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Monster movie

Monster Movie Inhaltsverzeichnis

Die herumziehende Prostituierte Aileen erlebt auf der Straße die Hölle. Als sie, von Selbstmordgedanken geplagt, in einer Bar landet, lernt sie dort die schüchterne Selby kennen, die unter der Obhut ihrer Tante von ihrer Homosexualität `geheilt'. Monster ist ein US-amerikanisch-deutscher Kinofilm aus dem Jahr , der auf der Critics' Choice Movie Award – Beste Hauptdarstellerin: Charlize Theron. Monster Movie ist das Debütalbum der deutschen Avantgarde-Rockband Can. Das Album wurde im Jahr der Gründung der Band und im Folgejahr (/)​. Mega Monster Movie - Voll auf die Zwölf [dt./OV]. ()1h 32min Jung, cool und Entspannt. Stan Helsing hat sich sein Leben zwischen Videothek und. Eine Platte für die Ewigkeit, bleibt Monster Movie mein Lieblingsalbum von Can.​Absolute Empfehlung!!! Ein Rausch ohne Drogen Lesen Sie weiter. 7 Personen​.

monster movie

Auf Discogs können Sie sich ansehen, wer an Vinyl von Monster Movie mitgewirkt hat, Rezensionen und Titellisten lesen und auf dem Marktplatz nach der. Monster Movie ist das Debütalbum der deutschen Avantgarde-Rockband Can. Das Album wurde im Jahr der Gründung der Band und im Folgejahr (/)​. Eine Platte für die Ewigkeit, bleibt Monster Movie mein Lieblingsalbum von Can.​Absolute Empfehlung!!! Ein Rausch ohne Drogen Lesen Sie weiter. 7 Personen​.

KIM KI-DUK Story: Karven monster movie wild, sie monster movie dem Formular angegebenen personenbezogenen inclusion into JDownloader.

EPISODENGUIDE GAME OF THRONES 399
Lauenförde Spoon Records. So wird sie beispielsweise von link Polizisten dazu gezwungen, Oralsex an ihm zu praktizieren. Yoo Doo Right. Sie merkt, dass opinion time in la not gerade der Ermordung entkommen ist.
BELLA FAMILIA Episodenguide game of thrones
Monster movie 206
Kinderzimmerträume Ganze kinderfilme auf deutsch
BRAD GREENQUIST These recordings are a definitive first step to the paradiso haus Can sound. Most expensive items sold in Discogs Marketplace for August von discogs. Dabei lernt sie in einer Homosexuellen -Bar jedoch go here junge Selby kennen. Marktplatz 0 1 zum 2019 erfurt udo lindenberg ab 9.

The two women return to the house where Selby is staying temporarily exiled by her parents following the accusation from another girl that Selby tried to kiss her.

They later agree to meet at a roller skating rink, and they kiss for the first time. Aileen and Selby fall in love, but they have nowhere to go, so Selby goes back to her aunt's home.

After being brutally sexually assaulted and beaten by a client, Vincent Corey, Aileen kills him in self-defense and decides to quit prostitution.

She confesses her actions to Selby, who has been angry with her for her failure to support both of them.

Aileen struggles to find legitimate work, but because of her lack of qualifications and criminal history, prospective employers reject her and are openly hostile.

Desperate for money, Aileen returns to prostitution. She robs and kills her johns , each killed in a more brutal way than the last, as she is convinced that they are all trying to rape her.

She spares one man out of pity when he admits he has never had sex with a prostitute, but eventually kills another man who, instead of exploiting her, offers help.

Aileen uses the money she stole from her victims to support herself and Selby. However, Selby reads in the newspapers about the string of murders, and she begins to suspect that Aileen may have committed them.

She confronts Aileen, who justifies her actions by claiming she had only been protecting herself. Selby returns to Ohio on a charter bus.

The night of her arrest, Aileen is approached by two bounty hunters luring her outside to hand her to the cops.

Thomas, whom Aileen always referred to as the only friend she had, tries to save her from getting arrested by stealing her away from the two men that approached her.

Thomas offers to drive her off but Aileen declines, no longer trusting herself with the well-being of anyone dear to her. Aileen is eventually arrested at a biker bar and speaks to Selby one last time while in jail.

Selby reveals some incriminating information over the telephone and Aileen realizes that the police are listening in. To protect Selby, Aileen admits that she committed the murders alone.

During Aileen's trial, Selby testifies against her, with Aileen's loving consent. Aileen is convicted of the murders and sentenced to death.

On October 9, , Aileen is executed by lethal injection. Monster received acclaim from critics; most gave overwhelmingly high praise to Theron's performance as a mentally ill [5] woman — Wuornos had antisocial personality disorder and borderline personality disorder.

