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2LP
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MOVATM 314LP
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"A Fantastic Woman (Spanish: Una mujer fantastica) is a 2017 drama film directed by Sebastian Lelio and written by Lelio and Gonzalo Maza. It was selected as the Chilean entry for the Best Foreign Language Film where it won in the 90th Academy Awards. The film is about Marina, a transgender woman who works as a waitress and moonlights as a nightclub singer, is bowled over by the death of her older boyfriend. It premiered at the 67th Berlin International Film Festival in 2017 where it won the Silver Bear for Best Screenplay and the Teddy Award, an award given to films with a LGBT theme. Matthew Herbert is an award-winning composer, artist, producer and writer. He has had work commissioned by the Royal Opera House, the BBC and has remixed iconic artists such as Quincy Jones, Ennio Morricone and been a longtime collaborator of Bjork's, but he is best known for working with sound, turning ordinary or so-called found sound in to electronic music. This is a limited edition contains of 1000 individually numbered copies on transparent pink color vinyl. The LP package contains an insert with notes from director Sebastian Lelio."
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CD
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TRESOR 10157CD
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Originally released in 2000, now repressed. The simple story behind this compilation project is to unite the finest minimalistic and most sophisticated music in techno/house today. Curator Matthew Herbert expands: "The title says it all. I'm tired of a perfect universe where DJs feed the latest records into a computer and perfectly beat-match them. I'm human, I'm flawed and was never supposed to be a DJ. That said, I have played about 300 DJ gigs in the last 4 years, in all sorts of amazing places, from Russia to Australia to Iceland. Increasingly people are wanting to hear new things on the dancefloor and consequently going crazy over the wobbly stuff. And this CD is supposed to be those tunes: From the consistently-overlooked brilliance of Green Velvet to the structurally-challenged records from Berlin. This really is my chance to play those records that make people either scream or leave dancefloors. This is what I think electronic music is about, challenging conventions, trying to make people dance to ever-increasingly weird sounds and rhythms. You have a captive audience, a big sound system and a Spanish-strength vodka and tonic. In the words of Samuel Beckett: fail again, fail better." Tracks from: Lost Weight, Isolée, Nightmares On Wax, Wishmountain, Pantytec, Errorsmith, DBX, Theo Parrish, Moloko, Green Velvet, Herbert, Tube Jerk, Auto Repeat, Traktor, Si Begg, Mr. Oizo, DJ Deeon, Buckfunk3000, Plastikman, Radio Boy, and Hombre Ojo.
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12"
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TRESOR 10157EP
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Repress; originally released in 2000 on Tresor. Matthew Herbert jumps into the Tresor catalog with this exclusive 12" featuring tracks from his Globus mix CD Let's All Make Mistakes. The "Demonic" and "Houzey Houzey" remixes focus on a totally new vision of Herbert's most unique minimal tech-house angle.
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CD
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DG 2734438
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"Gustav Mahler, the great composer on the brink of modernism, wrote his last symphony during a time of great personal trouble. Just as his friend and admirer Arnold Schoenberg believed to observe the loss of subject in Mahler's 9th Symphony, this subject was to manifest itself fully in the last tragic work of Mahler. His unfinished symphony is an expression of the personal anguish that he was suffering in the summer of 1910. Mahler was desperate and the abyss of loss and madness surrounded him. Death, always a central theme for Gustav Mahler, really seems to take shape in Symphony No. 10, a factor that Matthew Herbert has taken as a departure point for his version of Mahler's Tenth. And Herbert has taken Mahler at his word. He fitted a coffin with a car radio, played the Tenth on it and recorded the result. The viola solo from the prelude was recorded anew at the master's grave in Vienna. He played the adagio over the loudspeakers in a crematorium and placed a microphone behind the curtain. For Herbert, it was about focusing on the close proximity of the banal and the profound in Mahler's work, the constant friction between life and death, love and confusion, grandeur and mortality. 'My version is not intended to just be fascinated with death though, it is supposed to be an amplification of that unsettling balance he creates between light and dark. I want to relish the friction of the fearful with the glorious.' This is why one constantly has a feeling of ambiguity when one approaches Herbert's version of Mahler's Tenth. Beneath apparently safe ground, an unknown darkness is waiting. That which is audible, tangible to the senses, has a dark side; and ever do the shadows push up to the surface. Herbert has masterfully turned the psychic and artistic thin ice that Mahler was standing on in the summer of 1910 into music. Through subtle adaptation of the structure, the sounds and the spatiality, we hear the Tenth Symphony as we have never heard it before. Occasionally softly underlined, at times overstated, Matthew Herbert regards Mahler's unfinished symphony from the inside out. Through his sense of time and dramaturgy we are unavoidably drawn into this radio play about Mahler and his last great work. Perhaps the room in which the composer was and surrounded him like a cocoon, the sound of footsteps and the claustrophobically close rustling of paper, are among the few overdubs that Herbert used in his Mahler project. There is an obvious analogy of isolation with the small house in Toblauch (Tirol) where Gustav Mahler composed and struggled. Matthew Herbert has enriched the Recomposed series in one crucial sense: that of the work-immanent approach. He wasn't just striving to give the Tenth Symphony his own personal point of view, rather to understand and reinforce it in all its complexity. Far more than a re-composition, Herbert has achieved a piece of sound-art which takes the subject matter and creates a mirror image of it. A reflection on Gustav Mahler and his Tenth Symphony in the best sense of the word. Original Recording: Philharmonia Orchestra, Giuseppe Sinopoli, Deutsche Grammophon (1987)."
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