My essay geeks reviews of fuller

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He sucked violence without realizing it. He felt the pleasure of that criminal struggle, getting drunk with bloodlust. But to understand Tarantino's treatment of violence it is necessary to place the director in his aesthetic and social context. It is perfectly understandable that everything that is said about violence arouses angry discussions, because their consequences in our daily life are evident. Human violence is the cause of the great majority of misfortunes and that is why reflections on this subject can have terrible consequences. In this work we deal with the enjoyment of violence, and although many people scandalize the idea of ​​this possibility, we must admit that many have proposed it before me. We finish this first chapter with a brief history of how violence in the cinema has been represented. We resort to an important concept of modern aesthetics: the aesthetic attitude2. I start from the assumption that my readers have seen the films I talk about and that is why I do not feel any embarrassment at the time of revealing important points of the plot. 2 With "aesthetic attitude" we refer to the belief that in order to feel the pleasure of the beautiful, we must have a certain attitude that will make that pleasure possible. We conclude with some reflections against the apocalyptic attitude that condemns mass culture as a creator of falsehoods and a catalyst for inaction. Accepting and condoning it would mean admitting the bestiality of man, and precisely what makes us responsible for creation and what distinguishes us from animals is the ability to control our instincts. 12 and apart from some very limited groups of intellectuals, violence is seen as something closer to animality than to humanity. Societies are judged as civilized or uncivilized according to how they resolve disagreements: if it is violent, we already know that this is a savage society. The men of the West have not always behaved in the way we are accustomed to consider as typical of them and as characteristic of "civilized" men. Elias argues that our society has been humanized and we have gone from being makers of violence to becoming its spectators. Books, magazines, news and movies are the places where a contemporary human being experiences violence. 8 Elias, The process of civilization, 230-231. Elias develops this point in detail in the section "The transformations of aggression". 9 Muchembled, A history of violence, 9. This is how, little by little, societies are turning violence into something that is collectively considered undesirable, and in fact violent people start to be seen as individuals on the margins of society. Homicide has become a residual phenomenon in our societies. 15 we would be in the presence of a society in which brutality is the daily currency of course. And third, violence is now questioned, which means that we do not take it for granted, but constantly problematize it. We live in times of peace and, therefore, we feel especially uncomfortable with violence. Despite the undeniable fact that there is undoubtedly violence in our society, the perception of man as âhomo homini lupusâ13 has been replaced little by little in the Western world with a vision in which human beings aspire to peace and order. In this we are nothing original, because there are important philosophers who not only do not condemn violence, but rather defend it and in some cases even praise it. Natural history of human behavior, 1-6. 17 and applying them in an adequate manner16. The inability to show aggression and violence in extreme cases would not be an act of rationality, but of supreme irrationality. The American soldier's anger reminded him that there are still people who are outraged when they are confronted with human cruelty. 19 Martha Nussbaum, Therapy of Desire, 498. You, 6655321, you're going to be reformed. Tomorrow you must go find Brodsky. In that time you will be back on the street, in the free world. You will stop being just a number. After giving him a medicine that makes him feel nauseous, he is tied to a chair and while his eyes are kept open, films of high violent content are shown. As a result of this treatment, Alex loses the possibility of being violent, because whenever he is confronted with the urge to be aggressive he feels nauseous and faints. No, what we witness is a man who, simply faced with an injustice, can not do anything else but stay passive. This does not exclude that the provocations of anger prepare the scenario. Its role is literally limited to provoke it, without modifying its essence. As a force that holds a disputed world together in its intimacy, anger guarantees the unity of substance in the plurality of eruptions. 24 Peter Sloterdijk, Ira y tiempo, 17. 21 might mean that we enjoy seeing someone being violent25. In this section, we will take care of giving an account of the enjoyment we feel before fiction works and then going on to discuss the case of the enjoyment of real violence. In a painting by Magritte, which was exhibited for the first time in 1927, we can clearly see an example of what we refer to as enjoyment when it comes to being violent. The name of the painting is Lâassassin menacà ©, and in it we can see seven characters. First of all we have two subjects who are hiding behind the open door of a room. They seem to be waiting for the moment to catch whoever is inside. They dress identically but one carries a network in one hand and the other an immense stick. Inside the room, on the bed, we see a woman who has been murdered and a man who is next to a gramophone listening to a record. On a chair, in the sign of being out, we see the murderer's jacket and a suitcase. Through the window, on the street, we see three men snooping to see what they can see of what has just happened. The man who listens to the gramophone has just murdered the woman on the bed. 27 Black argues that in order to enjoy violence it is necessary to separate from the moral world. It seems that when listening to music, the murderer of the painting pretends to do just this. The men who carry the stick and the net represent that moment when the aesthetic state breaks and the murderer returns to the real world to be punished. In an important scene, Doctor Lecter manages to remove the handcuffs and kill the guard in his charge. 23 But Lecter does not escape immediately, but waits and listens to some music while alienated from the real world he enjoys what he has just done. Each of the elements of The Threatened Killer is present in this scene. We have the victim covered in blood. Even the great defenders of good feel that admiration. He is a genius, a philosopher, an abstract thinker. He has a brain of the first order. His goal is to make those around him suffer and this brings him supreme pleasure. This series of books was so popular that they reached 29 Cf. Like Maldoror, Fantomas was a criminal genius. Fantomas was not a common hero. Like Maldoror, it operated with a group of values ​​opposed to those of society. In more conventional thrillers the hero is always the detective who restores order. Since he met these fictional criminals his paintings began to take on a macabre tone. Another example of the pleasure one feels when it comes to witnessing violence is the one we can see in the movie Thesis. Suddenly it changes course and goes to the place where the event has happened. 32 Suzi Gablick, Magritte, 48. 26 spectators we want to see it too. I have no interest in your films. Thesis is a film about voyeurism and the pleasure one feels when witnessing real violence on the screen. A question arises during the movie, is the violence seen on the screen ever real? Although at first sight the answer may seem irrelevant, we will see later that in it lies the key to understanding the aesthetics of violence. 27 the simple fact of being mediated seems to mitigate the real of the image and turns it into a kind of intermediate object that is neither real nor fiction. This ending is the other side of the same message we saw at the beginning. The reporter continues to talk about the case and explains that they have obtained some of the images from the snuff films and that they want to show them to the audience. While the reporter prepares people for what they are going to see, we can observe all the patients and employees of the Hospital stuck to the screen of the televisions waiting for the spectacle of real violence. Everyone who has and uses a television knows that violence is part of our daily experience as spectators. 34 Snuff is the name of an urban myth. Also, there is no report in the police indicating that videos of this type have been found. For years, it has been a show. 38 Michel Foucault, Watch and punish. Birth of the prison, 22-23. 29 The same phenomenon can be evaluated from different points of view. An apartment, for example, can be evaluated according to practical criteria or can be judged aesthetically. Both criteria are different and it is possible that following one of those criteria the apartment is good, and following the other is bad. The same happens with violence. 30 and those who attribute that honor to psychic distance. That is why when we preach the beauty of something, we must first ask ourselves if there is not any interest in the way. In the case of the enjoyment of violence, disinterest is of paramount importance. When we witness violent acts we always project into ourselves the pain produced by that violence. In order to enjoy violence it is necessary that we do not make that projection and try to make the spectator forget the pain that violence produces. At first glance this sculpture is a bust that represents the artist made with a curious red material. We must appreciate the object for the object itself and the only way to do this is not to relate the object to reality in our heads. Let's use the author's example to better explain this point. Let's suppose that we are on the deck of a ship that is sailing through a still sea and suddenly a dense fog appears. For those who sail on the boat it is most likely that this experience is very unpleasant, since they relate the fog with one of its practical implications: the fact that it does not allow to distinguish if there are dangers around. 32 manages to disconnect from his fog experience the element that implies danger. That is to say, it evaluates it with respect to itself, and not considering its possible consequences. Whoever achieves this, will notice that "experience acquires, in a strange mixture of calmness and terror, a taste of such concentrated intensity and delight that it contrasts harshly with the blind anxiety of its other aspects" 45. We must see the objects objectively, take care of themselves and not in their relationship with us. Some examples will help clarify this point. If I go to an art gallery and I like a painting because the color matches the carpet in my living room, that judgment is not aesthetic but personal. That is, you are not evaluating the object for the object itself, but in its relationship to you. All of them have in common that the accent is placed on the subject and not on the object. Because of this, a genuine aesthetic experience is achieved only by looking at the object objectively, allowing only reactions that emphasize the objective aspects of the experience. interpreting even our subjective affections not as modes of our being, but rather as characteristics of the phenomenon47. Otherwise, to enjoy the real violence would be to abandon ourselves in our own cruelty, to satisfy our lowest appetites. The main characteristic of the shows is that they have been prepared and intervened. 34 reference to its main characteristic: they are there to be appreciated. When the object is represented, it becomes denaturalized and, when it is denaturalized, the distance we speak of becomes possible in a certain way. The Roman games are a perfect example of what we mean when we talk about real mediated violence. It is one of the cases in which the human being has intervened violence in order to enjoy it. 35 to commemorate the death of his father50. These games were for a long time private matters that remained in the private sphere. Politicians paid for them to obtain electoral benefits. The munera went from being modest shows with three pairs of gladiators to grandiose and elaborate presentations that involved twenty-seven pairs. They started with a procession followed by some scenes of beast hunts. 36 feigned in which nobody died and in which old gladiators, dwarves and women participated. We should not think that everyone praised the games. That of the whips take it to the wounds, that both present the bare chest to the blows. Caligula, an Emperor known for his madness, forbade the exit of the sand until these meridian spectacle ended. It is important to note that these games were not as authentic as one might think. Its content was intervened and required a complex organization of human and material resources. To achieve a greater effect, the organizers manipulated all the elements that were part of the munera. Special effects were often used in the most lavish and sophisticated games. But in fact when reading the literature on the subject we realize that the relationships between this fictitious violence and real violence presents many problems to the researcher. These problems could be summarized in the question: to enjoy violence in the cinema means to enjoy violence in real life? 39 Do we play something just because we like that something? In that case, do we reproduce violence in fiction because we enjoy it in real life? That we like violence in movies, painting or literature does not mean that we enjoy it in real life. But without a doubt, anyone who lives this way is crazy. When we talk about history we talk about change. In the way in which different people, in different times, have decided to be in this world, communicate among themselves and produce culture. Violence in the cinema can be âhistoriadaâ thanks to how the way of representing it has changed and evolved. From the beginning Violence has always been present in the cinema. The evolution of violence represented audiovisual visually goes hand in hand with the amount of violence that the public can endure. It is difficult to say which is the first violent film in the history of cinema. But this first moment is confusing. We are still in the genesis of violence in the cinema and therefore the irregularity in the way of representing it is what reigns. The variety of manifestations makes it impossible to see violence as something more than an interesting phenomenon to be filmed. This film tells the story of the assault on a train and how thieves are caught and killed. To know a little more about this curious character, Cf. 61 Kendrick, Film violence, 37. 42 man on top of a train in motion to then throw his lifeless body on the tracks and finally the death of the thieves on the part of the authoritiesâ62. In addition to the violence that occupies the plot, there is a small scene in which a man points his revolver directly at the audience and shoots. In Intolerance there is a scene in which a soldier plunges a spear into the chest of another, with the consequence that a stream of blood comes out of his chest. The most impressive of the film, we see a woman whose right eye has been hit by a bullet and blood runs down her face. From the first moments we see a clear concern about the links between street crime and violence in the cinema. It has been thought that violence in cinema has a direct effect on violence in the real world. 44 fictitious violence and real violence. Glucksmann, for example, affirms that of all the possible relationships that could exist between the two violence, there is no proof of a relationship. On the contrary, the evidence for both hypotheses is weak and inconsistentâ. Another criticism of fictional violence as represented in the media is that scenes of violence can impress the minds of young people or unstable people to the point of turning them into violent people. Theaters were started to look like immoral places. 66 From the fact that the cinema was subject to strict rules that did not affect the press or the theater, we can deduce that this medium was seen as more dangerous than the others. Chicago was the first city to enact a law that limited what could be seen on the screen. Assessing the Scientific Evidence, 4. 45 The censorship ordinance unconstitutionally discriminates against film exhibitors, as they make a distinction between film and other forms of commercial entertainment. The directors had to be careful and that is why the violence of the beginnings of the cinema had been adapted to the audience and the legal restrictions. The long shots, the panoramic views kept death away from us. There was no blood and the deaths were represented as an almost angelic death. The defining element lies in the response of the victim. 68 Grieveson, Policing Cinema, 74. Among others, violence was one of the aspects to control. 70 Prince, Screening Violence, 153. 74 Kendrick, Film Violence, 46. 48 Another way to sift violence is to make use of the morality of violence. In the latter case we are not only more lenient, but we can even be pleased by the fact that good triumphs over evil. When the perspective changes, the attitude of the audience toward that violence changes radically, because now it was even more reprehensible since the violent acts were on the side of the bad ones. Now we can become spectators of that violence, because she is an instrument of good. In addition, this violence is controlled, because the attitude of the cowboy is calm and cool. From the point of view of their staging the violence of these heroes is always with firearms that usually kill instantly. Psycho was cataloged as a violent film even since it was just a script. 50 show as much as possible. When reading the novel we can see that each one of the controversial elements of this one are in the film. Towards the end of the 1960s, studies began to increasingly ignore the recommendations of Breen's office. This is how the class system is created, which is based on ages and recommendations. Depending on the content, it was recommended that people of certain ages not see certain films. This term refers to the last stage of violence as it is represented in the cinema. Bonnie and Clyde was the beginning of a trend that shows the violence in all its splendor and without attempts to hide its most morbid elements. Technically we can say that â the use of several cameras at the time of filming, the ralentado, and the assemblyâ84 were crucial in this type of representations. 83 To understand this concept in all its complexity Cf. In movies from the 1920s to the 1960s, blood was absent or a substitute was used that never resembled the original and was not directly related to violence as experienced in real life. Both films had a surprising success at the box office. These controversial films were extraordinarily popular. For the first time the viewer saw real deaths on their television screens. The blood of real Americans was spilled and the fact that people could witness it would be the element that would allow that change to what we call ultraviolence. 88 Prince, âGraphic Violenceâ, 12. In the first case, the kung fu cinema, we witness the âballetizationâ of violence. This cinema is inspired by the Chinese opera and its circus and acrobatic way of showing the violent fact. This subgenre of horror movies is characterized by a high erotic content and the exaggerated use of blood. The crimes that occur in this cinema always end in murders that release liters and liters of blood of an intense red color. 92 Kendrick, Film Violence, 98. Talking about violence in movies without more and judging it in a single block is simply scandalous. 93 Kendrick, Film Violence, 54. 95 For an exhaustive account of all the ways in which violence can be seen and the concepts that have been given of it, Cf. Depending on the type of violent act, its impact will be greater or less. The formula is simple: as the pain produced by the violent act is greater, the effect on the viewer will be greater. As we have already said, in 1927 the first synchronized sound film was released. Violence in the cinema is the stylistic code of a referential act. If we approach the differences between the stages of the history of cinema attending to these two dimensions, we could graph the relationship in such a sense that it shows us the change that has occurred. The referential components of violence is the X axis, while the cinematographic treatment is the y96 axis. 58 new violent phenomena that I had never seen? James Kendrick adds97 to this scheme two criteria that he considers are essential when evaluating violence on the screen. These criteria with who commits violence and the general context in which violence occurs. Also, in the second case we have the general framework or internal context of the film will tell me if the violence I witnessed is enjoyable or not. This is possible even using the works of a single director to see how the representation of violence has evolved in his work. 97 Kendrick, Film Violence, 18-19. This is a girl who fucks with a man who has a big cock. Tarantino's voracious attitude towards "high" and "low" culture can be seen in his films. This says it all about America. We may be right from time to time, but we are fair on very few occasions. 63 The ânerdâ devours and assimilates everything that TV, video, massive movie theaters, art and rehearsal cinemas can offer. I make films, and you make films. Entertainment and enjoyment are two concepts of capital importance for the director that concerns us. The fact that the first requires a cook and a long experience, while the other is achieved with a short training are not variables that should be taken into consideration when we face pleasure. 