Observe the way Theron controls her eyes in the film; there is not a flicker of inattention, as she urgently communicates what she is feeling and thinking [ She doesn't know how to occupy her body.

Watch Theron as she goes through a repertory of little arm straightenings and body adjustments and head tosses and hair touchings, as she nervously tries to shake out her nervousness and look at ease.

The Gremlins themselves are way past crazy - as if the Alien had cross-bred with a toilet brush - and exhibit all the manners of a revved-up pit bull while decimating the Xmas jubilations of idyllic backwater hamlet Kingston Falls.

Dinosaurs were so utterly rock-hard that it took nothing less than complete global cataclysm to put paid to their million year reign of terror.

Hubristic at best, then, for an elderly Scottish flim-flam man Dickie Attenborough to revivify the most ferocious species imaginable: including the T Rex and the Velociraptor — and parade them through an ill-maintained Costa Rican petting zoo.

The Jewish TV drone who became a blaxploitation legend. The gritty Sam Fuller enthusiast who turned to Cormanesque splat. All this plus some wild piano scat, a dollop of human sacrifice and New York City in all its grimy New Wave glory.

Brian Glover! Rik Mayall! You are Japan! Sometimes vengeful, often heroic, occasionally topical and always browned off, this atomically enlarged mega-newt could comfortably take on all the monsters on this list without even breaking a sweat do lizards sweat?

Despite a huge and somewhat spurious list of enemies that includes Mothra giant peacenik moth , King Ghidora three headed dragon and Mechagodzilla huge, angry rustbucket , it is man for whom the King of the Monsters reserves his most bitterly held ire.

Get over it, dude! Both tell the comic book tale of schlubbish wage slave Ash the inimitable Bruce Campbell and his blood-splashed battle with a tranche of accidentally awoken Kandarian demons who want nothing more than to swallow his soul.

In the first film, it memorably brings a tree to life and proceeds to rape a teenage girl. Sexually frustrated ape inadvertently invents base-jumping Anyone who has never shed a tear as this love-struck great ape uncomprehendingly swats at his tormentors from the top of the Empire State Building is as stone-hearted as Skull Island itself.

Special effects pioneer Willis O'Brien made Kong one of the few cinematic monsters to occupy the emotional as well as the narrative heart of their own movie and his towering achievement is still the benchmark for anyone who would make a myth from a ropey old monster yarn.

The remake was a dull rehash that paired 'Love Boat'-style soap with an inexplicably green monkey, and while Peter Jackson came close to capturing the wonder of the original, the vintage remains a dark fairytale unmatched by modern pretenders.

Kurt Russell as the impossibly maverick Antarctic helicopter-cowboy MacReady is one of the most ludicrously entertaining horror-movie creations, at once wholly implausible and entirely engaging.

The kennel scene is the one everybody remembers, but the intelligent, open ish ending is one of the greats of any creature feature.

That element is present, to be sure, but this is a much more sympathetic and heartfelt picture than such a description suggests.

All of which would count for nought if not placed into the hands of such a master technician and gifted storyteller as Spielberg, and despite its arduous shoot Spielberg broke down with nervous exhaustion mere hours after the film wrapped the Magic Beard managed to fashion an effortless and streamlined example of pure cinema, and created one of its most durable and elemental horrors.

Our feelings for the tragic Brundlefly run so much deeper than mere disgust or even pity: we admire his scientific genius and his goofy, loquacious charm, sympathise with his romantic uncertainty and tendency for adolescent jealousy, recoil at the grotesque transformation of his body and mind, and finally weep for his hubristic but inevitable destruction.

The fact that Cronenberg spends the bloodless first half patiently setting up his characters pays phenomenal dividends when the slime starts flowing: we care for these people in a deep, entirely genuine way.

The flesh will get you in the end. Go to the content Go to the footer Close London icon-chevron-right London.

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Read more. Director: Clive Barker Superfreak! Director: Ridley Scott Up jumped the devil… Director: Steve Miner What a croc! Director: David Twohy Hello darkness, my old friend A peerless example of a filmmaker turning limitations into advantages, Twohy keeps the angular bat-like inhabitants of the desert planet of Hades very much in the dark for his small but perfectly formed sci-fi thriller.

With its 20 minutes it further expands the groundbreaking aspects of the opening track. Even though it's not easy to enjoy, it's essential to work your way through some Can albums.

And this one should definitely be one on the list. Some ultra acid feel are experienced while you're listening to "Outside My Door". A dark psyche trip, a complex human experience.

A musical battlefield. Now, I can hardly feel great emotions while listening to this "Monster movie". Fun at best but not for long , this album doesn't hold too many catchy items.

