"Andorra", de Caribou, gana el Premio Polaris (mejor álbum canadiense)

Better luck next year, Black Mountain, Stars, Holy Fuck, Plants and Animals, the Weakerthans, Basia Bulat, Kathleen Edwards, Two Hours Traffic, and Shad: Caribou's Andorra has won this year's Polaris Music Prize, aka Canada's version of the Mercury Prize. Congratulations, Dan Snaith.

The award is given annually to the album by a Canadian artist deemed to have the highest artistic merit, with no concession to album sales. A panel of media types (full disclosure: it includes a few Pitchfork contributors) pick the winner, who gets $20,000 and international fame and fortune. Last year's winner was Patrick Watson's Close to Paradise, and the nod has certainly raised his profile beyond the borders of his home country, eh? Ahem. Pitchfork

Koufax - Strugglers (2008)

Their fourth album delves into political and social commentary through narratives tackling the party hopping drunk, deluded Hollywood types’ reign over pop culture, and the condescension found in so many of the “truth movements”. With lyrical strength and a delivery that Rolling Stone calls “dramatic, Morrissey-like crooning”, Robert Suchan ranks as one of the most talented front men in the game. Recommended!!

Upload courtesy of music blog: http://astoundingsounds.wordpress.com

Antony & The Johnsons - Another World (video)

Bob Dylan - Tell Tale Signs: Bootleg Vol. 8 (Rolling Stone Review)

By Mikal Gilmore

Bob Dylan is well-known for his abandoned treasures — all those unreleased recordings from the past 40-plus years that have made his ongoing Bootleg Series such a mind-blowing trove. Dylan likely had little trouble leaving those moments behind, treasures or not; he's always been wary of letting his past prejudice his here and now. This newest collection of rare recordings, though, is something apart: The alternate studio takes, undisclosed songs, movie tracks and live performances that make up the three discs of Tell Tale Signs (also available as a two-disc package) depict Dylan's development from 1989 to 2006 — which is to say they're closer to Dylan's here and now than any earlier volumes. Also, Tell Tale Signs is less an anthology than an album in its own right. It seems designed to tell a story that sharpens and expands the vista of mortal and cultural disintegration that has been the chief theme of Dylan's 1997's Time Out of Mind, 2001's Love and Theft and 2006's Modern Times — perhaps the most daring music he's ever made. Tell Tale Signs makes plain that Dylan knows the caprices of the world he lives in, now more than ever.

Just as important, this collection bears witness to Dylan's reclamation of voice and perspective. He had been a singular visionary who upended rock & roll by recasting it as a force that could question society's values and politics, but he relinquished that calling as the society grew more dangerous. By the end of the Eighties, he had undergone so many transformations, made so many half-here and half-there albums, that he seemed to be casting about for a purpose. What did he want to say about the times around him? Did he have a vision anymore or just a career? The singer drew a new bead on these concerns with 1989's Oh Mercy, produced by Daniel Lanois. Dylan has said he was never fully satisfied with the album, but given that Tell Tale Signs features 10 tracks from Oh Mercy's sessions, it's clear its tunes mattered to him.

It's also clear that Dylan sometimes had better production instincts than Lanois. The latter's interpretation of "Born in Time" — the broken meditation of a lovesick man — played like immaculate architecture; everything about it, including vocals and emotions, was put in a measured place, meant to sustain atmosphere more than expression. By contrast, Dylan's acoustic-guitar and harmonica rendering of the song has the drive and dynamics of the heart; it's a living soliloquy that cuts to the quick. Similarly, his reading of "Ring Them Bells" features just his voice and piano, and its longing is palpable. On Oh Mercy, the song felt like a blessing, full of compassion and beauty; here, it works as a tortured prayer, already turning from hope, and it makes one wonder why Dylan ever allowed Lanois' mannered ambience to subsume the song. Yet as promising as Oh Mercy's songs seemed at the time, they were also still trying to reason with the world, to offer the possibility of deliverance. They couldn't begin to hint at the gravity of what was to come.

By the time of 1997's Lanois-helmed Time Out of Mind, Dylan's view was well past optimistic. In the seven years since he last recorded an original album, he concentrated mainly on rekindling his musical spirit, playing live with a protean band that approached every performance as a chance for intense affinity. Something in Dylan had also turned hard-boiled: His worldview had sharpened, and he wasn't reticent to talk about truths in unambiguous terms. This time, Lanois' spooky milieu suited the artist's world-weariness, working to evoke the sound of a midnight band playing a spectral juke joint, located somewhere near the end times. Tell Tale Signs testifies to Time Out of Mind's stature with 12 tracks — many of them versions of previously unreleased songs. Among the highlights are two takes of "Red River Shore," a rhapsodic song, awash in a Tejano mellifluence, about an idealized love that never happened and how the singer inhabits its loss like a ghost.

The real find, though, is "Mississippi," a song so central to Dylan's later work that three takes of it exist here. Though the song would later figure on Love and Theft, Lanois told Dylan that he thought it was too "pedestrian" for Time Out of Mind. It's probably just as well: "Mississippi" is too remarkable for any artful treatment. What seeps through its bones is foreclosed history, both American and personal: "Every step of the way, we walk the line/Your days are numbered, so are mine/Time is pilin' up, we struggle and we scrape/We're all boxed in, nowhere to escape." Moreover, all three takes serve as examples of the matchless singer Dylan remains, using inflection and phrasing to reveal different possibilities each time. He intones one version of "Mississippi" here as a remorseful lament, so soft-spoken that he's leaning into your ear; the second as a late-night conspiracy, bone-tired and raspy; the third as the brave and heart-worn last stand, a witness to the costs and advantages of experience — all three of them encompass American loss.

But then, nearly all of Tell Tale Signs points to that state, and to something darker, deeper and irrefutable: There is no center that can hold in our time anymore, there is no certain shelter from the coming storms. Dylan works his way unflinchingly along the merciless highways and barren landscapes of "Marchin' to the City" and "Tell Ol' Bill," past the floods of "High Water (For Charley Patton)," into the mean honesty of "Ain't Talkin' " and "Lonesome Day Blues." He is possessed of the love that damned him in "Red River Shore," as well as the one he came to hate in "Someday Baby." There are grace notes here, most of them drawn from the past, such as the portrayal of the brave Civil War soldiers dying together in "'Cross the Green Mountain" and the maiden who follows her love into war in "Mary and the Soldier." Others come simply from the immediacy of live performances like a 2003 delivery of "High Water" that Dylan's band plays like a night raid, and a dreamlike adaptation of "Tryin' to Get to Heaven" from 2000.

Above all, there is an abiding love for America's rich musical sources, invoked here in Robert Johnson's deathly "32-20 Blues," in Jimmie Rodgers' elegant requiem "Miss the Mississippi" and in a high-lonesome duet with bluegrass vet Ralph Stanley on "The Lonesome River." But love and truth, even vengeance, aren't necessarily salvation — they're simply, as Dylan says in "Huck's Tune," weapons "in this version of death called life."

