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Almost overnight, cutting-edge in arts and technology becomes old-school. It seems like only yesterday that the Hong Kong movies of Jackie Chan and John Woo were the big new flavor in action cinema, and laser disc was the medium of choice for upscale home theater. How many have even heard of laser disc, let alone loaded one of those unwieldy LP-sized platters into an equally clunky player?

At the time I wrote the review in late , laser disc was already in defensive posture against the rapid growth of the more affordable, more physically convenient DVD format. By the time it appeared in print in , DVD had taken over the digital market. Shortly, it would supplant VHS as the dominant home-video product. In the review, I sorted out the Chan titles then on American DVD from those that remained available domestically only on laser. Most of it is badly outdated now. For U. Of them all, the only American edition that included the original Cantonese soundtrack as an audio option, and the only one that included the five scenes excised by Dimension, was the laser disc.

Then, accepted into the gang, they accompany the gangsters to Cambodia, where Chaibat closes a heroin deal, and after that to Malaysia. Yeoh, a truly awesome beauty, has wonderful comedy timing of her own, great rapport with Jackie, fluid grace in the martial arts fights, and remarkable gumption in doing many of her own stunts. In one wince-inducing outtake in the blooper reel, Yeoh misses her grip as she drops onto a moving sports car, tumbling backward onto the street as car and camera speed away. All of the action in the movie has this visceral immediacy, which movies largely have lost in the past decade with CGI effects and ADHD editing.

A snickering Chinese punk helps a couple of Caucasian teeny-boppers shoot up with heroin. One of the girls dies -- offscreen -- from an overdose. Chaibat suggests that the corpse be used to smuggle a cache of smack past customs. The laser disc also benefitted from appreciative back-sleeve notes by film critic Dave Kehr.

Reviews suggest that a more recent Blu-ray edition from Echo Bridge Home Entertainment lacks any supplements, not even a Cantonese voice track. So, for a full package, the obsessive collector may want to get the DVD and the Criterion Collection laser disc available cheap from online dealers , assuming he has one of the antique players lying around.

Online marketing has made it tremendously easier for U. By Mark Cerulli. Everybody knows that Bond is a man of distinction and that his drink of choice is a Belvedere martini. The drinks were happily consumed by the hip, young crowd that descended from the nearby screening. I felt it my duty to try one… maybe two and they were delicious — crisp with a splash of olive juice.

Everyone was in a buoyant mood — there was praise for the film and, of course, the free-flowing Belvedere put everyone in the holiday spirit. Go see it — then toast with a martini! Belvedere, of course. Of all the talented filmmakers who have made a mark in the history of cinema, there is that handful who belong in a special category.

QUEEN of HAUNTS, Venomous Vignettes 1

But there is a rare sub-set of auteurs who are so strikingly original and iconoclastic that their work is singularly their own and unlike that of any other filmmaker. David Lynch is one of these. No one makes the kind of movies he does. The mystery and ambiguity of its narrative is almost secondary to the emotional punch the director delivers to the audience. Much has been written about the movie in an attempt to analyze it and make sense of the non-linear plot, and it is, like all great art, open to interpretation. If this is your first encounter with Mulholland Drive —and the new Criterion Collection Blu-ray edition is an excellent medium with which to approach the film—it is highly suggested you watch the film in its entirety, and then view it again the following day after thinking about it.

Diane hires a hit man to murder Camilla, and then kills herself out of remorse and guilt. Never mind—Lynch tells this story in the form of a compelling quasi-neo-noir mystery, and in the process he creates a puzzle for the audience to solve in order to connect the dots.

Out of the minutes of running time, nearly the first two hours of it consist of a dream Diane is having which casts her as a wholesome, talented, optimistic and aspiring actress named Betty. She meets an amnesiac victim who adopts the name Rita also Harring , and they set about attempting to find out how Rita came to be in her situation.

At around the mark in the picture, Diane wakes from her dream to her reality. What follows then are several non-linear flashbacks to events that happened prior to Diane having her dream. Dream logic is usually nonsensical when analyzed upon waking, but during the actual dream, everything makes sense, right?

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The clues are all there on screen. Another interesting aspect of Mulholland Drive is that it was originally a pilot for a possible television series a la Twin Peaks. The director got financing elsewhere, re-tooled the existing footage, wrote the rest of the story, and brought the principles back for more shooting.

This is why the detectives, played by Robert Forster and Brent Briscoe, simply disappear from the movie after the first half hour—they were originally intended to be regular characters in the TV series. This fascinating film comes with a gorgeous new, restored 4K digital transfer, supervised by Lynch and director of photography Peter Deming, with a 5. Supplements include some terrific new interviews with Lynch and Naomi Watts together very funny and revealing ; Theroux, Harring, and Deming; composer Angelo Badalamenti wait until you hear how he got started writing film scores!

This is a film that is haunting, beautiful, and full of secrets and surprises. It really is the stuff that dreams are made of. London, UK, November 3 rd MI6 Confidential, the full-colour magazine celebrating the world of James Bond , returns with its thirty-third issue.

The team returning from Skyfall knew that the 24th adventure had to be bigger and better than its predecessor. This issue celebrates the bombastic SPECTRE with a full account of the location work, as well as catching up with Daniel Craig, his co-stars, and Bond producers Broccoli and Wilson with interviews conducted just days before the film enjoyed its world premiere. Featured in this issue:. To order online, visit www. Hugh Maddocks Editor. Email: editor mi6confidential.

At some point in the career of seemingly every porn movie director there comes the desire to aspire to something more meaningful. The problem is that most such directors don't possess the know-how or have the opportunities to become auteurs. Thus, they work within the parameters of their own genre in an attempt to elevate it to something more than just mindless rolls between the sheets. It's easy to dismiss any porn flick from any era but we at Cinema Retro try to objectively evaluate even these lesser contributions to the film industry because, as with mainstream cinema, there are vast differences in the quality of productions- and retro porn represents an important aspect of pop culture, even if you are among those who loathe such films on a moral basis.

It's hard to recall an era when porn movies had to be enjoyed publicly but in those pre-home video days, that was largely the case. The only option was to get 8mm "loops" that could be purchased for home viewing. The quality of these was about as erotic as taking a bath in a tub of ice water.

For women who wanted to enjoy cinematic erotica, going to an X rated theater alone was virtually out of the question. Even escorted by a male companion, it had to be an uncomfortable experience not only because of onerous atmosphere inside of such theaters but also the social stigma that came with being seen entering or leaving one. Thus, it was rare for a production company to produce films that might appeal to female viewers. In that sense, "Champagne for Breakfast" was somewhat groundbreaking because there is an attempt to tell a relatively engaging story in a humorous manner from a young woman's point-of-view.

The film opens in the board room of a major cosmetic company in San Francisco. Champagne Leslie Bovee has impressed the president of the company with her business know-how and he announces that he has promoted her to VP position in marketing. Champagne is delighted but as soon as the room clears out, the boss's daughter, Peggy Bonnie Holiday who is also an executive at the company, has a shocking life lesson for her. She tells Champagne that now that she is in management, she has an obligation to use her power to sexually manipulate men in the manner women have been manipulated for centuries.

She proves her point by calling in a waiting sales rep who very much wants to sign a big contract with the cosmetics firm. In front of Champagne, she informs the shocked salesman that the only way he'll get the contract is to service her right there on the boardroom desk. He willingly complies but Champagne is disgusted and leaves the room. Before long, her star rises in the company but she realizes that she is a workaholic with little free time and no significant other in her life. Frustrated, she makes a bold decision to take two weeks off and indulge in hedonistic fantasies.

To enable her to do so, she calls an employment agency and requests a body guard to accompany her on her potentially dangerous journey. Answering the call is Harry John Leslie , a charismatic young man with a chip on his shoulder. He's living on poverty row but every time he takes even a low end job, his good looks result in female bosses wanting to sexually harass him. Sensing that Champagne might be intimidated by a hunky young guy as a bodyguard, he adopts Warren Beatty's character's strategy from "Shampoo" and pretends he is gay. His flamboyant mannerisms ensure he gets the job but frustration soon encroaches when he is forced to drop Champagne off for various sexual liaisons, including a male bordello.

Knowing his new boss is sex-crazed but having to act disinterested drives Harry to the breaking point. Things only worsen when Champagne asks him to start giving her daily nude massages. Harry's cover is almost blown when he has to interrupt a fling Champagne is having with a beefy construction worker who begins to abuse her. Harry rides to the rescue and beats the man to a pulp, which doesn't enhance his attempts to play a meek, mild guy. At least Harry doesn't have to suffer the frustration of observing his boss's most daring and promiscuous encounter: an orgy with three male prostitutes.

