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Night Flight Presents: With unprecedented access to previously unseen archive footage; MADE OF STONE is a revealing journey through the life of one of the most revered and influential bands in British music history. Stone Roses - Made Of Stone
The original 1963 NDR performance of the German Silvester ritual, originally a British music hall sketch. Dinner for One - Freddie Frinton and May Warden
Lovers Rock, often dubbed 'romantic reggae' is a uniquely black British sound that developed in the late 70s and 80s against a backdrop of riots, racial tension and sound systems. Lovers Rock allowed young people to experience intimacy and healing through dance- known as 'scrubbing'- at parties and clubs. This dance provided a coping mechanism for what was happening on the streets. Lovers Rock developed into a successful sound with national UK hits and was influential to
British bands (Police, Culture Club, UB40) These influences underline the impact the music was making in bridging the multi-cultural gap that polarized the times. The film sheds light on a forgotten period of British music, social and political history.

Director: Menelik Shabazz
Producer: Paulette Harris-German
Actors: Dennis Bovell, Paulette Harris-German, Janet Kay, Angie Le Mar, Maxi Priest

The Story of Lovers Rock Independent movies
TAO G. Vrhovec Sambolec, (text by: Luka Zagoričnik)

A composer of contemporary music, clarinettist and electronica musician, sound artist and maker of multimedia environments Tao G. Vrhovec Sambolec creates in all of the mentioned areas, while retaining his individuality and recognisability in each of the fields. This does not only unveil his acute sonic sensibility and a careful consideration of its traits but also an ear for a sound environment through which meanings are disclosed on different levels – social, artistic, architectural, and political. These elements are intertwined in a clear and distilled but never rigid concept. Tao first graduated at the Trondeheim Conservatory of Music in Norway as an instrumentalist, clarinettist, and then continued his studies at the Royal Conservatory in The Hague, the Netherlands, where he received another BA from music composition and an MA from ArtScience programme at the Interfaculty Image and Sound. As a composer, he has produced a series of works for smaller chamber, percussion, and other ensembles, which were performed at home and abroad. In his early period, he collaborated a lot with Marko Peljhan; later his works were performed in renowned international contemporary music festivals, such as Contemporanea in Italy, Gaudeamus Music Week, the Netherlands, and Forum Nueur Music in Germany. Tao G. Vrhovec Sambolec is active also in the field of free improvised music. In 2003, Vrhovec and the contrabassist Tomaž Grom established the duo Tilt, although a project with this name had been detected already in 1999 with the album ‘The Double’ in collaboration with the poet Primož Čučnik. Even prior to this, the project was called Muskafiber and featured the composer and accordionist Drago Ivanuša. The music of this period relied heavily on structural elements through the form of poem, poetry, singing, and speech, and often drifted into spontaneous, improvised soundscapes. Today, Tilt touches upon contemporary sonority in a digital milieu, drawing its expressivity from a liminal space between acoustic and electronically processed sounds. This space in-between is also the locus of spontaneous communication. But even though it is grounded in free improvisation, the improvising nevertheless suggests a composing sensibility that addresses through a wide spectrum of sounds, timbres, and real-time digitally processed sounds. Tilt released an album under the Slovene L’innomable label and received many good reviews in the national and international press, among other also in the British music monthly The Wire. The duo was successfully performing in different European capitals, as well as collaborated with numerous internationally acclaimed musicians. In the field of mixed media art practices, Tao gained further recognition with, for example, a series of installations, space interventions titled ‘Virtual Hole’ and ‘Virtual Mirror’. Recently, he is enjoying a growing international reputation also in the field of sound art, especially through his collaborations with the American musician and theoretician Brandon LaBell, author of ‘Background Noise – Perspectives on Sound Art’, one of the more influential discussions of sound art. Their last collaboration was the book and a CD ‘Manual for the Construction of a Sound as a Device to Elaborate Social Connection’ for the project ‘Virtual Mirror – Sound’. In this context, Tao this year received a ‘Hybrid Arts Honourable Mention’ at Ars Electronica in Linz for the work ‘Virtual Mirror – Rain’. A fusion of music, improvisation, and his interactive installation research can be seen in his work ‘Inside Out’, which he co-created with the acclaimed Austrian composer and trombonist Radu Malfatti. Tao has presented his works in Mexico, the Netherlands, Germany, Great Britain, Spain, Turkey, and elsewhere. Tao G. Vrhovec Sambolec is not only one of the most visible contemporary Slovene artists but – with his cycle of lectures, sound events, and concerts Bitshift t TAO G. Vrhovec Sambolec - 7 skladateljev ZVO.ČI.TI (So.und.ing) 2010
TAO G. Vrhovec Sambolec, (text by: Luka Zagoričnik)

