% of meat and fish consumed
throughout the world.

Women in poor countries run a risk of dying from pregnancy and childbirth complications 200 times greater than
those in rich countries.

If the Earth had formed a year ago, on January 1st, life would have appeared on February 26th, dinosaurs would
have arrived on December 10th to vanish 16 days later, and Homo sapiens sapiens would only have showed up
very late on December 31st. A few minutes later, in less than a second, he would have drastically altered the
fragile balance between land, seas and atmosphere.

Over half of world coral reefs are endangered.

2 domestic breeds disappear each week throughout the world.

Are endangered throughout the world:
24 % of mammal species,
12 % of bird species,
30 % of fish species,
probably over half of flowering plant species and insects.

Some 140 countries out of 200 worldwide now hold pluralistic elections.
This is more than at any other time in History.
However, 82 countries only, accounting for 57% of world population, are fully democratic.

Nowadays, important famines only appear where there is no democracy.

1986: 1,1, million tons of CFCs (the substances mainly responsible for ozone layer depletion) are produced
yearly throughout the world.
1989: the Montreal protocol sets about to reduce world production of CFCs.
1996: effective reduction; 160,000 tons produced yearly worldwide.

Music of My Life 2

2004-07-14T01:18:00.000+01:00

Beck
Odelay
1996, DGC/Bong Load Custom Records

Tracklisting:
01. Devils Haircut
02. Hotwax
03. Lord Only Knows
04. The New Pollution
05. Derelict
06. Novacane
07. Jack-ass
08. Where It's At
09. Minus
10. Sissyneck
11. Readymade
12. High 5 (Rock the Catskills)
13. Ramshackle

WHEN that strange, child-like poet of warped sensibility, Beck opined "Weird is happening in the '90s. It's a genre", no doubt the Woody Guthrie-on-acid was alluding to his own mayhemic contributions of slackerism and sonic experimentalism. He soared to prominence with Mellow Gold and his strange, warbling tales of Soul Suckin' Jerk, Beercan and the anthemic static of Loser.

Many people suspected that this Los Angelean enigma with his acoustic guitar, sprinkle of freckles, stoned and brilliantly twisted lyricism and strange megaphone of sounds had just flown in from some dysfunctional far off planet.

Two years later, with the release of Odelay people's suspicions can now be confirmed. In a feverish sweat Beck arrives in a blaze of psychedlic haze; one moment he's a discordant, churning, Jim Morrison with a dose of urban angst; at other times he's a static, cacaphonious Beastie Boy or a folky shoegazer in World War II eye goggles waiting for the next apocalypse to hit.

Opening with Devil's Haircut , an ode to those '60s heroes and days when outdoor festivals raged for weeks and the herb was passed around. Hot Wax is Loser with a bourbon harmonica. A busker's wet dream punctuated by white nylon noise. He strums, plucks and struts like a hillbilly on heat. The title track is a waltzy Beatlesque romp; quaint, melodic and stoned. New Pollution continues on in a similar tradition but with warm plumes of harmonious, brassy, sax.

Derelict is a sparser, vibronic chant: it's like entering a harem where a snake charmer seduces a hypnotised serpent as Beck crawls on his belly while offering wisdom to opium-incapacitated, homeless, stoned denizens. Novocaine snaps you back into modern day with it's Beastie Boy's white rap, frequency tuning, feedback and chaotic liquid funk. The poignancy of Millius drifts over you with its jangling oddball threads.

Where It's At is a soundtrack to one of those New York detective shows that zooms into one those concrete monoliths. Funky blues lights flash, Beck's vocals are like splashes of graffitti across a bluesy skyline. Minus is more of a stomp from a jam session that sounds muffled and raw. The sweaty Sissy Neck again skirts Doors territory - this time via the local jailhouse and some serious psychedelic keyboards. The pure discordancy of High 5 (Rock The Catskill) blends interplanetary tweeks with white boy hip-hop and trashy, edgy, paranoia.

A natural prozac for post-hip bohemians.

Peaches (Dj Set) + Dezperados, Lux

2004-07-14T00:44:00.000+01:00

Dezperados: Nasceram numa noite de Halloween, em 2002, e cimentam já um pequeno culto à sua volta. As máscaras que usam enquanto trocam discos são a sua imagem de marca. A dupla portuguesa de DJs não mostra a cara, mas a música.

