tRauM//reVe//夢//KanAvU/drEam

//ruang talok 69//

//ruang talok 69// or better know as //6ixtynin9// by the thai director //pen-ek tatanaruang// is some kind of satire about a woman //tum//lalita panyopas// who gets fired and discovers a noodle box , filled with money (about 25000 thai baht), in front of her appartment door,accidentally left behind by some simple-minded gangsters. the box sets off a gang war.//tum// decides to use the money to start a new life in a new country, even as the gangsters come looking for their misplaced cash. any enjoyment we might take in //tum//'s lethal triumphs is diminished by the fact that the gangsters are incredibly stupid, for instance they mistake //tum//'s apartment number 6 for apartment number 9 which leads to his fiasco in the first place. in order to protect her newfound fortune, //tum// fends off hoods and nosy neighbors, leading to an impressive body count. as the corpses pile up, the film focuses on //tum//'s immediate problem //how to dispose of them// rather than exploring how a bank clerk might turn so suddenly into a cold-blooded killer. There is an early conversation between //tum// and a nosy visitor to her building in which he congratulates //tum// on having a job in the financial sector as many of his friends have become unemployed. tt could be inferred that with a financial ticket to a better life, tum justifies her diminished morals, but the film's baffling "twist" ending, in which //tum// suddenly gains a conscience, throws any such conclusion out the window.

//ドールズ//

the movie //ドールズ//dolls// by //北野武//kitano takeshi// was is one of the best movies i´ve ever seen. the director is an important public figure in japan. he is a successful comedian and television personality, and in the past 15 years he has written, directed, and often starred in eleven movies, mostly violent but poetic gangster films. //ドールズ//dolls// is, then, a considerable departure, though he has commented that the passions in this film have their own violence. the story plot consists of four diffrent stories which have one thing in common: death;

sawako//菅野美穂//miho kanno//and MatsumotoHidetoshi Nishijima walk through a park with a with a red silk robe which connects both`s stomach. during a flashback you´ll see that the two of them were made for eachother and found true love in their relationship but later on he decides to marry the daughter of his boss. the girl attempts suicide, and survives brain-damaged; the boy abandons his bride at the church and returns to become his true love's companion and caretaker. eventually he tethers her to himself to protect her, and from this point on they wander quietly through the world, trailing the great red silk rope that binds them. they walk under the cherry-blossoms of spring, over the hot beaches of summer, through the red and gold forests of autumn, until finally, homeless in winter snows, they fall from a height and die.


in their progress they pass two other forming couples: an aged yakuza gangster hiro//tatsuya mihashiwas// who was once a poor worker who left his sweetheart in order to gain prosperity and wealth.; Once she //chieko matsubara// promised him that´s she´ll wait for him every saturday with along with a lunch packet for him. //hiro// is living a sad and lonely life as a yakuza leader and finally one day as he returns to the park he discovers his former girlfriend, wearing the same clothes and waiting for him with a lunch packet in her arms. she doesn´t recorgnize him but she´s glad that she can share her food with someone without even knowing that he´s the guy she´s been waiting for more then 30 years.

moreover they´ll see a young pop singer //haruna//fukadawa kyoko// who, having retired after a car accident, meets her greatest fan //nukui//takeshige tsutomu// -- a man who blinded himself so that he will not dishonor her by seeing her disfigured face. both the men in these secondary couples die; they have acknowledged the force of love in their lives, and then the world cuts them down brutally (one is assassinated, the other dies in a hit-and-run), without the knowledge of the women involved. a third and very odd couple, whose end we do not learn, are a spectacularly handicapped but very cheerful person and his caretaker, who scoot through the yakuza episodes.

//current //cd// releases//

//ai// - //crayon beats//
作詞 lyrics：ＡＩ//作曲 composition：ＡＩ//Ｋｅｎｊｉ　Ｈｉｎｏ//ＤＪ　ＹＵＴＡＫＡ
1 Ｃｒａｙｏｎ　Ｂｅａｔｓ (3:16)
2 Ｓｕｍｍｅｒ　Ｂｒｅｅｚｅ (4:27)
3 Ｃｒａｙｏｎ　Ｂｅａｔｓ（Ｉｎｓｔｒｕｍｅｎｔａｌ）(3:17)


