Eroticism and claustrophia, hand in hand.
Suna No Onna, a film by Hiroshi Teshigahara (1964)

Eroticism and claustrophia, hand in hand.
Suna No Onna, a film by Hiroshi Teshigahara (1964)

Werckmeister Harmonies (Opening Sequence). Film by Béla Tarr.
The music in Bela Tarr’s movies turn the darkness and rudeness of its world into light and peace. A momentary light that will make it easier to cope with all the asphyxia that may come next.

Kesz az Egesz. From ‘Karzohat’, by Béla Tarr (Damnation, Hungary, 1988)
Perfect.

“Quartets”
Otomo Yoshihide+Kimura Yuki+Benedict Drew+Hirakawa Norimichi+Ishikawa Ko+Ichiraku Yoshimitsu+Jim O’Rourke+Kahimi Karie+Sachiko M+Axel Dörner+Martin Brandlmayr

Miles Davis, Louis Malle, and magnetic Jeanne Moureau under the neon lights of Paris. Ah, les bas-fonds.

Art: Hanna von Goeler
“Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery—celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from—it’s where you take them to.”
— Jim Jarmusch.

Picture by Hedi Slimane.
“Everything, as David Lynch would say, is never quite what it seems. Bohren and Der Club of Gore are a real connoisseurs band, their intense blend of heaving doom reductions and late night Badalemanti style midnight jazz has bought them a fanatical following in both the Avant-Metal and Jazz communities. Their sound really can be best visualised with reference to the ‘Bang Bang’ Bar in Twin Peaks, all sleaze, unease and glamour in the archetypal Lynchian sense”. [Boomkat]
The band released ‘Dolores’ in october 2008.
Bohren and der Club of Gore – Karin
Bohren and der Club of Gore – Unkerich

The finest delight of the day. How cute, how cute.
more about “Hole in One” by Lullatone.


“A confronting examination of human evil in all its enduring banality, Heartbeat Detector takes a crooked path towards its bid for some straight talking.”
This movie is haunting me. Even though some may say it’s pure pretension, it deals with such a strong theme, on holocaust memory and how we all deal with power, that it’s well worth watching. The way it’s done, I believe, enriches the awkward silence we breath in it. It’s all conceptual, beautiful, painful. It’s brave, and that’s something that cinema lacks nowadays. And yes, the more I think of it, the more I love it.
Beside that, and here’s the reason for my post, the soundtrack of the movie is stunning. It left me breathless. It fits perfectly this awkward mood and it makes the whole images flow better. It’s the most beautiful soundtrack I’ve heard in years.
“Music is a virus,” company HR guy Simon is informed by his girlfriend early on in Nicolas Kotz’s Heartbeat Detector, based on the novel by François Emmanuel. In case we missed the point, one of Simon’s superiors later reminds him, “music doesn’t tolerate hierarchy.” Their warnings are entirely astute: music — in a number of incarnations from techno to fado to violin quartets — is the catalyst of Simon’s slow disintegration. - says Pop Matters.
Syd Matters is the soundtrack composer.

Bleu, by Krzysztof Kieslowski (1993). Music by Zbigniew Preisner.
“Remorse is Memory Awake”