Amen Lare

Film festival line-ups are a good indicator (Cannes, Venice, Berlin for more established international stuff or Locarno, Rotterdam for more experimental and low-budget, Toronto and Sundance works for North American names), at least it goes through much more competent filters than some Oscar bullshit and usually gives recognition to upcoming directors even on their debuts, mostly dead serious stuff of course, but it's a start. I'm a bit out of the loop myself, though i saw a mention of a new Kelly Reichardt film here a couple pages back.

Yeah, but unlike Verhoeven or De Palma, he writes almost all his stuff himself for a reason and he's very likely isn't that good at it as he talks (he likes to discuss the depth of his recent stuff, a lot of evidence on youtube). Even his earlier, more genre films, namely the Pusher trilogy - it had some transient themes, though it was all basically you're a criminal with looser's troubles and you fucked up stupidly, so there's money you bet your life on returning of. That said, i view Drive as his best effort and a really impressive one, so for me that was the script and conditions he needed. I was almost shocked at the level of Only God Forgives and The Neon Demon, the garish cinema background it comes from is in deep conflict with the deep thinker's mentality it showcases and the grand auteur club it strives for. Well, in theory that conflict could be interesting, but i don't sense any perplexing or unpredictable qualities to it, it's embarassingly sterile as in pompous fashion ad. He's like the complete opposite of Verhoeven in Hollywood.

Dunno what are you on about, that background "melody" properly introduced around 1 min mark (not sure how to call it non-technically) is essential Ae experience, it's subtle, simple and busy. If it's stock Ae then name me that stockpile. I don't buy into the aforesaid speculation, there's a transition to irlite, but irlite itself isn't demonstrative of the album, it feels like a very certain cell of it with its sandy percussion and live-feel progression and a close relative in bladelores.

They used it in the wrong mag, could become huge with those curles

So you answer condescending remarks by Jev with your own condescending remarks. That age and its habits are pretty important, a lot of thoughtful people like to say that they never grew out of their "17" version. There's also interesting neuro research in regard to how brain develops around that age (basically full-stop in development and redistribution of accumulated, then you either freeze or light-speed)

That was when JL Godard fast-forwarded the entire film for a trailer - whether you're being sophisticatedly sarcastic or not.

If they compress it into 128kbps mp3 for a dollar, i would give it a thorough thought.

Maybe it's cos it was directed by a 12 year old That doesn't make it pure, in fact he uses a lot of showy, depraved cuts. That initial video was nicer for several reasons he neglected on this one, i guess it got him job.

I don't pronounce it at all, not even in inner speech. If need be, i would use "that last release", with time passing it will become more complicated (probably "that big ass record") or just forgotten and never used again.

The video itself is shitty, in a bland way. Maybe it's pure in regard to current generation of directors who fucked everything up with pompous slow-motion.

is this really his son cause they look indeed lookalike ? somehow funny for this kind of genre I'm pretty sure, this is my personal deduction which i'm really proud of. There's enough evidence, i won't list everything, for the different last names clue see Headphone Highlights mix by Fell where he comments on and plays a track by his daughter Connie Treanor. https://www.rbmaradio.com/shows/headphone-highlights/episodes/mark-fell For a bit of fun look at boomkat year-end charts by both: https://boomkat.com/charts/2015/24 https://boomkat.com/charts/2015/70 nice find ! also lol at his charts, picking Rian Treanor LP as his fav. record is somehow obvious. also he needs to start wearing a Flat Cap like his father does . that would be hilarious its just really a weird field for a father/son thing or lets say unusual Wait for Connie to arrive. Aphex only brags about his prodigies, Mark Fell delivers in reality.

is this really his son cause they look indeed lookalike ? somehow funny for this kind of genre I'm pretty sure, this is my personal deduction which i'm really proud of. There's enough evidence, i won't list everything, for the different last names clue see Headphone Highlights mix by Fell where he comments on and plays a track by his daughter Connie Treanor. https://www.rbmaradio.com/shows/headphone-highlights/episodes/mark-fell For a bit of fun look at boomkat year-end charts by both: https://boomkat.com/charts/2015/24 https://boomkat.com/charts/2015/70

Don't hear it, i'm generally OK with Actress, but this track is just generic British house of late 90s sorta instagrammed into current fashion. Now 7th slip really reminds me of All Tomorrow's Linoleum https://www.youtube.com/watch?v=i2QJQlZpSwE

Rabelol

Ae better be careful with those Swans cross-shows (were directly after them on-stage in Utrecht, i recall Gira lost something and even approached the bwoys), it could end badly. https://www.youtube.com/watch?v=GekiIMh4ZkM

Him or his stomach, those finishing touches are rather gaseous

Truth. Also, why the separate ratings? May as well have given the whole thing a 7. FFS Would be interesting to know the method of calculation behind these. elseq 1 is 7.0 - OK, i got that, rather straightforward elseq 2 has 6.6 - eh? I guees it looks nice, also shows that it's a bit worse 6.9 for elseq 3 - porn reference? 7.1 for elseq 4 - maybe it has to do with quantity of tracks on EP, you need at least 5 for a 7 6.8 for elseq 5 - so they all have different ratings, something interesting is in the baking According to my calculations the overall rating is 6.88

elseq = epic loosely selected electronic quirks or eh? let shit encode queenly

considering he sells his own stuff in 24 bit as well it's probably not about the "humans can't tell difference anyway" thing. anyhow i don't quite get the point, it's like "wagner yeah, 5 points for the music, -3 because he's an antisemite." Your example isn't really comparable, discogs is the place for finding out about cut quality as much as about music. Sure there could be a Holocaust music lovers site, where they rate nazi loyalty level. Needless to say, rating habits are differ, some are giving 1-stars to the best stuff and don't give much of a fuck, at least Mathieu left a note. So what's wrong with 24-bit version then? Any non-humans?

that's pretty weird of him. does he normally chime in on stuff like this on discogs? Rarely, but he did comment on poor vinyl pressings, once with a -2 too (Metal Machine Music). https://www.discogs.com/user/bitsteam.de He's kinda renowned specialist, innit? From his site: Another question is: is he even credible with a 4?

I saw Stephan Mathieu rate this release with a 2 star out of 5 on discogs, 4 for the stuff and minus 2 coz of "the joke that is 24-bit version". Wonder what he meant (i prefer listening to 128 mp3 since it was my peak days habit and i never move on)

I can agree with recks on, but if i should choose between murdering you or wasting the entire elseq 1-5... well, I'm still a humanist. And humanity needs elseq 1-5 *BANG*

"I'm making tunes for me self the real artist" - No, you focking sell dat shit with all economic implications of this act.

OK, that seem as a good argument. However, are the tracks truly unique on each EP or are there just variations as with AE_LIVE stuff? I only listened to 1 min previews yet and i would say it's all highly original and not tied to ae_live at all.

People may come & people may go, But ae remain Love may come & love may go, But ae remain Money may come & money may go, But ae remain Love may come & love may go, But ae remain https://www.youtube.com/watch?v=6jKYjKHpF8Y