WFMU Radio Online, New York

2004-07-14T00:38:00.000+01:00

You Are Always Here

2004-07-09T04:24:00.000+01:00

Alicante, Spain
Marcelo

Berlin, Germany
Laura

Brussels, Belgium
Marie Claude

Kassel, Germany
Teddy and Silas

Koln, Germany
Madeleine

Porto Alegre, Brazil
Belém

Rome, Italy
Lucia

Peloponnese, Greece
Inês

Zoom 2

2004-07-09T03:29:00.000+01:00

Amon Tobin
Solid Steel Presents Amon Tobin: Recorded Live
2004, Ninja Tune

Tracklisting:
01 Amon Tobin - Intro
02 Amon Tobin - Chronic Tronic
03 DJ Food - Dark Lady
04 Tipper - Twister
05 Amon Tobin - Verbal
06 AFX - Remix By AFX
07 Mob Nation - Got Numb
08 Cherrystones - Pressure Cooker
09 As One - Soul Soul Soul
10 Danny Breaks - Science Fu (part 1)
11 Amon Tobin - Marine Machine
12 Interlude: You's A Jaco Pastorius Looking Motherfucker
13 Facs & Scythe Schmalla
14 Amon Tobin Couger Merkin
15 Silent Witness & Break Higher Rates
16 T Power - Cuba (Original)
17 Icarus - Moon Palace
18 Controller 7 - Reactionary
19 Topogigio - Nakatali
20 Amon Tobin - Yasawas
21 Amon Tobin - Night Life
22 Amon Tobin - Fear
23 Amon Tobin - Escape
24 Future Prophecies - Deep Impact
25 Exile - Spanner in the Worx
26 Deep Roots - Allergic
27 Suspicious Circumstance - Completely Real
28 Silent Witness & Break - Total Recall
29 Dizzee Rascal - Sittin Here
30 Amon Tobin - Proper Hoodidge
31 Amon Tobin - Four Ton Mantis
32 Amon Tobin - Hey Blondie
33 The Velvet Underground - Venus in Furs

For yea and verily, the fourth episode of the world famous and much trusted Solid Steel mix series is here and this times it comes from the Silent Brazilian, Amon Tobin. After a year and half of performing, tweaking and perfecting his DJ set, Amon found himself in Australia in the final stages of a long but rewarding tour. Every night of this antipodean leg was recorded, and it was decided that this memorable and sweaty night in Melbourne, with Amon under the distracting influences of drugs, alcohol and Ozzy girls, would be the perfect opportunity to add to the Solid Steel series.

But wait! Surely by now you know that a Solid Steel mix demands that the artist go the extra yard and Amon does just that. Of course the custom versions of tracks are included, obviously there's hardly any point where just one track is playing and yes indeed, the exclusive (and brilliant) Introduction is in place. But this time, the really 'future shit' is that instead of having to laboriously cut loads of dub plates to play his special versions Amon was able to create the whole mix using just two pieces of vinyl.

The whole dark and dirty episode was performed using a software and hardware bundle called Final Scratch which, combined with his laptop and a set of decks, means Amon can mix two special time coded records on the turntables in the normal way while in fact triggering music files on his computer. If this sounds a bit techy then just know this - FinalScratch meant that our maestro could play out specially time stretched, tickled, tweaked and generally fucked up tunes he had made on the road in a way that is entirely new and entirely clever...and entirely loud. Check his three-headed Cerberus of 'Proper Hoodidge/4Ton Mantis/Hey Blondie' for evidence. It also means his record box has more room for his crisply ironed pyjamas and special 'Tour' Teddy Bear.

Amon has effortlessly incorporated many of his favourite aspects of drum and bass and heavy, heavy beats in the mix along with lush downtempo and even some Velvet Underground. The recording includes tracks he considers classics - old and new - with Suspicious Circumstance's 'Completely Real', Danny Breaks' awesome 'Science Fu' and T Power's 'Cuba' getting a look in. As this set was made as a DJ alternative to Amon taking a band out on the road he includes his own material alongside the music that has influenced and inspired him.

