Suffocate Peon

I think it's time to make a New Release Speculation Based On Facts We Have thread. We will need a sub forum to put it in though.

could i please use one of these as a flyer for a show im putting on suffocate? Yeah sure. newer photos

I listened to Campfire Headcase again today, it's like the same track remade over and over again, and that track is really obvious and boring and bland. It's the musical equivalent of a photo of a sunset. I hope each track roughly equaling every six months of the 8 years* will mean some variety in mood and tone and expression beyond tepid niceness.. *not that it works out like that..

Oh man this might indicate they'll be a new Venetian Snares album.

Don't know how or why, but enjoyed a film about male strippers more than all the other eventful stuff that happens in every other film listed underneath. Probably proving again that it's how you do something...Soderbergh's shots and pacing, and editing made the film for me. There's a shot where a couple walk on a beach and the floor is cut off, so you get them walk in front of the changing waves behind them. Or they sit at a table and there's a go kart track behind them. The camera just sits from afar, and a few minutes in you see a character walk in from behind past the go kart track. It's genius and probably wasted on this film. I thought Soderbergh was on form, and the film didn't feel lacking and cold and detached and unfinished like Haywire really does and Contagion a little bit less does. Channing and Matthew are great. (not going to try to spell his second name) Channing really reacts and is honest. You see it in actors who aren't as well trained and don't try to 'act'. They seem more in the moment and less in a world of their own, less going through the acting motions. The story isn't even good, just everything else is. Most stories aren't good. I listened to a review that made fun of Channing's acting in one scene where he's lost for words, they actually said they found it too honest, like as if Channing himself was losing it, like it was awkward. I found it refreshing...likewise a scene where one character does impressions for his sister. The detached style means everything is framed to perfection, i looked forward to every scene because i knew he'd present it in an interesting way.. Magic Mike - 8 Shame - 7 A Company Man - 7 Castaway on the Moon - 7 Room 237 - 7 Hana-Bi - 7 Zero Dark Thirty - 7 Compliance - 7 The Station Agent - 6 Sightseers - 6 Lincoln - 6 Oblivion - 6 Premium Rush - 5 Olympus has Fallen - 1 I thought this was fucking shit, i can barely be bothered to even let it be known to anyone I've seen it, it's like any number of inconsequential things you do in a day that is not worth talking about.. but thinking about it afterwards is just about worthwhile. I'm not spoiler-boxing anything because that would imply anyone could watch this film and be surprised by anything in it, and to imply that would be offending you. Like in the film's dullest moments, like say the final fight between the goodie and baddie, I was hoping the director would find an opportunity for Eckhart to scream out 'MIIIIIIIIKKKKKKKKKKKKEEEEEEE!'...because Butler's character is called Mike...maybe a knife angled perilously close to his throat, or a moment he falls through a wall or something, it could have been possible. I could have laughed to myself as the cinema carried on being bored. I was susceptible whilst watching the film to humour so dire that that would have been a highlight. You have to find something funny about a character not knowing what hashtag on a keyboard is and things like that to get through the film. I was waiting for it, but no. That would have saved the fight, and possibly the film. A Breaking Bad reference won't. Especially when I might assume that they'll do that thing where someone watches a whole series in a weekend which I also hate, more than this film. As anyone who has seen the scene in The Core where basically half the crew are crushed to death by a shrinking spaceship will know, Eckhart does anguish terribly. He spends about 5 minutes after that bit ...spoiler, [see above]...repeating the same sentence but in different ways; 'why didn't you just... open the doors, I could have saved them'. 