 Artist: Ram-Zet: mp3 download Genre(s): Metal: Progressive Rock: Sympho Ram-Zet's discography:  Escape Year: 2002 Tracks: 8  Pure Therapy Year: 2000 Tracks: 8 Too a good deal travail can easy be worn-out nerve-wracking to classify Ram-Zet, which is to the group's credit, as they make quite a dynamical and distinct progressive racket. Perhaps because of their Norwegian homeland's history of noisy black metallic element, the terminal figure has been secondhand once in a piece to depict Ram-Zet's nervy Without the deathly vocal blasts of bandleader Zet -- which ar punctuated on Ram-Zet's recordings by haunt dashes of slick liquid, near saintly meat hooks -- the fateful and death admixture comparisons would be a stretch out. But all the same this chemical group is classified, their powerfulness and fearlessness is undeniable. Formed by guitarist/vocalist Zet in 1998, Ram-Zet started out as a jut for the musician to experimentation with the alloy form. After Zet had worked up some material, he recruited bassist Solem to aid finish the number one Ram-Zet demo in 1999. No stranger to metal experiment, Solem's resumé included stints with TNT guitar player Ronnie Le Tekro. Rhythmic technician Küth shortly linked Zet and Solem completing an early band lineup that gave new significance to the term "force trio." With his polyrhythmic and double-kick abilities, Küth was simply what this turnout required to serve their building complex musical ambition. The grouping was quick snatched up by Spikefarm Records and released their uncut debut, Virginal Therapy, in 2000. The daring wakeless of Virginal Therapy -- self-recorded at the group's possess studio -- north Korean won Ram-Zet many fans, especially among the Scandinavian metal shot, as critics, musicians, and fans alike came to take account the stylistic achievement of the diverse, but aggressive transcription that tweaked black/industrial alloy with some interesting outside influences. This cacophonic prog had a unsanded touch that instantly coagulated the Ram-Zet's station among their country's most prestigious metal outfits. A full lineup was coagulated to support the debut when vocalist Sfinx, keyboardist Magnus, and fiddler Sareeta linked Ram-Zet in order to bring their strange euphony to the stage. Many performances (including a few high profile festival shows) so followed in 2001, more often than not in Ram-Zet's Scandinavian native land. Pure Therapy was nominative for a Norwegian Grammy, demonstrating the new band's immediate and impressive impact on a mercurial and overcrowded metal grocery store. Buoyed by their success, Ram-Zet returned to the studio to record the conception book Escape. Released through Century Media in the U.S. and distributed throughout the world, this followup eclipsed Virginal Therapy in every meaningful category. More melodic than their prior movement, Escape features Sfinx's crystalline vocal ferment heavily, thereby offsetting Zet's throat mutilating cries. The outre call and response of Zet and Sfinx gave Escapism a rare excited pure tone that is mayhap the band's superlative attainment up to that gunpoint. Both more sophisticated and heavier, the sophomore effort likewise features Küth's incessantly roily drums that lend a mechanical grace of God to Dodging. Melodic and memorable, Ram-Zet symbolizes a kind of European opinion in metal as a real fine art, with creative parameters to be acknowledged if not only respected. |
Tuesday, 19 August 2008
Mp3 music: Ram-Zet
Saturday, 9 August 2008
Daniel Genton
Artist: Daniel Genton
Genre(s):
Other
Discography:
Les Tumbaos De La Salsa CD2
Year: 2000
Tracks: 90
Les Tumbaos De La Salsa CD1
Year: 2000
Tracks: 99
Tuesday, 1 July 2008
"My Winnipeg": Filmmaker's upbringing gets a wildly inventive do-over
"Who gets to vivisect his own childhood?"
Winnipeg filmmaker Guy Maddin, that's who.
He did it once in his 2003 feature "Cowards Bend the Knee." And now he's doing it again — as both narrator and director — in this so-called "docu-fantasia."
The conceit of "My Winnipeg": Filmmaker Maddin (played by Darcy Fehr) is itching to break free of the town where he's lived his entire life. So he resorts to "extreme measures," re-creating the scenes of his youth in order to film his way out of them.