There is also the obligatory lesbian sequence, with Champagne being seduced by an aggressive young woman. The film suffers a bit from some unrealistic aspects of Harry's character. When he is seduced by the female manager of a strip club he has applied for a job as a bouncer in, he becomes outraged when another woman wants to join in the action. He storms out of the bedroom when the two women start entertaining each other, claiming that lesbianism is a perversion.

Yeah, right. On the more realistic side, the film's feminine viewpoint results in some role reversal situations. Woman wield most of the power in this film, whether its in the boardroom or the bedroom, though the film does take a sympathetic twist on what males often go through in trying to pick up members of the opposite sex. When the sexually frustrated Champagne enters an upscale bar and tries to seduce an older man, she is shocked that he rebuffs her.

There is even an attempt to provide a romantic love song over the opening credits, even though it sounds more like one of those Sinatra parodies Mel Brooks sings in "High Anxiety". The performances are relatively accomplished and both Leslies- Bovee and John- have real on screen chemistry together. The somewhat amusing plot goes off the deep end in the final act with Harry discovering he has millions of dollars in stocks but they are in the name of a former brother-in-law who has power-of-attorney and won't relegate them back to him. This situation is resolved predictably and abruptly but the entire plot device of a pauper having access to millions in stocks is weak even by porn movie standards when it comes to credibility.

Still, the sex scenes do sizzle and there are some genuine laughs. Vinegar Syndrome's DVD boasts a great transfer, the original trailer which has tag-on reviews from erotic magazines that tout the film as being virtually the "Citizen Kane" of the porn genre , a trailer for a softcore version and some deleted scenes.

I presume the bizarre box art is taken from the original film poster. For some reason, the main focus is not gorgeous Leslie Bovee but a cartoon of some dork who doesn't even appear in the film, which provides proof that, despite appearances to the contrary, not all lousy film posters are contemporary. Still, you can't judge a porn film by its DVD sleeve and this one is considerably better than the promotional art would have you believe.

They were Hollywood's seemingly least compatible power couple. Charles Bronson was noted for avoiding interviews and publicity while Jill Ireland relished the opportunities to promote her films. The couple had a rather convoluted start to their relationship. It worked. McCallum would become a major star within a few years and his career helped give his wife exposure as well.

However, behind the scenes the marriage was becoming strained. When the McCallums moved to Hollywood, Bronson did a lot of socializing with them. But behind the scenes, Bronson and Jill began a tempestuous affair that led to her divorce from McCallum, who went on to marry model Katherine Carpenter they are still together today. Bronson and Jill married as well and began a long time collaboration of appearing in films together.

Initially, Jill had minor roles but as Bronson's star power increased he used his influence to get his wife co-starring roles. In all, they would appear in over a dozen films together before her untimely death from cancer in Calling all Charlie Chan fans! Here is the information from the original press release. Warner Bros.

As early as , the first of more than 48 Charlie Chan films was put on the silver screen. After its success, Fox would produce 15 more Chan films starring Oland. Not surprisingly, the films became the most popular in s China. Toler starred in 22 Chan films, first for Fox and later for Monogram Studios. After Toler's death, Roland Winters became Chan in six more films. The character has also been featured frequently on radio, television and in the comics.

Chan also meets a young man, searching for his missing girlfriend. Charlie is asked to investigate after the mysterious demise of a New Orleans chemical company magnate, because even though the police believe the death was caused by a heart attack, a series of unexplainable deaths follow. Only Charlie Chan can solve the mystery! Three people are murdered in San Francisco — a judge, District Attorney and a juror. The fingerprints of a deceased man are found at all three murder sites, but could it really be possible for a dead man to be a serial killer?

Again, leave it to Charlie Chan..! An Arizona gold mine is suddenly making a ton of money. They soon discover that the mine is being used as a cover up for some major crimes and that, indeed, somebody will soon be murdered. Although not mentioned in the press release, the set also includes an abundance of special features. Having grown up in the s I can recall the "sword and sandal" rage that swept the cinematic world during that era. Modestly budgeted Italian epics thrilled young audiences with tales of Hercules and other mythical heroes. The king of this short-lived genre was American body builder Steve Reeves, who became synonymous with these films based on his highly successful starring role as "Hercules".

Producer Joseph E. Levine had the foresight to release the film in American and British cinemas and reaped phenomenal profits. Like the spaghetti western fad that would come a few year later, the sword and sandal flicks varied widely in terms of quality. I'll admit I had little interest in revisiting these films of my childhood until I edited writer Denis Meikle's article "Blood, Sweat and Togas" in issue 30 of Cinema Retro.

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Meilke gave the most honest and objective appraisal of the films imaginable and pointed out that many of these movies were drastically underrated in their day. I thought I'd form my own opinion by checking out one of Reeves' films that I had very vague memories of seeing way back in ' With Kirk Douglas' acclaimed epic still playing in theaters, director Sergio Corbucci quickly started his production with Reeves in the title role.

Caesar is at the height of his power but he fears an attempted coup might be in the works due to the opportunistic Crassus Claudio Gora , who administers the Roman Empire's control over Egypt. Randus is sent on what is supposed to be a good will mission to serve under Crassus.

However, Crassus immediately suspects the truth: that Randus is there to spy on him and inform Caesar of his activities and any suspicious behavior. The tension and false politeness between the two men is broken when Randus decides to return to Rome to report to Caesar. En route, however, his galley encounters a disastrous storm and Randus and an Egyptian slave girl, Saide Ombretta Colli are washed overboard and presumed dead. They manage to get to shore only to captured by a passing group of sadistic slave traders. They mock Randus for his claim that he is Caesar's right hand man and subject him to humiliation and punishment.

The miserable cargo of slaves is forced to march under the desert sun, all the while being beaten and abused by their captors. Randus is shocked when one of the older slaves recognizes an amulet around his neck. Randus says it was inherited by him from the father he never knew.

The older man informs him that the amulet was worn by Spartacus, the great hero who led a doomed but noble slave rebellion against Rome. Randus now realizes that he is the son of Spartacus. He uses his incredible strength to escape from his chains and lead the other slaves in killing their captors.

However, he is now faced with a moral choice: does he return to Rome and serve the empire that continues to oppress his own people and who crucified his father? He opts to serve the slave population against Rome, adopting a plan whereby he returns to Crassus but uses inside information to launch successful attacks against Roman forces.

Wearing a mask and keeping his identity secret, he becomes a legend among the slaves for his daring military strategies. He arranges for Saide to become handmaiden to Crassus's demanding wife, thus sparing her from possible execution. In the course of carrying out attacks against Roman forces, Randus inspires a new uprising, just as his father did. However, he is ultimately captured and faces certain death- unless the slave population can save him first.

I was genuinely surprised at how well made and accomplished this production is. The sets are impressive and the script is compelling and exciting, even if Reeves becomes an Egypt-based predecessor of the Scarlet Pimpernel. The action sequences are extremely well-staged and there is genuine tension in several key scenes. It's impossible to gauge Reeves' skills as an actor because his voice is dubbed despite speaking English as his native language.

The same awkward fate befell Todd Armstrong, star of "Jason and the Argonauts". Nevertheless, Reeves more than fits the physical requirements of the role and when Saide ends up inevitably swooning over him you can understand why. The direction by Sergio Corbucci is especially impressive and he would fittingly go on to make major contributions to some of the more memorable spaghetti westerns.

No spoilers. The hallmark of any James Bond film has been the opening gun barrel sequence. It sets the tone for what's to come, and always sends a shiver up the spine in anticipation of what is about to unfold. However, since Die Another Day this tradition has been revoked and much to the annoyance of millions of fans around the world relegated to the end of the films. It is now back in its rightful place. Yes, folks, James Bond is back - and how. The customary pre-title sequence is a stunner, and quite violent. There's no messing around.

A lot of people die in this film. Once again, Sam Mendes has brought us a film full of excitement, tension and sexuality that retains a freshness and vitality in a similar vein to what he did with Skyfall. Although there are many spectacular chases and set pieces the stunts and SFX by regulars Gary Powell and Chris Corbould, are well up to standard , Mendes maintains a sense of reality and plausibility, even though there are visual 'nods' to the films of the past.

It's clever, but not pastiche. There is just the right level of humour, too, which Craig handles really well. Refreshingly, I didn't once notice any over-the-top references to products either! The casting is impeccable, and Craig, as usual, is superb. This really is his film. Christoph Waltz makes for a perfect villain - a complex character who is equal or even superior to Bond, which is as it should always be. As for the "Bond Ladies", Mendes has triumphed once more.

Monica Bellucci, who is mature in her years, is for me the sexiest woman to ever grace Bond's on-screen adventures. Then again, I've always been a sucker for a woman in a basque and stockings and suspenders. Sadly, her part is woefully short. Lea Seydoux is equally engaging and attractive, but not in a drop-dead-gorgeous superficial way that we have come to expect from earlier Bond films, and thankfully her character is integral to the plot, and not just eye candy. David Bautista, who I assume the producers wanted on board as an Oddjob-type villain, does an admirable job, and has a sinister and mean on-screen presence, although his role was totally unnecessary.