'I was sooo close'. This film doesn't even have that. He cries and says 'i will never give them the code', but then he does anyway. You even don't see it so when watching the film it doesn't even register even though the whole film is based around these 3 codes. Which tells you how unengaging it is. It all takes place in darkly lit rooms. It's not like the brightness is down, but that also that the curtains are open. The daylight scenes are also dull looking, they take place at 7pm. The film cost 70 million, it's too boring and expensive to be a B movie. It has no sense of fun. Unless fun can be defined as Butler running around in pitch darkness executing people from about 5 inches away. That's not even hard. In it's moments of actual tension, like the president's kid having to be retrieved and escorted out of the building to safety, it scuppers it entirely. At least ratchet up the tension, at least try to create a feeling that anything can happen and he's not yet safe. God it steals something from The Raid. I forgot that. There's some misogyny in there and there's loads of films I watch that are labelled such that go over my head, but this film is generally anaemic so it stood out. It's really unnecessary violence. It's a film where people get blasted away from far away, shot in the head, killed off screen, blown up and then it proceeds to lay into a middle aged woman for like 5 minutes...why ? to create DRAMA? To allow Eckhart to have another go at crying convincingly..okay. Under Siege 2 has pointy needles near eyes and those who've just given away the magic code being thrown from a bridge, elegant things. You don't see their mangled bodies by the rocks. The best scene is probably the plane that wastes everyone in the surrounding area of the white house. The continuity is fantastic, shots from afar where people are so small they're invisible, then ultra zoomed in shots of people running away/dieing. It's the best scene because it has actual scale, there's some grandiose spectacle to it. It's funny that Morgan Freeman is in it but not the president...wait for it...now he is. But in being so appears like he's suffering from the same fate as the character in Holy Motors, and just not coping with the lack of variety his profession provides him. He's never been more bored, and more shit as acting president. He has a white beard and you see more of it than the room he's in. I watched Air Force One last night, and it's great, one thing I noticed beyond the myriad of things that make it so superior to this film is that the generals stand up and walk about a bit, and look sort of urgent. In Olympus has Fallen they're useless and sort of depressed. They mostly mumble to each other and themselves. If cut correctly, it could seem like Morgan Freeman is mumbling to himself why on earth he's in this film. The film echos cliches from every hostage situation film you can think of. Are you thinking of some? Do they all have engaging baddies? Even Under Siege 2? Air Force One is also great because it has Gary Oldman playing a Russian terrorist. Afterwards I was amused by the realisation (well, I was told) that the main baddie was also the baddie in the worst Bond film there's ever been. That it triggered a thought process that considred that they looked at every other hostage film ever and all the charismatic baddies that they have and then chose him. Not once in the film does he get angry, not once is he menacing, he has cool glasses, he's a nerd, hit political reasons are marginal. There's a traitor in the film who you have no idea why he's; atraitrotocnatbebothereddkkdkllgnnfmfmghhh,jk mkkmiljjioeifjiiikgnn[...it flat-out steals a scene from Die Hard, it's so blatant i just visualised the Die Hard scene in my head as the film carried on. You will not be able to help it. It's so inferior, it makes less sense, it lasts about 30 seconds so to be pointless anyway. The Last Stand - 0 I hated this, i think hating a film seems irrational, like you're investing a bit too much into something so harmless, but i endured it and I hate being bored and seeing so much waste on screen that it just made me angry at how predictable and cliched it is without appearing like it even knows it. I found the tone to be bafflingly uneven throughout, it takes itself more seriously than the trailer suggests it does, it felt like it was written by the teenage son of a film producer, I didn't know what was happening or where to look when it was trying to do drama. Is it supposed to be a parody of a poorly written tv show. When I skipped through the film beforehand, I thought I'd downloaded a different The Last Stand. It actually looked good at that point, lots of nice shots. Not until the end are there any actual jokes. I noticed about three, one was so bad just to witness it happening was unbearable. I wanted it to end. I watched this purely because i loved Kim Jee-woon's previous two films, how cinematic and stylish they are, he has a clear knack for film making like David Fincher does. This is his Benjamin Button. It's not his Panic Room. I really hope Kim Jee-woon does not make another Hollywood film. To me this is like a waste of a film from him, instead of this I could have got a film that would have thrilled me. I found the direction to be clearly classy in a way but also really superficial, i could not engage with any of it, not even the chase scene of the escaped convict, i didn't know whether that was due to the poor storytelling or his direction, or both combined for absolute ineffectiveness.

aaron funk to do list 1) buy playstation 2 and manhunt 2) play manhunt 3) compose album 4) phone up trevor brown asking for some suitable pedophilia cover artwork 5) take photo of armpit just in case 6) release album

