Elephants Dream is the story of two strange characters exploring a capricious and seemingly infinite machine. The elder, Proog, acts as a tour-guide and protector, happily showing off the sights and dangers of the machine to his initially curious but increasingly skeptical protege Emo. As their journey unfolds we discover signs that the machine is not all Proog thinks it is, and his guiding takes on a more desperate aspect.

Elephants Dream is a story about communication and fiction, made purposefully open-ended as the world’s first 3D animated “Open movie”. The film itself is released under the Creative Commons license, along with the entirety of the production files used to make it (roughly 7 Gigabytes of data). The software used to make the movie is the free/open source animation suite Blender along with other open source software, thus allowing the movie to be remade, remixed and re-purposed with only a computer and the data on the DVD or download.,

Project Orange

‘Elephants Dream’ is the result of almost a year of work, a project initiated and coordinated by the Blender Foundation. Six people from the Blender user/development community were selected to come over to Amsterdam to work together on an animated short movie, utilizing Open Source tools only.

Below you can find the text describing the original motivation and background for Project Orange

Motivation

With Blender originating as an in-house creation tool, the day-to-day feedback and interaction of both developing and using the software was one of its most outstanding features.

In the past 2.5 years of open source development, it was especially this uniqueness of Blender that has proven to be difficult to organize and maintain. The Blender Foundation itself has no intention to grow or expand into a company or studio; such a development would conflict with the public benefit goals. Instead, the Foundation aims at endorsing and supporting activities within (educational) institutes, universities and companies.

It is our conviction that establishing – content targeted – incidental, independent and temporal projects will be a strong boost for open source development strategies in general. Daily interaction of artists and developers can not only result in proof of concepts, but also in research of innovative solutions for the whole range of tools artists can deploy.

By keeping such projects content focused and temporal, it also is possible for a wide range of currently active volunteers to participate. Not many people are in a position to give up a career (study, job) to become full-time employed on the projects of their interest. But there are many active volunteers prepared and motivated to do this incidentally for shorter time spans.

Whilst Project Orange’s prime target is to create an outstanding movie short, the secondary goal is to research efficient ways to increase quality of Open Source projects in general.

Producers

The project has been a co-production of Montevideo and Blender Foundation, both sharing financial responsibility on equal basis. Both producers will decide and agree together on the Milestones A) Creative Concept and B) Final Project Plan.

All production related internal staff costs of the producers are excluded from the financial plan. The producers jointly will further define their respective tasks for this.

Overall project coordination

The Blender Foundation will be responsible for establishing and coordinating the team, making a project plan, coordinating the concept/scripting/story-boarding, tools development, post-production & audio, and project deliverables.

Employment issues

For those who will be part of the “core” team, Montevideo will do the legal/taxes stuff, housing arrangement, and actually will hire the team.

Subsidy/Funding

Montevideo will take the lead for applying subsidy grants with funds like The Dutch Film Fund, the Mondrian Fund or the VSB Fund.

The Blender Foundation will finance their contribution via an internet community based donations campaign, based on pre-sale of the “extended DVD edition”.

Vimeo, streaming video

Watch Elephants Dream in a flash plugin here.

AVI, MPEG4 / AC3 5.1 Surround

VLC Media Player MPlayer Media Player Classic

---

QuickTime, H.264 / AAC Stereo

311MB (USA) 311MB (Spain) 311MB (Germany)	145MB (USA) 145MB (Spain) 145MB (Germany)	99MB (USA) 99MB (Spain) 99MB (Germany)

Playable in:

VLC Media Player QuickTime Player MPlayer Media Player Classic

Making Of Documentary

DVD Extras and Disk Images

PlayStation Portable, iPod video and .3gp mobile phone versions by HDX4:

Mobile player versions

Usenet (News Reader) mirrors:

Download the NZB file

Archive.org collection:

http://www.archive.org/details/ElephantsDream

Script and translations

Final script, rtf file, English

Final script in over 30 translations.

