Friday, 20 October 2017

LUCIFER RISING - Jimmy Page's chilling soundtrack


Step into the fun house where music, cinema and the occult finally mix.

The music itself is wonderfully perverse: a languid but steadily building Middle Eastern-sounding drone, festooned with evil chanting, tabla, screaming mellotron, a sonically shifting low frequency foreboding ambience and shimmering 12-string guitar work. It’s a mad, diabolical symphony of beautiful evil; a fascinating piece of unconventional aggressively avant-garde music from one of the rock era’s most mysterious living legends.


In Rolling Stone’s December 2012 cover story “Jimmy Page Looks Back,” Page said “...there was a request, suggesting that Lucifer Rising should come out again with my music on. I ignored it.”



Guitar World: There was always a certain amount of speculation about your occult studies. It may have been subtle, but you weren’t really hiding it.
Page: I was living it. That’s all there is to it. It was my life – that fusion of magick and music.
Guitar World: Your use of symbols was very advanced. The sigil on Led Zeppelin IV and the embroidery on your stage clothes from that time period are good examples on how you left your mark on popular culture. It’s something that major corporations are aggressively pursuing these days: using symbols as a form of branding.
Page: You mean talismanic magick? Yes, I knew what I was doing. There’s no point in saying much about it, because the more you discuss it, the more eccentric you appear to be. But the fact is – as far as I was concerned – it was working, so I used it. But it’s really no different than people who wear ribbons around their wrists: it’s a talismanic approach to something.
Young filmmaker Fabrizio Federico says the music and Lucifer Risings feel have been a big influence on his new film Loon, ''I think the vibe that they came across is phenomenal, it's eerie and exotically fascinating in that it feels evil. It's a very heavy creation, it's a beast. One day when I get a chance I'm going to replace Bobby Beausoleil's soundtrack and replace it with Jimmy's, he'd like that, him and Kenneth should make peace before it's too late.''

Being able to picture Jimmy in the dark at Aleister Crowley's haunted Boleskine House creating this music has always fascinated in that it feels so dark and hypnotic like a cobra. Where was this different music coming from, in 1972-73 with the speed of Zeppelin's ascent the adrenaline of success mixed with Jimmy's 'Do what though wilt'' evocation on the groove-out to Led Zeppelin III seems to have done the trick. But this music was different to what Page was recording with Led Zeppelin.

Page's soundtrack was finally released in 2012 after decades of it being a sought after prize and one of Led Zeppelin's biggest bootleg's to own. It's the type of album you put on before an Eyes Wide Shut naked virgin scene as she lies down on the alter and the ceremony begins. 
At 31 minutes the soundtrack is a short and sweet spell, entrancing the listener mere seconds into it's first peculiar Moroccan drone, similar to some of Brian Jones's experiments in 1967 on The Rolling Stones 'Satanic Majesties Request' album inspired by the Master Musicians of Joujouka in Morocco and their pipes of pan goat sacrifice. 
Page in his home studio
The band Mao on Federico's soundtrack for Loon taps into this pagan/kashmir atmosphere. ''I recorded the guitar parts at Boleskine House, I had my walkman on with the backing tracks playing along and brought my portable guitar amp into the house and recorded in the burnt bedroom with the mattress on the floor, which was used as an ouji board by local kids, then I recorded in the hallway which is still sublime. At one point the toilet flushed it's self, you can hear it on the mix. I recorded the guitar into my mobile phone, smoked some weed and it's some of the most supernatural music I've ever played.''

Director Fabrizio Federico


Eventually Page’s music escaped in 1981—probably sourced from the magnetic track from an early 23-minute-long “to be continued” print of Lucifer Rising that Anger showed potential investors (I’ve seen this, it’s pretty incredible)—when it hit the bootleg market as “Solo Performances by Jimmy Page and Robert Plant,” a limited edition LP with a green wax seal. Another blue vinyl version was released in a Kabbalistically numbered limited edition. Better quality digital versions started making the rounds on torrent trackers around 2005 and last year Jimmy Page released the music he’d composed for Anger’s film via his website on very limited edition red vinyl that sold out instantly.

