Saturday, September 15, 2007
"Over the course of 2002 and 2003 Subtle released their four 'season' EPs (Summer, Autumn, Winter and Spring). A selection of tracks from these recordings (stated by the band to be the best songs of the EPs) were eventually collated on the compilation album Earthsick. Both of these projects were comprised mostly of homemade recordings and were all released on Doseone's own label, A Purple 100. Earthsick included four untitled, previously unreleased tracks, all of which were completely improvised with no overdubs." ~ Wikipedia
Subtle Tour Dates
2007-09-22 eugene wow hall
2007-09-23 *spokane WA service station
2007-09-24 *missoula MT the badlander
2007-09-26 chicago IL abbey pub
2007-09-27 *detroit MI st. andrews hall
2007-09-28 *cleveland OH grog shop LATE SHOW
2007-09-29 *pittsburgh PA diesel
2007-09-30 *buffalo NY tralf music hall
2007-10-01 *toronto ON opera house
2007-10-03 *boston MA the middleeast
2007-10-04 *boston MA the middleeast
2007-10-05 *brooklyn NY warsaw
2007-10-06 *new york NY irving plaza
2007-10-07 *sayerville NJ starland ballroom
2007-10-08 *philadelphia PA theatre of living arts
2007-10-09 *baltimore MD ottobar
2007-10-10 *washington DC the blackcat
2007-10-12 knoxville TN pilot light
2007-10-13 atlanta GA drunken unicorn
2007-10-15 austin TX emo's
2007-10-17 tucson AZ plush
• supporting minus the bear
"And on October 23rd “Yell&Ice” hits stores…
“yell&ice” … by Subtle
is an inspired collection of remakes, featuring collaborations with Why?, Dan Boeckner of Wolf Parade, Tunde Adebimpe of TVOTR, Markus Acher of the Notwist, and Chris Adams of Hood. Like “wishingbone” revisited Subtle’s first LP “a new white”, “yell&ice” explores and reinterprets their critically acclaimed and most recent full-length, “for hero: for fool”.
Both “wishingbone” and “yell&ice” were fashioned to further explore Subtle’s conceptual protagonist, Hour Hero yes, while creating a medium for the band’s love of collaborative music making. Unlike a typical collection of remixes, “yell&ice” utterly reapproaches the lyrics and music of “for hero: for fool”. In order to better suit the pallette and prowess of each respective collaborator, poems were rewritten, sounds resampled, and time signatures unlocked. Then these songbones were sent to our collaborators/confidantes who then rewrote, sang, and sequenced to the tune of their talents.
Since it’s genesis in 2001, Oakland-based sextet Subtle has been home-recording its way to the far side of song. Drawing from a diverse palette of instruments: sampler, synth, guitar, cello, winds, electronic and acoustic drums, and the unmistakable voice and prose of Doseone, the band fashions a self-sampled and live-mic’d honest-to-genreless music.
In support of the forthcoming “yell&ice”, Subtle tours the US this autumn with Minus the Bear. Not to be missed, the band’s live performance parallels and elaborates on the complex and natural lengths of their recorded material. With painted backdrops, stageprops and a whole lot of middleclass mojo, it is in the midst of live performance that Subtle’s works of song complete themselves.
Subtle is currently hard at work in the studio, recording their next full length “ExitingArm” for Lex records. Due out May 2008, it is the third and most adventurous installment yet, in the ever widening epic of Hour Hero Yes…
Subtle is: Adam “Doseone” Drucker… voice and samples
Jeffrey “Jel” Logan…electronic drums
Jordan Dalrymple…drums guitar and voice
Dax Pierson…voice synth and programing
Marton Dowers…winds and keys
Alexander Kort…electric cello" ~ Subtle
also, check out this video from Subtle of the song F.K.O. from the full length record A New White
"F.K.O. is the first part in a trilogy of videos made by animation wizards SSSR; a Norwegian/Japanese animation collective who combine drawings, animated models, cut-up film and 3D computer graphics.
The music is by Subtle and these videos were included on the band's CD/DVD album 'Wishingbone' - Lex Records (LEX030)- a collection of new material, remixes & collaborations with artists such as Beck, Mike Patton and Low
The next two parts in the series can also be found online, including the video for 'Swan Meat' that won best music video at the British Animation Awards 2006.
For more information, please visit: http://www.lexrecords.com http://www.passion-pictures.co.uk
PS. It is widely believed that the title of this vide 'F.K.O.' stands for 'F**k Kelly Osborne'."
