Friday, December 30, 2016

The Best of the Red Army Choir - The Definitive Collection

The Alexandrov Ensemble choir (established Moscow 1926) is the choir of the Alexandrov Ensemble.

It has for most of its history been a male-voice choir of tenors and basses, based in Moscow and directed and conducted by Alexander V. Alexandrov from 1926 to 1946, by his son Boris A. Alexandrov from 1946 to 1987, and by various directors up to the present. It has always consisted of Soviet and then Russian Red Army personnel, and has been held to represent that army at home and abroad. Since the 1990s, female army personnel have occasionally been included in the choir as sopranos. Since 2007 boy sopranos and altos from the associated choir school have joined the choir for some of the time. On December 25, 2016, a plane containing 92 people, including over 60 members of the choir, crashed while en route to Latakia, Syria.


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Sunday, November 20, 2016

Anthropoid (film)


  
 Anthropoid is a 2016 historical thriller film directed by Sean Ellis, written by Ellis and Anthony Frewin and starring Cillian Murphy, Jamie Dornan, Harry Lloyd, Toby Jones, Charlotte Le Bon and Bill Milner. It tells the story of Operation Anthropoid, the World War II assassination of Reinhard Heydrich by Exile Czechoslovak soldiers on May 27, 1942.
wikipedia

Based on the extraordinary true story of Operation Anthropoid, the WWII mission to assassinate SS General Reinhard Heydrich, the main architect behind the Final Solution and the Reich's third in command after Hitler and Himmler.
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Friday, October 21, 2016

Nick Cave & the Bad Seeds - Skeleton Tree (2016)

Skeleton Tree is sixteenth studio album by Australian rock band Nick Cave and the Bad Seeds. It was released on 9 September 2016 on Bad Seed Ltd. A follow-up to the band's critically acclaimed album Push the Sky Away (2013), Skeleton Tree was recorded over a two-year period in several studios in Brighton, La Frette-sur-Seine and London and was produced by Nick Cave, Warren Ellis and Nick Launay. During the sessions Cave's 15-year-old son Arthur died from an accidental cliff fall. Most of the album had been written at the time of Cave's son's death, but several lyrics were amended by Cave during subsequent recording sessions and feature themes of death, loss and personal grief.
Skeleton Tree's minimal production and "less polished" sound incorporates elements of alternative rock, electronica and ambient music and features extensive use of synthesisers, drum machines and loops that were previously explored on Push the Sky Away. Several songs on the album utilise avant-garde techniques, including the use of dissonant musical elements and non-standard song structures. Cave's allegorical and often-improvised lyrics have also been noted to be less narrative and character-based than on previous Bad Seeds' albums.
One More Time with Feeling, a documentary film about the aftermath of Cave's son's death and the recording process of Skeleton Tree, accompanied the album's release. Directed by Andrew Dominik, the film received a limited release and was conceived by Cave to explain the context and themes of Skeleton Tree without conducting interviews with the media. Both the film and the album received widespread critical acclaim.

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Thursday, September 8, 2016

The Electric Horseman (1979)




   
    The Electric Horseman is a 1979 adventure-romance film starring Robert Redford and Jane Fonda and directed by Sydney Pollack. The film is about a former rodeo champion who is hired by a cereal company to become its spokesperson, and then runs away on a $12 million electric-lit horse and costume he is given to promote it in Las Vegas.

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Monday, August 1, 2016

Midnight Cowboy (1969) movie and soundtrack


 Midnight Cowboy is a 1969 American drama film based on the 1965 novel of the same name by James Leo Herlihy. The film was written by Waldo Salt, directed by John Schlesinger, and stars Jon Voight in the title role alongside Dustin Hoffman. Notable smaller roles are filled by Sylvia Miles, John McGiver, Brenda Vaccaro, Bob Balaban, Jennifer Salt and Barnard Hughes.
The film won three Academy Awards: Best Picture, Best Director and Best Adapted Screenplay. It was the only X-rated film ever to win Best Picture, though its rating has since been changed to R. It has since been placed 36th on the American Film Institute's list of the 100 greatest American films of all time, and 43rd on its 2007 updated version.