The chase through the streets of Rome is not one of the series best by any measure. Mi6 'regulars' Ralph Fiennes, Ben Wishaw and Naomie Harris really come to the fore in this film, but I cannot comment further without revealing plot details! On the technical front, the cinematography by Hoyte van Hoyetema shot on 35mm film, not digital is as good as Roger Deakins' efforts on Skyfall , and the vistas of Rome, Mexico, Austria and Morocco looking stunning.

London also plays a major 'role' in the exciting finale where Bond races against the clock whilst dealing with ghosts from the past. Editor Lee Smith director Chris Nolan's regular cutter has creatively paced the film , and easily justifies the film's minutes running time, which seemed to fly by. Finally, the music. Sam Mendes' composer of choice, Thomas Newman, returns. Whilst his score for Skyfall was excellent, he didn't 'arrange' enough subtle cues of the James Bond theme throughout.

This time around he rectifies that, with a superb score that also revisits Skyfall as well as using an instrumental rendition of Sam Smith's title song 'The Writing's on the Wall'. So there you have it. Mendes' second Bond film, the 24th in the series, is top-notch entertainment that will thrill audiences around the world - and also please the 'die hard' OO7 buffs who are so critical of their favourite secret agent's on-screen antics. Oh, and there is a 'money shot' at the end of the film which totally threw me.

I'm still reeling. Arrow Blu-ray 4 Disc, Released on 26th October Whilst Barker had a small interest in the fourth instalment Hellraiser IV: Bloodline, it would be the last in which he would have any official involvement. Fans of the franchise will be all too familiar with the first three movies, which are by far the best of the series.

Picking up immediately after the events of the original Hellraiser, Hellbound: Hellraiser II finds Kirsty detained at a psychiatric institute and under the care of Phillip Channard, a doctor who abuses his position to realise his own dark aims. In Hellraiser III: Hell on Earth, a reporter investigating a mysterious death in a nightclub finds herself in the way of Pinhead and the Cenobites, who plan to bring their horrifying world into our own.

It has to be said, Arrow have really gone above and beyond with this superb set. The films have never looked better, all three movies now benefit from a brand new 2K restoration with Hellraiser and Hellraiser II being approved by director of photography Robin Vidgeon. The visual presentations are as close to pristine as you are ever likely to see. The Hellraiser series of films has never leaped out as the sharpest of films. Hellraiser in particular, has often appeared a little diluted or desaturated, even in its theatrical presentation, it looked rather dull upon the eye.

However, there is now a genuine freshness to the films, a new edge to them which makes the whole viewing experience something quite different. The audio elements are also bound to please with uncompressed PCM Stereo 2. Each film also boasts multiple audio commentaries which hardened fans will recognise from the Anchor Bay 4 DVD box set released in All three movies are presented in their uncut versions, alongside a bonus presentation of the unrated cut of Hellraiser III: Hell on Earth.

Running some four minutes longer than the theatrical cut, this includes bonus unrated footage in standard definition which has been inserted into the 2K high definition version of the film. Arrow should of course remain free of criticism for their decision to include this, remembering that these scenes were never included or intended for the theatrical version.

The original very long documentaries have received negative criticism in the past, particularly for their pacing and structure. Scorpion, the DVD label that specializes in first-class releases of often second-rate films, does it again with Point of Terror, an obscure thriller from Never heard of him? Neither had I until this screener copy arrived. A bit of research reveals that Carpenter was a wanna-be star with grand ambition and modest talents - much like the character he plays in the film, which was directed by Alex Nicol.

Carpenter, who personifies "beefcake", plays a lounge singer with a loyal following. However, he's frustrated that his fame is limited to a local restaurant. Although he has his pick of the female groupies, he's convinced he's destined for fame and fortune. Before you can say "Wayne Newton", the pair is tossing and turning all night under the covers. Both characters are manipulative and unsympathetic, which makes it hard to empathize with either one.

Andrea is using Tony as her boy toy, while he is using her clout to advance his record career. Soon, both are enmeshed in dastardly deeds including infidelity and murder. The film has overtones of Play Misty for Me i. Carptenter himself is a strangely perplexing personality. At times, he resonates legitimate charisma, but at other times, his acting is grade school level. Additionally, the film's opening credits are set to a scene of Tony performing his lounge act- clad in bright red buckskins!

It's doubtful this looked hunky even in and the sequence is unintentionally hilarious, reminding one of those scenes in which women faint in passion at the sight of Austin Powers prancing about in his underwear. Thorne gives a slightly more accomplished performance and gets to doff her top in a swimming pool to display her ample assets.

This was the 70s, remember, and such sequences were all but obligatory for B level actresses. Scorpion has provided the usual bevy of extras including an interview with actress Leslie Simms, who has a role in the film. She also served as Carpenter's acting coach and reminisces with affection about her friendship with him.

Thorne is also heard via a phone interview done for this release. As with Simms, she speaks highly of Carpenter. The DVD release also includes a trailer and the original poster art on the packaging, which deceitfully implies this is a horror film. Another nice job by Scorpion for a film that would otherwise be lost to the ages. Click here to order from Amazon. We hate to brag but sometimes we just have to. Our own intrepid columnist, Raymond Benson, is enjoying some very exciting news. His acclaimed series of books based on The Black Stiletto character has been optioned by actress Mila Kunis's production company which is developing the property as a TV series for ABC.

Raymond has been a contributor to Cinema Retro since issue 1, way back in ' His column of "Top Ten Films" of specific years has already covered the entire s and s and is now focused on films of the s. If he doesn't slow down, we'll soon be covering the greatest hits of Wallace Beery as fodder for his column.

Raymond also writes reviews of the latest DVD and Blu-ray releases, many of which can be found in his own column on this page and in the Criterion Corner section. His contributions to the success of Cinema Retro have been immeasurable so we take great pleasure in congratulating him on this major achievement. Click here for more. Click here to view promotional videos for The Black Stiletto novels. In a young Michael Winner began a collaboration with the British producer and distributor E.

Fancey which would enable him to break into the world of feature films. Fancey had been in the industry for over twenty years, and specialised in "quota quickies": cheap, forgettable films which could play as supporting features and qualify for government tax breaks. The average Fancey production usually combined low-rent comedians, stock footage, long tedious amounts of travelling and a confused crossover between documentary and narrative film. As a distributor of European exploitation cinema he was prolific, being responsible for bringing thousands of equally cheap and forgettable films into British cinemas in the hope of making a fast buck.

Into this cut-throat world stepped Michael Winner, who prior to directing had been working in some of the smaller film studios around London as well as at the BBC. The film in question is Climb Up the Wall , a piece of entertainment so peculiar and grating it has even been missed off Winner's filmography on Wikipedia. Climb Up the Wall begins with typically cheap hand-drawn title cards and some jazzy music before introducing us to our host Jack Johnson, a popular cardigan-wearing comedian of the day.

Speaking to camera he explains his latest invention, which is basically a large computer with a television screen. In this was still somewhat fantastical, but which now looks laughable. Along with his amiable son Malcolm we are bombarded with sketches and music, held together with the vague storyline of Jack Johnson showing us what his computer can do. Fancey and even footage from old westerns. Before long Jack and Malcolm get bored of this, like the audience, and head into London for a night out. This is an excuse to show us some naked models and exotic nightclub dancing, as well as more singing and an odd sequence in a kitchen where they all decide to do some cooking.

The film feels like it was being made up as they went along, which perhaps it was. Clearly Winner was told to make something out of a load of old stock footage, including some of the Fancey back-catalogue, with the specific mention of making it appeal to the rock and roll crowd. Fancey had recently made one of Britain's first rock and roll films Rock You Sinners , so clearly felt like he had his finger on the pulse.

For a sixty-three minute film Climb Up the Wall packs in a lot of music by long-forgotten singers and groups, and even manages to reference Cliff Richard. They seem to be targeting a younger audience, yet the focus on an older generation of comedians suggests they did not really know what teenagers would be into in Climb Up the Wall is something of a curiosity, and is well worth seeking out, not because it is a good film, which it isn't, but because of its authentic shots of London life. It was also an important milestone in the development of one of the most prolific and influential directors to come out of Britain in the s.

Accompanying the film on this DVD are two other E. Fancey productions. The first, London Entertains tries to pass itself off as a documentary, although it is effectively a feature film. Popular television presenter Eamonn Andrews tells us the story of a group of girls from a Swiss Finishing School who come to London to start their own escort agency. The girls, who all look around twenty-five, believe that visiting tourists and dignitaries will want to be escorted around the Festival of Britain, as well as the nightclubs of London.