Production Files

All production files from the movie are released as open content and are included on the Elephants Dream DVD set. The files are also available for download:

Split across the DVDs Disc 1 (Germany) and Disc 2 (Germany)

One Rat Short, from dir: Alex Weil, is a visual tour de force, a real feast for the eyes. Ostensibly a love story about two star-crossed rats that must overcome the forces that separate them, the plot is mostly a setup for the action. But what action! CG animation which displays a level of detail and realism that, combined with its kinetic cinematography, is much more reminiscent of video game animation than of Pixar.

The plot itself is somewhat weak, yet still engrossing I find. A brown street rat, living in the midst of gritty urban decay, stumbles into a pristine research lab. The lab’s white rats are all at the mercy of the central research computer responsible for managing the lab. It is actually very similar in look to the ship’s computer in Wall-E coincidentally enough. As an invader, the brown rat must grapple with the sinister central computer in order to get close to his object of affection, and they team up to try and win their freedom.

The most interesting aspect of the film is the decision to not anthropomorphize the rats, which creates a completely different feel for the film than might otherwise been attained. The rats look, move and gesticulate as rats do. The lack of words, or truly human emotions though, make selling the central love story of the film a bit problematic. To see rats behave genuinely like rats, only to occasionally exchange longing gazes, is a bit incongruent. The animation really helps to punctuate these emotions felt throughout the film though. Several close-ups and artfully posed shots, combined with truly superb lighting effects boldly exteriorize the interior drama.

The film is a product of a studio named Charlex Films based out of New York. According to their website, Charlex has a distinguished history in the advertising biz, and One Rat Short is the fruit of their experiments in longer-form CG, with the hope of leveraging this experiment into longer narrative work. The advertising background makes sense while watching the film, because the concept is so simple. 2 minutes could probably have been shed off the final runtime, but in a showcase piece, a certain level of extravagance is only to be expected.

And as a showpiece for what the studio can do, the film is truly excellent. As previous studios have shown, a killer short film can be a great calling card for getting both the experience and backing to tackle a more major project. Blue Sky Studio’s is the obvious parallel here. They won attention and fame as well as an Oscar in 1998 for their short film Bunny. Four years later Ice Age was a hit in theaters.

One Rat Short did not win an Oscar, but it is featured on Magnolia Pictures DVD of the 2006 Oscar Short Film Nominees as a bonus film.

“One Rat Short” is a work of love created by Charlex Films. It began as part of the effort to grow the company’s commercial CG department but eventually became much more than that. Originally, it was called “labratz” and as the title might suggest it mimicked the look and sensibility of work already pioneered by other studios. As it evolved it took on a life of its own and became “our film.” From the start we decided not to use anthropomorphic animation. We decided it would take place in two worlds: one so gritty, grimy and dark that the viewer needs to peer into the screen in order to make out the images and the other a sterile white world so brightly lit that you feel the need to turn your head away from the screen. It was also important to me to keep the film looking as real as possible. One of the techniques we used was to give a lot of the camera work a hand-held feel and to keep it a little behind the action so that the scenes didn’t seem staged. Lastly and most importantly I kept the story simple and tried to give it heart. One of my favorite short films which I saw as a child was “The Red Balloon.” I think the melancholic and innocent spirit of that film inhabits “One Rat Short.”

Alex Weil, Director

Watch movie: here

LINK: Visit One Rat Short site.

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LINK: Visit Embrya, site of Alli Sadegiani.

BLOGGER: Visit blog Alli’s Doodly dood.

CODECS: Ogg – Apple Quicktime – Flash

(-…-) http://dekku.blogspot.com/

An unknown virus has destroyed almost the entire human population. Oblivious to the true nature of the disease, the only remaining survivors escape to the sea. In great ships, they set off in search of uninhabited land. So begins the exodus, led by one man…
Ark is a short movie directed by Grzegorz Jonkajtys. Visually, he was inspired by the catacombs he saw in Italy.
The short has been produced by Marcin Kobylecki and Grzegorz Jonkajtys at Platige Image. Co-producers: Jarek Sawko and Piotr Sikora.
“The picture was created using an unconventional technique of making animated films. It’s based on hand-made models (built by Marcin Kobylecki and Tomas Mayer) which were photographed using Nikon D70S. [...] Then using 3D software, digital characters and elements” were added.
Intriguing photos of the model shooting process can be seen on MRMC.