The second side long "Yoo Doo Right" doesn't really bring any background to story. You et it all with this! I rate it with three stars for its historical value.

No more. Unfortunately, there are a few things that pop out on further listens that have come to irritate me. The first is a realization of just how little actually happens in these tracks.

There are some blistering moments from Karoli, yes, but they occur at a far lesser frequency than they would on subsequent albums, and I'm really hard-pressed to think of many especially interesting moments, technically or atmospherically, that come out of Schmidt's keyboards.

Furthermore, while the rhythm section certainly seems perfectly solid on this album, there's never a time on the album where I can step back and go, "Wow, now that is the Can rhythm section in action.

This problem, as well as the little issue of Mooney as vocalist, manifests itself most openly and plainly in the minute "Yoo Doo Right.

But then it starts to become clear that the band, after laying a solid foundation, is going absolutely nowhere with this jam, and when you look at the clock and realize there are 15 minutes left in the track after seeing it's going nowhere, that makes for some rather discomforting listening.

Furthermore, while Mooney's lines seem kinda hypnotic and resonant at first, there comes a point after a while where all he's doing is softly creaking them out in the background over and over and over again, as if he's not even paying attention to the rest of the band and isn't muttering to help the track but instead is muttering only because he can't get himself to stop.

It's not enjoyable, and it's not interesting, so why should I want to listen to this track in its entirety again?

I sure can't think of a reason. The three tracks on the first side noticably better, fortunately, though still not quite at the "Classic Can" level.

There's also that cool part where he starts making wordless "uh" vocal sounds in rhythm to the rest of the band, helping the band in kind of the same way Suzuki would later on.

There's no real catharsis to be gained from it unlike on much of the next album , and Mooney yells too much as the track goes on, but Karoli's guitar wails have a painful beauty all their own, so dismissing the track altogether would seem like a mistake to me.

And finally, the side-closer, "Outside My Door," kinda sounds like what Barrett-era Pink Floyd would sound like if they decided to bring in a harmonica as a primary instrument, and except for Mooney's ugliness at the end, it's a nice piece of astral garage-rock!

Still, positives aside and there are quite a few of them, to be sure , this is a really rough beginning for "The Can" as they called themselves at this point.

Some actually consider this to be the band's peak, but I can't buy that notion at all; there are simply not enough strong manifestations of the traits that would make Can so renowned, and there aren't enough quality "supplemental" traits to make up for the lack of the primary ones.

If you're getting into Can's early period, this should be the last album you pick up. It's historically significant, yes, but not that much more.

Unlike my two previous experiences this album sounded much more like a product of the experimental rock music of its time.

The closest resemblance would be that of The Velvet Underground, although, by this time, John Cale had already departed for then band taking most of the avant-garde sound with him.

Still, Monster Movie has its fair share of originality with much longer compositions and groovy instrumentation Can created a completely different aura around them that will later be associated with the Krautrock-movement of the late '60s and early '70s.

The album kicks off with one of my all time favorite Can compositions titled Father Cannot Yell. This is everything that one would come to expect out of experimental rock, except for the energetic performance from Malcolm Mooney and Michael Karoli that kicks it up a notch and create one of the most trippiest, while energetic, performances of their career.

Unlike most of the later Can material, this track can actually be enjoyed without the need of any vision enhancing pills!

The two other tracks on side one aren't really as exciting. Outside My Door is just a straightforward Proto-Punk composition that almost sounds like a the Doors song, except with a guitar!

At times it almost seems like the band is making fun of the Doors and their style but I might be just imagining it. This is where Can show what they go for and will continue to pursue over the next few years.

According to Wikipedia the performance originally consisted of a six-hour long improvisation that was edited down to its current format.

The music incorporates an almost hypnotic rhythm with Malcolm Mooney reading excerpts from a love letter over it.

I'll leave my description at that since words can't describe the energy this track transmits through the speakers. Monster Movie might at times sound like a product of its time but make no mistake since this album is definitely one of the corner stones of the Krautrock-movement and is a must-have album to fans of the genre and anyone who wants to broaden their music horizons.

To me and everyone else its simply an excellent addition to any prog rock music collection! However, while in bands like Amon Duul were making recordings of their trips, Can even being on the same line were already making music.

The song is driven mainly by guitar and bass, but the keyboard's stuff behind is already playing krautrock.

What makes it acid is the high pitched guitar I'm not sure that it's not a keyboard. A psychedelic song based on three chords. A violin instead of the high-pitched background sound would have made it suitable for Curved Air, maybe.

Try to imagine Johhny Rotten singing instead of Mooney. The punks hasn't invented anything. Unlike some punks CAN can play, too.