"Symphony No. 8 in G major, Op. 88, is, in contrast with the 7th, characterised by a warmer and more optimistic tone. Karl Schumann (in booklet notes for a recording of all the symphonies by Rafael Kubelík) compares it to the works of Gustav Mahler. As with the 7th, some feel the 8th is the best of the symphonies. That some critics feel it necessary to promote a symphony as "better than the 9th" shows how the immense popularity of the 9th has overshadowed the earlier works." - Wikipedia
Symphony No.8 G-major op.88
1. Allegro con brio
3. Allegretto grazioso
4. Allegro ma non troppo
"Symphony No. 9 in E minor, Op. 95, may be better known by its subtitle, From the New World, and is also called the New World Symphony. Dvořák wrote it between January and May 1893, while he was in New York. At the time of its first performance, he claimed that he used elements from American music such as Spirituals and Native American music in this work, but he later denied this. The first movement has a solo flute passage reminiscent of Swing Low, Sweet Chariot, and one of his students later reported that the second movement depicted, programmatically, the sobbing of Hiawatha. The second movement was so reminiscent of a negro spiritual that William Arms Fisher wrote lyrics for it and called it Goin' Home. Dvořák was interested in indigenous American music, but in an article published in the New York Herald on December 15, 1893, he wrote "[In the 9th symphony] I have simply written original themes embodying the peculiarities of the Indian music." Neil Armstrong took a recording of the 'New World' symphony to the Moon during the Apollo 11 mission, the first Moon landing, in 1969. The main theme of the slow movement of this symphony was used as the background to a British television advertisement (directed by Ridley Scott) for Hovis bread in the 1970s." - Wikipedia
Symphony No.9 E-minor op.95 ("New World Symphony")
5. Adagio - Allegro molto
7. Molto vivace
8. Allegro con fuoco
"By John Kelman
While the technology was, in retrospect, remarkably simple, guitarist Robert Fripp, best known for his work with the perennial King Crimson, and synthesist/producer Brian Eno literally invented a new musical form when they hooked up two Revox reel-to-reel tape recorders in '73, allowing Fripp to layer an almost infinite number of loops to create a groundbreaking technique called Frippertronics. On '73's No Pussyfooting and the '75 follow-up, the more sublime Evening Star , Fripp truly developed the orchestral possibilities of the guitar, while Eno's studio finesse coaxed the sounds into hitherto unheard of aural landscapes.
In the ensuing thirty years both artists have evolved textural potentials in music. Eno, of course, has been responsible for taking the rhythmically and harmonically static concepts of his early work with Fripp, evolving them into a series of trend-setting recordings called Ambient Music, with the idea that the music could be part of the cultural whole, felt as much as heard. His experiments with sound processing and loops have spawned a whole musical subculture that has often imitated, but never quite copied, his unique musical sound and concept. Fripp, on the other hand, has continued to develop the Frippertronics technique, utilizing guitar synthesis and digital sampling and looping technologies to evolve a more advanced sound process called Soundscapes that is used regularly with King Crimson, but has also resulted in a number of fine recordings dedicated exclusively to the methodology.
With The Equatorial Stars , Fripp and Eno reunite, and the result is unquestionably the finest recording they have made to date. Combining the all-encompassing textures of Eno's Ambient Music with Fripp's more sonically-broad Soundscapes, the two create a recording that may be steeped in technology, but feels somehow independent of it. While there is no way that untreated instruments could sound this way, the whole process feels somehow more organic than its predecessors. Fripp's tone is warmer and more subtle; Eno's processing creates lush and unique timbres. And while, with the exception of the heartbeat-driven “Lupus” and the more insistently pulsing “Altair” there is no real rhythmic or, for that matter harmonic, development, the end result is something that succeeds on two levels. This is music that can be played at a quiet level, supplanting the other ambient sounds around it but in a completely subtle way; or it can be played at a louder volume, creating a hypnotic and wholly involving space that demands attention in a strangely non-intrusive fashion.
Much like Eno's '83 ambient recording, Apollo: Atmospheres and Soundtracks , The Equatorial Stars can be imagined as a soundtrack to imagery that is highly personal. Broader in framework than its predecessors, The Equatorial Stars emerges as the finest addition to Fripp and Eno's collaborative efforts, the result of two completely unhindered and musically uninhibited minds." ~ All About Jazz
01 Meissa (8:08)
02 Lyra (7:45)
03 Tarazed (5:03)
04 Lupus (5:09)
05 Ankaa (7:01)
06 Altair (5:11)
07 Terebellum (9:40)
"It’s been a long time coming. One of hip-hop’s greatest lyricists, The Genius of Wu-Tang Clan and Cypress Hill’s resident scratch master DJ Muggs coming together for hip-hop’s biggest display of coastal cooperation since the Soul Assassins project. For two artists considered washed up this album has generated a lot of buzz, even if only on the internet, and this can be seen as the resurrection of both artist’s careers, even if just for a moment.
GZA’s lyrically sound storytelling is present and accounted for, as is DJ Muggs’ soulful production, and the two merge together to produce something special. The chemistry of GZA and RZA is there, as Muggs and GZA seem as at ease with each others styles as Kool G Rap and DJ Polo or Alchemist and Mobb Deep. The album begins with ‘Those That’s Bout It’ on which GZA drops jewels like ‘Most never pedal, above the street level, and cut their last deal with the devil just to settle’. Muggs crafts a haunting soundscape not unlike RZA on ’Liquid Swords’. Muggs is obviously aware of the beats GZA needs to hear to truly shine, which he produces with ease on ’Destruction of a Guard (Pop, Pop, Pop)’ with features GZA’s boys RZA and Rae. ‘Exploitation of Mistakes’ is classic GZA storytelling once again with Muggs constructing a dark piano loop for The Genius to flow around. ‘General Principles’ is once again vintage GZA with lines like ‘a small fried nigga, in a baked potato world’ and ‘Name a crew that could stop the force that I strike with, let alone try to hold the pen that I write with, you can even chop the fingers off that I type with, those I hold the mic with thinking I might quit’ .