This allows Fancey, who directed it himself, to cram in loads of stock footage, including skiing, synchronised swimming and film star Gloria Swanson inspecting the Festival of Britain building site. We are also treated to the attractions of London, including the Windmill Theatre and an open-air performance at Battersea of Canadian former child-star Bobby Breen. Meanwhile Eamonn has fallen in love with one of the girls, whilst they have to fight off the attentions of a brash American, played by character actor Joe Baker.

Moments like this make London Entertains worth seeing for anyone with an interest in the history of comedy. Cardew Robinson, better known in those days as Cardew the Cad, plays a hopeless romantic in love with the unattainable blonde across the road. When he finds out she is planning to drive to the continent he conspires with a friend to buy a car and follow them as they head off to the newly-built Dover car terminal. This means we are treated to stock footage of how the terminal was built, accompanied by a relatively unfunny commentary.

Cardew's comedy has sadly dated, along with his car. The film mainly consists of shots of driving, and for some bizarre reason Fancey decided to give Cardew's car an internal monologue, voiced by Spike Milligan. The highlight of Calling All Cars is when Cardew pulls into a service station for petrol.

The attendant claps his hands and before he knows it they are surrounded by beautiful women in short skirts and stockings who give the car a quick once-over. This DVD is a reminder that everyone back then smoked, and if you have recently quit it may be a struggle to get through all three movies in one sitting. Renown Pictures have found good quality prints and the sound is clear, given that these films would have looked and sounded cheap back then and were never intended to be seen sixty years later. Whilst worth picking up for Climb Up the Wall alone, the fact that there are three films here makes this disc a must-have for anyone interested in the forgotten corners of British film history.

Renown have also recently launched a free TV channel in the UK called Talking Pictures, where more obscure British films from the s through to the s can be found and enjoyed. You can find more information at www. No James Bond fan will want to pass up adding "Bond By Design" to their collection of coffee table books about Agent Written by Meg Simmonds, the archivist for Eon Productions, this volume presents a wealth of ultra rare original art concepts, story boards, costume designs and much more ranging from "Dr.

From DR. Ursula Barbara Magnolfi and Dagmar Stefania D'Amario are sisters looking for their mother, a once successful actress who left them in a boarding school when they were children and disappeared. Their father has recently died, leaving them a substantial sum that they feel duty-bound to share with the absent mother. Their search leads them to a hotel on the outstanding Amalfi Coast near Naples where they meet a motley collection of people who have secrets to hide: Filippo Marc Porel is a heroin addict, Roberto Vanni Materassi , the hotel manager, is having an affair with the resident singer, the amusingly-monikered Stella Shining Yvonne Harlow, who claimed to be the great grand-daughter of Jean Harlow , who is herself smuggling drugs in lipstick tubes, and Roberto's wife Vanessa Anna Zinnemann , a lesbian who is having a passionate affair with one of the hotel guests.

If things weren't already complicated enough Ursula has psychic abilities that allow her to see the future. As explained by a conveniently-placed psychiatrist in the hotel, these powers could have been induced by some unexplained childhood trauma. Ursula is plagued by bad dreams of gruesome murders, and visions of her recently-deceased father in bed with other women. Dagmar may be falling in love with Filippo, who Ursula claims will be responsible for her own death, but Filippo is obsessed with Stella Shining.

Into this already convoluted setup stalks a black-gloved murderer, a familiar figure from Italian giallo movies, who watches people have sex and then kills them with a giant phallus. This provides director Enzo Miloni with endless opportunities to show as much nudity as he could get away with, which was quite a lot. Apparently when The Sister of Ursula was released, it was shown in some cinemas with hardcore inserts. Even with those removed it is still quite strong stuff.

With a title that makes one expect a film about nuns, this was Enzo Miloni's directorial debut. Primarily known as a writer, he made this film at the request of the producer in order to get his own pet project, which was to start Dirk Bogarde, off the ground. Despite all the sleaze and murder, the film is mainly a melodrama and feels like something you would find when flicking through the channels one morning on your hotel TV whilst on holiday. It is shot with very little verve or creativity.

The camera was mainly set on a tripod and then just left at that height for the rest of the movie. Occasionally we see close-ups of a sinister pair of eyes in the shadows, but otherwise there is very little distinctiveness visually. The plots and sub-plots become confusing, with enough to provide narrative ideas for at least three movies. This is perhaps a symptom of Miloni's first love of writing for the theatre. Anyone familiar with the Italian giallo will have seen most of what is here in other, better movies. What perhaps sets this one apart is the stronger focus on sex, with Shameless selling it as a "proto porno giallo".

The image quality is what one would expect from a film shot on location using cheap film stock, that is to say flat and not particularly sharp. The blood still looks bright red however. The DVD features a half-hour interview with the director from , and watching it may make you feel warmer towards the film than you did before. He clearly enjoyed the experience and remained friends with the cast, and expresses his intentions and frustrations with the project well.

He reveals that Marc Porel was a drug addict in real life, and explains how they dealt with this this during the shoot. The star of one of Italy's greatest crime thrillers, Live Like a Cop, Die Like a Man , Ruggero Deodato , Porel sadly died at the age of just 34 from a drug overdose whilst shooting commercials in Morocco. Shameless have released this DVD in a limited edition of just numbered copies.

September 15, 2017

Featuring new artwork from genre specialist Graham Humphries with a reversible sleeve featuring the original Italian artwork , the aforementioned interview, the theatrical trailer revealing that some scenes were shot for an alternate version where clothes remained on and lots of trailers for other Shameless DVD releases. Shameless are specialists when it comes to releasing trashy European cinema that other companies would steer well clear of, and for that they are to be congratulated. Rather than focussing on a particular era or subgenre, editors Noel Brown and Bruce Babington have cast their net far wider; titles spanning many decades and from all corners of the globe are afforded textual equality with some of the more readily acknowledged classics.

Fancy reading refreshing opinions on Willy Wonka and the Chocolate Factory or A Nightmare Before Christmas the latter rejected by Disney, who must still be kicking themselves today? Prepare to be educated by a piece that pitches an intriguing case for it being so. Anything emanating from an independent publishing house rouses expectation of a need to dig deep. There are some films that you just know can only ever have been greenlit and bankrolled because the directors were riding on the success of recent projects — which was precisely the case with esoteric chunk of dystopian fiction, Zardoz.

The problem was that no-one could really get a handle on what it was about ; years later cameraman Peter MacDonald jokingly suggested that Boorman was the only person who actually understood it. That may not in fact have been so far from the truth, but in any event it was finally picked up by 20th Century Fox. All the same, Zardoz is certainly one of the strangest films ever to snare a position in mainstream cinema. Upon its original release it was critically mauled and left audiences around the globe scratching their heads.

More than 40 years on it may have reached an unpredictable plateau of respect, but its power to baffle hasn't diminished one iota. There are the Elite, blessed with immortality and psychic powers, who inhabit the tranquil paradise of The Vortex. Zed Sean Connery is a rarity: an intelligent Exterminator.

Immortal May Sara Kestelman is keen to study him and, much to the annoyance of Consuella Charlotte Rampling who sees the savage as a dangerous influence on their society, the senior Friend John Alderton permits Zed to remain among them, if for no other reason than to relieve the boredom born of immortality. There also appears to be hope in the community that Zed may hold the secret to the blessed release of death. Or something like that. Throughout the first half of the s the actor took on a number of roles that would distance him from his James Bond persona, including an unhinged police detective with possible latent paedophile tendencies The Offence and an elderly Robin Hood Robin and Marian.

But with his portrayal of Zed in Zardoz he hit the motherlode. Appearance aside though, in the role originally earmarked for Burt Reynolds, Connery delivers a terrific performance and his rugged screen presence keeps one engaged even when the narrative veers off into the profoundly confusing — which it does on more than one occasion. Produced as well as written and directed by Boorman, Zardoz is a triumph in both style and substance if you can at least partially get your head around it. I've seen Zardoz several times over the years and still find it a challenge to endure. Yet the fact I find myself drawn to return to it says a great deal.

Okay then, enough beating about the bush. Is Zardoz a load of old nonsense as so many profess , or a sublime masterpiece as equal numbers make claim? The icing on the cake is an informative commentary from the eminently likeable Boorman. A nicely illustrated page booklet comprising interview material and articles makes for a very handsome finishing touch. The rest of his movies, leading up to the ultimate statement of being trapped in a horrible body, The Fly , all dealt with some aspect of physical or mental transformation.

Oliver Reed plays Dr. Raglan, an unorthodox psychotherapist who uses controversial techniques that cause his patients to manifest their inner turmoil and anger into visible, bizarre growths on their bodies. One guy sprouts spots. Another man grows a weird gland on the outside of his neck. The most extreme result of Dr. They have the faces of trolls, no navels, and are anatomically asexual, but otherwise they are somewhat identical to Candice. Where they get the clothes that Candice wears is unexplained. As a horror film, The Brood brilliantly succeeds. The shocks are genuine, the gross-out factor is palpable, and the story—which is absurd on the surface—is intelligently well-written by Cronenberg himself.