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Soundtrack

John Barry, who supervised the music and composed the score, won a Grammy for Best Instrumental Theme. Fred Neil's song "Everybody's Talkin'" won a Grammy Award for Best Male Pop Vocal Performance, for Harry Nilsson.
Schlesinger chose the song "Everybody's Talkin'" (written by Fred Neil and performed by Harry Nilsson) as its theme, and the song underscores the first act. Other songs considered for the theme included Nilsson's own "I Guess the Lord Must Be in New York City" and Randy Newman's "Cowboy". Bob Dylan wrote "Lay Lady Lay" to serve as the theme song, but did not finish the song in time.
The song "He Quit Me" was on the soundtrack, performed by Lesley Miller; it was written by Warren Zevon, who included it (as "She Quit Me") on his debut album Wanted Dead or Alive. The soundtrack also features music from Elephant's Memory, Randy Newman and Harry Nilsson, and electronic music passages performed by Moog Synthesizer pioneer Walter Sear.
The movie's main theme, "Midnight Cowboy", featured harmonica by Toots Thielemans, but on its album version it was played by Tommy Reilly.It was covered by instrumental duo Ferrante & Teicher as a single, and reached #10 on the Billboard Hot 100 pop chart in January 1970.
A soundtrack album for the film was released by United Artists Records in 1969.

Track listing

  1. Nilsson - "Everybody's Talkin'" (Fred Neil) 2:30 Arranged By, Conductor – George Tipton
  2. John Barry - "Joe Buck Rides Again" 3:46
  3. The Groop - "A Famous Myth" 3:22 Arranged By, Conductor – Garry Sherman
  4. John Barry - "Fun City" 3:52
  5. Leslie Miller - "He Quit Me" (Warren Zevon) 2:46 Arranged By, Conductor – Garry Sherman
  6. Elephants Memory - "Jungle Gym at the Zoo" 2:15 Producer – Wes Farrell
  7. John Barry - "Midnight Cowboy" 2:34
  8. Elephants Memory "Old Man Willow" 7:03 Producer – Wes Farrell
  9. John Barry - "Florida Fantasy" 2:08
  10. The Groop - "Tears and Joys" 2:09 Arranged By, Conductor – Garry Sherman
  11. John Barry - "Science Fiction" 1:57
  12. Nilsson - "Everybody's Talkin'" (Fred Neil) 1:54 Arranged By, Conductor – George Tipton



Wednesday, April 20, 2016

CLOCK DVA (discography 80'-94')

Clock DVA are an industrial, post-punk and EBM group from Sheffield, England. The group was formed in 1978 by Adolphus "Adi" Newton and Steven "Judd" Turner. Along with contemporaries Heaven 17, Clock DVA's name was inspired by the Russian-influenced Nadsat of Anthony Burgess' A Clockwork Orange; Dva is the Russian word for "two".
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                                                                                    One of a batch of groups forming the so-called "industrial" scene of Sheffield in the early 80s, Clock DVA's first release was, appropriately, on Throbbing Gristle's Industrial label. The cassette-only (until its re-release in 1982) "White Souls In Black Suits" featured Adi Newton (vocals, ex-the Studs; the Future; Veer), Stephen James "Judd" Turner (bass, vocals, guitar, ex-Block Opposite), David J. Hammond (guitar), Roger Quail (drums) and Charlie Collins (saxophone). However, there had already been three previous line-ups, including synthesizer players Joseph Hurst and Simon Mark Elliot-Kemp.

In 1981, the band (with new guitarist Paul Widger) offered "Thirst", available through independent label Fetish. With the ground for such "difficult music" having been prepared by Throbbing Gristle, the press reaction was remarkably favorable. Nevertheless, the band disintegrated at the end of the year, and tragedy struck with the death of co-founder Turner. Newton kept the name while the three other surviving members joined the Box.

By 1983, replacements had been found in John Valentine Carruthers (guitar), Paul Browse (saxophone), Dean Dennis (bass) and Nick Sanderson (drums). A brace of singles prefaced "Advantage", their first album for Polydor Records. The following year Carruthers and Sanderson departed, and Clock DVA continued as a trio. Though it would be five years before a follow-up, Newton was kept busy with his visual project The Anti Group (TAGC), and several singles. "Buried Dreams" finally arrived in 1989. By the time of 1991's "Transitional Voices", Browse had been replaced by Robert E. Baker, of TAGC. The departure of Dennis after the completion of "Man Amplified" and "Digital Soundtracks" in 1992 left the remaining duo of Newton and Baker to record "Sign".
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After some 15 years of silence, Adi Newton has reactivated Clock DVA. Since 2011 the new line-up (feat. Maurizio "TeZ" Martinucci) has performed at several festivals and venues throughout Europe. "Horology", a vinyl box set compilation of early material (1978-1980) was released 2012. According to Newton, Mute Records are going to re-release the Clock DVA albums remastered in a box set in the near future.