If Dylan's songs were once protests looking for rectification — if his language was once phantasmagoric and tricky to decipher — well, that was wonderful, but things have changed. Tell Tale Signs sets a new milestone for this American artist. Dylan has always written about morally centerless times, but this collection comes from a different perspective — not something born of the existential moment but of the existential long view and the courage of dread. Jack Fate, Dylan's character in Masked and Anonymous, intones what might work as the précis for this album: "Seen from a fair garden, everything looks cheerful. Climb to a higher plateau, and you'll see plunder and murder. Truth and beauty are in the eye of the beholder. I tried to stop figuring everything out a long time ago." For a long time, we've asked Dylan to deliver us truths. Now that he has, we need to ask ourselves if we can live with them.

Rae Spoon - superioryouareinferior (2008)

Rae Spoon was born on the Canadian prairies of the 80’s. In his early twenties he hit the road as one of the world’s only transgender country singers and toured Canada, Europe, Australia and the USA. When the obvious dangers and contradictions of this role caught up to him he hid in a small town in Eastern Germany for a winter. There he was inspired to write an album about his darker experiences of Canada and it’s highways.

superioryouareinferior is Rae’s fourth solo album, and his first in over two years. It was co-produced by Lorrie Matheson in his Calgary studio. Lyrically the album is his most revealing to date. His voice walks the highways from the Yukon to Newfoundland singing of whales that have gotten lost, the wolves in our imaginations, the Great Lakes, cabin fever, dancing with grizzlies, the psychology of a haunting ghost and the issues of ongoing colonialism.

Musically he traverses new territories from art folk, to indie-rock, to electronic/experimental and noise. Being in Europe influenced him to trade his banjo for a computer and his acoustic guitar for an electric. superioryouareinferior is an album of the times in that it doesn’t stick to one genre, but it retains Rae’s respect for well written songs and his folk music roots that keep him connected to his audience.


The Deer Tracks - Aurora (2008)

"Yes this is my broken shield", the opener to The Deer Tracks' debut record, is a track that could easily have overshadowed the rest of the album. And while "Aurora" never again reaches the stellar heights of the closing minutes of "...broken shield", the band has plenty of other avenues to explore. The electronic production on "Aurora" is nothing short of fantastic, combining the glitchy with the organic, folding the vocals and guitars effortlessly into the mix, and creating dense, lavish compositions that effortlessly span the emotional range from triumphant to melancholic. Strangely, there are only little touches to connect this project to David Lehnberg's previous bands (Leiah, Ikaros, Ariel Kill Him), with far more connections drawn to acts such as Four Tet, the Notwist, Sigur Rós' "Ba ba ti ki di do" and Mew. "Aurora", despite the range of its influences, is a distinctively Scandinavian, if not characteristically Swedish, record -- showing beauty to be both a thing of wonder and tragedy, and effortlessly so. As I wrote for "Yes this is my broken shield", The Deer Tracks have raised the bar. "Aurora" is one of the great albums of 2008.

- Lars Garvey Laing-Peterson, Scandinavian Music Journal

Véala antes de que reviente

Extraña forma de promocionar el concierto en la Argentina de Kylie Minogue. La siguiente es una gacetilla que me llegó hace un rato:


Alertan posible atentado en Dubai

una semana después de su primera visita Argentina.

Sábado 15 de noviembre en GEBA.

La Diosa del Pop en Buenos Aires.

Más de 6.000 tickets vendidos durante el primer día!!!

Informes del servicio de espionaje británico alertan sobre posible atentado durante un concierto privado de Kylie Minogue en Dubai. El anuncio de su actuación en una fiesta privada con motivo de la inauguración de un hotel de lujo en la Isla Palm, en Dubai, levantó la polémica ante un posible atentado durante la actuación de la artista australiana.

"Creemos que los terroristas deben estar planeando una serie de ataques", aseguró un portavoz de la embajada británica, quien se hizo eco de un informe presentado por el servicio de espionaje británico, según informó News (news.com.au).

La cantante percibirá más de 4 millones de dólares (2'7 millones de euros) por un concierto privado el próximo 20 de noviembre ante un selecto grupo de 2.000 personas, entre los que destacarán políticos y artistas además de miembros de la familia real. La ceremonia de gala del hotel Atlantis Palm asciende a 35 millones y se inauguró recientemente en una isla artifical con forma de palmera.

Dicha performance tendrá lugar una semana después de su desembarco en Argentina. Vale recordar que la cantante pop actuará por primera vez en nuestro país, el próximo sábado 15 de noviembre en el Club GEBA, Marcelino Freire y Dorrego (altura Av Figueroa Alcorta 5500).

Adrián Suar, imparable

Por séptima semana consecutiva, "Un novio para mi mujer", de Juan Taratuto, sigue primera en la taquilla argentina, un hecho que no recuerdo para ninguna película nacional, al menos en los últimos diez años. La película producida y protagonizada por Suar lleva ya más de 1,2 millón de espectadores y sigue muy adelante del resto de los filmes en cartelera. De seguir así, "Un novio para mi mujer" podría cerrar entre 1,5 y 1,6 millones de espectadores --sí, más que "Batman"-- y "salvar el año" de la taquilla nacional.

Almost Famous, for Better or Worse

Berlinale Talent Campus # 7 — The Talent Press

Call for Applications

Berlinale Talent Campus, Goethe-Institute
and FIPRESCI invite young film critics to Berlin.

Dear Friends of Film,

We would like to invite you and/or your colleagues to apply for The Talent Press, a project of the Berlinale Talent Campus, Goethe-Institute, and FIPRESCI (the International Federation of Film Critics). Young film critics and film journalists will be invited to Berlin to report on the films at the 59th Berlin International Film Festival (February 05 – 15, 2009) and on the events of the Berlinale Talent Campus (February 7 – 12, 2009).

The application phase for the Talent Press started. The following application criteria can also be found online at www.berlinale-talentcampus.de and www.fipresci.org

Eligible are young film critics or journalists:

— who are fluent in English (writing and speaking)

— who are under 30 years

— who are eager to report on films within the framework of the Berlin International Film Festival and on events held during the Berlinale Talent Campus 2009

who have published articles in newspapers, film magazines, on websites or at universities

What we expect from you:

— to work equally in all fields of journalism: you will write interviews, reviews, reports, articles and features on the Berlinale Talent Campus and the Berlin International Film Festival

— to attend daily editorial meetings with their mentors (see below)

This material may be published on www.berlinale-talentcampus.de and www.fipresci.org. Participants will grant unlimited use and exploitation rights in and to all articles and reviews done in the framework of the Berlinale Talent Campus and the Berlin International Film Festival.

What we will offer you:

— a share of the travel expenses according to your country of origin

— free accommodation in youth hostels in Berlin from February 06 to 14, 2009

the once-in-a-lifetime opportunity to meet and to be with 350 young talented filmmakers from all over the world and to experience the day-to-day buzz of a prestigious A-Festival

— you will be guided through the Berlin International Film Festival by Peter Cowie (former International Publishing Director of "Variety" and author of many books on film), Oliver Baumgarten (Chief Editor "Schnitt") and other renowned film critics. Rubaica Jaliwala is your contact person from the Berlinale Talent Campus team.