64 Again and again, he reminds us of his desire that the films he directs be fun. Whether the film has a message or not is not something that worries you, because your desire is not to transmit an encrypted message in the images. Every time you want to convey a message what you are doing is spit up. The first thing a director should want to do is achieve a good movie. And if in the process occurs that an idea arises that the film transmit, well, wonderful. If that's all you want to say, then just say it. Violence, when it goes hand in hand with comedy, stops producing that natural rejection, allowing us to enjoy it. Is there violence or is there something else in this way of representing it that would make viewers ignore it? 105 To answer these questions we can resort to schema theory106. Everything we perceive is interpreted thanks to those schemes that could be understood as models in which we simply fit these experiences. These schemes are of paramount importance when we analyze the way in which the spectators react and respond to what they see and hear in both cinema and television. If that happens on the screen makes us laugh, whether or not violent, our brain begins to place it in the appropriate scheme. His argument is that if a character hits another in the head with a hammer in a dramatic show, then the act is violent. Tom tries to kill Jerry by introducing dynamite into a teapot in which Jerry hides. At that moment the explosion occurs, leaving his face black and destroying the teapot in such a way that Tom's face looks like a flower. Violence in contexts of comedy ceases to be violence. This is how the possibility of enjoying it arises and for this we need that its ethical implications remain in suspense. Its humorous context provides an element that enables its enjoyment, since it seems that it allows us to perceive violence selflessly, giving rise to the possibility of aesthetic enjoyment. The second mechanism is the one that has already become the Tarantinesco style: exaggeration. Separating from reality in the case of violence has led to it being sweetened and turned into a consumable product, with the consequent disappointment of the spectator. While it is separated from real violence like other directors, it does so through exaggeration. For Hitchcock, terror is produced by suddenly surprising the spectator, a bomb that explodes without warning, etc.) while the suspense occurs when the spectator is warned of what is going to happen. This is what is known as "playing God". This gives the spectator the opportunity to prepare for what is coming and thus avoiding the violent surprise generated by horror movies. It is a work of very low budget, in black and white and in which his friends acted and worked. It is his first feature film and as such he sins of the faults that can usually be attributed to a prima opera. Talking about background and influences in the cinema of Quentin Tarantino is a task that borders on the impossible. Tarantino is a ludic director. Making movies for him is in part a fun game full of winks to his viewers. A Cinema of Savagery 1958-1999. 72 influences as long as they reflect elements that go beyond the merely fun. No doubt it has elements of the three, but to assume that it is a simple copy reveals a careless spectator who only attends to superficial details. Reservoir Dogs is a film about the consequences of an event that we hardly witness. In this theory, when a story is told, only elements that effectively contribute to the resolution of the conflict must be used. Traditionally the name of a work has been a key to understand the content of it, but in this case it is not like that. The question itself seems to be meaningless. Tarantino tells us: this is a question that I do not answer. And the reason I do not answer that question is that it's a name that reflects a personality more than anything else. People come to me constantly and tell me what they think that name means and the truth is that I am surprised by their creativity. As far as I'm concerned, whatever happens to the audience that name could to say is one hundred percent correct. 119 Another accidental element is the nickname that is assigned to each thief at the beginning. Joe, the father figure of this clan, gives each one a name120. They can only use the names with which they have been renamed by their new father Joe. Under no circumstances will they tell the others their real names or anything about you. Other elements that could have been inspired by this film, are the fact that one of the thieves is presented as a psychopath. You end up with four men fighting to be Mr. Black. And since you do not know each other, nobody wants to give in. So forget it, I'm the one who decides. You have a name that sounds cool. Since you think it's not a big thing to be called âMr. Pinkâ, why do not we change? So you can choose between those two. This discussion is below my level. They neither want nor expect me to go further on a personal level. 122 I have decided to keep the names of the characters in English. 123 Tarantino, Reservoir Dogs, 11-14. 76 Joe just wants the job done well and his confidence in men is minimal. The fact that each of them ignores the name of the other allows him to take full control of the group. Everyone depends on him, because he is the only figure who knows everyone. The code is supplanted here by professionalism. Again and again, the importance of being a professional is discussed. If you are a professional, the welfare of others is not your concern and therefore the feelings are set aside. You just do your job and you charge for it. Maybe I should have done it but I could not. 77 When you name a person, you make them a human being. Knowing someone's name already implies some kind of relationship. That person stops being anonymous and suddenly becomes "someone". But he did it because instead of acting professionally, he was doing it morally. The characters are not expected to act morally even in the mafia sense of the word. Not only do we not expect a moral attitude from them, but rather this attitude is not desirable in this context. 78 Reservoir Dogs is a film that takes place in real time. What we see happening on the screen lasts as long as it lasts in the plot itself, that is, one hour. The real time is one hour, which is the time they are in the galpón. But they are stuck in that galpon and every minute of their time is a minute of ours. 125 In this hour the pool of blood of Mr. Orange is forming and as spectators it is impossible to ignore it. Mr. Orange is the memory that everything went wrong. Mr. Orange and his pool of blood is not pleasant because we can see how he is dying little by little126. This discomfort is what moves much of the plot, so in this case we could not talk about enjoyment as such. In this case the moral consequences of the violent act are indispensable. He is a quiet man who seems to affect nothing; although the similarities are only in the plane of the action, but not in the moral plane because the man without name is without a doubt the opposite of Blonde in that sense. I do not care what you know or not. I'm going to torture you anyway. Not to get information, but because torturing a policeman amuses me. There is nothing you can say in your defense, because I have heard everything. We could mention four basic elements when attempting to aestheticize the violence of this scene. Warn the audience refers to the fact that no viewer can say that what happens there takes him by surprise. We also know that he will use a knife to do what he plans. As if this was not enough, Blonde does not cut her ear immediately, but takes her time. 81 takes away seriousness and importance from what is about to happen. If we compare this scene with a Casino scene in which a cheater is crushed with a hammer the fingers of the hand Differences between the style of one and another director are evident. Music plays an essential role in this scene, because thanks to it it is possible to increase the chances of violence being enjoyed. Usually the music he chooses is happy and familiar, the melodic equivalent of "comfort food". 82 to dance a little bit again reminds us that it is okay to enjoy violence. It's a way of saying "It's just a movie". But perhaps what helps most in this case is the use of off-screen violence. What you do not see in the painting is as important as what you see. Some directors like to show everything. From now on frontality will be the norm and as spectators we will not have a break130. The scene of the cut of the ear owes much doubt to Django in which a Mexican General cuts the ear of an American bandit. While this phrase is addressed to the police, it seems that it is a question from the Director to his audience. He asks us if we as spectators enjoyed the scene as much as he directed it. It is impossible to exaggerate the importance of this scene in the life of Tarantino, because it was the first meeting that audiences had with this new type of violence for which nobody was prepared. Soft, damp and formless matter. A magazine or book that contains scabrous topics and that is usually printed on poor quality paper. 84 If you want to get historic, then the idea of ​​the pulp, what it really means is a softcover book that really does not interest you. When you finish you give it to someone else to read it or simply boots it. When we enter Pulp Fiction, we enter a pulp world. Pulp Fiction is a film that tells, in a fragmented way, three stories. The story is told in a disorderly way as in Reservoir Dogs134. The immediate consequence from the point of view of the viewer is that their collaboration in the making of the film is essential. 134 Although both films lack a traditional chronology, the mechanisms are different. 135 Tarantino, Pulp Fiction, 14. Once they get the case they offer Marvin, one of the secondary characters in this scene, take him wherever he goes. The car falls into a hole, the gun goes off and Jules accidentally kills Marvin136. The implications of this act, 136 It is interesting to draw attention to the fact that, again, it is an accident that moves the plot. 88 that undoubtedly must have been moral, abandon that field and go into the aesthetic because the only concern of both is the cleaning of the car. Marvin's blood has stained the immaculate Cadillac. The white leather seats and the rear glass, like Jules and Vincent, are now a bloody mess. The only problem that arises is that of cleanliness and at no time is the moral dilemma of having murdered an innocent person. It is as well as the problem of cleaning the car and our characters will occupy a substantial time. Clean the car and clean them. His use of blood is completely different and tends to have a ritual significance, for it washes away sins. That is why we oppose the term "moral cleansing" to that of "ethical cleansing". In Lourdes the sick are washed with water from the fountain, not to cleanse themselves, but to eliminate their sins. Muslims have ritual ablutions before the prayer that represent the spiritual state with which the devotee must enter the house of God. In his cinema, blood serves as a kind of moral soap. Blood, whether that of the character in question or that of others, washes away sins and faults. You kill with blood and clean blood the fault. In this scene, we can see how his coach cleans it with a sponge that moistens in a tobo. 138 On the other hand, the blood in Pulp Fiction is not an element that cleans. On the contrary, here the blood is seen as something that stains, incriminate and remember the lack. On one side we have the blood that cleans and on the other the blood that must be cleansed. The act of cleaning the blood is of great importance, which is reflected in the detail given to us of this action. The desire that is reflected is not to be good, but to be clean. Guilt and the desire to get away from dirt and pollution are really two sides of the same coin. 91 â|the concept of contamination and guilt represents two stages in human evolution. The response of the spectators is usually a generalized laughter. The surprising thing about this case is that unlike cartoons, this is a movie with actors where the consequences are visible. Marvin effectively dies and his blood should be a reminder of that. The accident of what happens, together with that peculiarity of worrying only about cleanliness, produces laughter which, in turn, seems to make these consequences less serious. Tarantino uses accidents as detonators of comedy, achieving in this way that our attention does not focus on the effects of violence, but on the violence itself. Tarantino's cinema is physical comedy, but instead of throwing cream cakes in the face, bullets are thrown. 141 Anderson, "Unleashing Nietzsche," 26. 92 considers this a very violent movie. Butch's fight, which we never see, is described by the commentator on the radio program that narrates the event, as "the bloodiest and most brutal fight that this city has seen".142 Tarantino's work is full of mysteries and questions that simply do not make sense. But without a doubt, of all of them the question about the case is the one that has generated the most centimetraje. Answers have been of all kinds. From those that relate to this film with others from the same director to the most popular of all and that borders on the super natural. In a case, rather than in a box, the brightness is a reflection of the danger implied by its contents, something that does not seem to happen in the case of the case. The attention that has been given to the case is exaggerated and its cause is simply that its content is a mystery. But from the point of view of the plot there is also no mystery, because the briefcase is only a resource for the plot to move. As spectators we can imagine that what is going to happen is something violent, because Leo informs us that he has the Doctor waiting in the fucking emergency room. 144 This episode was first presented on June 3, 1960 and was directed by Norman Lloyd. 95 wins Peter Lorre's car, but if he can not, he loses a finger. Norman and Chester have just made the same bet. During twenty minutes the plot goes in a movement increasing the suspense that finishes in the culminating point in which Norman fails to the first attempt, Ted cuts him the finger, takes his money and leaves running. As in other films by this author, we have enough time to prepare ourselves for what is going to happen. This peculiarity comes basically from three elements that are surely interconnected. 97 occupies a substantial part of the film. Jackie Brown is a story of struggle and, in a way, redemption. Problems of loyalty, moral paradoxes about money and other moral problems are constantly raised to the characters. In addition, our protagonist is no longer a professional crime, but is just a woman who wants to improve their lives and has decided to do collaborating with Ordell. Max knows her when Ordell hires him to pay Jackie's bail. The first time you see it can only be described as the cinematic representation of love at first sight. Max appears as the savior, the one who wants to save Jackie and someone who believes in her. The aforementioned scene occupies the last quarter of the film and is told from three different points of view. 146 Doing whatever it takes to I'm not saying that what I did was good. I'm just trying to get out of the ghetto. 99 This is the least violent film in the context of Tarantino's work. From this point of view, we can say that there are only three scenes with violent content. Here, the use of resources is much more complex. As the car moves away, we listen to the music more and more in the distance until the car stops when it is about 300m. The image and sound remind us that we are at a safe distance. Ordell opens the suitcase, gives two shots to Beaumont and that is the end of the first violent scene. This scene does not deserve more attention because its nature or duration is of little importance. That blood and entrails in the window with the only indication that a violent act has occurred. Before Jackie Brown violence is discreet. 1 and 2 âRevenge is a dish that is served coldâ is the phrase with which the first installment of this film begins. In those words the essence of this movie is summarized: revenge. Before knowing the plot, when as spectators we have not even had time to familiarize ourselves with the tribulations of these characters, the first scene we see is a close-up148 of Beatrix's bloody and brutally beaten face. And of all the close-ups, without a doubt we must emphasize the one-sided. 149 Gilles Deleuze, The movement-image. Studies on cinema 1, 131-150. 102 an affective reading of Kill Bill and whose nature there is no doubt: we are facing the face of hatred. This is how what Beatrix herself describes in the promotions begins as "a thunderous roar of revenge". You can tell when you observe the cleansing of the massacre. Maybe this has been a massacre killing crazy, but all the colors have been inside the lines. If you were an idiot, you could even admire it. Appointments with death begin for the viewer with the death of Vernita. We analyze some scenes to show the different ways in which violence has been represented, emphasizing Tarantino's use of blood. As we have already mentioned, in the first planes of the first volume we can see a close-up of the face of Beatrix, who has been beaten almost to death while listening to a man. This scene is not only the opening to a new type of violence, but in a certain way it is the opposite of the violence of, for example, Reservoir Dogs. This first scene gives us a clear message: Tarantino has reached maturity in terms of representing violence. While his style in essence remains the same, the art of violence has reached its maximum development. More than changing his style, Tarantino has increased his expressive range. But Tarantino creates his own world where things have different consequences than in the real world, where morality has no place. Later, when we return to color, Tarantino uses another resource that is to present the fight in a peculiar shadow theater made with a blue backlight that this time only allows us to see the contours of the figures. This accentuates the choreography that is the confrontation taming the violence again. White as an element to be contaminated, stained and desecrated by the bright red of blood is not something new for the North American director. Violence becomes again a matter to be treated aesthetically rather than morally. A very important point is the fact that we have been the protagonists of an exaggerated bloodshed and that it has had only one purpose: to kill Bill. It is your way of declaring your total separation from this person. 109 exploitation that were usually exhibited in double or continuous functions and whose plots were populated by violence and soft porn. All the cities had their ghetto cinemas. 110 to reinvent the genre to turn it into a film of the same quality as the rest of my films. It's gotta be my thing.159 Death Proof has two distinct parts. The first occurs in Texas and tells the story of a group of girls who, before going to spend the weekend at the home of the father of one of them, decide to go to Guero's party. At that moment the film becomes a horror movie. Also, the first times we see the car is through a curtain of fog and night, which immediately places us in the context of the horror genre. So far in the movie in which Mike rides the girl in his car we actually doubt. I want people to forget that it's a thriller until I remind them. That's the first time you hear music. This car is 100% death proof. Only to obtain the benefit that this car offers, you must be sitting on my site.161 The security that we have been talking about up to this moment seems to be embodied in this scene. Quentin Tarantino creates an environment free of all danger where it is possible for the character to perform any âstuntâ € "without anything happening to him. Once he has done his job, he chases the other girls who are 160 Ibid., 156. Once he finds them, he turns off the lights of his car and heads towards them at a very high speed, which ends up causing a spectacular accident. in which the four girls die. These deaths are shown making use of the slowed down and in addition we see each of them separately. The plot of the first segment serves as a warning for the plot of the second part. The protagonists are four girls who work in the world of cinema: two of them are extras, one actress and the other make-up artist. Suddenly, you are in another genre. The persecutor becomes the persecuted one and it is here where the film begins to follow the patterns that we have explained to aestheticize the violence. 164 Tarantino, Death Proof, 105. No doubt girls enjoy what they are doing as well as viewers, who can begin to enjoy violence. They pull him out of the car while they laugh loudly and hit him hard. In the end they raise their arms in a sign of victory. Suddenly, the victims cease to be so and the second part of the film is seen in a new light. 115 in fact, protagonists in the strict sense of the word: they combine the functions of victim who suffers and hero avengerâ169. This is, as we see, a film morally more complex than the previous ones. Now we can identify with the protagonists who are the perfect victims both from the point of view of horror and suspense. It's violence, but good. Without echoing the criticism, we must say that we are indeed again in a movie about revenge. Only that phrase should already indicate that this is not about life, but about cinema. Who gets out of the car, Colonel Landa shows up and asks to enter the house. Although Tarantino has been accused of being insensitive, it is necessary to realize that this scene reveals that he was aware of the delicate subject that was in his hands. In both cases we witness the generating cause of revenge that will later lead to the plot of the hand. From the beginning we realize that this movie is about a personal matter. Each of the men under my command owes me a hundred Nazi scalps. And I want my scalps. And each of these will get me my hundred scalps taken from the heads of a hundred Nazis even if they die in the attempt. 174 The scalp is the symbol that vengeance has been fulfilled. By turning this war into a personal matter, the collective aspect of war is lost. Born in Boston, his modus operandi at the time of killing Nazis is to destroy their heads with a baseball bat. The Bastards find out about this and what they rescue from the jail in which he was to join them. He is an unpredictable member of this group. 120 meets German soldier Fredrick Zoller. This is how she plans, with the help of her lover Marcel, to take advantage of getting rid of Nazism's top level. They can act, but in doing so, and no matter what they do, the most likely outcome is serious injury or death. 