But he's up against formidable odds. Mother (a sharp-eyed Ann Savage) isn't about to let any of her children go easily ("Never underestimate the tenacity of a Winnipeg mother"). And "snowy, sleepwalking Winnipeg" itself, both the present-day city and the spectral city of the past, holds the fleeing Maddin in its spell.
The whole film is drenched in a nostalgia so intense it gives rise to the hallucinatory. Family psychodrama mixes with civic history, as Maddin recalls Winnipeg's 1919 General Strike, the demolition of beloved sports stadiums and department stores, and 1942's "If Day" in which a Nazi invasion of the city was staged in a war-bond-raising effort.
Subterranean cities lurk beneath the surface city. Back lanes open onto different realities from front streets.
Striking images abound: a midwinter "ice-and-horse jam" on Winnipeg's Red River; a gigantic Mother peering through the window of the rickety train the fleeing Maddin is taking out of town; a 3-year-old Maddin getting lost amid the giggling, plaid-skirted attentions of teenage schoolgirls.
This is also a film you want to re-hear as much as re-watch. Maddin and George Toles' script is beautiful, whether they're paying tribute to the "ice-hockey cathedral" of Winnipeg Arena ("This building was my male parent") or describing the city's sprawling rail yards "where trains couple in the fog, rumble on for a while, then noisily divorce."
Maddin ("Careful," "The Saddest Music in the World") achieves a fine mesmeric-
comic balance throughout. John Gurdebeke's editing, in keeping with the film's rapturous, obsessive voice-over, is more lyrical, more lingering in its touches than the rapid-fire frenzy of recent Maddin works, although it still administers its share of sharp, subliminal, single-frame shocks.
The collagelike mix of animation and archival and staged footage pushes intuition to the brink. (Has any other filmmaker since Fellini had such apparently easy access to his subconscious?) And the score by Seattle-based composer Jason Staczek, who also did Maddin's "Brand Upon the Brain!," pulls you into this memory journey with a ghostly, hypnotic seductiveness.
It's hard to believe it's been 20 years since I saw Maddin's first feature, "Tales From the Gimli Hospital," and became convinced the director had single-handedly put Winnipeg at the cutting edge of experimental cinema. This new film once again confirms that feeling.
The world would be a better place if every city had its Maddin.
Michael Upchurch is the Seattle Times' book critic: mupchurch@seattletimes.com
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Tuesday, 24 June 2008
R. Kelly trial: Witness tells of 3 sexual encounters
After several delays, including a brief one this morning, the prosecution's key witness gave explosive testimony Monday.
The prosecution's key witness in the trial of singer R. Kelly on child pornography charges told jurors about three sexual encounters she had with Kelly and the alleged victim in the case.
In just under one hour of testimony, Lisa Van Allen, 27, also identified Kelly and the alleged victim on the videotape that is the central piece of evidence in the trial.
Van Allen, who was 17 when she first met Kelly, testified to a sexual encounter with the underage girl in 1998, 1999 and in 2000. Two of those encounters were videotaped, she said, though neither tape is the one at the center of the prosecution's case.
Van Allen, now engaged and the mother of a 5-year-old-girl, first met Kelly at the video shoot for "Home Alone" in late 1997 or early 1998, where after a brief introduction the two engaged in sexual intercourse, she testified in court today.
After exchanging phone numbers, Van Allen, of Georgia, started flying to Chicago to visit the recording artist, dividing her time between a hotel room paid for by Kelly and the studio where he recorded his music. By the summer of 1998, the 17-year-old quit her job in Georgia and moved to Chicago to be with Kelly, she testified.
She attended his performances and went on tour with him, in addition to occasional outings to the mall for shopping, she said.
Then in late 1998, Van Allen testified she met the alleged victim. Their first encounter was sexual, she said, and took place with Kelly in the log-cabin themed room of his former home in Chicago.
The singer videotaped the encounter, she said.
"He had a stand, and he set it up ... and directed it toward where we were," she said under direct examination from the prosecution. "[He] told us where to sit and basically what to do."
After the first encounter, she occasionally saw the alleged victim at Kelly's music studio, Van Allen said. Then a year later, she said, they all met up again at the singer's house, where the three engaged in intercourse on a black futon set up on the singer's basketball court.
