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chillingcinemachronicles · 6 months

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Top 5 Sci-Fi Movies on Netflix

5. Predestination (2014)

Genre: Science Fiction, Thriller

Actor: Alicia Pavlis, Annabelle Norman, Arielle O’Neill, Ben Prendergast, Carolyn Shakespeare-Allen, Cate Wolfe, Christopher Bunworth, Christopher Kirby, Christopher Sommers, Christopher Stollery, Dennis Coard, Dick York, Elise Jansen, Eliza D’Souza, Eliza Matengu, Ethan Hawke, Felicity Steel, Finegan Sampson, Freya Stafford, Giordano Gangl, Grant Piro, Hayley Butcher, Jim Knobeloch, Katie Avram, Kristie Jandric, Kuni Hashimoto, Lucinda Armstrong Hall, Madeleine West, Maja Sarosiek, Marky Lee Campbell, Milla Simmonds, Monique Heath, Noah Taylor, Noel Herriman, Olivia Sprague, Paul Moder, Raj Sidhu, Rob Jenkins, Sara El-Yafi, Sarah Snook, Sophie Cusworth, Tony Nikolakopoulos, Tyler Coppin, Vanessa Crouch

Director: Michael Spierig, Peter Spierig, The Spierig Brothers

Rating: R

One of the most original time-travel thrillers since 12 Monkeys. A brilliant subversion of the Time Paradox trope, with enough plot twists to keep you entertained until well after the movie is finished. Predestination is an amazing movie with great performances from Ethan Hawke and Sarah Snook. It’s a movie that will feel like Inception, when it comes to messing with your mind and barely anyone has heard of it. It is highly underrated and unknown, sadly.

4. Train to Busan (2016)

Genre: Action, Adventure, Drama, Horror, Science Fiction, Thriller

Actor: Ahn So-hee, An So-hee, Baek Seung-hwan, Cha Chung-hwa, Chang-hwan Kim, Choi Gwi-hwa, Choi Woo-shik, Choi Woo-sung, Dong-seok Ma, Eui-sung Kim, Gong Yoo, Han Ji-eun, Han Sung-soo, Jang Hyuk-jin, Jeong Seok-yong, Jung Seok-yong, Jung Young-ki, Jung Yu-mi, Kim Chang-hwan, Kim Eui-sung, Kim Jae-rok, Kim Joo-heon, Kim Ju-hun, Kim Keum-soon, Kim Soo-ahn, Kim Soo-an, Kim Su-an, Kim Won-Jin, Lee Joo-sil, Lee Joong-ok, Ma Dong-seok, Park Myung-shin, Sang-ho Yeon, Seok-yong Jeong, Shim Eun-kyung, Sohee, Soo-an Kim, Soo-jung Ye, Terri Doty, Woo Do-im, Woo-sik Choi, Ye Soo-jung, Yeon Sang-ho, Yoo Gong, Yu-mi Jeong, Yu-mi Jung

Director: Sang-ho Yeon, Yeon Sang-ho

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A zombie virus breaks out and catches up with a father as he is taking his daughter from Seoul to Busan, South Korea’s second-largest city. Watch them trying to survive to reach their destination, a purported safe zone.

The acting is spot-on; the set pieces are particularly well choreographed. You’ll care about the characters. You’ll feel for the father as he struggles to keep his humanity in the bleakest of scenarios.

It’s a refreshingly thrilling disaster movie, a perfect specimen of the genre.

3. Serenity (2005)

Genre: Action, Adventure, Science Fiction, Thriller

Actor: Adam Baldwin, Alan Tudyk, Carrie ‘CeCe’ Cline, Chiwetel Ejiofor, Colin Patrick Lynch, David Krumholtz, Demetra Raven, Dennis Keiffer, Elaine Mani Lee, Erik Weiner, Gina Torres, Glenn Howerton, Hunter Ansley Wryn, Jessica Huang, Jewel Staite, Linda Wang, Logan O’Brien, Marcus Young, Mark Winn, Marley McClean, Matt McColm, Michael Hitchcock, Morena Baccarin, Nathan Fillion, Nectar Rose, Neil Patrick Harris, Peter James Smith, Rafael Feldman, Rick Williamson, Ron Glass, Ryan Tasz, Sarah Paulson, Sean Maher, Summer Glau, Tamara Taylor, Terrell Tilford, Terrence Hardy Jr., Tristan Jarred, Weston Nathanson, Yan Feldman

Director: Joss Whedon

Rating: PG-13

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Serenity is a futuristic sci-fi film that serves as a feature-length continuation of the story-line from the TV program Firefly (2002–2003). The story revolves around the captain (Nathan Fillion) and crew of the titular space vessel that operate as space outlaws, running cargo and smuggling missions throughout the galaxy. They take on a mysterious young psychic girl and her brother, the girl carrying secrets detrimental to the intergalactic government, and soon find themselves being hunted by a nefarious assassin (Chiwetel Ejiofor). The first feature-length film from Joss Whedon (The Avengers), Serenity is a lively and enjoyable adventure, replete with large-scale action sequences, strong characterizations and just the right touch of wry humor. An enjoyable viewing experience that stands alone without demanding that you have familiarity with the original program beforehand.

2. Sorry to Bother You (2018)

Genre: Comedy, Fantasy, Science Fiction

Actor: Armie Hammer, Danny Glover, David Cross, Ed Moy, Forest Whitaker, James D. Weston II, Jermaine Fowler, John Ozuna, Kate Berlant, Lakeith Stanfield, Lily James, Marcella Bragio, Michael X. Sommers, Molly Brady, Omari Hardwick, Patton Oswalt, Robert Longstreet, Rosario Dawson, Steven Yeun, Teresa Navarro, Terry Crews, Tessa Thompson, Tom Woodruff Jr., Tony Toste, W. Kamau Bell

Director: Boots Riley

In the year of the Netflix TV Show Maniac, another absurdist title stole critics’ hearts. Sorry to Bother You is a movie set in an alternate reality, where capitalism and greed are accentuated. Lakeith Stanfield (Atlanta) is a guy called Cassius who struggles to pay his bills. However, when at a tele-marketing job an old-timer tells him to use a “white voice”, he starts moving up the ranks of his bizarre society. A really smart movie that will be mostly enjoyed by those who watch it for its entertaining value, and not so much for its commentary. It is like a Black Mirror episode stretched into a movie.