121 is accompanied by five German soldiers who celebrate the birth of the son of one of them. Stiglitz intervenes and tells him that he must be crazy or drunk to question an officer. Little by little, the Gestapo officer becomes convinced, until he realizes that these people are really spies and points his gun at them. As in almost all Mexican standoff Tarantino, it ends with all involved dead. A Mexican Standoff does not reflect confidence. That's a Mexican standoff and that was not the deal. I interrupt your propaganda shit to inform you that all of you, Nazi trash, are going to die. And I want you to look at the face of the Jew who is going to kill you. Revenge is not only irrational, but also comes from individual reasons. At the end of this scene, and when the screen has already been burned by the flames, the image is projected onto the smoke that produces the fire. Faces of joy, joy and emotion is the effect that these atrocious acts have on them. That is why it is necessary to clarify in more detail some elements that although tangentially touched in this work, require more development to avoid misunderstandings. That is to say, to affirm that violence on the screen causes violence in real life does not go beyond being an opinion based on intuitions, but without a foundation in real and concrete data. From the point of view of fruition, it is evident that the human being feels a certain pleasure when witnessing violence, be it fictitious or real. Trying to enter into the cause of this pleasure that is presented to us as an obvious fact is to enter swampy lands in which we must move carefully. Although these four elements are not present at the same time in all human beings, Pinker affirms that the origin of every violent act in society could be traced to any of these four causes. The pleasure experienced in witnessing violence and that would be, from the functional point of view, which refers to fruition seems to refer to the fourth of these causes. 127 is to a greater or lesser degree sadistic, which means that there is a certain pleasure in being violent towards others. That is to say, the pleasure does not come from having reached some goal, but from the suffering of the neighbor. Pinker points out that this is an exclusive element of the human being, because the animals are violent, but not cruel. Stop Girard violence is like a virus that does nothing but reproduce to points where it threatens the existence of the human being. 129 the point of breaking the cycle of violence. Once again we see that a certain element that appeals to the human being from its fruition and pleasure, even in real violence, is perceived in violence. This pleasure is the reason why, as we have said, in modern France it was necessary to prevent with increasing penalties that people outside of an execution witnessed this event. Inflicting violence on others, which was previously part of our daily life, is now foreign to almost all of us and few of us have witnessed violent acts in real life. Most of our experiences about violence are mediated, distant and belong to the realm of fiction. This makes us wonder, can we blame the violent American cinema of the violence that exists in the streets? This is what refers to the glamor of violence as Tarantino does. Maybe I understand better what I mean by doing a soap opera symphony. Cabrujas called the soap opera the â € œspectacular of sufferingâ € and undoubtedly one of the pleasures of watching a telenovela is to witness the suffering of others to the point of causing tears in the spectator. The problem with violence is that it touches us so closely that it is difficult not to convert anything that is said about it into morality. In the eagerness to get rid of this terrible phenomenon, we lose objectivity and begin to see dangers where there really are not. If cinema were the cause of violence, this should in fact be the most violent society, but as we have shown otherwise, it has happened. The society in which cinema has developed is, in fact, the least violent society so far. The good intentions have contaminated the investigations until the point of pretending a control of contents to the violent films. This position is, to say the least, intolerable. The violence represented cinematographically has a visual component largely independent of the plot that should not be neglected. Violence, as the director in question has said, is an element that is especially apt to be reproduced cinematographically. The spectacularity of the violence matches the spectacular nature of the cinema and that is why the filmmakers feel so attracted to it. All these sub-genres have something in common: the fact of turning violence into a visual fact and not merely of the plot. In a way we could say that there is a visual use of violence and a use of violence as a mere element of the plot. An example of violence as an element of the plot that is not visual can be found in the film Scarface in which violence does not happen to be something that happens although we rarely see it. On the other hand, in the case of Tarantino inspired by those subgenres that we have mentioned, violence becomes a merely visual element where blood is perhaps something that should be highlighted. As we have already said in the previous chapter, the blood with its deep "red" thus becomes an element that transcends the plot and becomes a kind of fetish worshiped by this cinema. If we look at its visual aesthetic component of blood in Tarantino's cinema, the fact that evidences it with greater clarity is the use of color contrast when presenting red blood on white surfaces. This contrast points to the visual and seeks to show us clearly the beautiful red of the blood. But this does not mean that the violence in Tarantino is a merely visual element. From the point of view of the plot, it plays a very important role, specifically in that spectacular third stage in which violence takes on a life of its own and begins to be a character. If we look at the cause of violence in the films of this stage we will see that in all cases the violence has the same motivation: revenge. In both cases violence is not a cause, but the consequence of another violent act in an endless cycle that only generates more violence, allowing violence to occupy everything. We can say that in addition to its visual importance in this cinema violence is not only the center of the plot, but the plot itself. If we remove the violence from Tarantino's cinema, nothing remains. 135 becomes another spectator. It can mean many things, but there are senses that would be ridiculous to suggest186. What has caught our attention is the object that this director has chosen to represent and use as a distinctive element of his cinema: violence. This concept is that of simulation. But let's start at the beginning: The Gorgias. He wants to know what kind of art. 186 Ibid., 54. I call his essence flattery. While the arts seek the true and the good, flattery becomes a simulacrum that only seeks the pleasure of the one to whom it is addressed. On the one hand we have the arts: the doctor wants your health and the politician He is supposed to want everyone's welfare. On the other hand, we have adulations such as culinary or rhetorical. They just want to flatter no matter the truth or the good. 187 When the Greeks ask if something is an art or not, they refer to the distinction between that which is art and that which is merely empirical. To become art, it is necessary to be empirical before. With the senses I perceive the concrete facts and if these facts are repeated in the same conditions, this in turn leads me to investigate the causes of that repetition. In this way art develops, which is a kind of general theory about something. That is why, as we said before, flattery becomes the simulacrum of the respective art and tries to impersonate it188. To achieve that pleasure, Tarantino develops his peculiar way of representing violence. But at the same time, the director does not want to lose the exciting and exciting of it, so it develops a hyperbolic violence that pleases. 188 A good example of this is low-fat or low-calorie products. They become their simulation of a true good diet that should be made up of vegetables, legumes, etc. Reality, according to him, has been supplanted by simulacra. The images and symbols have rebelled and taken the place of what they represented. To get the liking of the viewer is that Tarantino embarks on a trip. Hyperreal violence will usurp the place of real violence. But the hyperreal is not mere impersonation of reality, but at the same time exaggeration of it. In the same way, cinema is not content to represent real violence, but wants to exaggerate it and replace it with an exaggerated version. The cinema, by its own way of being exhibited, tends to the spectacular. The image is projected on a screen with proportions that can go from two, three and up to twenty times the actual size of the thing represented. In the hands of technical specialists, they have invented more and better ways of projecting the image to achieve that spectacularity. Cinemascope, 70mm or 3-D are some of the inventions that have been developed to improve the possibilities of spectacular cinema. Cinema is the tension between the dramatic element of the spectacular and its intention to tell a story. As an indicator that an object is desired, the company that manufactures it promises the customer that it will give more. Once real violence enters the game of art, it loses its status of superiority with respect to the images that represent it. It is one more, and as such it is at the mercy of the spectator's consumption preferences. 193 Eco, The strategy of illusion, 17. This violence is called ultraviolence. It makes movies for those who want to be pleased without considering reality. We abandon ultraviolence, which is still obsessed with the real, and we opt for hyperviolence that replaces real violence and stops referring to it. Whoever criticizes the violence in Tarantino's films because he considers it too real196, does nothing but fall into the trap of the hyperreal object. Arriving at more real representations of the violence did not mean that the directors felt satisfied. They kept adding more and more. The manner in which violence or ultraviolence becomes hyperviolence has two mechanisms: that of exaggeration and that of the decline of violence. The most violent scene in this movie is the death of the four girls in the first part. Tarantino declines violence by showing it to us fragmented for our attentive analysis. This process denatures the violent act and making use of the resource of exaggeration, inflames it until it becomes something different from the reality that at the same time tries to supplant it. 145 as Baudrillard indicates, the denaturalization is not given by seeing the violent scene slowly, but we are going to âdeclinarâ and separate in its components. On the side of the realists, the argument is that the cinema is there to be a mirror of reality. For reasons we have explained, real violence that seems real and feels real becomes an impossible object to enjoy. Now, everything we have said so far seems to present a problem. The short answer to this question is no, but let's see why. Now he lives in that hyperreality that supplanted reality, but that does not mean he confuses them. But let's give a concrete example. In these cases what the person imitates only the aesthetic of violence. And this then poses a second problem, is this what we have just said is not proof that hyperreal violence has consequences on real violence? As we have already shown, the results of the scientific tests in this regard have not produced conclusive results about whether there is a causal relationship or not between media violence and actual violence. The link that unites the image and the represented object is what prevents us from enjoying violence. His seductive cinema is accused, in the context of this criticism of the culture of the show, of banalizing violence and stripping it of everything that makes it detestable, making the experience of the spectator pleasant in its totality. But let's look at the arguments in detail. And perhaps it has already disappeared210. All of them reveal a new tendency to the superficial, to the perishable, to the mere immediate enjoyment. 153 the shortage of the first years of the post-warâ214, which had as a consequence that at the end of the war the tendency of the public was towards escape and mere pleasure. The other cause is âthe democratization of cultureâ215, which has had as a consequence that it has had to adapt on the one hand to the available means to turn it into a consumable product and on the other to the masses themselves. Literature, art and philosophy should share the spotlight today with cooking, sports or fashion, as they are all cultural expressions. This is how the culture ends up becoming a âselva promiscuaâ in which everything is the same. Another consequence is the disappearance of the figure of the intellectual, or at least the intellectual as we know it today. 154 fashionable and becomes a jesterâ218. Their commitment ceases to be with the truth and the emancipation of the people and happens to be with entertainment. As in the civilization of the show, everything is culture, anyone can be an intellectual. Cooks, footballers and singers are our new gurus and guides. The lack of criteria has resulted in this cultural promiscuity where anything goes. This is how culture becomes the hands of the masses in an alienating and non-emancipating element. But in reality, underneath the critical to the spectacular cinema hides a criticism to all the cinema. If this was a horse race, the filmmakers would be eating the dust left by the writers' horses. The image, by its very nature, can only aspire to a minor role in culture. And its critical capacity is therefore very low222. To convert an idea into a transmissible image in the cinema or television, we must modify it and adapt it to the screen. It is sweetened from what it once was, and therefore the cinema will always be condemned by its own limits. Being entertained means not feeling too much, neither for good nor for bad. Neither great passions nor great misfortunes. Ethical cruelty faces conforming cruelty. 223 Ovejero, The Ethics of Cruelty, 35. 157 is defined as â € œa quella that, instead of adapting to the expectations of the reader, disappoints them and at the same time confronts them with themâ €. We have been undressing to cruelty until it is no longer fearsome. Meanwhile, cruelty according to wants us to feel good, is superficial, his intention is that we forget our problems and have a happy life and that is why it leads to inaction. It makes us feel good about ourselves. Every process of emancipation is complicated and even painful, since it implies a change from the paradigm of dependence to that of freedom. This is what cruel literature does. They show me a virtual world of virtual problems that do not require my participation to be solved. Cruelty and violence go hand in hand, because the most efficient means of being cruel is using violence. This violence makes us feel pleased with the world because we no longer live in that hyperreal world in which we can enjoy a trivial violence that, unlike the real one, has no consequences. He criticizes it because he abandons the narrative in pursuit of an aesthetic visual experience and accuses him of -not seeking meaning, because he is more interested in rhythm, color, movement and a remix of recognizable and therefore readable situations and motives.. It is based on the attempt to translate a criterion from literature to cinema without understanding that these are essentially different arts. Regarding the role that violence plays in this cinema, he only sees a cathartic target and accuses Tarantino of behaving like a teenager who does not care what society thinks. Tarantino, in short, makes his cinema from a kind of moral nothingness where the only thing that matters is entertainment. Violence, it seems, is just a means to achieve that purpose. 160 One of the things that Vargas Llosa bitterly complains about is the lack of criteria. As long as we stay in the general plane and talk about â la culturaâ and about â criteriaâ €, everything is fine. There will be agreement that there is a need for criteria unless we want to fall into an unbearable relativism. When we talk about â € œthe criterionâ €, we really mean what the cultural elite likes and that it sells us as something that responds to that supposedly clear criterion. This example reveals a fundamental flaw in Vargas Llosa's argument, since the criteria of what is or is not culture are always after the work itself and not before. Most likely they have felt that. We should not give metaphysical status to these criteria that are actually the product of a social group. 162 it seems that movies and ideas are exclusive terms). Its sole purpose would be the spectator's praise and in this tendency to the spectacular, the cinema has privileged special effects, abandoning the narrative on the way. In the second, we tend to the narrative and in the first we tend to the kinetic. It is only possible to accept this distinction if we also admit a budget whose falsity I would like to show now: cinema can not express ideas. They think with images-movement and with time-images236. The filmmakers, Deleuze tells us, can think with their images. The redemption of physical reality, 60-61. 236 Gilles Deleuze, The image-movement. In any case, the filmmakers would be trivial. Banal is not the image, but who produces it and as one of each thousand books could be important or useful in society, the same happens with the cinema. One of the innovations of Italian neorealism was the fact of using as protagonists of his films an ordinary man or woman, one more of the people. Recall that 237 Deleuze, The image-movement, 12. While there are few, there are enough philosopher-ministers to show us that it is indeed possible to express ideas with images. Mass culture is anti-culture. Like Eco, I believe that an intermediate position that neither automatically discards nor immediately praises that culture that is produced for the masses should be the norm. Il buono, il brutto e il cattivo. The symbolic exchange and death. The anguish of the influences. Projections 3: Film-makers on Film-making. Madrid: Alianza Editorial, 1999. Natural history of human behavior. The process of civilization. Museum of the novel of the eternal. Caracas: Editorial Ayacucho, 1982. Assessing the Scientific Evidence. London: Thames and Hudson, 1972. Theory of communicative action. Violence in factual television, Annual Review. A Cinema of Savagery 1958-1999. A Cinema of Savagery 1958-1999. Barcelona: Editions Orbis, 1984. Criticism of the faculty of judging. Brighton: Wallflower Press, 2009. The Redemption of Physical Reality. Madrid: New Library, 1966. London: Thames and Hudson, 1997. Madrid: Editorial Anagrama, 2012. International Social Sciences Journal 44, no. Seneca, moral letters to Lucilius. Madrid: Editorial Iberia, 1955. The dream of reason produces cinema. The civilization of the show.

We talk about everything that interests us, especially Literature and especially Fantastic. Ours are reviews, not literary criticism. We only reason our opinions, subjective and particular, of what we like and what we do not. Col. Albemuth International # 32. The patricians, the only people with the capacity to manipulate creation according to the uses and principles of the gift of the gods, have been decimated to the point that they have almost been extinguished. The Marquis, a patrician who evaded the gallows because he denied the use of magic even before the arrival of Theurgo, and who was one of his father's great friends. The offer, however, hides much more than a substantial improvement in Lydia's daily life. Doña Virginia, the person who has obtained employment for the young woman, is a patrician who was retaliated by the Council but who survived thanks to her contacts. Lydia, totally oblivious to her patrician nature, has lived with her back turned to magic along with her cowed mother and her brothers, always fearing that Theurgo and his henchmen decided to end their lives. A series of characters that will make her discover how the world really is and who will accompany her in her transition from innocence and ignorance to knowledge and coarse reality will emerge in her path. The Light of the Gods is therefore a little novel that is read in a sigh and that hardly traces a context in which events happen in a linear way and always centered on the character of Lydia. The plot is, therefore, too corseted and leaves no room for suggestion or doubt. At all times what is going to happen next is expected, without exception, leaving the few turns uncovered too quickly. He tries, yes, but he does not succeed. The world that shows us, interesting in its conception, could have been developed in much more detail. Some characters like Leopoldo Seguer are sufficiently suggestive to deserve a subplot. Or the explanation of how the Theurgo defeated the patricians during the war is very lame, it sounds like a rapid and undeveloped exit. Even the development of the cult of Mítal, the religion and institution that governs the world, is very poor, just a sketch. Or perhaps give a coherent and comprehensive explanation of why if the wizards are persecuted it is possible that it is so easy to avoid surveillance and can arrange plots with unusual ease. The light of the Gods is, in short, a good sketch developed in an excessively foreseeable way. There is material for a much broader work and with a more complex and attractive development. Maybe being a first novel weighs a lot in this case. Maybe, later, or with a more worked project and a more refined style, the final product will be much more valuable. Follow @Sagacomic For any subject or question you can send us a message to our contact address. Nieves Delgado The long journey to a small angry planet. Becky Chambers The portal of the obelisks. Evelyn Skye Technology breathes. Kameron Hurley The city of shadows. The luckiest man in the world. Javier Trescuadras Last round. Michael Poore The long journey to a small angry planet. Magazine of classic literature of gender The portal of the obelisks. Evelyn Skye The cunning of the vanquished. Pablo Bueno Technology breathes. Kameron Hurley The city of shadows.