Reed delivers one of his best campy performances, and Eggar is suitably deranged in her part. Of particular note is young Hinds, who manages to be simultaneously innocent and creepy—this was her first acting role. Perhaps the weakest link in the picture is Hindle, who somehow never reaches the emotional heights that his co-stars do.

Eggar relates how hilarious this actually was on the set; she could hardly keep from laughing as the crew glued the ends of prophylactics onto her torso. Criterion has released a new, restored 2K digital transfer, supervised by Cronenberg, with an uncompressed monaural soundtrack. As is usually the case with Criterion Blu-rays, the video is gorgeous and vividly colorful—and this is one of those movies in which the color is practically a character in the film!

Supplements include: the new documentary featuring interviews with Eggar, executive producer Pierre David, cinematographer Mark Irwin, assistant director John Board, and special makeup effects artists Rick Baker and Joe Blasco neither of whom worked on The Brood , but served on other Cronenberg pictures ; a interview with Cronenberg covers his early career in the 70s; a interview with Hindle and a grown-up Hinds is conducted by the editor of Fangoria magazine; and—most fun of all—a segment from The Merv Griffin Show from , featuring Reed verbally sparring with Orson Welles.

This is a truly bizarre picture about a world in which all the women capable of reproducing are gone killed by toxic cosmetics and men are attempting to compensate without a feminine influence in their lives. A little too stilted for its own good, Crimes serves as a curiosity in the Cronenberg pantheon that is worth seeing But the main attraction is an excellent fright fest. The Brood has arrived in glorious high definition just in time for Halloween. Grab the popcorn, turn out the lights, and prepare yourself for some truly nightmarish material. The Brood is a keeper.

What's raised eyebrows is his comments about not wanting to play James Bond again. Craig says he'd rather slash his wrists than take on the role of , even as he expresses concern that whoever plays the role in the future ensures that the quality of the franchise is preserved. In that respect, Craig's comments are a bit ambiguous. He does leave the door open to considering another Bond film but says he would only do it for the money. Craig's stance is a bit surprising. While the Bond franchise has seen its share of troubles between the lead actors and the producers over the decades, Craig is said to have a warm and mutually respectful relationship with current producers Barbara Broccoli and Michael G.

If Craig's comments distancing himself from the role of Bond sound callous and ungrateful at first blush, he does make clear that he is very proud of the work he's done with his colleagues on the series and cares deeply that the franchise will only continue to improve over time. Bond fans are already in a panic over the notion that Craig may quit the role.

Other actors were even screen-tested for the part. To read the interview click here. Now, here's the kicker that makes us wonder when exactly the Time Out interview was conducted. In the Mail on Sunday's 27 September edition, there was a special supplemental section obviously done with Eon Productions' blessing that interviews Craig. In the article, he confirms that he has indeed committed to at least one more film after "SPECTRE"- and reiterates that he considers it an honor to play the role.

In fact he states: "I'll keep going as long as I'm physically able. So the incentives to do at least one more Bond film are very strong for Craig. How two interviews can feature such opposite viewpoints from him remains a mystery unless he has a double out there somewhere Rock Hudson is Major Donald Craig, a Canadian prisoner of war on board a German transport ship anchored somewhere off the North Africa coast in late A group of frogmen surface near the ship and sneak on board with silencers fixed to their guns in order to capture Craig.

The frogmen are led by Captain Bergman George Peppard who reveal themselves to be part of a team of German commandos. The commandos take Craig to a German airfield and fly him to a desert landing strip. They secured the rescue of Craig due to his expertise as a map maker needing his expertise in navigating a mine field and access to the German occupied port at Tobruk, Libya, so they can destroy it in time for a British sea invasion.

The movie is based on an actual, although unsuccessful, attack on Tobruk in September of which did include German-Jewish soldiers and fake British POWs. Just like the actual events, the British commandos in the movie pretend to be POWs in order to get to their ultimate destination undetected During the journey through the Sahara, the group encounters the German and Italian Army as well as local horseman seeking money for captured British hostages and aerial staffing from British aircraft.

Directed by Arthur Hiller, the movie appears at first glance to be an unusual choice for the director who would be synonymous with message movies and romantic comedies. However, interspersed between the usual action and military battle scenes, the British and German-Jewish commando team deal with serious issues of bigotry and anti-Semitism with Hudson caught between the two camps as the outsider caught in the middle as they make their way across the desert. Nigel Green is a standout as Col. Harker, the leader of the commando unit.

One of the great character actors of British cinema, Green is memorable in just about everything he appeared in a career cut short by an accidental overdose of sleeping pills. It is violent, to be sure, including an abundance of graphic deaths via flame thrower which become more a convenient distraction to move the story along. The DVD offers no extras, but the movie sounds and looks very nice preserving the Techniscope widescreen image.

The movie is a welcome addition for fans of 60s war movies. After all, it was the villainous film legacy of the actor — who passed away at age 93 on June 7th of this year — to have frightened generations of moviegoers in such a bleakly nightmarish rain-soaked setting. The Mahoning Drive-in, located amidst the Pocono Mountains surrounding Lehighton, Pennsylvania, is — quite frankly — an anomaly amongst the anomalies of surviving drive-in theaters. Whilst most remaining drive-ins have been forced to move cautiously and expensively to digital projection systems or else suffer their screens going dark, the Mahoning has survived this past year through a series of weekend-only 35mm retro-film screenings.

Instead, the program was seemingly drawn from a triad of second and perhaps third tier-efforts celebrated only among the cognoscenti. The album Conflagration saw the three musicians joined by a host of celebrated musicians for the sessions at Pye Studios in Marble Arch, London. This new 2 CD anthology has been re-mastered from the original Dawn Records' tapes and includes a booklet with an essay by Sid Smith featuring exclusive interviews with John Surman, Barre Phillips and producer Peter Eden. Psi-Fi followed on from the acclaimed Things to Come released the previous year and was the result of many sessions at Chalk Farm Studios in London.

Psi-Fi was another ground-breaking album and was critically acclaimed upon its release, being very much ahead of its time, proving inspirational to a new generation of musicians. The album has now been re-mastered from the Gull master tapes and includes two bonus tracks; the single versions of 'Manifestations' and 'Only the Beginning Part 1 ' previously unreleased on CD. Master tape sound and original artwork. Espacial Discos present the first ever, legit vinyl reissue of Hot Pepper's Spanglish Movement, originally released in Spanglish Movement was the result, written and produced by "Tilico", released in as a tiny private edition housed in a fabulous Afro cover.

Being "Tilico," a giant drummer who appeared on countless recordings and accompanied famous figures like Paul Mauriat and Carl Tjader among many others, you can expect here lots of heavy drums, congas, and percussion, surrounded by crazy space synths, male-female vocals, Latin horns, Afro touches, and occasional fuzz guitar. Four superb long tracks including the cosmic underground club classic, "Ritual Song". Includes insert with liner notes and rare photos. FabricLive 98 is 56 blazing bass tracks creatively bound with energy and sensitivity. Early on in Dimension's career a combination of effortless musicality and production prowess caught the attention of producers and DJs such as Andy C and Sub Focus.

These days Dimension is receiving mainstream success without deliberately releasing crossover music -- striking the perfect balance between club and radio. Dimension on the mix: "Some of the most talented producers from all around the scene went out their way to create bespoke VIPs from their back catalogue, specifically for the mix".

Packaged in bespoke slipcase containing die-embossed tin. Juxta Position finally finds his way to Figure, with highly infectious, acid-festered analog techno runs. Feeding on the raw and dynamic energy of live hardware production, these jams hit the sweet spot where constant modulation and spontaneous changes transform a bunch of loops into something more than the sum of its parts. Whether it's a bouncy ride around the rings of Saturn with "Elixir", the frantic sledge hammer-assault of "Stepping", cascading down into the machine's bowels on "Automated Reproduction", or the all-out overdrive that is "Pestered" -- every track on this record takes on a whole life of its own.

The label provided an artistic heaven for a young generation of musicians who were inspired to experiment with new musical formats. It was , and a brash youngster by the name of Ralfi Pagan walked into the offices of Fania Records and demanded to be heard. Fania President Jerry Masucci allowed Ralfi that opportunity, and Ralfi auditioned for Jerry right there in his office. It took only a few moments for Masucci to realize that he was in the company of his newest recording artist; he put Ralfi in touch with recording director, Johnny Pacheco, who hurried him into the recording studio for Ralfi's first Fania recording session.

A little James Brown mixed-in with Hector Lavoe. Inside, a heart full of Latin soul. His early seventies Fania recordings stand out as consummate examples of Latin soul at its very peak. To paraphrase the name of Ralfi 's signature song, his sound was pure Latin soul. Gifted and open minded, Ralfi was always hip to the music that made his Manhattan the cultural melting pot of the seventies.