1. Ex Machina (2015)

Genre: Drama, Science Fiction

Actor: Alex Garland, Alicia Vikander, Chelsea Li, Claire Selby, Corey Johnson, Domhnall Gleeson, Elina Alminas, Gana Bayarsaikhan, Oscar Isaac, Sonoya Mizuno, Symara A. Templeman, Symara Templeman, Tiffany Pisani

Director: Alex Garland

Rating: R

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Ex Machina is the directorial debut of Alex Garland, the writer of 28 Days Later (and 28 Weeks Later). It tells the story of Caleb (Domhnall Gleeson from About Time), an IT developer who is invited by a billionaire CEO to participate in a groundbreaking experiment — administering a Turing test to a humanoid robot called Ava (Alicia Vikander). Meeting the robot with feelings of superiority at first, questions of trust and ethics soon collide with the protagonist’s personal views. While this dazzling film does not rely on them, the visual effects and the overall look-feel of Ex Machina are absolutely stunning and were rightly picked for an Academy Award. They make Ex Machina feel just as casually futuristic as the equally stylish Her and, like Joaquin Phoenix, Gleeson aka Caleb must confront the feelings he develops towards a machine, despite his full awareness that ‘she’ is just that. This is possibly as close to Kubrick as anyone got in the 21st century. Ex Machina is clever, thrilling, and packed with engaging ideas.

#netflix #movies #film #top 5 #sci fi #science fiction

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holly-childs · 7 months

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Gnarled Roots performed at Traumabar und Kino, Berlin for Creamcake/3HD's daylightsavings party October 2022 (2x2am). Photographs by Visvaldas Morkevicius

Music, text, and concept by Holly Childs & Gediminas Žygus Choreography by Antanas Lučiūnas Performed by Antanas Lučiūnas, Kani Marouf, and Holly Childs Typography by Wei Huang Costumes by Limo Hair Music videos by Marijn Degenaar, Nichi Baratto, Elif Ozbay, Tomasz Skibicki, and Mark Prendergast Lighting design by Theresa Baumgartner

#holly childs #gediminas zygus #gnarled roots #berlin

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k00280550 · 1 year

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Movement- Project statement

For the movement project I focused on movement around the world through travelling. My electives are print, painting and ceramics. I spent week one and two in ceramics, week three and four in painting and the last two weeks in print.

Over the summer I spent five weeks camping in a tent and travelling around Europe with my family in a van. I made many pieces depicting this journey. Maps, shells as souvenirs, tire marks, footprints, the Alps, van life and camping are the main themes seen in my work throughout the three electives.

I combined the maps, tire prints, ceramic van and other paths I made in each discipline to create a abstract map of my movement through travelling.

I found the easiest elective to make a interdisciplinary link was ceramics as many aspects of working with clay involves either printing and/or painting. For example:

Printing patterns I designed on to clay-

Painting ceramic pieces-

Printing shapes in to clay -

I combined my three disciplines to create a post stamp. I screen printed circular patterns on to a slab of clay, then printed shells, wheel like circles and other mark making tools into the clay. I used a nail art tool to draw on roads to show the journey taken whilst travelling. I used a plastic tool to print in to the edges of this piece to give it a stamp like shape.Once this piece was out of the kiln I painted it.

I also combined print, painting and ceramics by printing a recycled tire wheel into clay and then painting it once it was fired. The tire print shows the movement of the vans wheels whilst travelling around.

Artist’s researched :

Ellie Pratt

Kristy keeney

Rose Frankel

Margret O’Rorke

Lauren hurst

David Lilburn

Kathy Prendergast

Akihito Horigome

Danny Hawk

Alice Kellet

Hannah Guthrie

Paula Scher

I really enjoyed this project as I learned many new things about working with clay, painting life drawings, making stamps and screen printing. In the workshops we explored different ways of mark making. I used shells and a piece of a recycled tire to make prints in to clay and as a mark making tools in a painting workshop.

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whatdoesshedotothem · 1 year

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Friday 6 December 1833

7 55

11 ½

much rain last night two good but water motions one after five and the other on getting up breakfast at 9 read over and directed my letters - had the man from Mr. Delaval and paid for my passage in Danish species and dollars (the 1st worth 60 the 2nd worth 30 Hamburg schillings each, and 16 of these schillings = 1 Mark or 16 pence English) at 17 marks currency per £1 - then had Mr. Stäcker - very civil - would do anything for me at any time - I had only to write to him ‘Mr. John Stäcker Secretary the English post-office Hamburg’ under cover to ‘Thomas Pittwell Esquire Foreign office London’ - could only thank him as he was not a man I could pay - then came Mr. Canning for about ½ hour - very civil - thinking of Mrs. Milne, asked what chance the son of military officer had of being employed in a counting house here - none if his object was [?] - but there were a great many English here studying the language and in commercial houses learning the business, but these had all commercial connections to go back to at home - the only people who had influence here were the houses connected with Hamburg e.g. Rothschild; Mellish that is John Gore and co. Bishopsgate street; Barings brothers; Alexander and co. India bankers; Hammerlseys and co. - paid my hotel bill - then at 12 ½ Mrs. Canning called and sat about an hour and took me out in her carriage - stopped at the consulate office and gave Mr. C- my letters for the post – to ‘Madame la comtesse de Blucher, Blanco-gate, à Copenhagen’ – to ‘the Lady Harriet de Hagemann, Amaliagade, Copenhagen’ – and to ‘Madame la comtesse de Bourke Rue du faubourg St. Honoré no. 52 [53] à Paris’ then drove to the bank (Hunt Carr and co.) - went into a private house as I had done before and one of the Hamburg society young Mr. Goddefroi (know no to spell his name) took my 55 species and 100 dollars, and would let me have the value (according to the exchange)in the evening - then went to the great bookseller’s close to my hotel and here again Mrs. Canning was shaking hands with the old gentleman there who was also one of the leading men - got Schades’ English German grammar and 3 Gotha almanacs and we then took a little drive on the Ramparts Mrs. C- a rather pretty? good sort of person - seemed satisfied with me; at least, begged I would let her know when I came again and really pressed me to be at her house - Mr. C- has £1500 a year and some fees - a Mr. Jackson (who was