— Every day, you will write a critique about a film from the festival program or short reviews of an event at the Campus program, and will discuss and review it with their fellow participants and film critics.

Your online application should include:

— Curriculum vitae and personal data (address, email etc.)

— up to three (3) original copies of articles that you have published in the last two (2) years (if these articles are not in English you should supply us with a decent translation as a proof of your English writing skills for each article)

Your steps to completing an online application:

— You can only apply on the Berlinale Talent Campus website www.berlinale-talentcampus.de

(All the relevant information and the application form can be found under the menu point APPLICATION. Be sure to choose the Talent Press Application.)
— Get an application number on our website.
— Log in and fill out the complete online application form.
— Please ensure that you have filled out the online application completely. If you are unable to upload your articles you can send them by regular mail.

Your work must be at the Berlinale Talent Campus by October 08th, 2008.
Please make sure your name and application number are clearly displayed on your articles.

If you have any queries please contact info@berlinale-talentcampus.de

The application deadline is October 08th, 2008. Successful candidates will be notified by the end of December.

Kind regards

Berlinale Talent Campus Team
Internationale Filmfestspiele Berlin
Potsdamer Strasse 5
D-10785 Berlin
T +49 (30) 259 20 515
F +49 (30) 259 20 519


The Berlinale Talent Campus is an initiative of the Berlin International Film Festival. The Talent Press is organised in co-operation with FIPRESCI, Goethe Institute and Goethe Forum.

FIPRESCI – International Federation of Film Critics
Schleissheimer Str. 83, D-80797 Munich, Germany
T +49 (89) 18 23 03, F +49 (89) 18 47 66
info@fipresci.org, www.fipresci.org

Trailer Trash: "The Curious Case of Benjamin Button", de David Fincher

Julian Cope - Black Sheep (2008)

Jon Savage (The Observer Music Monthly)

Julian Cope arrives on my doorstep looking exactly like he does in all his photos. He is wearing leather trousers, heavy boots (it is midsummer) a flowing camo jacket and The Hat. He politely takes his boots off when asked, but The Hat stays on throughout the afternoon - an admirable dedication to image and expectation.

'The way people see you is the way you really are', Cope writes in his memoir of the Liverpool punk scene, Head On. As a self-willed creation - at once fan and critic, author and researcher, rock star and polemicist - he is determined that his appearance should advertise his difference as well as his desire to be a 'cultural irritant'.

Cope is at once consistent and contradictory: the Peace Warrior who is not afraid of an old-fashioned scrap (recent blog targets include Morrissey and Ian McCulloch, as well as organised religion); the wild rock 'n' roller and devoted family man; the avatar of psychedelic excess who has the discipline to sit in a room and write books - six of them to date.

At the age of 50, he is an impressive presence - tall, fit and often, quite literally, in your face, getting up close to make his point. In conversation, he will take a subject and run with it into highly esoteric territory and then surprise you with a surprisingly down-to-earth assessment of his own persona.

Cope might have flirted with derangement - most famously on the cover of his 1984 solo album, Fried, where he is pictured naked in the fields of Middle England with a turtle-shell on his back - but he's as wily as a fox. He knows exactly what's he's doing, which does not denote insincerity. As he says: 'In some ways I'm so fucking straight, but everything is so mythological to me.' It's all part of a curious kind of ludicrous rigour. Which is where The Hat comes in.

Observer Music Monthly Doesn't wearing The Hat all the time cause you problems?

Julian Cope: 'Going to the States, dressed just like this, the first thing is they go for their guns, then they remember that we're in the European Union. I've got to do it; it's essential that I do that. It's what the role-playing is about. Maybe rock 'n' roll isn't music. Maybe people just need to be reminded that the world ain't the way they think it is.'

OMM It looks pretty Germanic. What is it, exactly?

JC 'Actually, it's 1955 Luftwaffe; it's not Nazi. I put the braids on 'cos I thought it made it look heavier. I thought, "I've got to be really careful here, because I'm not a Nazi." When I first started wearing it, a couple of friends said, "why are you wearing that? People will think you're gay." Well, if you're worried that I would be worried, we're going through a pretty dodgy time. In that case, I'll wear it because I want people to think I'm gay.'

Born in October 1957, Cope became adolescent at the mass-cultural moment when rock became something made by outsiders for outsiders - a stray word, a piece of feedback, a great haircut, a guitar drone could suddenly open the door into a different way of looking at the world. It's to his credit that he holds true to that founding vision. 'To rally every black sheep is my goal,' he sings on the title track of his new album, Black Sheep. In a move that will delight fans, he has returned to the melodic folk style of Jehovahkill and Fried, in an attempt to create a conspiracy of outsiders. The booklet for Black Sheep includes a quote from William Blake: 'Create your own system or become enslaved by another man's'.

JC 'What I was trying to do on Black Sheep is to show people what we have got, and what we will lose, if we keep taking it for granted. We've fought for gay people to not get beaten up and called "queer", we've fought for women to be able to walk around in short skirts and not be called "whore". We've fought for people like me, people called Julian, to be complete and total pains in the arse.

'England is amazing. It's only by going out on the peripheries of Europe that you realise we're not a bunch of boring cunts; we've done a bunch of shit that means something to people. Maybe we are meant to be the cultural fly in the ointment. Maybe in 200 years' time, they'll look back and say - they had gay people who were not attacked; they had women walking around with no undies on and they didn't get attacked. I'm fearful that they'll look back and ask themselves what they let go. Are there moments that forge us as black sheep?'

[To OMM:] 'When did you realise you were gay?'

OMM It was seeing the Kinks on TV, doing 'You Really Got Me'. I thought Dave Davies was a girl. There they were dressed up, really effete, but they rocked so hard.

JC 'See, that's going to fuck you up for ever.'

Cope's own crucible of difference happened in October 1966. Black Sheep contains a very moving poem called 'The Aberfan Disaster', when 'a hundred and sixteen kids my age were all buried alive'. It ends with a slow incantation from the dead children: 'Just live every minute/It's life so live in it/Or we'll come and haunt you.'

OMM Why did Aberfan mark you so much?

JC 'I was staying in Bargoed, which is just over the hill. The reason I was there was I was having half-term early, so I was at my Nan's. You remember the outside broadcasts. How often was there daytime TV in the Sixties? That's when the world became heavy for me, when I was nine. You see pictures of me afterwards and I look very stern. It made me really fascinated by dying.'

Cope's sense of difference and hostility to organised religion - 'With God I went to war,' he writes. 'I thought, "how could he take so many?"' - continued through his adolescence in Tamworth in Staffordshire. 'I'd spent my childhood thinking bad things, bad things every day,' he wrote. 'It had made me sick, but it had made me determined.'

His final detachment from the world of parental expectation came at the age of 20. He'd gone to Merseyside to attend a teacher-training college and instead found himself involved in the Liverpool punk scene. He was not alone, finding like-minded souls such as Pete Burns and his wife, Lyn. 'I looked at them spellbound ... this was stuff that turned my head upside down.'

OMM Why did you become a punk?