Ralfi was one of the few artists that had the vocal gift to conjure the stylistic leanings of Curtis Mayfield and combine them with the raw barrio energy of Hector Lavoe. Regrettably, Ralfi is no longer with us, but it is our good fortune that he has left us a wealth of fine music for our enjoyment and consumption; a mixture of Latin soul classic ballads for romancin' and an assortment of up-tempo jams for partyin' down. African rhythms, Latin heat, and otherworldly electronics collide like neurons, processed through a New York state of mind.

The sundowner glow of "Myrtle Avenue" with textured synth waves and wandering Parrish-esque keys acts as a precursor to the nocturnal adventure "Espelhos", which captures a similar essence to Black Science Orchestra's classic "Save Us The Jam ", before the eastern-tinged, autotune-laden "Khalil". The album then intensifies further still on the percussion-heavy, big-bottomed cosmic throb of "Jaguar", whilst the Brazilian flavored "Temporada De Seca" ends the set. Repress in vintage-styled tip-on hard cardboard sleeve. After a year of drug abuse, he felt broken.

Starting a soul-searching, spiritual journey, he wrote Ode To Quetzalcoatl and most of the material for his second album, Harbinger's Second Coming in just one month and a half. Assisted by fellow musician Brian MacInness, who played some guitar parts on the album, Dave recorded Quetzalcoatl using an echo-laden four-track machine in a flat's living room. The sound is lo-fi and sparse: just acoustic guitars and some occasional harmonica and flute, added to Bixby's haunting, emotional vocals, spiritual lyrics, and solid songwriting. The opening cut, the eerie and painful "Drug Song" sets the mood perfectly for the rest of the album which contains more tormented titles like "", "Lonely Faces", "Open Doors", "Secret Forest" -- never has an acoustic folk album sounded so intense.

Carefully remastered sound from vinyl no master tapes exists done at Shadoks Music Studios. Includes insert with detailed liner notes by Matvei Procak, who found Bixby in , plus some rare pictures. The legendary recordings by UK mod band The Action, registered when they were in transition from mod-beat to full-blown psychedelia, just prior to becoming Mighty Baby. Originally recorded as a set of demos with the intention of obtaining an album deal which inexplicably never materialized, Rolled Gold is a collection of brilliant songs, melancholic yet powerful.

  • Texas Vision | Michael Ennis.
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  • Oui Oui Oui of the Pyrenees!
  • Love, Hummingbirds and Hope Trees.

All of them are playing their hearts out: superb harmonies, great guitar work, and clever arrangements which show the influence of bands like The Byrds and the psychedelic sounds that were coming from the west coast and UK as well as jazz giants like Coltrane. Out of print on vinyl for many years, Guerssen Records present a new vinyl edition. Digitally remastered from the master tapes. Includes insert with photos and detailed liner notes by Jason Barnard Shindig!

Every track is a fully realized melodic and lyrical statement. Snyder Popdiggers "We were really excited about what we were doing and felt we were creating something fresh and new. As the decade progressed, they expanded their musical palette to include trumpet and violin -- not instruments Coleman was experienced on -- and divided audiences and critics with their fiercely uncompromising music. Originally broadcast on Danmarks Radio, this remarkable set predates the recording of his classic At The "Golden Circle" Stockholm album by only a few days.

The entire broadcast is presented here, digitally remastered, with background notes and images. At the end of the s, jazz saxophonist John Handy helmed an adventurous plunge into world fusion with his Rainbow Band. Subramanian on violin, it also included Brazilian guitarist Bola Sete.

This San Francisco Great American Music Hall performance from July 27, , was originally broadcast on National Public Radio's "Jazz Alive" program and features a minute performance of a work also titled "Rainbow", composed by Khan specifically for this broadcast. The entire broadcast is presented here, digitally remastered, and includes background liners. As the s progressed, he increasingly embraced the avant-garde, with arguably his greatest successes coming in the piano trio format.

The entire broadcast, digitally remastered, is presented here with background notes and images. Maria Monti's legendary Il Bestiario is a prime example of the avant-garde art-song of the s. Known for her renderings of Italian popular songs, Maria Monti is an Italian singer and actress with a noteworthy career: cabaret singer in the '60s, ambitious avant-garde folk artist in the '70s, and starring in films by directors as such as Sergio Leone -- Fistful Of Dynamite -- and Bernardo Bertolucci -- Il Bestiario is a near perfect emblem of the fascinating territory gained through collaboration.

It enlisted the radical poet Aldo Braibanti as its lyricist, features arrangements and synthesizer from Alvin Curran Musica Elettronica Viva , the baritone saxophone of Roberto Laneri Prima Materia , as well as the soprano saxophone of jazz legend Steve Lacy. The result is absolutely stunning, musically unique within the respective outputs of its participants' long and noted careers. Unquestionably one of the most beautiful and neglected albums of its decade. Comes with a page booklet with lyrics and translations.

The session explores their rhythmic roots with the use of traditional instruments such as bendirs, tefs, and double reeds, trying to carry these sounds to the future with the help of electronics. Two funky shots dedicated to the memory of the one and only Ornette Coleman. Some real intense double drumming animating a full-band jam on side A, while the B side of the single consists of a nervous duo of saxophone Korhan Futac? The single consists of two more short tracks -- taken from the same Hayyam session -- where the five-piece goes bebop, building some rhythmic and harmonic complexity filled by solo virtuoso playing of core-members Korhan Futac?

Tremendous gatefold presentation and one of HJR's most impressive documents to date. Poet, composer, street musician and cosmologist Moondog Louis Thomas Hardin, learned rhythm from American Indians and counterpoint from J. Many of his recordings feature instruments he built himself: trimba, yukh, tuji, oo. Sometimes you can hear in the background the streets of New York, where Moondog often slept. In addition, he was blind, due to an accident when he was Sometime in the s, fed up with being mistaken on the street for Christ his regular busking spot was uptown on Sixth Moondog put on a Viking costume, with spear and horned helmet; and he dressed like this until the late s by which time he was working with orchestras in Germany.

Moondog's renown was extensive: Igor Stravinsky lobbied a judge on Moondog's behalf. Andy Warhol's mother designed one of his covers, and Weegee took photographs of him included in the booklet. Janis Joplin covered him, Mr. Scruff owes him badly, and Antony and the Johnsons covers his songs. This is the first retrospective of Moondog's music -- 36 tracks from , most of them exceptionally rare, all of them miraculous. Recorded at a private house in West London, the side-long title track is a masterwork: a twenty-two-minute, starkly personal, freely expressive, itchily searching re-casting of orders of rhythm and sound into a new, quicksilver kind of affective and musical polyphony.

Born in Burlington, Vermont, and conservatory-trained in the US, the cellist Tristan Honsinger moved from Montreal to Amsterdam in , quickly linking with Han Bennink and Misha Mengelberg and opening a long and fruitful musical relationship with Derek Bailey. Recorded in , Duo displays a performative musical approach already characterized by the lack of inhibition which would later endear him to The Pop Group: he is knockabout, exclamatory, explosively rhythmic; burping Bach and folk melodies with spasmodic lyricism, in amongst the garrulous textures and accents of his scraping, bowing, and plucking, and gibbering like a monkey; throwing out his arms and stamping the floor, grappling with his instrument like an expert clown, always tripping himself up.

You can hear Bailey reveling in the company, as he ranges between scrabbling solidarity and an askance skewering of his partner's antics, on prepared nineteen-string and standard electric guitars -- and a Waisvisz Crackle-box, for the garbled, quizzical, cross-species natter which closes "The Shadow". Throughout, the spirited interplay between laconic, analytic wit, and guttural, sometimes slapstick physicality is consistently droll, often laugh-out-loud funny; vigorously alert, alive, and gripping.

This release features remixes of internationally renowned artists Adriatique and Coyu. First up is Adriatique's remix, a reflection of their own interpretation of electronic music with a strong and playful vibe. Coyu's remix is a dancefloor-ready interpretation of the original cut, with a decidedly more pumped-up and dark atmosphere.

Fresh on Francis Harris's Kingdoms imprint comes Rasmus Juncker's Ophold -- six tracks of sublime atmospheres and textures. The Danish musician, sound composer, and DJ fits perfectly with the label's aesthetic, joining the dots between ambient, leftfield electronica, and modern classical. When Rasmus started to think about his debut album he spent several months trying to find his own way to combine his favorite musical influences, improvisation, electronics, and classical music.

Philosophers like Immanuel Kant describe this deprived state as a mental 'Cesura', which became some sort of guideline for the album. He invited musicians, one after the other, to his studio. I chose some of the takes and some weeks later I invited a jazz guitarist to listen and improvise on top of what he heard.