Paweł Blaszczak and Adam Skorupa composed music for the film. Sound design: Adam Skorupa.
R&D: Adam Wierzchowski.
3D graphics: Steve Arguello, Alex Federici, Joe Hoback, Kevin Hoppe, Szymon Kaszuba, Grzegorz Krzysik, Slawomir Latos, Votch Levi, Olek Lyzwanski, Radoslaw Nowakowski, Bartosz Opatowiecki, Akira Orikasa, Marcin Pazera, Piotr Rusnarczyk, Aaron Singer, Bartosz Tomaszewski, Piotr Tomczyk, Gabriel Vargas.
Character animations: Grzegorz Jonkajtys, Grzegorz Kukus, Lukasz Muszynski, Tracy Irwin.
2D graphics: Damian Bajowski, Lei Jin, Krzysiek Kamrowski, Pawel Lewandowski, Marcin Pazera, Maria Strzelecka.

DOWNLOAD (1280×720): The Ark.
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LINK: Visit Grzegorz Jonkajtys.
LINK: Visit site Ark.
LINK: Visit Platige Image.
IMDB: Page of Arka – Grzegorz Jonkajtys
CODECS: Ogg – Apple Quicktime – Flash

Tomek Baginski (Credited as the name behind ‘The Cathedral‘, and short film ‘Fallen Art‘, a very different, very black comedy) has been working at Platige for seven years now, but he was only ten when he realized that making computer animation was the cheapest way of making films. “I wanted to make films for as long as I can remember so the choice was natural”, says Baginski. “I started with an Amiga computer. I’ve gone through many different programs and platforms and then finally landed with 3D.” Baginski’s first 3D student film ‘Rain‘ was good enough to land him a job in Platige Image and straight after the appointment, he quit college where he was studying architecture. “I didn’t really like architecture,” Baginski muses, “but in Poland studying something was the only way to avoid the army.”

While working on ‘The Cathedral‘, Baginski was thinking about film ideas he’d like to produce afterwards. A folder slowly filled with photos, stories and sketches so he wouldn’t forget them. He couldn’t work on them but he could save them for later. “I chose ‘Fallen Art’ because it was very different to Cathedral and I was sure that I had to make a different film to avoid comparisons. ‘The Cathedral‘ was quite successful and making a short with a similar kind of mood could have been a dangerous trap. I decided to go the other way.”

The message behind ‘Fallen Art’ changed during production. At the beginning Baginski wanted to make just a funny film about the army, but many things happened in the world while the crew was fine-tuning the storyboards. The army topic has became much more stark, and much more serious. “Consequently, we decided to make the story darker than in the beginning”, says Baginski. “It wasn’t only my idea. The music my brother found was much more insane than I’ve expected. The character design done by the very talented young painter, Rafal Wojtunik was also much more wicked that I though it would be. Of course it is still a comedy, but it is very dark comedy.” Very rough sketches and some written characteristics were handed to Wojtunik and that was all. Baginski admits he wasn’t really paying any attention to the design process and the characters and set design have become crazier than he expected. Wojtunik based his drawings on the paintings of the Polish painter Jerzy Duda-Gracz, but most of the ideas were born inside his head. “When I saw the first designs I was quite surprised”, says Baginski, “but at the same time I was really impressed. Giving the designing part to Wojtunik was one of the best decisions I’ve made during the project.”

Parachute tower in a forgotten military base. Hefty warrant officer of an unknown army presents a medal to an emaciated recruit only to kick him off the platform. When the recruit – in the name of whatever, but without a parachute – reaches the ground, he immediately turns into a bloody lump of meat, carefully photographed by doctor Friedrich. The photograph reaches the general, who, while having it processed (digitized?), changes into a mad performance artist plunging into a frenetic dance of death. Then all goes silent and a tear appears in the general’s eye. But the next moment, the ritual from the tower is repeated: the medal, the salute, the kick and the fall. Another piece of cannon fodder turns into a sophisticated nouvelle cuisine dish.

