Einsturzende Neubauten - Lament (2014)

Lament is a studio album by German band Einstürzende Neubauten, released on 7 November 2014. It is a concept album about World War I.
wikipedia
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LAMENT should be heard as a studio reconstruction of a work primarily designed to be performed live, rather than an official new Einstürzende Neubauten LP proper.
In truth, the piece can only be fully realised, as well as best experienced, in its physical embodiment, performed on or by founding member Andrew Unruh’s gigantic instruments and noise generating devices that visually evoke the horrors the work describes or embeds in the sounds they conjure from the filth and terror of the industrialised 20th century world at war with itself.
But in fulfilling what at first appears to be a surprise commission for such a formidable longtime outsider group, Einstürzende Neubauten transformed the earthy, idiosyncratic contents they mined from academic, state, music hall and internet archives with the help of their two researchers into a richly complex cycle of original and cover songs and performance pieces.
The music often originated in LAMENT’s storytelling needs, be it in terms of sounds used or compositions structured along First World War flow charts or scored from calendars of the involvement of the 20 plus countries embroiled in it.
The way LAMENT plays off pre-existing and composed materials, pieces clipped together from historical records next to direct cover interpretations, or indeed their Frankenstein like construction of an ur-anthem/national hymn delivers a differently angled history of the war.
Finally, LAMENT opens Bargeld’s case that the First World War never ended - the interwar and postwar periods being essentially pauses for breath as the great military powers carry on their conflict at some remove in faraway wars fought by proxy.

TRACKLIST
 
Kriegsmaschinerie
Hymnen
The Willy - Nicky Telegrams
In De Loopgraaf
Der 1. Weltkrieg (Percussion Version)
On Patrol In No Man's Land
Achterland
Lament: 1. Lament
Lament: 2. Abwärstsspirale
Lament: 3. Pater Peccavi
How Did I Die?
Sag Mir Wo Die Blumen Sind
Der Beginn des Weltkrieges 1914 (Dargestellt Unter Zuhilfenahme eines Tierstimmenimitators)
All Of No Man's Land Is Ours
http://www.neubauten.org/news
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ΚΟΡΝΗΛΙΟΣ ΚΑΣΤΟΡΙΑΔΗΣ

Ο Κορνήλιος Καστοριάδης (Κωνσταντινούπολη, 11 Μαρτίου 1922 – Παρίσι, 26 Δεκεμβρίου 1997) ήταν Έλληνας φιλόσοφος, οικονομολόγος, επαγγελματίας ψυχαναλυτής από το 1973 και διευθυντής σπουδών στην Ανώτατη Σχολή για τις Κοινωνικές Επιστήμες. Συγγραφέας του έργου Η Φαντασιακή Θέσμιση της Κοινωνίας, διευθυντής σπουδών στην Σχολή Ανωτέρων Σπουδών Κοινωνικών Επιστημών του Παρισιού από το 1979, και φιλόσοφος της αυτονομίας, υπήρξε ένας από τους μεγαλύτερους στοχαστές του 20 ου αιώνα.

