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Abyss: The Wraiths of Eden (Full)
Abyss: The Wraiths of Eden (Full)
Price: £3.99

1 of 1 people found the following review helpful
5.0 out of 5 stars great game, 27 Dec. 2013
Verified Purchase(What is this?)
Plays well, enough help to get you thought if you need it, quite a long game but keeps the interest going.

This Is Spinal Tap (Double Disc Set) [DVD]
This Is Spinal Tap (Double Disc Set) [DVD]
Dvd ~ Rob Reiner
Offered by DVDBayFBA
Price: £4.20

3 of 9 people found the following review helpful
5.0 out of 5 stars Dobly and Yakkin (there I've said it !), 1 May 2002
Ok lets get the facts out of the way. The first DVD contains the second best Rock’n’Roll
film ever.
So what’s on the second DVD …. The song videos are disappointing, movie footage
with better recordings of the songs over them. But as we all know Rock should not be recorded in dobly. The movie trailers are fun, especially the one about Scandinavians. But the adverts for some strange Australian snack are for obsessive fan only.
The most interesting material on the DVD are the scenes removed from the movie. The film would have been radically different if they had been left in.
They are the scenes that flesh out the characters, making them truer to the Rock’n’Roll stereotype but less appealing as human beings, (which proves how pervasive the film has become when one is talking about the appeal of fictional characters).
What is left is a cartoon version of a band, the removed scenes are the true bits of life on the road, bland casual sex, the terminal pick up lines, the diseases, drugs, the bored ritual humiliation of employees, bickering about money, the telephone divorces.
Why remove them. Why take the sex and drugs out of Rock’n’Roll. With them the film would have become a Documentary and not a "rockumentary" . The second best Rock’n’Roll film is better because it actually denies most of the truth about it’s subject.
The music business at best is a fantasy world populated by repressed adults with the minds of spoilt children. So even in a comedy film lets not damage the dream with a hint of reality. Hey but enough of my yakkin.
If you are a fan and the film the special edition DVD is an excellent buy.
There may be a simpler answer to the removed footage. They have removed all the flab from the film. Like the Stooges’ Raw Power. Wire’s Pink Flag, and The Hives’ Your New Favorite Band. There is not a second wasted. And that has to be the films greatest achievement, and the truest invocation of Rock’n’Roll.

Dawn of Electronica
Dawn of Electronica
Offered by positivenoise
Price: £9.01

10 of 11 people found the following review helpful
4.0 out of 5 stars Never trust a CD by it's title, 31 Mar. 2001
This review is from: Dawn of Electronica (Audio CD)
Nothing like nailing your colours to the mast. Does Uncut's "The Dawn of electronica" live up to such a definitive title. The simple answer is no .But it what is does do is cover a fair range of electronic pop and dance music of the late 1970's and early 1980's. This Cd could have been called "New Romantics with Sequencers" or "Some Leftfeild Dance Music from the early Post-Punk period" Both titles are more accurate but not as snappy. It presents us with tasteful selection of tracks that run from the purely electronic to, guitar based new wave rock. The Pop of Depeche Mode, the perennially strange Fad Gadget, the seminal Suicide. The "Sons of Kraftwerk" DAF. ZTT's creations The Art of Noise, and the even more artful Propaganda. No weak links here. Most of the rest of the tracks are rock bands with keyboards, although including some of the best Art Rock bands of the time. Ultravox, Visage, Japan and The Associates (featuring the voice of the sadly missed Billy Mackenzie) are always worth a listen. A odd but welcome inclusion is B-Movies Remembrance Day, a guitar driven track about the 1st World War. Possibly the best new wave/new romantic song ever written. Any compilation that gives this lost gem a wider hearing is worth an extra star. My main criticism is not what's there but what isn't. The period covered by this compilation were as the title states close to the start of electronic music. This technology was being used mainly by experimental, avant garde, musicians who would not use guitars as they came with 30 years of "baggage", coupled with the fact they simply couldn't play them , and were looking for a new way to create music. These musicians worked outside the main stream. To understand the development of electronic music and it's quick crossover into the pop world these bands should be represented. The electronic paranoia of Throbing Gristle. The minimalism of the Normal (label mate of Depeche Mode) . Earlier works by Cabaret Voltaire and Suicide would have been more representative. The drum machine driven rock'n'roll psychosis of early Suicide was genuinely innovative. True mavericks like Thomas Leer and the late Robert Rental deserve a track. Possibly the best example of experimental to mainstream must be The Human League, who went from Art weirdness to pop stars four singles, and they are not represented. Without reference to these bands an opportunity of a definitive overview of the "Dawn of electronica" had been lost. But, what we have is a more than decent compilation of not quite mainstream pop and dance. Just before music changed from electronic analog to electronic digital, and the way songs were written, produced and danced to changed forever. The advent of samples and cut and paste music sequencers finally democratised the means of creating music, finally pushing open the door that some of these artists opened and sidelining the musicianship of others. So not the "Dawn" but the end of the beginning, compiling some of the best floor fillers at that local indie disco back in the clouds of time and dry ice that were the 1980's. Not what it says on the packet but well worth a listen.