//nobodyknows+// - //メバエ//
作詞 lyrics：DJ MITSU//CRYSTAL BOY//g-ton//作曲 composition:DJ MITSU//
1 Ｔｈｅｍｅ　ｆｒｏｍ　ｎｏｂｏｄｙｋｎｏｗｓ＋　ｐｔ．１０ (1:56)
2 メバエ (5:33)
3 マグナム今池☆彡 (4:08)
4 メバエ　－ｉｎｓｔｒｕｍｅｎｔａｌ－(5:33)


収録曲
//KM-MARKIT// - //VIVID//
1 Ｉｎｔｒｏ (1:44)
2 Ｍｒ．アーバリアン (2:31)
3 Ｄｉｒｔｙ　Ｔａｌｋ (3:51)
4 王道( 3:15)
5 Ｙｏｕ’ｒｅ　Ｍｙ．．．(3:33)
6 Ｄｏ　Ｔｈｅ　Ｇｒｉｎｄ (3:35)
7 Ｓｕｎｓｈｉｎｅ　ｆｅａｔ．加藤ミリヤ (4:13)
8 Ｓｎａｔｃｈ　ｆｅａｔ．ＯＪ　ＦＬＯＷ＆タイプライター(3:32)
9 未来への鍵～Ｔｈｅ　Ｋｅｙ～ｆｅａｔ．ＳＰＨＥＲＥ　ｏｆ　ＩＮＦＬＵＥＮＣＥ (4:08)
10 都会の野蛮人　ｆｅａｔ．ＺＥＥＢＲＡ，ＵＺＩ，ＯＪ＆ＳＴ (2:57)
11 Ｕ．Ｂ．Ｐａｒｔｙ (3:54)
12 Ｍｅｍｏｒｙ　Ｌａｎｅ (4:14)
13 Ｒａｉｎｙ　Ｄａｙ　ｆｅａｔ．倖田來未 (4:36)
14 Ｉｎｎｅｒ　Ｃｉｔｙ　Ｂｌｕｅｓ (3:40)


//Crystal Kay// - //恋におちたら//
1. 恋におちたら
2. LOVE it TAKE it
3. BET YOU DON'T KNOW English Version. -
4. 恋におちたら（Instrumental)

//the interpreter//

the interpreter is a thrillers by //sydney pollack/ starring //oscar// winners //nicole kidman// and //sean penn// .it´s a story of international intrigue with unexpected twists and nerve-teasing tension, the first-ever use by a motion picture of the //united nations headquarters// in new york as a location and a meditation on a postmodern world bedeviled by regional tyrants and global terrorism.
//nicole kidman// plays the southern african-born //u.n.// translator //silvia broome//, who overhears an assassination threat against the dictator of the fictional African state of //matobo//, spoken in a rare language she can understand. //sean penn//, who´s playing the //secret service// agent //tobin keller//, is assigned to investigate this threat, including the person who reported it. the story turns into a thriller with conspiracies involving //silvia// and it´s somewhat a race against the clock to prevent an assasination at the //u.n. general assembly//. the movie is at least for me one of the most anticipated this year and it will be in in your local cinemas across europe in april.

信近エリ Voice

信近エリ Voice
繰り返す静けさ 広がる影に
明けてゆく眩しさを忘れていた
数えきれないほど 弱さを抱いて
まだ笑えると胸を押さえてた

せめぎあう人並み 冷めた吐息に
繋ぐ手の温もりをなくしていた
数えきれないほど 悲しみ抱いて
まだ分り合えてると信じてた

乾いた記憶さえぎるように 消えていった言葉
僅かに残る祈りのあと 照らしだす感情
伝えきれなくても 覚えておきたい
その時生まれた想いを

溢れた真実だけを頼りに遠くへと歩んでいけたなら
ずっと心の声に耳を澄ましてここから進んでいけたら
もっと瞼を濡らして叫ぶその声に気づいていけたなら
きっと淀んで見えていた世界は幻のように
彩りを増していく

彷徨った切なさ 止った足は
安らげる優しさを求めていた
冷たい雨にさえ 慣れたふりして
暖かな風ずっと探してた

答えを出そうとするほどに 揺れ動いた心
眠れず過ごした毎日を 映しだす瞳
伝えきれなくても 失いたくない
その時生まれた想いを

溢れた真実だけを頼りに遠くへと歩んでいけたなら
ずっと心の声に耳を澄ましてここから進んでいけたら
もっと瞼を濡らして叫ぶその声に気づいていけたなら
ずっと重ね続け嘘で見失った声取り戻せたなら
もっとありのまま響く想いにすべてを預けていけたなら
きっと淀んで見えていた世界は幻のように
彩りを増していく