With the exception of a couple of edits to take out some tracks we couldn't get the rights to (Destiny's Child have no clue how big we could have made them), this is a straight front to back mix with no postproduction. You can almost feel Amon's tension knowing that all the mixes ride together for so long that the slightest bump on the decks will send the whole set off. And in those rare moments when there isn't multiple parts flying around in the mix you can almost visualize Amon patting down his pockets doing the 'lighter shuffle'. Rumours that if you listen carefully you can hear a Koala bear on PCP bogling and lifting her top to show Mr Tobin two fine lines of teats are unfounded.

This mix reflects all of Amon's musical passions and showcases his superb DJ skills coupled to cutting edge technology. This is his version of 'Live'. We’d better get used to it.

A Decorrer...

2004-07-09T03:16:00.000+01:00

2ª Edição da Portugiesische Volkskuche, Edifício Rauchhaus, Berlin.
Um beijo para a minha querida Laura, e "faz-lhes crescer água na boca com a nossa saborosa comida.."

Home Cinema 2

2004-07-07T05:42:00.000+01:00

La Vie Rêvée des Anges
directed by Erick Zonca
1998

En regardant le film d'Erick Zonca, on ressent la même intensité d'émotion que le "Western" de Manuel Poirier ou le "Marius et Jeannette" de Robert Guédiguian. Différence importante : l'action se situe ici à Lille, dans le nord de la France.
On y découvre deux personnages, opposés sur bien des points : Isa (Elodie Bouchez) est généreuse et positive, Marie (Natacha Régnier) est plus impulsive et négative. Deux comètes qui se rencontrent dans l'espace sombre d'une vie qui ne fait pas de cadeau.
Elles sont tombées dans le trou noir de la galère, celui des perdants. Pour Marie, le soleil pointe à l'horizon quand elle rencontre Chriss (Grégoire Colin), qui s'avère être un personnage abjecte, prétentieux, abusant de la position sociale qu'il occupe.
C'est donc dans une réalité amère et sans complaisance qu'Erick Zonca a choisi de plonger ses personnages, sans chercher à les idéaliser. Mais plutôt pour les renvoyer à leurs propres responsabilités.
Isa et Marie sont le jour et la nuit d'une vie de galère. Le réalisateur montre par là que la liberté existe : Isa utilise son libre arbitre pour tenter de vivre mieux ; Marie sombre dans le néant.
Est-ce une démonstration d'un proverbe chinois : "Etre heureux, c'est se contenter de peu" ?

Synopsis
Isa a vingt ans, son sac à dos pour tout bagage et une "philosophie de la galère" plutôt souriante. Elle débarque à Lille, après d'autres villes de passage, à la recherche de petits boulots. Jamais les mêmes et jamais très longtemps.
Partout où elle va, elle ajoute une petite pièce à lédifice qu'elle construit patiemment avec son envie, sa générosité, sans la savoir vraiment, instinctivement.
Son chemin croise celui de Marie, 20 ans elle aussi. Fille du Nord, solitaire, comme Isa, mais pour d'autres raisons. Marie est sauvage, écorchée, révoltée contre sa condition sociale.
Le film raconte le lien humain que chacune entretient à sa manière avec le monde, les fils de vie qu'elles tissent comme une espérance.

Tristeza Total

2004-07-07T04:01:00.000+01:00

Euro 2004, Final: Portugal 0-Grécia 1
Inacreditável: custa a crer que Portugal tenha perdido o jogo mais importante da sua história frente a uns gregos que só sabem de defesa e anti-jogo..Isto não é futebol, meus senhores.

Mélange, Santiago Alquimista

2004-07-03T11:00:00.000+01:00

Vitalic

2004-07-01T15:07:00.000+01:00

Vitalic was born in 1973 in Borodianka-Ukraine-in a traditionnal Ukrainian family living from the selling of animal furs. In 1989, after the falling down of the Berlin wall, he could emigrate to Eastern Germany with his dog -Mini Robot- where he survived with parttime jobs and even masculine prostitution. Little by little, Vitalic decided to stop playing the "Trubka", a traditional Ukrainian instrument, and started to compose electronic music in a collective near Munich. Then Kobayashi Records (France) released his first EP in June 2001, followed by Gigolo Records (Munich) with the Poney EP - a record about the pain of ponies in funfairs.