Then a classical string quartet and a double bass player came to my studio months later, and finally I recorded myself on percussion and drums. Throughout the recording process I've been experimenting with special microphones in various setups, used noises from the recordings and the room became absolutely essential for the pieces. The final pieces were mixed by Andreas Pallisgaard with the same improvised and experimental approach of the recording and the production. None of the musician met each other, but their sounds developed into something completely fantastic I think.

October 3, 2018

The presence of the acoustic instruments and the depth and complexity of the synthesized layers gave some kind of an indescribable sounding music from another galaxy. Inspired by Sylt -- Germany's "White Isle" -- Lehult provide four tracks with a sense of lighthearted optimism. Think a tasting tour of 15 different sparkling waters.

DJ Assam's "Sandy" warms things up with distant laughter and swirly synths. Lucky Charmz and Johan Kaseta's "Blueberry Icetea" closes things with an homage to the jolly car-train that connects Sylt to the mainland. Adrian and Ali began working on this album back in , but put the project aside as they would score the hit Netflix series Marvel's Luke Cage the two even perform in an episode of the upcoming second season. The Midnight Hour is sophisticated hip hop that fans will enjoy, capturing their jazz rhythm section, and a full orchestra, to analog tape.

The full, completed version of 'Questions' is now the lead single on The Midnight Hour. Ali and Adrian took Luther's original vocal stems and composed new music, as if they were in the room with Luther originally. This transcendental recording is something that really makes The Midnight Hour special. Deep, hypnotizing atmospherics driven by incredibly effective broken rhythms. Pressed in Detroit. Another techno essential. It's around-the-clock block party with Makelidey. First stop at L. Second stop at Lisbon, meet Sandro. They both set the groove in the best tradition of Minibarian beats.

Everything was set to bring Pit Spector on board and let him close the show with a superb piece of house. Charlotte de Witte continues to establish herself as a driving force on the contemporary techno scene with The Healer EP. Charlotte's fresh and innovative sound is immediately laid bare on opener "The Healer", with eight minutes of spine-tingling, hypnotic techno.

Then comes "Kuda", a track built on monstrous kicks that hit hard and drive forward with real force. Nicolas Jaar's Other People present a new solo record of guitar and live custom electronics from artist Patrick Higgins, an American avant-garde composer and producer from New York City. Higgins is known for his work in experimental and contemporary classical music, playing guitar and composing in the ensemble Zs, which is said to be one of the strongest innovative bands in New York.

His work as a composer traverses the styles of the European avant-garde styles with the post-minimalist sounds of New York. Dossier is a four-movement piece performed live without overdubs or edits. All of the samples and synthetic patches were custom built and specifically engaged to become elements of live guitar manipulation. The sound world is post-apocalyptic in style but builds to an intimate and introspective finish. The material was developed over a two-year period and finished at the end of Cover art is by Alfredo Jaar. In its own way, the work runs contrary to today's assumed absolute limitlessness of musical possibility, favoring a reduced expatriate sonic toolkit composed of Cycling '74's Max, a modest Eurorack, and a handheld digital recorder.

The results are snapshots of sensation, location, movement, and image: a score for re-orienting yourself in new, changing environments. To paraphrase Roethke, we learn by going not only where to go, but how to go. After a hiatus from the cassette culture movement of the s, Gregory Taylor returned to regular recording and live performance as an improviser in the late s.

He currently works for Cycling ' Randstad is his fourth album for PoL. Technically his second LP after a collection of singles, this benchmark record from taught Istanbul's musicians and pop fans how to put Turkish folk songs from the 17th century together with meaty, thundering guitar solos. Savagery begins at home people, so make sure you get a physical copy of the best record by the Turkish Hendrix into your house.

Includes all of the 13 songs on vinyl for the first time. It's still being praised for its composition and sound design alike, and sounds as fresh and breathtaking today as it did when it was originally released in The Last Resort is a beautifully crafted, astonishing masterpiece, that will leave you breathless.

The 13 instrumental tracks together form a wordless musical story, almost like the soundtrack of a movie. It manages to capture a whole range of emotions in subtle melodic miniatures, dreamy ambiences, dusty beats, deep dub-tracks, and driving groove-excursions. An ever-changing kaleidoscope of colors and moods. Although it's an electronic album, it also incorporates live-drums, guitars, bass, and other acoustic instruments like celesta, glockenspiel, melodica, and even DJ scratching to create a more organic feel.

The album received fantastic acclaim from both music fans and journalists around the world and made it into the top-lists of the month, the year, the decade -- alongside an array of awards for best production or best album. Back in , the original pressing only included a selection of songs from the original track album release. It missed out on songs which had been released on singles or didn't "fit" on the so called "vinyl edition". Due to "public demand", and simply because this album deserves a proper vinyl release, Poker Flat present, for the first time, the full album on vinyl.

The recut has been carefully crafted from first generation, original masters by Calyx in Berlin. Since the album has been praised for its fantastic sound the primary directive was to cut the lacquers for the re-issue so that they would sound exactly the same as the original release, which has been the CD version of the album. No "digital remastering" or any other alterations have been applied. Triple-LP edition comes in a gatefold sleeve; Includes download code. Following on from the previous iterations of the series, particularly the widely acclaimed Nordic Flora Series Pt.

Some faces are more prominent on this occasion, while others were folded into the series for the first time at last year's Berlin Atonal festival where Varg's Nordic Flora program was unveiled. The album's most tender moments arrive when the acoustic instrumentation and ambient ascents cross and tangle with the spoken word performances from AnnaMelina and Chloe Wise. They speak in lullabies of decadence.

And the sincerity catches you out, tapering the rush, awakening the crush. When working with both AnnaMelina and Vanity Productions, the gentle details get scaled up for bigger arenas, the track signaling a kinship with last year's Yung Lean collaboration. Not surprisingly, Varg configures this side of Crush alone, perhaps letting this stormy intensity out just the once in a mournful piece with Ecco2k. Prog Temple present a reissue of Dewey Terry's Chief, originally released in After a period out of the spotlight, he resurfaced in with this lost classic, a fun and funky stew of blues, soul, and rock that was produced by Bill Szymczyk shortly to find fame for his work with the Eagles , and features guest appearances from Harvey Mandel, Jim Horn, and others.

It makes its long-overdue CD debut here, together with background notes and images. Prog Temple present a reissue of Smokey Circles Album, originally released in This enigmatic collection of sophisticated pop was the result of a collaboration between the British Ralph Murphy and the Israeli Shmuel Kraus, who had previously worked together in The High Windows. Originally issued in April , it sank without trace, but has gone on to become a considerable collector's item and makes a welcome return to CD here.

Bell Towers is finally back with a new record for Public Possession. Once again perfectly showcasing BT's ability to transform emotions into melodies, bridging gaps between various musical influences -- the revisited and extended versions presented here, will leave you with two choices: "Chillout" and "Dance Mix". In addition the material was handed over to Baba Stiltz, who delivered his very own more minimalistic, extremely hypnotic take on the "Ikea Hack".

The concept is to run a "slow label", to not get caught in the trends but to stop, watch, listen, feel, and think, then listen again. Includes printed inner sleeve; Includes download code. It will feature one original track and remixes from M. The concept is to run a "slow label" to not get caught in the trends but to stop, watch, listen, feel and think, then listen again.

Their goal is to reset the pace of electronic music output and create little gems. There's risk of having it come off as either overly and gratingly deliberate, or teetering over the precipice into full-blown novelty. Pere Ubu co-founder Allen Ravenstine's Waiting For The Bomb is one of these rare exceptions where peculiarity, nuance and genuine warmth align in such a way that it's perched right on that edge and all the more evocative because of it. One of the album's most striking and disorienting attributes is its wide and volatile sound palette.

Structured episodically, its eighteen vignettes jump between discrete sonic worlds. Dense clusters of raw sci-fi synth noise sit up against soundtracky miniatures while elsewhere, placid ambience emerges from stiff computer funk. Yet as one surrenders to the strange lurching quality of the journey, the uneasiness it produces somehow becomes grounding.

Given Ravenstine's post-punk pedigree, it's unsurprising that this defiant sense of malaise and contradiction isn't just a byproduct of his playful genre tourism. It's actually a key unifying element that even lurks on the periphery of the album's most serene or seemingly innocuous moments. You can hear it in the way that the plasticky squareness of his sample-library orchestrations chafe against live brass and percussion on 'Spirits'.

The prickly synthesizer on 'Venus Calling' creeps like toxic fumes through a genteel jazz arrangement. On 'Insomnia' Joe Sorbara's rapid drum kit scatterings punctuate a lugubrious throbbing bed of sound, yet as the ersatz fanfares begin to protrude you're not quite sure whether to be terrified or to laugh--or do both.

The record's accompanying notes mention Ravenstine's childhood, steeped in second-hand Cold War paranoia. Waiting for the Bomb seems to embody that tension perfectly -- a young, unbridled imagination haunted by both the grave threat, and perverse futuristic allure of total annihilation. Nick Storring ". Since he has composed the signature tunes for the Locarno Film Festival.