I read in an interview that he is kinda living this hermit life indoors, making tracks. And Mike P really has to tug his sleeve to convince him to release something. Oh God, this sounds familiar. Thankfully, he was 10 years too late to have a few of his tracks made into phenomenally successful music videos for mtv by some freak multi talented genius that contributed massively to his world wide appeal and made him so much money he could live off the exposure and subsequent legend status it gave him, eventually allowing him to degrade himself to only live shows of acid techno remixes anyone could do SLOW VORDHOSBN IF YOU'RE LUCKY and swinging piano pendulums, and thus transforming his existence into one of extreme annoyance and pointlessness to those of us outside his circle of friends who have all his tunes...so all of us. Venetian Snares is poor though right....right...he has to release albums to make money to feed all his cats right...? Mike P should just drop everything, leave a note for his son when he comes home from school, and turn up at Aaron Funk's snow den uninvited dressed convincingly as a Jewish Man. And venetian snares loves making different types of albums right, yeah he says he doesn't want retards out there listening to his best most personal stuff (too late...) but surely there's a contradiction in buying loads of cds from everywhere in this world of music but then not adding to this world of music yourself. Surely it's not that you don't realise stuff because a few petty nob heads might hate it but for all those who make music; you have their output they want to listen to yours.

I went with chronological order because then you're forced to finding the tracks that fit well together as opposed to just picking your favourites. 1 Lowride 2 Nine 3 Leterel 4 Calbruc 5 Under BOAC 6 Parhelic Triangle 7 VL Al 5 8 Pro Radii 9 Rale 10 os veix 3 11 irlite (get 0) a lean 66 minutes. If i was including ep7 as an album, Pir would go between Under BOAC and Parhelic Triangle, sort of the end of the first part of the album, and then the beginning of the second half.

Yeah I assume Hiszékeny is the track that to MisterE is referring to as ripping off Nannou. I think Nannou evokes more of a childhood wonder (but then it's trying to), but i find the venetian snares track to be deeper and be more moving personally..and more effective given it's placement in the album after Szamár Madár and the fact it's unlike anything else hes done and certainly unlike the winnipeg album he released like 3 months before Rossz csillag. I wasn't trying to compare them, I was just trying to explain from a venetian snares fan point of view what marks him out, and he's closest to Aphex Twin in his twisted sense of humour and lack of pretension. But I think he's revealed more of himself in his music. When Richard sings in a track it's something about beetles in a closet, when Aaron does it it's to sing about how he dreams that his dad was still alive, he's made a lullaby named after himself, he's made music produced from the sounds of him and his then girlfriend having sex, He's made music that for me further breaks down the barriers between listener and creator; sounds zip in and out and bounce around your brain as though he's inside your skull conducting. He's made music like Pwntendo that has a melody that is so full of yearning and aching desperation it's like it's trying to escape from a cell it's been locked inside all its life. He has music that just penetrates you with its sheer forcefulness, Cancel is devastating, My Half tears through sound; he said he was depressed when he was making My Downfall, he split with his girlfriend (I'm Sorry I failed You/If I could say I love you) he was in a lull and said that sometimes that's when it's best to make music, which I take to mean that that is when you make music where you feel it more deeply because he's making it for purely cathartic reasons; like he'd die for it, like he's living for it, he expresses that intensity better than anyone. There's a tangible vicious quality to his music when played out, you feel it cut through you. He has a clear passion for music and making music that borders on unhealthy, but it's admirable because unlike aphex twin he also seems to have a passion for releasing albums, and different types of albums, he deserves absolutely no hate whatsoever. There is so much immense feeling in every use of sound in Cancel, he absolutely wrings as much emotion out of that track as possible, it's mixed with an aggressiveness that gives it real intent and power. There's a moment in Flashforward that just climaxes in a high pitched angry squeel that more than anything I can think of expresses moments of absolute rage, it's like euphoria, but it comes and goes like absolute uncontrollable rage does. It's like he's making the track and half way through just gets sick of how relatively tame it is to what he's hearing in his head and just loses it. Plunging Hornets has a similar moment, a chaotic breakdown, that when played loud it increases its effect. He's made an album about his cats, for gods sake, how one hates him, made an album how about much he hates the place where he lives, you know all this but I am pointing it out anyway. It's not about 'his music has more personality to it', but he's shown more of his personality in his music I think, it's more personal, nakedly honest. He never constructs anything, like an 'idea', he deconstructs, he makes music so visceral as to make him feel something. It took me ages to adapt to how compressed his music is (see here: http://musicmachinery.com/2009/03/23/the-loudness-war/) but now it's searing ear splitting-ness is one of the reasons I continue to play it, and play it loud. Another example of this would be the fool the detector track, it's similar to hospitality in sounding like a million yelping alien creature's sperm manically swimming towards you...and that's actually what it sounds like. On the list the person makes, it goes like interesting that ... hmmm okay. what about shoot myself? It's ridiculously tightly put together, the way he brings the melody in and out, and its graceful melancholy. It's majestic. This is interesting, not sure what you mean.