Van Allen said Kelly again set up a video camera and pointed it at the mattress. But this time, Van Allen started crying, she testified.
"I didn't want to do it," she explained in court. "[Kelly] stopped everything and put up the camera and we left."
The last encounter between the three took place in 2000 in Kelly's trailer at the video shoot for "A Woman's Threat" in Chicago, she testified.
She said Kelly recorded the encounter, as well, though it was interrupted when someone came knocking on the trailer door.
"[The alleged victim] had to run into the bathroom naked" because Kelly did not want her to be seen, Van Allen said.
The prosecution made clear that neither this tape nor the other recordings she testified about were the tape shown to jurors during the trial.
Van Allen said she had never seen that tape before prosecutors showed it to her last week. But her identification of the participants in the video was unequivocal: the alleged victim and Kelly.
She said the tape was probably made in 1998, the same year she was first filmed with the alleged victim and Kelly, because "they both looked exactly the same way."
Van Allen added that she recognized the room where the encounter between the alleged victim and Kelly took place as the log cabin-themed room. Van Allen testified that Kelly kept all of his tapes with him at all times and put them in a black duffel bag.
The prosecution's key witness in the trial of singer R. Kelly on child pornography charges told jurors about three sexual encounters she had with Kelly and the alleged victim in the case.
In just under one hour of testimony, Lisa Van Allen, 27, also identified Kelly and the alleged victim on the videotape that is the central piece of evidence in the trial.
Van Allen, who was 17 when she first met Kelly, testified to a sexual encounter with the underage girl in 1998, 1999 and in 2000. Two of those encounters were videotaped, she said, though neither tape is the one at the center of the prosecution's case.
Van Allen, now engaged and the mother of a 5-year-old-girl, first met Kelly at the video shoot for "Home Alone" in late 1997 or early 1998, where after a brief introduction the two engaged in sexual intercourse, she testified in court today.
After exchanging phone numbers, Van Allen, of Georgia, started flying to Chicago to visit the recording artist, dividing her time between a hotel room paid for by Kelly and the studio where he recorded his music. By the summer of 1998, the 17-year-old quit her job in Georgia and moved to Chicago to be with Kelly, she testified.
She attended his performances and went on tour with him, in addition to occasional outings to the mall for shopping, she said.
Then in late 1998, Van Allen testified she met the alleged victim. Their first encounter was sexual, she said, and took place with Kelly in the log-cabin themed room of his former home in Chicago.
The singer videotaped the encounter, she said.
"He had a stand, and he set it up ... and directed it toward where we were," she said under direct examination from the prosecution. "[He] told us where to sit and basically what to do."
After the first encounter, she occasionally saw the alleged victim at Kelly's music studio, Van Allen said. Then a year later, she said, they all met up again at the singer's house, where the three engaged in intercourse on a black futon set up on the singer's basketball court.
Van Allen said Kelly again set up a video camera and pointed it at the mattress. But this time, Van Allen started crying, she testified.
"I didn't want to do it," she explained in court. "[Kelly] stopped everything and put up the camera and we left."
The last encounter between the three took place in 2000 in Kelly's trailer at the video shoot for "A Woman's Threat" in Chicago, she testified.
She said Kelly recorded the encounter, as well, though it was interrupted when someone came knocking on the trailer door.
"[The alleged victim] had to run into the bathroom naked" because Kelly did not want her to be seen, Van Allen said.
The prosecution made clear that neither this tape nor the other recordings she testified about were the tape shown to jurors during the trial.
Van Allen said she had never seen that tape before prosecutors showed it to her last week. But her identification of the participants in the video was unequivocal: the alleged victim and Kelly.
She said the tape was probably made in 1998, the same year she was first filmed with the alleged victim and Kelly, because "they both looked exactly the same way."
Van Allen added that she recognized the room where the encounter between the alleged victim and Kelly took place as the log cabin-themed room. Van Allen testified that Kelly kept all of his tapes with him at all times and put them in a black duffel bag.
Tuesday, 10 June 2008
Actor Mel Ferrer dead at 90
Actor-filmmaker Mel Ferrer, the onetime husband of screen icon Audrey Hepburn who co-starred with her in War and Peace and directed her in Green Mansions, has died at age 90.
