Svastara

[Sludge Factory]

Nick Cave on His Surprising Soundtrack for 'Lawless'Film includes punk-bluegrass covers by Ralph StanleyRead more: http://www.rollingst...8#ixzz24sCf7ZYOBy Eric R. DantonAugust 28, 2012 11:00 AM ETListening to 85-year-old bluegrass legend Ralph Stanley sing Captain Beefheart and Velvet Underground songs on the soundtrack to Lawless is certainly disorienting – which is the effect Nick Cave wanted for his film. Cave wrote the screenplay and worked with his Bad Seeds and Grinderman collaborator Warren Ellis to score the movie, which is based on a novel by Matthew Bondurant about a family of bootleggers living in Virginia during the Depression. Cave and Ellis sought a sound that evoked the Thirties era of the movie while also transcending it."We wanted to use the score as a way of kind of stretching time, so we would do songs that were not of the period in a way that, at least at the heart of what we were playing, was of the period, even though we weren't really playing bluegrass," Cave tells Rolling Stone of the soundtrack, which is released today. Lawless opens in theaters on August 29th. "We wanted to do a relatively contemporary song about drug taking, say 'White Light/White Heat,' and have it sung by Ralph Stanley, who has at least one foot set in the period we're dealing with."Hoping to achieve a consistency of tone throughout the movie, Cave and Ellis dubbed themselves the Bootleggers and recorded punk-bluegrass versions of songs, including Link Wray's "Fire and Brimstone," Townes Van Zandt's "Fire in the Blood," Captain Beefheart's "Sure 'Nuff Yes I Do" and the Velvet Underground's "White Light/White Heat." Because Cave wasn't interested in singing the whole soundtrack – "The last thing I wanted was to listen to my fucking voice the whole time we were working on it," he says – the idea was to recruit vocalists to accompany them. Emmylou Harris and the Duke Spirit's Liela Moss signed on without reservation. Stanley wasn't such an easy sell."We'd already recorded a version of ‘White Light/White Heat,' and we wanted him to sing over the top of that, and he listened to our tracks and said there was no way in the world he was going to sing over that shit, basically," Cave says with a laugh. "He's used to not only a different style, but singing with bluegrass players, and we're not, and that's not what we're trying to do."Stanley offered to sing the songs a cappella, though even that didn't go the way the filmmakers had hoped. "We were still trying to get Ralph to sing in the same time signature and key so we could lay it on top of the tracks we had already recorded," Cave says, which led to a debate on Skype with Stanley's guitarist serving as an intermediary. "I can't even begin to tell you the disdain on the face of the guitarist who works with him, having these Australians telling Ralph what we wanted him to sing," Cave continues. "We're like, ‘Do you reckon you could do this in C?' And he says, ‘Ralph don't do C.'"Cave and director John Hillcoat discussed the soundtrack before Cave began the screenplay, so he wrote it with particular songs paired to scenes. The a cappella versions that Stanley turned in necessitated revisions to the script. "We had to make room for these songs of his because they were so special," Cave says. "There's something really beautiful about those versions that he did. There's a kind of adventuring feel about it – he's stepping into something that he's not fully acquainted with."The Bootleggers didn't let their versions of the songs that Stanley declined go to waste. Mark Lanegan recorded vocals for the Beefheart, Velvets and Link Wray songs and both versions appear on the soundtrack album. Thoughout the soundtrack project, Cave didn't forget his main band. "The Bad Seeds are never far away from any of this, and that's what I'm working on at the moment," he says. "The film stuff is just these brief journeys outside what I'm supposed to be doing, which is being a singer in a band." Read more: http://www.rollingst...8#ixzz24sCjkUb9

Edited August 28, 2012 by Sludge Factory

[Töölönlahti]

Ne znam gde bih pitao, pa hajde ovde...http://www.youtube.com/watch?v=8aTrG3f1s3oJe l' rečitativ iz nekog filma ili autorski?

[maheem]

Rođeni na današnji dan: John Phillips (The Mamas & the Papas), John Peel, Robert Crumb, Horace Panter (The Specials), Oderus Urungus (GWAR), Lars Frederiksen (Rancid)

Edited August 30, 2012 by maheem

[kobni zelaya]

Nisam siguran gde ovo treba, moguće ovde...http://www.youtube.com/watch?feature=player_embedded&v=pCrAHANZMv4sajt

[bad music for bad people]

http://getbent.fm/post/30815026615/interview-eric-oblivian-on-gonerfest-memphis-and-the

[maheem]

[vladavsnarod]

Kompletna audio arhiva ‘Peel Sessions’ na soundclouduhttp://soundcloud.com/das-boy/sets/john-peel-show

