Purpulan

Damn, how trivial you are, it doesn't scandalize anyone!!! In fact, I keep showing off and I'm telling BartoloBombolo (and it has nothing to do with it!). Look for South Park "Ninja Song" on EMule and download it (just under a minute!), then check Google for the translation of the lyrics, a KILLER GEM! (IT'S HILARIOUS!!!).

Ctonie=sotterranee=underground...wo w what ignorance...so I'll take refuge in aposiopesis! Also because I haven’t decided yet whether I like this album or not (but I didn’t adore the first one as it seemed one should, while this one is easier to listen to with a lighter heart).

I like bad luck, but you have to know how to translate it into images; him and that other cheerful guy Zanussi just don’t sit right with me, that teleological appeal they have— the more you swallow it, the more it pulls you down. A little less airiness and a bit more concreteness, please... So I bring up as a counterweight "Berlin Alexanderplatz" by Fassbinder/Döblin! Anyway, I agree with Bubi that this and especially "Non uccidere" are the best episodes among those that revolve around the condominium of bad luck.

Never been a "true fan" of theirs, but when the Big Beat trend exploded, they had already served up the meat to all the various useless epigones with "Exit Planet Dust" and "Dig Your Own Hole" (and then there was also that little gem for DJ sets, "Brothers Gonna Work It Out"). However, "Come With Us" was already a "cooked" work. Experimentation?! Maybe, but from "toilet" chemicals!

Mmmmh, it smells a bit... minimal techno is back in fashion, and what are they doing??!!... however, given the latest episodes, and considering that certain territories can be explored even deeper... never despair too soon!

It sounds rather immature compared to the first true full-length "Vs.", which is indeed worthy of consideration.

@ "Keanu Reeves" 87 ; ): And we’re talking about tastes! But the point you make really hits on the term pro-filmic that I used: "polysemic plot," that is, starting from the assumption that the source is literary, the possibilities for development that this has in a field like cinema, which offers multiple opportunities for recontextualization and signification (at a microstructural level, of course, so as not to distort its overall meaning) through the combination and weaving of "other" languages like the visual and acoustic ones. And here Ang Lee doesn’t seem to take many risks, staying at a level of aesthetic affectation, while admirable, but that adds little to the source itself. Sorry for the lengthy explanation, but it was necessary to clarify how, on the other hand, this time I preferred (and we return to the issue, spontaneous, of personal taste) the work of Greenaway, who instead has always played abundantly with semantic prolapses (often ending up overdoing it, but not in this case)! But perhaps it all depended on my particular mood when I saw these two films (September, and before that, I had also come across the ignominious "Les Amours d'Astrée et de Céladon" by Rohmer! ; ).

Seen only at the Lido and, frankly, it didn't impress me. The doubts about Ang Lee, in short, remain. A director who knows his craft from a formal and staging point of view, but lately gives me the impression that he wants to tackle works for completists, resulting in being aesthetically commendable, but not so skillful in weaving polysemic plots. To put it another way (which may seem out of place, but since you bring up Oshima), at the Venice Film Festival, I appreciated Greenaway's latest work ("Nightwatching") much more (and to be honest, the Welshman had seemed to me to be past his prime in the last decade).

I admit my ignorance, but for this kind of thing one must have a certain inclination, I believe. About four years ago, an enthusiastic guy made me listen to one of their latest works ("Dr. Crow," I think it was called) and frankly, it didn't impress me much. I mean, some tracks that played with bluesy riffs, reinterpreted and stubbornly repeated in a garage style, very raw and frayed, with a vocal delivery like that of a drunk, congested, and wheezing person, I liked. But according to the guy, those were the least representative of the Deviants' "style," so I didn't delve into the matter. However, reading the lines of Supersoul, it seems to me that things are not exactly like that!

Well, regarding the fuzz issue, it can seem monotonous, but no one can take away from Mould the credit for creating a guitar sound that didn't exist before (and since he abandoned it, I'm just not convinced anymore, and the acoustic stuff is a drag). Norton now runs a family-owned restaurant with a name that reminds me of something from Huskers (I read it recently, but I can’t remember where).