//monsoon wedding//

//monsoon wedding// is one of the few indian movies I´ve seen recently. the director //mira nair// who studied at the //columbia university// in new york and lived several years abroard is highly influenced by the western cinema. besides all the indian love stories this movie has a deeper, you could say more mature plot, which is pretty unusual for indian flicks. It´s a well know fact that in india, watching movies is some kind of escape from harship in their daily lifes, therefor indian directors avoid dealing with serious matters like child abuse. As a consequence the movie was more popular among westerners and it´s originally aimed at them. the movie was awarded at several shows and the director has also done some other controversial movies like //missisipi massala//kamasutra// or //salaam bombay!//
here´s a short summary of the plot taken from another site:
an exuberant family drama set in //mira nair's// beloved punjabi culture, where ancient tradition and dot-com modernity combine in unique and perfect harmony as the romantic monsoon rains loom, the extended //verma// family reunites from around the globe for a last-minute arranged marriage in new delhi. //MONSOON WEDDING// traces five intersecting stories, each navigating different aspects of love as they cross boundaries of class, continent and morality. the film celebrates a contemporary india never before seen on screen.the family's hopes, anxieties and long-guarded secrets emerge amid frantic wedding preparations, and are juxtaposed with arresting montages of real-life delhi. the relentless summer heat mirrors the story's building intensity as the city anticipates the cooling torrent of the monsoons. and when the rain comes, the cathartic downpour brings romance, revelation and liberation.

official site http://www.mirabaifilms.com/

//村上春樹//

//村上春樹//murakami haruki// is one of the most, if not the most popular authors nowadays in japan. He was born in 1949 in kyoto and studied at the renomated //waseda university// in tokyo.he started writing short stories and novels in the 80´s and has done quite a lot since then. after living several years abroad, mainly in southern europe and the us, he moved back to japan in the year 1995 , after the devastating disasters which occurred in his motherland. his narration style is quite unique and you could describe it as a mix between //kafka//, //king// and //pynchton//. Several critiquers even suggest that he could become a //nobel prize// winner in a few years. japanese tend to say that one day his face will cover a japanese yen bill just like //夏目漱石)//natsume sôseki// who is can be seen on the 1000 yen bill. besides his popularity in japan, he´s also well know in korea and china and even in europe and the us. he uses kanji which aren´t used in daily life therefor it´s hard for young japanese adults to read and understand his novels. his recent book //海辺のカフカ//kafka am strand//kafka on the shore// was already released last year in germany but has just been recently released in the us and gains popularity. it´s one of his most amazing and popular books and millions of copies have already been sold in japan over the years. The plot is about a 15 year old boy who runs away from home and searches for his mother and sister on the japanese island of shikoku. the story tends just as most of his works to surrealism. my favorite book is the //ねじまき鳥クロニクル//wind up bird chronicle//mister aufzievogel// in which he describes the life of a unemployed man in his thirties whose wife leaves him and on the search for her, he discovers a surreal and also weird world in his neighbourhood. among all these novels he has also done books which cover tragedies like //アンダグラウンド//
untergrundkrieg//underground//which is about the the devastating sarin attack, by the //aum sect//, in the subway in tokyo in 1995. the most fascinating thing about this book is , that he didn´t just interview the victims and their personal stories but also went to interview the aum members and the attackers. Besides this amazing book he also did a book about the //kobe earthquake//which is also recommendable. If anyone is particulary interested in stories which play in the present and have a surreal touch, they definitely shouldn´t miss books by this author.