A "new" album, "Post-Sign", was released 2013; this album was recorded already in 1994/95 by Newton as an instrumental companion album to "Sign", but remained unreleased at the time due to problems with record labels. "Clock 2", a USB release with all new material plus remixes and videos, is scheduled for release in 2014, as well as a limited 12" with two remixes, on Newton's own label Anterior Research Media Comm.
discogs

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Monday, March 14, 2016

KING TUBBY

Osbourne Ruddock, (28 January 1941 – 6 February 1989) better known as King Tubby, was a Jamaican electronics and sound engineer, known primarily for his influence on the development of dub in the 1960s and 1970s.
Tubby's innovative studio work, which saw him elevate the role of the mixing engineer to a creative fame previously only reserved for composers and musicians, would prove to be influential across many genres of popular music. He is often cited as the inventor of the concept of the remix, and so may be seen as a direct antecedent of much dance and electronic music production. Singer Mikey Dread stated, "King Tubby truly understood sound in a scientific sense. He knew how the circuits worked and what the electrons did. That's why he could do what he did"

Biography

King Tubby's music career began in the 1950s with the rising popularity of Jamaican sound systems, which were to be found all over Kingston and which were developing into enterprising businesses. As a talented radio repairman, Tubby soon found himself in great demand by most of the major sound systems of Kingston, as the tropical weather of the Caribbean island (often combined with sabotage by rival sound system owners) led to malfunctions and equipment failure. Tubby owned an electrical repair shop on Drumalie Avenue, Kingston, that fixed televisions and radios. It was here that he built large amplifiers for the local sound systems. In 1961-62, he built his own radio transmitter and briefly ran a pirate radio station playing ska and rhythm and blues which he soon shut down when he heard that the police were looking for the perpetrators. Tubby would eventually form his own sound system, Tubby's Hometown Hi-Fi, in 1958. It became a crowd favourite due to the high quality sound of his equipment, exclusive releases and Tubby's own echo and reverb sound effects, at that point something of a novelty.

Remixes

Tubby began working as a disc cutter for producer Duke Reid in 1968. Reid, one of the major figures in early Jamaican music alongside rival Clement "Coxsone" Dodd, ran Treasure Isle studios, one of Jamaica's first independent production houses, and was a key producer of ska, rocksteady and eventually reggae recordings. Before dub, most Jamaican 45s featured an instrumental version of the main song on the flipside, which was called the "version". When Tubby was asked to produce versions of songs for sound system MCs or toasters, Tubby initially worked to remove the vocal tracks with the faders on Reid's mixing desk, but soon discovered that the various instrumental tracks could be accentuated, reworked and emphasised through the settings on the mixer and primitive early effects units. In time, Tubby began to create wholly new pieces of music by shifting the emphasis in the instrumentals, adding sounds and removing others and adding various special effects, like extreme delays, echoes, reverb and phase effects. Partly due to the popularity of these early remixes, in 1971, Tubby's soundsystem consolidated its position as one of the most popular in Kingston and Tubby decided to open a studio of his own in Waterhouse.
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Dub music production