SH:7/ML/E/16/0145

secretary to Madame de Stäel when in England) writes against him in the English newspapers - told me a long history of his fancying himself opposed in a matrimonial scheme by Mrs. Canning, and the Lady having married a Mr. Prendergast a sir Henry Heathcote knight and his Lady here for economy - he a rear admiral - brought no letter to Mr. C- she will not call on the people here, so cannot get into the best society here, thro’ wishing it - she a violent tempered woman - also a Mr. [Pigoug] HP from some regiment (gunpowder man) and his wife here, and they not in the society here not liking to call on the people? or Mrs. Canning not liking to introduce either them or the Heathcotes, neither of them having brought any letter to Mr. C- Mrs. Canning a vainish liking to talk of herself not every genteel person who was she? but extraordinarily civil to me Mrs. C- set me down at home at 3 ¼ - met Lord H- just coming away - he had been to ask me to walk - walked with me on the Ramparts - looked down up the river and shipping - home at 4 ¼ after an agreeable walk - he going to dine at Mr. Smith’s - changed my dress - had my little banker at 5 - he said Crusens comptorist was scarce and dear, and very good for a person who wanted to learn arithmetical but thought Crugero’s tabelles pr. 10 marks 1 long thin volume would be better for me or for any traveller comparing the different weights and measures and monies of all the principal states and towns of Europe - I did not quite get so much as £1 for 17 marks - 21 ½ sovereign for 5 species + 90 dollars or half-species - expected £22 for this sum - dinner at 5 ½ - then packing travelling bag etc looking over my maps of Germany and almost tired of waiting for Mr. Canning’s carriage when Lord H- came with it at 8 ½ - off in 5 minutes at the river in ¼ hour - on board the Columbine (a longish way to row in a small boat) at 9 - Lord H- really very attentive - he wrote a letter below and then took his leave at 10 ¼ promising to write me some hints for Norway and leave them with old Lady Stuart - in fact I had not let him pay a farthing for his journey except the value of a species in small money taken out of his bag that he would not take back I even paid for his eating etc unless perhaps one or two glasses of rum when nobody else had anything - walked on the back till 11 ½ pm and then crept into my cottage - did not undress nor shall I during the voyage only 4 births in the cabin at the stern and nobody but Eugenie and myself - the wife of a captain of a large Russian vessel with a nurse and 2 children and one gentleman and perhaps one 2 sturage passion besides Thomas and that all - fair all today for a wonder - high wind during the day and now and right against our getting out of the river – F48° at 11 ½ p.m.

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tipco613 · 11 days

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New Post has been published on https://cryptonewsuniverse.com/a-strategic-masterstroke-blugenics-harnesses-markethives-expertise-for-the-launch-of-gaditana-original/

A Strategic Masterstroke: Blugenics Harnesses Markethive's Expertise for the Launch of Gaditana Original

Experience the game-changing potential of Markethive, the first-ever market network built on blockchain technology. With its decentralized and transparent nature, this groundbreaking innovation empowers Blugenics, a company dedicated to its customers and the creator of Gatitana Original, the purest superfood on earth, to connect with customers like never before. Say goodbye to traditional marketing methods and hello to a new era of customer acquisition.

Blugenics Selects Markethive For Revolutionary Customer Acquisition Initiative

After years of prayer, the divinely inspired vision for Markethive is now becoming a reality. In an exclusive and unprecedented partnership, we have established a comprehensive socket connection between Markethive and Blugenics, creating seamless inter-process communication and allowing our storefronts to link directly to their system. This milestone marks the beginning of a new era as the full potential of a fully functional market network is unleashed upon the world. This is just the beginning of our journey together, and we're excited to have you as part of this exclusive collaboration.

Markethive is embarking on a groundbreaking venture spearheaded by Chris Corey and guided by Markethive CEO Thomas Prendergast. In a synergistic collaboration between Markethive engineers and the Blugenics marketing team, we're developing all forms of state-of-the-art marketing material for distributor acquisition and customers. This innovative project heralds a new era for Markethive, and we're eagerly anticipating its impact on our community.

Thomas recently prayed to the Lord to reveal a suitable business partner who shares his commitment to prioritizing customers' needs. Paraphrasing,

“Lord, if you want Markethive to be unveiled and for us to have a company that will lock arms with us that has a customer-centric product, can’t you just send it to me, Lord, because I can't find one!”

Only days later, Thomas received a call from his friend Jeff, who introduced him to David Hunter, the president of Blugenics. During their conversation, Thomas felt a sense of tranquility and optimism. After carefully considering the gentleman's words, Thomas mentioned that Markethive would require a socket connection to fully utilize its capabilities and unlock its full potential. David replied that they had already searched the web and wanted to collaborate with Markethive. David then informed Thomas that the socket connection was already up and running, and all that was needed was for him to verify it.

The Fluke Discovery Of Phytoplankton: The Tiny Giants of the Ocean

Phytoplankton, the microscopic powerhouses of the sea, are the unsung heroes of the marine world. Despite their small size, they are responsible for producing a significant portion of the oxygen we breathe and serve as the foundation of the aquatic food chain, making them essential for our planet's health and our own survival.