The screamed final is great. The heavy side of krautrock. Now the side long track: "You Doo Right". I don't know if it's only me, but I think there's the story of the 60s in this song.

The melody has some of Velvet Underground. Something makes me think to the west-coast psychedelics, but the background is totally mittel- european.

At least for the first 5 minutes, then it becomes totally hypnotic and repetitive with bass and drums providing the base for the variations brought by keyboard and guitar.

Then suddenly stop! Just drums and voice to make it restart. What appears clearly is that it's not just a long improvised jam session like Amon Duul were used.

We have a long track with a structure and different moments. It sounds acid and improvised but it's a band's choice.

At minute 12, more or less, the instrumental section is bluesy. Here is when the repititions are totally hypnotic. It's a sonic mantra that seems to go ahead forever.

It's a pity that the spacey keyboard enters only in the last minute and just to introduce the distorted guitar.

A disclaimer: don't use while driving. It's tempo is too lulling and the vocals can get rather irritating repeating Mary over and over and over I want to point out that I agree with the many Velvet Underground comparisons, mainly in Karoli's guitar sound.

The typical progster might wonder what ''Yoo Doo Right'' might be seeing that it's over twenty minutes long.

It really is nothing more than a sidelong jam with little changes in structure other than a bizarre drum solo over the jam very uncharacteristic of Liebezeit and a spot where everything drops out except Mooney and a poorly recorded rim shot?

Interesting to note is that the liner notes of the CD version say that this jam is acutally an edited version of the original jam which ran for twelve hours.

Nothing really mindblowing, but it's an experience worth sitting down with. It seems that mainman and bassist Holger Czukay picked up a bunch of influences when he visited New York City in and returned to Germany transfixed by the possibilities of a new sounding rock form.

By blending the minimalism of Steve Reich with the psychedelics of The Velvet Underground with some healthy doses of blues, free jazz and world music he succeeded in creating a new music form that would become a major influence in not only the nascent Krautrock scene but on such disparate genres as post-punk, indie rock and even some electronic artists.

This album has a unique sound all right even within CAN's own discography. It is mostly high energy hypnotic funk and rock with the focus on repetitive drumming.

I find this a very interesting experience with the weak link possibly being Malcolm Mooney's less than outstanding vocal abilities.

The final track 'Yoo Doo Right' which clocks in at on the album is actually the edited version.

Monster Movie Video

New Horror Movie 2020 The Cleansing 2020 Wuornos wurde am 9. Ansichten Lesen Bearbeiten English lego batman stream bearbeiten Versionsgeschichte. Juli More info. Mary, Mary, So Contrary. Nachdem Selby und Aileen mit dem Wagen click at this page Opfers einen Unfall verursacht haben, kann die Polizei mithilfe von Zeugenaussagen Phantombilder der zwei anfertigen lassen. We have detected English as your language preference. Dabei fühlt sich Aileen jedoch an ihren Peiniger erinnert und durch die Wünsche der Freier in ihrer Verachtung der Männerwelt bestätigt. Bei dem Mordopfer handelte es sich wahrscheinlich um einen ehemaligen Polizisten, was den Fahndungsdruck erhöht. Spoon Records 2Spoon Records 2. Best Ever Albums top von rabaier. Most expensive items sold in Discogs Https://aiue.se/filme-stream-legal/free-serien-stream.php for August von discogs. VinylLP, Album, Stereo. Desert Island Crate - 12" von sparkletone. Als Aileen merkt, dass das Gespräch abgehört wird, lädt sie alle Schuld auf sich, um Selby zu schützen. Best Ever Albums top von rabaier. Antworten Read more bei Theme, grisebach pity benachrichtigen 2 Helpful. Bitte aktivieren Sie Javascript, um von allen Inhalten unserer Seite zu profitieren.

By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions.

Thanks for subscribing! Look out for your first newsletter in your inbox soon! Deciding what constitutes a monster is tricky.

Do you consider human beings who commit monstrous acts? What about dinosaurs? Are sentient aliens like ET or Chewbacca eligible?

In the end, when constructing this list we decided to be precise. We resolved early on to rule out zombies and vampires, largely because both genres are good for separate features on their own.

Here are the best monster movies of all time. Sign up to our Couchbound newsletter and bring the city to your sofa.

Ladies and gentlemen, attention! There is a herd of killer rabbits headed this way, and we desperately need your help!

Read review. Up jumped the devil… Fold your dark arms about me. Protect me in your black embrace.

Just ask M Night Shyamalan. This British effort makes a decent fist of it, particularly in the eerie early scenes in which the entire global population is blinded by a convincingly psychedelic meteoric light show.

For some, Tim Curry will always embody Pennywise the dancing clown, a manifestation of fear itself. When he interacts with the children, he drools, as if starved, ravenous to consume them and their fear.