He also plays electric piano with the afro-beat group Mamud Band and teaches a 3-year degree course of Music for Images at the Civic School in Milan. He studied alto sax and guitar and then between and travelled around the planet studying African, Indian, Near and Far Eastern music, making field recordings, studying and collecting ethnic musical instruments from around the world.

He also composed and played music for dance, videos, commercials, poetry, theatre and performed live soundtracks for silent movies. He has released many LPs on numerous European labels. With dialogue snippets and a host of brash confrontational juvenile delinquent anthems - all taken from the wild and exotic side of the Cramps' crazy collection - it's an epic B-movie. With a cavalcade of tunes about killers, mean women, everyday madness, tongue-tied tantrums, motorcycle mayhem, peroxide-sporting vagabonds and a hopped-up Model Ford.

Compiled here with extensive sleeve notes from Rocket founder Simon Healey, this limited 3xLP and 2xCD set captures the band at their most laconic and free. A psychedelic sprawling morass of sound and aural distortion grooves that draw both from the band's wide influences and from simply plugging in and letting go. Triple LP version. Over the years both Fra Lippo Lippi and Rune Grammofon have had numerous requests for a compilation like this. A number of recordings have only been available on various vinyl formats in small editions and never on CD or in digital form.

So here are the 14 missing pieces, dating all the way back to the debut EP in , and up to the final recording from Although the tracks have been subject to a mastering process, please note that no further effort has been made to turn it into a coherent artistic whole. It is what it is, through 15 years and four line-ups, from experimental bedroom recordings to full-blown studio workouts. Previously only available as part of the Haircuts DVD Remastered for vinyl by Helge Sten.

Recorded at the Paradiso Club in Amsterdam in The club streamed its own recording of the show at the time but presented here is Motorpsycho's own recordings, meaning properly mixed from 24 audio tracks. The centerpieces of the concert were heavily extended versions of old warhorses such as "Hogwash" and "STG", showing a band more concerned with exploring the furthest reaches of their improvisational abilities rather than trying to recreate the detailed arrangements for string-quartet and pop-group that had dominated their three previous albums. It's worth mentioning that Baard Slagsvold is on keyboards, his fearless approach to improvisation taking the music well into uncharted territories.

Francis Harris is one of the most interesting figures on the American electronic music circuit and beyond. Most recently Harris branched out with a new label -- Kingdoms -- a home for his love of a more adventurous sound. Up until now his most notable milestones remain the two solo-albums Leland and Minutes Of Sleep who became essential albums of the genre. Carefully restored from original masters and artwork the albums now appear in gatefold-sleeves. Leland spans over three vinyl discs, just like the sold-out original.

Leland features Danish vocalist Gry on three tracks including "Lostfound", the first single and video which was remixed by Mathew Herbert. Also featured throughout are Emil Abramyan, whose poignant performance on cello evokes comparison to Arthur Russell, and Greg Paulus No Regular Play, Matthew Dear Band , whose improvisational free jazz inspired trumpet accents converse thoughtfully with Harris's own tonal melodies performed on piano and guitar. Determined to produce electronic music with warmth and true dynamic range, Harris recorded and mixed Leland with Jordan Lieb on an analog SSL and then enlisted legendary engineer Joe Lambert to master the project.

Gatefold sleeve; includes download code. Minutes Of Sleep is a beautiful, delicately fractured and crystalline electronic tribute to the more emotional side of Francis Harris's production talent. Features a Terre Thaemlitz remix to wrap up this quite beguiling release. Having moved even further from the dancefloor, Harris has succeeded in creating a work that sounds like little else, its rich ambience even surpassing the melancholy of even Leland.

In , London-based Bromide got their electric shoes back on with new bass player Hugo Wilkinson joining long-term collaborators, singer-guitarist Simon Berridge, and drummer Ed Lush. Again, stuffed full of pop delights struggling to reach the three-minute mark -- such as "Two Song Slot", the story of a disastrous open-mic encounter turning into a last-minute victory and "Tale To Tell", a conscience-pricked near perfect example of the Bromide sound written in the studio while recording -- the album also sees the band begin to stretch their wings a bit.

Elsewhere Patti Smith's "Dancing Barefoot" is given a thorough work out, plus there are contributions from the rhythm section with Lush writing the music for both "I'll Never Learn" and "Always Now", while Wilkinson provides a breath of fresh air in proceedings with the instrumental "Futurist Shore Leave". With I Woke Up, Bromide have firmly fixed the songwriter onto the band and vice-a-versa.

As one recent twitter live review summed up "They rock hard but the tunes come first: like Elvis Costello fronting Dinosaur Jr". Ain't gonna argue with that. On the flip is "Natty Coil", one of the crew's most requested tracks, a masterful mix of organic bass and robotic shuffled hi hats from these mix scientists.

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Finally, this double inch record, a co-release between Seeland and Electro Motive Records, brings his idiosyncratic and very personal music out into the open air. Primarily a guitarist, the root of his playing is akin to traditional stride, but rich with quivering whammy bar wobble and shimmering feedback. He often plays the tailfin strings of his archtop like one would play harmonics, or retunes seamlessly mid-stream to create a shifting temperament across the length of a piece.

An affinity for the likes of John Fahey, Loren Mazzacane-Connors and Sandy Bull can be heard, but the comparisons quickly fall away as one takes in his ambidextrous musical sensibility. He will sing otherworldly vocal duets with the Theremin, while simultaneously accompanying himself fingerpicking, or will throw modulated feedback tones across otherwise inviting harmonic landscapes based on blues and folk motifs, overshadowing them with clouds of squelch that loom like an approaching post-noise squall, but ultimately swell and punctuate more like the tone clusters of Henry Cowell or the lyrical saxophone of Frank Lowe.

At its heart though, A Clerical Error is a solo album. With the death of a close childhood friend as its inspiration and backdrop, the album fixes on an unshakable desire to re-imagine the very nature of fate. Saint-Pelvyn explains: 'If I've learned anything from music, it's that there are experiences in this world that are neither real nor imaginary. I'm always searching for those places, and sometimes I get just about half way there.

The restrictions were that no songs could break the three-minute mark, no jamming allowed, and you never went back to fix mistakes. All songs were written and performed by Glenn Donaldson and Donovan Quinn; both switching instruments and overdubbing until Donaldson's Tascam had run out of open tracks. David Toop on Haco's Qoosui: "Weightless, not so much a voice from heaven but a voice that swirls in liquidity, water spirit, a world and a time in which humans, plants, animals and weather could communicate in multiple tongues through the barriers that separate living entities, the world of Apitchatpong Weerasthakul's Uncle Boonmee Who Can Recall His Past Lives , in which a catfish with erotic powers speaks to a princess, a world in which spirits could be heard whispering in forest glades, in spider's webs and waterfalls, from the hidden places of bright tiled rooms filled with emptiness and the yellow fizzing of neon strips.

Henry J. Farny painted 'The Song of the Talking Wire' in a Lakota Sioux hunter stops in the snow, pressing his ear to a telegraph pole to listen to the humming of its wires. For his model, Farny sketched a religious man named Long Day or Long Dog, who spoke about hearing spirit voices over the wires, an experience he then used to bolster his claims to being a spiritual leader. One hundred years later, Haco listened through contact microphones to the spirit voices inaudibly to unaided human perception emanating from CD-R drives, mobile phones, wireless routers and similar sources of electromagnetic waves, enacting the cyborgian reworking of nature and culture of Donna J.

Haraway's A Cyborg Manifesto Hailed as one of the first female proponents of onkyo, Haco has made field recording environmental sounds from daily life and used them as materials in her composing, programming, and mixing. Pink vinyl. Lyrically, it's all about teen angst, which explains their perfect mixture of melancholy, euphoria, anger, and tenderness. A sense of emotional confusion that is echoed by the title. It's been out of circulation for over two decades, and Sorcerer Records presents this classic slice of underground Australiana in all its glory.

Over the course of several more full-lengths and an EP or two, the band made themselves a reputation as one of Australia's finest purveyors of post-punk noise-rock before relocating to the US. Lubricated Goat were perhaps correctly often compared to the Butthole Surfers at the time, and their mix of punk, post-punk, noise, and a taste for the absurd puts them firmly in the same camp. Comes in original artwork and inner sleeve; Includes download card; Includes new liner notes from Stu Spasm detailing the history of the recording. Ultra-smooth keys offset by noisy lo-fi breakbeats and vocals, urging you to git fucked up.

Off-kilter playfulness is paired with the cocky swagger of a south Stockholm roughneck and an infectious pop sensibility that lingers in your head long after the needle hits the inner groove. Abdulla Rashim closes out the set with a perfectly horizontal techno groove, using only elements from the original production.