In 2005, phytoplankton was initially intended to serve as a food source for commercial shellfish. However, its significance extends far beyond its utility as a food source. Tom Harper's personal story highlights the unexpected discovery of phytoplankton's profound impact on human health and wellness. Tom Harper, a pioneer in the field, shares his story of how he discovered marine phytoplankton for human use and how it positively impacted his health and well-being.

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The news of phytoplankton's restorative powers quickly gained traction and became the talk of the town, inspiring many to try it. This surge in popularity led to a plethora of personal accounts from individuals who experienced remarkable health transformations, shaping a new vision for the future of nutrition.

Introducing Blugenics Gatitana Original

Gatitana Original has been available in Canada for the past eight years under the name “Karen Phytoplankton.” It has been extensively market-tested in thousands of pharmacies and retail chains, including Kroger and Costco.

The drink was named in honor of David's mother, Karen Hunter, who sadly passed away from cancer in 1993. With its proven track record and impressive customer testimonials, Karen Phytoplankton established itself as Canada's best-reviewed supplement, and it was only 18% of the potency we are launching for you today.

Today, we are thrilled to introduce Gatitana Original to you. This formula boasts an even higher potency than the original formula. Its customer testimonial base is filled with inspiring stories of improved quality of life that would have been considered impossible in the past. Get ready to experience a new level of health and wellness that will revolutionize the way you think about nutrition and potentially transform your life.

For the first time in history, the plant that is the origin of life, food, and nutrition and sustains the oceanic ecosystem is available for us all. Introducing the original superfood, a raw enzyme-active marvel of nature that transcends conventional supplementation.

Image: One example of the forthcoming landing pages for Gatitana Source: Markethive

The Power of Collaboration: A New Era in Health Marketing

The collaboration between Markethiive and Blugenics has enabled Gaditana Original to expand its reach and ship to four significant countries, including the United States, Canada, Mexico, Australia, and the Bahama Islands. More countries will soon open to help more people worldwide.

This development brings a unique opportunity for people worldwide to experience the benefits of this ancient, original base food. Ironically, after centuries of being overlooked, it's only now that this plant is being recognized for its true value and offered in its pure form, marking a significant moment in history.

Gaditana Original is a truly unique product, and we're excited to introduce you to the exceptional platform that will help us share it with the world. Meet Markethive, a cutting-edge marketing powerhouse. Our comprehensive suite of tools encompasses a wide range of efficient customer and distributor acquisition methods, including capture pages, email marketing, social media, broadcasting autoresponders, press release platforms, viral blogging systems, and many more innovative solutions. These resources equip entrepreneurs with diverse tools to amplify their business growth and reach new heights.

The Markethive team is currently building the group blogs, autoresponders, and capture pages for everyone to use that will all be coded to the individual group members. Leveraging the power of blockchain technology, these tools work in harmony to maximize their effectiveness, resulting in a powerful synergy that amplifies your team's success as the number of distributors grows.

By joining the Blugenics Customer Acquisition Group within Markethive, you're not just becoming part of a team but gaining access to a wealth of resources and support. Our systems are already built for you and are ready to help you and your teams start making progress immediately. We're here to support your journey to success, providing you with the tools and guidance you need to thrive.

This partnership between Markethive, the premier marketing platform, and Blugenics, the ultimate superfood, creates a powerful synergy – a match made in heaven. If you're ready to enhance your capabilities and empower yourself, we cordially invite you to join us. Your journey to success starts here â¤ https://markethive.com/group/customeracquisition

Editor and Chief Markethive: Deb Williams. (Australia) I thrive on progress and champion freedom of speech. I embrace "Change" with a passion, and my purpose in life is to enlighten people to accept and move forward with enthusiasm. Find me at my Markethive Profile Page | My Twitter Account | and my LinkedIn Profile.

#Blugenics #Markethive Phytoplankton #Wellness

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moviereviews101web · 2 months

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Main Character Energy (2023) Short Movie Review

Main Character Energy – Short Movie Review Director: Sohale Dezfoli Writer: Nicholas Begnaud (Screenplay) Cast Mark Prendergast (Outpost Rise of the Spetsnaz) Taylor Joree Scorse (Under the Influencer) Kacey Rose Lorne Hughes (Limbo) Plot: An actor goes into an open call but misses an important detail in the character description. Runtime: 12 Minutes There may be spoilers in the rest of…

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#2023 #Comedy #Main Character Energy

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mediaevalmusereads · 4 months

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2023 Reading Wrap-Up: the Good, the Bad, and the Meh

Below is a list of books that I read in 2023. I’ve sorted them into 3 categories: the good (books I loved), the bad (books I didn’t like), and the meh (books I thought were just ok). Other than these categories, the books aren’t listed in any special order or ranking.