JC 'I saw a picture of the Pistols with Jordan. Before punk, my favourite photo was the one on the back of Raw Power, with Iggy and the audience. There's no relation between them. You wonder how he came to be there. Now, what strikes me is that the audience is doing anything to avoid catching his eye.

'The thing about Liverpool is that I was an outsider, and in Liverpool they would call almost anybody a "woollyback". I had a bass player who knew this Japanese girl and he said, "I wouldn't fuck her, she's a fuckin' woolly." But it was genuinely Bohemian. Liverpool is a Celtic city. Manchester is an Anglo-Saxon city. There's a pragmatism about Manchester.'

OMM - and Liverpool will piss it all away.

JC 'Totally pissed it away. It's why I have difficulty going back and dealing with it. Someone like Pete Wylie would have been bigger if he had come from almost any other city except Liverpool.'

OMM I liked Head On because you didn't present yourself as cool.

JC 'By presenting it the way it was, it showed people how they were. I still get people coming up saying, "Mac [Ian McCulloch] fucking hates that book, he thinks you're a cunt." I don't know why I come out of it looking like a cunt. Mac doesn't come out of it too bad. I called him a lazy git. And he was.'

Cope's two volumes of autobiography, Head On and Repossessed, trace his odyssey from uncool 'farm punk' into dazzling early-Eighties pop star: 'I was goaded into becoming a rock star by Bill Drummond [the Teardrop Explodes manager, Zoo label boss and later KLF founder] and the pseudo-intellectual side of me thought it would be quite charming.' And then came the descent into drug mania, record company debt, exile in middle England and slow rebirth.

In his solo Eighties incarnation, Cope had singles hits - most notably 'World Shut Your Mouth' in 1986 - while three of his Island-era albums made the top 30. It was during this period that he honed both his anti-authoritarian beliefs - he appeared at the poll tax riots as his 'seven-foot alter ego', Sqwubbsy - and his hatred of organised, patriarchal religion.

When Island Records dropped him on the release of Jehovahkill in 1992, it was time for another change. Always an enthusiast, Cope had extolled the virtues of psychedelic rock in 1983 with an NME feature entitled 'Tales from the Drug Attic'. He was also, almost single-handedly, responsible for the revival of interest in Scott Walker.

In mid-1973, Cope had seen Krautrock pioneers Faust play in Birmingham Town Hall: 'It was epic, it was brilliant, it had attitude enough to raze cities and it ruined every show I went to for at least two years after.' From the early Nineties on, his obsession with Seventies German rock informed both his music - 'Necropolis', for instance, from Jehovahkill - and his second book. Published in 1995, Krautrocksampler turned fandom into a canon. Just like his Japrocksampler last year, it exposed a hidden pop history with anecdotes, philosophical inquiries and top 50 lists - a worldview couched in the consciousness-raising radicalism of late Sixties agitprop. His enthusiasm and the pace of his writing found him a whole new audience.

OMM So what is this about Axis Rock?

JC 'The Krautrock revival was going on all the time: Pete Shelley of the Buzzcocks was a big fan. I had a band that were all Krautrock nutters and I had a guitar roadie who called himself Rizla Deutsche. He would play Neu! 2 endlessly. It's so disorientating anyway, with all the different speeds. He tried to turn me on to heroin, but I wasn't going down that route.

'So I thought I'd write a book about Krautrock. I remember going past a lorry on the motorway and down the side of it said "Norbert Dentressangle", and that made me think that the title had to be a long unwieldy thing. Krautrocksampler, that's going to look really German. I wrote it in about three months, based on everything I'd got. If I haven't heard of it, it doesn't exist.'

OMM Who did you base your writing style on?

JC 'John Sinclair and Lester Bangs. John Sinclair because I was absolutely wiped out by Guitar Army, the way he demanded that you take him seriously. I think that is the Holy Book. And Bangs because it was rock 'n' roll beyond anything that I had ever read. It had the rhythm of rock 'n' roll. And Lenny Bruce's The Berkeley Concert. It makes demands, sucking in all this stuff and spewing it out.'

OMM And then going from Germany to Japan, was that just a natural progression?

JC 'I just did a tour of Japan and realised that it was just an island worldview like ours. If an island is a big success and its context is that it's near a big continent, once they've had that success they're going to feel that they are marooned in a sea... that's what is different. Once I started realising what made the Japanese so different, it was useful for me, as a Brit.

'And here's why I think writing and photography are important to rock 'n' roll. When the music falls on its arse, rock 'n' roll photography and writing will carry the banner. I think if I saw my Japrocksampler, I'd have to have it to see the naked Japanese guys on the cover. They could sound like Badfinger and it wouldn't matter.'

In the Nineties, Cope began seriously pursuing his interest in archaeology, in particular the prehistoric sites of Britain: the stone circles and burial chambers dotted all over these islands. In 1992, he released an album of ambient instrumentals with Donald Ross Skinner called Rite, and in 1998 he published the full fruits of eight years' research, The Modern Antiquarian

With this lavishly illustrated and detailed gazetteer of more than 300 prehistoric sites, the final part of Cope's cosmology fell into place. The Modern Antiquarian and its 2004 follow-up, The Megalithic European, are both sustained, serious works. Cope has done his research and field work, and in doing so has gained the respect and friendship of noted archaeologist Aubrey Burl.

Websites are great at pulling a variety of disparate activities together and for those wishing to enter Copeworld, his Head Heritage website is a great introduction. Here you'll find a wide variety of record reviews, general articles of relevance - like Simon Fairlie's 'Can Britain Feed Itself?' - as well as a regular monthly blog by Cope himself.

OMM You have real discipline, and the rock 'n' roll life style does not encourage people to have discipline. How did you find yours?

JC 'I'm a huge fan of Robert Graves. There was one period in his life when he kept a column going in some magazine for five years. People did things like that in those days. When we were putting the website together, I said to my web guy, "I want to have an Album of the Month". He said, "you say that now, but will you still want to do it in six months?".

'But I've been doing it since May 2000 and I've never missed a month. I did one at the foot of Mount Ararat; I did another at the hotel in Pompeii. The last place I wanted to be was in the hotel writing, but it's what I decided to do. To be a practitioner was everything.'

Cope's albums are like a diary of his obsessions and Black Sheep is no different. Rants against bourgeois New Agers, power politicians and Christian tenets vie with a rousing, if queasy, denunciation of suicide bombers: 'All The Blowing-Themselves-Up-Motherfuckers (Will Realise The Minute They Die That They Are Suckers)'. As ever, vulgarity racks up against poetry.

At the album's centre are credo songs - 'Feed My Rock 'n' Roll', 'Psychedelic Odin' and 'Black Sheep' itself. 'I am the black sheep of this flock,' he sings, 'and I can answer to no one. I see you are the Black Sheep of your flock, too, methinks it takes one to know one.' At its heart is the piano-driven, haunting 'Dhimmi Is Blue', sung in Cope's most winning 'Helen Reddy voice'.

OMM You've said that Black Sheep is a bit of a change...

JC 'I've gone back to the Jehovahkill, heathen, dark folk sound - acoustic guitars, lots of mellotrons, hand drums, lots of melody. I headlined the 2004 Cambridge Folk Festival and I walked on stage and said, "I'm the only folk artist on this entire bill. This is all a hundred years ago, and my songs are about now." I won them over, eventually.