Φιλοσοφία

Αυτονομία

Βασική θέση στο έργο του Καστοριάδη κατέχει η έννοια της "Αυτονομίας", σε τέτοιο μάλιστα βαθμό, που ο ίδιος αποκαλέστηκε και "Φιλόσοφος της Αυτονομίας". Ετυμολογικά βέβαια, η λέξη σημαίνει την πολιτική πράξη κατά την οποία μια κοινωνία δημιουργεί τους δικούς της νόμους και θεσμούς. Εκτός όμως από τους ίδιους τους νόμους, οι κοινωνίες έχουν και την ανάγκη της "νομιμοποίησης" αυτών, την απάντηση δηλαδή στο γιατί αυτοί οι νόμοι να είναι οι δίκαιοι. Προγενέστερες κοινωνίες νομιμοποιούσαν τους νόμους τους μέσα από την μεταφυσική, λέγοντας κυρίως ότι τους είχαν δοθεί από κάποιο θεό ή θεϊκό πρόγονο. Ο Καστοριάδης παρατήρησε ότι οι προσπάθειες αυτές για νομιμοποίηση είναι, ως επί το πλείστον τους, ταυτολογικές. Οι νόμοι της Παλαιάς Διαθήκης για παράδειγμα, νομιμοποιούνται από το Θεό, η ύπαρξη του οποίου βεβαιώνεται από το γεγονός ότι έδωσε αυτούς τους νόμους. Ο καπιταλισμός από την άλλη έχει σαν νομιμοποίηση του την "ορθολογικότητα" , το ότι δηλαδή αποτελεί ένα σύστημα στηριγμένο στη λογική. Παρομοίως όμως, ορίζει πρώτα το τι είναι λογικό, που στη συγκεκριμένη περίπτωση είναι η μεγιστοποίηση ενός "προϊόντος" παραγωγής και η ελαχιστοποίηση ενός "κόστους", των οποίων τις έννοιες ορίζει και πάλι ο ίδιος. Ένας τέτοιος ορισμός της λογικής όμως δεν μπορεί να στηριχτεί ο ίδιος στη λογική, μιας και έχουν υπάρξει πολλές κοινωνίες, που σίγουρα δεν θα αποκαλούνταν "παράλογες", που τον αγνοούσαν πλήρως και έτσι απαιτείται να τον δεχτούμε ως παραδοχή. Μία δεύτερη νομιμοποίηση του καπιταλιστικού συστήματος έχει επιχειρηθεί και με τη χρήση της Δαρβινικής θεωρίας της εξέλιξης των ειδών μέσω φυσικής επιλογής. Εδώ ο καπιταλισμός παρουσιάζεται ως "φυσικός", έχοντας δήθεν προέλθει από την ίδια διαδικασία που δημιούργησε και τον άνθρωπο. Ο Καστοριάδης, εκφράζοντας πρώτα την άποψη ότι η εφαρμογή της θεωρίας αυτής σε κοινωνικά μορφώματα είναι άτοπη, μας θυμίζει ότι η διαδικασία της εξέλιξης αφήνει πίσω της τον καταλληλότερου προς επιβίωση, με οποιοδήποτε μέσο, και όχι κάποιο ιδανικό αισθητικής ή δικαιοσύνης. Η νομιμοποίηση λοιπόν του καπιταλισμού είναι για άλλη μια φορά ταυτολογική, κάτι που δεν τον καθιστά αυτόματα λογικό ή φυσικό ως σύστημα.
Εδω παρατηρεί ότι πολλές κοινωνίες, τη στιγμή της δημιουργίας τους, παρουσιάζουν φαινόμενα αυτονομίας, όπως οι δημαρχιακές συναντήσεις πολιτών (town hall meetings) κατά την Αμερικανική Ανεξαρτησία και οι οργανώσεις πολιτών κατά την Κομμούνα του Παρισίου. Στην εξέλιξη τους όμως, τα συστήματα αυτά, δίνουν την νομοθετική εξουσία σε εκλεγόμενους άρχοντες με αποτέλεσμα την πλήρη αποξένωση του πολίτη από αυτήν. Κατά τον Καστοριάδη, μόνον η λεγόμενη εκτελεστική εξουσία που πρέπει να πράττει μόνο κατά κυριολεξία του όρου, εκτελώντας τα βουλεύματα του δήμου, μπορεί να μεταβιβάζεται σε ειδικούς ενώ οι υπόλοιπες, συμπεριλαμβανομένης και της δικαστικής, πρέπει να μένουν στα χέρια των πολιτών μέσω της άμεσης δημοκρατίας.
Σε αντίθεση αυτής της τάσης, οι Έλληνες κατά την αρχαιότητα ως πραγματικά αυτόνομη κοινωνία, γνώριζαν ότι οι νόμοι είναι ανθρώπινοι και κατ' ουσίαν αυτονομιμοποιούμενοι. Μπόρεσαν έτσι να τους αλλάζουν διαρκώς, συχνά με δημοκρατικά μέσα. Το ότι παρά τη συνειδητοποίηση αυτή, οι Έλληνες συνέχισαν να σέβονται και να υπακούουν τους νόμους τους, απέδειξε κατά τον Καστοριάδη ότι οι αυτόνομες κοινωνίες είναι δυνατές μέσα στην ιστορία σε αντίθεση με το επιχείρημα που παρουσιάζει τη θρησκεία ως αναγκαία προϋπόθεση για την διατήρηση της έννομης τάξης^[5].

