Toti ne dorim clubul perfect, o locatie superba, un sunet impecabil, o conducere care sa faca asta din pasiune si o directie muzicala din cea mai buna, locul de care sa te simti legat si la care sa simti ca poti adera fara retineri. Locul asta exista dar e la Cluj. La Raum s-au strans atatea conditii pozitive incat pare a fi unul din spatiile existente care se apropie cel mai mult de ideal. Ca bucurestean imi dau seama ca s-ar putea sa idealizez un pic ceea ce noua ne lipseste atat de mult si totusi imi e foarte greu sa-i aduc vreo critica. Gastile urbane au nevoie de un loc care sa le lege si sa le dea identitate, un centru de referinta. Migram continuu in spatii temporare si de imprumut iar asta diminueaza vizibil experienta. Nu poti sa te bucuri la fel oriunde. Ai nevoie de familiaritate, de apartenenta, de integrare ca sa te apropii de o anumita intensitate. Si totusi, cand, obiectiv, un spatiu indeplineste toate aceste conditii devine el, Locul?
FGM: Cand ajungi la Raum, sau chiar de pe drum, prima intrebare care te iti vine in cap e: cum naibii ati gasit locul asta?
Alex Maresh: Cautam o locatie mica ca si capacitate, sa nu fie probleme cu muzica/vecinii indiferent de ora, sa fie cat mai aproape de centru, iar bonus … sa fie o locatie cat mai “friendly” … adica nu clasicul beci, sa iesi din club direct in mijlocul strazii sa dea vreun taximetrist peste tine … Se pare ca am gasit o locatie care sa combine toate aceste atribute!
Ce era inainte, care e istoria locului?
Locatia se pare ca a fost construita in 1718 pe vremea Mariei Tereza, si era un depozit de alimente. Asta e motivul cred, pentru care jumatate din contructie este sub pamant, grosimea zidurilor este de peste 2m, inaltimea cladirii de peste 4m, si inauntru arata ca un igloo.
Lisztomania is ostensibly a biographical picture of the notable 19th century composer and pianist, Franz Liszt (here played by erstwhile Who vocalist Roger Daltry). It follows his superstardom as a concert maestro, his numerous affairs, his desire to compose serious work, and his friendship with fellow radical Richard Wagner. However, Russell uses this tangible historical basis as an ever-diminishing basis for his expressionistic flourishes and barmy flights of fancy.
To rate this film in concordance with the current mode of film-reviewing method – acting, scripting, narrative coherence – would be a pointless endeavour. For the most part, Lisztomania fails as a traditional movie experience. Daltrey heads a cast that root their performances in camp and pantomime, which supports the film’s absurdism, but derails its attempts at depth and complexity.
Posted in film on December 29th, 2010 by Victor Plastic |
1 Comments
De ceva vreme incoace, Konrad Black s-a dezis de la calea M_nus si-a apucat-o pe cai mai drepte. Nu ca ar fi in spiritul sarbatorilor, dar prezinta o doza similara de sanctitudine.
“When Vice UK asked for a submission, I knew I had to share the sound that can only be found right here in my home state of Texas. I am fortunate to live in a place where so many of my peers are creating the kind of music I love. When most kids are worrying about how the grass is greener elsewhere, these bands are working hard to make where they are where they want to be. This mix is made up of current Texas synth-based projects and covers many genres, from industrial EBM to techno, leftfield disco to electro, deep house to minimal wave and even a little screwgaze for good measure.
There is something sacred in the geometry connecting Houston, Austin, and Dallas – this love triangle that we’re all a part of. This mix is a testament to what friends and neighbours are capable of and it’s a fitting time capsule for this time and place. Don’t Mess with Texas.” Vice
In 2008 the Minus bandwagon embarked on a tour of proportions previously unheard of in electronic music. Celebrating the 10th anniversary of Richie Hawtin’s genre-defining label, the CONTAKT tour visited nine cities on three continents over the course of a year.The exceptional series of events not only featured the label’s most prominent artists, such as Magda, Troy Pierce, Marc Houle, Heartthrob and Gaiser, but also an impressive array of cutting edge technology, pioneering new methods of collaborative performance as well as audience participation via RFID chips and mobile devices.
Insightful, captivating and genuinely funny at times, ‘MAKING CONTAKT’ documents the spirit of constant technological and artistic innovation that drives the Minus label. While the cinematic format of the tour documentary might be an established genre in rock music, this is the benchmark road movie for the techno generation.
Posted in film on December 20th, 2010 by Victor Plastic |
4 Comments
gmail
com