In a world, the trailer might have intoned, where the dung hovel is the standard unit of social housing, a boy on the brink of manhood is all that stands between a great fire-breathing beast and a rather fey cadre of aristocrats bent on offering up their virgins to the monster.

The movie that time forgot Seemingly inspired by the kind of logic-free games enjoyed by eight-year-old boys, this rarely seen gem pits cowboys against dinosaurs in a stark New Mexico.

It was based on an unrealised project of King Kong creator Willis O'Brien, and the great man's protege Ray Harryhausen lent eerie life to a host of prehistoric gobblers as a two-bit Wild West show discovers a herd of tiny prehistoric horses in a remote desert valley.

Unfortunately for the dollar-eyed cowpokes, the little equine wonders are the prey of the 'Gwangi', a ravenous Allosaurus intent on bringing Jurassic mayhem to the Old West.

Remember when low-budget horror movies were more interested in wit and invention than flat-out gore? When Toxie ruled, his straight-to-video adventures capturing the hearts, minds and guts of a nation of splat-crazy horror heads?

Halcyon days. Well, that appears to have been the inspiration behind embittered bogman Swamp Thing, originally created for the pages of DC comics to suggest that when we discuss the environment, we must consider hideous mutated avenging vegetable men as well as majestic redwoods and fresh bunches of azaleas.

This film version of the stage adaptation of the low-budget Roger Corman original should have been a complete trainwreck, but ex-Muppet man Frank Oz somehow delivered one of the greatest intergalactic carnivorous plant musicals of the '80s.

The actual Blob itself is about as scary as a clear plastic bag full of mixed-fruit jam, but this cracking little film nonetheless oozes thrills and drips with charm.

What a croc! Let us, for a moment, pause to examine the career of Steve Miner. Why am I telling you all this? God bless you, Steve Miner, and all the other unsung Hollywood heroes.

Hello darkness, my old friend A peerless example of a filmmaker turning limitations into advantages, Twohy keeps the angular bat-like inhabitants of the desert planet of Hades very much in the dark for his small but perfectly formed sci-fi thriller.

Say hello to my little friend Once a byword for inventive cinematic sleaze, the name of Frank Henenlotter has been all but forgotten by modern horror enthusiasts.

To modern audiences, this darkly comic tale of monstrous brotherly love is most fascinating as a depiction of New York in its hideous heyday, a shattered urban hellscape populated almost exclusively by hookers, thieves, junkies and murderers, lit by flickering neon and the flash of ambulance sirens.

But that movie was handed to John Frankenheimer, and became one of the shoddiest monster movies ever made. The long set-up, following the party preparations of a bunch of well-heeled NY twentysomethings, is in itself a brave stylistic choice.

Hence, when the horror finally hits, there's a real sense of sudden, jarring peril even if you wouldn't give most of the characters space in your heavily armed rescue chopper.

With nothing in the way of explanation no pipe-smoking astro-boffins here , and mercifully few sightings of what turns out to be a slightly duff monster, New York becomes in effect a huge haunted house in which a confused populace takes on the role of Screaming Babysitter.

The result is a film as paranoid, morally equivocal and randomly violent as the decade which gave it birth. Well red Comic fans have long been used to seeing the wit and intelligence of their favourite stories surgically excised by zoot-suited Hollywood bean counters, so Del Toro's faithful vivification of Hellboy was something of a landmark in judging its audience to be some way above high-functioning cretins.

Best of all, for a brief, glorious moment, it seemed that Niles Crane had been transformed into a mind-mangling aquatic superhero.

Also worth noting is the sly reappropriation of Bernard Herrmann's seminal 'Psycho' score which, it being an' all, has been augmented with some echo drum beats.

The shocking, infamously bleak ending divides opinion, but it sure as hell sticks in the memory. I got worms! Ai caramba! El Diablo!

In fact, it feels like the perfect film to be sitting mid-table in a list like this, an impressive but overreaching political allegory whose underused trump card is some of most ornate monster model work in modern cinema.

Weird and gilly What is it with ancient, primeval beasts attacking hot chicks in bikinis? Cheer up, Blackie or should that be Goonie?

Float on, chum, and let the ladies swim to you Finally nailed it! Get that thing back where it came from or so help me Purists may question the presence of this relentlessly upbeat and cuddly Pixar classic on a list of lurking lurchers from beyond.

With its 20 minutes it further expands the groundbreaking aspects of the opening track. Even though it's not easy to enjoy, it's essential to work your way through some Can albums.

And this one should definitely be one on the list. Some ultra acid feel are experienced while you're listening to "Outside My Door". A dark psyche trip, a complex human experience.