'I had something sent to me recently, an American band, and the music was great, but the song was about the Vietnam war. The Vietnam war needs to be written about by people who are going through the Vietnam war. Now, we're going through umpteen other wars, and they need to be written about.'

OMM Why aren't people doing that?

JC 'I think they're scared. They're scared stiff. They think that if they say anything against power, people are going to come and murder them in the night. I don't think so. What makes the western media so powerful is the ability to create something out of Islam that they can actually thrive upon. If Islam was all-powerful, we'd already be dead.'

OMM Do you think rock has become banal?

JC 'What has happened is an absence of transformation. If the shaman does not transform, he is not a shaman. Frank Zappa could be the most talented musician - I didn't like his music, but I can see he was very talented - but he did not declare himself as a shaman. Jim Morrison could be one of the most inept people in the world, but he declared himself a shaman. You've got to declare it.'

OMM And I like that the Doors are vulgar.

JC 'Me too, and that's why I write songs like "How German is Your Helmet". They're gauche. It's got to be a bit beery and belch. I'm really scared that in a hundred years people will look back on this time and they won't have people like that any more. I can't bear the idea that what we experienced was a blip, a freedom blip. I don't think I saw it as just something for me to enjoy myself, and part of me just feels I would do anything to sustain it.'

OMM You really think it's going to go?

JC 'Use it or lose it is a cliché because it's true. Supposedly intelligent people say to me: "Don't you think you'd be more successful if you re-formed the Teardrop Explodes?" I'm doing all this stuff to keep myself invigorated every day, hanging out with people I believe are culture heroes, and you think I'm doing all this because it hasn't yet occurred to me to reform the Teardrop Explodes?'

OMM You're not afraid to make a fool of yourself are you Julian?

JC 'A daft ha'p'orth is what I'm aiming for, in the words of my Grandma Cope...'

Fame and infamy - Cope's finest moments

21 October 1957 Julian David Cope is born in Deri, Mid Glamorgan.

1976 Attends City of Liverpool College of Higher Education where he meets Ian McCulloch and Pete Wylie.

1978 Cope and McCulloch begin writing together - one song, 'Books', was recorded by both McCulloch's Echo and the Bunnymen and Cope's Teardrop Explodes, who play their first gig in November this year.

1979 First Teardrops single, 'Sleeping Gas' is released on Zoo, produced by Bill Drummond.

1980 Classic debut album Kilimanjaro released.

1981 The Teardrops have three chart hits, peaking at No 6 with 'Reward'. Cope compiles Fire Escape in the Sky: The Godlike Genius of Scott Walker.

1982 Cope goes solo.

1983 'Hangs out all year, concentrating on his toy collection,' according to his own website. Cope is keen on Dinky cars.

1984 Releases Fried , which despite its bizarre cover, sinks without trace

1986 Back in the Top 20 with 'World Shut Your Mouth'.

1990 Releases Droolian - but it is available only in Austin, Texas.

1990 Cope is seen at the Poll Tax riot in London on 30 March in the costume of his 7ft alter-ego, Sqwubbsy.

1991 Peggy Suicide, Cope's best solo album, marks the start of his pollution trilogy.

1995 Publication of Krautrocksampler

1996 Presents Top of the Pops dressed as an eco-protester.

1998 The Modern Antiquarian published.

2001 Curates the Discover Odin festival at the British Museum, mixing Norse myths with Alice Cooper.

2004 The Megalithic European published.

2007 Japrocksampler published.

2008 Black Sheep released.

guardian.co.uk © Guardian News and Media Limited 2008

"La idea era evocar el relato del siglo XIX con armas modernas"

Como saben los que lo conocen, Mariano Llinás es un cineasta tan inteligente como verborrágico. Las casi dos horas de entrevista que hicimos el martes pasado se extendieron por diversos temas, y al desgrabarlas y escribir el texto para ser publicado en la edición de "Clarín" de hoy, era evidente que no iba a entrar todo. Lo que está en el link, entonces, es la nota publicada en el diario. Los que quieran un Llinás Extra Large pueden leer aquí la Versión Extendida de la entrevista. Y los que tengan ganas de analizar un trabajo de autoedición, digamos, desgarrador, pueden leer las dos notas y compararlas. Esta vendría a ser la versión Llinás de la entrevista: leerla te toma como cuatro horas y se va por todas las ramas posibles...

"Lo que Fresco dispone, lo construye Salamone".

Antes de ver la imaginativa, expansiva, imponente "Historias extraordinarias", desconocía la existencia de Francisco Salamone y supuse, acostumbrado a la febril imaginación de Mariano Llinás, que era otro de sus personajes inventados, como alguno de "Balnearios", su opera prima. Las demenciales criaturas arquitectónicas de Salamone, desplegadas entre 1936 y 1940 a lo largo de entonces muy pequeños pueblos de la provincia de Buenos Aires como Saliqueló, Puán, Lobería, Saldungaray, Guaminí, Rauch o Carhué (más de 70 edificios en 15 ciudades, dice la leyenda), eran increíbles para ser reales: desmedidas, inclasificables, fuera de todo orden y lógica, apabullantes.

Pero Llinás me cuenta que, más allá de algún dato biográfico imaginado, la vida de Salamone es tal y como se la muestra en la película. La obra del extravagante arquitecto siciliano no es más que un punto, un trazo de los tantos que recorren estas "Historias extraordinarias". Pero es una de sus claves. No sólo por ser la inspiración que lo llevó a hacer la película --esa intención de mostrar a la provincia de Buenos Aires como un escenario que, detrás de una aparente fachada plana y grisácea, oculta asombrosas hazañas, personajes quijotescos, aventureros y soñadores--, sino porque, de hecho, él podría ser un noble heredero de ese iconoclasta artista.

La epopeya de hacer la película más grande con la producción más pequeña sólo puede caber en la mente de un Salamone moderno. El arquitecto pensaba --como dice uno de los narradores de la película-- construir "en este confín del mundo edificios que sean tan memorables como la catedral de Chartres... Y vendrá gente a verlos a estos pueblos miserables", se cita Llinás hablando de su inspiración "salamónica", y uno no puede evitar hacer otra indiscreta comparación entre cine y arquitectura. Combatiendo un resfrío casi gripe que lo tiene a mal traer, el director se extiende, verborrágico. "La película surge cuando descubro la obra de Salamone --dice--, cuando veo esos rascacielos animales en medio de la provincia. Son increíbles. El tipo erigió los palacios más diabólicos que te puedas imaginar en medio de una provincia aparentemente chata".

Esa idea de la "chatura" provinciana --entre otras chaturas-- es la que Llinás sale a discutir con su película. "Me interesaba convertir ese lugar trabajado casi siempre desde el costumbrismo o desde esa cosa italiana del grotesco, en un espacio lleno de construcciones fantásticas, cargado de maravillas. Los narradores del siglo XIX --Stevenson, Chesterton-- convirtieron a una ciudad gris y caótica como Londres en un lugar inasible que equivalía al mundo. Acá había una idea de transformar el paisaje, sacarle esa carga monótona, sin por eso renunciar a contar ese lugar, ni a hablar de su melancolía. Pero yo no veo ahí un lugar gris o de paso, veo uno cargado de misterios".