Bright Young Women by Jessica Knoll

The Good

The Beautifu Ones by Silvia Moreno-Garcia

Civilizations by Laurent Binet

Kaikeyi by Vaishnavi Patel

Baking Yesteryear by B. Dylan Hollis

Powers of Darkness by Valdimar Asmundsson

The Left Hand of Darkness by Ursula K. Le Guin

Say Yes to the Marquess by Tessa Dare

Romancing the Duke by Tessa Dare

A Night to Surrender by Tessa Dare

The Square of Sevens by Laura Robinson-Shepherd

Japanese Ghost Stories by Lafcadio Hearn

Unlocked by Courtney Milan

Writing Fiction by Janet Burroway

The Bridge of San Luis Rey by Thornton Wilder

If We Were Villains by ML Rio

Under the Eye of Power by Colin Dickey

Proof By Seduction by Courtney Milan

Our Hideous Progeny by CE McGill

Bea Wulf by Zach Weinersmith

Hen Fever by Olivia Waite

The Ruin of Gabriel Ashleigh by KJ Charles

Lord Dashwood Missed Out by Tessa Dare

Gender Queer by Maia Kobabe

Any Duchess Will Do by Tessa Dare

A Lady by Midnight by Tessa Dare

A Rogue's Rules for Seduction by Eva Leigh

The Body Keeps the Score by Bessel van der Kolk

The House in the Cerulean Sea by TJ Klune

The Penelopiad by Margaret Atwood

Perfume by Patrick Suskind

Affective Medievalism by Thomas Prendergast and Stephanie Trigg

A Week to Be Wicked by Tessa Dare

The Word for World is Forest by Ursula K. Le Guin

Kent State by Derf Backderf

Anti-Christ by Mernard McGinn

My Dark Vanessa by Kate Elizabeth Russell

The Master and Margarita by Mikhail Bulgakov

Wuthering Heights by Emily Bronte

The Meh

The Nothing Man by Katherine Ryan Howard

A Wizard's Guide to Defensive Baking by T. Kingfisher

A Christmas Bride by Mary Balogh

A True Account by Katherine Howe

The Disenchantment by Celia Bell

Hazardous Spirits by Anbara Salam

The Wallflower Wager by Tessa Dare

Penguin's Poems for Love by Laura Barber

The Artist's Way by Julia Cameron

Marry Me By Midnight by Felicia Grossman

Hamnet by Maggie O'Farrell

Trial By Desire by Courtney Milan

The Thousand Crimes of Ming Tsu by Tom Lin

Camp Damascus by Chuck Tingle

Beauty and the Blacksmith by Tessa Dare

The Salt Grows Heavy by Cassandra Khaw

Weyward by Emilia Hart

The Miniaturist by Jessie Burton

Future Home of the Living God by Louise Erdrich

A Lady for a Duke by Alexis Hall

The Twenty Days of Turin by Giorgio de Maria

Nine Rules to Break When Romancing a Rake by Sara MacLean

How the Wallflower Was Won by Eva Leigh

The Luminous Dead by Caitlin Starling

Erotic Medievalisms by Elan Justice Pavlinich

Hit Me With Your Best Scot by Suzanne Enoch

Forbidden by Beverly Jenkins

Prize for the Fire by Rilla Askew

Bisclavret by KL Noone

The Witches of New York by Ami McKay

A Natural History of the Romance Novel by Pamela Regis

The Bad

A Love By Design by Elizabeth Everett

Mr. Malcolm's List by Suzanne Allain

A Dangerous Business by Jane Smiley

Spinning Silver by Naomi Novik

Finding Meaning by David Kessler

Do You Want to Start a Scandal by Tessa Dare

The Prince of Prohibition by Marilyn Marks

The Heiress Hunt by Joanna Shupe

The Madness of Lord Ian Mackenzie by Jennifer Ashley

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scottishmusicnetwork · 9 months

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NEW SINGLE : MAN ALIVE DEBUT EP ‘COLOURS’ TO BE RELEASED ON 15TH SEPTEMBER

DEBUT EP ‘COLOURS’ TO BE RELEASED ON 15TH SEPTEMBER – PRE-SAVE HERE FEATURING THE NEW SINGLE AND TITLE TRACK THE NEW PROJECT FROM KODALINE’S MARK PRENDERGAST “Man Alive is a new project from a familiar face. It finds the Irish artist wiping the slate clean, moving away from stadium bombast towards something more tender, more personal, and openly emotive.” – Clash “Deeply meaningful.” – Hot…

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streetsofdublin · 10 months

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CHAC MOOL BY SEBASTIAN

Enrique Carbajal González was born in Chihuahua, Northern Mexico, shortly after the end of the Second World War.

NEAR THE LINCOLN GATE ENTRANCE TO TRINITY COLLEGE I must admit that I like this … well I like anything that is painted blue. Formally unveiled by Provost Patrick Prendergast and H.E. Ambassador Carlos García de Alba in the presence of the artist on the 18th of September 2015 to mark 40 years of Mexican-Irish Diplomatic Relations Enrique Carbajal González was born in Chihuahua, Northern Mexico,…

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#18-105mm Lens #ancient Mesoamerican sculpture #blue #Chac Mool #Chihuahua #Enrique Carbajal González #Fotonique #FX30 #Infomatique #martyred Saint Sebastian #Metal Sculpture #Mexico #Northern Mexico #pseudonym ‘Sebastián #Public Art #Sandro Botticelli #Sebastián’s Chac Mool #Trinity Campus #William Murphy

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0thing · 10 months

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Tangerine Dream: Changing Use Of Technology, Part 2: 1977-1994

Published January 1995

The recently released 'Tangents 1973‑1983' Tangerine Dream boxed set chronicles the 10 seminal years the German group spent on the Virgin label. MARK PRENDERGAST concludes his history of the band, and looks at the effect they have had on the development of modern music technology. This is the last article in a two‑part series.

During the 1970's, Tangerine Dream blazed a trail for electronic music with a string of hit albums that brought them worldwide acclaim. Part 1 of this feature, in last month's Sound On Sound, recounted how the 'classic' Tangerine Dream line‑up of founder Edgar Froese, Christoph Franke, and Peter Baumann crafted famous albums like Phaedra, Stratosfear, and Rubycon using nascent, unreliable electronic technology. But tensions between Edgar Froese and Peter Baumann became unbearable following two extensive tours of the United States in 1977, and Baumann left to pursue a solo career in the Autumn of that year.

Baumann's departure had serious repercussions for Tangerine Dream. Edgar Froese and Chris Franke drafted in old Berlin chums Steve Jolliffe (flute) and Klaus Krieger (drums) for the making of the Cyclone album in 1978. But the new personnel and new instruments — a Roland guitar synth and multi‑trigger drums — did not save the album from sounding poor. Jolliffe even sang — the first time there had been vocals on a Tangerine Dream album. Not surprisingly, no track from Cyclone appears on the Tangents boxed set. Jolliffe was dropped, and the trio of Froese, Franke, and Krieger recorded Force Majeure at Hansa Studios in Berlin. On its release in 1979, this proved to be Tangerine Dream's return to form. The apocalyptic 'Thru Metamorphic Rocks' still sounds futuristic, even today.