A composer of contemporary music, clarinettist and electronica musician, sound artist and maker of multimedia environments Tao G. Vrhovec Sambolec creates in all of the mentioned areas, while retaining his individuality and recognisability in each of the fields. This does not only unveil his acute sonic sensibility and a careful consideration of its traits but also an ear for a sound environment through which meanings are disclosed on different levels – social, artistic, architectural, and political. These elements are intertwined in a clear and distilled but never rigid concept. Tao first graduated at the Trondeheim Conservatory of Music in Norway as an instrumentalist, clarinettist, and then continued his studies at the Royal Conservatory in The Hague, the Netherlands, where he received another BA from music composition and an MA from ArtScience programme at the Interfaculty Image and Sound. As a composer, he has produced a series of works for smaller chamber, percussion, and other ensembles, which were performed at home and abroad. In his early period, he collaborated a lot with Marko Peljhan; later his works were performed in renowned international contemporary music festivals, such as Contemporanea in Italy, Gaudeamus Music Week, the Netherlands, and Forum Nueur Music in Germany. Tao G. Vrhovec Sambolec is active also in the field of free improvised music. In 2003, Vrhovec and the contrabassist Tomaž Grom established the duo Tilt, although a project with this name had been detected already in 1999 with the album ‘The Double’ in collaboration with the poet Primož Čučnik. Even prior to this, the project was called Muskafiber and featured the composer and accordionist Drago Ivanuša. The music of this period relied heavily on structural elements through the form of poem, poetry, singing, and speech, and often drifted into spontaneous, improvised soundscapes. Today, Tilt touches upon contemporary sonority in a digital milieu, drawing its expressivity from a liminal space between acoustic and electronically processed sounds. This space in-between is also the locus of spontaneous communication. But even though it is grounded in free improvisation, the improvising nevertheless suggests a composing sensibility that addresses through a wide spectrum of sounds, timbres, and real-time digitally processed sounds. Tilt released an album under the Slovene L’innomable label and received many good reviews in the national and international press, among other also in the British music monthly The Wire. The duo was successfully performing in different European capitals, as well as collaborated with numerous internationally acclaimed musicians. In the field of mixed media art practices, Tao gained further recognition with, for example, a series of installations, space interventions titled ‘Virtual Hole’ and ‘Virtual Mirror’. Recently, he is enjoying a growing international reputation also in the field of sound art, especially through his collaborations with the American musician and theoretician Brandon LaBell, author of ‘Background Noise – Perspectives on Sound Art’, one of the more influential discussions of sound art. Their last collaboration was the book and a CD ‘Manual for the Construction of a Sound as a Device to Elaborate Social Connection’ for the project ‘Virtual Mirror – Sound’. In this context, Tao this year received a ‘Hybrid Arts Honourable Mention’ at Ars Electronica in Linz for the work ‘Virtual Mirror – Rain’. A fusion of music, improvisation, and his interactive installation research can be seen in his work ‘Inside Out’, which he co-created with the acclaimed Austrian composer and trombonist Radu Malfatti. Tao has presented his works in Mexico, the Netherlands, Germany, Great Britain, Spain, Turkey, and elsewhere. Tao G. Vrhovec Sambolec is not only one of the most visible contemporary Slovene artists but – with his cycle of lectures, sound events, and concerts Bitshift t TAO G. Vrhovec Sambolec - ZVO.ČI.TI (So.und.ing) 2010
Octex, Jernej Marušič, (text by: Luka Zagoričnik)

