Reefer Madness with Jean Claude Vanier
Saturday, July 16, 2011
Mouse on mouse - DoIT
Groovy kick on beat.. Beat that mouse !!
The Size of the Synth...
"We like to examine the structure of every single sound," says St Werner. "We spend a lot of time on this. And then, once you put these sounds into the song, you see another structure. You see the narrative, which is more arranged, more linear, more like a song with introduction and verses and chorus. All these parts, all these bits of narration, have many levels, and every sound itself has different frequency and dynamic characteristics and things. We like to see the core of a song, and in there are lots of different sounds. They're like a composition, and they have to work with each other and one has to lead to the next one. The story told in our music makes you willing to accept a lot of strange things.
"How we produce sounds is very intuitive, and the result of a long process. We may work a couple of weeks on a track, and put all sorts of things in, and the narration is changing, the structure is changing. It's an awareness of feeling... where the space in the track is, and how every time you add something, the space can become even larger. We follow this and watch it and the more we get into it, the more we see space here and another possibility there that can hint at another direction, and in certain places it can become very dense and in other places it can open up.
 The MOM processing arsenal includes the odd home-made speciality. |
"We want to create space, we want to shape space — we don't want to stuff the music. But often the more you throw into the track, the more the story, the personality of the track, becomes clear. Sometimes you have to be very strict, and decide that certain things should not happen. That's a constant game and it changes by how you feel on any particular day. But we feel there's so much space in music that we can do this. There's no other art form that has the space music has. Music for me is pure structure.
"A sound triggers emotions and references in your mind and it may be something that you don't fully understand, and there's a sound right next to it that you hear on another level. All these relationships become like a well-cooked dish. You can taste the ingredients separately, but all together they make something different. When you have all those different elements, you can't control it any more. It's so complex that it's playing with you as much as you play with the music. I like that, when music really invites you to see what you can do with it. And then you get to that feeling in the studio of producing something that feels very unique and very special to you, and that probably no-one else has made before."
Thursday, July 14, 2011
Two Books You Should Never Read
Rock 'n' Roll Babes from Outer Space...
What It Takes to Get to Vegas - Not.
Bring Me the Head of Alfredo Garcia (1974)
Fuck, Eat, Shit, No One Here Gets Out Alive
directed by Sam Peckinpah
starring Warren Oates, Isela Vega,
Robert Webber, Gig Young, Helmut Dantine
After being screwed in the ass by various producers and powers-that-were for thirteen-odd years, Sam Peckinpah simply made lubing up a part of his morning routine. So along comes producer Martin Baum, with the backing of United Artists, to give him free rein on the making of Bring Me the Head of Alfredo Garcia. And Peckinpah thanked them by squeezing out an utterly repulsive, rancid piece of shit that, pacing-wise, lurches on rubber legs like an accident victim in his first week of physical therapy, and displays shocking dips both in quality and in consistency of mise-en-scèneand lighting (at least in its first half). Bennie (Warren Oates) is an American dirtbag down in Old Mex, playing piano in a shithole dive behind a pair of shades and a fog of tequila breath. Critics said Oates was a mere character actor who wore the occasional lead role like an ill-fitting suit. Bennie might as well have expired at the midway point, and the rest of the film could simply be a dying man's fever dream of redemption as he withers away in the Mexican sun. It's what happens when Nixon's America infects the Mexican countryside with its greed and savagery and violence; when the modern world of corporate murder in three-piece suits blithely waves its suitcases full of dinero, its ladies-in-waiting and its Coca-Cola chairs in the face of a land where tenement shacks, beat-to-shit family cars and little boys who wipe the gringoes' windows for a couple of pesos define a way of life. Be it an endless war abroad or the gradual decaying of our ability to face ourselves in the mirror -- sooner or later, we all have to face the "merchandise" we've bought.Robert Webber, Gig Young, Helmut Dantine
Gloria Guida & Lilli Carati - TRIBUTO ( Avere Vent'anni )
What they wanted to know two girls experience , but not if it made nothing….SIN! Vittorio Caprioli Ray Lovelock Leopoldo Mastelloni Fernando Cerulli Daniel Vargas Vincenzo Crocitti Licinia Lentini George Serene Bracardi Well-born Daniela Doria
POSSESSION VENT' YEARS of Skilled swordsman - Fernando Di Leo (1978) sung from Gloria Guide film. The film has been one of the most censured and controversial from that era. Você tem um encontro com Gloria Guida e Lilli Carati na quarta-feira
NÃO PERCA A EXIBIÇÃO DO POLÊMICO “VINTE ANOS” (AVERE VENT’ANNI) DE FERNANDO DI LEO NA PRIMEIRA SESSÃO DO COMODORO REALIZADA EM 2010
Gloria Guida
Gloria Guida & Lilli Carati
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