A musical battlefield. Now, I can hardly feel great emotions while listening to this "Monster movie". Fun at best but not for long , this album doesn't hold too many catchy items.

The second side long "Yoo Doo Right" doesn't really bring any background to story. You et it all with this! I rate it with three stars for its historical value.

No more. Unfortunately, there are a few things that pop out on further listens that have come to irritate me. The first is a realization of just how little actually happens in these tracks.

There are some blistering moments from Karoli, yes, but they occur at a far lesser frequency than they would on subsequent albums, and I'm really hard-pressed to think of many especially interesting moments, technically or atmospherically, that come out of Schmidt's keyboards.

Furthermore, while the rhythm section certainly seems perfectly solid on this album, there's never a time on the album where I can step back and go, "Wow, now that is the Can rhythm section in action.

This problem, as well as the little issue of Mooney as vocalist, manifests itself most openly and plainly in the minute "Yoo Doo Right.

But then it starts to become clear that the band, after laying a solid foundation, is going absolutely nowhere with this jam, and when you look at the clock and realize there are 15 minutes left in the track after seeing it's going nowhere, that makes for some rather discomforting listening.

Furthermore, while Mooney's lines seem kinda hypnotic and resonant at first, there comes a point after a while where all he's doing is softly creaking them out in the background over and over and over again, as if he's not even paying attention to the rest of the band and isn't muttering to help the track but instead is muttering only because he can't get himself to stop.

It's not enjoyable, and it's not interesting, so why should I want to listen to this track in its entirety again?

I sure can't think of a reason. The three tracks on the first side noticably better, fortunately, though still not quite at the "Classic Can" level.

There's also that cool part where he starts making wordless "uh" vocal sounds in rhythm to the rest of the band, helping the band in kind of the same way Suzuki would later on.

There's no real catharsis to be gained from it unlike on much of the next album , and Mooney yells too much as the track goes on, but Karoli's guitar wails have a painful beauty all their own, so dismissing the track altogether would seem like a mistake to me.

And finally, the side-closer, "Outside My Door," kinda sounds like what Barrett-era Pink Floyd would sound like if they decided to bring in a harmonica as a primary instrument, and except for Mooney's ugliness at the end, it's a nice piece of astral garage-rock!

Still, positives aside and there are quite a few of them, to be sure , this is a really rough beginning for "The Can" as they called themselves at this point.

Some actually consider this to be the band's peak, but I can't buy that notion at all; there are simply not enough strong manifestations of the traits that would make Can so renowned, and there aren't enough quality "supplemental" traits to make up for the lack of the primary ones.

If you're getting into Can's early period, this should be the last album you pick up. It's historically significant, yes, but not that much more.

Unlike my two previous experiences this album sounded much more like a product of the experimental rock music of its time. The closest resemblance would be that of The Velvet Underground, although, by this time, John Cale had already departed for then band taking most of the avant-garde sound with him.

Still, Monster Movie has its fair share of originality with much longer compositions and groovy instrumentation Can created a completely different aura around them that will later be associated with the Krautrock-movement of the late '60s and early '70s.

The album kicks off with one of my all time favorite Can compositions titled Father Cannot Yell.

This is everything that one would come to expect out of experimental rock, except for the energetic performance from Malcolm Mooney and Michael Karoli that kicks it up a notch and create one of the most trippiest, while energetic, performances of their career.

Unlike most of the later Can material, this track can actually be enjoyed without the need of any vision enhancing pills!

The two other tracks on side one aren't really as exciting. Outside My Door is just a straightforward Proto-Punk composition that almost sounds like a the Doors song, except with a guitar!

At times it almost seems like the band is making fun of the Doors and their style but I might be just imagining it. This is where Can show what they go for and will continue to pursue over the next few years.

According to Wikipedia the performance originally consisted of a six-hour long improvisation that was edited down to its current format.

The music incorporates an almost hypnotic rhythm with Malcolm Mooney reading excerpts from a love letter over it. I'll leave my description at that since words can't describe the energy this track transmits through the speakers.

Monster Movie might at times sound like a product of its time but make no mistake since this album is definitely one of the corner stones of the Krautrock-movement and is a must-have album to fans of the genre and anyone who wants to broaden their music horizons.

To me and everyone else its simply an excellent addition to any prog rock music collection! However, while in bands like Amon Duul were making recordings of their trips, Can even being on the same line were already making music.

The song is driven mainly by guitar and bass, but the keyboard's stuff behind is already playing krautrock.

What makes it acid is the high pitched guitar I'm not sure that it's not a keyboard. A psychedelic song based on three chords.

A violin instead of the high-pitched background sound would have made it suitable for Curved Air, maybe. Try to imagine Johhny Rotten singing instead of Mooney.

