This is the first time the festival has appointed two presidents
Directors Joel and Ethan Coen have been named the presidents of the jury at the 2015 Cannes Film Festival, the festival announced on Monday.
The festival press release:
For the first time in the history of the Festival de Cannes, not one but two leading figures will chair the Jury.
Indeed, American filmmakers Joel and Ethan Coen have accepted the invitation from President Pierre Lescure and General Delegate Thierry Frémaux to become the Presidents of the 68th edition of the Festival.
Source : IMDb
A gripping action-thriller from the director of Taken and the producer of The Matrix and Non-Stop, The Gunman stars Oscar-winner Sean Penn as a former military operative dragged into a deadly cat and mouse game. With Penn in his first action role, and a top-notch cast including Javier Bardem and Idris Elba, The Gunman is a high-octane must-see.
Sometimes comment has no use, here is the new Blutengel. And if it sounds familiar to This Corrosion by Sisters Of Mercy, well.....
Lebanon Hanover are among the most beloved protagonists of Fabrika. After three extremely successful, home-recorded Vinyls on Fabrika and CDs on Dead Scarlet, here now the eagerly expected fourth regular album. This is the FIRST Lebanon Hanover album to be recorded in a professional studio EVER – ‘Besides the Abyss’ thus marks the culmination of an extraordinarily creative period of almost three years. This album reflects a process of musical maturing and self-knowledge, though inward-looking and intimate, it has no difficulties entering deep into the emotional world of the listener.
Dominated by the voice of Larissa Iceglass, which embraces us like an unknown warmth coming straight from the blackest abyss, the elegance of the guitar parts, the sad bass and synthesizer melodies, the poetic tenderness of the lyrics, this album is of a unique hopeful but gloomy romantic. ‘’Besides the abyss’’ is gorgeous and timeless. Lebanon Hanover hold the key to our soul as we all ‘’walk a path of failures and of heights’’. Their way of giving new breath to old structures, of ex- pressing a universal emotion, is almost addictive and we consider ourselves lucky not having to live long without their music.
The album consists of ten all new recordings. It has been written and performed by Larissa Iceglass and William Maybelline in Athens, from May 2014. For the first time a guest musician enters the studios with Lebanon Hanover, contributing for the track “Moor’’ the most sorrow-filled saxophone you’ve ever heard. Chris Manolitsis, a legendary Greek producer - famous for countless albums he recorded since the early 80s - is the man behind the production, mixing and mastering, giving a decisive final touch, intensifying these tracks exactly the way he did it with his productions since the early 80s. An edition of 1000 Vinyls is now underway and we expect this first edition to be sold out as fast as the first Vinyl editions of previous 3 albums! The Vinyl comes with a unique album cover, lyrics and a free download code in flac and mp3 format.
Youth Code’s latest release, A Place To Stand, is an expression of rage that could only come from Los Angeles. Perfectly capturing the frustration and claustrophobia of the early 80s LA hardcore scene but re-appropriating that aggression and melding it to the strict, pounding electronics of classic industrial. Recorded by Josh Eustis (Nine Inch Nails, Telefon Tel Aviv, Sons of Magdalene), Side A of A Place to Stand features four new Youth Code tracks that showcase the band exploring an evolved sense of melodic synth work and more varied tempos than anything they have released to date. From the pure adrenal rush of opening track, “Consumed By Guilt” and the Wax Trax-esque dance floor anthem “To Burn Your World” to the lush synthscape melodies of “For I Am Cursed” You can hear Ryan George and Sara Taylor perfectly balancing respect for their elders whilst creating something that’s uniquely their own. Rounding out the Youth Code originals on Side A, “A Litany (A Place To Stand)” figuratively stands out, as it is a spoken-word diatribe on society that encapsulates the feeling of the entire record.
Side B of A Place to Stand collects four remixes of earlier Youth Code tracks, from artists as diverse as Corrections House’s Sanford Parker, Sub Pop signed avant rap crew Clipping., industrial / EBM mainstays God Module & the dark and minimal techno mastermind, Silent Servant.
What makes A Place to Stand exceptional is Youth Code’s ability to coax raw, organic emotion out of cold, primitive synths. A trait that stems from the band’s peculiar genesis. Born in 2012 out of a Los Angeles bedroom, Youth Code is the creation of Sara Taylor and Ryan George. The band made their spontaneous live debut at LA-based record store Vacation Vinyl's employee showcase. Word of the incendiary live performance quickly spread and was followed by release of the well-circulated, coveted, Demonstrational Cassette which saw the band hone their semi-improvised initial set into something altogether more muscular and lean.
Soon after, Youth Code was invited to release a limited edition 7 inch single with the legendary Genesis P-Orridge's label, Angry Love Productions. The single quickly sold out and saw the band receive praise from industrial heavyweights including Skinny Puppy and Front Line Assembly. Shortly after the single’s release, the band signed on with label DAIS to release their 2013 self-titled full length, which was met with widespread critical praise from outlets as far ranging as Pitchfork and MetalSucks.
In 2013, Youth Code brought their brand of Industrial to audiences all over the US on supporting gigs with AFI, Nothing, The Body, Suicide Commando and a stint at SXSW that had Tucson Weekly call Youth Code the, "Best Surprise of the Festival". Regarding the SXSW performance, The LA Times added, "The band [Youth Code] is a perfect balance of muscular synth drums, white-noise analog pulses and singer Sara Taylor's defiant shrieks. It's harsh stuff, but never less than riveting to watch, and a perfect rebuttal to a festival that looks ever more like a [sic] A-list party than a place to truly hear something new. Thank God Youth Code was there to fix that at the end."