King Tubby's production work in the 1970s made him one of the best-known celebrities in Jamaica, and would generate interest in his production techniques from producers, sound engineers and musicians across the world. Tubby built on his considerable knowledge of electronics to repair, adapt and design his own studio equipment, which made use of a combination of old devices and new technologies to produce a studio capable of the precise, atmospheric sounds which would become Tubby's trademark. With a variety of effects units connected to his mixer, Tubby "played" the mixing desk like an instrument, bringing instruments and vocals in and out of the mix (literally "dubbing" them) to create an entirely new genre known as dub music.
Using existing multitrack master tapes—his small studio in fact had no capacity to record session musicians—Tubby would re-tape or "dub" the original after passing it through his 12-channel, custom-built MCI mixing desk, twisting the songs into unexpected configurations which highlighted the heavy rhythms of their bass and drum parts with minute snatches of vocals, horns, piano and organ. These techniques mirrored the actions of the sound system selectors, who had long used EQ equipment to emphasise certain aspects of particular records, but Tubby used his custom-built studio to take this technique into new areas, often transforming a hit song to the point where it was almost unrecognisable from the original version. One unique aspect of his remixes or dubs was the result of creative manipulating of the built-in high-pass filter on the MCI mixer he had bought from Dynamic Studios. The filter was a parametric EQ which was controllable by a large knob—aka the "big knob" – which allowed Tubby to introduce a dramatic narrowing sweep of any signal, such as the horns, until the sound disappeared into a thin squeal.
Tubby engineered/remixed songs for Jamaica's top producers such as Lee Perry, Bunny Lee, Augustus Pablo and Vivian Jackson, that featured artists such as Johnny Clarke, Cornell Campbell, Linval Thompson, Horace Andy, Big Joe, Delroy Wilson, Jah Stitch and many others. In 1973, he built a vocal booth at his studio so he could record vocal tracks onto the instrumental tapes brought to him by various producers. This process is known as "voicing" in Jamaican recording parlance. It is unlikely that a complete discography of Tubby's production work could be created based on the number of labels, artists and producers with whom he worked, and also subsequent repressings of these releases sometimes contained contradictory information. His name is credited on hundreds of B-side labels, with the possibility that many others were by his hand yet uncredited, due to similarities with his known work.
His most famous dub and one of the most popular dubs of all time was "King Tubby Meets the Rockers Uptown" from 1974. The original session was for a Jacob Miller song called "Baby I Love You So", which featured Bob Marley's drummer Carlton Barrett playing a traditional one drop rhythm. When Tubby completed the dub, which also featured Augustus Pablo on melodica, Barrett's drums regenerated several times and created a totally new rhythm which was later tagged "rockers". This seminal track later also appeared on Pablo's 1976 album King Tubbys Meets Rockers Uptown.
By the later part of the 1970s, King Tubby had mostly retired from music, still occasionally mixing dubs and tutoring a new generation of artists, including King Jammy and perhaps his greatest protege, Hopeton Brown aka Scientist. In the 1980s. he built a new, larger studio in the Waterhouse neighbourhood of Kingston with increased capabilities, and focused on the management of his labels Firehouse, Waterhouse and Taurus, which released the work of Anthony Red Rose, Sugar Minott, Conroy Smith, King Everald and other popular musicians.
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Death

King Tubby was shot and killed on 6 February 1989, outside his home in Duhaney Park, Kingston, upon returning from a session at his Waterhouse studio.

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Saturday, February 13, 2016

The Imitation Game (2014)

The Imitation Game is a 2014 British-American historical drama thriller film directed by Morten Tyldum, with a screenplay by Graham Moore loosely based on the biography Alan Turing: The Enigma by Andrew Hodges (previously adapted as the stage play and BBC drama Breaking the Code). It stars Benedict Cumberbatch as real-life British cryptanalyst Alan Turing, who decrypted German intelligence codes for the British government during World War II.
The film's screenplay topped the annual Black List for best unproduced Hollywood scripts in 2011. The Weinstein Company acquired the film for $7 million in February 2014, the highest amount ever paid for U.S. distribution rights at the European Film Market. It was released theatrically in the United Kingdom on November 14 and the United States on November 28.
The Imitation Game was a commercial and critical success. By April 2015, it had grossed over $227 million worldwide against a $14 million production budget, making it the highest-grossing independent film of 2014. It was nominated in eight categories at the 87th Academy Awards, including Best Picture, Best Director (Tyldum), Best Actor (Cumberbatch), and Best Supporting Actress (Keira Knightley). It won an Academy Award for Best Adapted Screenplay. It garnered five nominations in the 72nd Golden Globe Awards and was nominated in three categories at the 21st Screen Actors Guild Awards, including Outstanding Performance by a Cast in a Motion Picture. It also received nine British Academy of Film and Television Arts nominations, including Best Film and Outstanding British Film, and won the People's Choice Award at the 39th Toronto International Film Festival.
The LGBT civil rights advocacy and political lobbying organisation the Human Rights Campaign honoured The Imitation Game for bringing Turing's legacy to a wider audience. However, the film was criticised for its inaccurate portrayal of historical events and Turing's character and relationships.
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Sunday, February 7, 2016

Limite (1931)


Limite (Brazilian Portuguese: [lĩˈmitʃi], meaning "Limit" or "Border") is a film by Brazilian director and writer Mário Peixoto (1908–92), filmed in 1930 and first screened in 1931.
Sometimes cited as the greatest of all Brazilian films, this 120-minute silent experimental feature by novelist Peixoto, who never completed another film, was seen by Orson Welles and won the admiration of everyone from Sergei Eisenstein to Georges Sadoul to Walter Salles.