Editor in Chief: Manu González. Director of art and graphic design: Fabián Taranto. Fashion coordinator: Ana Tomás. Technology coordinator: Xan Pita. Cover photo: Colectivo Anguila. Free distribution: Barcelona. Distribution in kiosks: Coedis. This suitcase also has the ideal size to carry as carry-on luggage in your trips without having to check it. Go to and discover the new collection. WeSC is a recognized leader in street fashion. To the dishes, the Spanish-French Los Massieras. More info and tickets at Die Antwoord have made a huge impact from their native South Africa with a musical proposal that dares alike with sleazy rap, naive pop or even eurobeat. The mythical Global Communications will perform live their 90s ambient masterpiece, "76:14". In 2011, he returned in April 29 and 30 to bring us the most revolutionary sounds of current electronic and experimental music. Photek, absolute pioneer of the drum'n'bass in the 90s, returns after a silence of several years to show his personal vision of the bass music of our days. its explosive mixture of fulminating and neoclassical IDM. Explosive will also be the Lorn live show, one of the names with the greatest projection of the Brainfeeder platform. The enclosures are still pending con fi rmation. This theme will be available in digital download from March 21 next to an unpublished song. 11 songs recorded with the group that has accompanied him on the last albums. In addition, from now on the prices of the fertilizers rise up to € 170. The day tickets will go on sale at € 65. Vetusta Morla will be headliners on the main stage, reviewing the successes of their debut "Un día en el mundo". Tickets will go on sale on March 3 at An initiative that we applaud that has already reached 1,000 subscribers. In their new album, whose release is scheduled for March 21, have joined a brilliant compendium of glamor and electronics with pop melodies and really sticky refrains. are some of the names con fi rmed for the fourteenth edition of Sonorama Ribera. The tickets are now on sale at Now all that remains is for them to send heavy artillery... Their next edition is being held in the German city of Mannheim on Saturday, April 2. The abuse of alcohol and drugs have been left behind; Now he is a nu- merous family father who can enjoy the virtue-in our days, more than ever-of fully dedicating himself to his labors. The first will be my next solo album and then it will be the turn of Neurosis and Shrinebuilder. " Lengths that are more than five years apart from each other, a fact that prompts the question: "I do not know why there is so much distance between my solo albums. I guess my mind needs to be ready, but the new record is ready. " It is very difficult to describe what I do. I simply tell you that it is a very simple music and also very different. It's about sounds that hover in my head and that I decide to translate into words. I do not receive inspiration from any novel or essay. Sometimes, I just write the first thing that comes to mind. " He is a very talented person and was loaned out in many things, we have achieved a cleaner and rounder sound. But well, we are still the same old disasters, and we put on a leather jacket and we go out and get drunk, as always. That I went out at night and slept with girls and got me so many things, neither cares about anyone nor is it a contribution to the world, but the songs are. And it's what we want to be proud of last weather". But not for that reason they have become one of those bands that, in pursuit of their legacy, become unbearably boring in life. After all, what we do is rock'n'roll, which has to be something that entertains. " Meanwhile there are the unavoidable appointments that will take you to the main cities of Spain during the first week of March. Before we always did first and we thought later. So the music we did was much more pop but the attitude was closer to the punk of 77 than to anything else. " Before we wanted the arrangements to be very fast... This album has been more Zen, we are more mature. It must be said in his favor that at that point they had spent five hours attending the media and the last thing they needed was a smartass who forced them to remove the autopilot. And the truth is that they did not have it easy to describe it without falling into the topic because, effectively, this is their best album to date. Only the letters always start from the same person: Leopoldo. And they sound at night, but at that moment when the night fades, it stops being fun and gets cloudy. The band has experienced a creative process so intense that they could not leave it in the inkwell, and they mark a making of musical in the double vinyl version. Surely they have taken note for the next record. This is the continuation of the previous one in concept. In fact, they both end up with the same song. " Those who have enjoyed their live repertoire will have felt uneasiness at some point. The cinema of Michael Haneke comes to mind. My music is slow and I have always tried to thrill in the line that you comment. In life there are times when you suffer and my songs reflect that particular part of life. I like that kind of songs but also the happy, rabid songs with many sound layers. Before Espaldamaceta I composed songs to laugh and maybe I'll do it again. I like to laugh in real life and mourn in fiction, music is a stage where I work with emotions ". The catalog of sounds of this folk singer-songwriter is, as you can see, very varied. In these new compositions we find approaches to flamenco. I've only listened in depth to Camarón. I try to imitate him in the car but it is impossible. I can do it with other singers because I've been to singing classes but Camarón's singing is unattainable if you want it to sound with a certain credibility. " From his words, his passion for music in particular is extracted, and art in general, as great catalysts of the most intense emotions. But again, I'm not a sad guy. I have lived things like everyone else. Sometimes I have sunk and I sink. " It does not fit everything, so we try to include images that symbolize the environment we want to create. " We have also seen a period of life die while another began. The disc speaks from the point of view of people in their last moments, or even after death, looking towards the life they have left behind. While you are modern in the contemporary sense of the term, there are quite a few northerly echoes in your sound. In almost all the songs there are very measured choirs. We do many vocal choirs and many songs on the piano. We try to explain some of the songs so that people understand a bit about the theme. " An interesting book about the relationship between femininity and music has just been published. A clear difference is the way of singing, more expressive and sometimes emotional in women; more dry and objective in man. In any case it is preferable that the lyrics are more evocative than the voice ". I sing as I can... My voice disfigures his and he embellishes mine. We like the tandem we make. Possibly go the throws onwards ". With Iñaki de Lucas back in the production, they wanted songs "as light as possible". I made the macarrada to make it new. Also the outlandish and frivolous character of some full letters of sex and synthetic drugs. I like beat poetry, and they were a few... What happens is that we are not used to hearing in Castilian things out of mother, "says Albaro. For him it is enough that "they see that we have personality and we risk, even if we do not have a coherent style". One wonders if they feel something forgotten in the homeland indie and that's why they sing "there are many kilometers that we have walked to get nowhere". Before we were there as a strange group, and with the third album we consolidated ourselves in the scene. I think that with this one we are going to take another step, among other things because the change of record company will help. The half-signed collaboration has been rumored for years and now finally culminates in this album scheduled for March 1. A must-have duel either for the music or for the morbid of watching the battle of two of the big elbow to elbow. In addition, with regard to this collaboration, some statements of Kanye have been made advancing new solo album for the summer. But do not expect a rock band to use, no. The result is his self-titled debut, which will be released on May 3. As an appetizer, "Not a friend" is now available for download on its website. Despite the absence of Noel, this continues to sound to Oasis for good or, after so many albums and years, for bad. If the Oasis formula has become redundant and tiresome, there is no reason to think that this return will improve the situation, and the issue that has advanced does not seem to indicate the opposite. For more inri, title to the disc "Different gear, still speeding". I do not know if this machinery will allow them to continue accelerating much more. Even Blondie are encouraged to return to the musical arena, although the date still depends on administrative issues. The present selection of the most anticipated albums of 2011 only includes the albums confirmed until now by the record companies, rumors like that of the final meeting of Blur have been left out. Hence, this new album has raised so much expectation, and more considering that the quartet has wisely left a trail of hits as a preview of what is to come. There is a lot of desire for this new ration of fuzz-pop shoegazer ascendancy. Well, after the pressure born of the success of his self-titled debut, the Scottish quartet finally released his second album. On the one hand, his performance was delayed, he lacked visuals and the quality of the sound was quite unfortunate. But on the other, despite all this, the new themes of the founder of Animal Collective shone and put our teeth at ground level. Having listened to what will be their first single, "Rope", I would still put those statements on standby. Six themes that will make us fly very high in the sky. The quintet is releasing its long-awaited second album, "Helplessness Blues." The length was mixed and co-produced by Phil Ek, so things look good, and it's precisely in May that "Rome" will be published, the particular tribute of this pair. spaghetti westerns However, everything seems to indicate that the launch will be this spring The trio has announced that the album will be called "Hot sauce committee, Part 2", even though "Hot sauce committee, Part 1" had to The album will be called "Codes and keys" and will come out sometime this spring, according to Ben Gibbard, who has stated in some English publications that all the members of the band have formed a family has recently had an important role in the album, only the record companies, the distributors and the band have to agree so that we can enjoy what will be the ninth album of Blondie. ma meet after 35 years of career. Although you know, weigh the kilos, not the years. Ritzy founded the band along with Rhydian Daffyd on bass. That adventure ended up like the rosary of the aurora due to his disagreements with the drummer, and when this one The band left the project to be called Sidecar Kisses. Somehow we discover the joy of composing freely again. Ritzy agrees: "It has been a very intuitive process, without egos. Mold, the historical place that saw them grow, made them face the music in a different way, without a scene to which to subscribe. I guess it's a compliment that you're compared to such different bands, because you can not determine the style at all. We are always in the plan 'let's concentrate: this is how we want to do things', and that's where you put a lot of pressure on yourself. We do not care if our concerts are for five people or fifty thousand. We enjoy what we do and that is what matters. We want people to connect, but if they do not, they lose it, "he says. The truth is that there has been an audience that connected from the beginning with their direct, and a lot. YouTube, of course, censored it. The fall to the vacuum of failure coexists with us daily. But do not be fooled by these qualifiers. The light here is a weapon of massive sincerity that leaves exposed to the sun all the sins, setbacks, insecurities and miseries that we thought were hidden in the dark corners of a place deceptively forgotten in our head. But the Viguà © s only shows himself as he is before his closest friends. And this is more than many can give. They ask me, after the interview, to review your discography. An excellent excuse to ask how you see each of your discs, now, from a distance. I'm very bad about listening to my records. Once mastered I do not go back to them. But I do keep memories of each one and sensations that you have left, also created by the opinions of the people who listen to it. In the first album I remember going looking for a way to tell the songs through very few elements, with a lot of space between the instruments. The lyrics speak of very different things from song to song. I'm not very happy with the production and the interpretation of that album, I think it was very cold. Even so, there are a couple of songs that I could rescue to play live. I think it's a record that I'll like if I listen to it again in a few years. Do not conceive two equal albums in your discography. I think little about the future and that helps me to take my life as if it were stages. The discs are summaries of those stages, so it is logical that they are different. It is very easy to make two equal discs, have a formula and develop it. It motivates me much more to discover new ways and do what the body asks of me at every moment. In this way it is likely that you do not recognize yourself in those songs when time passes but I also believe that it is the most honest thing. It makes no sense to make sad songs when you're happy or vice versa. The loudness depends a lot on the instrumentation used. In this disc, for example, electric instruments predominate over acoustic instruments. We became friends and he proposed to play bass in my band. We talked and we agreed on the way to see many musical and sound aspects. Both of them had already worked together on some recording and I thought it could be a good team to help me on this record. Also, in this way I could have more study time, something I did not have in other albums. In fact, some songs like "The Lost Man" were conceived there. I wanted to start recording with some uncertainty, without clear all the arrangements of the songs. César helped me with some rhythms and having Pablo Magariños on drums is always a guarantee. On the album there are no acoustic guitars and all the electric ones that sound, as well as a mandolin, he recorded them. I was also able to count on Sara Fontán on the violin. I had the chance to do a couple of concerts with her that were wonderful and I did not hesitate to call her to collaborate on this record. He ended up recording several flute tracks, that remember the sound of a mellotron. The first demos of "The desert days" had a pop sound of the late eighties and early nineties. When I came back from summer, I compiled the songs I had done during the last two years and I set out to record a piano and voice demo in my house. I wanted the songs to work on their own, no more artifice. In previous demos I had used a drum machine and something else to give me a clue as to where the arrangement of the song could be focused. I also trashed half of the songs and wrote a new one. The demo of 11 songs prior to the recording of the album left many possible interpretations and that is how I wanted to present them to the band, so that everyone could contribute their ideas. I do not have very clear to what time he remembers the sound of the album, in any case I would like it not to sound to any one in particular. We started recording the songs with that drum sound, thinking about the songs that asked for it, but we liked it so much that we ended up using it in all of them. The only thing I can tell you is that this is the way I conceive a rock album. It's a pretty typical pop-rock rhythm, something I've wanted to use in some songs on this album. What everybody does, come on, although some recognize it more than others. What I can tell you is that I have a hard time listening to current music and, although I try, I always end up traveling back in time to discover things. The last thing has been Washington Phillips. But sometimes the listener understands the song in a different way and tells you that it reminds you of something you have never heard or even something you hate. His latest album seems like a marvel to me. We played together in some concerts and in one of them he joined to sing some new song with me. He has a very cool voice and an amazing ability to make vocal harmonies, something that I had not used in my records and that I did want this time. It occurred to me to unite the two so that they recorded the choirs at the same time, as before. They did not know each other and the first hour was a little tense. But from there they broke the ice and it seemed like they had been singing together all their lives. You commented that you wanted to start the recording with the uncertainty of not having defined the arrangements of each song, something that, on the other hand, radically moves away from the modus operandi with which you had worked until now. Among the ten cuts of the album we find an instrumental and noisy piece that gives its title to the album and precedes the end of it. In the recording sessions we recorded ten songs. It was time to mix one that I was not very convinced about and that we left for the last day. In half an hour I was mixed and I did not want to devote a minute more because I knew that song did not belong to this set. We still had an entire afternoon of study. We placed a micro environment in the room where the piano was. I started playing this piece, which takes elements from the one that opens the album and I liked that spontaneous character of the shot. Then we added to this several clues of noise that Sara had recorded with the violin and that also appear as a mattress in "Mature Garbage" and we passed them through a tape echo. We also use some choruses of the first song. I wanted to have that contrast between a beautiful piano piece and a hell of noise covering it. It is a good summary and a good simile of the stage that this album belongs to. He also did not want the last of the album to appear, it would be typical and it would diminish his importance. It is where it has to be and it is very necessary. It is necessary to keep the distances between your life and the songs, although sometimes it is not possible to write in hot. My life does not interest anyone, so I try to use things that happen to me to talk about something that everyone can understand because it has also gone through that. The interesting thing is that each one Do it from your point of view, although in this way it is also easier for your own life to end up sticking out the leg under the door. I try to avoid it, but sometimes I do not get it. From his careful artwork, he clarifies that we are dealing with a totally timeless artist. At the bottom of some wells are hidden secrets that nobody dares to confess yet. But we all know that these vertical tunnels always wait for patients to return, one day or another, to extract from their quiet darkness the truths that we did not dare to face at the time. Goodbye to the tremendismo always accentuated in the wee hours of the morning. Perhaps for this reason the musical language and its texts are much more direct and understandable than ever. And although the third disc is opened to rhythm of liturgical prayer with that gospel that is "Garbage mature" - and in which the character claims, out of pity, a heart of ice -, the truth is that we are facing the most accessible disc of his career. But precisely, it is the sum and contrast of all these ingredients that elevate this new publication to the category of pride. Disorientation is a great cloud of dust that blinds, extinguishes the voice and isolates. The vigués traveled to the studios of Paco Loco to record a deeply dark and wounded album. Yes, especially because of the way they deal with the composition. They are able to change the mood that the song infuses just by changing the arrangements. That was something I had not thought about until recently. What I like most about "Underneath the pine" is that I have allowed myself to jump from genre to genre without compromising the composition to that state of mind. The voices in both groups are some of the best melodies I've heard in a long time. In fact, if one day we were to collapse, I think it would be quite easy to agree because I fully understand where they come from. You've been very involved in the music of the 60's and 70's during its creation, right? Nowadays, a lot of non-electronic music is compressed too much in the studio and ends up sounding mechanical and electronic, throwing down the best characteristics of human interpretation. Funk and soul create a link between the sound of "Underneath the pine" and that of your previous album, "Causers of this". Yes, I thought that the best way for fans of "Causers" to come to appreciate "Underneath the pine" was that there was some common denominator. And although that air of funk and soul is maintained throughout the album, halfway through, it gives way to folk and pop. However, the progression is very subtle, without seams. Actually that's what I wanted to show, that no matter what instrumentation you use, if the composition is powerful, the listener will be hooked. Now that this album is clearly out of that wave, what do you think about the whole 'chillwave glo-fi' fashion? What bothers me are rather the musicians who give too much importance to these things. It does not bother me personally at all. Likewise, I think that to briefly describe a sound, it is more useful to put a piece of that music than to try to label it with a word. I saw an interview in which they asked you about the origin of the chillwave and you answered that it was born out of anguish. Well, I think what inspired this album was mainly the idea of ​​trying to completely change the compositional approach, crossing to the other side... but staying at the end in the middle... In the middle, but well... I do not know if I explain myself. Especially for a matter of time, because I imposed certain dates and wanted to prove myself to know if I could do it. But in reality, nothing forced me to release two albums in almost a year. The music returns, but not the band. Wareham explains it emphatically: "I think we should be one of the few bands of the time that we have not decided to meet, in a way, I see it as an achievement". Well, it all started at Tanned Tin last year. The concert was based on the repertoire of Galaxie 500 and since then the discs were also reedited, I thought it would not be a bad idea to start a tour. There is nothing nostalgic in this, I mean on a personal level, but a kind of revival of the group's music. But is not it going to be a strange thing to return to Galaxie 500 after so many years and with other colleagues? As I said, after the Tanned Tin we felt very comfortable playing that repertoire. I think the three albums of Galaxie 500 are very good and even now I would not change anything of them. They are very primary songs, of three chords, but at the same time very complex. Kramer's production still looks splendid. I can not think of another person who could have done better. I wanted to ask you about the project of "13 most beautiful... It has just been released on disk in Spain, well, the truth is that I do not know, in