Movie website http://www.fallen-art.com/

• Animation: Lukasz Pazera
• Animation: Zbigniew Lenard
• Animation: Marcin Wasko
• Animation: Arek Zawada
• Animation: Grzegorz Jonkajtys
• Designer: Rafal Wojtunik
• Director: Tomasz Baginski
• Executive Producer: Marcin Kobylecki
• Producer: Jarek Sawko
• Producer: Piotr Sikora
• Producer: Tomasz Baginski
• Writer: Tomasz Baginski

Awards:

• Special Jury Award – FF SIGRAPH, Los Angeles, 2005;
• Golden Palm Award for the best animated film at the International Beverly Hills Film Festival, 2005;
• Grand Prix at the International Short Film Festival in Teheran, 2005;
• Grand Prix at the Tirana International Film Festival, 2005;
• BAFTA – The British Academy of Film and Television Arts Award in the short animated film category, 2006.

As is the case with almost all of Kafka’s short fiction – much of his long work, as well – Zoetrope is entirely a mood piece. There is no narrative to speak of. A man, naked, is held in a decaying cell for unspecified reasons and left to go mad as a man in military uniform spouts high sounding philosophy of nothingness while working his elaborate machinery. The machine is everything, the man nothing. It is an oppressive world, dank and soulless, entirely cold and uncaring. Not only does the prisoner not know why he is being held, he never will know and has only a life of isolation and torture to look forward to.

The world of Zoetrope is absolutely impeccable. Deaux works in sharply contrasted black and white and, along with his impressive list of collaborators, has created a sharply detailed world. The film is beautifully shot and edited, the sound design – I hesitate to call it a score – bolsters the mood perfectly, and Beebe’s animation fuses flawlessly with the live action elements. The tech elements are built around found elements, a sort of retro-tech that will seem familiar to fans of Chris Marker’s La Jetee or Mamoru Oshii’s Avalon. Indeed, though Deaux quickly establishes a visual style purely his own fans of David Lynch or Shinya Tsukamoto will find a lot to love here.

Beautiful in its brutality, poetic despite being so unrelentingly grim, Zoetrope is a must see in the world of post-apocalyptic film that marks Deaux as a significant talent, a man who needs to be watched. The DVD – released by dark indie music label Soleilmoon – is sparse and non-anamorphic but it features a pristine transfer and gorgeous packaging. Simply stunning stuff.

Download movie from torrent

Watch trailer from youtube

Tracklisting

1. Main Title/Infinite Space 7:17
2. The Cell 5:49
3. Cellular Blur 4:31
4. Descent 5:03
5. Transitional Pathway 5:25
6. Amalgamated Man 8:02
7. The Harrow 7:26
8. Disintegration 3:48
9. End Titles 4:58
10. Zoetrope Trailer v.3 3:28

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Download from rapidshare > pass: schlagz

Until Nine Inch Nails crossed over to the mainstream, Ministry did more than any other band to popularize industrial dance music, injecting large doses of punky, over-the-top aggression and roaring heavy metal guitar riffs that helped their music find favor with metal and alternative audiences outside of industrial’s cult fan base. That’s not to say Ministry had a commercial or generally accessible sound: they were unremittingly intense, abrasive, pounding, and repetitive, and not always guitar-oriented (samples, synthesizers, and tape effects were a primary focus just as often as guitars and distorted vocals). However, both live and in the studio, they achieved a huge, crushing sound that put most of their contemporaries in aggressive musical genres to shame; plus, founder and frontman Al Jourgensen gave the group a greater aura of style and theater than other industrial bands, who seemed rather faceless when compared with Jourgensen’s leather-clad cowboy/biker look and the edgy shock tactics of such videos as “N.W.O.” and “Just One Fix.” After 1992′s Psalm 69, which represented the peak of their popularity, Ministry’s recorded output dwindled, partially because of myriad side projects and partially due to heroin abuse within the band, but the band continued to resurface through the rest of the decade.