Listen for your selves on the extended edition:





Tuesday, 17 October 2017

WE NEED TO TALK ABOUT CHARLIE: 'LOON' the making of a serial killer.


Be weary of how your children grow up. The psychology that goes into the making of a serial killer will always be complicated but what happens when two people whom should never meet cross paths?
17-year-old Charlie and his cousin Georgia lead a desolate life in a small town in the UK.

Even at a young age, life does not offer any prospects for the young people in LOON and we witness the transformation of two emotional, disillusioned, soulless characters become another case of 'folie a deaux'.
History is littered with such cases, most famously:
  • Bonnie & Clyde
  • Ian Brady & Myra Hindley
  • Sid & Nancy
  • Kurt & Courtney
  • Charles Starkweather & Carol Ann Fugate
Films such as Natural Born Killers and We Need To Talk About Kevin have addressed the issue that goes into the making of a murderer. The beauty of Loon is that it takes the primal experimental side Natural Born Killers and the poetic stillness of We Need To Talk About Kevin and transfuses them together. 
In LOON you witness the family environment, even by how the NHS is responsible for encouraging the parents to judge their children and label them under the umbrella of a medical condition. But mix it with delusions of grandeur, unrequited love and a lunatic streak, what you get is a ticking time bomb.

    
The backdrop of the movie is the state of the nation's minefield that is Brexit, and you feel the seething racism, homophobia and hate of the British working class towards the EU. The film is nonlinear and multilayered by an improvised Cinema Verite style, it is an excellent example of what can be accomplished by an obscure film company (in this case Ants Productions) working with a micro-budget, but using enormous flair and imagination by filming with non-actors and amongst crowds, such as the settings of Dismaland and the unsettling paranormal investigation and Oija board games in a haunted elementary school. 

Charlie brings to mind lone killers who one day snap and go on an uncontrollable rampage such as Charles Whitman, Mark Chapman and Jodie Foster's stalker John Hinckley Jr. A person can change his home, religion and passion but not his family. What this film understands is the root of what creates a serial killer. The invisible puppet master from your past trauma, pulling the strings that creates new tragedy.

LOON will be release on Halloween, October 31th internationally.
http://fabriziofederico.co.uk/




Monday, 16 October 2017

VEGETABLE MAN: A Lost Psychedelic Classic by Syd Barrett

Considering Syd Barrett's relatively slight musical output, the absence of "Vegetable Man"  leaves a sizeable hole in his canon, thankfully both songs have finally been released. The former was penned in 1967 as a spontaneous response to manager Peter Jenner's request for a follow up to Pink Floyd's then-recent single, "See Emily Play." Though often interpreted as a self-portrait of his own mental disintegration, it actually vents his contempt for the vapid nature of fame and his own role as a pop star. Delivered with a sarcastic sneer, it's disturbingly direct in its anger.
The name of the song, Vegetable Man, is based on a 1572 painting called Summer by an Italian painter Giuseppe Arcimboldo who created imaginative portraits made entirely of vegetables, fruits, flowers, fish, tree roots and books. Summer featured a composite man made from intricate painted vegetables; a vegetable man, if you will. Syd even appeared in a promotional photo with spring onions tied to his head. The song has also proved inspirational to British underground filmmaker Fabrizio Federico. ''LOON's main character is based on Vegetable Man, he's pilled to the gills on med's and his world isn't real. He doesn't want to think or feel, it's a life choice that many people make.''
According to Peter Jenner, the song was written in his apartment moments before leaving for the recording session. "On 'Vegetable Man,' the description of the person in there is him," he told author Rob Chapman. "What he was wearing, what he was becoming. I was with him in the room when he was writing it. He was in one corner and I was in the other. Then he read it out and it was a description of him and what was going on in his head."

The track was recorded in the second week of October 1967 and earmarked as the band's third single, backed by another Barrett composition, "Scream Thy Last Scream." Promotional videos were recorded for both songs, but their release was cancelled at the last minute for fear that they were too dark. Uncomfortable with the pointed lyrics and troubling imagery, the band also decided to leave both songs off their second album, 1968's A Saurcerful of Secrets.