Christoph Franke recalls: "It was a new phase, more structured. The music was more heroic, a little bit like art‑rock again. We got some more keyboards, and our big Moog modular was more stabilised inside — new oscillators came in, and new envelopes. But the Mellotrons and MiniMoogs were still there".

Tangerine Dream began 1980 by being the first Western rock group to play on the Eastern side of the Berlin Wall (documented on the live album Pergamon, released in 1986). More important than the concert's location, however, was the fact that it marked the debut appearance of Johannes Schmoelling as a member of Tangerine Dream. Edgar Froese had been very impressed with him when they had met at a Berlin theatre — at 29, Schmoelling was already an audio technician, with a degree in electronics, a background in piano and organ music, and a specific interest in sound collage. Froese recalls: "Johannes had remarkable concentration, and could work for long stretches of time".

Schmoelling has his own memories of joining the group. "It seemed to be the ideal group to work with, as I could be composer, performer and sound engineer all in one person. Before I joined, the music of Tangerine Dream was basically built on sequencer loops, more or less in one key, with few harmony changes and long sessions of improvisation. When I came to the group, we tried a mixture of more structured elements, with more jazz‑orientated chords, composed melodies and some synthesizer solos closer to rock. We really wanted a more dynamic sound."

Chris Franke: "Johannes wasn't so much a synth player, so I taught him a lot about using MiniMoogs and things. He was very good on the engineering side, which helped us with the recording. Also, he was a very good piano player, better than Peter [Baumann], so we got into more fancy keyboard styles, and in some ways the music became more professional — a lot more than just capturing hypnotic and spacey feelings. So, in some ways, it became more conventional, and in others a little bit more advanced".

Technologically, the group remained on the cutting edge by liasing with the electronics industry as new developments occurred. During the late 1970s, Chris Franke made important connections with Oberheim and Sequential Circuits, the American distributors of Roland. He also went to Japan and helped design the Jupiter 8. His connection with equipment manufacturers led him to become a Beta tester for Waveframe and other companies. On 1980's Tangram (the first studio album to feature the new trio of Froese, Franke, and Schmoelling), the warm smoothness of new keyboards mingled seamlessly with older sequencer and guitar elements. According to Franke: "We got Oberheim synths, and went back to using a Clavinet to get string sounds, higher overtones, and more aggressive colours. In our early days, most synths weren't polyphonic, and we had had to vary monophonic lines. But in the 1980s, the polyphonic synth wave began, and it shows on Tangram".

Thief And Polygon Studios

Tangerine Dream's next album, Thief, recorded in 1980, made the group famous in America as soundtrack composers. The album also focused attention on the group's increasing financial independence, for they were now working quite happily in a $1.5 million studio of their own design — Chris Franke's Polygon Studios. This was where the group had recorded Sorcerer years before, but the studio had been rebuilt and re‑equipped over the years until it bore little resemblance to the original 4‑track setup. Chris Franke explains: "On Stratosfear, we had run up studio costs of 80,000 Deutschmarks, and even Hansa Studios was quite expensive. We eventually realised that all this money could go into equipment. During the late 1970s, we found this old ballroom which had at first been a cinema, then a discotheque, and then a storage room. I rented it, fixed it up over the years, and then got some bank loans and bought all these 24‑track machines and mixers. Thief was still recorded in analogue, and used a new ARP synth, which had a very nice sound thanks to its ring modulators — some very rich overtone structures".

Franke justifiably says that Thief was full of sequences which directors still remember today. A huge GDS computer was brought in from Music Technology Incorporated to help with the audio‑visual synchronisation. Edgar Froese remembers how easy it was to work with the versatile director Michael Mann. "He was very professionally prepared, and knew precisely what he wanted. After working on the score for three weeks, Michael came from LA to Berlin to arrange a final mix of all the instruments. In the meantime, the film was being cut down quite considerably, and this meant that some of our cue points were no longer correct. So we flew to LA for two weeks, and did some further alterations. Thief took place in a normal thriller setting, but nobody had ever heard sequenced electronic music in this kind of Hollywood film."

In fact, Mann's film, which starred James Caan and Tuesday Weld, was a huge critical success. The American press went wild over the soundtrack, and acknowledged how the German trio had succeeded in making electronic music sound organic and full of adrenalin. Not surprisingly, the album stayed three months on the Billboard chart on its release in March 1981. Edgar Froese still says today that the talented Mann "was the director who really helped us on the way".

Exit

Even during the hullabaloo which surrounded the release of Thief, Tangerine Dream were busy recording another album, Exit, put down over the summer of 1981. Full of brief melodic passages and hypnotic sequencer phrases, the album again saw Tangerine Dream on the cutting edge of electronic innovation. Edgar Froese: "We built everything around our MCI mixing console, because we needed to have all the instruments quite near. We didn't use acoustic instruments much at all, and didn't need an engineer. We just had everything around us, the same way as on stage". Schmoelling recalls: "We experimented with drum‑loops built out of spliced tapes, achieving the same effects as rap musicians do today using sampling techniques".

Chris Franke has more detailed memories of Exit: "All the gear had become more complex and reliable, so you could afford to do all sorts of unusual connections. The Mellotron had only run tape segments lasting eight seconds, after which you had to find another tone. But on Exit, we were into very long landscape sounds, so we applied tape loops to the Mellotron instead of these segments. We spent nights and nights recording them ourselves and putting them in. And so suddenly, I had very long string and choir sounds which could then be sent through a vocoder. Through another vocoder input, I'd send drum sounds in order to 'rhythmise' the choral and string sounds. This was a completely new experience. With the equipment we had by then, we could really concentrate on what was in our heads, on how to realise certain sounds. We were fighting the equipment when we began, but at last it was doing what we wanted it to do. The MCI console at Polygon was the first with computerised automation, and that allowed for many experiments. And the studio was 24‑track, which was still a big deal then".