Plot and analysis

A man and two women lost at sea in a rowboat. Their pasts are conveyed in flashbacks throughout the film. The unusual structure has kept the film in the margins of most film histories, where it has been known mainly as a provocative and legendary cult film.
For Peixoto, the experience offered by Limite cannot be adequately captured by language, but was made to be felt. Therefore, the audience is left with images of a synthetic and pure language of cinema. According to the director, his film is meticulously precise as invisible wheels of a clock, where long shots are surrounded and linked by shorter ones as in a planetary system.
Peixoto characterizes Limite as a 'desperate scream' aiming for resonance instead of comprehension. The movie shows without words and without analysis. The film projects itself as a tuning fork, a pitch, a resonance of time itself, capturing the flow between past and present, object details and contingence as if it had always existed in the living and in the inanimate, or detaching itself tacitly from them. Since Limite is more of a state than an analysis, characters and narrative lines emerge, followed by a probing camera exploring angels, details, possibilities of access and fixation, only then to fade out back into the unknown, a visual stream with certain densifications or illustrations within the continues flow of time. According to Peixoto, all these poetic transpositions find despair and impossibilities; a luminous pain which unfolds in rhythm and coordinates the images of rare precision and structure.

Preservation status

The film has been restored, with the latest restored version to have its American premiere in Brooklyn, New York in November 2010.

Cast

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Thursday, February 4, 2016

Siouxsie And The Banshees (discography)

Siouxsie and the Banshees were an English rock band formed in London in 1976 by vocalist Siouxsie Sioux and bass guitarist Steven Severin. Initially associated with the English punk rock scene, the band rapidly evolved to create "a form of post-punk discord full of daring rhythmic and sonic experimentation". The Times cited Siouxsie and the Banshees as "one of the most audacious and uncompromising musical adventurers of the post-punk era."
With the release of Juju in 1981, the group also became an important influence on the emerging gothic rock scene. They disbanded in 1996, with Siouxsie and drummer Budgie continuing to record music as The Creatures, a second band they had formed in the early 1980s. In 2004, Siouxsie began a solo career.
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Formation (1976–1977)

Siouxsie Sioux and Steven Severin met at a Roxy Music concert in September 1975, at a time when glam rock had faded and there was nothing new coming through with which they could identify. From February 1976, Siouxsie, Severin and some friends began to follow an unsigned band, the Sex Pistols. Journalist Caroline Coon dubbed them the "Bromley Contingent", as most of them came from the Bromley region of Kent, a label Severin came to despise. "There was no such thing, it was just a bunch of people drawn together by the way they felt and they looked." They were all inspired by the Sex Pistols – from watching them, they realised that anyone could do it. When they learned that one of the bands scheduled to play the 100 Club Punk Festival, organised by Sex Pistols manager Malcolm McLaren, pulled out from the bill at the last minute, Siouxsie suggested that she and Severin play, even though they had no band name or additional members. Two days later, the pair appeared at the festival held in London on 20 September 1976. With two borrowed musicians at their side, Marco Pirroni on guitars and John Simon Ritchie (already commonly known as Sid Vicious) on drums, their set consisted of a 20-minute improvisation based on "The Lord's Prayer".
While the band intended to split up after the gig, they were asked to play again. Two months later, Siouxsie and Severin recruited drummer Kenny Morris and guitarist Peter Fenton. After playing several gigs in early 1977, the band realised that Fenton did not fit in because he was "a real rock guitarist". John McKay finally took his place in July.