Ministry was formed in 1981 by Alain Jourgensen (born October 8, 1958, Havana, Cuba); he had moved to the U.S. with his mother while very young and lived in a succession of cities, eventually working as a radio DJ and joining a new wave band called Special Affect (fronted by future My Life with the Thrill Kill Kult leader Frankie Nardiello, aka Groovie Mann). Featuring drummer Stephen George, Ministry debuted with the Wax Trax! single “Cold Life,” which — typical of their early output — was more in the synth pop/dance style of new wavers like the Human League or Thompson Twins. The album With Sympathy appeared on the major label Arista in 1983 and followed a similar musical direction, one that Jourgensen was dissatisfied with; he returned to Wax Trax! and recorded several singles while rethinking the band’s style and forming his notorious side project the Revolting Cocks.

In 1985, with Jourgensen the only official member of Ministry, the Adrian Sherwood-produced Twitch was released by Sire Records; while not as aggressive as the group’s later, more popular material, it found Jourgensen taking definite steps in that direction. Following a 1987 single with Skinny Puppy‘s Kevin Ogilvie (aka Nivek Ogre) as PTP, Jourgensen once again revamped Ministry, with former Blackouts bassist Paul Barker officially joining the lineup to complement Jourgensen’s rediscovery of the guitar; fellow ex-Blackouts William Rieflinike Scaccia (guitar), as well as vocalist Chris Connelly, were heavily showcased as collaborators for the first of several times on 1988′s The Land of Rape and Honey.

With Jourgensen and Barker credited as Hypo Luxa and Hermes Pan, respectively, this album proved to be Ministry’s stylistic breakthrough, a taut, explosive fusion of heavy metal, industrial dance beats and samples, and punk aggression. Released in 1989, The Mind Is a Terrible Thing to Taste built on its predecessor’s artistic success, and In Case You Didn’t Feel Like Showing Up was recorded on its supporting tour, introducing other frequent Ministry contributors like drummer Martin Atkins (later of Pigface) and guitarist William Tucker (as well as featuring a guest shot from Jello Biafra). Jourgensen next embarked on a flurry of side projects, including the aforementioned Revolting Cocks (with Barker, Barker’s brother Roland, Front 242 members Luc Van Acker and Richard 23, and many more), 1000 Homo DJs (with Biafra, Rieflin, and Trent Reznor), Acid Horse, Pailhead (with Ian MacKaye), and Lard (again with Biafra, Paul Barker, Rieflin, and drummer Jeff Ward).

In late 1991, Ministry issued the single “Jesus Built My Hotrod,” a driving rocker featuring manic nonsense vocals by co-writer Gibby Haynes of the Butthole Surfers; its exposure on MTV helped build anticipation for the following year’s full-length Psalm 69 (subtitled The Way to Succeed & the Way to Suck Eggs, although the only title that appears on the album consists of a few Greek letters and symbols). The record reached the Top 30 and went platinum, producing two further MTV hits with “N.W.O.” and “Just One Fix,” and Ministry consolidated its following with a spot on the inaugural Lollapalooza tour that summer (joined by new guitarist Louis Svitek). However, drug and legal problems sidelined the band in the wake of its newfound popularity, resulting in the clouded Filth Pig being released in 1995, too late to capitalize on their prior success. More problems with drugs and arrests followed, and Jourgensen returned to some of his side projects, recording a new album with Lard, among others. In 1999, the new single “Bad Blood” was featured prominently in the sci-fi special-effects blockbuster film The Matrix, setting the stage for the release of Dark Side of the Spoon (the title a reference to the band’s heroin problems) later that summer. Guitarist William Tucker committed suicide in May 1999.