Rodinsky's Room
Rodinsky's Room
by Rachel Lichtenstein
Edition: Paperback
Price: £7.19

14 of 18 people found the following review helpful
5.0 out of 5 stars Madman or Visionary, 4 Dec. 2000
This review is from: Rodinsky's Room (Paperback)
David Rodinsky, madman and/or visionary disappeared from his room above a disused East London synagogue, never to be seen again. His room - for that was all that was left -remained locked and lost until it was "rediscovered" in the early 1980's. Is there anything about this room that that makes it special? Stories emerge continually about the reclusive, too confused or too intelligent to deal with the modern world, who are found surrounded by the detritus of their lives. What makes Rodinsky's room different is the absence of a body, we cannot be shown "this is why this is", no pathetic creature stumbling ranting and mumbling to whoever their god is, no closure. It becomes a locked room mystery, the type of fiction made famous by another man more myth than reality, Edgar Allen Poe. The room becomes a cipher, for Rachel Lichtenstein, as she unravels her Jewish heritage, becomes reconciled with it and moves to her future. As for Iain Sinclair - ever the well connected London chancer - the room gives him another pretext for a walk across the pages of the London A - Z. For once his visionary view of London is left flat footed by Litchtenstein's near obsessional quest for Rodinsky and the Jews of East London. Rodinsky's Room is also about time. A room frozen as if on the event horizon of a Black Hole, it also defined the instant of it's rediscovery . Old London was disappearing, the political strife and rubbish filled streets of the late 1970's were swept away under the tide of the new Tory Government .Peter Ackroyd states in his brilliant London The Biography , strife and filth have been central to London for centuries, and some of this past was about to disappear. Margaret Thatcher declaimed "there is no such thing as society" as waves of yuppies started their surge across the city. Hunter S Thompson once said with the right eyes you could see where the wave of the Hippy ideals broke and rolled back. In the 1980's with eyes filled with fear and loathing you could watch a false moneyed, self obsessed wave, break across London. From the East End to Notting Hill in the West, filling and surging down the Northern line to Tooting Bec in the South. The Liberal Left, the Intelligentsia, the "chattering classes" battened down their hatches and readied themselves to ride out the storm. Many looked backwards, to a time of community. The GLC parties and concerts of the time brought people together. Some marched for CND and the Coal Miners. Others looked further back, Georgian Houses squatted in Spitalfields, an attempt to forget the 20th Century for a while. Central to this was the publication of Peter Ackroyd's Hawksmoor, taking all to an arcane, mythic London, to older horrors away from present terrors. London gripped by material greed developed an ethereal edge. At this time writer Joe Cushley was convinced he was confronted by Cerberus the dog guardian of Hades. Late one night in a park by the Thames he was confronted by two Rottweiller's and a black Alsatian , as quickly as they materialised they were called away by their unseen master . The worst thing he said was not the fear, but his fear was controlled not by the dogs but by something he could not see. I cannot think of a less subtle metaphor for London in the 80's. Rodinsky's Room, a place out of time, ripe for rediscovery, an anchor to a lost community, to all lost communities. The book is a fascinating and compelling read, although we learn little about it's subject , we learn much about Rachel Lichtchstein, who, while discovering herself , seems to create a Golem out of the dust in Rodinsky's attic. Once she is secure, her Golem, Rodinsky, and as we all eventually will, return to nothing but dust in a room.


4 of 4 people found the following review helpful
5.0 out of 5 stars IBM meets I & I, 3 Dec. 2000
This review is from: 3 (Audio CD)
Not the kind of Cd that grabs your attention with the flashy cover, but if the intention is to mirror the music inside it succeeds. A yellow sleeve with the song titles in German, and that's about it for information. Looking closely you'll find all songs are written and produced by Stefan Betke. Who is almost as well known for his disc cutting skills. Remember "A Porky Prime Cut" in the run out grooves of some of your favorite albums, (remember albums), well Stefan does the same. Put simply this Cd mixes the blips, glitches and found sounds of the Powerbook generation of musicians, with the bass and production of a Joe Gibbs Dub album from the mid 70's. IBM meets I & I.... If only it was that simple. Minimal electronic dub where the repeated loops shift constantly, nothing is ever repeated. The electronics clashing majestically with the warmth only those Dub albums have. A Cd that rewards you with more, the closer you listen, sounds appear only the once and then are gone, drawing you into the multi-layered sound scape of this incredibly complex recording. At the same time the music's minimal nature forces your mind wander. Daring you not to pay attention while going and hiding itself in the shadows. It is simultaneously unengaging and riveting, I assume similar to finding yourself in someone else's rather boring dream, fascinated because you're there, but bored by the mundane nature of their existence. A recording that requires your full attention, or none at all, the sign of true genius.

Lift Your Skinny Fists Like Antennas To Heaven
Lift Your Skinny Fists Like Antennas To Heaven
Offered by Fulfillment Express
Price: £15.16

0 of 2 people found the following review helpful
4.0 out of 5 stars Good Enough !, 26 Nov. 2000
Lift yr skinny fists is not as good as F#A#, infact it reminded me of something from the 1970's ,Yes' Tales from Topographic Oceans, that had 4 tracks and lasted for an hour and a half and was totally self indulgent. But you cannot analyse this band along old rock themes , they have moved the parameters of definition . Godspeed think intensely about what they do, and on this album they have been neutered by the fact they have to follow up the monumental F#A#. Nothing on this matches the intensity of the first 12 minutes of that album - then what does?. We cannot expect a redefinition of "Rock" music two albums in a row. On repeated listening the uncertainty shines though on this recording, as if the band have been rendered mute by the expectations of people such as ourselves. A tentative record produced by a band in dialog with themselves and also their audience. This is the "difficult second album" but thankfully I feel that every album will be difficult for them, and long may we appreciate that.

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