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Legacy and influence

Siouxsie and the Banshees have inspired many musicians of different genres.
The group have been cited by their peers. Morrissey said that "Siouxsie and the Banshees were excellent". "They were one of the great groups of the late 70s, early 80s". He also said in 1994, "If you study modern groups, those who gain press coverage and chart action, none of them are as good as Siouxsie and the Banshees at full pelt. That's not dusty nostalgia, that's fact." Another ex-member of The Smiths, Johnny Marr, mentioned his liking for Banshees guitarist John McGeoch and his composition on "Spellbound". Marr qualified it as "clever" with "really good picky thing going on which is very un-rock'n'roll." Joy Division producer Martin Hannett saw a difference between Siouxsie and the Banshees Mk1 and the other bands of 1977 : "Any harmonies you got were stark, to say the least, except for the odd exception, like Siouxsie. They were interesting". U2 cited Siouxsie and the Banshees as a major influence and selected "Christine" for a Mojo compilation. The Edge was the presenter of an award given to Siouxsie at the Mojo ceremony in 2005. The Cure leader Robert Smith declared in 2003: "Siouxsie and the Banshees and Wire were the two bands I really admired. They meant something." He also pinpointed what the 1979 Join Hands tour brought him musically. "On stage that first night with the Banshees, I was blown away by how powerful I felt playing that kind of music. It was so different to what we were doing with The Cure. Before that, I'd wanted us to be like the Buzzcocks or Elvis Costello, the punk Beatles. Being a Banshee really changed my attitude to what I was doing." Dave Gahan of Depeche Mode hailed the single "Candyman" at its release: "This is a great Banshees record[...], I like their sound". Thurston Moore of Sonic Youth cited "Hong Kong Garden" in his top 25 all-time favourite songs, and Kevin Shields of My Bloody Valentine also mentioned them in his early influences. Dave Navarro of Jane's Addiction once made a parallel between his band and the Banshees: "There are so many similar threads: melody, use of sound, attitude, sex-appeal. I always saw Jane's Addiction as the masculine Siouxsie and the Banshees."
The Banshees have been hailed by other acts. Radiohead cited John McGeoch-era Siouxsie records when mentioning the recording of the song "There There". Jim Reid of The Jesus and Mary Chain selected "Jigsaw Feeling" from The Scream amongst his favourite songs. Jeff Buckley, who took inspiration in several female voices, covered "Killing Time" on various occasions. Suede's singer Brett Anderson named Juju as one of his favourite records in 2011 and also cited three other albums by the band on his website, The Scream, Kaleidoscope and Tinderbox. Red Hot Chili Peppers performed "Christine" in concert and their guitarist John Frusciante cited the Banshees in interviews. Garbage singer Shirley Manson wrote in the foreword to Paytress' Banshees biography, "I learned how to sing listening to The Scream and Kaleidoscope. Today, I can see and hear the Banshees' influence all over the place." Siouxsie has also been praised by various female singers including PJ Harvey and Ana Matronic of Scissor Sisters. PJ Harvey selected Siouxsie's album Anima Animus in her top ten albums of year 1999. The band had a strong effect on two main trip hop acts. Tricky covered "Tattoo" to open his second album, Nearly God: the 1983's proto trip-hop version of that song helped Tricky in the creation of his style. Another group of Bristol, Massive Attack, sampled "Metal Postcard" on the song "Superpredators", recorded prior to their Mezzanine album.
The Banshees continue to influence younger musicians. Singer James Murphy was marked by certain Banshees albums during his childhood. His band LCD Soundsystem covered "Slowdive" as a B-side to the single "Disco Infiltrator". The Beta Band sampled "Painted Bird" on their track "Liquid Bird" from the Heroes to Zeros album. TV on the Radio said they have always tried to make a song that begins like "Kiss Them for Me" where all of a sudden, there's an "element of surprise" with "a giant drum coming in".[97] Electronica singer Santigold based one of her songs on the music of "Red Light". "'My Superman' is an interpolation of 'Red Light,'" she explained.[ Indie folk group DeVotchKa covered the ballad "The Last Beat of My Heart" on the suggestion of Arcade Fire singer Win Butler; it was released on the Curse Your Little Heart EP. Gossip named the Banshees as one of their major influences during the promotion of their single "Heavy Cross".[ British indie band Bloc Party took inspiration from "Peek-a-Boo" and their singer Kele Okereke stated about that Banshees' single: "it sounded like nothing else on this planet. This is just a pop song that they put out in the middle of their career that nobody knows about, but to me it sounded like the most current but most futuristic bit of guitar-pop music I've heard." The Weeknd sampled different parts of "Happy House" for his song "House of Balloons", and also used the chorus of the initial version.

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discography


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Cocteau Twins (The Complete Discography and solo works)

Cocteau Twins were a Scottish rock band active from 1979 to 1997. The original members were singer Elizabeth Fraser, guitarist Robin Guthrie and bassist Will Heggie, who was replaced by multi-instrumentalist Simon Raymonde in 1983. The group has earned much critical praise for its innovative, ethereal sound and the distinctive soprano vocals of Fraser, which often seemed to veer into glossolalia and mouth music .