Con sus más de cuatro horas de duración, el segundo largometraje de Llinás se propone construir monumentos sobre terraplenes, con la indirecta intención de refundar un cine que hace una década procede por sustracción, achicando, acotando. Los tres personajes de "Historias..." también se escapan de un destino seguro, de una vida sin emociones, pero su fuga parece ser la búsqueda de una nueva aventura, un despertar, un renacimiento. A diferencia de buena parte de los personajes del Nuevo Cine Argentino, X, Z y H deciden dejarse llevar por el viento de cola y emprender un camino hacia alguna parte. ¿Adónde? No lo saben: sólo saben que el viaje implica un encuentro con el mundo, no una excusa para escaparse de él.

Hasta el título parece una respuesta a otro como "Historias mínimas" y lo que se desprende de él y de cierto cine argentino. Pero Llinás rechaza esa comparación. "Nunca pensé en eso --dice--. Jamás voy a titular una película en respuesta a otra, ni como un chiste. El título procede de la famosa traducción de Baudelaire de Edgar Allan Poe. 'Historias' me parece una palabra ambigua y 'Extraordinarias' me parece linda. No estoy haciendo política ahí ni comparto esta idea de que es una película que viene a oponerse a cierto tipo de cine".

-Pero sí a dialogar con esas películas...

-No siento que sea una película que le dice a las otras lo que tienen que hacer. Nunca la pensé así. Aparece gente que me dice: "Le cerraste el pico a más de uno". Y no pienso así, no lo siento así y tampoco sé si son "los picos" que me gustaría cerrar. Siento que es una película que dialoga con otras cosas. La peor lectura que se puede hacer es oponerla a un cine que no cuenta historias. Esa antinomia la voy a refutar a muerte. Evidentemente en ella pasan muchas cosas y hay un relato muy fuerte, activo y variado, frente a un tipo de cine caracterizado por ser más despojado. Es una película extraña y barroca, pero no me gusta que se la use con ánimo de criticar...

-No de criticar, sino de sacudir ciertas fórmulas de qué tipo de cine "hay" que hacer...
-Yo siento que la película es hermana o prima de algunas películas de eso que llaman Nuevo Cine Argentino, de Lisandro (Alonso), de (Pablo) Trapero, de "El hombre robado". Tiene que ver más con películas que experimentan con el relato que con las que lo entienden como algo dado, que no se lo cuestionan. Esta sí se lo cuestiona, se lo plantea como problema. Sólo que lo aborda desde el lado opuesto. Ellos lo hacen de una manera, que tal vez sea más habitual dentro del cine moderno: la idea de deshacerse del relato. Y la nuestra es lo contrario, es saturar el relato al punto que de alguna manera no se está contando nada tampoco. ¿Cómo resumís las historias de la película? El argumento es imposible, hacé la prueba. Son espejismos, la película está compuesta por espejismos, por historias que se comen unas a otras.

-Algunos creen que la película viene a rescatar el relato clásico, idea que no comparto...
-Es una narración moderna que utiliza el lenguaje clásico como ingrediente. La idea era evocar el relato del siglo XIX con armas modernas. Pero ese tipo de relato está definitivamente muerto. No me interesa volver a la idea del narrador en torno al fuego. Eso me tiene sin cuidado: es una película conciente de sus procedimientos que, al utilizar el argumento como problema, da una sensación narrativa que es grata. Pero el narrador se cuestiona a sí mismo, no sabe lo que pasa pero decide seguir adelante...

-¿Adónde querías llegar desde lo temático?
-Para mí son como personajes perdidos en medio de una narración que se desboca. Son como no-personajes, sin rasgos psicológicos. Sólo conductores del argumento, personas a los que la ficción le sucede. Es por eso que no quería que sean actores (Llinás y su socio Agustín Mendilaharzu encarnan a X y H, Walter "se dice Valter" Jakob, es Z). "Valter" es actor, pero no lo puse por eso. Es mi amigo desde los seis años. La película es como un universo que se va desparramando cada vez más. Es como esas canciones que siguen y los músicos empiezan a mirarse tratando de pararla.

Llinás tiene un sistema difícil de clasificar. Uno ve sus películas y le resulta imposible trazar filiaciones simples. Son objetos que emergen orgullosos con su impureza, mezclando la historieta con la novela decimonónica, Hitchcock con Roberto Carlos, Salgari con Truffaut. Una de las claves más llamativas de ese "sistema" es el particular uso que hace de la voz en off, convirtiendo a casi toda la película en un objeto relatado, un juego habilidoso de voces e imágenes que se entrecruzan generando permanentemente nuevos sentidos.

"La película estaba escrita minuciosamente --explica--. Si bien yo tengo práctica con el procedimiento, al tener voz en off nunca sabés exactamente la ecuación entre imágenes y textos. En un guión normal nunca tenés textos que después tenés que completar con imágenes. Yo sabía que era una película larga, pero nunca se me habría ocurrido que podía ser de cuatro horas."

-Es difícil trabajar la voz en off sin que quede como un recurso excesivamente literario.

-Me interesaba evitar "el plano figurita": la voz dice algo y cortás a una imagen que te muestra lo que dice. Tenía que sentirse que la imagen era preexistente a la voz. Decir lo que se ve es lo peor que podés hacer. Yo sé que está fuera de moda hablar de Truffaut, pero los procedimientos se inspiran un poco en "Jules & Jim" o "Las dos inglesas y el amor". Ambas tienen narradores evidentes que organizan las cosas. La voz off es acusada de ser tiránica con la imagen, de no permitir ambigüedad. Pero yo sabía, o intuía, que cuando se utiliza de cierta manera sucede lo contrario...

-¿En qué sentido?

-Siento que, con la voz, las escenas se ven relevadas de la obligación de narrar, pueden estar vivas, tienen una autonomía y una vitalidad que no tienen cuando tienen que ocuparse de justificar su lugar delante de la cámara. Para mí libera a los personajes de ficción de la obligación de narrar. Hay otro ente que cubre ese lugar y los personajes están más libres. El mayor desafío para mí era que la película tenía que estar viva, que lo que el off apuntalaba tenía que tener vida propia, una existencia previa que el off sólo organizaría.

Para poder armar ese sistema narrativo, Llinás tenía que armar uno igualmente inusual de producción. No podría funcionar de otra manera. Porque una ambiciosa teoría cinematográfica debe ser acompañada de una práctica acorde. Y la suya es la de que su cine se aleje de los cánones convencionales ya desde la práctica.

"La aventura la siento en la forma de hacerla --dice--. La desmesura no es tanto en la narrativa sino en salir a filmar una película así, ponerle el cuerpo. Para todos los que la hicimos fue una especie de epopeya, fue emprender una pelicula pensada como un viaje. Siento que fue valiente la forma de encararla, de salir adelante. El gesto desmesurado fue domar ese monstruo enorme que era la película que estaba en el papel".