The album continues with the excellent ‘Advance Pawns (Royal)’ which features a re-energized RZA and Raekwon, however GZA shines once more. GZA continues to amaze while both he and Muggs keep their mind in the gutter with dark beats an d grimy lyrics. Once again on ‘Queen’s Gambit’ GZA’s storytelling lyrics shine, whereas ‘Illusory Protection (War Drumz)’ could be a lost track from ‘Liquid Swords’, and any Wu-Tang fan knows that’s a compliment.
In conclusion, this album is many things to many people. Firstly it’s the first true competition to Kanye for best album of the year, it’s also a convincing east and west compilation, and finally, and perhaps most importantly, this is the return of the Wu-Tang Clan in the true sense of the word. There isn’t a moment of this album worth skipping, and boy that’s a good thing." ~ Six Shot
Moog: A Documentary Film By hans Fjellestad
"MOOG, the new documentary about Robert Moog, inventor of the modern synthesiser, is a portrait of the legendary figure in music and technology and his ideas about creativity, design, interactivity, spirituality and his collaborations with musicians over the years.
After inventing and building electronic musical instruments for over half a century, Bob Moog passed away on August 21st, 2005, at the age of 71 after a battle with brain cancer. All of us here at Plexi are honored to have been able to work with Bob on the film, and we send our condolences to his family and everyone at Moog Music. He was a gentleman and a genius, and we are incredibly saddened by his passing.
Remembrances of Bob from the filmmakers:
"Bob was generous, brilliant, and humble, which is a rare combination. It was an honor to spend time with him. I remember talking with him about whether he believed his instruments retained a memory of him and I certainly think that is true. In a very real way he lives on in his instruments and few have affected the world of music as Bob did. He will be missed."
- director Hans Fjellestad (read Hans' full memorial here)
"To me the thing that sums up Bob Moog is the fact that he was so humble in the face of being revered all across the globe for his amazing inventions. I know he saw himself as someone who helped musicians create. And he was proud of all the music that came from his machines from The Beatles to Dick Hyman to Pink Floyd to Sun Ra to The Moog Cookbook, and on and on. He was always doodling new ideas, he wore a pocket protector like a badge of honor, and he laughed often. The world has lost a true original." ~ producer Ryan Page
"In the film, Moog explained that he "can feel what's going on in a piece of electronic equipment... it's something between discovering and witnessing." And he was convinced that many musicians come to "feel" a circuit in a similar way. In fact, musicians make such strong emotional connections with the electronics inside a Moog synthesiser that the inventor himself reached cult hero status.
Permanently changing the face of music, the Moog synthesiser went from being the centerpiece of a late-60s craze -- appearing on records with such titles as Spotlight on the Moog, Moog Power, Music to Moog By, Country Moog, Moog Indigo, Exotic Moog and countless others -- to an indispendable instrument for progressive rock bands like Emerson, Lake & Palmer and Yes to predating the electronic dance music movement of today.
MOOG was directed by Hans Fjellestad and produced by Fjellestad and Ryan Page, who collaborated on FRONTIER LIFE (2002), a film about Tijuana, Mexico, and its burgeoning electronic dance music scene. The film was shot on location in Asheville, New York, Los Angeles, San Francisco, Tokyo and London, featuring appearances by Keith Emerson, Walter Sear, Gershon Kinsgley, Jean-Jacques Perrey & Luke Vibert, Rick Wakeman, DJ Spooky, Herb Deutsch, Bernie Worrell, Pamelia Kurstin, Tino Corp. with Charlie Clouser, Money Mark, Mix Master Mike, and an eclectic mix of performers.
Artists such as Stereolab, Meat Beat Manifesto, Tortoise, Money Mark, Luke Vibert & Jean-Jacques Perrey, 33, Moog Cookbook, Plastiq Phantom, Psilonaut, Bernie Worrell & Bootsy Collins, Roger O'Donnell, The Album Leaf, Pete Devriese, Bostich, Charlie Clouser, Baiyon, Suzanne Ciani, Gershon Kingsley, Doug McKechnie, Electric Skychurch and others contributed original music produced on Moog instruments for the soundtrack. The soundtrack album is out now on Hollywood Records." ~ Plexifilm
View Movie Trailer
"Ghostface Killah keeps the Wu-Tang Clan saga alive in late '96 with the fifth solo release by a member of the hip-hop dynasty from New York's Staten Island. It has been three years since the release of the group effort Enter the Wu-Tang (36 Chambers). But like the other solo albums, Ironman plays like a Wu-Tang album; it was produced by the group's RZA, and there are appearances by the extended posse. But RZA reinvents his sound once again, propelling you into his chamber of innovation.
After defining the music's rhythm in his dusted, offbeat, signature style, RZA emphasizes simple, precise percussion and bass thuds that are augmented by moody traces of lush strings, baroque riffs and samples from '60s soul records. As on other Wu-Tang projects, movie dialogue (from films such as Carlito's Way and The Usual Suspects) and real-life sound bites make the album feel like a seamless whole and give substance to the characters in Ghostface's raps – like the ghetto-vet superhero, Ironman.
