Category: music

movies, music, quotes

1132 – Upstream Color (2013)

pnea

“I love to be alone. / The sun is but a morning star. / The wildest sound ever
heard makes the woods ring far / and wide. / Faint tinkling sounds borne to my ear. / Their roots reaching quite under the house. / Fearing that they
would be light-headed. / For want of food and also sleep. / Prevailing blue mixed with yellow of the sand. / Sunshine is the color of the water. / I used to wonder at the halo /
of light around my shadow / And fancied myself one of the elect.”

Upstream Color is a 2013 American experimental science fiction film written, directed, produced, edited, composed, designed, cast by and starring Shane Carruth. The film is the second feature directed by Carruth, best known for his 2004 debut Primer. Upstream Color stars Amy Seimetz, Carruth, Andrew Sensenig, and Thiago Martins.

Upstream Color is about two people whose behaviors are affected by a complex parasite—without knowing it—that has a three-stage life cycle in which it passes from humans to pigs to orchids. (wiki)

themes   /   Walden   /   imdb

original soundtrack

music, Uncategorized

1129 – Jacaszek

pnea

Michał Jacaszek (born 1972) is a Polish electroacoustic musician, often credited on albums simply as Jacaszek.

663-november-2017

“Penteal (2009) is an attempt to describe a gothic church interior by means of sounds. A temple owes its special atmosphere not only to visual elements but also to characteristic acoustics – reverb, enhancing and prolonging a slightest whisper into infinity. i spent several days in three Gdańsk historic churches (Oliwa Cathedral, St. Nicolas’ church, St. Mary’s Basilica) recording chanting, organs, and also a broad spectrum of accidental noises. Source sounds were used only as a stimulus which releases the sound of the whole inside, and as such, they were consequently retouched in the post production process. Studio work and also the atmosphere of melody and arrangements were subordinate to the idea of portraying the church as a place filled with distant mysteries, a huge music instrument.”

games, music

1124 – Ape Out (2019 video game)

pnea

Ape Out is a beat ’em up game developed by Gabe Cuzzillo and published by Devolver Digital. The game was released for Microsoft Windows and Nintendo Switch on February 28, 2019. (wiki)

APE OUT is a wildly intense and colorfully stylized smash ‘em up about primal escape, rhythmic violence, and frenetic jazz. Build up nearly unstoppable momentum and use your captors as both weapons and shields to crush everyone on your procedurally generated path to freedom. (steam)

SYSTEM REQUIREMENTS (MINIMUM): OS: Windows 7, 8, 8.1, 10 x64 / Processor: Intel Core2 Duo E4500 (2 * 2200) or equivalent / Memory: 2 GB RAM / Graphics: GeForce 9600 GT (512 MB) / DirectX: Version 11 / Storage: 2 GB available space / Additional Notes: Controller Recommended

Walkthrough   /   Launch Trailer

animation, music, Uncategorized

1108

pnea

Sepultura – Arise [OFFICIAL VIDEO]

Helloween “-Walls Of Jericho” full album   /   judas   /   guardians

Obituary – The End Complete

Megadeth – Train of Consequences

Paradise Lost – Shades Of God (Full Album)

1495962132_cover

Holy War

The Crown and the Ring / Kingdom Come

Mountains

Guyana (Cult Of The Damned)

“Achilles, Agony and Ecstasy in Eight Parts” is the longest (28 minutes and 38 seconds) and most complex Manowar song, and probably an anticipation of a concept album that was never accomplished. Because of its Homeric content, “Achilles, Agony and Ecstasy in Eight Parts” has recently attracted the attention of a group of scholars at Bologna University in Italy. Mrs. Eleonora Cavallini, Professor in Classics, has written about this song:

“Joey DeMaio’s lyrics imply a careful and scrupulous reading of the Iliad. The songwriter has focused his attention essentially on the crucial fight between Hector and Achilles, has paraphrased some passages of the poem adapting them to the melodic structure with a certain fluency and partly reinterpreting them, but never altering or upsetting Homer’s storyline. The purpose of the lyrics (and of the music as well) is to evoke some characteristic Homeric sceneries: the raging storm of the battle, the barbaric, ferocious exultance of the winner, the grief and anguish of the warrior who feels death impending over him. The whole action hinges upon Hector and Achilles, who are represented as specular characters, divided by an irreducible hatred and yet destined to share a similar destiny. Both are caught in the moment of the greatest exaltation, as they savagely rejoice for the blood of their killed enemies, but also in the one of the extreme pain, when the daemon of war finally pounces on them. Furthermore, differently than in the irreverent and iconoclastic movie Troy, in “Achilles, Agony and Ecstasy in Eight Parts”, the divine is a constant and ineluctable presence, determining human destinies with inscrutable and steely will, and, despite the generic reference to ‘the gods’, the real master of human lives is Zeus, the only God to whom both Hector and Achilles address their prayers