Histórico

2004-06-30T11:00:00.000+01:00

Euro 2004, Meias-Finais: Portugal 2-Holanda 1
Força Portugal, só falta um jogo..

The Ladykillers

2004-06-29T21:55:00.000+01:00

directed by Joel and Ethan Cohen

Oublions la première version des Lady Killers, celle, en 1955 de Alexander Mackendrick. Avec les frères Cohen, on n’est pas dans le remake, mais dans une authentique création à partir du même thème : après un casse, cinq truands s’éliminent eux-mêmes l’un après l’autre en tentant d’éliminer la vieille dame qui les a involontairement démasqués.
Mais quelle vieille dame ! Veuve à la fois candide et soupçonneuse, Mrs Munson est, dans tous les sens du terme, irrésisitible. Lui donnant la réplique, les cinq truands, aussi divers que les instruments de musique dont ils sont censés jouer, forment un petit orchestre qui crée la jubilation. Mais tout est jubilatoire dans ce film, du scénario à la mise en scène, des dialogues à la musique (Hip-hop ou Gospel). Quant à l’habituelle touche d’humour noir des frères Coen, elle est bien sûr présente. A preuve cette péniche-benne à ordures qui descend régulièrement le Mississippi et qui recueille l’un après l’autre, lancés depuis un pont, les cadavres de nos cinq lascars.
Jean Lods

Juergen paape: so weit wie noch nie

2004-06-29T03:53:00.000+01:00

Erlend Øye (Dj Kicks)

Years after it was first issued this was re-released with remixes and managed to chart in germany, but this quirky original, for all I know it might be a cover. Is a reminder why Kompakt's been so important. Uncomfortable with any catagorisations - is it tech house on the wrong speed, teutonic pop, dad house - it doesn't matter, it's still out there on it's own, as the track says as far as never before.

Zoom 1

2004-06-28T11:46:00.000+01:00

Orbital
Blue Album
2004, Orbital Music Records

Tracklisting :
01.Transient
02.Pants
03.Tunnel Vision
04.Lost
05.You Lot
06.Bath Time
07.Acid Pants
08.Easy Serv
09.One Perfect Sunrise

The end is nigh. This summer, after 15 years, Orbital will cease to be, at least in the form that we have known and loved them. It seems wrong to say they’ve ‘split up’, because the Hartnolls are not only brothers but also amiable pair. There’s been no animosity, no ‘falling-out’ or ‘musical differences’; the Orbital name will simply produce no more music after the Blue Album.

Given that their last album proper, the messy and inconsistent but far from bad The Altogether, was widely perceived as being their worst record, and failed to make a commercial impact on par with earlier efforts, Blue Album could easily have been a step too far for a band past their artistic peak. What the Hartnolls have wisely done, however, is take a step backwards. While Blue Album doesn’t break any moulds, match their best records from the mid 90s or (quite) end their career on a triumphant high, it will almost certainly find favour with old fans because it’s an undeniably good record, certainly their best since The Middle Of Nowhere and possibly even since In Sides. What makes Blue Album good is that it is a very Orbital record; it seems at points to refract every phase of their career thus far, pulling together each creative strand and echoing their past impeccably.

Album opener “Transient” would fool you, though. Almost entirely beatless and surfing a proggy time signature, it grows from nearly arrhythmic bass pulses into an abstract lament, slowly becoming laden with elegiac yet dramatic strings. So unlike Orbital’s previous work is “Transient” that one can’t help but feel that it almost acts as a eulogy for their career, a mechanical mourning that veers into Phillip Glass territory via monotonous harpsichord. But this exploration of new sonic territory is the exception that proves the rule; and so the following “Pants” is a close but less sophisticated cousin of “Adnan’s” and “Dwr Budr” from In Sides, darkly melodic and with a gentle yet determined impetus, but lacking the frisson of purpose of its antecedents, the knowledge that “Dwr Budr” was Welsh for ‘dirty water’ and driven by ecological anger, that Adnan was a real person, a young man at that, caught up in the Baltic conflict. Likewise “Tunnel Vision” harnesses the kind of paranoid velocity perfected on “P.E.T.R.O.L” and “Technologicque Park” without being quite as strong as either.