Hidden behind the name Octex is the Ljubljana-based artist Jernej Marušič, who started appearing under this name, a shorter version of Organic Crackle and Tone EXperiments, in the late nineties of the previous century – as a follower of contemporary currents in electronic music and a lover of analogue sound synthesisers. His first released composition ‘Nigljana’ was included in a varied compilation of Slovene electronic music Elektrotehnika Slavenika from the year 2000, which was issued with wide acclaim as a supplement to the British music monthly The Wire. His LP debut ‘Idea Lashna’, by and large one of the most groundbreaking and creative achievements in the Slovene electronic scene, was released in 2002 under Tehnika Records label, having wide reverberations also abroad. The critics recognised it as a top-notch product following the stripped-down aesthetic characteristic of musicians signed under the German label Basic Channel, while the album offered a finely tailored mix of techno, ambient music, and dub as an echo and a reaction to contemporary, nervous sound landscape of urban circles. The album earned Marušič the then influential Slovene music award ‘Bumerang’, awarded by Studio City programme of the Slovene National Television, while in France it was voted one of the ten finalists for the electronic music award presented by Radio France International. That said, Marušič’s music making does not stick to proven recipes and a solidified sound aesthetic. In an on-going, restless search for a new sound, Octex absorbs various trends that schizophrenically spring from the field of electronic musics, incorporating them again and again in its own music in a distinctly unique and recognisable manner. Already with his next album ‘Variations’, released by RX:TX in 2005, Marušič found himself in an altogether new world, which drew on a tense and intense techno connection between Berlin and Detroit, traversed by dub, soft sound textures, and complex, seemingly unstructured rhythms, with which he stepped out of the prescribed matrix 4/4 and which have today become a trademark for Marušič’s work. Around that time, Marušič also started to regularly appear live; he did remixes for well known artists, like Laibach and Ultra-Red, while reverberations of his work also took him across our borders. He performed, for example, in a London-based series Sprawl, in Club Transmediale in Berlin, in Dispatch in Belgrade, and at Exit Festival in Novi Sad. With the album in question, Octex also signed to the home RX:TX label, in the frame of which he performed alongside artists under labels such as Raster-Noton, contributed tracks to two international compilations ‘Progress’ and ‘Progress EX 0.4’, both released by the mentioned label, and was featured on a highly appreciated Slovene compilation ‘Trans Slovenia Express Vol.2’, dedicated to the cult band Kraftwerk and released by the British Mute Records. Earlier this year, RX:TX released Octex’s long-awaited new album titled ‘Every Sound Tells a Story’, which is this time lined more explicitly with an analogue sound of modular sound synthesisers, sifted through digital technology. Individual tracks from the album were inspired by fieldwork recordings, which are in a processed form blended into each track. Dino Lalić, a music critic for Radio Student, wrote the following about the album. ‘Its sound readily admits techno, dub, and ambient influences, with none of them standing out in particular. The fact that these influences remain merged offers a myriad of interpretations. Nobody is right and whoever says he is – is inevitably wrong’. These words fitly capture the essence of the restless, yet sound-wise well-tailored creativity of Jernej Marušič, which he lately also incorporates into improvisation, both in his solo performances and in his work in the trio Ago Tela, which includes, besides Marušič, also DJ Dojajo and Mario Marolt, while at the same t Octex (Jernej Marušič) - ZVO.ČI.TI (So.und.ing) 2010

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Contemporary drama in a rural setting from the world's longest running radio soap opera. BBC Radio 4

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