They were a phenomenon. Not necessarily the kind that plays to stadiums or fills MTV's timeslots or even sells millions of records. Rather, the kind that quietly causes a fundamental shift in perception, exerting a seminal influence that is universally felt if not always seen. Even after having called it quits in 1998—ending a 15-year career together that was impressive by any measure—their mark continues to be recognized everywhere, and legions of fans still hunger for more. But more is not likely to come soon.
In the midst of recording their ninth proper LP as a group—the follow-up to the 1996 release Milk & Kisses—Cocteau Twins decided "enough was enough." Elizabeth Fraser, the group's beguiling, singularly distinctive singer, took her leave and moved away from London to pursue a promising solo career. Her long-time collaborators—Robin Guthrie and Simon Raymonde—continue to focus on their own musical pursuits. Simon's solo work and involvement in developing new talent and Robin's new project, Violet Indiana—along with their successful independent record label, Bella Union—have proven that life beyond Cocteau Twins can be fruitful indeed.
It is ironic, of course, that Bella Union should have been founded as a vehicle for Cocteau Twins music. It was so named in honor of the trio's success and determination to stay together through difficult circumstances, to continue to make music that defied description and ignored prevailing music trends. Music that transcended boundaries into a realm uniquely their own.
But change, as they say, is inevitable, and even such stunning beauty as that created by Cocteau Twins could not—and, perhaps should not—go on indefinitely. But their music and their contribution to the art form, thankfully, will last forever. Cocteau Twins are among the very few artists whose music withstands the test of time: even in 2001, an eleven year-old Cocteau Twins song like "Fifty-fifty Clown" sounds as fresh and new as if it were recorded only yesterday.
Devoted fans and newcomers alike are sometimes filled with questions about this often-mysterious, sometimes media-shy trio, who were influential in not only defining the post-punk sound of the 1980's (and 4AD in the process) but also influenced generations of musicians in the 1990's and beyond. To-date, they have been cited as notable influences by such diverse artists as Prince, Madonna, Annie Lennox and Perfect Circle, not to mention bands such as Slowdive, Lush, My Bloody Valentine, Chapterhouse and Curve (just to name a few), who all worked in musical territory pioneered by Cocteau Twins.
As recently as 2000—nearly twenty years after Robin and Liz first started to make music with their friend Will Heggie in a small, dirty industrial town in Scotland—a two-CD collection of radio show performances (BBC Sessions) was released on Bella Union in conjunction with the BBC. That was followed in late 2001 by an eighteen-track digitally remastered retrospective from 4AD entitled Stars and Topsoil, which chronicled highlights from their career with their long-time record label from 1982 to 1990. The story continued in 2003, as remastered early LPs Garlands, Head Over Heels, Treasure and Victorialand were reissued by 4AD. In 2005—an ill-fated year in which the band nearly reunited—4AD released a new limited-edition box-set, Lullabies to Violaine, a compilation of digitally remastered EPs, singles and b-sides spanning the entire Cocteau Twins catalog (including non-4AD music) from 1982 to 1996.
So, like a compilation of songs from various records, this chronological series of articles is intended to give the reader some insight and perspective on Cocteau Twins, and document the span of their remarkable career together. Readers can look forward to a book-format biography of Cocteau Twins, written by fan extraordinaire Leesa Beales, which is due sometime in the near future. Visit www.cocteautwins.org for more details and the latest news on that.
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Cocteau Twins have proven to be one of the most prolific bands in modern music, with dozens of releases spanning their 15-year career—nearly 140 individual songs.
This Discography and Videography focuses on the basic information about each release, with details concerning UK, Canadian and US releases, with some information about Japanese or other international versions of material. For a more exhaustive discographic analysis, visit the 4AD/Eyesore Database (for information up to 1991).

An extensive discography and gigography are also available at www.cocteautwins.org.

LPs
Garlands (1982)
Head Over Heels (1983)
Treasure (1984)
Victorialand (1986)
Blue Bell Knoll (1988)
Heaven or Las Vegas (1990)
Four-Calendar Café (1993)
Milk & Kisses (1996)
EPs
Lullabies (1982)
Peppermint Pig
 (1983)
Sunburst and Snowblind (1983)
The Spangle Maker (1984)
Aikea-Guinea (1985)
Tiny Dynamine (1985)
Echoes in a Shallow Bay (1985)
Tiny Dynamine/Echoes in a Shallow Bay (1985) *
Love's Easy Tears (1986)
Twinlights (1995)
Otherness (1995)
* Tiny Dynamine and Echoes in a Shallow Bay were re-released as a double EP by 4AD in late 1985, after each had been released separately.
Singles
Iceblink luck (1990)
Heaven or Las Vegas (1991)
Evangeline (1993)
Snow (1993)
Bluebeard (1994)
Tishbite 1 (1996)
Tishbite 2 (1996)
Violaine 1 (1996)
Violaine 2 (1996)






