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Samples of traditional instruments, domestic noises, enigmatic solos, poetry recitations. For the fans of Sergey Kuryokhin and Nikolay Soudnick. He was born in 1971 in Athens, residing for the last 12 years in the UK. His work has appeared on various independent labels, and events in several countries while since 2007 he operates the Aural Terrains label. He composes for electronics, acoustic instruments and environmental sounds, focusing on the structural and aesthetic capacity of sonic matter. For this work, he extensively uses electronic devices, acoustic sounds and field recordings. We can still feel the excitement of releasing his The Circular Ruins debut CD album “Realm of Possibility”, back in 2002. From there Tony has taken his sound and composition skills to higher skies and has been very active the past decade, spreading his ambient explorations through his own dataObscura label. Last year we asked APK if he was willing and able to create another masterpiece for Databloem. A few words on the album by the master himself: “This collection of pieces was conceived around a constant theme, maybe an obsession, of mine: traveling as though in a labyrinth. Pathways that have no certain destination but lead you into fascinating new vistas and obscure destinies, bringing something new at each turn. And yet those new turns are somehow familiar, as though you were walking in circles. This is not a work of dark electronica for a lost age, it is a work of exploration and light that reveals layers and details of unseen landscapes and curious experiences, that feel like memories, by taking you down pathways you may have missed in your life. Field recordings were made during travels in China, India and Kavkaz and parts of the sound sources from friendly sound artists as Mars F. Weillink (ex-Vance Orchestra), Andrea Marutti (Amon) and Roman Voronovski (Rombix). Track 3 contains a looped voice by Dasha Baskakova and sounds recorded at Volkonski Dolmen using sine generator and dolmen original acoustic. Track 4 is based on pitched loops of a violin and sounds from Mars. Going through the desperate landscapes of today's dying spiritless world, the listener comes into the sacred and surreal inner space of an immaterial land full of light, mysticism and universal melancholy. The real masterpiece which we are really proud to release. The second edition of this double-CD comes in a stylish monochrome foldout digisleeve.

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It’s just as addictive, and like them, it’s a documentary that proved as engaging as a thriller flick. But where Making a Murderer raised questions about the U. criminal justice system, and The Keepers was poignant and unsettling, Evil Genius is just plain weird. It’s a case of reality conjuring up something stranger than fiction. Marjorie Diehl-Armstrong is about as frightening as a Cormac McCarthy antagonist, and her associates tantamount to a Who’s Who of Erie’s most despicable white trash assholes. When I think back on all the media I’ve consumed in the past few months, I, Tonya stands out as something that was both an enjoyable and a creative experience. Margot Robbie gave a career-defining performance as redneck figure skater Tonya Harding. One that utilized every aspect of her talent in order to create a Tonya that was in equal parts flawed and sympathetic. Given the nature of the film as being both comedic and heart-wrenching, it had to have demanded a lot of her, and she just kind of gets it right. I love how creative she is an actress and how invested she is in her recent roles; it seems like she is selecting parts that she’s really passionate about and working as both an auteur and a performer. Watching them was like watching the car chase in The French Connection or the bank heist in Heat. They’re treated like action scenes and the way the movie pulls them off is simply breathtaking. It honestly looked like Margot Robbie was executing that triple axel. In my last “creative roundup” post I wrote about going to see Macbeth. And recently I’ve been to see two more tragedies: A Streetcar Named Desire by Tennessee Williams and A View from the Bridge by Arthur Miller. I was already very familiar with the former, having seen the Marlon Brando film version several times. But it’s a story that’s so damn good that it never gets old, and I jumped at the chance to see it on stage. Even though I write fiction and poetry, I’d say my two favorite storytellers of all time are Shakespeare and Williams. As far as narratives go, they’re my absolute idols. I love the themes that Williams works with, and the modern adaptations of his plays have the freedom to be more explicit and visceral.

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Still, Adair is quick to say that it’s difficult to sustain a career as a feature film editor in town. “It’s hard. I’m always scrapping around in between Linklater projects. Enter Everything Must Go. “Part of it was just lack of work in Austin,” she explains. But she also felt a bond with Rush, whom she calls funny and clever and respectful and “as detail-oriented as I am. She also, crucially, felt like they were on the same wavelength regarding “a tricky script” about a guy gumming a bottle and becoming completely unglued. As Ferrell’s character sets up residence in his front yard, it’s hard to resist the metaphor: He’s literally living just feet from the gutter. It’s hard not to take it home with you when you’re there from 9 in the morning until 9 at night, and then you come home and you’re just fully saturated with the process. I mean, I had the same reaction to the film that I had to the script, which is: It’s the worst day of this poor guy’s life, and I’m living it with him day after day. And not just casually living it, either. It’s sort of the plight of the editor to be locked in a room, mostly alone, Adair says, at least while she’s assembling the first cut: “It takes a lot of concentration, and there are so many decisions that are being made on a secondby-second basis. A week prior to the film’s release, Ferrell was in the Austin area for the Will Powered Golf Classic, the second annual tournament to benefit the charity Cancer for College, and took some time while here to promote the new movie. In Everything Must Go, which is based on a Raymond Carver short story, Ferrell plays a man who loses his job after falling off the wagon, only to return home to find his wife has changed the locks and strewn all his possessions across the front lawn. The situation becomes the occasion for either a brutal self-reckoning or an impromptu yard sale. Ferrell had just arrived in Austin when I was ushered into his hotel interview suite. He was wearing an untucked red shirt that bore an Old Spice logo (he said it’s a relic from Talladega Nights), black-and-white plaid Bermuda shorts, white NBA socks, and no shoes. I turned on my tape recorder to begin the interview, and despite having checked the batteries beforehand, the contraption picked this moment to flash the fatal 48 T H E A U S T I N C H R O N I C L E MAY 13, 2011 a u s t i n c h r o n i c l e. I quickly started to delete old files, while trying not to appear rude and distracted. Thinking I had finally gained the upper hand over the machine, I set it down to record the conversation.

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