Ghostface has survived setups and shootouts in the drug game and lived to rap about it, but Ironman shows that he also has a sensitive side. He's a sweet-talking suitor in "Camay," and he takes time out from all the curses and crime talk to give thanks to his mother and acknowledge his humble beginnings in "All That I Got Is You," a tear-jerker set to a melancholy R&B backing track.
The guest Clansmen shine on the lyrical tip, too: Check Method Man's robotic style on "Box in Hand," driven by a suspenseful piano break. RZA slices up the Pledge of Allegiance over the neck-snapping beats of "Assassination Day," while any verse that Cappadonna touches turns to instant gold. In short, Ironman is yet another solid Wu-Tang production for hip-hop fiends to sink their fangs into. (RS 749)
S.H. FERNANDO JR." ~ Rolling Stones
Label: Razor Sharp Records, Epic Street
Genre: Hip Hop
Credits: Artwork By [Design / Illustration] - Ron Croudy
Engineer - RZA , Steve Neat
Executive Producer - Robert Diggs , Oli Grant , Mitchell Diggs , Dennis Coles
Photography - Michael Lavine
Photography [Ill Portrait] - Sophia Chang
Producer - RZA (tracks: 1 to 8, 10 to 16)
Rap [Featuring] - Cappadonna (tracks: 1, 7, 9 to 11) , RZA (tracks: 5, 14, 16) , Raekwon (tracks: 1, 3 to 5, 7 to 14)
Notes: "This album is dedicated to the memory of Davon Coles 1971-1994. I'll always love you - rest in peace."
Submitted by: Iron_Fist
01 Iron Maiden (4:46)
02 Wildflower (3:26)
03 The Faster Blade (2:27)
04 260 (2:46)
05 Assassination Day (4:18)
[Featuring] - Inspectah Deck , Masta Killa
06 Poisonous Darts (2:15)
07 Winter Warz (4:40)
[Featuring] - Masta Killa , U-God
08 Box In Hand (3:14)
[Featuring] - Method Man
09 Fish (3:50)
Arranged By - True Master
Mixed By - True Master
Producer - True Master
10 Camay (4:34)
11 Daytona 500 (4:40)
12 Motherless Child (3:45)
13 Black Jesus (4:37)
[Featuring] - U-God
14 After The Smoke Is Clear (3:17)
Vocals [Featuring] - Delphonics, The
15 All That I Got Is You (5:21)
Featuring - Popa Wu
Vocals [Featuring] - Mary J. Blige
16 Marvel (5:12)
Friday, September 14, 2007
He is known as the father of electronic music. He was the inventor of the term "organized sound", a phrase meaning that certain timbres and rhythms can be grouped together, sublimating into a whole new definition of sound.
"Our musical alphabet is poor and illogical. Music, which should pulsate with life, needs new means of expression, and science alone can infuse it with youthful vigor. Why, Italian Futurists, have you slavishly reproduced only what is commonplace and boring in the bustle of our daily lives. I dream of instruments obedient to my thought and which with their contribution of a whole new world of unsuspected sounds, will lend themselves to the exigencies of my inner rhythm."
"There is an idea, the basis of an internal structure, expanded and split into different shapes or groups of sound constantly changing in shape, direction, and speed, attracted and repulsed by various forces. The form of the work is a consequence of this interaction. Possible musical forms are as limitless as the exterior forms of crystals."
"I was not influenced by composers as much as by natural objects and physical phenomena. As a child, I was tremendously impressed by the qualities and character of the granite I found in Burgundy, where I often visited my grandfather...So I was always in touch with things of stone and with this kind of pure structural architecture--without frills or unecessary decoration. All of this became an integral part of my thinking at a very early stage." - Edgard Varèse
It's fascinating how an obscure electronica duo from Norway can promote itself so well across genres. I've seen reviews of this album not just in electronica circles but also in rock, jazz, prog, and even metal websites or magazines. Amateur Girlfriends Go Proskirt Agents garnered such high praise from such a diverse array of critics that it was re-released (as just Amateur Girlfriends) with bonus tracks, despite being released only three years prior in the first place.
So what's the big deal? This is an album chock-full of interesting and creative IDM-styled electronica: breakbeats, heavy sampling, all of it augmented with vaguely symphonic touches that perhaps have made it more appealing to prog fans than most electronic music. There are also live instruments played here and there, most notably keys and bass, but these are not the focal point of the album. The best tracks have an almost funky aggression in the bass, such as in the opening cut; or are heavily rhythmic and propulsive and would fit in well as the soundtrack to an action-packed movie car chase scene, such as in "Treat Me Mean, I Need the Reputation."
Points of comparison might include Amon Tobin or even Thievery Corporation with a more aggressive approach. There is a strong jazz influence running through the whole affair - hence the Amon Tobin comparison - making the music altogether more accessible to non-electronica fans than similar releases. In any case, it's interesting that prog fans picked up on this kind of electronic music as opposed to the more experimental, much more rhythmically challenging (or challenged) material of, say, Autechre. I suspect the band's relentlessly effective self-promotion has had something to do with this.