fact, the themes have varied substantially with respect to how we started playing them in The truth is that they are perfect for music, because their duration is more or less the duration of a pop rock song, so we only set out to compose according to our reaction to those images. There's something sad in those portraits, especially if you stop to think that the vast majority of them are dead, Wareham will be playing Galaxie 500 songs in our country on a very special tour. We enter the opaque jungles of intimacy, we see the inner and dark horizons of a disc that functions as a complicated organism, in which the sum of the parts is solved only by means of an elaborate equation. This disc is very oppressive in relation to the previous ones, so in some way it is good to go on listening, and enjoy it. what we have done with this album is a kind of professional suicide, but it will certainly save me from drowning artistically. It was at a time when the next step was becoming too evident, what the others expected from my records. Repeating a 'Garfunkel' would have been boring, and in any case the body asked me to do something very different, much more somber and brutalized, with the guitars plugged in and a good dose of noise. The first two albums are already made, and if someone wants to listen to them again, they are there to put them whenever they want. I could not record something similar again. " Facing the unfathomable reflection of a stone wall, one can launch attacks against oneself. These letters arise from a very spontaneous and unstressed writing method. Only after accumulating a few do you realize that somehow if that kind of critical exercise occurs, I do not know if the person or character that Tenebro-rock. The fog begins to sneak through the bushes in "The beautiful and the beast", the first section where the rhythmic gravity and the altered declamations of the performer epatan and open the door to a new world of nightmare. Epic is the only refuge when one is scared of its re fl ection, and tends to collapse between successes or mistakes; that is why "hyperconscious Conscious" comes to slicing brain cells with his verses in echo and that riff that digs in his refrain. Again and again, these songs burn in the dichotomy between relocating with the world and the disturbing inertia to the destruction of the image in the mirror. Without ever reaching the speed that often rolled in the songs little by little has formed. It happens that sometimes you can get to feel a bit of anger towards yourself, but I assure you that there is nothing to worry about. Some things are crouched in corners of the mind, and when composing a song, from time to time they come to light ". In one ear sneaks the singer's palette, and in the other the sound of a band. So if one thing was clear is that this time I was going to leave the acoustics aside. We could say that I felt a certain monkey for reusing the electric guitar, plugging in the ampli and printing that palette of sound density that tensed the atmospheres in Madee's records. We could say that this record is partly what would have happened if Madee had recorded a record in Spanish. " Somehow, Madee is still alive, but the band can not exist if one of us is not available, because we have always been the same. Right now, Lluís can not continue for work and personal reasons, but if one day we are all at full disposal, then possibly a new album of Madee will appear. " In any case, the musicians who usually surround Ramón return to these present in this third length. In the recording we wanted to respect the sound of a demo that we had previously recorded. In fact, the process has basically consisted in refining and lowering the rumble of those first tests, which sounded even stronger than the final result. The first versions of the themes were even more stark. I like the choirs and that overwhelming feeling they provoke, all those voices that accompany me make the songs take on another dimension ". Put to use girls singing, it will occur to me that the daughters of Ramón could accompany his father in some album to come. The oldest is already 15 years old and plays the drums, and the little one knows how to play the bass very well, and even the piano. They both sing really well, and they feel the same uneasiness when I started, to pick up the instruments and try things instinctively. We intend to record an album all three, because we often play together. Although it is possible that these songs do not leave the family environment ". I suggested to him in part that idea of ​​the forest in darkness and the characters, and he ended up transfiguring the states of consciousness to find that beautiful and disturbing imagery. " It is clear that the jumps between disciplines are not strange to Ramón. The digipack version of the disc contains the celebrated documentary "A propósito de Rodríguez", and it is said that he is preparing a comic book together with a friend. I write it and she draws it. Also, now in the mornings, I have given to start writing a novel. The first one contains all the anguish of the disc's imaginary, with that nightmarish atmosphere that leads to some girls singing a recreational tune, while a background of guitars squeaks. The second concentrates the dramatic and narrative capacity of the author, and composes an oppressive discourse, of climactic climax. The escape to a hiding place that really only imagines is the slogan in "The refuge of Superman". Taking advantage of his session in Nitsa, I timidly asked him what he wanted to hear before he started. The guy, from a sincere man who threw his back, smiled and said simply "you do what you want, I go to my roll". Also, I do not think that my music has a very clear influence of Eastern Europe. That made me think of skeletons in a nightclub, and hence the origin of the name of the label. " It seems that people got confused when listening to your session for Fabric. They thought it was a session, but apparently it was a live show. Or neither, in fact, it is not clear to us yet. People expect that in my sets they put things of other artists, a lot of dubstep and others, but that does not go with me. I put my roll, it's the only way I enjoy. It does not end up being a direct, but neither is it a session. It is not necessary to be a luminary to know that we are talking about Sam Shackleton, a guy unique in his kind, shy, sullen and more withdrawn than the vagina of a cloistered nun. I know that everyone is not going to like it, all right, what I do is not exactly commercial. But I do not care much either, I can only do the music that I do. It would be strange to me to do something else. Also, I do not think you can please everyone at all times. It would be very boring if everyone had the same tastes, right? it will be the place where you want to edit all your works from now on. Skull Disco ended two years ago. It's an experience that I'm very proud of, but it's over. I imagine in these two years I wanted to let some things die before embarking on new ones. The sound is going to move in that line, I feel comfortable when I'm on my roll. Fourteen of the twenty-two tracks of the "Fabric" session are not edited. But what do you plan to do with the rest of the material? I go to the studio a lot, I work all I can and at the moment I think a song is finished, if I feel like it, I take it out. Let's put ourselves in a situation, his fourth full-length is delighting half the world, he has just mastered his contribution to the mixes series "Fabric" and his Infiné label exudes good health. I have learned not to put too much ego in everything I do since the importance of the music that an artist can create is very relative. That is why I speak of impermanence, because we are always in constant change ". In effect, a title, "Impermanence" that does not stop being a metaphor of the current situation of the Gaul. An intimate album, close and simmered, inspired by "how I feel right now. I am very happy and in love, let's say that I am in the hedonistic phase of an artist, not in melancholy. It is an intimate album and done without haste, nowadays we never stop to think about what we are doing. This album is contemplative, then, because I've been lucky enough to be able to stop for a moment and reflect on all the things that are happening to me. " I started creating melodies on the piano as I could... because I'm not a pianist! We could even say that I'm not a musician. I'm simply inspired by playing both analog and digital gadgets until I find the sound that I think fits with what I want to show. " I gave him total freedom and I thought it was great when I read the lyrics. Carl is a genius, I do not know a single bad song of hers. At your side you always learn, it's like a kind of teacher who always wants to share knowledge. In general, I do collaborations because being an electronic music artist is a fucking lonely job. Although of course I also do them because you learn a lot when you collaborate with other artists. " A stamp without complexes, with its own identity and in constant search of talent. We are open to any talent, especially if it is eclectic. Let's say there are no rules in Infiné, we try to create a family of artists. Now we are at a crucial point, since we have to decide if we expand more or stay as we are. The difficult thing is not to create a seal, but to maintain it. But we are in a very sweet moment, the truth. " It's good to say goodbye, but first ask what kind of live show will be offered at night. I prefer to play DJ and build the night with all kinds of different music without ties. " Despite his youth, in a short time he has consolidated his image as an influential producer and DJ in the global electronic scene, at the same time having the audacity to create a label for the love of art. Do not be fooled by the title of their new and remarkable work, "Impermanence", because Agoria is more permanent than ever and does not take away even hot water. We are delighted, of course. After the third call attempt, a serious voice greets me with a somewhat dry tone. On the other side of the phone and the Atlantic, the godfather of the second generation of techno from Detroit and patriarch of one of the most resistant independent techno labels in history. I still do not know that the talk with Carl will be something peculiar, since apparently, unfortunately, a family member is being operated in the hospital. Meanwhile, and in a show of unblemished professionalism, Carl answers all our questions without question and without informing me until the end of his situation. On the way supposedly to the hospital, I can feel as with his car he travels through spooky landscapes and desolate scenery of what was once a rich and prosperous city thanks to the automobile industry. As a disciple of the trio of Belleville to be a prophet in his land, more than two decades have passed. Besides, we have a series of remixes prepared by special people, that is, friends and close people. It will be a way to thank all those who have been following us all these years and for those who wish to discover us now. " Things were going well, but the point came when I just did not want anyone else to decide what kind of music I could edit or not. I had very clear ideas about what kind of music and artists I wanted to edit, so I did not see another reason not to do it alone. Now that you name the name of the seal in its entirety, why give it such a galactic name? Yes, I was watching a television program about space travel to the moon. They just talked about the communication between the astronauts and the earth and those things. I can tell you that Planet E was not created to earn money and be famous around the world, because if this had been the job, I'm sure it would not be celebrating 20 years of history now. The truth is that the industry has changed a lot, not since 20 years ago, you just need to watch as every day is mutating more, from Napster to direct downloads without paying anything. His brilliant productions and remixes have served as a beacon to illuminate not only his beloved Detroit, but the entire globe. For this reason it is time for Carl and his troop to edit compilation and go on a world tour to celebrate it. You know, what with 20 years you are in the prime of life. the fact that I could listen to your music quietly at home... and I'm talking to you a long time ago. When I started Planet E, selling 20,000 copies twenty years ago was a very good figure. Today, if you sell 2,000 copies you can consider yourself a lucky one. And this, the truth, is that it is a horrible situation. The trick is very easy, always have an open mind. When you are maintaining a seal, you have to make a fundamental decision: art versus business. I have the feeling that it would not have been the same in another city. I think it is clear that both concepts are fed back. Planet E has served to get part of the liberation of Detroit music, opening new ways and ways of understanding techno. I think he has never stopped making good music in Detroit and in the world of techno in general. Obviously, there are things that I like more and others less. Everything always depends on the inspiration of the artist. 20 years it has been 'long' for the entire Planet E team to go on a world tour. So it is clear that we are facing an eventazo of epic dimensions. Carl adds that "it will be something big because it is the first we do and on a world scale. It will surely be a meeting with people who have love for Planet E and for techno music in general. " You have earned your reputation as one of the best remixers on the planet. Due to the world tour, is it likely that Carl Craig will edit fewer remixes or own productions during this 2011? Uncle, right now I have an indecent amount of remixes to deliver, I can assure you. I feel very comfortable doing them so I will not stop in this sense, as long as I previously analyzed the assignment and estimated how much energy I can dedicate to doing something special. Creativity in this sense does not stop, no matter how hard you are embarking on a world tour. Everything will depend on the energy you have to accept assignments and create new productions. In a recent tweet you commented how you had spent almost 48 hours locked up in the studio, can you tell us some names of the orders? No, I prefer not to advance any details. The dryness in their response is directly proportional to the public address sound of a supposed hospital. Maybe it's time to end the interview, once he tells me the reasons why he is there. Well, to finish, do you see another 20 years of Planet E? And so ends the interview with one of the most charismatic characters in world techno. We thank you and we say goodbye. Honestly, I would not mind waiting another 20 years to have another interview with him. The new songs are... I will not say more mature, but it is clear that we have evolved as a band and as people. In any case, the fact that Yelle was considered the muse of the fashion phenomenon in 2007 in France helped considerably to boost a frantic race in which despite the long period without publication has not ceased activity. They were not letters, but ideas, sensations. Since the publication of the first album, they have been very rich years, full of emotions, in which we have not stopped learning. We are very happy not to have rushed into publishing the second album. " Ba, rap... When we finished touring I realized that I needed singing lessons, something I had never done before. Which they take advantage of extensively with a repertoire frankly worked. That gave us many ideas, but at the time of developing them the winter became very long and hard. We do not have a working method, sometimes the letters come first and sometimes the bases. He is very introverted, it cost him a lot to send us some instrumentals he had prepared. I did not know him personally until later. " We have some space left to comment on some of the songs on the LP. The memory of the loves of the holidays. When you return home and you remember that foreign person who barely speaks your language, but with whom you have felt the connection. Instead, 'Que veux tu?' Is about falling in love with someone who is totally out of your world. In addition, there are three words that go very well together, although the style of the song does not represent the current Yelle, but the next album. " It was with them that we made our first compilations and dirty parties, "so intense and wild so that when the seal closed, the two friends decided to find an excuse to keep in touch, an important decision, first because" you stop produce thinking that the theme sounds good in the fat team of a club and that moves people to dance, and that allows you many more nuances. "And second because an album" forces you to be more demanding with yourself. Good album must have a structure similar to that of a novel, it has to be something narrative, with a beginning, a development and an outcome. "And is that" face sixty minutes of music forces you to foresee breaks and contrasts, to save balance and use different musical universes, to prevent the listener from getting bored within a quarter of an hour. "But after several relatively successful maxis decided to take the issue more seriously, and now the project threatens to eat. rse their careers alone. That closeness allows for a continuous dialogue, with which "it is rare to get to feel lost", and also enhances the experimental vein. Of course, if something stands out in "Discodeine", beyond the use of unusual sounds, are the three vocal collaborations it contains. An exploratory vocation whose maximum exponent is the theme that closes the album, an environmental and progressive "Figures in a soundscape", dyed with krautrock dyes, and that also turns out to be "our favorite track". In fact, Morando confesses that "in an ideal world we would like to record an entire album with such themes". In real life, unfortunately, "it would be quite complicated to find a label that wanted to edit it. And it's a shame, because we love composing more abstract themes, with a high emotional content ". Things that might work, even if it sounds too hackneyed, "like music for an imaginary movie. First, when you publish a record as successful as "In ghost colors", for the next one he is usually scared shit because of the reception he may have and if he will get over the bar. We are very happy with the reception that our previous record had and we hope that it will also be well received, but we are not worried about the subject ". They have even taken the time to make a making of the album. It is a question that fascinates us and that sometimes is even more important than the final result. We thought it would be interesting to capture that and show it to our followers, so that they know how the record has been developed and how it has been taking shape and growing ". As I said, the Australians are of another dough. It will be what you have to enjoy a rewarding sun on even days and odd cyclones, that you become Zen out of necessity. But it is true what you say. There has always been an electronic scene here, but in recent years it has changed and it has become more popular. Now we can play before very large audiences, something that a few years ago was unthinkable within the musical style in which we move. And in our case, I guess we've always been 'there', but now we connect with a lot more people. " We have always had a great time with Tim Goldsworthy and we are very satisfied with his work, but we thought it would be good to try to do it ourselves. And the truth is that in this album we feel more freedom. Three years after his successful "In ghost colors" the australian quartet returns to the fore with a new album and a few great songs. Everything in order, except for the long shadow of the mainstream, which is glimpsed in the weakest passages of "Zonoscope." Let's hope that this is the race to take flight, a high and beautiful flight, full of fascinating pirouettes like "Take me over". Taking care of us changed the process and made it more enjoyable. " Although, yes, they dare with a little more experimentation. We still played Cut Copy, but loudly we wanted to go in another direction. It is crucial to keep moving forward, always taking one more step. This time we wanted to go beyond what we had done so far, to improvise, to reimagine the sounds, to try things that we had not tried before. " It refers above all to experimentation with percussions, such as the one we can hear at the beginning of "Blink and you'll miss a revolution". They are more organic percussions, which intermingle with the synthetic and mark a certain tribal aftertaste. However, the guitarist soon expands the palette. That is why we are always listening to music and often depends on the moment we have, we throw more for one thing or another. With a broad spectrum of notes but with little aftertaste, they say. Tim answers me very politically correct, I guess to give a good image to the press or not to offend me in case of being a staunch defender of Lady Gaga. But as soon as I make it clear that he does not suffer for me, he confesses that "the truth is that it was very strange when we received the proposal. I mean, it's fine, but I do not know if we fit too much. Also, I do not think we would have connected too much with the Gaga fans. " There I do not completely agree, you see? Precisely I think that this can be the album that transforms Cut Copy into everyone's favorite dish. It is not a matter of taking one's hands to the head, but the significant reduction of potential hymns and the extra-softening of the disc's general tone make us more ashen to smell disgrace from afar. Although his voice seems to hoot sometimes from the deepest and lost of the sea. We had not heard anything from you for 3 years. There was even talk of a creative crisis after the tour of "Tu labio superior"... Yes, absolutely. With "Your Upper Lip" a lot of things happened and I felt some pressure with what I was going to do next, and I do not normally handle the pressure very well. I had begun to write songs and, although I liked them at that time, they were a bit light and after a few months they fell out. Then in summer, in Formentera, "Song of the echo" came out and I realized that it was very much above the others, so I threw the rest and started making this record. Well, the idea is not to make a trilogy. In fact, the other did not become a trilogy until the last album. The point is that there were things that I had left wanting to do and I thought I could go a little further along the same path. The first thing that strikes the attention of "The young Dolores" is that it is a more acoustic album. Fundamentally, it's because of the conditions in which I started making the songs. When he was on vacation, he did not have a piano and they stayed with the acoustic. And then when making the models with acoustics and recording them, I could hardly imagine the songs in an electric version. On the other hand, since the lyrics have a lot of weight, I thought that the arrangements and the instrumentation had to be very simple and I decided to leave them like that. At that time Formentera was a lost paradise, tourism had not yet exploded and it was an island where there were only hippies and payees. And I liked the idea of ​​this title that seems to refer to a woman who suffers, but who actually talks about a journey to a heavenly place. But particularly I do not identify with any of them, the game is rather detach from it. Eco is a woman who can only repeat what she hears and is a perfect metaphor for the oppression of women. Another interesting story is that of Lot's wife, who