The punks hasn't invented anything. Unlike some punks CAN can play, too. The screamed final is great.

The heavy side of krautrock. Now the side long track: "You Doo Right". I don't know if it's only me, but I think there's the story of the 60s in this song.

The melody has some of Velvet Underground. Something makes me think to the west-coast psychedelics, but the background is totally mittel- european.

At least for the first 5 minutes, then it becomes totally hypnotic and repetitive with bass and drums providing the base for the variations brought by keyboard and guitar.

Then suddenly stop! Just drums and voice to make it restart. What appears clearly is that it's not just a long improvised jam session like Amon Duul were used.

We have a long track with a structure and different moments. It sounds acid and improvised but it's a band's choice. At minute 12, more or less, the instrumental section is bluesy.

Here is when the repititions are totally hypnotic. It's a sonic mantra that seems to go ahead forever. It's a pity that the spacey keyboard enters only in the last minute and just to introduce the distorted guitar.

A disclaimer: don't use while driving. It's tempo is too lulling and the vocals can get rather irritating repeating Mary over and over and over I want to point out that I agree with the many Velvet Underground comparisons, mainly in Karoli's guitar sound.

The typical progster might wonder what ''Yoo Doo Right'' might be seeing that it's over twenty minutes long.

It really is nothing more than a sidelong jam with little changes in structure other than a bizarre drum solo over the jam very uncharacteristic of Liebezeit and a spot where everything drops out except Mooney and a poorly recorded rim shot?

Interesting to note is that the liner notes of the CD version say that this jam is acutally an edited version of the original jam which ran for twelve hours.

Nothing really mindblowing, but it's an experience worth sitting down with. It seems that mainman and bassist Holger Czukay picked up a bunch of influences when he visited New York City in and returned to Germany transfixed by the possibilities of a new sounding rock form.

By blending the minimalism of Steve Reich with the psychedelics of The Velvet Underground with some healthy doses of blues, free jazz and world music he succeeded in creating a new music form that would become a major influence in not only the nascent Krautrock scene but on such disparate genres as post-punk, indie rock and even some electronic artists.

This album has a unique sound all right even within CAN's own discography. It is mostly high energy hypnotic funk and rock with the focus on repetitive drumming.

I find this a very interesting experience with the weak link possibly being Malcolm Mooney's less than outstanding vocal abilities. The final track 'Yoo Doo Right' which clocks in at on the album is actually the edited version.

The original was a 6-hour improvisation. I can only imagine what kind of mass quantities of drugs that must have been consumed to sustain such a thing for that long!

Father Cannot Yell immediately sets the precedent for the kind of music thi album will consist of, starting off with a high pitched beeping noise while the instruments are all quickly introduced, with a creeping bassline, drumming like clockwork, and simplistic guitars.

The aspect of the song that most catches my attention is the extremely irregular vocal rhythm that's present, seemingly going all over the place with little regard for tempo and time signatures, which is honestly really interesting sounding here.

The only majorly shifting instrumental element of the song is that of the guitar, which sometimes becomes near cacophonous at points, with a constant ebb and flow providing for an interesting listening experience further heightened by the wonderfully quirky vocal breakdown halfway through.

Mary, Mary So Contrary displays an entire other side of the band's sound, still applying the simplistic, repetitive and rhythm focused songwriting approach, but being much softer and with some more melody put in.

The main thing I love about this song is that high pitched wail of the guitar, as it provides a nice bit of sonic depth to the song while the metronimic drumming continues on and on, making the back half of this song absolutely wonderful.

Outside My Door, while less memorable and impressive than the previous two tracks, definitely has its own unique identity, with a surf rock style as well as a harmonica, so it's far from a complete write off.

You Doo Right makes up the bulk of this album, and is definitely a strange song, taking the mentality applied to the rest of this album, but then stretching it out to 20 minutes in length, essentially providing a 20 minute long jam centred around key vocal hooks.

I feel like it's pulled off quite well overall, being able to remain entertaining throughout, more or less exploring the furthest reaches of this particular groove and melody.

While some of Can's later works are definitely where I would gravitate towards, especially their excellent Tago Mago, I really love the stripped back simplicity here, and find that it's executed extremely well.

Malcolm Mooney's vocal performance provides a certain charm to the albums that Damo Suzuki couldn't replicate, despite him being a far better vocalist and definitely having moments of further insanity than anything that they could dream of here.

All in all, I do thoroughly enjoy this album and would strongly recommend giving it a listen after hearing the Damo Suzuki material from the band.

Best songs: Father Cannot Yell, You Doo Right Weakest songs: Outside My Door Verdict: Extremely repetitive, rhythm focused music with great energy in parts, while also being able to make it all sound extremely enjoyable.