He's become a better song writer and composer over time because making tracks is seemingly all he does every day, I understand why people would prefer his earlier music, and I like its raw punk liveiness too, but that his music became increasingly more emotionally engaging is something that goes overlooked. There's no one better in electronic music at making 8 minute long tracks that flow so effortlessly; there are no lulls, no ugly transitions, and there is a real point to them, they just tend to take listening until the end for it to be realised. I think in his earlier music there is less evidence of song craft, i like them but they do test my patience with sometimes little reward, but Filth (which isn't one of his best) shows an improvement in detailed compositions, if not necessarily an aesthetic to the music I like. Tracks like Kimberley Clark I can listen to dozens of times, and it never becomes predictable. It's always ahead of you, you're always trying to catch up. It's 7 minutes, and the first 4 minutes wouldn't be worth as much if there isn't a point to the track, a climax which comes in the form of a rising twinkly melody that's so pretty, like an oasis of calm and clarity amidst all the squelchy acid filthiness. It's the kind of thing that separates him from other breakcore artists, and there's very few I actually know which aren't horrible, which would suggest making the kind of music he does takes a special dedication and talent, but maybe not. If you want evidence of breakcore that 'constantly mutates with no real aim or guidance' listen to Otto Von Schirach, I know I tried several times but never returned. Filth goes on these crazy deviations and tests your patience, but he knows when to focus his tracks. He uses melody without relying on it as flashbulb and wisp do. I don't really know anything about how he makes music beyond what I've read in interviews, I don't make music, I don't know anything about the software and hardware. It can get boring if people focus so much on how music is created rather than how engaging it is. His best tracks are anything but random, or maybe they're created to feel in the moment and unhinged and that takes more effort than you will give credit. People adore Autechre on here but their last few releases contain an awful lot of apparently aimless randomness, but usually the melody underneath holds it all together, except in Exai there is few melodies. I think venetian snares is more musically inclined, the closest comparisons are Aphex Twin's Drukqs and The Tuss tracks, and everyone would agree Richard painstakingly puts them together. I think most electronic music sounds flat and dull and their creators aren't able to express their personality through it in a way that is strong and individual. And he's such a revelation because he absolutely grabs holds of music and makes it his own, so it's beyond breakcore. It's more like a punk thrash band with 4 insane drummers than it is some nerd sat at a computer who is so in love with the idea of being a musician he treats his music with as much respect and preciousness as he does a first girlfriend so the results are lifeless and tame. He imposes himself on the music, and doesn't let it get away from him and become something more pompous, it never grows into 'an idea', or 'an idea of what spacey sci fi post Autechre electronic music should sound like'. If other musicians treat their electronic music like it's some crystal they occasionally chip away at making no impression whatsoever, he treats his music like it's his personal slave to be sexually abused. All his stuff sounds more composed to me than most electronic music because it doesn't rely on such obvious repetition, he clearly copies and pastes but it's done intelligently and with the intention of giving the music real propulsion. His music is incredibly dynamic. I'll stop now. I need to make a stock venetian snares response I can wheel out whenever people essentially say 'I've not listened to his stuff enough to realise its greatness'. I like the aptly named Sybian Rock from 2370894, it came on unexpectedly loud on shuffle when I was on my bike, it broke my ears. I like the loose carnival jazz-y ness of the tracks..like We Are Cesspools. His earlier stuff can be refreshing to listen to sometimes. He's done acid and he's done violins..