Ministry were nominated for a Grammy in 2000 for “Bad Blood,” but they lost to Black Sabbath and were dropped from Warner Bros. around the same time. They were also added to the Ozzfest tour, but they were kicked off before it even began because of a management change. To compound their sorrows, Ipecac Records announced three live albums to be released with material from the Psalm 69 tour being the main focus, but they only had a verbal agreement and when Warner Bros. caught wind of the project, they stamped it out despite already having the CDs ready for printing. In 2001, Ministry filmed a scene for Steven Spielberg’s A.I. and released their contribution to the film on a greatest-hits album, appropriately titled Greatest Fits. The song received a decent amount of promotion, but the single went nowhere and the band signed to Sanctuary Records later in the year. While recording new material, they released the Sphinctour album and DVD in the spring of 2002 to satisfy rabid fans who were disappointed by the Ipecac situation. The next spring Animositisomina was released, advertised as a return to the Psalm 69 style of songwriting and featuring a cover of Magazine’s “The Light Pours Out of Me.” Houses of the Molé followed in June 2004.

In September 2005 Ministry celebrated their 25th anniversary with Rantology. Jourgensen remixed such past hits as “Jesus Built My Hotrod” and “N.W.O. for the set; it also included live material, rarities, and the new track “Great Satan.” An extensive tour with Revolting Cocks in tow followed. The band then released Rio Grande Blood in May 2006, the second installment in what Jourgensen promised to be a George W. Bush-hating trilogy (which began with Houses of the Molé); the album earned Ministry another Grammy nomination (Best Metal Performance) for “Lies, Lies, Lies.” In 2007 the bandmembers announced they would be releasing their “final” album, The Last Sucker, by the end of the year. The 2008 compilation Cover Up examined Ministry’s long history of destroying other artists’ tunes.

[Discography]

Ministry – With Simpathy (1983)

Ministry – Twitch (1986)

Ministry – The Land of Rape and Honey (1988)

Ministry – The Mind Is A Terrible Thing To Taste (1989)

Ministry – In Case You Didn’t Feel Like Showing Up (Live) (1990)

Ministry – Psalm 69: The Way to Succeed and the Way to Suck Eggs (1992)

Ministry – Filth Pig (1995)

Ministry – Dark Side Of The Spoon (1999)

Ministry – Sphinctour (Live) (2002)

Ministry – Animositisomina (2003)

Ministry – Houses Of Molé (2004)

Ministry – Rio Grande Blood (2006)

Ministry -The Last Sucker (2007)

Ministry – Cover Up (2008)

In 1978, Dirk started as singer and guitar player in the punk band Slaughterhouse, but broke up the group one year later to form the more new wave minded project The Few.

Influenced by bands like Suicide and Deutsch Amerikanische Freundschaft and the UK electronic scene, he appears from 1980 on under the name Absolute Body Control on several compilations. The first single Is There An Exit ? became a local underground hit. The line-up changed very soon but with Eric Van Wonterghem he finds himself a partner for the next coming years regarding mixing, producing and collaborating.

In 1985, Verhaeghen joined forces with two other bands, “Absolute Body Control” (with Dirk Ivens and Eric van Wonterghem), and “The Maniacs” (Sandy Nys) to form one “super group” “Absolute Controlled Clinical Maniacs“. This rather unwieldy name was soon dropped in favour of the shorter name “The Klinik“. Nys soon left the band to form “Hybryds“, followed in 1987 by van Wonterghem, leaving The Klinik as the “classic” duo of Dirk Ivens and Marc Verhaeghen.

The Klinik soon made a name for themselves with their cold and harsh EBM sound and their live shows, where both Ivens and Verhaeghen performed with their heads wrapped in gauze, wearing long black leather coats. Ivens’ hissing vocals and minimalist lyrics were complemented by Verhaeghen’s synthesizer skills and distorted trombone playing (the latter giving the music a slightly feverish sound). This however, did not last forever; after Time, an album neither member was fully pleased with, musical differences became too great, and they decided to go their separate ways.

Ivens concentrated on his own project Dive, and Verhaeghen continued as Klinik (dropping the definite article from the bandname at this point); sometimes as a solo project, sometimes with various other members. Recently, Klinik is a Verhaeghen solo project, making mostly instrumental dark ambient techno.