Φαντασιακή Θέσμιση της κοινωνίας

Ο Καστοριάδης πίστευε ότι η θέσμιση των κοινωνιών, είτε ως αυτόνομες είτε όχι, προϋποθέτει μια συγκεκριμένη σύλληψη του κόσμου και της σχέσης του ανθρώπου με αυτόν. Ο καπιταλισμός για παράδειγμα, αναδυόμενος μέσα από τη βιομηχανική επανάσταση, συλλαμβάνει έναν επιστημονικά ορισμένο κόσμο με μία κοινωνία βασισμένη σε αυτό που ο ίδιος ορίζει ως "ορθό λόγο" (λογική). Παραδόξως όμως, όπως επισημαίνει αναλυτικά στο πρωτοποριακό του έργο "Η Φαντασιακή Θέσμιση της Κοινωνίας" [1975], ο Κομμουνισμός βασίζεται επίσης στην ίδια φαντασιακή σύλληψη, καθώς οραματίζεται με τη σειρά του μια κατ' ουσία βιομηχανική κοινωνία, όπου η ευημερία του ανθρώπου είναι υλικά μετρήσιμη και βελτιστοποιήσιμη μέσω της τεχνολογίας. Αποδέχεται έτσι τις ίδιες καπιταλιστικές κατηγορίες και ορισμούς, όπως το τι είναι "προϊόν", "κόστος" κλπ. Έτσι λοιπόν, η ιστορική εξέλιξη της Μαρξιστικής θεωρίας, όπως το παράδειγμα της Σοβιετικής Ένωσης, δεν αποτελεί δολιοφθορά ή "έκπτωση" της αρχικής της ιδεολογίας αλλά η μοιραία της πραγμάτωση μέσα στο χρόνο. Η Ιστορία, δηλαδή, "δείχνει στα γεγονότα αυτό που ή θεωρητική ανάλυση δείχνει απ' την πλευρά της στις ιδέες: ότι το Μαρξιστικό σύστημα αποτελεί μέρος της καπιταλιστικής κουλτούρας" ^[6]
Στο σημείο αυτό, επανέρχεται στο θέμα της αρχαίας Ελλάδας όπου το θεμελιώδες φαντασιακό, όπως φαίνεται από τον Όμηρο και τον Ησίοδο στις αντίστοιχες κοσμογονίες τους, έχει τον κόσμο να γεννιέται από το Χάος. Σήμερα, και ενώ ο όρος αυτός έχει αναχθεί σε επιστημονική θεωρία (Θεωρίας του Χάους), ο Καστοριάδης προτιμά τον ορισμό του ως "τίποτα". Αυτή η σύλληψη ήταν, κατά τον Καστοριάδη, η γενεσιουργός δύναμη της αρχαίας δημοκρατίας αφού αφήνει τον άνθρωπο δημιουργό του δικού του νοήματος, σε έλλειψη κάποιου ανώτερου προϋπάρχοντος νόμου.

Αρχαία Ελλάδα και Δύση

Ασχολούμενος με το φαινόμενο της αρχαιοελληνικής δημοκρατίας ο Καστοριάδης βρίσκει πάλι το φαινόμενο της αυτοθέσμισης και αυτονομίας ενώ αντικρούει την άποψη που θέλει το πολίτευμα αυτό να πηγάζει από τα φαινόμενα της δουλείας, της γεωγραφίας του Ελλαδικού χώρου ή την οπλιτική φάλαγγα. Όπως παρατηρεί, σε μια διάλεξη του στο Λεωνίδιο το 1984, η Γερμανία θα έπρεπε, με βάση το επιχείρημα της γεωγραφίας, να αποτελεί, ήδη από τον Μεσαίωνα, ένα ενιαίο κράτος. Ωστόσο γνωρίζουμε ότι κάτι τέτοιο δεν έγινε παρά μόνο πρόσφατα και ότι αυτός ο κατακερματισμός με τη σειρά του δεν οδήγησε σε καμία μορφή δημοκρατίας. Ούτε και η παρουσία της δουλείας σε άλλες κοινότητες, η οποία μάλιστα δεν ήταν βασικό στοιχείο της πρώτης δημοκρατικής κοινωνίας την εποχή του Κλεισθένη, οδήγησε αυτόματα στη δημοκρατία. Αντίθετα, η δημοκρατία της αρχαίας Ελλάδος στηρίχτηκε όχι στην τάξη των δούλων αλλά σε αυτή των μικροεμπόρων, κάτι γνωστό στον ίδιο το Μαρξ, όπως επισημαίνει στην ίδια διάλεξη.
Το φαινόμενο της μικρής αυτονομούμενης πόλης κράτους αναδύεται ξανά στις ανεξάρτητες πόλεις της βορείου Ιταλίας κατά την Αναγέννηση, βασιζόμενη ξανά στην τάξη των μικροεμπόρων.
Η αρχαία Ελλάδα κατά τον Καστοριάδη δεν πρέπει να αποτελέσει πρότυπο αλλά έμπνευση για μία σύγχρονη αυτόνομη δημοκρατία.