Taken for what it is, this is an impressively creative album, accessible to a broad range of tastes. It does lose some steam in the second half - the first six cuts are by far the most energetic and consistently interesting. But its broad appeal is probably not unwarranted, though I still maintain that fans of musical complexity have much more intriguing options to turn to in the electronica genre.
The album feels like it would be most at home on Ninja Tune, especially the Ninja Tune of 2001. The album is very strong and consistent, with no bad tracks at all.
La Planète sauvage a.k.a. The Fantastic Planet
Directed by René Laloux
Produced by Simon Damiani, Andre Valio-Cavaglione
Written by René Laloux, Roland Topor, Stefan Wul (novel)
Music by Alain Goraguer
Cinematography Boris Baromykin, Lubomir Rejthar
Editing by Dick Elliott, Rich Harrison
Release date(s) 1973
Running time 72 min.
Country Czechoslovakia, France
Fantastic Planet is the English title of La Planète sauvage (literally "The Savage Planet") an animated 1973 science fiction film directed by René Laloux. The film was an international production between France and Czechoslovakia and has been distributed in the United States by Roger Corman. It won the special jury prize at the Cannes Film Festival in 1973. The story is based on a novel, Oms en série, by the French writer Stefan Wul.
This is a pretty brilliant film, and it's sort of become a cult classic over the years. It's thought provoking, visually stimulating, and is supported by a killer soundtrack that's been sampled by numerous underground hip-hop producers, and most notably by Madlib in his song "Come on Feet." The film is fairly short and is thoroughly enjoyable, so twist one up, dim the lights, expand the you tube box to full screen, and enjoy.
Wednesday, September 12, 2007
"Robert Altman's Three Women takes a surreal, improvisational and rather eerie look at the lives of three women in a western desert town. The plot centers around the youngest of the women, Pinky (Sissy Spacek), an eccentric, withdrawn woman trying to begin a new life. She finds work as an attendant at a hot springs spa catering to the elderly and infirm. There she befriends her co-worker Millie (Shelley Duvall), an equally strange but more outgoing woman; the two bond, and are soon sharing an apartment. Pinky becomes increasingly dependent on Millie, eventually adopting aspects of her personality and appearance. This obsessive attachment is threatened when Pinky discovers Millie with a man — Edgar (Robert Fortier), the macho, faux-cowboy husband of local artist Willie (Janice Rule), the last of the title's three women. Pinky's subsequent, desperate actions precipitate the film's enigmatic conclusion, involving an unexpected series of confrontations and role reversals amongst the three women. This story tends to take a backseat to the elliptical, spooky imagery, particularly the desert landscapes, and the quirky performances — not surprising, given that the film was reportedly shot without a full screenplay and inspired by Altman's own dreams." ~AMGb
Written, Produced, and Directed by Robert Altman
Cinematographer: Charles Rosher Jr.
"A pair of desperate men plan to kidnap a wealthy heiress upon her arrival in France. Bud (Marlon Brando) and Leer (Richard Boone) grab the gorgeous girl (Pamela Franklin) at the airport in Paris. The limousine is driven down a deserted country road where the airplane's stewardess Vi (Rita Moreno) is in on the plan and helps the criminals switch cars. The quartet heads to a remote beach house where the girl's father is contacted with instructions for the payoff. When the girl tries to escape, Bud helps her from being roughed up by Leer, which makes the heroine junkie Vi jealous. Vi's brother Wally (Jess Hahn) goes with to the saloon where the drop-off is scheduled, but Wally is wounded in a gun battle with the bartender. He escapes and gives the money to Leer, who is finished having his sadistic carnal way with the kidnap victim. Bud once again tries to help the girl, and Leer tries to shoot everyone who stands in his way. The feature ends with a hard-to-fathom surprise in this violent story of murder, greed and love of money." ~AMGb
Directed, Produced, Screenplay by Hubert Cornfield
Cinematographers: Jean Klissak, Willy Kurant, Willi Kurout
AS POSTED ON DIME HERE
Ennio Morricone "Note di Pace"
Piazza San Marco, Venice, Italy
September 10 2007
01. Tema di Deborah da "C'era una volta in America" (theme from "Once upon a time in America")
02. tema da "I promessi sposi" di Aldo Monti
03. tema da "Nuovo Cinema Paradiso"
04. interview part one
05. tema da "H2S"
06. tema da "Il clan dei siciliani" (from "The sicilian clan")
07. tema da "Metti una sera a cena"
08. interview part two
09. Tema da "Il buono, il brutto e il cattivo" (from "The good, the bad and the ugly")
10. Tema da "C'era una volta il west" (from "Once upon a time in the west")
11. Tema da "Giù la testa" (from "Duck, you sucker")
12. L'estasi dell'oro da "Il buono, il brutto e il cattivo" (from "The good, the bad and the ugly")
13. interview part three
14. Gabriel's oboe da "Mission" (from "Mission")
15. In earth as it is in heaven da "Mission" (from "Mission")
16. interview part four
17. Here's to you da "Sacco e Vanzetti"
total time 54:26
Lineage: Rai tv --> master vhs (SP mode) --> LG dvd recorder (XP mode) --> dvd-rw --> dvd decrypter --> TMPGenc DVD Author 1.6 --> Video_ts
Video format: MPEG-2, 720x576, 25 fps, PAL 4:3
Audio format: Dolby Digital (AC-3), 48000 Hz Stereo, 256 kbps
Orchestra: Roma Sinfonietta
Chorus: Teatro la Fenice
Soprano: Susanna Rigacci
Soloists: Vincenzo Bolognese (violin), Carlo Romano (oboe), Gilda Buità (piano)
Director: Ennio Morricone
This show was aired on September 11 2007.