Most Klinik members have also been active outside the band. Ivens has been in bands such as Absolute Body Control, Dive, Sonar, and Blok 57; Eric van Wonterghem played with Ivens in Absolute Body Control, and has later been part of or collaborating with bands such as Insekt, Monolith, Dive and Sonar. Sandy Nys formed Hybryds already around his departure in 1986, a project which is still active.

Verhaeghen has been involved in several projects outside Klinik, including Noise Unit (with Bill Leeb and Rhys Fulber of Front Line Assembly), D.Sign (with Philippe and Eliane Fichot of Die Form), X10 (with Niki Mono, Marc Ickx of A Split-Second and Vidna Obmana), and ParaSabine Voss). (with his own wife

Ivens and Verhaeghen briefly reunited for a few concerts in 2003/2004, one of which was released as a CD in September 2004.

Related pages:

• Unofficial Website
• Official Website of Dirk Ivens/Dive
• Dive, Sonar & early Klinik
• The PIAS/Antler Mailing-List
• Noise Unit
• DAFT Records
• Zoth Ommog
• Minus Habens Records

[Discography]
The Klinik – End Of The Line [2001]
[part1] [part2] [part3] [part4] [part5] [part6] > pass: by_kulup
The Klinik – Black Leather [1990] > pass: nova-express
The Klinik – Insane Terror / Brain | Get Out [split] [1989] / Paracont – Zoom
The Klinik – Box (1989) [part1] [part2] > pass: by_kulup
The Klinik – Face To Face-Fever [1988] > pass: nova-express
The Klinik – Fever (12”) [1988]
The Klinik – Melting Close + Sabotage [1987]
The Klinik – Walking With Shadows MLP [1986]
The Klinik – Pain And Plasure (12”) [1986]

Projects:
The only link with The Klinik of this release is the fact that it features all the side-project of Marc Verhaeghen (musical mind of The Klinik). This Belgian master of dark electronics has been involved in numerous projects during the great Klinik period ( with legend Dirk Ivens), but especially during the last years of the first period of the band. The main and most famous side-project has been for sure Noise Unit, which he set up together with Bill Leeb and Rhys Fⁿlber (Frontline Assembly). I remember the first albums of this project released on the great Antler label. The sound was quite FLA-like (the early years) with the more experimental approach of M. Verhaeghen on top. We here get back to the debut-cd (originally released on vinyl in 1989) “Grinding Into Emptiness” and “Response Frequency” (from 1990). Quite efficient and convincing back in time, the songs now sound quite out of time. And yet I can’t leave a smile and some satisfaction when hearing back tracks like “Dry Lungs”, “Ritualistic”, ôHomageö and especially “Agitate”. The first disc ends with X10 (featuring Tec Trance) another late project of M. Verhaeghen. The extracted songs dated from the album released in 1992. This project was the less darker one of the Klinik-writer, but couldn’t never totally convince the scene. The tracks extract from the “Semblance”-album, which here appears on the second disc were a bit more attractive. Marc Verhaeghen here collaborated with N. Mono. Anyway X10 has been never a worth to listen for me! Another project featured on the second disc is Para. This was a project he set up with Sabine Voss. Being partly more atmospheric than The Klinik, several songs were definitely very Klinik-like (but without the vocals of Dirk Ivens). The more Klinik-like songs remain the best ones and I’ll mention here “Dich”, “Achterbahn”, “Fit Of Diffimus” and “Nachrichten”. A last project on this album is D.Sign, which resulted from the common efforts of Die Form and M. Verhaeghen. It’s a pity that we only get one single Mcd from this project entitled “Burning Cells”. You for sure recognize the typical Die Form sequences and the vocals of Eliane P. The song “Brain Overload” remains quite efficient (even nearly 17 years after date)!

The Klinik – Projects (2CD) (2008)
http://rapidshare.com/files/119837677/Klinik.part1.rar http://rapidshare.com/files/119836153/Klinik.part2.rar http://rapidshare.com/files/119834586/Klinik.part3.rar
http://depositfiles.com/files/5768286
http://depositfiles.com/files/5768484
http://depositfiles.com/files/5768494

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