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kieselguhr kid

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About kieselguhr kid

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  1. interesting article on the folk horror revival and it's broader theoretical implications: https://thebaffler.com/latest/children-of-the-wicker-man-millar-semley
  2. maybe bringing back the Nice Butts ThreadTM would help . they come for the butts, they stay for the music!
  3. ah come on, it's not all bad. first half is quite decent; the ending admittedly sucks though. still i kinda liked the god-creature. thx for the Robin Redbreast recommendation, that's a good one. check out PENDA'S FEN while you're at it (not exactly horror, but one of the best things the BBC ever produced imho) also skolimowski's THE SHOUT - surely the only one on the list that also has an electronic music composer protagonist MESSIAH OF EVIL is also great if you're willing to include the american backwood cultist horror subsubgenre
  4. Yeah, it's a brilliant film, but *that scene* is surely sth i never want to see again. worth pointing out though that it's actually documentary footage the film crew shot when hanging out with the locals, not something that was staged for the film. seems to be the australian way of spending your evening.
  5. i love the expression on lagarde's face when she finally notices her...
  6. RIP Édith Scob (1937-2019)
  7. without having heard it, i'd vote for the ae/zoviet*france collab... Sean Ae Member Featured Artist 0 810 posts Joined: November 2, 2013 Gender: Male Country: United Kingdom Report post Posted November 2, 2013 ben's got the DAT every time i ask him to send it over he goes 'yeah' and then doesn't, so i haven't heard any of it since we did the gigs
  8. that track starting at ~16min of part 1
  9. really looking forward to this one, that preview track is utterly brilliant from eMego: Oren Ambarchi - guitars & whatnot Cyro Baptista - percussion & voice Recorded by Randall Dunn, Joerg Hiller, Iuri Oriente and Oren Ambarchi. Edited by Joerg Hiller and Oren Ambarchi at Choose Studios, Berlin. Mixed by Joe Talia and Oren Ambarchi at Good Mixture, Tokyo. Cut by Rashad Becker at D&M, Berlin. Executive Producers: Konrad Sprenger & Dick Wolf. Photography by Traianos Pakioufakis. Design by Lasse Marhaug. After a trilogy of spectacular explorations of relentlessly driving rhythms – Sagittarian Domain (2012), Quixotism (2014) and Hubris (2016) – Simian Angel finds Oren Ambarchi renewing his focus on his singular approach to the electric guitar, returning in part to the spacious canvases of classic releases like Grapes from the Estate while also following his muse down previously unexplored byways. Reflecting Ambarchi’s profound love of Brazilian music – an aspect of his omnivorous musical appetite not immediately apparent in his own work until now – Simian Angel features the remarkable percussive talents of the legendary Cyro Baptista, a key part of the Downtown scene who has collaborated with everyone from John Zorn and Derek Bailey to Robert Palmer and Herbie Hancock. Like the music of Nana Vasconcelos and Airto Moreira, Simian Angel places Baptista’s dexterous and rhythmically nuanced handling of traditional Brazilian percussion instruments into an unexpected musical context. On the first side, ‘Palm Sugar Candy’, Baptista’s spare and halting rhythms wind their way through a landscape of gliding electronic tones, gently rising up and momentarily subsiding until the piece’s final minutes leave Ambarchi’s guitar unaccompanied. While the rich, swirling harmonics of Ambarchi’s guitar performance are familiar to listeners from his previous recordings, the subtly wavering, synthetic guitar tone we hear is quite new, coming across at times like an abstracted, splayed-out take on the 80s guitar-synth work of Pat Metheny or Bill Frisell. Equally new is the harmonic complexity of Ambarchi’s playing, which leaves behind the minimalist simplicity of much of his previous work for a constantly-shifting play between lush consonance and uneasy dissonance. Beginning with a beautiful passage of unaccompanied percussion dominated by the berimbau, the side-long title piece carries on the first side’s exploration of subtle, non-linear dynamic arcs, taking the form of a gently episodic suite, in which distinctive moments, like a lyrical passage of guitar-triggered piano, unexpectedly arise from intervals of drifting tones like dream images suddenly cohering. In the piece’s second half, the piano tones becomes increasingly more clipped and synthetic, scattering themselves into aleatoric melodies that call to mind an imaginary collaboration between Albert Marcoeur and David Behrman, grounded all the while by the pulse of Baptista’s percussion. Subtle yet complex, fleeting yet emotionally affecting, Simian Angel is an essential chapter in Ambarchi’s restlessly exploratory oeuvre.
  10. Salmon Fisting in the Yemen Salmon Fishing in the Semen
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