Εργογραφία

Τα περισσότερα έργα του Καστοριάδη έχουν μεταφραστεί στα ελληνικά. Μερικά από αυτά είναι τα εξής:

• Το Επαναστατικό Πρόβλημα Σήμερα
• Η Πείρα του Εργατικού Κινήματος
• Η Φαντασιακή Θέσμιση της Κοινωνίας
• Από την Οικολογία στην Αυτονομία
• Τα Σταυροδρόμια του Λαβύρινθου
• Η Άνοδος της Ασημαντότητας
• Ο Θρυμματισμένος Κόσμος
• Χώροι του Ανθρώπου
• Ανθρωπολογία, Πολιτική, Φιλοσοφία
• Η «Ορθολογικότητα» του Καπιταλισμού
• Τα κινήματα της δεκαετίας του ’60, Μετάφρ. Μπάμπης Λυκούδης. Αντί 373 (1988), 34-37.
• Η ελληνική ιδιαιτερότητα - ΤΟΜΟΣ Α' - Από τον Όμηρο στον Ηράκλειτο / ΣΕΜΙΝΑΡΙΑ 1982-1983
• Η ελληνική ιδιαιτερότητα - ΤΟΜΟΣ Β' - Η πόλις και οι νόμοι / ΣΕΜΙΝΑΡΙΑ 1983-1984
• Η ελληνική ιδιαιτερότητα - ΤΟΜΟΣ Γ' - Θουκιδίδης, η ισχύς και το δίκαιο / ΣΕΜΙΝΑΡΙΑ 1984-1985

WIKIPEDIA
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ΚΑΤΕΒΑΣΤΕ ΜΕΣΩ TORRENT 38 ΒΙΒΛΙΑ ΑΠΟ ΕΔΩ
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Les Neiges du Kilimandjaro (2011)

The Snows of Kilimanjaro (French: Les Neiges du Kilimandjaro) is a 2011 French drama film directed by Robert Guédiguian. It premiered in the Un Certain Regard section at the 2011 Cannes Film Festival. It won the audience award and the Silver Spike at the Valladolid International Film Festival.
The story, written by director Robert Guédiguian and Jean-Louis Milesi, takes its inspiration from the poem Les pauvres gens [Poor People] (How Good Are The Poor) one of the best known of Victor Hugo's poems from his three-volume poetry collection, La Légende des siècles (The Legend of the Centuries).
The title, on the other hand, is taken from the name of the song the main characters' family sings in the film: Pascal Danel's song Kilimandjaro, known in French as Les Neiges du Kilimandjaro (The Snows of Kilimanjaro).
wikipedia
imdb
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Giampiero Boneschi

  Giampiero Boneschi (Milan, January 31, 1927) is a conductor, composer and arranger Italian.
In the 1950s he formed several groups including, a trio with drummer Gil Cuppini and Eraldo Volonte saxophonist.He has collaborated and recorded for several labels, including the master's voice, Odeon, Philips, Karim, Durium, Cam, Discs and many other memories.Exclusive contract with Columbia as soloist piano.It was arranger-orchestrator-conductor and as a consultant, has participated in some editions of the Sanremo Festival, with the new instrument MOOG.He has conducted in Rome on the Rose Festival.He represented Italy in 1960 at the festival in Rio de Janeiro.He wrote and performed the abbreviations on several radio and television programs including Double or nothing for RAI and Seriously for Channel 5.Among the artists for whom he edited the musical figure Luigi Tenco, Fabrizio De Andrè, Gino Paoli, Umberto Bindi and many others.He was artistic director of Discs Memories and consultant hiring decision of the artists.The case RAI retains all activities from the beginning of the creation of the Italian TV that took place in Milan, of which he was the conductor.The "trio" music Gambarelli-Mojoli-Boneschi broadcasting almost every day from the studies Eiar Milan since the war.Entertainer pianist for American soldiers to '' American red cross "of Milan in the process of repatriation.Married to singer Nuccia Bongiovanni, with whom he had two daughters Danila and Mila, later married Fatma Ruffini who bore him Valentina.
http://it.wikipedia.org/wiki/Giampiero_Boneschi
http://www.discogs.com/artist/61498-Giampiero-Boneschi
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Z (A film by Costa-Gavras)