[djeneralche]

http://stereogum.com...ies/lead-story/

[Ryan Franco]

mnogo smešno:http://www.youtube.com/watch?v=1SFy2QMjY30&feature=shareThe Burzums was the musical project by Charlie "Varg" Vikernes. It began during 1961 in Bergen, California and quickly became prominent within the early Californian surf scene. During 1962 and 1963, The Burzums recorded four albums; however, in 1964 Vikernes was convicted and imprisoned for using cuss words in public to describe guitarist Øystein "Euronymous" Aarseth, and the mild intimidation of the congregations of several milk bars and several churches. While imprisoned, Vikernes recorded two really poor albums in the dark ambient surf style. Dunkelheit first featured on the Burzums' legendary surf LP Filosofem (literally "Surf's Up" in English) recorded on a low budget in the back of a surf shop in Bergen, California using an Edison Phonograph, the cheapest instruments available to Varg and other awesome gadgets to get that famously warm Trve Kvlt sound of sand, sun and surf

Taken from the popular beat combos 1964 long player 'De Mysteriis Dom Surfanas'.:D

[notenoughreasonsforclaire]

KLAVIJATURISTICA EKV-A Još jedna runda nekrofilije za precijenjeni bendAutor: Aleksandar DragašObjavljeno: 01.10.2012Beogradska spisateljica Lidija Nikolić devet godina nakon smrti najbolje joj prijateljice Margite Stefanović Magi sačinila je knjigu “Osećanja O. Sećanja” od 500 stranica A4 formata u koju je ubacila niz dokumenata što ih je klavijaturistica EKV-a ostavila u nje u podrumu prije negoli je završila u garaži u beogradskom naselju Borča, a potom u jednom od prihvatilišta za beskućnike. U toj knjizi naći ćete svašta, od preslika Maginih bilježnica iz prvog razreda osnovne škole preko receptata do Maginih osmrtnica.Na predstavljanje knjige u formi monodrame s fotografijama i audiozapisima, poput Magine snimke klavirskog koncerta Handela, Lidija Nikolić ponijela je i kutiju s nekoliko uspomena na Magi, uključivši i stoličicu koja je njima dvjema, dok su bile djevojčice od tri-četiri godine, služila kao kamion. U početku čovjeku dođe drago što svojim prisustvom pomaže autorici knjige da u nekoj vrsti psihoterapeutske monodrame nadiže bol koju još osjeća za već deset godina umrlom prijateljicom. No, ubrzo, čovjek se počne pitati nije li to prekapanje po kutiji s tuđim stvarima ne samo patetično, nego čak i bizarno.Osećanja O. Sećanja” i prateće monodramsko predstavljanje spomenute knjige vrhunac su sve morbidnijeg obožavanja EKV-a kojem se već godinama, ponajviše zbog tragične smrti njezina tri ključna člana, prišiva etiketa najvažnijeg benda 80-ih kao posljednje “sretne i bezbrižne” dekade generacija rođenih između konca 50-ih i konca 60-ih. Ponekad se čini kako je sudbina EKV-a postala utjelovljenjem smrti Jugoslavije, a neki idu i tako daleko da raspad Jugoslavije navode kao alibi za drogiranje i potom smrt istaknutih, mahom beogradskih glazbenika i umjetnika koji, eto, nisu mogli prežaliti bivšu državu.Još mi više ide na živce slinavljenje za Ekatarinom Velikom, najčešće mlađih koji nisu imali prilike gledati ih uživo. Bio sam na barem tri koncerta EKV-a u Kulušiću. Bilo je lijepo gledati tada zanosnu Magi kako zatvorenih očiju njiše glavom dok svira klavijature i Milana kako iz petnih žila urla u mikrofon, ali nikada niti jedan koncert EKV-a ne bih uvrstio u najbolje što sam vidio i čuo uživo. EKV je bio solidan bend koji je sredinom 80-ih, ne uvijek najspretnije, pokušao ovdje isfurati estetiku Simple Mindsa. Metaforični stihovi bili su im često patetični i ne baš uvijek razumljivi u pjesmama čiju je produkciju pregazilo vrijeme. Kupovao sam njihove ploče kako su izlazile i za koju godinu ih prodao. Ne žalim.A zapravo, ono najbolje što je u životu napravio Milan Mladenović nema veze s Ekatarinom Velikom ili Katarinom II. Najvažnije, najsmislenije i ono doista bezvremensko što je Milan Mladenović napravio stalo je na debi Šarla Akrobate, “Bistriji ili tuplji čovjek biva kad...” koji ne bih prodao nikada. Avangardnost post-punka kakav su na tom albumu iz sebe početkom 80-ih izbacili Mladenović Koja i VD bila je ispred svog vremena, ne samo ovdje, nego i u komparaciji s najisfuranijim post-punk bendovima Velike Britanije i Amerike toga vremena. Na stranu tragična smrt Magi, Milana i Bojana, ako treba za nečime žaliti, to nije EKV nego činjenica da Šarlo nije potrajao dulje i snimio još koji album. Ukratko, Šarlo je u odnosu na EKV poput načela socijalizma u odnosu na Jugoslaviju. Za prvo vrijedi boriti se i danas, drugo je tek prošlost koju valja ostaviti na miru.

[Sludge Factory]

Ovo je Kudravi pisao, Dragas se samo!

[Lancia]

smece.

[bad music for bad people]

[bad music for bad people]

klik

[Takeshi]

A documentary about psychedelic culture, featuring Bear in Heaven, White Fence, Doldrums, and Daedelus.