I'd go with this, but not in that order. He has incredible tracks scattered over all his releases, he must release some of the best eps of anyone. But those four are probably the most cohesive wholes. I think Cavalcade is the best sequenced. I think My Half is his best track. It's somehow more direct and ear splittingly honest than anything else he's done i think. There's a point in the track where it's just like he intends to rip breakcore up to a degree he's never done before. He's able to express just pure moments of heart breaking anger in the form of breakcore. I can't imagine him even making a track like that. I think the way he uses trackers means there's no slow technical process from feeling something to expressing it through music. It just..happens. It..happens for the first time every time you hear the track. I never seem to get bored of his music, i think because it isn't its aesthetic that I enjoy and get hooked on and then soon move on to something else that's immediately appealing but which is ultimately hollow. I can never quite get over how he just tears through sound, so loud and visceral it's like my speaker is going to break. The thrill of its breakneck speed doesn't diminish over time, and if it did it'd mean I'd be hungering for something more extreme and so far that hasn't happened. There's nothing beyond Hospitality. I listen to one of his tracks, or that one, and then I'm satisfied for another month. The best kind of addiction. I don't listen to anything as background music at a low volume. It's very loud in total darkness and it's euphoric or nothing. I think I'm going to stop preaching about venetian snares as I do to other music listening people, it's something you've obviously got to want for yourself. If you're ever left dissatisfied by the tameness of the music you listen to, he's always there, you can't just listen to it as you would anyone else, you've got to really desire it. And I'll send you my extra copy of Meathole that I own for some reason.

I've gathered that Autechre fans are usually wrong about two things; Quaristice being bad, and Oversteps being good.

Seems to me that making breakcore in a tracker is about the nerdiest thing you could do besides turning down sex to do math homework. Richard Devine is probably the biggest of the IDM scene with all his product placement and factory preset whoring. I don't like Squarepusher but I don't see in which universe he could be seen as a sellout, he's a great example of someone doing exactly what they want even if its unpopular with core fans. I mean at present. Squarepusher sold out to some degree with Shobaleader One: d'Demonstrator and Ufabulum. The whole daft punk copying tron helmet visual identity of Ufabulm that's present in the artwork, videos and live on stage, I thought the album was ostentatious and bloated. By nerdy I mean that Richard Devine is far more motivated and fascinated by the technical aspect of sound design, he buys and shows off equipment on twitter, does sound design for companies. His music is like a journey into an alien world, he said himself 'i want to take the listener to another place'. It's not emotional melodic music. It's not something I can listen to for too long or be really engaged by. Whereas Venetian Snares still just uses Renoise i think (as far as I know, he certainly used it primarily for years) because he has said he got to a point where he could create the music he heard in his head. I just see him more of an artist, his music never sounds technical to me, it never sounds like he's 'trying' to make electronic music, he's more effortless at it. I think his motivation to make music isn't fuelled by the desire to experiment with lots of new gear, but finding new ways to use what he already has, it's not the sounds he uses but the way he constructs them and the ease at which he does it. The compulsion to make music and express his emotions comes first. To me he's like Aphex Twin and could make engaging music using any tools. To me Richard Devine belongs to the Phoenecia/Xanopticon/Autechre group, whereas Venetian Snares belongs to the U-Ziq/Aphx Twin group. I've never really listened to printf, it's rare to find cheap and I don't have decent download of it.

Venetian Snares is mostly all I listen to now (only fortnightly to cleanse myself), I'm scared he's slowed down his releasing, and while Fool the Detector ep is some of the best music ever composed and I must mention this fact regularly if only to convince 1 person to actually listen to the thing - very loud in the dark - it wasn't even released on cd. It did come out only last year, but his last album was 2010, and it was a compilation of tracks he made in days, and just a tester for his new sub label. It's 4 years since Filth. I'm going to listen to winter in the belly of a snake tomorrow. He could totally eclipse that album now tonally, without having to resort to the familiar stabbing sounds. I really trust that he's more musical and an artist than he is a nerd and a sellout. If he was a nerd he'd make music like Richard Devine and if he was a sellout music like Squarepusher.

1 Untilted 2 Confield 3 LP5 4 Chiastic Slide 5 Draft 7.30 6 Quaristice 7 Tri Repetae 8 Amber 9 Exai 10 Incunabula 11 Oversteps 1 EP7 2 Garbage 3 Envane 4 Cichlisuite 5 Anvil Vapre 6 Peel Session 2 7 Peel Session 8 Gantz Graf 9 Anti EP 10 Quadrange 11 Move of Ten

Out of interest, what are Joyrex's 15 favourite Autechre tracks, Exai tracks included if any get in there. Would anyone exchange an Autechre double album for a new Aphex Twin double album at least out within a month given the choice? I...would. Pointless question I know.