Z is a 1969 French language political thriller directed by Costa-Gavras, with a screenplay by Gavras and Jorge Semprún, based on the 1966 novel of the same name by Vassilis Vassilikos. The film presents a thinly fictionalized account of the events surrounding the assassination of democratic Greek politician Grigoris Lambrakis in 1963. With its satirical view of Greek politics, its dark sense of humor, and its downbeat ending, the film captures the outrage about the military dictatorship that ruled Greece at the time of its making.
Z stars Jean-Louis Trintignant as the investigating magistrate (an analogue of Christos Sartzetakis, who 22 years later was appointed President of Greece by democratically elected parliamentarians). International stars Yves Montand and Irene Papas also appear, but despite their star billing have very little screen time compared to the other principals. Jacques Perrin, who co-produced, plays a key role. The film's title refers to a popular Greek protest slogan (Greek: Ζει, IPA: [ˈzi]) meaning "he (Lambrakis) lives".
The film had a total of 3,952,913 admissions in France and was the 4th highest grossing film of the year. It was also the 12th highest grossing film of 1969 in the U.S. Z is also one of the few films to be nominated for both the Academy Award for Best Foreign Language Film and Best Picture.
http://en.wikipedia.org/wiki/Z_%281969_film%29
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Directed by	Costa-Gavras
Produced by	Jacques Perrin Ahmed Rachedi
Screenplay by	Jorge Semprún Costa-Gavras
Story by	Vassilis Vassilikos
Starring	Jean-Louis Trintignant Yves Montand Irene Papas Jacques Perrin
Music by	Mikis Theodorakis
Cinematography	Raoul Coutard
Edited by	Françoise Bonnot
Distributed by	Cinema V (US)
Release dates	February 26, 1969 (France)
Running time	127 minutes
Country	France Algeria
Language	French
Box office	$14,283,305

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LA NOTTE DI SAN LORENZO (1982)

The Night of the Shooting Stars (Italian: La Notte di San Lorenzo, also known as The Night of San Lorenzo) is a 1982 Italian fantasy war drama film directed by Paolo Taviani and Vittorio Taviani. It was entered into the 1982 Cannes Film Festival where it won the Jury Special Grand Prix. The film was also selected as the Italian entry for the Best Foreign Language Film at the 55th Academy Awards, but was not accepted as a nominee.
 
http://en.wikipedia.org/wiki/The_Night_of_the_Shooting_Stars

The Night of San Lorenzo, the night of the shooting stars, is the night when dreams come true in Italian folklore. In 1944, a group of Italians flee their town after hearing rumours that the Nazis plan to blow it up and that the Americans are about to arrive to liberate them. 

http://www.imdb.com/title/tt0084422/

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DOWNLOAD THIS MOVIE VIA TORRENT FROM HERE

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Directed by	Paolo Taviani Vittorio Taviani
Produced by	Giuliani G. De Negri
Written by	Paolo Taviani Vittorio Taviani Giuliani G. De Negri Tonino Guerra
Starring	Omero Antonutti Margarita Lozano
Music by	Nicola Piovani
Cinematography	Franco Di Giacomo
Edited by	Roberto Perpignani
Distributed by	United Artists Classics (USA)
Release dates	16 September 1982
Running time	105 minutes
Country	Italy
Language	Italian

Annette Peacock

Annette Peacock, the avant garde American composer, collaborator with Salvador Dalí, friend of Albert Ayler and Moog-synth pioneer, brought this seismically influential session out in 1972 – its synth-warped banshee vocals, morphed jazz ballads, Motown grooving and squelchy electronics were to touch many jazz and pop artists in that decade, most David Bowie and Mick Ronson. Early on, Peacock's spacey, harmonically drifting pieces were regularly interpreted by her second husband, the jazz pianist Paul Bley – but she's since been covered by everyone from Busta Rhymes to Pat Metheny and Marilyn Crispell. Peacock has finally reacquired I'm The One's rights from Sony-BMG, and reissued this long-unavailable classic. And for all the familiarity of computer-assisted vocals now, nothing prepares you for the howl of her searingly high notes spiralling up out of spooky organ chords and soul-brass riffs on the title track, or against the rolling blues groove of Pony, or the dark and prowling one of Blood. Elvis's Love Me Tender is the only cover, a blend of soft, lyrical intimacy and fierce exhortation. The underpinnings are as 1970s soul/blues-rooted as any classic-pop listener could wish, but the uncompromising, sound-manipulating focus still sounds contemporary.