Ferrer died in his sleep surrounded by relatives and close friends at his home on his family's ranch in Carpenteria, California, near Santa Barbara, spokesman Mike Mena said.
The lanky, gaunt Ferrer, first appeared on Broadway as a chorus dancer in 1938 and made his big-screen acting debut in the 1949 racial drama Lost Boundaries, playing a fair-skinned black doctor passing as white.
But he is best remembered for his role as the lame puppeteer in the 1953 musical Lili, with Leslie Caron, the same year Hepburn made her big-screen breakthrough in Roman Holiday, which earned her a best actress Oscar.
Ferrer and Hepburn married in 1954 and appeared together in the 1956 movie adaptation of the Leo Tolstoy novel War and Peace - she as Natasha Rostov and he as Prince Andrei Bolkonsky.
As a filmmaker, Ferrer directed Claudette Colbert in the 1950 mystery The Secret Fury and Hepburn in the 1959 romantic adventure Green Mansions, set in the jungles of Venezuela.
But the couple enjoyed a more successful collaboration in the 1967 thriller Wait Until Dark, which he produced starring Hepburn as a blind woman pursued by killers out to silence her as a potential witness.
Their marriage - the first of five for Ferrer (he was married twice to Frances Gunby Pilchard) - ended the following year.
Their only child, Sean Hepburn Ferrer, 47, is a filmmaker who directed the 2001 documentary Racehoss.
Hepburn died of cancer in 1993.
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Wednesday, 4 June 2008
Are Cameron Diaz & P Diddy Dating?
Cameron Diaz and P Diddy are reportedly seeing each other, according to latest reports.
The What Happens In Vegas actress has been spending a lot of time with the hip-hop mogul, with the two playing hide and seek games to avoid the media glare, according to New York Daily News.
In March, the pair had dinner together in LA, but apparently left separately through the restaurant’s kitchen.
They were also looking rather affection last month in SoHo's Sub-Mercer lounge, with witnesses alleging that the pair disappeared into a private room for about 20 minutes while a guard stood outside the door.
However, things really heated up on Friday at a party at Prince’s house, claims the publication. Despite a party filled with A-listers such as Sly Stallone, John Legend, Eddie Murphy and Babyface, Diaz and Diddy seemed only to have eyes for each other.
The pair both joked together and held hands. At one point, while Diddy sipped a Grey Goose, Cameron told him he "must" try her bread pudding, which she proceeded to spoon-feed him. After some whispering, Diddy nodded toward Prince's mansion.
Making a hasty exit, they both retreated to the basement, where they locked themselves in a theatre. Sounds of giggling could be heard from inside, claims Rush & Mulloy. What could they possibly of been doing?
Could Cameron and Diddy be the next big thing? Will D'Lila Star & Jessie James have a new step-mother? Be sure to leave your comments below.
The What Happens In Vegas actress has been spending a lot of time with the hip-hop mogul, with the two playing hide and seek games to avoid the media glare, according to New York Daily News.
In March, the pair had dinner together in LA, but apparently left separately through the restaurant’s kitchen.
They were also looking rather affection last month in SoHo's Sub-Mercer lounge, with witnesses alleging that the pair disappeared into a private room for about 20 minutes while a guard stood outside the door.
However, things really heated up on Friday at a party at Prince’s house, claims the publication. Despite a party filled with A-listers such as Sly Stallone, John Legend, Eddie Murphy and Babyface, Diaz and Diddy seemed only to have eyes for each other.
The pair both joked together and held hands. At one point, while Diddy sipped a Grey Goose, Cameron told him he "must" try her bread pudding, which she proceeded to spoon-feed him. After some whispering, Diddy nodded toward Prince's mansion.
Making a hasty exit, they both retreated to the basement, where they locked themselves in a theatre. Sounds of giggling could be heard from inside, claims Rush & Mulloy. What could they possibly of been doing?
Could Cameron and Diddy be the next big thing? Will D'Lila Star & Jessie James have a new step-mother? Be sure to leave your comments below.
Thursday, 29 May 2008
Serrat y Sabina
Artist: Serrat y Sabina
Genre(s):
Other
Discography:
Dos pajaros de un tiro (cd1)
Year: 2007
Tracks: 14
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