"Note di Pace" ("notes of peace") was concert against all the massacres and slaughters of human history.
It was a way to remember 9/11.
Simple menu and correct chapters available.
Sorry for my poor uploading speed (30Kb/s) and for not being on 24/7.
Tuesday, September 11, 2007
Bela Tarr follows up on his seven-hour epic Satantango, considered by some critics as one of the finest films of the 1990s, with this elegant, haunting work about the cycles of violence that have dogged Eastern European history. Jancos (Lars Rudolph) is a wide-eyed innocent who works as an occasional postal worker and as a caretaker for Mr. Ezster (Peter Fitz). An outsider and a visionary, he marvels at the miracles of creation, from the planets rotating in the heavens to the sundry animals on earth. One day, a circus featuring jars full of medical anomalies and a massive dead whale entombed in a corrugated metal trailer visits Jancos' economically depressed village. Another more sinister attraction is a shadowy figure dubbed "The Prince," whose nihilist rants incite the town's disaffected to riot. Not long afterwards, Mrs. Ezster (Hanna Schygulla) cajoles her estranged husband to join a citizen's action group against the circus, threatening to move back into his house if he doesn't play along. Tension in the town builds until, after one of The Prince's hate-filled speeches, throngs of angry men with blunt instruments ransack and brutalize a men's hospital ward. When the dust clears, lives are irrevocably changed. This film was screened at the 2000 Toronto Film Festival." ~AMGb
Released by Artificial Eye Film Productions
DIRECTED BY BELA TARR
"What does the energy harnessed through orgasm have to do with the state of communist Yugoslavia circa 1971? Only counterculture filmmaker extraordinaire Dušan Makavejev has the answers (or the questions). His surreal documentary-fiction collision WR: Mysteries of the Organism begins as an investigation into the life and work of controversial psychologist and philosopher Wilhelm Reich and then explodes into a free-form narrative of a beautiful young Slavic girl’s sexual liberation. Banned upon its release in the director’s homeland, the art-house smash WR is both whimsical and bold in its blending of politics and sexuality." ~Criterionco
Conceived and Created by Dusan Makejev
Photography by Pega Popovic and Alexander Petkovic
Mike & Rich
Expert Knob Twiddlers
"The two most popular artists to record for Britain's Rephlex label — label-founder Richard D. James (Aphex Twin) and Michael Paradinas (µ-Ziq) — collaborated in 1996 for Expert Knob Twiddlers. Recalling the great Milton Bradley game boxes of the 1970s and '80s, the cover is a picture of James and Paradinas, in suitable low-res, chop-and-paste photos, playing a variant of Connect Four. Inside, the two techno auteurs' music mesh quite well; Paradinas' liquidy funk distortion smoothes out the calculated, almost sterile, experimentation of Aphex Twin. The style-blending, however, cancels out the particular attractions of both artists, and the listener is left with a somewhat bland album. Fans of Aphex and µ-Ziq will be excited, but newcomers should go elsewhere before they dig this deep. " ~AMG
01 Mr. Frosty
02 Jelly Fish
03 Eggy Toast
06 Winner Takes All
07 Giant Deflating Football
08 Upright Kangaroo
09 The Sound of Beady Eyes
10 Bu Bu Bu Ba
Monday, September 10, 2007
AS POSTED ON DIME HERE HERE
Miles Davis - Deep Brew, vol. 1 & 2
Bitches Brew Recording Sessions
August 19, 20 & 21, 1969
Lineage : Studio -> Original (Silver) Bootleg CD -> dBpoweramp CD Ripper (Secure Mode) -> WAV -> Trader's Little Helper -> FLAC (Level 6)
Checksum files created using Trader's Little Helper (SHNTool).