dickthespic.org
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                                annette peacock-I'm the one (1972)

                                              download this album via torrent from here

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                                ANNETTE PEACOCK- X-DREAMS (1978)

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                             Annette Peacock-an acrobat's heart (2000)

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The X-Files

The X-Files is an American science fiction horror drama television series created by Chris Carter. The program originally aired from September 10, 1993 to May 19, 2002 on Fox, spanning nine seasons and 202 episodes. The series revolves around FBI Special Agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) investigating X-Files: marginalized, unsolved cases involving paranormal phenomena. Mulder believes in the existence of aliens and the paranormal while Scully, a skeptic, is assigned to make scientific analyses of Mulder's discoveries to debunk his work and thus return him to mainstream cases. Early in the series, both agents become pawns in a larger conflict and come to trust only each other. They develop a close relationship, which begins as a platonic friendship, but becomes a romance by series end. In addition to the series-spanning story arc, "Monster-of-the-Week" episodes form roughly two-thirds of the episodes. Such stand-alone episodes enrich the show's background while not affecting its ongoing mythology.
The X-Files was inspired by shows like Alfred Hitchcock Presents, The Twilight Zone, Night Gallery, Tales from the Darkside and especially Kolchak: The Night Stalker and The Invaders. When creating the main characters, Carter sought to reverse gender stereotypes by making Mulder a believer and Scully a skeptic. The first seven seasons featured Duchovny and Anderson equally. In the last two Anderson took precedence while Duchovny appeared intermittently, following a lawsuit. New main characters were introduced: FBI agents John Doggett (Robert Patrick) and Monica Reyes (Annabeth Gish). Mulder and Scully's boss, Assistant Director Walter Skinner (Mitch Pileggi), also became a main character. The first five seasons of The X-Files were filmed and produced in Vancouver, British Columbia, before eventually moving to Los Angeles, California to accommodate Duchovny.
http://en.wikipedia.org/wiki/The_X-Files
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       download all episodes of  the nine seasons via torrent from here
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David Sylvian & Holger Czukay

Plight & Premonition is the first of two collaborations between David Sylvian and Can's bassist Holger Czukay, Flux and Mutability being their second. It was released in March 1988. The music is ambient, makes use of 'found sounds'. It consists of two instrumental tracks, both of which are over 15 minutes long. The album peaked at no.71 in the UK albums chart.

Track listing

1."Plight (The Spiralling of Winter Ghosts)" – 18:30
2."Premonition (Giant Empty Iron Vessel)" – 16:21

Personnel

David Sylvian – electric guitar, keyboards, piano, vibraphone, harmonium, record producer
Holger Czukay – organ, piano, shortwave radio, treatments, producer

Additional personnel

Yuka Fujii - design, photography (assisted by Icon, London).
Mekon - artwork
Jaki Liebezeit – infra sound
Karl Lippergaus – radio tuning 

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Flux + Mutability is the second collaboration between David Sylvian and Holger Czukay. It was released in September 1989. The music consists of two instrumental tracks improvised by the participants.

Track listing
1. "Flux (A Big Bright Colourful World)" (Sylvian, Czukay) – 16:56
2. "Mutability (A New Beginning in the Offing)" (Sylvian, Czukay) – 20:59

Personnel and productionHolger Czukay – electric guitar, bass guitar, dictaphone, radio
David Sylvian – electric guitar, keyboard instruments
Michael Karoli – electric guitar
Markus Stockhausen – flugelhorn
Jaki Liebezeit – percussion instruments, African flute

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Nash the Slash (8 Albums+2 with FM)