-Es que es curiosa, y arriesgada, la idea de una superproducción de bajo presupuesto...
-Las posibilidades de desastre era infinitas. Una batalla imposible todos los dias: botes, explosiones, un león, un viaje a Africa. Teníamos un cuadernito de problemas sin solución. Pero los encarábamos de una manera gozosa: "¡Vamos para adelante y disfrutemos de la situación!". Porque esa es la película. Hacerla con 6 millones de dólares y con todo preparado sería artificial. Había que ponerle el cuerpo. Que lo que la película narraba tuviera su correlato en su forma de estar hecha, condicionados por lo técnico, con un MiniDV que no es ni profesional, trabajando mucho la imagen, esperando los horarios buenos, en días nublados.

-La película trasluce como un espíritu festivo del equipo...
-Esa es la ideología de la película. Excede a los personajes. Es probarnos que el cine todavía es capaz de asumir la aventura como forma. Cada vez la producción de cine en la Argentina es más timorata, se abandona el riesgo, se van pertrechando en torno de pequeñeces. Nosotros necésitabamos sentir que había algo de la verdad cinematográfica que podía tener que ver con el azar, el desplazamiento, la libertad a la hora de interrogar al mundo, de ir a enfrentarse con él. No sé si la peli es épica o no, pero sé que hubo algo en su confeccion que sí fue epico. Y algo de eso tenía que poder ingresar a la película, la aventura que sucedía delante nuestro se iba a colar. Lo mismo con Africa: si la historia iba a Africa, teníamos que ir a Africa.

-Y eso que se hizo sin ningún tipo de crédito ni subsidios, es una película barata...

-La película trabaja en un universo donde el INCAA no existe. Nuestras posturas se radicalizaron tanto, fueron en una dirección tan contraria, que somos como extraños. Yo puedo pensar que eso está mal porque un organismo que administra el cine debería prestar atención a las cosas que pasan a sus espaldas y no trabajar solamente para las asociaciones de directores o las grandes productoras. Pero eso es algo que no pasa hace muchos años. Hay falta de curiosidad. Deberían entender que existe todo un cine que se resiste a ser concebido de manera industrial, que está hecho de otra manera. Películas que no aceptan ser una empresa o parte de una industria. "Historias..." la hicimos entre todos, con poca gente, intercambiando roles. Así se destruyendo una forma artesanal de hacer cine que tiene que ver con el futuro del cine del mundo. Tendrían que abrir los ojos y dar otro tipo de subsidios. Me opongo a convertirme en un patrón con empleados. Yo trabajo, hago un producto artístico y mi último objetivo no es el lucro. Nos 'pelamos el ojete' haciendo la película y si generamos algún dinero lo repartimos entre todos. No nos vamos a hacer millonarios, millonarios se hacen los que curran del Estado.

Ahora que el gesto ampuloso de "Historias extraordinarias" está por exhibirse el desafío es cómo seguir. ¿Hay un regreso a casa? ¿O el devenir impone nuevas y más arriesgadas aventuras? Llinás tiene dos proyectos en marcha. Uno es su tercera película como director --"se llama "Neblina", lo estoy haciendo con cuatro actrices del grupo Piel de Lava (Pilar Gamboa, Elisa Carricajo, Laura Paredes y Valeria Correa), Héctor Díaz y Mendilaharzu-- y hay otro en el que oficia, como en "El amor (primera parte)" y "Opus", de productor y colaborador en textos y menudencias. Ese lleva la firma de su habitual editor Alejo Moguillansky y se titula "Castro".

-¿Las veremos en los próximos BAFICI?

-El BAFICI es como mi casa, pero no lo sé. No hago películas pensando en festivales. Los grandes festivales no conciben el cine como yo, no entiendo las reglas, me siento extranjero en ese mundo. El BAFICI me gusta, siempre estuve relacionado a él, me siento cómodo. Pero dudo que sea el lugar para todas las películas.

-¿Por qué?

-Sin el BAFICI no habría cine argentino, esto es así, pero también polariza mucho las posibilidades de un cineasta. O hace una pelicula comercial, que para la mayoría de los directores independientes de mi generación es imposible, o hace una para el BAFICI. Y eso comporta un nivel de exigencia que no siempre es bueno, coarta un monton de proyectos chicos. Si vas a pasar algo ahí tenés que ser muy exigente, es el lugar donde se está escribiendo la historia del cine argentino. Uno debería encontrar un lugar para experimentar, equivocarse más, probar procedimientos. Quiero trabajar en proyectos desde la incertidumbre. El BAFICI tiene algo acumulativo: lo que viene tiene que ser más fuerte que lo anterior. Es como una feria de ciencias. Está mal que sea así, pero a la vez eso le otorga su valor.

Lo que Llinás no quiere perder es "lo lúdico de hacer películas, de probar cosas fuera de las especulaciones de la gran obra. Hacer una película sencilla, argumental, por ejemplo. El tema de los festivales es un poco castrador: uno también tiene que poder hacer tonterías..."


Sugarplum Fairy - The Wild One (2008)


Sugarplum Fairy es una banda de pop rock originaria de Borlange, Suecia. El nombre lo cogieron de una canción de The Beatles llamada ``A day in life´´ cuando John Lennon cantaba en la canción ``sugar-plum-fairy, sugar-plum-fairy´´.

La banda grabo su primer disco en 2004, su primer EP fue Stay young, recivieron felicitaciones de las criticas. Mas tarde ellos realizaron su primer canción, ``sweet jackie´´, que de ahí sacaron su primer disco titulado ``young & armed´´ . un año mas tarde ellos realizaron un tour por Suecia, Japón y Alemania, y realizaron el debut del disco en diferentes ediciones en primer luego en Japón y Alemania es el 2005. en 2006 ellos hicieron su segundo disco ``First Round First Minute´´.

La banda salto a la fama por el hermano de un integrante de la banda que es el cantante en Mando Diao. WIKIPEDIA

Más sobre Paul Newman

Miss Cafeína - Carrusel EP (2008)

Miss Caffeina es una banda de pop en castellano. Acaban de publicar "Carrusel", el tercer EP de su carrera y segundo en lo que va de año. Siguiendo en la línea del anterior EP llamado "En Marte", se trata de cinco canciones grabadas en septiembre de 2008 esta vez en la localidad barcelonesa de El Masnou, con Jordi Colomer a los mandos (Infusiones Musicales) y Gonçal Planas en la producción.

Con esta entrega pretenden dar un paso mas hacia la consolidación de una manera de hacer canciones que venían cultivando en sus anteriores trabajos. Existe una continuidad con los trabajos anteriores aunque se introducen elementos nuevos en el sonido y en la forma de afrontar las canciones. Gracias al trabajo fundamental en la producción de Gonçal Planas, han logrado un sonido mas cálido que queda apoyado por colaboraciones de lujo como la de Zahara.

Las canciones están disponibles para su descarga de modo gratuito en la web del grupo www.misscaffeina.com, asi como en plataformas digitales de musica online como myspace o Last FM.