The Sampling Breakthrough

Over the next two years, Tangerine Dream entered a mellower, though still prolific, phase, touring the world, and playing large festivals in Berlin. March 1982 saw the release of White Eagle, which marked the beginning of another technological breakthrough for the band — digital sampling. Edgar Froese recalls: "During the production of White Eagle, we were able to use an instrument which had just been developed, and whose inventor we knew well. This was the PPG Wave 2.0, which was followed later by the Waveterm — one of the first professional samplers. The graphic monitor's representation of partial wave forms allowed us to create completely new musical structures. It was a very complex and expensive procedure, but for our adventurous imaginations, this development came at exactly the right time".

As the band continuously toured throughout the Far East and Australia, Johannes Schmoelling began to really make his presence felt in the live arena. This can be heard on Logos Live, released at the beginning of 1983. Meticulously crafted, this album shows Schmoelling to be a master of melody, texture and nuance. His fascination with jerky sampling rhythms also strongly influenced Hyperborea, released at the end of 1983. The classical Greek symbolism of this album recalled the band's debut for Virgin ten years earlier, which was fitting, as it proved to be the final studio album for the label. Ten years on, Schmoelling is still very happy about the Hyperborea album, with its electronic sitar, and exotic North African flute and tabla sounds. "Like Logos Live, Hyperborea was determined by the new generation of digital synthesizers and sampling technology. We were able to memorise sounds, and used a lot of sampled drum sounds. We also invented new rhythm structures by using a special arpeggiator technique." Edgar Froese also has happy memories: "On 'No Man's Land', we first used the Waveterm computer as a digital sequencer. The result came as a real surprise, especially in terms of tuning and editing".

But Chris Franke has different memories of this period. "I felt that from White Eagle to Hyperborea, we were all in a phase where the music became smooth but also a little bit more boring. It was becoming repetitive, because we didn't have the punch or the bite or the hunger anymore. We were more established, and it's the absolute truth that musicians lose a little bit of their bite when they get established.

"In terms of equipment, we really got into all the polyphonic synthesizers. Every couple of months there was something new, despite ARP going out of business — a new Korg, a new Roland. We were surrounded by keyboards — our studio became a keyboard store. We rented a Synclavier, which I found very interesting. I had already bought an expensive audio computer, and then I was going to buy a Synclavier. But at the last minute, I realised I could get two Waveframes at half the price, so I went for those, because we always needed a back‑up model — we always had down‑time and couldn't depend on just one. So I bought two Waveframes and we just rented the Synclavier. The Waveframes were great for stage and studio work."

At the end of 1983, Tangerine Dream performed a classic concert in Warsaw, and the album taken from the performance, Poland (released not on Virgin, but on the Jive label), reveals just how ahead of their time the German trio were. The hypnotic beats and electronic rhythm of the title track sound very close to music made today by German techno guru Pete Namlook.

Despite having begun their relationship with the Jive label for the Poland album, Hyperborea proved not to be the last Tangerine Dream record to be released through Virgin. In 1983 the group made a substantial contribution to the soundtrack for the film Risky Business, which starred Tom Cruise. Elements of both Force Majeure and Exit could be discerned amongst the tracks, and the title piece, also known as 'Love On A Real Train' involved repetitive elements that were close to the minimalism of Steve Reich. Still, for all its excellence, the making of the Risky Business soundtrack was not without its problems (see the separate 'Soundtrack Problems' panel).

The Dream Continues...

The Tangents boxed set covers the years 1973‑1983, and it is this period which has been the main focus of this two‑part feature. Two further film soundtracks, Firestarter and Flashpoint, were issued via Virgin and MCA in 1984, and come from the same Froese, Franke, and Schmoelling period. Excerpts from both appear on the boxed set. Briefly, post‑1985, Schmoelling left Tangerine Dream to concentrate on his own Riet studio in Berlin. It was here that the five CDs of the Tangents boxed set were digitally pre‑mastered. His replacement, computer genius Paul Haslinger, was instrumental in the recording of the brilliant Underwater Sunlight in 1986 for Jive Electro. Detail of Haslinger's time in Tangerine Dream can be gleaned from the interview with him in Sound On Sound's November 1990 issue. In 1988 Christoph Franke left Tangerine Dream (see the separate 'Falling Off The Cutting Edge' panel), and various musicians passed through the ranks after his departure. In 1990, Jerome Froese joined his father's band, and also helped out on the re‑editing and re‑recording aspects of Tangents. Edgar Froese now plans a second boxed set, which will concentrate on the early days of the group, as well as the latter‑day Tangerine Dream. For now, Tangents is an important document of a group in constant development and growth.

Edgar Froese, who is still for many the living embodiment of Tangerine Dream, has his own last words: "If you listen to all of TD's albums chronologically, you practically have a history of synthesizers, sequencers and samplers, with up‑to‑date analogue and digital sounds. In truth, our music is a diary of the history of musical instruments in the '70s, '80s and '90s."

Tangents Discography

Phaedra (Virgin 1974).

Rubycon (Virgin 1975).

Ricochet (Virgin 1975).

Stratosfear (Virgin 1976).

Sorcerer (MCA 1977).

Encore (Virgin 1977).

Cyclone (Virgin 1978).

Force Majeure (Virgin 1979).

Tangram (Virgin 1980).

Thief (Virgin 1981).

Exit ( Virgin 1981).

White Eagle (Virgin 1982).

Logos Live (Virgin 1983).

Risky Business (Virgin 1983).

Hyperborea (Virgin 1983).

Firestarter (MCA 1984).

Flashpoint (MCA 1984).