Jeff Plewman (March 26, 1948 – May 12, 2014), better known by his stage name Nash the Slash, was a Canadian musician. A multi-instrumentalist, he was known primarily for playing electric violin and mandolin, as well as harmonica, keyboards, glockenspiel, and other instruments (sometimes described as "devices" on album notes.
Nash worked as a solo artist beginning in 1975; founding the progressive rock band FM in 1976. Soon after releasing the band's first album, Black Noise, in 1977, he left the band; resuming his solo career in 1978 (It was not until after Nash's departure that the album was widely promoted; eventually charting and receiving a gold record award. He rejoined FM from 1983 to 1996, concurrent with his solo work.
Nash's music covers an eclectic range, varying from instrumental—mood-setting music, to rock and pop music with vocals. In addition to giving concert performances, he has composed and performed soundtrack music for silent films, presenting these works live in movie theatres to accompany screenings of the films. Another venue for his music is in performances to accompany the viewing of paintings by surrealist painter Robert Vanderhorst, an audiovisual collaboration which took place in 1978, and again in 2004.

Nash has performed with surgical bandages covering his face since 1979. "During a gig at The Edge in the late '70s to raise awareness of the threat from the Three Mile Island disaster, he walked on stage wearing bandages dipped in phosphorus paint and exclaimed: 'Look, this is what happens to you.' The bandages became his trademark." Prior to 1979, Nash performed three times on TV Ontario's Nightmusic Concert, first as a solo artist (a live broadcast which was never re-aired), then with FM (Nash and Cameron Hawkins), and again as a solo artist. In all of these appearances Nash wore his typical black tuxedo, top hat, and dark sunglasses, but not his signature bandages. He was also photographed in this attire for a profile in the Toronto Star, published April 28, 1978.
In later years, he attempted to keep his true identity the subject of some speculation, although the Star profile of 1978 had already matter-of-factly revealed his real name. Nevertheless, in a 1981 interview with the UK magazine Smash Hits, Nash was questioned about his real name, and replied with "Nashville Thebodiah Slasher". By being coy about his name, some fans came to believe that the Nash persona was an alter-ego of Ben Mink, who replaced him as FM's violinist in 1978. This is a common misconception, but he has been photographed onstage with Mink.

The "Nash the Slash" persona was born of silent film, and the name "Nash the Slash" comes from that of a killer butler encountered by Laurel and Hardy in their first film Do Detectives Think? (1927), for which he has composed a soundtrack score.
Images of Nash the Slash are featured in a variety of murals painted by artist Jungle Ling, in Toronto. These images are located in the Leslieville district, next to a TD Bank at Queen St. East and Logan Avenue, and below Queen St. E. on Cannaught Ave., as part of a neighborhood beautification project conducted by the Toronto Transit Commission.
http://en.wikipedia.org/wiki/Nash_the_Slash
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Download the following albums via torrent from here

Bedside Companion
Dreams & Nightmares
Children of the Night (2000 CD Reissue)
Decomposing (at all 4 speeds)
And You Thought You Were Normal (2002 CD Reissue)
American Bandages (2002 CD Reissue)
The Million Year Picnic
Blind Windows

+2 albums with his band FM 

FM - Black Noise [1977][320 KBPS][Remastered] here

FM - Tonight 1987 [FLAC] here

Alain Resnais (1922–2014) + 8 movies

Alain Resnais (French: [alɛ̃ ʁɛnɛ]; 3 June 1922 – 1 March 2014) was a French film director whose career extended over more than six decades. After training as a film editor in the mid-1940s, he went on to direct a number of short films which included Night and Fog (1955), an influential documentary about the Nazi concentration camps.
Resnais began making feature films in the late 1950s and consolidated his early reputation with Hiroshima mon amour (1959), Last Year at Marienbad (1961), and Muriel (1963), all of which adopted unconventional narrative techniques to deal with themes of troubled memory and the imagined past. These films were contemporary with, and associated with, the French New Wave (nouvelle vague), though Resnais did not regard himself as being fully part of that movement. He had closer links to the "Left Bank" group of authors and filmmakers who shared a commitment to modernism and an interest in left-wing politics. He also established a regular practice of working on his films in collaboration with writers usually unconnected with the cinema, such as Marguerite Duras, Alain Robbe-Grillet and Jorge Semprún.
In later films, Resnais moved away from the overtly political topics of some previous works and developed his interests in an interaction between cinema and other cultural forms, including theatre, music, and comic books. This led to imaginative adaptations of plays by Alan Ayckbourn, Henri Bernstein and Jean Anouilh, as well as films featuring various kinds of popular song.
His films frequently explored the relationship between consciousness, memory, and the imagination, and he was noted for devising innovative formal structures for his narratives. Throughout his career, he won many awards from international film festivals and academies.