became a statue of salt by looking back. I venture that he probably turned around because in Sodom he had a hidden love. Your songs have always had a strong poetic charge, but on this album it is even more. For example, a micro-story that I had put inside the disk. But if songs stop happening to me, it may be that at some point all of that becomes a book. The system has changed a lot since you started in the world of music in the 80s. We are in a moment of shifting sands and I think it can be very interesting what comes out of here. It seems that the digital age gives us the opportunity to transform all this into a fairer system. The common theme is my life, so although sometimes I do not tell things as they have happened, you could say that all the songs are autobiographical or have something to do with me. In addition, the themes of "101" have my typical composition and writing. And in terms of production and sound I have also tried to create homogeneous landscapes. In short, as in all my albums, there is not a single theme throughout the album, but they all have to do with my life. It seems that writing is for you something very personal. Benjamin Biolay collaborated on your first albums, but you have not played music together for a long time. Making another record with Benjamin would be fun. From time to time we are talking about it, but it is still a matter of 'timing'. We are both very busy and we have many separate projects. Yes, but we do not play in it or sing, we only write and compose it. It is a story that we have created. It is not finished yet, but for the moment eight representations have been confirmed in France. This woman of hard features, red lips and severe beauty has been brought up with American music and this is reflected in a record, "101", which could be the best of her career so far. And that does not help Benjamin Biolay. I do not know, I think "Not going anywhere" was much more pop than "101". If you take the bulk of the songs, it is true that they are more oriented to pop and production in the global is more pop. But I think there is great gravity in all the issues, a darkness. No, I do not think it directly affects my music because I do not do world music. However, in my music I see clear elements of what has surrounded me. However, in terms of production, I think that my biggest influence is Serge Gainsbourg. But I would not know exactly where each element of my songs comes from. I think the biggest background One's ethnicity, musically speaking, is made up of the set of authors that you listen to throughout your life, and not where you come from. The event will be held in the best possible way, on March 14 in La de Barcelona will pass through its stage the vast majority of bands in the catalog. Before, music was not lived, but now less. There are almost no groups living in the music anymore. Raising quality of life through music as employment is practically impossible. The bands that earn some money do it through their live shows. Before, in the eighties, a group could sell three thousand or four thousand copies; Now he does not sell four hundred. In ten years people will not know why they bought a CD; I am convinced that the packaged music is dead. Many labels have ended up fully in management. But to me, personally, all that inspires me nothing. If I was considering acquiring groups depending on whether or not they will play, 90% of Foehn's catalog would not exist. As a publisher, at the moment it works; there are many film producers and directors who come to find the music of Foehn. I insist, no one lives in Foehn's music. If an album is heard by ten thousand people on the internet, the success has already been achieved, both the group and the label. But as a business is unfeasible, I've always considered it that way. From the first day that Foehn was formed - when we were a group of people setting up a business - I did not get the numbers and less with our offer. Now there are two aspects that move the industry, both independent and mainstream: one is management, and the other is publishing. The industry as we know it is dying: most of the record stores either close or change hands and the rest are usually empty. We come back to edit vinyl because we give it a romantic and fetish sense, collectors like to have the disc. The sale of downloads does not work either, but streaming itself. The general tendency is to pull Spotify and things like that. Internet generates more communication, there is more interest; People are more demanding and know more. For this reason, interesting projects do not stop here and you do not have to look outside. For me it does not make sense to acquire an American or Japanese artist and then have to take him on tour, work the promotion, etc. All that with distance becomes much more complicated. Working with artists within the national territory is a way to stay true to a philosophy. After ten years, we are not going to change now. It was a way to set a limit. Basically we wanted to create a platform, give an opportunity to all the groups of the state territory. In Foehn there were two stages, in the first we were a small group of investor friends who formed a work team. The personal effort of the people who were there was immediately reflected in a job well done. Now everything is easier. The night before I prepared some CDs with demos to give them away in case someone was interested. For us it was a rush because normally nobody answers you when you deliver a model. Previously you already obtained the support of the culture department of the Government of the Canary Islands. Yes, in the Canaries there is a program of sponsorship of record works and, on the other hand, the sponsorship of the trips that do to the Canarian groups. If you have any luck, one of those grants may fall; Then you need a stamp in case you want to move your work a little further or you can simply self-produce it. GAF began as a solitary project during the year 1999. GAF began with the need to make music individually. I started with only one song but it was not until 2007 when we started to edit music. No, no, what's going on? I learned playing in the street and with friends until I could start experimenting. I usually say that we do psychedelia. I know that the term can cause confusion because psychedelia is initially understood as the British movement of the sixties, in the Beatles wave, etc. So it is better to say experimental psychodelia, although we never have a clear idea of ​​the style we are going to do. We all like very different styles and each one puts their influences. For example, Olivier, our saxophonist, brought that idea of ​​jazz to the collective. I also organize a few festivals in the Canary Islands. With many of the artists a good feeling arises and with others it remains in a professional relationship. With Rob Mazurek we have recorded a few sessions that have been left there, waiting for their moment. Everything always in a very natural way, 'in situ' and with time. With the time limitation of playing three songs and most of ours are long, maybe we will only play one. Not a liter of Bisolvon would be able to stop the start of this issue. If they have done it, they will be satisfied. The intensity of "Run chap- pion run" could cause the Teide to unleash its contained fury at any moment. Uxía "The joy of the garden of Foehn. Emilio José gives fresh air to hip hop -very sui generis, everything is said- with a critical voice and maximum freedom of musical expression. Cizañero humor that gives free rein to his extreme capacity to surprise and that moves him away from all conventionalism. Apeiron "Fierceness is happily" Remember? We all look forward to that second album that never quite arrived. Meanwhile, we continue devouring that "Everything is still intact" that -almost ten years later- continues to sound as surprising as the first day. If they make the mistake of underestimating them, the fault will be theirs. Technique and inspiration come together in "In the middle of somewhere". It's not a joke; Inhabitants embroider it with this song that refers to the indie of the nineties while still sounding to themselves. If they love the beginnings of Domino Records, they love them, by force. Great expectation before his imminent second job. If there is a 'Foehn sound', Vanova square on it perfectly. Like the fresh and pure air that is breathed in the countryside. Go to gomagspain. In Favor Few curses are worse for a musician than recording a cult record. One of those devices that do not guarantee sales but they make a name to fire in history. It is a curse because from that point on that artist will always be required to maintain the same level of excellence, at the risk of being stoned and torn apart. That is the situation that Seefeel is suffering, a band that crossed the nineties installed in the second division of British indie, and that did not see its recognized merits until much later. Almost nobody wept when they disappeared, and in reality their return has gone largely unnoticed. And that, unlike other icons of the time, have had the decency to return with a new album under his arm. So the important thing here is to check if a band that is a piece of history can adapt to the new times. And in that sense, the renewal of language that "Seefeel" supposes is more than interesting. So the only problem with the album, in fact, is that there are some instrumental cobs left over and that in the final section it loses some bellows. Minor problems for a remarkable return, which confirms that Seefeel has a beautiful future ahead of it. None of that remains in the present "Seefeel". There is the initial theme "Dead guitars" sustained by the creeping rhythm of the drums or the weary drumming of "Rip-run" to which very little added liquid guitars or treated voices. The songs seem built 'from' the omnipresent drums, instead of being the percussion simply one more of the multiple layers used in each track. The previous record was already a jewel. Despite the fact that 2008 was a good year in good music and good voices, Adele knew how to make a hole and shine with her own light with "19" a first album whose title represents her age. Y "21" arrived, the consecration, and we breathed easy, very calm because the rest of the disc was up to the task. An indispensable for melodies that adore classics and simplicity. But also because we are talking about a record strongly anchored to the blues tradition. To a tradition that twists and manipulates, it is true, but it does not stop paying tolls. Which is both magnetic and asphyxiating. The attributes of Anna Calvi are on everyone's lips and there are already voices that point to her as the new rock diva. With a single studio album under his belt, if the Italian duo has reached such a large audience, it has been largely due to their prolixity in the field of remixes. In short, a generous dose of dance electronics with the unmistakable canine seal of the band. Svenonius titles the album - and one of his central songs - as "Music's not for everyone", Grunge-gaze. The same thing happened with "First you have to get mad", a limited edition live disc, recorded in London in September 2009. The unquestionable quality of his compositions and the perseverance of the Welsh, together with overwhelming concerts. The electric companies, which have been capturing thousands of listeners through their multiple performances, have taken the multinational record company Atlantic to fix their ears on them. For the motto is like that song, pretentious and disconcerting, soporific but at the same time interesting. And it is that taking it seriously or not is up to each one, but to the parrot with a disc that goes beyond the anecdote and does not make it easy for you to hold on to it like a limpet. With everything, something irregular -especially because its minuteness is excessive- but interesting, and not as raw as it might seem. It is good to take it seriously, at least musically. Apparently innocent and innocuous, "Wild go" shrinks your heart in the same way that when in the heat of anger you write that email by hitting the recipient's mother and inadvertently give it to send. The 10 themes that make up this length have something that grabs you by the entrails and agitates you as if they were being centrifuged without mercy or softening. "Silver" has the same underlying problem that a large part of the production linked to post rock these days: that the album ends and the listener does not know very well what happened during that time. We will see where fame brings these four. For the time being, let's enjoy its long debut, loaded with accelerated rhythms, low fidelity and happiness through the clouds. There is nothing more unpleasant than feeling tourist in your own home. Belonging and rooting something or someone and feeling like a foreign body is a suffocating sensation. Disseminated through the Pueblo Nuevo netlabel, the message it conveys is bad but at the same time full of nostalgia and mime. The sonorous fragments seem to conform images when Radiohead music. Four days after the announcement, it was spectacular to see how the western society became more crazy if possible with the advance - a day before - of the launch than with the sales. In "Little by little" hypnosis continues, but this time its enormous instrumental wealth is more tangible. Every hypnosis session ends with an induced gradual awakening, just what Radiohead gets with the last three topics. Because what comes after the single "Lo- tus fl ower" is a descent of pulsations to levels of induced coma. If you have given the repeat a million times and your poker face remains the same, do not worry, it's nothing serious. It's just Radiohead, that fantastic group that has the freedom to do what the real wins without losing the remarkable height. Some will see a second part of Yorke's "The eraser". Others will rant and go to mourn with "Reckoner" in the background. Alberto Vidal these mutate with spectral voices and whispers that hit the asphalt of nineties synthesizers. Do not hesitate to give it a try, which also has cencia creative commons. They are from sunny Brighton, but they take their name from a dark Danish tale. In fact, it could be said that they are a tenebrous and rural reverse. The proof that, to anything that manages to relax and enjoy a little more with their work, the ensemble that has mounted Charrier can achieve great objectives. Because yes, "Synchronize" is a great song and it forces to be consumed in large doses. The owner of the news is, of course, live out of all this with a very high approval. Then apply your dose in milligrams of Discodein, for that of trying something relatively new. But the hitazo with capital letters of the album is, without a doubt, the very noventera "My house". Virginia Arroyo Rock melodramatic. As enjoyable as unoriginal, that is. But beware, we are not saying that the beast has been awakened, as Tomás Roncero advocated. But "Well spent youth" fun- 048 049 Ambient records. Tim Hecker said in an interview three or four years ago that the great constant in his music is the idea of ​​the transformation of the everyday. It is a strategy that has been used since the first steps of his career. Always a perfectionist, Hecker has worked to make this vocabulary grow and become increasingly complex. True to his obsessions, Hecker punches those springs with an even greater aesthetic violence on the sixth album of his career. But the key, rather than the instrumentation, lies in the treatment given to the ambient sound. An album that hits the listener physically and emotionally. And it is precisely in this confrontation between opposites, in that rare balance between the wild and the delicate, where Hecker finds the key to give shape to what is undoubtedly his most complex and accomplished work. A sensitive and dangerous disc, which seems to bleed as the needle recovers its furrows. They seem to leave the door open to remixes adding measured or more runaway schedules. An elegant endorsement of the theory of the eternal return of the cold wave. Happiness is not a state from which one should flee, no matter how artistic one considers oneself. It remains to be seen if there is a direct relationship between this and an irregular work. In any case, the new work of the American is below his previous publications. In this search for new roads there is room for tropicalism, jazz and some flirting with inditronics. On the final line of the disc, the introspective and coral "Godless brother in love" flashes, like an illusion of an album that could have been and is not. If the return of the eighties was already a fact, "Blue songs" comes to con fi rm that they are here to stay a good season. There is a somewhat more vitiated air, without, however, lowering the notable in general lines. In ten years it will be as good as today, and that is already a lot. Themes such as "Deriva" or "Carnaval" are enormous, virtuosity at the service of strong refrains like consecrated hosts. Torn voices for fabulous refrains in a vitalist-pessimistic album that at times have made me want to jump twenty steps of the metro or launch with the longboard from Tibidabo to Barceloneta without stopping, and I swear I do not take drugs. With seventy-four years and more than fifty albums released on his back, he still has plenty of energy to return with this "Revelation", a sign that he can once again boast of being the owner and master of dub as a genre in his films. wide facets. A technically perfect job that could only be the product of a hallucinated mind like his. In any case, it is a matter of perspectives. The question is to know what to do with your resources when you become rich, and not forget the talent. If something unbalances this evening of rock without plugs is the game of celerities that contrasts between the two parts of the repertoire. The epic walks with us, with many of us at least. As much as we admire, very often In fact, beauty in the simplicity of things is certain that it can not be denied that it can also be found within the most elaborate motifs. Although the recording of this record was performed live over three days, its execution and result is harmonious and nothing precipitate. And although "White wilderness" is friendly and relaxed and irrigates the listener with some remarkable levels of quality, the truth is that the whole of the album never quite penetrated. Zeidun was like a talent generating machine always about to explode. This 'posthumous' album is not such, but an erupting volcano, a box of rhythmic surprises and devilish lyrics that anticipate a spring to burst. It is difficult to understand why some groups fall in love with criticism and others, on the contrary, provoke very low-level tone exits to the first ones of change. Often, the balance is tilted to one side or the other for reasons that have little to do with the true weight of their songs, the true nature of their music. The Decemberists are a group that has oscillated between the favors of criticism and their hatred, which began being promoted by a sector of the public and now seem to have lost much of this support. I am not saying any nonsense or inventing anything. Look at this same publication, for example. With their second album, The Decem berists occupied three pages of the magazine. This time they will not even be interviewed. From the excellent and brilliant critiques of his first two discs, he went to the most inhuman censorship and in it the Portlandians seem to have settled. Excuse me, I digress as usual. The important thing here is that The Decemberists have opened a new path, which they have already begun to trace on their previous album and that now takes shape in truth. Gone are the artifacts of whaling rock. The trees of the northwest warn from the cover that this disc speaks of forests and intense green, of pioneers and wild lives. It is true that this is not a perfect record, but its errors are real, they arise from risk and artistic ambition. Quite frankly, I doubt that we are so over epic as to despise her, just like that. Banessa Pellisa "Dance with somebody", the second part of the songbook is wobbled in a ballad and mid-tempo timbre that opens yawns in the channel, making an amplifier and a distortion pedal like never before. Of all the discs that 12k has published during 2010, possibly Marcus Fischer's is the most delicate and subtle. His is an ambient of small gestures and brief will, which drops field recordings to a volume so small that in many moments they tend to disappear, and then add sound particles in a timid manner.. That dubstep can be mixed with styles as diverse as polka, waltz or even sardana is something that is more than assimilated. There they will say dubstep, but this has dubstep what I as a trapeze artist. This album is a review, nostalgic and passionate at the same time that meticulously distracted, to the last twenty years of dance electronics billed in Britain. I imagine that that means that it is a disk like a pine tree. And that, in the times that run, is already a lot. A little more than a decade ago, a man named Ricardo Villalobos was beginning to deform, distorting the minimal techno to his liking with a biased and delicious personal vision. Ten years later, Nicolas Jaar, also of Chilean blood and with only 21 youngsters, again deforms the parameters of electronic music. The maxis prior to his debut published on stamps of the caliber of Wolf + Lamb already indicated that the boy was going to defile house by contaminating it with elements as disparate as jazz or soul. The Chilean altered with a lot of class almost all the elements within his reach to create an amalgam that fits and molds the house -something, ahem, very fashionable among other producers of his generation-. We are before an abstract work, before a dance record that you will not be able to dance. A downtempo and ambient wonder that you must digest without haste. If you do not believe me, put on repeat the dreamlike "Keep me there" and fly over it. That is, it is a decent album, but not outstanding. The ocean in which a broken heart submerges us is a desert of water from which it is practically impossible to escape. They already pointed out ways in some previous topic and especially in some remix and also they had already ad- vised it, but that does not stop surprising these 8 songs with gastronomic names chained in the form of a DJ mix. Techno house, minimal and electro come together in an album that brings us closer than any other of his discography to the live and dj sets of the band. His dance music is also played on the disco-mobile of a decadent cruise ship as in that impromptu festival where you had to be a DJ because no one else offered. You get a better understanding of Murray Lightburn when he takes a look at his bio- graphy. Telita with Vartaverde's self-titled debut. The Grenadian quartet had history behind it. The country-waltz that is "Apothecary love" continues to slow down the heart. Practically the pulse has been lost when the epic explosion of that country-rock titled "Boeing 737" comes to our rescue, an exception in an album that rocks you with its lullabies about defeats in love. An album that is absolutely moving and indispensable. From their simple edits we already know the wonders that they treasure, that will return to delight the fans. Alberto Vidal Ambient disco pop. Dan Bejar has been on my personal list of heroes of the whole universe for a few years. Now, thanks to "Kaputt", I have it underlined. Yes, the ninth installment of Destroyer does not disappoint. Bejar remembers very, very well "Enola Gay". And is that our hero, lately, does not stop remembering things. Both