Blue Album manages over the course of its nine tracks to push all the buttons that Orbital fans have already had pushed so deliriously well over the last decade and a half by (generally) superior albums and songs. It is dark but not oppressive (the “Kein Trink Wasser”-esque “Bath Time”, and the lounge-muzak chimes of “Easy Serv” lighten proceedings tangibly), sophisticated, atmospheric, loaded with melody and gorgeous synths, unafraid of both the dancefloor and the headphones, and touched with mania on the Sparks-starring “Acid Pants”. It even has, in “One Perfect Sunrise”, the kind of epic, pseudo-spiritual 4am rave climax that you thought they’d finished with on “Belfast” and “Halcyon” all those years ago. It may sound recycled and contrived to hell and back (as most of the album does, in truth), but this doesn’t prevent it stimulating an incredible surge of euphoria. It may have been done before, it may be a cliché, it may be Pavlovian, but you can’t deny that it feels good.

There are two secret trump cards on Blue Album, and they run back-to-back at the centre of the record. “Lost” is five minutes of subtle cyber-melancholy, oddly reminiscent of Aaliyah’s “Try Again” in its spooky, desiccated melody, drifting through time and space with little thought for where it finally resides. “You Lot” is a different kettle of fish, and probably the best song on the album. Coming on like a beefy hybrid of “Science Friction” and “Philosophy By Numbers”, it melts away after a couple of minutes into Aphex-like ambience, before a sampled rant about man’s relationship with God (“If you want the position of God then take the responsibility”) causes it to kick in again, the key lines of the rant subverted through cybernetic filters to delirious effect. It’s one of the most glorious and effective things the due has produced in years.

And so Blue Album is a fond farewell, a photograph album encapsulating past experiences and emotions but never quite managing to be as good as actually being there first time around. Neither their best nor their worst, it is simply the Hartnoll brothers doing what they have always done exceptionally well, which is make music. Orbital, we’ll miss you. But we’re ever so glad to have known you.

Soulseek

2004-06-28T11:36:00.000+01:00

Music of My Life 1

2004-06-27T11:12:00.000+01:00

Tricky
Maxinquaye
1995, Island Records

Tracklisting:
01. Overcome
02. Ponderosa
03. Black Steel
04. Hell Is Around the Corner
05. Pumpkin
06. Aftermath
07. Abbaon Fat Track
08. Brand New You're Retro
09. Suffocated Love
10. You Don't
11. Strugglin'
12. Feed Me

Tricky can be pretty misleading; he is able to camouflage his paranoia, confusion, and anger with a dense wall of sound and low, mumbled vocals. To the casual listener, a track like "Overcome" is just eerie trip hop: hypnotic beats with Martina's icily sweet vocals gliding over the top. But as you pay closer attention and hear: "Don't want to be on top of your list/ Monopoly and properly kissed," Tricky grabs you. What's this all about? What exactly does he want? It's this guessing game that makes Maxinquaye such a bewitching record.

"Ponderosa" is layers of macabre tribal rhythms and shrill piano, with Tricky's barely audible repetition of paranoid phrases coupled with Martine's amused vocals. "Hell is Around the Corner" has the same Isaac Hayes sample as Portishead's "Glory Box," but Tricky uses it for a disturbing and threatening venture into his mind. Slow guitars and enchanting melodies occasionally distract you, but Tricky's disdain for love and relationships brings the menace back into focus (e.g., "I keep her warm but we never kiss"). "Strugglin" is slow collage of sounds that feels like its fighting to happen. Tricky half laughs as he utters, "Tell me why I'm here...They label me insane...I think I'm more normal than most."

Tricky casts these spells with ease, and just as quickly snaps you out of them. He completely tears apart Public Enemy's "Black Steel" and turns it into a driving, aggressive attack of guitars while Martine bitterly spits out the lyrics. "Brand New You're Retro" is a full force, blaring hip-hop assault on gangsta rappers who dare to think they can take on Tricky, and despite its reggae vibe, "You Don't" still feels like a military call to arms.

The intensity of this album, fueled by Tricky's frustration and anxiety, can be suffocating. With Martine delivering the majority of Tricky's lyrics, it's as though even he doesn't want to deal with his emotions. As haunting as it is, the shadow that envelops Maxinquaye is strangely irresistible.