Though Jenner admits that the songs expose Barrett's fragile psyche "It's like psychological flashing," he's quick to argue in favour of their artistic merit. "I always thought they should be put out, so I let my copies be heard," he said in 2005. "I knew that Roger [Waters] would never let them out, or Dave [Gilmour]. They somehow felt they were a bit indecent, like putting out nude pictures of a famous actress. ... But I thought they were good songs and great pieces of art. They're disturbing, and not a lot of fun, but they're some of Syd's finest work – though God knows, I wouldn't wish anyone to go through what he's gone through to get to those songs."




Monday, 9 October 2017

I HATE MYSELF & I WANT TO DIE - IN UTERO (1993) A MEDICAL CONCEPT ALBUM


For better or for worse, In Utero seemed then & now to be the most accurate representation of what it sounded like inside Kurt Cobain's head — i.e., a nice place to visit, but you wouldn't necessarily want to live there. He certainly didn't, as he committed suicide just six months after this recorded swan song was released.

Nirvana's third and final album, In Utero, is fondly remembered by most as an irascible rock classic. But when it was birthed 20 years ago this week — reaching stores overseas on Sept. 13, 1993, and the States a day later — it was seen as a problem child, to say the least.

The original title for the album was I Hate Myself and I Want to Die, which was nixed for being too obviously provocative and jokey, not too prophetic. "That's pushing it too much," said bass player Krist Novoselic at the time.

Cobain naturally drifted toward something less literal and more poetic in the end, and opted for the biologically based title and cover imagery. But for the frontman, biology wasn't just destiny, it was agony. Underground filmmaker Fabrizio Federico has said that his movie LOON is based on the In Utero vibe. ''It's a suicide album, it's your last agonising scream seconds before you pull the trigger, and I wanted the films characters to resemble that scream, I also respect the medication theme that runs through the lyrics.''
As Michael Azzerad pointed out about the album in his book Come As You Are: The Story of Nirvana: “A medical theme runs through most of the songs… Virtually every lyric contains some image of sickness and disease, and over the course of the album, Kurt alludes to: sunburn, acne, cancer, bad posture, open sores, growing pains, hangovers, anemia, insomnia, constipation, indigestion." At the time of release, the author pointed this out to Cobain, and said, "He finds this litany hilarious. ‘I’m always the last to realise things like that, like the way I used guns in the last record,’ he says. ‘I didn’t mean to turn it into a concept album.’”


In the beginning, there was definitely a concept for In Utero, albeit a strictly sonic one: come up with something that bore as little resemblance as possible to Nevermind, the rock 'n' roll-changing triumph that preceded it by two years.
That may sound counter-intuitive, and by most standards — certainly the record company's — it was. But "if it ain't broke, don't fix it" was the last maxim that would have occurred to the contrary trio, who fretted that Nevermind had represented a sellout.


Nowadays, the surviving members of Nirvana are just fine with their landmark album. "It took me 20 years for me to realise Nevermind was a great record,” Novoselic told Mojo this year, “and it was.”
But at the time, their attitude bordered on ashamed. In 1993 Novoselic went so far as to describe In Utero as "a litmus test towards our audience…In terms of mainstream appeal, it won’t have the glossiness of Nevermind.” Cobain's hatred for the sound of the album that had made him beloved to millions was more pronounced. "I never listen to Nevermind," he said in '93." I haven’t listened to it since we put it out. That says something. I can’t stand that kind of production and I don’t listen to bands that do have that kind of production, no matter how good their songs are." The record company, he predicted, was "going to eat my s***. Of course, they want another Nevermind, but I’d rather die than do that."


Friday, 6 October 2017

WELCOME TO THE JUNGLE ** LOON [FILM] (2017) ''PC CULTURE IS DEAD!''

LOON (2017) Dir: Fabrizio Federico
''It was a tough shoot, there was a major power struggle going on during shooting, non of the cast parted as friend's, we all hate each other. I was even stabbed with a fork during the first week. Everyone has blocked each other on Facebook and the ouija board party was a big mistake.''