Soundtrack Problems: Risky Business

Edgar Froese: "When John Avnet and Paul Brickmann [the producer and the director of Risky Business] arrived in Berlin to hear our completed soundtrack score, we were devastated to hear that nothing we had done suited them. They said they had imagined something completely different. Something like this can be a real pain, especially if you've worked on a score night and day for three weeks. But as a professional, you've got to swallow your disappointment and find out immediately where the mistakes and misunderstandings are. We tried doing this for five days, with no success. Nothing could satisfy the producer and director. We were gradually getting tired and rather annoyed at the whole film business. We almost gave up trying to find a solution, and there were only two days left before they went back to Los Angeles. We sat in front of our instruments, totally unmotivated, turned off the monitors which showed segments of the film, and started improvising some rhythmic patterns and loops without a beginning or end. Brickmann was suddenly electrified, and claimed that this was exactly the kind of atmosphere the film required. After that, we recorded the complete score in two days and two nights, and ended up bringing the master tapes at 7am to the gate where the director's plane was ready to take off. Risky Business was one of the USA's three most successful films of 1983. There simply are no absolute laws which rule the world of business and music."

Christoph Franke: "That soundtrack was a case of too many chefs in the kitchen. After doing everything with Fender Rhodes and strings, we stumbled upon a minimal kind of thing, like Steve Reich or Philip Glass. It was a new way of drawing a romantic theme, which we still get credit for today. The Roland MC8 sequencers — which were new then — were central to this, as a lot more of our melodies could be programmed. And we built our own sequencers. Sequencers in the early days could only handle six or 10 notes. Suddenly, we had sequencers which could deal with 64 notes, which meant that our music had much more structure."

Falling Off The Cutting Edge: Chris Franke On Leaving Td

Chris Franke left Tangerine Dream in 1988. As he says, much has been written on this subject [for an example, see the Chris Franke interview in May 1994's Sound On Sound], but he remains clear about his reasons today. "I felt I needed a creative break, because I think we started to repeat ourselves. We ended up with so much equipment that we took on a lot of jobs to pay for it, became overworked and did too many things at the same time. We did not have time to explore our minds for fresh ideas or explore the great computer instruments we had at our disposal. Kids with much more time than us, but less experience, began producing better sounds, and I began to feel our quality was dropping. This was a very bad feeling for a group who always wanted to be on the cutting edge of music.

"Edgar and I still talk every three to six months, and we discussed the boxed set, although my film music schedule didn't allow me to get directly involved. I think he did a very good job on the music, and the booklet notes are most informative. I'm very happy with how it all turned out."

Further Information

The Tangents 1973‑1983 boxed set is out now on Virgin Records, catalogue number CDBOX4.

Sound On Sound has featured several interviews with Tangerine Dream personnel over the years. Early member Klaus Schulze has been interviewed twice, once in August 1987 and again in February 1993. Paul Haslinger, member of the band since 1986, was featured in November 1990, and Christoph Franke spoke at length about his current work and his favourite equipment in May 1994. Back copies of these issues are available from: SOS Mail Order, Media House, Burrel Road, St. Ives, Cambs, PE17 4LE. The August 1987 and November 1990 issues cost £1.50 each, while the February 1993 and May 1994 issues each cost £2.50.

Tangerine Innovators

Both Edgar Froese and Christoph Franke have strong views on the effect Tangerine Dream have had on the evolution of electronic equipment over the years. Edgar Froese: "Our contribution, in all modesty, is surely quite great. Why? In the first 12 to 13 years of producing albums, we hardly ever used a sound which was common or readily available. Almost everything was custom‑made. Over 80% of our income went, directly or indirectly, into sound research and the development of new instruments. That naturally changed the listening habits of our colleagues in other countries, just as it changed the the awareness of our listeners in general. We had a sound library with over 2400 sounds of our own creation. We named these sounds 'Hybrid Stacks', because they were made up of different sounds from different sources. In the early years, these sounds were stored as complex events on tape loops in the Mellotron, and later on, they were put into synths and sampler units. To a certain extent, we have kept to our philosophy; on our latest album from 1994, Turn Of The Tides, there are 52 sounds which are not for sale with any sound module or sampler. The disadvantage of this gigantic sound research is that we have been plagiarised and sampled more often than any other band — it would take an army of lawyers years to chase down all the stolen TD samples.

"Generally, I feel that the computer and sampler are overrated pieces of equipment. They can only be time and work‑saving means in the hands of a musician who has a story to tell — a musician who could 'express' himself just as well on acoustic guitar and grand piano. If you need a 'sound adventure' to turn your ideas into sounds, complex computers are just a useful help"

Chris Franke: "Sampling was a very important aspect of Tangerine Dream and the electronics industry — we were definitely the group who showed the industry that they must make a sampler. In 1983, I went to Mellotron and said that they should make a digital Mellotron, without the flaws of variable, short and noisy tapes; and I also went to Tom Oberheim and said "You must get some hard disks together and do a digital Mellotron". Both said "Aaah, you can't do it". I had already built a little machine that could store 100 milliseconds of sounds, which I used as an electronic drum machine. And then the LinnDrum came out, and people worldwide knew you could digitise sound. I even wrote an article in Keyboard magazine campaigning for a digital Mellotron. Fairlight eventually did it, in a very expensive way, and Emu did it cheaply, but it sounded pretty terrible... Today, I have a machine with 250 sample voices, 300Mb of RAM and 3Gb of hard disk space — there's been such a big revolution in eight years!

"I did a lot of designs myself, for sequencers and controllers. I never believed that a sequencer should be just a piece of digital notepaper — I think it can be an interactive tool with a musician. It can be an algorhythmic composer, something you can really play with and use to make improvised music. I've worked with Steinberg and other companies, like Intelligent Music in San Francisco, who see the sequencer not just as a linear recorder, but as a tool to create new sounds. I worked on Cubase and I'm still a Beta tester to this day. I still talk to Steinberg. So yes, it's true that TD were responsible for several sequencers. Also, we emphasised how important filters were in synthesizers. We convinced Roland and loads of people about filters, because this is where the oscillators started to really come alive. Today, it's samplers which are getting good filters, yet some companies are building samplers without filters at all, which is terrible. So I still call them up, and rap them on the knuckles for their shortcomings."

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