Miles Davis (tp)
Wayne Shorter (ss)
John McLaughlin (g)
Bennie Maupin (bcl)
Chick Corea (el-p)
Joe Zawinul (el-p)
Dave Holland (b)
Harvey Brooks (el-b)
Jack DeJohnette (dr)
Lenny White (dr)
Charles Don Alias (dr, perc)
Jumma Santos (perc)
Tracks, Volume 1 (August 19-20, 1969) :
01. Bitches Brew (rehearsal 01, fragment)
02. Bitches Brew (rehearsal 02, fragment)
03. Bitches Brew (rehearsal 03, fragment)
04. Bitches Brew (rehearsal 04, fragment)
05. Bitches Brew (rehearsal 05, fragment)
06. Bitches Brew (rehearsal 06, fragment)
07. Bitches Brew (rehearsal 07, fragment)
08. Bitches Brew (rehearsal 08, fragment)
09. Bitches Brew (rehearsal 09, fragment)
10. Bitches Brew (part 2 of Co 103745, take 1)
11. Studio Chatter
12. Bitches Brew (part 2, take 2)
13. John McLaughlin (part 3, take 1)
14. John McLaughlin (rehearsal 01, fragment)
15. John McLaughlin (rehearsal 02, fragment)
16. John McLaughlin (part 3, take 2)
17. John McLaughlin (rehearsal 01, fragment)
18. John McLaughlin (part 4, take 1)
19. John McLaughlin (part 4, take 2)
20. Pharaoh's Dance (rehearsal 01, fragment)
21. Pharaoh's Dance (rehearsal 02, fragment)
22. Pharaoh's Dance (Co 103747, take 1)
23. Pharaoh's Dance (rehearsal 03, fragment)
24. Pharaoh's Dance (rehearsal 04, fragment)
25. Pharaoh's Dance (rehearsal 05, fragment)
26. Pharaoh's Dance (rehearsal 06, fragment)
27. Pharaoh's Dance (rehearsal 07, fragment)
28. Pharaoh's Dance (rehearsal 08, fragment)
29. Pharaoh's Dance (rehearsal 09, fragment)
30. Pharaoh's Dance (rehearsal 10, fragment)
31. Pharaoh's Dance (rehearsal 11, fragment)
32. Orange Lady (rehearsal 01, fragment)
33. Orange Lady (rehearsal 02, fragment)
34. Orange Lady (rehearsal 03, fragment)
35. Miles Runs The Voodoo Down (Co 103749, take 1)
36. Miles Runs The Voodoo Down (rehearsal 01, fragment)
37. Miles Runs The Voodoo Down (take 2)
38. Miles Runs The Voodoo Down (take 3)
39. Miles Runs The Voodoo Down (rehearsal 02, fragment)
40. Miles Runs The Voodoo Down (rehearsal 03, fragment)
41. Miles Runs The Voodoo Down (rehearsal 04, fragment)
42. Miles Runs The Voodoo Down (rehearsal 05, fragment)
43. Miles Runs The Voodoo Down (take 5)
44. Miles Runs The Voodoo Down (rehearsal 06, fragment)
45. Miles Runs The Voodoo Down (rehearsal 07, fragment)
46. Studio Chatter (take 6)
47. Studio Chatter (take 6)
48. Miles Runs The Voodoo Down (take 6)
49. Studio Chatter (take 7)
50. Miles Runs The Voodoo Down (take 7)
51. Miles Runs The Voodoo Down (take 8)
Total playing time : 73:23
Tracks, volume 2 (August 20-21, 1969) :
01. Miles Runs The Voodoo Down (take 8)
02. Miles Runs The Voodoo Down (take 9, inc)
03. Spanish Key (Co 103750, take 1)
04. Spanish Key (take 2)
05. Spanish Key (take 3)
06. Spanish Key (take 4)
07. Spanish Key (take 4, inc)
08. Pharaoh's Dance (Co 103313, part 1, take 1)
09. Pharaoh's Dance (take 1, inc)
10. Pharaoh's Dance (part 1, take 2)
11. Pharaoh's Dance (part 1, take 2, inc)
12. Pharaoh's Dance (part 2, take 1)
13. Pharaoh's Dance (part 2, take 2)
14. Pharaoh's Dance (part 2, take 2, fs)
15. Pharaoh's Dance (part 2, take 2, fs)
16. Pharaoh's Dance (part 2, take 2, fs)
17. Pharaoh's Dance (part 2, take 2, fs)
18. Pharaoh's Dance (part 2, take 2, fs)
19. Pharaoh's Dance (part 2, take 2, fs)
20. Pharaoh's Dance (insert, take 1)
21. Pharaoh's Dance (insert, take 2)
22. Pharaoh's Dance (insert, take 2, fs)
23. Pharaoh's Dance (insert, take 3)
24. Pharaoh's Dance (insert, take 3, fs)
25. Pharaoh's Dance (insert, take 3, rehearsal)
26. Pharaoh's Dance (insert, take 3, fs)
27. Pharaoh's Dance (insert, take 3, fs)
28. Pharaoh's Dance (insert, take 3, fs)
29. Pharaoh's Dance (insert, take 3)
Total playing time : 45:36
Sunday, September 9, 2007
"Mercedes Sosa was born on July 9, 1935 in the province of Tucumán, Argentina. She grew up in a modest home and learned to love artistic popular expressions. During her adolescence she danced, sang, and she was a native dances teacher. In the middle 60's she settled down in the province of Mendoza with her husband, musician Manuel Oscar Matus, where she renewed the artistic expressions of her native roots. She then made her debut with an independent record production titled "Canciones con fundamento" (Songs with Basis). Later she managed to sing for the first time at the Cosquín Festival and in 1967, after having recorded two albums, she began to travel the world promoting her work in Miami, Lisbon, Rome, Warsaw, Leningrad, Kislovo, Gagri, Baku and Tifilis. By then, her lyrics had begun to be an inconvenience for the military authorities who were governing Argentina, and it was very common that her songs were censored in the official radios. She continued with her recordings and in 1972 when her performances were suffering constant censorship imposed by the military government, the record "Hasta la Victoria" (Until the Victory) was released and it included a load of songs with social and political statements. At the end of the decade of 1970, the Military Junta was implementing a repression policy that eventually reached the chilling number of 30,000 missing persons (see Mothers of Plaza de Mayo). In 1979 she released "Serenata para la tierra de uno" (Serenade for our Land), and kept singing to life while in the middle of the violence, but eventually, the harassment was unbearable. After being arrested during a concert in the city of La Plata, together with 350 people in the audience, she went into exile to Paris, and then, in 1980 she moved to Madrid. Mercedes Sosa carried on an intense international artistic activity during her years in exile.