are more than candidates to my list of best songs of all time, at least, "Foam hands" -from "Trouble in dreams" -. Gloria González of themselves and here and there were the most influential bands of the genre. Praised by the press of then and with promising future, Maine decided to separate for strictly vital reasons and never more was known. But everything returns, and in your case it's for the best. The German label Mobilee, apart from being stuck in Berlin, does not seem to move much from the dictatorship of the 4x4 either. Yes, new year, new compilation. It does not fail, another "Back to back" that will sup- port the pillar of sustenance for the rest of the year. The first one is the one that brings all the juice and chichi, a ready-made and varied session selected from the tech house side, always oriented to the dance floor. Your Fawning knows how to look for its distinctive point in disturbing atmospheres. Their structures are also encysting in a simplifying loop of funeral winds and strident chords that mutate in a twisted way towards the bizarre, the rampant march or the terrifying cabaret based on extreme experimentation. Yes, they are as exciting as a cave without a flashlight. With albums like this, the year starts strong. Two examples, these, of how to use the darkness and the epic to fill stadiums, something to which the music of the London trio seems dedicated body and soul but without finishing it. The extremely careful production, a certain pretentiousness in the arrangements and epic with cascoporro make us think that White Lies believed to the letter that the British press sold us that they were going to be the next big thing. Do not get me wrong, that in "Ritual" there is potential in abundance and the subtle incorporation of electronic sounds can illuminate the path of the trio, but they will need a third disc to find their identity and convince us completely. The action resumes and the game remains the same. Players like The Kills hide their tricks, even double the bets, but the conclusion of each game is customary. to stay intact. A "Epic handshakes and a bear hug", the first length of the project in solita- is that little else exists where to scratch, if we put ourselves in Taliban plan. In the second Cd, the good of Marcin gives him total freedom to bring his productions to light. That is, the dictatorship of the 4x4 in its pure state. You know, give a kick to a stone in Berlin and you'll get electronic seals everywhere. For a long time, Cluster has been the great forgotten among the bands that formed the first generation of kraut rock. And beyond his 'official' discography, rare is the month that no live album appears, or one of the many sessions that the couple recorded in the mythical Conny Plank studios is not exhumed. A race to the excess in which the Cluster themselves are quite lost, as I recognized a few months ago Roedelius, who often is in stores with discs whose existence was unknown. Which is very appreciated, because being two types who lived practically abducted by the musical creation, their long careers are truffled with remarkable and unprejudiced titles, which understand experimentation as something natural and friendly. In the case of Roedelius, the five reissued discs have in common that they were written and recorded in the mid-seventies, while the couple lived in the rural retreat of Forst. They also have in common that they are works that investigate alternative paths to which Cluster traveled. And the result is two discs of a rare fragility, especially the first volume, in which the only source of sound is a Farfia organ and there is hardly any rhythm here and there. A strategy that "Gift of the moment" repeats and improves, introducing a greater chromatic and instrumental richness, but also because it contains several of the best pieces that Roedelius has ever written. It is not uncommon that, of all the records of his career, this is the best sold. The eternal doubt could be called Nacho Vegas. And every attempt to approach his music may be unsuccessful, because artists like him compose with the viscera, and that always complicates the matter. Let's say that there are certainty here; the recurrents. Nacho returns more explicit and less cryptic, more accessible, recognizing in one of the most sincere to stumble always with the same stone but without losing that tension between what one is and what it appears to be. There is even room for a dark and final end to the Neubauten, fruit of his fascination with Mexican bizarreness. She is aware, that is why she disagrees with his story. His eighth work composes a pained ode to England that was not, even emphasizing that any place in the world fits into the frame of what is sung here. The vaporous textures that dawn in the song that gives title to the album, and those haunted vocal intonations, enchant even the most clueless, causing a silent expectation for what will come after that first siege to the west of the world. The mists converge and dissipate, there is transcendence in every word, and every verse harbors power. Gone are the coughs and screams, because his new work deserves a different orientation. The solemn hymn in the direction of the last sun of "All and everyone" succumbs to simple percussion counters enaltecidos, just as the whole songbook is carried away by a magical current of winds and soldiers. We find the ardor before the battle in the intense chords of "Bitter branches", and the tears are spilled in the form of notes of a keyboard in the lament of "On battleship hill". And it is precisely this nudity that turns "Generic city" into one of the most beautiful discs of all those who bear the signature of the Long marriage. The next step was to be giant. The best Akron Family album, by far. of chiringo has been face to face with the dubstep and something horny has come out, live God) is evident. And seeing their new fijas, It seems that for good. And as for Funkystepz, from their name they warn that theirs is a mixture of funky, garage and house. Mimbres with those who build hymns of the caliber of "Hurricane riddim"; It's not surprising that Kode9 wants to give them a little flat. On the B side, a more relaxed but equally acidic piece and a "Lullaby" that lives up to its name, complete this unruly piece of plastic. VR narcotics at the same time that much more danceable thanks to a more muscular groove. Die Männer Maschine have done it again. What's more, they will thank you, because surname as a nougat is very nice. An experiment that now brings out two edits. Let's see if they find out at the Teatro Real. in which there is no lack of motor rhythms, frayed guitars or synthetic mattresses. Nothing original, of course, but it is so well done and treasures so much energy, that it would be a crime to let this maxi pass by. In case the after begins to decay, you know. Puncturing them and putting the track upside down is immediate. And as for dubstep, that is a thing of nenazas. That the minimal stopped being minimal long ago is something that even the grandmother of Fabada Litoral knows. Use and abuse of overproduction, more cheap tricks than in a Juan Tamariz number and a bomb proof card. But, what life has, one day we get it bent and it turns out that we like it a lot. Nothing new under the sun, okay, but still cool. Two raw and resonant metal songs, faithful to the classic Detroit sound, but seasoned with that touch of voluptuousness, with those games of evanescent melodies that Titus Orbison likes so much. Write down your name, because you will hear a lot about him. It was the text of a philosopher who posed his gaze and developed his thinking around the cinema, both classical and modern. The conversation began around the role of cinema, a worn out concept and a necessary revision. The starting point is not casual: can it be started differently when the authors write from the analysis, but also from the passion? Here is drawn the horizon that the current critic must glimpse, from the digital cinema to the new ways of seeing and living the cinema. There is no mention of the Sinde Law, but extrapolation is within the reach of anyone willing to re fl ect. An essential item for lovers of Allen's cinema and a unique guide for all travelers who want to explore the confines of "Manhattan". In this volume an exhaustive analysis of the extraordinary series that the prestigious publicist firm led by Roger Sterling has in its sights is carried out. Through a robot portrait of the cast of characters deepens on its chapters with great detail. It regrets that only the first two seasons are analyzed. With more than twenty years of career in the world of comics, Arcudi is an old dog and knows how to manipulate the reader perfectly. Something that amply demonstrates in "A God among us". Arcudi treats the subject very realistically, without neglecting any plot; from government manipulation games to personal relationships between family and friends. A very hard and serious comic, like life itself. In the two volumes with which Astiberri collects the fabulous American omnibus, the pulse of an artist is given free rein that is signified by the permanent personal challenge and the impulse to give a certain poetic sieve to what has been lived. This way, the evolution in the trajectory of the creator is offered on paper, who imbricates his biographical facts with the temperamental turns of his work. The illustrator of "From Hell" freely flies his genius tracing, shaping the place where the course of the world and the inner life are found. Not happy with the outcome of that story, the director of "Clerks" promised himself to write the best possible Batman story. The sexual game between Batman and a jealous Catwoman and the battle for trust between our Hero and the new masked are the great strengths of a comic that has a brutal cliffhanger. Out of his head have come all the great events that have come back again and again to the, often stingy, world of Stan Lee's superheroes. Bendis wanted to undo all the established order from a superheroic civil war and took everything a step further by plunging Marvel into a "Dark Reign", where the villains ruled the world. How to live in a ghost town Well, Terry, I invite you to spend a few days in Spain and I'm sure you'll leave here with another impression. But Terry Hall has always been known to say what he thinks in the most inappropriate moments. In a few seconds a furious public began to throw coins and all kinds of objects on stage, before which Terry Hall had to apologize and clarify that he was joking. It may be a bit of an exaggeration to compare today's England with the end of the 70s, but "Ghost town" is still as valid today as it was then. And the song was also so good that it managed to unseat the very same Michael Jackson from the first place in the British charts of 1981. We danced and sang, and played the music in a boomtown This town, is coming like a ghost town Why must the youth fi ght against themselves? Do not believe, at first everything seems very easy. The suitcase is parked on the floor of the car and you sit down. Everything moves slowly except the trees, which stain the window through which you are looking. Perhaps it is one of the most surprising features of "Sleeping on roads", that soft voice. This record would have been done differently now, because no one sings so softly, not even Sam Beam. People scream more, are less afraid to say everything out loud. This album seems to belong to another era. The curious thing is that it does not have much in common with what happened in 2002. with Charlie, the days when the important thing was the movement, the service stations and the surprises waiting behind a hill. The shirts went inside the pants and now we wear hoodies. Everything has changed, but deep down, Halstead gives a little bit the same. This record takes us to a Midwest diner sixty years ago, where the waitress serves us dirty water from a filter coffee machine while we talk on the mobile phone with the friends who stayed at home. It's a matter of names and categories. If a classic is timeless, a Classic Ultimate has something from another time and a little from ours. It sounds "Seasons", a song that the critic knows perfectly. With it come a long string of sentences that make epoch. The critic feels satisfied and intends to move forward. Feel calm, anticipate an evening of comforting writing and have the impression that you have never been so sure of what you have to tell like today. The words are crowded at the tips of the fingers promising great lines, better ideas and an unprecedented degree of penetration. But, as I have already advanced, this section of the magazine is treacherous. It's your poor critic, who just hit the floor on his face. And one stays with the cheeks against the tile with the feeling of having been scammed by their own memories. I'm sure you'll understand if I explain it to you. It is the record that one should listen to whenever he takes out the samsonite. This is the song that accompanies the trip, the slow rhythm of a car that moves along an empty road, the train that leaves a station where one never stops. The critic, who has already sat back in the chair, is overwhelmed by the amount of memories that visit him. Remember stations full of people, remember the coffees that took in those stations. This was the record he wrote right then. Fifteen themes in total and a surprise with photos. And perhaps because of this his role in the time between the publication of his debut and his record return has been left something overshadowed and relegated to the background by own decision. Having ruled out the surprise factor and the trick of the unexpected impact, Deaf Center now play to perfect its sound, polish all the details to the maximum and find a point of balance that makes them more human and closer. I do not know what some reckless filmmakers expect to ask for a price for a tailored soundtrack. Of course, if something is particular Kubin is a perverse sense of humor and a very particular way of understanding art. A set that draws a strange and scattered sentimental memory, the incomplete puzzle of a society that did not quite get along with technology. Their classical training allows them to skip the scores and start creating songs that seemed closed. However, the disk that we have in our hands again disorients more than one. And this is news, the American trio has not seized anyone's music this time. And it is not at all easy that they have done, create a unique album, at times surprising, disturbing and where they demonstrate everything they have learned together these 10 years they have been traveling the world. And it's not easy to maintain a band of this level for so long. Because in addition to having rotated like buzzers during all this time, each member separately has continued recording and touring with other jazz stars. And that is very clear in jobs like this "Never stop". It's rock music, but without the dynamics that usually accompany the genre. It's like those irritating flies that enter the dining room at around 5:30 PM and fly over the remains of food until I take out my badminton racket. It's drum'n'bass, sweetened and turned into rotten waste for popular consumption. It is rock music made mime: all posture and no substance. It's rock music turned into crisis of the forties: premature and unwanted. It's rock music like mud: brown, shapeless, useless. Even with a month to write a review, most critics would have to work hard to write something of that level. Most journalists listen to the discs with half an ear on, and another butterfly thing. Maybe the fans do not do it that way. And then the critics are going home to write the review. And in most cases, these reviews have been accurate, and many of them have not, but the fact is that they have been written. If anything, it would have to be easier. Perhaps it is a re fl ection of the quality of online music journalism or - more pertinent - the quality of the critics who write about Radiohead online. Radiohead are not a band too interesting, to be honest. So it's also not surprising that the press re fl ects that. Still, that procedure only really works if the journalist has an idea of ​​what he writes. The piano swims through all that fog... " Radiohead are very clever when it comes to promoting themselves and their music. On this occasion, the group did not want to report the date of publication of the soporific "The King of limbs", and the music critic and the blogosphere succumbed in a frenzy to prove that they could continue to contribute dialogue around the album. Quite the opposite, actually. There are numerous examples where dialogue around music still translates directly into sales. In fact we could argue that Pitchfork has more power today than any of the weekly media of the British music press in its golden days. Column Everett True commercial music, but without losing that point of darkness and virtuosity that continues to differentiate them. It is, without a doubt, a group that stays in the middle of nowhere. In this way, they have achieved success and respect that few contemporary jazz combos could share. Yes, they have won almost as many fans as enemies. From their own record they refer to a way of understanding commercial music with a quite original term, avant-garde populism. For their aim to deconstruct pop songs and transform them into angled jazz pieces. They have also done it with rock. And they also did it with some myths of country and classical music. Tuesday, March 29 _Alondra Bentley. Madrid Wednesday, March 2 _Exsonvaldes. Saturday, March 5 _Sly Johnson. Barcelona Tuesday, March 1 _Monotonix. Tuesday, March 8 _Maria Rodés. Tuesday, March 15 _White Lies. Wednesday, March 16 _Minimum Syndicat. Sunday, March 20 _Mark Olson. Tuesday, March 22nd _Hjaltalín. Friday, March 25 _Tony Allen. Thursday, March 24 _Nacho Vegas. Friday, March 25 _Pony Bravo. Tuesday, March 15 _Mark Olson. Friday, March 18th _Margarita. Friday, March 4 _Zemos98: Ventura. Saturday, March 5 _Nacho Vegas. Thursday, March 10 _Scott Kelly. Friday, March 18 _Fangoria. Friday, March 25 _Vivian Girls. Monday, March 28 _Vivian Girls. Tuesday, March 29 _Joaquín Pascual. Wednesday, March 30 _Joaquín Pascual. Aragón Tuesday, March 1 _Exsonvaldes. Friday, March 4 _The Wailers. Sunday, March 6 _Exsonvaldes. Wednesday, March 23 _Hjaltalín. Friday, March 25 _Telephunker. Saturday, March 26 _Chew Lips. Wednesday, March 30 _The Go! Thursday, March 31 _Nacho Vegas. Saturday, March 12 _Joe Twilight. Saturday, March 19 _Tiki Phantoms. Saturday, March 5 _Ólöf Arnalds. Friday, March 18 _Mark Olson. Sunday, March 27 _The Oscillation. Tuesday, March 29 _The Oscillation. Thursday, March 10 _Abraham Boba. Friday, March 11 _Abraham Boba. Thursday, March 17 _Fuel Fandango. Friday, March 25 _Christina Rosenvinge. Friday, March 11 _The Tamborines. Saturday, March 12 _Hydrogenesse. Techno-house, incursions in electro and disco music. Wednesday, international guests. and eve of holidays of 1 h. at 5 h. Single ticket to Razz Club: € 15. Weekly residence for Thursday nights at the Apollo. Powder Room hosts the best nights of deep funk, breaks and rare grooves in Barcelona. Two rooms that offer the best concert schedule and DJ sessions of the indie and mestizo scene. Almost touching Correos is this place with the air of an abandoned subway station where every day, between riffs and whiskey, those who wear rock in their blood come together. An open and willing place to gather funk with fl amenco, cabaret with electronic music. Pop, electronic and indie are the central axis of the sessions of our DJs, from the essential classics to the latest news. and eve of holidays from 1 to 5 h. Single ticket: € 12 93 320 14 90 The coolest place in the city, the new meeting point of Barcelona. Amazing tapas, extensive cocktail list and the best music. More than 25 years offering the alternative from L'Hospitalet. Musical performances in small format. Wednesday: Strawberry & Chocolate. Thursday: Buziós - Brazilian soul. 627 73 30 81 Manchester bar brings together friends and followers of the music of the 80s and 90s and their british tendencies. More than 60 alternative music concerts per year. The band is greased, the arrangements are replaced by immediacy, the small shorts are replaced by frank smiles and in the meantime they continue chaining theme after theme with apparent simplicity. First pleasant surprise, Nitsa up to the flag and smiles from ear to ear that denoted the intonation for the bajini of a 'fuck yeah' with capital letters. Contemplating his session served to verify, mainly, that the Frenchman has won in technique and ease compared to a few years ago. Now it is more subtle and elegant, blindly trusting the vinyls that click before being aware of placing the delays or reverbs of turn. During the live show, the American took every moment to reaffirm himself as a singer-songwriter. Spanish guitar, darkness beyond the grave and prohibition to take photos. He was sharp and ironic, eager to communicate with the public. He asked a girl Californian if you wanted to go around Madrid. But despite the requests, Kozelek did not give in. He left without touching "Katy song". He went out to do an encore but not a second. Some resistant people remained seated. A very receptive audience, but less participatory than in previous occasions. So little involved that the band's patience was exhausted; a tense Graham Lewis had to give a little attention to the small crowd that crowded in the front row to dance. Enervated some and excited others. His direct -of more than an hour and a half- made people laugh, cry or keep a respectful silence. In music, what 'there' was produced was basically a deluge of techno music from morning to night with the ultimate goal of submerging us collectively in a world of rhythmic masses and affective contagion. DayOne, the name says it all. Beginning of a new year, a new life, a new stage. You miss Bruce Gilbert. At no time do we miss the instructors who accompany her on the album. It is not that Bulat is able to directly match his performances in the studio, it is that he undoubtedly improves them. The mastery with which she dominates her voice is no obstacle to a disarming naturalness that makes her even more accessible and charming and that seems essential to her discourse. Her voice and her diction of unconcealed retro air, the conviction with which she tears her instruments, make her appear not as a contemporary artist, but as a survivor of the golden age of Anglo-Saxon folk. The immediate result could not be another, granted up to two encores to a dedicated audience that left the room with the certainty of having lived an authentic epiphany. It happens in "I learn to share", a progressive cut that overwhelms your decibel crescendo and leaves you with the feeling that a truck has passed over you. They also knock out the powerful bass lines of dubstep heiresses in "Limit to your love" and "The wilhelm scream". Markus Steen The French band has once again given a second life to key songs of French and Anglo-Saxon music, infusing them with a new wave soul with a touch of bossanova. He declared his love for Barcelona several times and gave it his all. Rocker, soulwoman, malicious, she turned 360 degrees with her voice. To finish with the best flavor of mouth, "In a manner of speaking" began a last conversation in private with the Palau, with a public surrendered at his feet. We are before a future 'lady' of music. The first part was one of those things that came as a surprise, without much advertising fanfare. But the result was wonderful, capitalized sales and deserved critical success. That this second part is even