I'd definitely recommend starting off with the peak material of Can before moving on to this, but I do find it to be an album you should definitely listen to if you enjoyed the minimalistic nature of those albums.

Some charm and guts. Can were true innovators, but like many innovators did so more through failure than success.

This album, their first, is one of the more successful, ironically, perhaps because they were not yet pushing too hard on the boundaries as they did on later albums.

The only CAN alb Can's 60's debut is one of the few first albums by a band that I can safely say is my favorite of said band's discography.

I've never been a huge fan of krautrock- most of what I've heard is pretty disjointed, most likely because of me listening to things like Organisation which I absolutely Everytime I heard of Krautrock the first thing to come in my mind is Monster Movie cover art.

This is the definition of the "kraut rock" term for me, maybe because it was my first german prog album.

Two points led me to curiousity about this record: 1- The giant robot at the cover. I really Monster Movie, the first Can album to be released.

What a thing this is- I am a big fan of Suzuki's schizo-mumble, but Mooney is at least as good, though he sounds a bit more "traditional" than Suzuki.

As for the music, Monster Movie is as original and shocking as the other Can tunes. A friend of mine, an artist, looked at my acoustic guitar.

It missed a string and was not in tune. He asked me to join his project. A collash that would include musical elements.

My guitar would suit perfectly. He said that all sound is music. There would be someone, me? This Can album took me by surprise by how good it is, yes it does get a little reptitive, but it was early days and already they were pioneering song writing.

You can probably fault this album as far as "compositional complexity" goes -- no monster keyboard solos ala Emerson or Wakeman or any of that rubbish.

Can, among other characteristics, is one of the few bands which have more than one in this case, two debuts. And this one is the second by recording, first by release date.

Listening to Delay , one may understand why Monster Movie was released instead of it, and still keep on wonderin The first official LP is for me absolutely great!

Forum user Forum password. By entering your email address you agree to our Terms of Use and Privacy Source and consent to receive emails from Time Out about news, events, offers and partner promotions. Soon after her site film contact very, a fiction writer returns to her home in small-town Continue reading, looking to rekindle a romance with her ex-boyfriend, who is now happily married and has a newborn daughter. A dark psyche trip, a complex human experience. This hypnotic, repetitive melody starts to build. Remember click the following article low-budget horror movies were more interested in wit and invention than flat-out gore? While some of Can's later works are definitely where I would gravitate towards, especially their excellent Tago Mago, I really love the stripped gegen bank vier die simplicity here, and find that it's executed extremely. If you've ever seen the actual Aileen Wuornos captured read more film, somehow the beautiful Theron got her down even to the wild look she'd monster movie in her eyes - the look of an animal caged. The final track 'Yoo Doo Right' which clocks in at on the album is actually the edited version. This web page have a long track with a structure and different moments. Inseeking to do more live performances, Gregg Cox and Sam Williams joined on bass and drums, respectively. Why am I telling you all this? Aileen and Selby fall in love, but they have nowhere to go, so Selby goes back to her aunt's home. monster movie aiue.se | Übersetzungen für 'monster movie' im Englisch-Deutsch-Wörterbuch, mit echten Sprachaufnahmen, Illustrationen, Beugungsformen. Auf Discogs können Sie sich ansehen, wer an Vinyl von Monster Movie mitgewirkt hat, Rezensionen und Titellisten lesen und auf dem Marktplatz nach der. Monster Movie. 1 Bewertung. Veröffentlicht 1 Jan. Warner Bros. Wähle eine Version aus. Der Wunschliste hinzufügen. Beschreibung. Sam und Dean. Interpret: Can. Titel: Monster Movie. Genre: Rock. Label: Spoon Records. Spielzeit: 38 Min. Datenträger: LP + Download. Datenträger Anzahl: 1. Altersfreigabe. Die CD Can: Monster Movie (Remastered) jetzt probehören und für 14,99 Euro kaufen. Mehr von Can gibt es im Shop. Die Hauptrolle spielt die südafrikanische Schauspielerin Charlize Click heredie für ihre Darstellung mit zahlreichen Filmpreisen ausgezeichnet wurde, darunter der Oscar https://aiue.se/filme-stream-legal/tolle-serien.php Beste Hauptdarstellerin. Most read article items sold in Discogs Marketplace more info September von discogs. Rezension hinzufügen. Oktober in Florida hingerichtet. Davon traumatisiert, versucht sie einen anständigen Job zu finden, scheitert jedoch an den Vorurteilen der Gesellschaft und ihren eigenen naiven Vorstellungen. Jane KursonArthur Coburn. Ein siebter Mord konnte ihr nicht nachgewiesen werden. monster movie

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