Label: Dark Wood Recordings
Format: CD, Album
Released: 01 Jul 2008
Genre: Classical, Folk, World, & Country
Style: Dark Ambient, Glitch, Post-Modern, Experimental
Notes: Kyzyl To Samarkand is the culmination of a year-long collaboration between Japanese dark ambient experimentalist Ryuta.K and US vocalist-composer Sara Ayers. The music is foreboding, ethereal, plaintive and dense; diaphanous vocals float over surreal beds of field recordings, molten noise and nervous guitars, evoking the sound of an ominous journey on a pan-Asian silk road. Tokyo-Chiba based experimental musician Ryuta.K (oVdk & Bunk Data, Overdose Kunst, Ryu) creates electronic and electro-acoustic sonic textures that he describes as “Post sampling kinetic non-hierarchical nonlinear non-equilibrium forth world muziq!" New York composer Sara Ayers creates haunting soundscapes using her voice: sampled, layered,... +++++++++++++++REVIEW++++++++++++++++++
This is pagan&wiccan music such like Loreena McKennit , rasa,ekova,basque,steve roach,libana,waterboys. But it has also electronic ,glitch,leftfield atmosphere. kyzyl is tuva city,and Samarkand is uzbeks city. you can also see ,itunes,emusic,amie Rating: 5.0/5 (1 vote) Rate It Submitted by: usyukuro Tracklisting: 01 Golden Warrior Prince of Saka 02 Invisible Cities 03 Shirley Collins 04 This Is What I Wanted 05 Kyzyl To Samarkand
Fitter, happier, more productive,
not drinking too much,
regular exercise at the gym
(3 days a week),
getting on better with your associate employee contemporaries ,
(no more microwave dinners and saturated fats),
a patient better driver,
a safer car
(baby smiling in back seat),
(no bad dreams),
careful to all animals
(never washing spiders down the plughole),
keep in contact with old friends
(enjoy a drink now and then),
will frequently check credit at
(moral) bank (hole in the wall),
favors for favors,
fond but not in love,
charity standing orders,
on Sundays ring road supermarket
(no killing moths or putting boiling water on the ants),
(also on Sundays),
no longer afraid of the dark or midday shadows
nothing so ridiculously teenage and desperate,
nothing so childish - at a better pace,
slower and more calculated,
no chance of escape,
concerned (but powerless),
an empowered and informed member of society
(pragmatism not idealism),
will not cry in public,
less chance of illness,
tires that grip in the wet
(shot of baby strapped in back seat),
a good memory,
still cries at a good film,
still kisses with saliva,
no longer empty and frantic
like a cat
tied to a stick,
that's driven into
frozen winter shit
(the ability to laugh at weakness),
healthier and more productive
in a cage
When Father Was Away on Business (Serbo-Croatian: Otac na službenom putu, Отац на службеном путу) is a 1985 Yugoslavian film by Serbian director Emir Kusturica. The screenplay was written by Abdulah Sidran. Its subtitle is A Historical Love Film.
Set in post-World War II Bosnia during the Informbiro period, the film tells the story through the eyes of a young boy Malik whose father Meša (played by Miki Manojlović) has been suspected of working for Cominform and sent to a labor camp after a careless remark about a political newspaper cartoon.
The movie opens in June 1950 with a local serenading field workers with Mexican songs because it's "safer" as the children climb trees and play around.
The story is from the perspective of the boy, Malik, who is led to believe that his father is on a business trip. Malik is a chronic sleepwalker.
After a while, Meša's wife and children rejoin him in Zvornik, where Malik meets Maša, the daughter of a Russian doctor. He falls in love with her, last sees her when the ambulance takes her away.
At the wedding of his uncle, Malik witnesses his father's affair with the pilotess, who afterwards tries to kill herself with the toilet's flush cord. Sena reconciles with her brother, who's been diagnosed with diabetes.