Resnais was often linked with the group of French filmmakers who made their breakthrough as the New Wave or nouvelle vague in the late 1950s, but by then he had already established a significant reputation through his ten years of work on documentary short films. He defined his own relationship by saying: "Although I was not fully part of the New Wave because of my age, there was some mutual sympathy and respect between myself and Rivette, Bazin, Demy, Truffaut... So I felt friendly with that team." He nevertheless acknowledged his debt to the New Wave because it created the conditions of production, and particularly the financial conditions, which allowed him to make a film like Hiroshima mon amour, his first feature film.
Resnais was more often associated with a "Left Bank" group of writers and filmmakers who included Agnès Varda, Chris Marker, Jean Cayrol, Marguerite Duras and Alain Robbe-Grillet (with all of whom he collaborated in the earlier part of his career). They were distinguished by their interests in documentary, left-wing politics, and the literary experiments of the nouveau roman. At the same time, Resnais was also a devotee of popular culture. He owned the largest private collection of comic books in France and in 1962 became the vice president and co-founder of an International Society for Comic Books, Le Club des bandes dessinées, renamed two years later as Centre d'Études des Littératures d'Expression Graphique (CELEG). CELEG members also included Resnais' artistic collaborators Marker and Robbe-Grillet.
The importance of creative collaboration in Resnais's films has been noted by many commentators. Unlike many of his contemporaries, he always refused to write his own screenplays and attached great importance to the contribution of his chosen writer, whose status in the shared "authorship" of the film he fully acknowledged. He was also known to treat the completed screenplay with great fidelity, to the extent that some of his screenwriters remarked on how closely the finished film realised their intentions.
Time and memory have regularly been identified as two of the principal themes of Resnais's work, at least in his earlier films. He however consistently tried to modify this view of his concerns: "I prefer to speak of the imaginary, or of consciousness. What interests me in the mind is that faculty we have to imagine what is going to happen in our heads, or to remember what has happened"^. He also described his films as an attempt, however imperfect, to approach the complexity of thought and its mechanism.
Another view of the evolution of Resnais's career saw him moving progressively away from a realistic treatment of 'big' subjects and overtly political themes towards films that are increasingly personal and playful. Resnais himself offered an explanation of this shift in terms of challenging what was the norm in film-making at the time: having made his early films when escapist cinema was predominant, he progressively felt the need to move away from exploration of social and political issues as that itself became almost the norm in contemporary cinema. Experimentation with narrative forms and genre conventions instead became a central focus of his films.
A frequent criticism of Resnais's films among English-language commentators has been that they are emotionally cold; that they are all about technique without grasp of character or subject, that his understanding of beauty is compromised by a lack of sensuousness, and that his seriousness of intent fails to communicate itself to audiences. Elsewhere however it is suggested that such views are partly based on a misreading of the films, especially his earlier ones, which has impeded an appreciation of the humour and irony which pervade his work; and other viewers have been able to make the connection between the film's form and its human dimension.
There is general agreement about Resnais's attachment to formalism in his approach to film; he himself regarded it as the starting point of his work, and usually had an idea of a form, or method of construction, in his head even before the plot or the characters took shape. For him it was also the basis for the communication of feeling: "There cannot be any communication except through form. If there is no form, you cannot create emotion in the spectator."
Another term which appeared in commentaries on Resnais throughout his career was "surrealism", from his documentary portrait of a library in Toute la mémoire du monde, through the dreamlike innovations of Marienbad, to the latterday playfulness of Les Herbes folles. Resnais himself traced a link to his teenage discovery of surrealism in the works of André Breton: "I hope that I always remain faithful to André Breton who refused to suppose that imaginary life was not a part of real life".
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Je t’aime, je t’aime (1968)

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Muriel ou le temps d’un retour (Muriel or The Time of Return,    1963)
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L’Année dernière à Marienbad (Last Year at Marienbad, 1961)

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Hiroshima mon amour (1959)

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Providence

(1979)

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La Guerre est finie (The War is Over, 1966)

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Nuit et brouillard (Night and Fog, 1955)

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On connait les chansons (Same Old Song, 1997)

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