La banda empezó a rodar hace dos años en busca de su sonido y graba su primer EP, "Destrucción Creativa" en Pig Studios (Granada). El EP tiene buena acogida entre la escena musical madrileña y consiguen moverlo por la geografía española. En mayo del 2007, tras algunos cambios en la formacion, el grupo vuelve a los escenarios de Madrid con mas energia que nunca, llegando a llenar en su concierto final de gira la Sala Caracol. Son seleccionados entre las mejores maquetas del concurso Contempopránea, quedan segundos en el concurso de grupos noveles de Aravaca y su single "Lo que haces" es elegido como sintonía publicitaria del canal de televisión Onda 6.

En enero del 2008 vuelven al estudio para grabar el que sería su segundo EP, " En Marte", presentado en febrero de 2008 a través de internet con una gran acogida del publico y medios. Con esta grabación encuentran su sonido y su identidad sin encasillarse en los registros indies dando paso a un público más amplio. Se han logrado mantener entre los grupos indie mas escuchados en los top 10 de Myspace sin contrato discográfico. Consiguen entrar en el numero 11 entre las mejores demos de Contempopranea 2008. Llegan a la final del concurso de la sala Astoria para tocar en Sonorama ganando además el premio del publico, quedan entre las bandas más votadas en el concurso para tocar en Summercase, y comienzan a sonar por distintas radios del pais. Han presentado las nuevas canciones en directo por toda España, preparando una gira que ha pasado por Barcelona, Oviedo, Badajoz, Madrid, Alicante, Málaga o Toledo.

Para la presentación en directo de "Carrusel" la banda ha preparado una gira conjunta con Zahara Eléctrica (MissEléctricaTour 2008) que pasará por Madrid, Tarragona, Badajoz, Córdoba, Alicante, Valencia, Granada, Sevilla, Oviedo, Barcelona. A nivel promocional, el grupo ha aparecido en televisión (Fly Music) prensa especializada y Cadena Ser. La identidad del grupo es sencilla: melodías pop, letras trabajadas y una imagen cuidada sin dejar de lado un directo potente.


Joseph Arthur And The Lonely Astronauts - Temporary People (2008)

Half rocker and half singer-songwriter, Arthur is one of the few artists in his milieu that can follow through on his prolific and restless inspirations.

The Brooklyn based singer-songwriter-painter recorded « Temporary people » with The Lonely Astronauts, his NYC collaborative gang, including Kraig Jarret Johnson (Golden Smog, The Jayhawks…), Jennifer "Jen" Turner (Natalie Merchant…), Sybil Buck , Greg "G. Wiz" Wieczorek (The Gutter Twins, Twilight Singers…).

Singer/songwriter Joseph Arthur was discovered by Peter Gabriel in the mid-'90s and soon signed to the artist's Real World label. In 2006, Joseph and longtime professional partner Lauren Pattenaude started his own record label , Lonely Astronaut Records. He recorded and released his fifth official studio album Nuclear Daydream--the first release on his label--in September 2006

His song "In the Sun" was covered by longtime aficionado Michael Stipe (R.E.M) and Coldplay singer Chris Martin in 2006 for a Hurricane Katrina Relief program.The EP includes 6 versions of the cover, one of which has Arthur himself singing with Stipe, and another remixed by Justin Timberlake.

April 17, 2007 saw the US release of his sixth studio album, Let‘s Just Be, the first album recorded with his band The Lonely Astronauts.

Temporary People, his seventh studio album (and second with The Lonely Astronauts), is set for release on September 30, 2008.

Temporary People finds The Astronauts steeped in rattling anthems (« Faith« ,« Temporary people«), unearthy rock revival (« Dead Savior« , « Look into the sky« ) and classic country inspired hymns ( « Say Goodbye« , « Turn you on«).

Listado de premios de San Sebastián

El Jurado Internacional del 56 FESTIVAL DE SAN SEBASTIÁN compuesto por

  • JONATHAN DEMME (EE.UU.) (Presidente)
  • MARTINA GUSMAN (Argentina)
  • NADINE LABAKI (Líbano)
  • CLARE PEPLOE (Reino Unido)

reunidos el 26 de septiembre de 2008, deciden otorgar por mayoría los siguientes premios:

    LOUISE-MICHEL“ (Francia)

    HUGO COLACE por “
    EL NIDO VACÍO” (Argentina-España- Francia)

    EL NIDO VACÍO” (Argentina-España-Francia)

    MELISSA LEO por “
    Ex-aequo a

    GENOVA” (Gran Bretaña)

    de SAMIRA Makhmalbaf (Irán-Francia)
    El Premio Especial del Jurado es para los niños Ziya Mirza Mohamad y Haron Ahad por su papel en la película dirigida por SAMIRA MAKHMALBAF, “ASBE DU-PA / TWO-LEGGED HORSE”; una película de sensible enfoque sobre la situación de peligro y desamparo en que viven muchos niños del mundo.


El JURADO PREMIO ALTADIS-NUEVOS DIRECTORES correspondiente a la 56 edición del Festival de San Sebastián, compuesto por:

  • Sra JOAN CHEN (Presidenta) (China)
  • Sr KOLDO ALMANDOZ (España)
  • Sr CALMIN BOREL (Francia)
  • Sra. SANDRA DEN HAMER (Holanda)

Y otorga el premio ALTADIS NUEVOS DIRECTORES a la película:


El PREMIO TCM DEL PÚBLICO de la 56º Edición del Festival de Cine de San Sebastián, dotado con 70.000 euros de ayuda para su promoción, recae en la película "BURN AFTER READING", de Joel Coen y Ethan Coen, distribuida en España por Universal Pictures Internacional Spain, S.L. Ha obtenido 8,639 puntos sobre un máximo de 10.

Premio de 35.000 euros para la película europea "LEMON TREE”, de Eran Riklis, distribuida en España por Golem Distribución, S.L. Ha obtenido 8,108 puntos sobre un máximo de 10.

El JURADO DE LA JUVENTUD correspondiente a la 56 Edición Festival de San Sebastián integrado por 250 jóvenes, ha otorgado el PREMIO DE LA JUVENTUD a la película "AMOROSA SOLEDAD" de los directores Martín Carranza y Victoria Galardi con una puntuación de 8,389 sobre diez. FOTO

El JURADO HORIZONTES correspondiente a la 56 edición del Festival de San Sebastián, compuesto por:

  • Sra. MIRTHA IBARRA (Presidenta) (Cuba)
  • Sr. JORGE GOLDENBERG (Argentina)
  • Sr. LUIS MIÑARRO (España)

Considera que la selección presentada en la 56 edición del Festival de San Sebastián expresa la variedad de prácticas, el rigor profesional y la búsqueda de nuevos enfoques que caracterizan buena parte de la producción cinematográfica de América Latina.

El Jurado decide por unanimidad otorgar una mención especial a las siguientes películas:

Y otorgar el Premio Horizontes, dotado con 35.000 Euros (10.000 destinados al director de la película ganadora y 25.000 a su importador en España), a la película:

  • GASOLINA (Guatemala) del director Julio Hernández Cordón.
Premio FIPRESCI: "Tiro en la cabeza", de Jaime Rosales (España)