Nuraghes – S’Arena

Amazing short indie film, shot with few thousand euro in Seui, where my family comes from.

Nuraghe was recently acquired by Paramount and the cliffhanger at the end makes me hope for an extended version.

This area is where I got the inspiration for Vindicta’s King of The Mountain.

Rune Soup – Thai Animism & Sorcery

Taken from: https://runesoup.com/2017/01/talking-thai-animism-and-sorcery-with-jenx/

I have recently stumbled upon this interesting blog, featuring a n in depth interview with Jenx, author of two excellent essays on Thai Occultism, recently published by Xavier Laradji’s Timeless. Xavier is one of the pillars of French PE scene, and beyond, and moved from the cult Timeless Magazine (the “On the prowl” issue is fundamental for anybody into the leather/cruising cult), to an established publishing house of art and general weirdness.

Jenx’s books have been an exciting  recent discovery for me,. They expose a complex yet fascinating culture that is much more than macabre fetishism, but have an intense spiritual approach, pretty different from Westerner outlook on reality.

Books are written with a passionate style, that is both engaging and enthusiastic, explaining pretty well for any Occidental reader a rich universe of made of handmade objects, invocations, possessions and tattoos.

I will write more on the subject as soon I will have completed my reading, meanwhile I suggest to purchase the two books before they are gone!

The Thai Occult website: https://www.thethaioccult.com/

Buy The Thai Occult – SAK YANT Book – http://www.timeless-shop.com/prod/the-thai-occult-ghost-edition-jenx-2328,new.html

Thai Occult FB : https://www.facebook.com/The-Thai-Occult-books-580979548771417/

 

True Crime Inspiration – Tommy Riccio

As some you you may have noticed, one of the main frequent motives of Foresta di Ferro, and prime inspiration is crime. Not so much boasting off improbable gansta-yardie style low life thug life, but trying to render in ballads ideas and images dragged from Italian rich tradition of criminal mentality, especially old-school one, as collected in many studies.

Italy has its tradition of criminal ballads, often rewritten and reinterpreted to fit regional needs.So, according to the singer, you will have happer/sadder version, with strong use of dialect and so on.

Surely, these classics played a big part in the inspiration of tracks like “Malavita”, “Fronte San Vittore”, “Seppelliscimi in piedi” and “Bulli & Pupe”, but a biggest part was played by persons I met while running social programs in jails, acquaintances made in bars at night and the  contemporary musicians who were capable of transferring their experiences into music (or at least things they read about appropiately).

These discovery contributed in loosing interested in social-conscious oriented music to focus on real-life tales, and since then my quality of life improved big time.

 

Tommy Riccio is one of most truly bad-ass Neomelodico singer, probably Italy’s (or better Naple’s) most intense true crime related genre, that shifted old-school “musica napoletana” for tourist to credible tales of crime and honor. Despite the romantic appeal is still present, movies like “Gomorra”, “Pianese Nunzio…”, made them known to the international public for these aspects.

Tommy Riccio was a recent aquisition for me, but wrote some of the most amazing tracks.

This is an amazing hymn for Naples Crime Malavita

 

And this track was of inspiration for Vindicta’s tale of innocents on the run for crime they have not committed.

I think the “move in the clip” part are fantastic.

THE RITA – medora Cd feat Caligula031

THE RITA – Medora

Here comes the next THE RITA attack on Old Europa Cafe…
This time also coadiuvated in noise-crime by CALIGULA031, CLIMAX DENIAL, LINGUA IGNOTA, TED BYRNES…

“I’ve seen some people saying that English National Ballet’s Le Corsaire is so out-of-date it’s risible to see it staged in the 21st century.
Sex trafficking, men in black with scimitars in Istanbul, pirates trading slaves across the Mediterranean, rich fat men rubbing their jewelled paws over fresh young bodies — pshaw indeed!”
– Ismene Brown

“Act I
Scene 1: The Sea-Shore Conrad and his friends are washed ashore. Young Greek women appear, led by Medora and Gulnare. They soon discover the shipwrecked corsairs, and immediately Medora and Conrad fall in love. But soon the women become aware of impending danger, and quickly hide the corsairs. A patrol of Turkish traders, in league with the villainous slave dealer Lankandem, are hunting for beautiful woman to sell as slaves. The Turks soon capture the young Greek women, and are paid handsomely by Lankendem. They soon head off to the slave market in a Turkish bazaar, and the corsairs vow to rescue the unfortunate maidens.

Scene 2: The Slave Market Amidst the bustle and barter the wealthy Seid Pasha turns up at the slave market to purchase beautiful young slave women for his harem. Lankendem shows off all of the fruits of his travels from foreign lands, and though he extols the beauty of captive maidens from Palestine and Algeria, the Pasha is not interested. Soon Lankendem presents Gulnare, who enchants the Pasha. Gulnare and Lankendem dance a Pas d’action (the Pas d’esclave). He then pays handsomely for her as she is carried off to his harem. But Lankendem has saved his greatest spoil for last – the beautiful Medora.”

The classical ballet Le Corsaire is one of the most powerful examples of the blatant fetishism, sexuality and in this case even exploitation that is most often thinly veiled by the classical ballet’s historical context of being a part of the distinctive performing arts. As the sex trafficker actors’ ropes wrangle the scantily clad dancers en masse during the ballet for inspection and delivery to the white slave traders and harem owners, the ballet is usually described simply as “Swashbuckling Escapism” (Evening Standard). THE RITA has thoroughly deconstructed the classical ballet and it’s related elements to the harsh noise project’s past involvement in the social abstraction of women’s form and this time Le Corsaire’s ties to the ocean and eventually women’s historical involvement in tragic and fatal Adriatic Sea shark attacks is culminated in a cacophonous and layered storm of abrasive sound.
To achieve such parallels of story, rough edged shifting lines of sound, and vicious crunching landscapes of distortion, various esteemed colleagues were called into action to provide related audio sources (Caligula031, Climax Denial, Lingua Ignota, Ted Byrnes…)
Verse by Joe Lombardo

Medora: Altynai Asylmuratova, Alina Cojocaru
Female Shark Attack Victims (Adriatic Sea): Agnes Novak, Carla Podzum, Mira Kudlich, Milena Scambelli
Ballet is Woman