Director Fabrizio Federico is an anti-filmmaker, his movies are littered with mistakes, camera blurs and noise but its real life. No script, non-actors and lots of bad blood. 
'There was some major sexual tension going on between the cousins.''

At the core of the film lies a 'folie à deux' relationship between two cousins, 16 year old kleptomaniac Charlie Sheen (who wishes to be called 'Keith' - even though nobody respects his wishes) and his poison minded 18 year old cousin Georgia, who's aggressive, cunning, sexual personality has hypnotised her younger cousin into doing anything she wants ''always do whatever I say, remember that.''

Charlie has a history of petty theft and violent thoughts.

''Charlie was actually stealing in the shopping scenes and we filmed guerrilla style when we got told not to, it's hypocritical that ''they'' can CCTV film us all day long but I cant make my movies wherever the fuck I want, that's why the film looks like CCTV footage.''

These teenagers are racist, homophobic and plain evil in many guises and the film perfectly captures that evil journey through the mind of a lost teenager. ''Political correctness is now DEAD, it started out as a good thing but it's spawned a bunch of liberal minded cry babies who dont know how to shut the fuck up about what offends them.'' 

From a psychoanalysis level the 'pleasure principle' of Black Biscuit is now given over to the 'death drive' theory founded by Sigmund Freud, believing that life's motivation for some is driven by an aggressive desire to self-destruct. An eerie cosmos and an unpredictable place to be, full of ugly faces, tiny monsters and lost souls.

LOON will be release on Halloween, October 31th internationally.
http://fabriziofederico.co.uk/




Saturday, 30 September 2017

I DON'T LIKE MONDAYS * LOON [FILM] (2017) ''Say hello to a 21st century teenager''



The lone star state of mind is a common thread in a teenagers life, but mixed with WW3 tensions running high in the world right now, lets turn this way and see how it's affecting today's youth. This is what LOON tackles.
From their perspective, why even bother to think of the future if we all might all get annihilated in the America VS. North Korea conflict, or a random terrorist attack. In the UK, Brexit has cast a dark shadow over the idea of a brotherhood of nations. Let's wave goodbye to moving forward as a collective Europe. Whats worse is that the youth never even organised any rallies warning their age group's about the referendum. They forgot to vote!!  

It's hard to understand how this sense of no future, or even worse; no civilisation, can rub off on the youths conscience. In LOON's case the characters are abnormal, and primeval, detached from reality in different ways.
But prescription pills, dreams of marrying a family member and becoming a notorious drummer help fuel local pantie dropper main character Charlie Sheen's fantasies. 

''Society and parents are an atomic combination when it come's to raising kids, it's impossible to hold onto them, even children are on the internet now. Mass media is raising your children. I wanted to introduce a new side of the teenagers psyche that you've never see in cinema before. Say hello to the 21st century teenager'' says filmmaker Fabrizio Federico. Made for £20 the film was shot with no script and as a fly on the wall to resemble CCTV footage, all filmed in the families home after several months and at Banky's experimental amusement park Dismal Land.


Director Fabrizio Federico
''It was a tough shoot, there was a big power struggle going on during shooting, lots of cancelled days and people disappearing and arriving late. There was absolutely no structure. I was even stabbed with a fork during the first week, non of the cast parted as friend's. Everyone has blocked each other on Facebook and the ouija board party was a big mistake.''

At the core of the film lies a 'folie à deux' relationship between two cousins, 16 year old kleptomaniac Charlie Sheen (who wishes to be called 'Keith' - even though nobody respects his wishes) and his poison minded 18 year old cousin Georgia, who's aggressive, cunning, sexual personality has hypnotised her younger cousin into doing anything she wants ''always do whatever I say, remember that.''

The soundtrack by Mao strives to take the viewer on an amazing sonic journey undertaken by hypnotised Tibetan monks, referencing Aleister Crowley's spectres since most of the album was recorded at his Boleskine House in Scotland.