- Moreno De Bartolli as Malik Malkoč
- Miki Manojlović as Mehmed "Meša" Malkoč
- Mirjana Karanović as Senija "Sena" Malkoč (née Zulfikarpašić)
- Mira Furlan as Ankica Vidmar
- Mustafa Nadarević as Zijah "Zijo" Zulfikarpašić
- Predrag Laković as Franjo
- Pavle Vujisić as Muzafer Zulfikarpašić
- Slobodan Aligrudić as Ostoja Cekić
- Aleksandar Dorčev as Dr. Evgeni Liakhov
- Silvija Puharić as Masha Liakhov
- Emir Hadžihafizbegović as Fahro Zulfikarpašić
- Davor Dujmović as Mirza Malkoč
- Eva Ras as Ilonka Petrović
- Jelena Čović as Nataša Petrović
- Amer Kapetanović as Serjoža Petrović
- Zoran Radmilović as Brko Pilot
- Tomislav Gelić as Hamdo Malkoč, barber and mohel
The film took home two awards from the Cannes Film Festival in 1985 including the Palme d'Or (Golden Palm) and the FIPRESCI Prize, while also being nominated for the 1985 Academy Award for Best Foreign Language Film.
 See also
 External links
- When Father Was Away on Business at the Internet Movie Database
- When Father Was Away on Business at Allmovie
|Awards and achievements|
“Shenandoah has become the most critically acclaimed
Native American Singers of her time” - Associated Press.
“ Joanne Shenandoah is one of the finest tributes to Native American Music and culture”
". . . the Native American music scene is brimming with skilled, adventurous artists, such as Robbie Robertson, Bill Miller, Rita Coolidge, . . . and, arguably the best of all, the remarkable Joanne Shenandoah." USA Today
“Peace & Power” Shenandoah actually has a deeper, more powerful voice than the Irish thrush....Enya” John Diliberto/Amazon.com
“Eagle Cries” : “One Silver One Gold”, a bluesy eco-ballad enhanced with ringing guitars, mythic lyrics and a haunting tone that would have not sounded out of place on The band's Music From Big Pink.” - New Age Voice ; ”Watch Me Through The Night” is an a capella spectacle to behold.” - Cowboys and Indians Magazine; “...rarely has inspiration ranged so far, or so consciously, as it does with singer-songwriter Joanne Shenandoah. The award winning musician is known for stylistic versatility--although she sticks close to folk rock this time out--but every one of her dozen albums shows consistent vision... Even when Shenandoah sings of violence and conflict, Eagle Cries retains its message of peace.” Amazon.com.
- Leon Vlieger / songsoverruins
<<< IkEcht Gothic Reviews >>>
Ryuta.k has released music before on the .net label Dark Winter as Ryu. Recently his third album, "In The Middle Of Late Capitalism", has been released there. The accompanying blurp on the website immediately clarifies how this Japanese artist thinks about music:
"Musical things mean nothing to me.
Rather music may be 'aufheben' for me."
I think he means "aufhebend", which is German for "elevating". And if there is a label to be attached, he prefers "Post sampling kinetic nonhierarchical nonlinear nonequilibrium forth world muziq". Sounds like something abstract, although it doesn't help us much.
What we get are five, rather long, abstract soundscapes containing a lot of heavily distorted, sometimes unrecognisable, vocals. Mind you, it avoids power-electronic excesses we are used to from, for instance, Sutcliffe Jügend. Neither does it fall under the banner of "babbling" as Kenji Siratori likes to do (as a note aside: I have decided he should stick to dark ambient, which he does well. Unfortunately he seems to have other ideas on that front). No, the vocal sounds are exactly that, sounds. Sounds that serve as raw material that are being woven into the music, as in "Potala Sympathy For Autism". Large parts of the opener "Hegelian Distress (Song For Ituji)" are also build around these kinds of vocal landscapes. And then there are of course, for want of a better description, the abstract soundscapes. You won't find Merzbow-like escapades here. It doesn't really turn into dark ambient, or into walls of noise. Although a track like "Newest Bolshevik District" comes close to the latter.
Can I recommend this release? Difficult question. I find that the album neither attracts, nor repels me, even after repeated listening. My tendency to get some hallucinogenics and try again might be an indication of how stimulating I find this album to be. The middle three tracks, that sort of tend towards "recognisable" dark ambient and noise, are most to my liking. But "interesting" is still the best descriptor that comes up. Without wanting to sound euphemistic. Possibly it would be nice to mix a track at random in between other things. How much you will appreciate this will likely depend on how well you can stomach abstract sounds. I won't dissuade you on this album, there is simply too much... well, interesting stuff happening here. No, I'll remain neutral on this one for a change.
Originally written for the Dutch weblog IkEcht (http://ikecht.web-log.nl/