Monday, 22 October 2012

I don't know...

between this, this and this...it's a worry!

♪♫ The Equals - Police On My Back (Beat Club)

Rainer Werner Fassbinder - Liebe ist kälter als der Tod (1969)

Love is Colder than Death (German: Liebe — kälter als der Tod) is a 1969 German film directed by Rainer Werner Fassbinder. In Fassbinder's first feature film, he features as the petty hood, Franz Biberkopf. Biberkopf's friend, portrayed by actor Ulli Lommel, has been ordered to kill Franz by a crime syndicate. The cinematographer Dietrich Lohmann and the cast as an ensemble won an award at the German Film Awards in 1970.
The reception was generally negative, and the film was even booed at the 19th Berlin International Film Festival in 1969. Today, it is seen as a fine example of Fassbinder's early style, with a heavy 'nouvelle vague' influence.
The film is dedicated to "Claude Chabrol, Éric Rohmer, Jean-Marie Straub, Linio and Cuncho". The last two are characters in Damiano Damiani's 1966 film Quien sabe?

Ulli Lommel - Bruno
Hanna Schygulla - Johanna
Katrin Schaake - Dame im Zug
Liz Soellner - Zeitungsverkäuferin
Gisela Otto - 1. Prostituierte
Ursula Strätz - Fette Prostituierte
Monika Nüchtern - Kellnerin beim Türken (as Monika Stadler)
Hans Hirschmüller - Peter
Les Olvides - Georges
Peer Raben - Jürgen (as Wil Rabenbauer)
Howard Gaines - Raoul
Peter Moland - Leiter des Syndikatsverhörs
Kurt Raab - Aufsichtsperson im Kaufhaus
Peter Berling - Illegaler Waffenhändler
Anastassios Karalas - Türke

Fassbinder's character's name in the film, Franz Biberkopf, is the same as that of the main character in Alfred Döblin's novel, Berlin Alexanderplatz. Fassbinder included many references to this work and eventually created a miniseries out of it..
(wikipedia)

Sunday, 21 October 2012

The Residents - Demons Dance Alone Tour (Full) - Rockefeller Oslo 02-27-2003

"Demonic! The Residents Live in Oslo" with the music of this concert has been released as double CD on Oct 3rd, 2012

The Ramones - Now I Wanna Sniff Some Glue/I Don't Wanna Go Down to the Basement/Judy Is a Punk (CBGB 1974)

Christ. - Cathexis Motion Picture Soundtrack (Albumstream)

Cathexis: Motion Picture Soundtrack is the new album by Christ aka Chris H. 4th album by the ex Boards of Canada collaborator. Asoundtrack album to the Japanese animation movie Cathexis.
The soundtrack was made in close collaboration with award-winning Swedish / Japanese film-maker and contemporary artist Stefan Larsson (also known as Q-N-Q) and is a perfect counterpart to his up-coming digital movie release Cathexis.
Christ’s music is often likened to that of fellow Scottish electronic group Boards of Canada. In fact, Chris H was an early participant in the nebulous Hexagon Sun collective from which BoC emerged and was a collaborator with the group until approximately 1995, appearing on the Twoism album, reissued by Warp in 2002. Christ H’s departure was amicable and he thanks the duo on his Pylonesque EP issued on the Benbecula Records label in 2001. He followed this release with a full length album Metamorphic Reproduction Miracle on the same label which was very well received within the genre. He later released “Blue Shift Emissions”, “Distance Lends Enchantment To The View” albums, “Seeing and Doing” and “Bike” ep’s.
Christ.’s music has featured often on national radio, including live sessions for the Vic Galloway show on Radio 1 Scotland, and an historic performance on the late, great John Peel’s show, where the legend himself asked for an encore, apparently this is one of two occasions that this ever happened.

Carole Jerrems: Vale Street #2 (1975)

A quintessential image of the 1970s, 'Vale Street #2' has lost none of its capacity to enchant and disturb in the intervening years. In one sense it can be read as a sociological document; in another as a wholly subjective work of art. Like the mediumistic spirit-photographs of the nineteenth century, Jerrems's photo seems to disclose the very souls of its subjects. As they respond, each in their individual fashion, to the regarding presence of the camera lens, the figures compose themselves, without theatrics, into telling attitudes. The prominence and bodily confidence of the open-faced young woman is set against the reticence of her boyish companions. As a portrait of relationships as well as individuals, 'Vale Street' speaks of gender relations, adolescent sexuality, suburban mores and the photographer's own subtly partisan demeanour in regard to these themes.
(Art Gallery Handbook, 1999)