I tried to watch each one in order, and I thought if Goldfinger is as good as it gets then I might not bother. I wanted to see how they change through the decades, but they're just too slow and laid back for me. Each one feels like 4 hours long. They're like 10% memorable moments, 90% protracted dullness. I might try to watch them whilst doing something else, or split them into parts. And the 10% of memorable moments I've mostly already seen elsewhere in clip shows, out of the context of the film, so I kind of watch waiting for them to happen and when they do it's an anti climax.

Indie Game: The Movie - 10 Dancer in The Dark - 9 Save The Green Planet - 9 What I love about asian films is their passion, at least in ones I seem to pick to watch. The passion of the lead character going to the edge of his own sanity, it's thrilling to just witness an actor act like it's his final day on earth, screaming and shouting and fighting, and because I can't understand the language it's more effective because i don't think it's easy to go as mental as these actors do and do it well. This is the same reason I liked Cold Fish and Strange Circus, the passion elevates the films, I'm pretty drained by the end. Samsara - 9 The Hobbit - 9 Bedevilled - 9 The Clone Returns Home - 8 I've never seen a film that treats its subject with as much delicate sensitivity as this. Half way through I got that terrible sudden realisation you get sometimes where you realise you'll die one day and your brain can't comprehend what is left if there is no life because that's all you know. The film is so achingly slow and pure that it puts you in a place of contemplation. Warrior - 8 Cold Fish - 8 Life Of Pi - 7 Samaria - 7 4th period mystery - 7 Lawless - 7 Immortals - 7 Abraham Lincoln Vampire Hunter - 7 Samaria - 7 The Inbetweeners Movie - 7 Attack the Gas Station - 7 Suicide Club - 7 21 Jump Street - 7 Killing Them Softly - 7 Seven Psychopaths - 7 The House I live In - 7 The Imposter - 7 Searching for Sugarman - 7 Holy Motors - 6 GoldFinger - 6 Ghost and the Darkness - 6 Killer Joe - 6 Ted - 5 Go_Go - 5 A Separation - 5 Men In Black 3 - 5 Ai Weiwei: Never Sorry - 5 Bottle Rocket - 5 A Simple Life - 5 Moonrise Kingdom - 4 Dr No - 4 The Amazing Spiderman - 4 The Tall Man - 4 Stake Land - 4 End of Watch - 4 I hated this. People don't talk like this, and if they do, I don't want to spend any time with them. It starts off promisingly with a convincing police surveillance tape chase scene which is ruined by Jake's I Am A Cop statement narration playing over it, which kind of sets the tone for the film ahead really. It's just embarrassing, closer to comedy or satire than realism. He talks like he's robocop, except robocop is cool and wouldn't come out with something as cringe worthy as that. Looking at it in writing it's pretty massive. It's hard to pick out a line because each one reinforces the stupidity of the other. It's insulting because it's such a simplification of good vs bad. copied from imdb 'I am the police, and I'm here to arrest you. You've broken the law. I did not write the law. I may disagree with the law but I will enforce it. No matter how you plead, cajole, beg or attempt to stir my sympathy. Nothing you do will stop me from placing you in a steel cage with gray bars. If you run away I will chase you. If you fight me I will fight back. If you shoot at me I will shoot back. By law I am unable to walk away. I am a consequence. I am the unpaid bill. I am fate with a badge and a gun. Behind my badge is a heart like yours. I bleed, I think, I love, and yes I can be killed. And although I am but one man, I have thousands of brothers and sisters who are the same as me. They will lay down their lives for me and I them. We stand watch together. The thin-blue-line, protecting the prey from the predators, the good from the bad. We are the police. ' One starts a fight with a man in his house whilst the other watches, they're on police duty at the time, and it made me think, The Wire feels like a long time ago. Jesus The Shield feels like a long time ago. The film lost me from there on. The camera spazzes around, every other word someone says is bitch, dude, fuck, ass, I felt violated watching it. At one point the cop says to his best mate/partner 'you're a piece of shit', and then again 'you're a piece of shit', and I was so confused I just wanted it to end. Silver Linings Playbook - 4 I don't know how this Weinsteins pushing their films for Oscars thing works, but Silver Lining's Playbook being nominated for so many (or any) is inexplicable on the basis of the film's quality. Jacki Weaver herself was apparently surprised that she had been nominated - she barely registers in the film, it is not a performance of note, I'm more inclined to remember Nucky's brother is in it along with a chubby Chris Tucker, though not for their acting, or