The defeat of Argentina in the war of the Islas Malvinas (Falklands Islands), in 1982, prompted the end of the military dictatorship and the beginning of the democracy era. She picked this time to release the double album "Mercedes Sosa in Argentina ". She continued recording albums and traveling the world with her songs. She performed at the Lincoln Center, and the Carnagie Hall of New York, at the French Mogador and in numerous cities in Argentina. In every place, she was received by ovations and recognitions, not only for her talent but also for her integrity.
Since then there were more records and more special guests at her shows, like: Pablo Milanés, Alfredo Kraus, Renata Scotto, Andrea Bocelli, Teresa Parodi, Víctor Heredia, Roberto Goyoneche and Fito Páez among others; and continued with extended tours in Australia, Greece, Switzerland, Germany, Luxembourg, Norway, Sweden, Finland, Holland, England, France, Austria, Israel, The United States, Canada, Puerto Rico, Guatemala, El Salvador, Dominican Republic, Mexico, Brazil, Chile, Costa Rica, El Salvador, Honduras, Panama, Bolivia, Peru, Paraguay, Uruguay and the Canary Isles.
The more memorable performances were at the Concertegebuw of Amsterdam and at the Carnegie Hall of New York, where her performance was closed by a ten minutes ovation. Meanwhile, as producer, she organized the show "Without Borders", that got together seven Latin-American singers: Argentine Teresa Parodi and Silvina Garré, Colombian Leonor Gonzalez Mina, Venezuelan Lilia Vera, the Brazilian Beth Carvalho and Mexican Amparo Ochoa, besides Mercedes at the Luna Park Stadium of Buenos Aires . Together with popular recognition she received important national and international awards as the medal of the Order of the Commander of the Arts and the Lyrics, granted by the Department of Culture of the France; an award as illustrious persona in Houston, Texas granted by the governor of the state and by the mayor of the city; she also received the distinction of illustrious Citizen of Tucumán and illustrious Citizen of Buenos Aires, the Order of Merit of the Federal Republic of Germany, the Medal of Cultural Merit from Ecuador, the Shield of the National Major University of San Marcos, Peru; and the UNIFEM Prize by the United Nations, who distinguished her labor in defense of women's rights, among other distinctions. Mercedes Sosa's career is, undoubtedly the most successful ever of of any Argentine artist, both in the national level as well as international; and not only for her music but for her message of peace, international integration, defense of the human rights and artistic and personal integrity." ~ Easy Buenos Aires City
NOTE: a small number of the albums have speed issues that are present on the original vinyl it was sourced from, however, this does not take away from how beautiful this music is, try a few out and see what you think.
I highly recommend Mercedes Sosa - Con Sabor A Mercedes Sosa [Phillips 1968]
"Political singer from the Giresun Province in Turkey, SELDA delivers reverb-laden, powerful songs in her native tongue. Playing acoustic guitar and singing noticeable charged lyrics, SELDA is a force to be reckoned with. Originally banned in Turkey, "Vurulduk Ey..." gets a proper re-release on World Psychedelia, and contains eight bonus tracks. 70's progressive-folk at its best!" ~ Reckless Records
"A nice set of Mexican and psychedelia from the late 60s and early 70s -- and another entry in the Love, Peace & Poetry series of lost global psychedelic rock and pop! This Latin batch of tunes are picked from the years between '68 and '73, and the dates can give you a pretty good idea of the sound; the earlier ones have the Strawberry Alarm Clock, Sandpipers acid ethereal chamber groove, and the later ones have the post Cream crunch. 17 tracks including "Lost In My World" by Dug's Dug, "Hang Out" by The Kaleidoscope, "Roaming" by La Fachada De Piedra, "El Ruido Del Silencio" by El Tarro De Mostaza, "Touch Me" by La Vida, "Joven Amante" by La Libra Expresion, "Behind A Young Girl's Smile" by The Flying Karpets and lots more. Bad cover, strong set of tunes! "
1. Lost in My World
2. Hang Out - Kaleidoscope,
4. Ruido del Silencio
5. Touch Me
6. Joven Amante
7. Behind a Young Girl Smile
8. En Medio de la Lluvia - La Revolucion De Emiliano Zapata,
9. It's You
10. Lenon Blues
11. Tommy Lyz - Toncho Pilatos
12. I'm Dying
14. Nada Nos Detendra
15. Cuando Era Nio - Los Ovnis
16. World Is a Bomb