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Compilations, Collaborations and Special Appearances
This Mortal Coil (1983-1984)
The Pink Opaque (1985)
The Moon and The Melodies (1986)
This Mortal Coil (1986)
Lonely Is An Eyesore (1987)
The Box Set (1991)
Lilliput (1992)
BBC Sessions (1999)
Stars and Topsoil (2000)
Lullabies to Violaine (2005)
Motion Picture Soundtracks (1982-1996)
Collaborations (1982-1996)



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Thursday, January 14, 2016

The Hunger (1983)



The Hunger is a 1983 British erotic horror film directed by Tony Scott, and starring Catherine Deneuve, David Bowie, and Susan Sarandon. It is the story of a love triangle between a doctor who specialises in sleep and ageing research and a vampire couple. The film is a loose adaptation of the 1981 novel of the same name by Whitley Strieber, with a screenplay by Ivan Davis and Michael Thomas.
The film was screened out of competition at the 1983 Cannes Film Festival

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Monday, January 11, 2016

DAVID BOWIE (discography)

David Robert Jones (8 January 1947 – 10 January 2016), known professionally as David Bowie (/ˈb.i/), was an English singer, songwriter, multi-instrumentalist, record producer, arranger, painter, and actor. Bowie was a figure in popular music for over four decades, and was known as an innovator, particularly for his work in the 1970s. His androgynous appearance was an iconic element of his image, principally in the 1970s and 1980s.
Born and raised in South London, Bowie developed an early interest in music although his attempts to succeed as a pop star during much of the 1960s were frustrated. Bowie's first hit song, "Space Oddity", reached the top five of the UK Singles Chart after its release in July 1969. After a three-year period of experimentation, he re-emerged in 1972 during the glam rock era with the flamboyant, androgynous alter ego Ziggy Stardust, spearheaded by the hit single "Starman" and the album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. Bowie's impact at that time, as described by biographer David Buckley, "challenged the core belief of the rock music of its day" and "created perhaps the biggest cult in popular culture".[4] The relatively short-lived Ziggy persona proved to be one facet of a career marked by reinvention, musical innovation and visual presentation.
In 1975, Bowie achieved his first major American crossover success with the number-one single "Fame" and the hit album Young Americans, which the singer characterised as "plastic soul". The sound constituted a radical shift in style that initially alienated many of his UK devotees. He then confounded the expectations of both his record label and his American audiences by recording the electronic-inflected album Low, the first of three collaborations with Brian Eno. Low (1977), "Heroes" (1977), and Lodger (1979)—the so-called "Berlin Trilogy" albums—all reached the UK top five and received lasting critical praise. After uneven commercial success in the late 1970s, Bowie had UK number ones with the 1980 single "Ashes to Ashes", its parent album Scary Monsters (And Super Creeps), and "Under Pressure", a 1981 collaboration with Queen. He then reached a new commercial peak in 1983 with Let's Dance, which yielded several hit singles. Throughout the 1990s and 2000s, Bowie continued to experiment with musical styles, including blue-eyed soul, industrial, adult contemporary, and jungle. He stopped touring after his 2003–04 Reality Tour, and last performed live at a charity event in 2006. Bowie released the studio album Blackstar on 8 January 2016, his 69th birthday, just two days before his death from liver cancer.
Bowie also had a successful, but sporadic film career. His acting roles include the eponymous character in The Man Who Fell to Earth (1976), Jareth, the Goblin King in Labyrinth (1986), Pontius Pilate in Martin Scorsese's The Last Temptation of Christ (1988), and Nikola Tesla in The Prestige (2006), among other film and television appearances and cameos.
David Buckley said of Bowie: "His influence has been unique in popular culture—he has permeated and altered more lives than any comparable figure." In the BBC's 2002 poll of the 100 Greatest Britons, Bowie was placed at number 29. Throughout his career, he has sold an estimated 140 million records worldwide. In the UK, he has been awarded nine Platinum album certifications, eleven Gold and eight Silver, and in the US, five Platinum and seven Gold certifications. He was inducted into the Rock and Roll Hall of Fame in 1996.
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                       Heteropoda davidbowie