Find out how.
LOON will be release on Halloween, October 31th internationally.
http://fabriziofederico.co.uk/



Monday, 11 September 2017

Movie Anarchy - No School, No Rules

Fabrizio Federico
It's time to take a trip into the chaotic world that is the film LOON, filmmaker Fabrizio Federico's new anti-film. The flower children in this movie are young rotten, racist & rude. 

At the core of the film LOON lies a folie à deux relationship between two cousins, 16 year old Charlie Sheen (who wishes to be called 'Keith' - even though no one does) and his poison minded 18 year old cousin Georgia Sheen; who's aggressive, cunning, sexual personality has hypnotised her younger cousin into doing anything she wishes.

An experimental melodrama with presidential assassination bulletins and a parody of children's record-read along book set. Charlie is a nihilistic icon, he's a kleptomaniac and a compulsive liar living in an incestuous tight knit family who have created a pillow world for him (he's also on prescription tablets - his medical condition is never explained), to sink deeper into his fantasy lifestyle of becoming a famous drummer like his hero Keith Moon.

The climate of Brexit looms as this tragedy unfolds. While unemployed his loner life is largely based on crime, daydreaming and pleasing Georgia's superior super-woman Nietzsche mind.                                                                                                                      
''Id rather create chaotic films, they're more beautiful.  Parent's hate my movies, cose I deal in state's of mind not discipline. It's the antithesis of professionalism & craftsmanship - more like sorcery. Be childish & irresponsible when creating, with the minimum of means. Regard my projects as epileptic fits.''

An auteur filmmaker. Born in the UK in 1983 and the oldest of  6 siblings, Federico was raised in an Italian/Jamaican culture.  After surviving a house fire in 1989 which started late one night while he was watching Godzilla, him and his family narrowly escaped with their lives, having to escape by jumping out of their upstairs window. All that survived from their house was a photo of his recently deceased grandfather.

He fell in love with cinema as a young boy after moving to Italy. Films such as the Italian Spaghetti Westerns, Casper cartoons and the comedies of Paolo Villaggio (Fantozzi) all made an impression - as a teenager more avant-garde films by Dennis Hopper, Kenneth Anger, Andy Warhol & Pasolini  captured his imagination to create movies outside of the mainstream.



After being deported from the USA in 2006 Federico settled back in the UK.
For his debut feature film Black Biscuit (2012) he chose homeless people, sex workers & addicts to star in the film. Raising the funds by nude life modeling & going from door to door asking people to donate a £1.00. Most of the filming was done using car crash stolen cameras, mobile phones and children's cameras. There was no script, and he didn't tell anyone what the movie's plot was about during filming. His only direction was ''just be yourselves and either make me sick, amazed or inspired'' The film was called ''A rubik's cube of images.''

It was around this time that his controversial PINK8 manifesto emerged, which created hostility, uncomprehending indifference and submission in the filmmaking world.

In The Milk Man (2013) became an abandoned vérité film project. The movie focused on a milk man who spiked local families milk bottles with LSD on his morning route's. The project was abandoned after the Royal Association of British Dairy Farmers (RABDF) who were notified about the film and threatened to sue over alleged defamation regarding the films subject.

His next film Pregnant (2015) was released, which focuses on technology addiction in the 21st century & the mass hypnosis of a generation''. We witness the Facebook/Youtube generation's inner spiritual stagnation & mass disconnection from society, as they come to grips with this new madness called reality. During the filmming Federico was accused of arson after a misunderstanding concerning one of the films shoots.

During this period Jett Hollywood was born. Federico's alter-ego (Ziggy Stardust's illegitimate son). A filmmaker from Mars.
He promised to create two films and then commit 'cinema suicide'. Evolution Of The Earth Angel (2015) & Anarchy In The UK (2016) were the two films that emerged.
A controversy emerged from a Jett Hollywood's suicide note which appeared online by his alter ego Jett Hollywood which resulted in an inquest. It prompted a disappearance case which revolved around the cryptic note which has since been withheld.
In 2016 the 1st Straight Jacket Guerrilla Film Festival launched 30 international films across the world, exploring today's Underground/Cult cinema makers.



Monday, 31 July 2017

CHILDREN OF THE DAMNED - The Story of LOON



The flower children in this film are young rotten, racist & rude. 