official site: www.murakami-haruki.com

//m.i.a.//

The music of Maya Arulpragasam, a twenty-seven-year-old Sri Lankan Tamil who moved to England when she was nine and performs under the name M.I.A., is not like that. Anyone who has trolled through bins on Canal Street for videos of kung-fu movies or reggae mix tapes will recognize M.I.A.’s first single, “Galang” (2003), as an example of actual, on-the-ground world culture: synthetic, cheap, colorful, staticky with power. The beat is shuffling and abrasive, made from what sounds like the by-products of some other, more polite song. It most resembles Jamaican dancehall patterns, but with a twist
M.I.A.’s début album, “Arular,” was released in february in the us but will be released this april across europe. Arulpragasam wrote most of its thirteen tracks at home on the 505 and then fleshed them out with the help of a series of professional producers, including Richard X, Anthony Whiting, and Switch. The over-all effect is like what a politically minded class of fourth graders might do for a term project if they had access to a lot of electronic toys: joyous, spring-heeled, impatient, unafraid to speak out. “Someone like me has never made it on the radio before, ever, or on anyone’s TV,” Arulpragasam said. “And the boringest channels I can make it on the better. I want people to listen to me while they’re playing bingo in Swansea.”
Maybe. On the album, Arulpragasam talks about teen-age prostitution, “part-time jobbers in call centers,” and “comfort bars.” It’s hard to imagine Clear Channel approving “Sunshowers,” which blends a small, delightful thump with a melody quote from a seventies song by Dr. Buzzard’s Original Savannah Band. After calling out, “From the Congo to Colombo!”—the Sri Lankan capital—Arulpragasam sings, “Can’t stereotype my thing yo / I salt and pepper my mango,” and, later, “Like P.L.O., we don’t surrender.” What makes this genuine world music, aside from the references, is the weaving of the political into the fabric of what are still, basically, dance tunes. Any division of life into personal and political halves is absent. Even in “Amazon,” where Arulpragasam sings of being “blindfolded under homemade lanterns / somewhere in the Amazon, they’re holding me ransom,” she also observes, “Palm trees in the wet smells amazing.” In the song’s chorus, she sounds utterly casual, like an American teen-ager calling her mom after getting out of a movie at the multiplex: “Hello, this is M.I.A. / could you please come get me?” In the world, disasters can be everyday events.
taken from /the newyorker//


Arular Tracklist:
1. Ba-Na-Na (Skit)
2. Pull Up the People
3. Bucky Done Gun
4. Fire Fire
5. Freedom (Skit)
6. Amazon
7. Bingo
8. Hombre
9. One for the Head (Skit)
10. 10 Dollar
11. Sunshowers
12. Galang

official site: www.miauk.com

//宇多田ヒカル//

//宇多田ヒカル//utada hikaru// //色//colors//
ミラーが映し出す幻を気にしながら
いつの間にか速度上げてるのさ

どこへ行ってもいいと言われると
半端な願望には標識も全部灰色だ

炎の揺らめき　今宵も夢を描く
あなたの筆先　渇いていませんか

青い空が見えぬなら青い傘広げて
いいじゃないか　キャンバスは君のもの
白い旗はあきらめた時にだけかざすの
今は真っ赤に　誘う闘牛士のように

カラーも色褪せる蛍光灯の下
白黒のチェスボードの上で君に出会った

僕らは一時　迷いながら寄り添って
あれから一月　憶えていますか

オレンジ色の夕日を隣で見てるだけで
よかったのにな　口は災いの元
黒い服は死者に祈る時にだけ着るの
わざと真っ赤に残したルージュの痕

もう自分には夢の無い絵しか描けないと言うなら
塗り潰してよ　キャンバスを何度でも
白い旗はあきらめた時にだけかざすの
今の私はあなたの知らない色

official site:www.toshiba-emi.co.jp/hikki

//信近エリ//

19 year old japanese singer //信近エリ//nobuchika eri// is one of the most amazing singers I´ve heard recently. she debuted with her single //lights/ last december but wasn´t as successful as she should have been. The single is produced by the famous producer //大沢伸一//shinishi osawa//, better known as //モンドグロッソ//mondo grosso// and is a mix between a slower ballad which turns into an upbeat song during the refrain. besides her great singing skills //eri// also writes her own lyrics, which became unusual these days and plays the piano. there´s really no comparison between her and any other artist but it´s obvious that all her songs so far have been produced by //mondo grosso//, who worked before with artists like //bird// or //boa//. Today her second single //voice// was finally released and this song is more up beat than her first one moreover it´s also accompanied by spanish guitars.


//信近エリ// Voice//
1. Voice
2. Voice (Live @ Crescente Studio)
3. I hear the music in my soul (Solid Groove Remix)
4. Voice (Karaoke)

official site: www.nobuchikaeri.com