better. And the work that has been done with the enemies is worthy of praise, fear they give. Infinitely more spectacular than the previous installment. Because we are fair, the previous deliveries were a want and I can not. It is understood that Sony has put all the meat in the basket with this new delivery. And the truth is that they have done well. We have tried it and finally "Killzone" gets what it was looking for, a futuristic action that is epic. And this is said by an unredeemed 'fishbowl'. Here they promise us the gold and the moro, kids. Graphics like you've never seen, et cetera. The truth is that I am afraid that we will have to give them reason. And, uh, the script is from Richard Morgan, one of our fetish writers. A franchise that is being unfairly ignored. And the second... well, one of those games that were ignored I'm not sure why. The trailers that are on the net and we tie them. Unfortunately, we have not been able to prove it yet. And it's a shame, because of all the launches prepared for this first quarter, this is one of the most striking. And, in addition, it is an action game that rewards the deaths to the beast. Come on, the more creativity you have at the time of finishing with the enemies, the more experience points you add. Charisma and wholesale brutality. We believe in him, even though we may be wrong. And they say that it will have one of the best facial expressions in history. It is not one of those games that matches the ones we have already mentioned... but the respectable one commands. And it is that "Homefront" is one of the games that is attracting the most attention among fans. The truth is that the designers promise that the scenarios and the "Homefront" conflict will be much more human. Something that sounds contradictory, but in reality what they mean is that it will throw more realism than fantasy. The intention of the designers, to turn their game into the new "Call of duty". For the rest, the truth is that this new installment of the franchise has as many chances to be a wonder as to become the biggest disappointment of the first quarter of the year. But let's stay with the positive, this is action in an environment that drives us crazy. Implants, stealth and impossible situations. Feiyue made an open casting to discover new faces and looks, previously warning the participants to attend the session dressed according to their own style. A photograph can carry an embedded tuning, in the same way that gastronomy and its creations are pure melody many times. That is why Marula launches a vinyl collector's edition with a selection of the best music that sounds in her club, in collaboration with Lovemonk. Each vinyl has a fantastic original design on the cover and a recipe for cooking on the back cover. The boardshorts gain prominence with vibrating models and Rastafarian colors, free-spirited and carefree. Amateurs and lovers of snowboarding are in luck because the second edition of Roxy Snowcamps is here. On March 12 and 13, at La Molina Ski Resort, you can share the excitement and passion for snowboarding while having fun like crazy. As a final touch, nightfall and the possibility of winning, among other gifts, some great tables! All the info here: These oriental design dolls for a chic and elegant decoration are also a way to give and share the best values ​​and desires of life. The new 2011 Kimmidolls collection comes with more elegant designs, with different colors and small floral ornaments and elements of oriental culture in their dresses that will give life to your home. All dolls, new collection and more information at www. Kimmidolls Design dolls Denim will never be retired. This coming spring, the double and triple denim will continue to be one of the total looks, combined with the classic denim shirt with a draped or floral dress. And the good thing about Lee is that that shirt will do nothing but improve with the washings, forming part of your story and your wardrobe from now on. What has been said, an indisputable pledge. All with many special effects that now come in the form of audio. For the rest, and especially to live intensely your day to day, EasyTone are the ideal footwear. They are made of synthetic materials and breathable mesh, so we will not have to worry about our feet getting too hot and not breathing well. Part of the look, like sports jackets, have become fetish footwear. For some decades now, women have added to the sporty style, showing that seduction and comfort are a binomial that works perfectly and that often going casual is the best weapon of attraction. The best-in-class sneakers tone our muscles in an additional percentage to what you would achieve with traditional sneakers with foam soles. Mitemite customers do not buy to buy. They seek differentiation and originality, which flee from mass productions. That's why many fans of the brand are foreigners. Thanks today Internet we have small and unique proposals, from anywhere in the world, within our reach. The current design goes beyond beauty. Its function is to make life easier, to provide those ideas that ensure total comfort, at home and in the public space. You just have to prepare a sandwich and sit in front of the TV for a dog-friendly Sunday. Making life easier and more fun, that is the leitmotiv of the firm, which also bets to break taboos. For example, who said that food is not played with food? Chips & Chips is another work by Mitemite that proposes us to make three in line with family or friends with food as chips. And it is that Mitemite is, according to what they repeat as a mantra, "for those who dream big". In the laboratory, ideas never end and never stop growing. However, there are those who risk it, who prefer the vie bohème and enjoy the day to day creating for four dollars. There are those who bet hard and struggle to turn their dream into their 'modus vivendi'. Anna Martí, soul of Mitemite, is an example of this. Interior designer, graduated in industrial design at the London Saint Martins, her career took off in the world of advertising as an art director. Tired of focusing on just one discipline, she decided to turn her career and her life around. With just 2,000 euros in his pocket, he decided to carry out a project that had been maturing for some time. Bolts that looked like newspapers. A fun idea, ironic, different. With his own hands he made his first prototype and after some vicissitudes he managed to get his beloved bet placed in the shop window of a shop in Barcelona's Eixample. Mitemite made his first wink. It's a treasure for you, for the thieves, it's just a newspaper under your arm! However, he never really had the necessary artistic talent. Aware of this, and without wanting to give up her dream completely, she decided to make a career in the fashion industry. For Mitra, there must be a line, however curvilinear, that would make the binomial business and creativity a perfect balance. His will was to use his company to help talented artists reach broader audiences and allow the works of these artists and photographers to be part of the daily life of the people in a "wearable" way. The plain bottom of the shirt becomes a canvas on which dance, embed, quarrel and embrace dozens of artistic motifs of very different caliber. Who chooses a shirt like that must necessarily have ideals. The drawing, in bright colors and traces of influence sixties, has multiple details that capture the viewer, as if it were a painting. Other t-shirts with a lot of character are those of Ty Mattson. Surf through and get soaked by the most avant-garde art. Backpacks with lips, ears and eyes. Upholstered backpacks and jewel backpacks. Backpacks with dolphins and canvas backpacks. These high-tech shoes combine comfort, technology and well-being. The casual lines provide the comfort of Geox shoes with its perforated rubber sole and a waterproof and breathable membrane. A modern version of the fight to save the planet in which, remember, the lousy Jocker is willing to show his best smile against Batman. Available in adult and child versions, this collection features screen-printed silhouettes and small embroidered details. For all the followers of the legendary comic editorial. I think this is the British production that makes me laugh with more hysteria nowadays. Everything works like damn clock in this teenager delirium. The talks are lagrimón. The cogorzas, anthological - there is a vomit on a boy of 5 years annihilating. The actors, magnificent - it is essential to be a fan of the Liam Gallagher pocket. And the scripts do not raise any limits in terms of offensive language and sexual references grotesque To dream of a series of these characteristics in Spain is like listening to a Mourinho press conference, a great waste of time. An alcoholic father must take care of his numerous children in one of the hardest Mancunian suburbs, and he tries to carry on, so to speak, a defective offspring on which no flash of hope is glimpsed. Your series is "Peep Show," a hilarious x-ray of post-college failure. One has an administrative job and the future more or less assured, but he is immersed in chronic depression and has serious problems in establishing contact with other humans. The other is a frightful musician who curiously shows an optimistic and carefree attitude towards his null future prospects. Sui generis, risky and freak, "Peep Show" makes the name "cult" reach a new dimension. Nobody like these Englishmen to make other people's shame an art. While serving social services for problems with justice, the quinquis in question receive mysterious powers. The gangster of the group puts horny men at the touch of them; the poligonera working class reads thought; the autistic becomes invisible and the bold little black can go back in time. The series feeds on open references to drugs, scenes of teen sex rises in tone, swear words and fantastic component script spins very well executed. Three failures try to survive the thirties without much success. Your world is still anchored in superhero comics, action blockbusters, cheap literature and the bloodiest video games. Modern, sown with winks to the pop culture of the last 30 years and dressed with brilliant dialogues, "Spaced" captures in two essential seasons the infantilistic myopia of a generation that was lost on the way to adulthood. The country of methamphetamine is a desolate territory in which any child knows how to handle a rifle, squirrels are part of the diet and in one of every two cabins a clandestine drug laboratory is hidden. To prepare the film I documented the daily routines of several Ozarks families because, for me, it is very important how the environment influences the story, "says Granik. At first glance, the documentary tone and the application of neo-realist strategies would position the film within the humanistic-realist current of certain indie cinema endorsed by Sundance. The film of Granik is, at the same time, an accurate anthropological analysis of a community devastated by drugs, a tense rural noir and an initiatory tale of sinister Gothic soul. A turn to black in which Daniel Woodrell, the author of the book on which the film is based and a well-known writer of a crime novel, has had a lot to do. In "Winter's bone", as in other contemporary neo-noirs, bloody rags are washed at home. Ree is strong but also vulnerable. His uncle, 'Tear', is dangerous and violent, but also protective. Stepping through the forest with determination or waiting stubbornly on the porch of a farm to talk to the clan patriarch, Lawrence has the demeanor of a fairy tale princess. That's why it was refreshing to find a female character with determination and tenacity, and who, at the same time, was unpredictable in her responses. " Those were films that used blood, to elaborate a discourse that only some could guess. The hyper-realistic use of violence, intentionally key in "Kidnapped", always gives a lot to talk about. It's funny to talk about gratuitous violence... violence is always free, it's never justified. The difference is that in 'Kidnapped' we do not turn it into a show, which does not seem right or wrong. Here we show it as it is, without taboos, although not in a carnival plan ". Good note, that nobody expects a feast of blood and guts, the splatter is another thing. Vivas rehúye, enchanted and flattered, the reference. And he's doing his thing: "More than telling a story, we consider the film as an experience. We thought about kidnapping the public just as they kidnap the characters. " They get it, and that's where the analysis of the movie comes in as justified exercise of style. Benito Zambrano says that the actors like to suffer, they have a lot of fun, and they enjoyed an experience that was new to them. The project allowed them to play with their own fears, letting themselves be carried away by very limited stimuli and sensations that allowed them to almost experiment with something real. There was a lot of pre-trial work, everything had to be choreographed, it was almost like a dance. " She just wants Chaney to be hanged for the murder of her father, he just wants to hunt the fugitive and drink the reward; they both do not care about the law. After a couple of curious disagreements, we know perfectly well which limps each character and what the evolution of the film will be. In fact, we know it since it started. But of course, in the case of the Coens, there must be something else. And there is, "Valor de ley" is one of the most revolutionary movies of our time. For starters, the protagonist is a woman of fourteen who behaves like a real daughter of a bitch. There is no cynicism or double standards, they have killed their father and they want revenge. The third in dance is a criminal more evil than mange that neither seeks nor desires redemption, only wants to join any band that guarantees a booty with which to leave as whores. With such typical wickerwork, the Coens manage to take to their land a matter of revenge of a lifetime and turn it into a subversive and rebellious masterpiece that resonates weeks after having seen it. You have to be a genius to 'adapt' to our time a western like this. It does not stop being a history of good versus evil, but what a way to tell it, what a way to get our morality of a lapdog to stir. The title of this film means "grandmother" in Tagalog, and precisely the plot focuses on two grandmothers who must live together to cross the flooded neighborhoods of Manila, in order to prevent the grandson of one of them, supposedly a murderer, from going to jail. of the grandson of the other. Nothing makes us guess that he will achieve fascination with his constellation of French film stars in this retro-style story, where a wealthy bourgeois of the 70s puts himself at the head of the family business. If the pomp defeats cynicism, I'm afraid we'll be lost. Luckily, we do not watch TV, because the friend is going to spend a good season saturating programs with his promotional shirt, and spreading his sympathy. And maybe it is not for less, taking into account its four hours of duration, included intercourse. Nor do the myriad of characters and the suspicion about corny interpretations help, for this classic of Portuguese lyrics that was already a television series at the time. But Ruiz's rhetorical abilities and surrealistic encouragement make us believe, so we'll go well to the bathroom before entering the room. The actors, all blameless; but it deserves to highlight a Christian Bale who composes the best creation of his career. And that's what goes, a good script and a firm hand to place the camera where it belongs. Infallible formula to give birth to good movies. An odyssey that crosses a homeland dismembered by madness, crimes of honor, and the struggle of tribal and religious sign. In short, the violence that never ceases. Guerin is that, a guest, and he shows himself as such. The scene of the hotel of "Guest" contrasts with the rest, an exquisite white and nego that moves through the most inhospitable corners of the cities he visits. We will see if he succumbs or not to the well-known curse of the golden statuette. Meanwhile, fans of the Portman will undoubtedly have cause for celebration with the gala on 27 February. Think, for example, in the Renton of "Trainspotting" submerging in a cup of water that led him to a sort of impossible liquid placenta. Or in the Richard of "The beach" moving like his own avatar through the jungle thickets. Which means, in turn, that Boyle has carte blanche to disperse based on effects and structural games. El Creme is the only place that is still open in the town after the bars close where we can find people like us... ". The respective biographies of these two great writers are also comparable: working class works - firefighters' quartet vs. 32 years in a paper factory - until at a respectable age comes recognition and everything else, the American literary dream. And yet, there are differences. It is so beautiful that even the author has dropped the lagrimilla. Except Kirk Cameron, who always smiles at him with a poster face from the wall of his room. Nobody knows, but Wen has a secret, in reality, he is not any girl. Because he believes in superheroes and supervillains in the same way that his grandmother believed in God. And because he has a costume that he wears under the clothes he's trying on and, hell, he just got his first case! From there, everything gets complicated. But the trip is extremely fun. Also amazing and very, very addictive. A breath of fresh air in the current literary scene. A radically free and very quiet novel that rides madly with the reader from the first to the last page, giving laughter but also half smiles. There are fireworks, but also loneliness and incomprehension before a ruthless and cruel world. There is also something of that vision of reality apparently naive, rabid and lucid in equal parts of the Vonnegut of "The breakfast of the champions". But above all, the song of fan culture and genre literature stands out. Now comes the time of the revalidation with the publication in Mondadori of "The new taxidermy." In the first nouvelle appear the concepts to reconstruct, recreate, acclimate and resuscitate. I pose them as key words in the book. The characters are just an excuse, a vehicle to talk about issues related to the appearance of life. Problems that are not solved, to which he replies: "a conflict has arisen and those people have been put at stake. Why do we have to settle this? It is not my intention to solve anything, I prefer that the end be open. The resolution would be to kill them directly, a blow and it's over, if not life goes on and know what's going to happen to them. " The dark reverse of everyday life that could be found in the characters of Todd Solondz, a distant cinematic cousin. In what disturbs you in some way, pleasant or uncomfortable, in that which moves you, is where there is literary material. Those things that you have stuck there and have not finished going. " And no, it is not autobiographical material, although evidently reflects the contemporary discomfort, the uncertainty of our days. I write about what I know because I see writing as a small investigation and analysis. " A time that prints a certain speed and that is also reflected in its literature. I think of a rural rhythm, an old life, with little to do, without having to transport or have twenty things in mind at the same time. We need that speed. We can not write like Proust because we are the fruit of another era. Before the Internet, there was that anxiety, perhaps related to consumption, and the fragment works well in that dynamic. " I like condensation in general. " The question of rigor after the warm reception of the critics is whether they will venture into the writing of a novel. A consideration that confirms his literary recommendations. The chronicle is a genre that has not been worked much in Spain, it is essential to look at Latin America. " As a farewell, with One half is malicious laughter, he says "I like the idea of ​​forcing reality". We look forward to the next delivery. On the one hand, I did not want my first work to be fiction, it was a huge leap for me. On the other, the idea of ​​looking like a young man reciting esdrújulas words, citing widely a lot of books of philosophy, poetry or literary classics more or less recent anguish me. The important thing of the book is that it has a deeply generational component, something that is mine and of the readers, something untransferable. Sentimentality ends up denying criticism, even denying memory, although to some extent it is a form, a matter of non-trivial emphasis. It was about drawing a map and any argument that is sustained in the beauty of a memory is susceptible to being seen as something not illegitimate but purely emotional ". Creatures once fearsome and now move disconcerted by a world of dark beings called humans. They are not tales of Gothic terror, but a new look, lucid and feminine, about the archetypes in which our ancestral fears crystallized. Pilar Vera is a writer who does not follow the paths of fashion but those who dictate her imagination and her select bookish culture. And the ability to forge frames and leave the end half-open, so that the reader himself will fit the pieces. We also note the sense of humor and irony, and also a bit of bad grape justiciera. If in a story of Vera happens a misfortune, have it as deserved. They are stories that resist several rereadings and with merits enough to become classics of the genre. An unfinished work that, definitively, does not require prior contact with "2666", but must be received as a new opportunity to read an unpublished Bolaño in full form. According to the author himself, "the policeman is the reader, who seeks in vain to order this demon-possessed novel". This confirms that the author's need to write, once again, without guidelines, without limits. No, do not expect to find here lexical impositions or that vanity drowned in arti fi cial games that do not seem to serve more than to hide the emptiness or the lack of ideas. The author of titles such as "Escapada" or "El progreso del amor" moves between fine observations that add substance to any character or situation. He knows how to put language at the service of dismal and addictive stories, but always - always - narrated from an unusual angle. However, the key text to understand the author bears the transparent title of "On Pedophilia". An authentic test of fire, before such a delicate subject, Houellebecq could not afford a single slip. Politically incorrect and deeply analytical, Houellebecq does not leave puppets with heads, does not hesitate to point out victims as such and comes out absolutely reinforced as an essential author of literature and contemporary society. Violeta Kovacsics Young people start writing, they debut with a book, and few finish as well as in this story. We see dozens of examples of this throughout the year. The most interesting thing is that Jimina has done it without worrying too much about what readers and critics are going to think. The matter is complete, "Celacanto", his literary debut, is not a common book. It is not in the sense that it interpellates areas unloved by young storytellers, childhood and fears as de fi nitioners of identity. The fuss is minimal, the sincerity overflows and the result is beautiful. A language that is clear and dark at the same time, simple in appearance but elaborated, manages to evolve on the steps of everyday fantasy. While the reading has ups and downs, "Celacanto" is able to maintain tension and anguish wins, however little the reader empathizes.

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