La cinémathèque de DUBAI

Dans l'appartement vide, il ne me restait qu'un tas de lettres. Celles que j'avais écrites durant les nuits douces de mai ou dans la terreur froide des journées de janvier. Elles ressemblaient à de petites muettes étalées sur le vieux parquet en bois. Le blanc de l'enveloppe sur le sombre du bois. Je pouvais sentir le parfum de certaines journées, leur souvenir doucement incrusté. Je les ouvrais toutes ces lettres, lentement. Leur lecture me paraissait étrange comme si celui qui avait tracé ces lignes n'était pas moi. Plutôt un double tour à tour lamentable ou brillant, pleurnichard ou implacablement secret.

Durant ces derniers instants, dans une ville qui ne m'était plus si famillière mais plutôt hostile, je vacillais avec la musique de DUBAI. Une angoisse sourde et une force électrique- bleutée comme le souvenir d'un amour mal fichu - transpirent de cette musique. Un groupe à écouter les jours de tonnerre. 

On retrouve DUBAI chez Clan Destine Records, un endroit plutôt génial pour faire des découvertes étranges et poétiques. Un travail d'orfèvre mené par Carl Clandestine.

DVBAI Video Mix

1. Tampopo. Juzo Itami.

We watch a lot of movies, but I can't say exactly how they influence our music. I guess being in someone else's world is the equivalent to listening to a good record, and a lot of times it's preferable to exist somewhere else. Sometimes when writing songs, we explain sound visually, too, in terms of color or the images that it provokes.I first saw Tampopo when I was rather young and it left a big impression on me. It feels like a happy dream, where the characters and scenes overlap, and you feel fed and validated by all these hedonistic images of food and sex, and eventually death.I don't know how we hit upon the idea to remix the love scene, but the contrast between these sensual images and our dissonance feels like the right amount of tension and comedy. Here is another scene that turns ramen eating into a fetish.

2. Rocky. John G. Avildsen.

We love underdogs. I wrote this movie off for a long time because I thought it was cheesy. There isn't much in the way of character development, and Sylvester Stallone's slur can get annoying, but it is a classic for a reason. Seventies Philadelphia looks just so damn griitty, and the fact that they shot it on film makes the colors bleed beautifully, like a boxer's face.

3. The Godfather. 

 
We kind of have a problem with anything that has sequels, in that we have to watch ALL of them. Again, this was another franchise that I felt I could never get into, but maybe it's a bit of homesickness for America that's helped me to reconsider these films. Johannes likes the ultimate justice that falls down upon a sympathetic bad guy. He has a choice to make, and he takes it, but even godfathers can't escape karma.