how Julia Stiles has aged into a different looking person. Jacki Weaver is actually probably too good for this film, i suppose she's the only character who isn't cartoonish. Robert De Niro... he's awful. That bit in the trailer, the 'when life reaches out with a moment like this it's a sin if you don't reach back' is actually redundant in the film, it doesn't work. His attempt at crying is embarrassing. I thought De Niro was better in Limitless. The script is so awful Jennifer Lawrence wasn't always convincing with it, it's a laughably unrealistic film that's kind of entertaining because of it. It equates mental illness with being obnoxious, loud and high spirited. The camera dances around the actors the entire time so I guess giving it a nomination for film editing isn't a stretch. All the characters spend all their time either running or shouting. Two characters argue about what in any film would be a touchy subject then the one on the receiving end gives the other the gift of an ipod who then exclaims 'oooohhh for me' and the touchy subject is dropped entirely in favour of talking about listening to Metallica when angry. Of all the things in the film, somehow I found it most far fetched that Bradley Cooper's character knows of The Clash and presumably likes them. to sum up on the film's nominations, all actors nominated over act except for the one who doesn't and is just 'there', it's poorly written, and is the least challenging film to direct you could possibly think of, and maybe okay for editing if you're being amazingly kind. Best Picture win would actually challenge Crash as being the worst ever, and that in itself is remarkable. Flight - 4 From Russia With Love - 3 Beasts of the Southern Wild - 3 I winced with embarrassment at some of the child's lines, I just found it unbearable the more I watched. It's supposed to be a film about the relationship between father and daughter right, but he's a cunt so I couldn't buy it. It made no sense to me that he reacts to her for the first time like they're strangers, I didn't even pick up that they're related. I did like the fact he reacted to some of her baffling nonsensical lines with real bemusement, as though the director had been feeding her with bullshit just before he said 'action'. The fact she was called Hushpuppy. I found it unbearable. 'I hope you die and after you die I'll go to your grave and eat birthday cake all by myself'. I mean, what. She comes out with this stuff with such frequency it's not like you can fantasize about her character dieing a horrible death like being eaten by a crocodile because she's not even on screen at the time she says half the stuff, so it's like she's violating your ears from beyond the screen, just endlessly yapping away, not actually saying anything. I don't usually hate small impoverished children, but she struck a cord with me I didn't expect, sort of in a way Dakota Fanning did in a few films. But she just moaned and cried, she didn't narrate with mawkish insincere words of wisdom. Safe House - 0 It was so derivative it felt pointless. I've watched worse films because there is some quality to it, but it's one of a few films I've watched where I actually regretted it and wanted my two hours back. The film doesn't go with what is interesting. Denzel in a safe house being interrogated, messing with the minds of people, Reynolds being slowly introduced, a good psychological mystery thriller that has you hanging on every word said. Yeah, not of this happens, and essentially it just moves from place to place, with car chases and shoot outs in between. It's boring as hell, and is over directed to compensate.

I'm currently listening to Night Highway from the Snowboard Kids soundtrack. oh everyone has gone.

I am interested to know ! Joyrex mentioned liking at least LP5, Tri Repetae, the eps from that time, Oversteps, Move of Ten, Exai.

Out of interest, what are Joyrex's 15 favourite Autechre tracks, Exai tracks included if any get in there.

Actress is absolute fucking awful music, anyone comparing it to Autechre, including the guy himself can go and find a shallow pond to drown yourself in. I've not listened to the samples and am getting increasingly tetchy now having turned to spotify to soften the agony of waiting. Only having all the music in the world at your fingertips can reinforce how much of it is inane.

I don't know about anyone else, but I personally hold in high esteem the opinions of people whose main thrust of their dislike for an album is displayed through their repeatedly childish ways of referring to it.

Sean has nicer cheek bones. Also Rob stars in Warrior.

Listening to various autechre on spotify, 19 headaches is similar to tuinorizn. Also Lost is really good. And it starts off by sounding like the music Streets of Rage 2 uses to tell it's little story at the beginning of the game.