Brevemente...

2004-06-26T04:56:00.000+01:00

Peaches (Dj Set) + Dezperados, Dia 9 de Julho, Lux (Bar)

Peaches (Merrill Nisker) burst into transcontinental favor with her very particular brand of cock-sure rapping and spurting groovebox beats. Indeed, this vulgar Canadian temptress may have come from an underground womb of acoustic folk (Mermaid Café), avant-jazz (Fancypants Hoodlum), and deconstructed noise swarms (the Shit), but it wasn't until 2000's new guise that her fearless, apolitical gender-play truly raised heads. European trawls unearthed new admirers, and collaborations with the equally lewd Chilly Gonzales certainly fueled the fire for her first solo effort. By the time she signed onto Berlin's Kitty-Yo label and unleashed The Teaches of Peaches, her niche had already been carved out. Peaches simultaneously sounded like a Penthouse Forum and Grandmaster Flash, Shirley Manson, and Charles Manson — or just Justine Frischmann hitting her sexual peak.

Hell + Romina Cohn, Lux

2004-06-25T16:15:00.000+01:00

Romina Cohn es la Dj argentina con mayor proyección internacional. Tiene 23 años pero lleva en cabina desde los 15- sobretodo desde que forma parte de la agencia de booking de International Deejay Gigolo Records. En España se le ha visto pinchando en las noches Wax Sessions junto a Ángel Molina, así como en el The Loft donde su techno con aires retro tiene cabida. La chica está en la misma onda de artistas como Savas Pascalidis, David Carreta, RobotMan, Green Velvet, Tiga, aunque en sus sesiones también puede caer algo de Nitzer Ebb. Está haciendo sus pinitos como productora también en Gigoló donde ha editado el 12", "Non stop E.P." además de apoyar al sello de pop experimental argentino Frágil.

Inesquecível

2004-06-25T15:58:00.000+01:00

Portugal 2 - Inglaterra 2 (6-5 após penalties).
Portugal nas Meia-Finais do Euro 2004.

Brevemente...

2004-06-25T09:25:00.001+01:00

Festival República Independente, 17 de Julho, Parque Krazy World (Algoz), Albufeira

Stage 1
- Chemical Brothers
- DJ Vibe
- Felix da Housecat
- Rui Vargas
- François Kervorkian
- Leeroy Thorhill (ex-Prodigy)
- Faze Action (DJ Set)
- Justin Robertson

Stage 2
- Carl Craig Presents Tres Demented Live
- Fila Brazillia (DJ Set)
- Soul Jazz Records
- Andy Smith (Portishead)
- Dego -4Hero (DJ Set)
- Different Drummer Soundsystem
- Adam Regan-Leftfoot
- Alex Sparrow

Mega Zona Radical
- Half Pipe de competição com os maiores cromos de Skate e BMX.
- Artistas de Graffiti
- Animação de Rua
- Workshop de Capoeira

La Mala Educación

2004-06-25T09:11:00.000+01:00

directed by Pedro Almodovar

Dos niños, Ignacio y Enrique, conocen el amor, el cine y el miedo en un colegio religioso a principio de los años 60. El Padre Manolo, director del colegio y su profesor de literatura es testigo y parte de estos descubrimientos.
Los tres personajes vuelven a encontrarse dos veces más, a final de los años 70 y en el 80. El reencuentro marcará la vida y la muerte de alguno de ellos.

The Royal Tenenbaums

2004-06-23T09:03:00.000+01:00

directed by Wes Anderson

Royal Tenenbaum (Gene Hackman) and his wife, Etheline (Anjelica Huston), had three children -- Chas, Margot, and Richie -- and then they separated. Chas (Ben Stiller) started buying real estate in his early teens and seemed to have an almost preternatural understanding of international finance. Margot (Gwyneth Paltrow) was a playwright and received a Braverman Grant of $50,000 in the ninth grade. Richie (Luke Wilson) was a junior champion tennis player and won the U.S. Nationals three years in a row. Virtually all memory of the brilliance of the young Tenenbaums was subsequently erased by two decades of betrayal, failure, and disaster. Touchstone Home Entertainment is proud to present Wes Anderson's hilarious, touching, and brilliantly stylized study of melancholy and redemption.