Folie à deux (/fɒˈli ə ˈduː/; pronunciation: ​[fɔli a dø];
French for "When Two People Go Insane Together''.

At the core of the film LOON lies a folie à deux relationship between two cousins, 16 year old Charlie Sheen (who wishes to be called 'Keith' - but nobody ever calls him) and his poison minded 18 year old cousin Georgia Sheen; who's aggressive, cunning, sexual personality has hypnotised her younger cousin into doing anything. 

''I wanted the film to reflect a prescription medication weekend, it's shook up in a black & white salad bowl''.
Fabrizio Federico

Charlie is on prescription medication (you decide what his diagnosis is) and his mother (a serial killer obsessed twin) is his gate keeper. He is a walking ball of karma. Surrounded by his twisted family (the whole street is populated by the Sheen family) Charlie's behavior is becoming darker. 

Charlie is dumb, so dumb in fact that it fools people. 
He has become obsessed with learning how to play the drums and to mirror his mod teen idol Keith Moon, one of the wildest drummers of the 60's and who's generation experimented with the unraveling of social and conventional modes.

An experimental melodrama with presidential assassination bulletins, Charlie is a kleptomaniac and a compulsive liar living in an incestuous tight knit family who have created a pillow world for him to sink deeper into his lifestyle. Light, love and protection are missing in both their worlds. 
While unemployed his loner life is largely based on crime, daydreaming and pleasing Georgia's superior superwoman Nietzsche mind. 

Charlie is fucked......but how fucked?
_______________________________________________________________________________

Year of the Rooster: 2017

Isis attacks throughout the world
Fake news - The wars on words
AI (artificial intelligence) - cool and creepily real
Donald Trump becomes president
Brexit 
North Korea's nuclear threats















Saturday, 22 July 2017

Interview with filmmaker Kurtz Frausun

  Straight Jacket Guerrilla Film Festival  (2017)

What does your film Peacock express about today’s generation?
That they are desperately searching for definition. The Artist for his Muse. We are a blank and lost generation with too much empty hope. 


What social circumstances lead you to make your new film?
I broke up with my ex before the start of the film after she tried stabbing me during a nervous breakdown. She was my Muse and after losing her, especially with a threat to my life, I realized I needed to document my experience. I spent two months editing with barely any sleep. Started hallucinating, but made it through. 


What do you think about the PINK8 Manifesto & Punk Cinema?
Punk Cinema is what we need more of. Hollywood is a shit storm that, with any hope, will come crashing down on itself like a diseased temple. 


Whats next for you?
I'm opening my own gallery in Irving where I will be featuring my kinky photography work. I'm also working on a documentary about the Trans experience. 


Thursday, 13 July 2017

THE FILM FESTIVAL OF THE FUTURE


THE FUTURE OF CINEMA now lives on YouTube & Vimeo.

Over the past decade cinema tickets have taken an enormous dive in sales, some say the cinema industry has now become what the music industry has been for a while, dead.
Forget about the ODEON, Showcase & Picture House, because cinema has now moved to the INTERNET.
Known or Unknown, but whats SO good about all this, is that it's now FREE, and no longer in the hands of the corporations.

The STRAIGHT-JACKET Guerrilla Film Festival wants to show you the films that surround this new age, which you're lucky to be alive for. 
A surrealistic world of the FOOD FIGHT that is life **innovative moving image that contributes to the creative nut inside you**
But from a film festival perspective - Why only screen the films for one day at a corner cinema house for 50 people, when you can share your film with the whole wide world live online to a billion people!

A courageous voice for mind-expanding visuals plus to show the liberated rebel at the peak of their eureka moment. No film must go left or right, but ZIGZAG.

Whats great about this festival is it supports dangerous cinema from across the globe. Psychedelic eyes & film anarchy endorsed by the individual not the follower in developing a path for future innovators.
The gift of anti-beauty as the new beauty, not concerned about curing your madness but WELCOMING it.

Tune in here, starting August 15th, 2017: 
http://straightjacketguerrillafilmfestival.com