SINKANE - 'JEEPER CREEPER' [MARS, 2012]

Run, Run  Run... (Vrapo, vrapo vrapo). You are on my mind (Te kam ndermend)!

Eshte nje nga ato lodhjet aspak fizike, por qe rendon vazhdueshem ne nje pjese te qafes ('tension psikosomatik' e quajne).

Vizualisht nuk gjen me pika referimi te kenaqshme, cdo perpjekje serioze e jotja, per te kapur 'gjahun' e shtrenjte, deshton. Edhe pse ate dite ke veshur nje kemishe me kollare te ngushte...

Dhe keshtu leshohesh ne renie te lire, poshte rrugicave, nen diellin e zbehte. Pedalon bicikleten ndersa nuk sheh me vemendje perpara; tund koken siper tek pemet, ndjek kercimet e zogjve, rrok shikimet e kalimtareve pothuajse te trembur, buzeqesh me vehte...

Kacavirrem. Dielli e di kete!

OH BOY [KINEMATOGRAFI, 2012]

Oh Boy (2012) is totally black/white movie. Oh Boy is a delight from start to finish.

Melancholic, but also fun, breezly and energetic! It is centred around one strange day and Fischer encounters some rather quirky characters along the way with a mix of pithy observations, physical comedy and outright contempt.

There’s the depressed neighbour and a formerly overweight school friend adding to the list of freaks and ghouls that inhabit this particular version of Berlin’s urban circus.

One thing this film doesn’t do is take itself too seriously and it’s all the more enjoyable for it.
A fine looking film that is warm, charismatic and relatable as it celebrates some of life’s hurdles both big and small with recurring themes and jokes along the way. At times weird and at other moments silly but utterly pleasant, this film celebrates a passive onlooker that is an outsider in his own life.

There’s a lot more happening beneath the surface than some mere, throwaway fun and in Oh Boy, Jan Ole Gerster certainly proves that he is one director to watch.

INFINITE LOVE

ELINA DUNI QUARTET [LIVE FROM CONTEMPORARY CONTAMINATIONS, BERGAMO]

ADRIAN ORANGE AND HER BAND - MOZAIK ME FUNK SUBLIM E INFLUENCA JAZZ [ADRIAN ORANGE AND HER BAND, 2007]

Adrian nuk eshte vajze. Adrian eshte nje djale.

Se perse ka perdorur kete 'gabim' gjinie ne emer, nuk mund ta di. Ironia, si duket, ben pjese e lojes.
Shpesh i lidhur me personin e Phil Elverum (ai i Mount Eerie dhe i The Microphones) luan nje folk eksperimental, shpeshhere pa ndonje lidhje te dukshme me albumet e paraardhshem.
Ky ne fjale (Adrian Orange and Her Band, 2007) eshte mbi baza jazz-i, funky dhe vokalizma te lire...
E bukura qendron, pervecse ne muziken e ngrohte e free (te improvizuar), edhe ne modelin individual qe Adrian (ose Thanksgiving) na paraqet; duket se eshte nje nga ne. E perditshmja me gjendjet e saj shpirterore te lekundshme, si te ishim hippie te humbur ne nje parkim veturash perballe nje supermerkato gjigante.

Mirepo, ka nur ky imazh!

Procesi i ketij albumi (mjaft te mire!) eshte i gjate, i shkrire i gjithi ne te njejten vorbull zanore; e megjithate i papercaktuar mire ne trajte. Muzike e pelqyeshme, si nje orkester live ('Interdependance Dance') e sajuar shpejt mbrapa nje klubi te shtrenjte, naten, ku funky e reggae ('Question Love Answer') ngrohin ajrin plot profume... E panjohura e bukur!

Once upon a time you hurt my feelings

And I hurt yours too, but we don’t talk about it

No, we talk about everyday shit

Everyday lived-in thoughts...

Trasformimi i nje personi (sidoqofte, i erret per ne, publikisht, nga fakti qe mezi gjenden video e info ne rrjet!) ne nje bande pa lider, psikedelike ('Then We Play'), pa forme perfaqeson projektin liberal te Adrian Orange and Her Band.

Dhe te ruajturit e personalitetit, individit ne standartet e muzikes bashkekohore, dihet, eshte e veshtire sot.

Hap i vogel, por mjaft i rendesishem drejt kesaj eshte te luash muziken qe ndjen, pa druajte e gjykimet e mevonshme. Adrian Orange, ne kete aspekt, na ka mashtruar te gjitheve! Pa perjashtim.

GRAFFITI PERIFERIA MILANO [FOTOGRAF]

THE SENSE OF AN ENDING [A BOOK FROM JULIAN BARNES, 2011]

"How often do we tell our own life story? How often do we adjust, embellish, make sly cuts? And the longer life goes on, the fewer are those around to challenge our account, to remind us that our life is not our life, merely the story we have told about our life. Told to others, but - mainly - to ourselves."

"It strikes me that this may be one of the differences between youth and age: when we are young, we invent different futures for ourselves; when we are old, we invent different pasts for others."

"Yes, of course we were pretentious; what else is youth for?"

"I thought of the things that had happened to me over the years, and of how little I had made happen."

"Whisky, I find, helps clarity of thought. And reduces pain. It has the additional virtue of making you drunk or, if taken in sufficient quantity, very drunk."

"Novels tell us the most truth about life: what it is, how we live it, what it might be for, how we enjoy and value it, and how we lose it."

JULIANNE SWARTZ'S "VIEWING MACHINES". MACRO-TO-MICRO CONNECTIONS [FOTOGRAF]