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Martin Eric Ain, elaborating on the artwork design for Celtic Frost's first new studio album in 16 years, Monotheist, after Celtic Frost's label Prowling Death Records signed a licensing agreement with Century Media Records in Dortmund, Germany. Second from left: Leif Jensen, Celtic Frost's extremely proficient A&R partner at Century Media; now fulfilling the same position for Triptykon. In the back, next to Celtic Frost drummer Franco Sesa: Antje Lange, long-standing Celtic Frost and Triptykon manager. Photo taken on January 16, 2006, courtesy of Century Media Records. Ten years ago this month, Celtic Frost had just embarked on the band's most extensive (und ultimately final) tour in support of the Monotheist album. Monotheist, Celtic Frost's seventh studio album, had been released on May 29, 2006, after some five years of intense gestation. We had originally intended the album to be a highly experimental record without any regard for conventions and limitations (as evidenced, in part, by the preposterously dubiousPrototype industry demo of 2002). But Martin and I had resolved to grant ourselves as much time as it would take to produce a proper and authentic Celtic Frost album, and the group subsequently underwent a significant radicalization in the course of the years of songwriting, demo, and production work. The result was a completely different but entirely appropriate album, first showcased to co-producer Peter Tägtgren and our later licensing partners Century Media Records by means of the six-song Dark Matter Manifest demo in 2005. The Monotheist tour comprised 125 concerts on various continents, nearly all of them in the headline slot except for a handful as special guests to our extraordinary friends in Type O Negative. Many further concerts were considered for the tour, and we originally intended to record several further albums. Alas, such passionate creative and musical ambitions eventually succumbed to the invoking of the familiar demons of instability and individual deficiencies. The music conceived for these unrealized albums subsequently materialized in a closely similar form under the name of Triptykon. But the loss of Celtic Frost, and thus the truly inimitable songwriting partnership with Martin Eric Ain, is something I will bemoan to some extent for the remainder of my days. http://fischerisdead.blogspot.rs/2016/06/obscured.html

David Lynch i njegov festival:

Ja se iskreno nadam da ovoga puta može da bude veća poseta, sećam se da je prvi koncert bio slabašan... Ima istine u tome što govorite, u dva kontigenta su podeljene karte...

pazarena karta. pod brojem 100. znači ima nade za ovaj grad, ne?

Neću da slušam dok ne izađe album. Desiće se lepe stvari ove godine.

Triple 9 (John Hillcoat) Akcijaši odumiru, pogotovo 80s i 90s teškaši, gde su muškarci žestoki i politički nekorektni i žene lake u krevetu i na orozu. John Hillcoat se već proslavio sa filmovima poput The Proposition (i dalje tvrdim da ovo ne može da se nadmaši, napeto, namočeno znojem i krvlju!) lawless i the road. (pročitao knjigu, pa ću uskoro overiti i film) Od njega sam već navikao da se drži prošlosti i isprva mi je ova tranzicija u sadašnjost delovala, pa previše artsy fartsy. (na osnovu trejlera, ali i film se pokazao kao takav, režija i montaža wunderbar, i fotografija je za radovanje!) Triple 9 počinje odlično, akciona scena na početku je rame uz rame sa filmom Heat (Michael Mann) osećaš tu tenziju i znojiš se sa junacima ove nesavršene pričice. Ubrzo film pada u zamku gde se razvodnjavaju priče likova i ide u bespotrebnu dramatizaciju, da je uspeo do kraja filma da me smori i da mi jednostavno ne bude žao, niti da me zanima šta će se desiti sa glavnim protagonistima. Mislim, ko želi da gleda Cassey Afflecka u glavnoj ulozi, kada čovek ne zna da glumi? Ili protraćeni Aaron Paul na Jessie Pinkman sranju preko 9000? Šteta. Muzička podloga je isto sjajna, dobro leže uz scene i nije samo puka kozmetička šminka da nadopuni ostale nedostatke. Čak iako vam se ne dopadaju njegovi prethodni izleti, smatram da je film gledljiv, sve su to na kraju dana šare i nijanse. A moja nije crvena.

Eto dobrog primera kako sa malo novca i dobrim kostimografom i efektivnom režijom, uspešno napraviš gledljiv b horor filmać. Glavni akteri su panduri (u startu su nedopadljivi, ali se ubrzo situacija promeni) koji odlaze u nedođiju u kraju gde nalete na zlo s onoga svijeta. Priča je tanja od sloja masti koji jede naš ubogi i siromašan narod, ali ne zameram, sve ostalo nadoknađuju atmosferom, dobrim kadriranjem i montažom. U moru horora koji se trude da budu strašni, Baskin to nije, nema jump scare-ova (ale, ale!) ali opet se nekako sakrije u potiljku glave taj strah od nepoznatog. Očekujem od ove ekipe da izbace još bolji film. Inače Turci nisu nimalo naivni sa novijom filmografijom, tj. barem ono što se izdvoji na festivalima ovde ili u Americi, pa obratite pažnju.

mimi dobila konkurenciju. matrica klasik. šteta što se troši na ove netalentovane, čak ni imena im nisu zvučna.