Arriaga has referred to Rodriguez-Lopez like, "something between Chopin and Jimi Hendrix,”

Both groups normally share Melvins guitarist Buzz "King Buzzo" Osborne as a member, and the release should come as no surprise as both are friends, both are released on singer Mike Patton's Ipecac label, and both were involved in a 2002 collaborative CD.

The low production quality of the concert film makes for a more realistic and intimate experience. Filmed at the Kentish Town Forum in London on May 1st of 2006, the film is almost exclusively comprised of the beguiling concert, thus giving fans the feeling of being in attendance in this unique concert setting.

The most interesting aspect of the film is watching as the band members play off of each other from song to song. The group's performance of "The Omen" is particularly enthralling as the filmmakers let go of their traditional concert film aesthetics that have driven the film so far to create an enthralling visual experience of spliced shots, jump cuts, and close-ups of the big band as it constructs the layers to the song.

Once you're done watching the film in its entirety, don't forget to take time to watch it with the "special guest commentary" with none other than Danny Devito (yeah, that's right) adding his two cents.

- Britt Julious

Fantômas: www.ipecac.com/artists/fantomas
Melvins: www.melvins.com
Ipecac Recordings: www.ipecac.com

In this DVD, everyday vocal enthusiasts can learn where the "scream/growl" is made and practice their power, range, and tone from their own living rooms.

- Brittany Julious

The Art of Screaming!: Total Training for Vocalists on the Edge
Susan M. Carr
DVD, 90 Minutes
www.theartofscreaming.com

www.apple.com/trailers/wb/terminatorsalvation

A long line of Justice fans, and those "just there for the DJs," braved the freezing-cold weather during the delayed entry into the Metro to attend the Chicago premiere of Justice's documentary, A Cross the Universe, at a special midnight screening on Friday, November 14.

Though not quite the universe, the documentary follows Gaspard Auge and Xavier de Rosnay across the USA. The self-described "electro-Christian/club" duo manages to find itself in several peculiar circumstances.

Directed by Romain Gravas, A Cross the Universe is composed of footage from Justice's entire US tour. Each documented moment is an attempt to share the duo's tour experiences with fans in an organic fashion. Though other documentaries have employed this technique successfully, A Cross the Universe is more of a Jackass/Borat hybrid.

Through the shaky camera lens, Auge and Rosnay are seen pulling all sorts of pranks, many of which exploit American stereotypes.

Look! Justice is purchasing shotguns to fire at the local shooting range. Here they are indulging in some fine American cuisine from Burger King. Oh no, Auge is walking down the aisle in a Vegas church — hope he does not regret that in the morning!

These, among other shenanigans, are inner-spliced with over-modulated concert footage, which sounds more like a passing car blaring its sub woofers than a recognizable song.

However, Friday's crowd seemed entertained by the duo's callow behavior. The hundreds of people lining the venue laughed and cheered through every scene. Some managed to find a palpable beat among the blistering bass and even started to dance.

Eamon Harkin took the stage immediately following the screening, giving anyone who wasn't dancing during the documentary a reason to start. Droves of attendees dressed in plaid, day-glo, and leather rushed the stage as Harkin, DJ Bald Eagle and the Yello Fever trio (comprised of DJs Skyler, Kid Color and Jobot) spun until 4 AM.

Though the night was full of mash-ups and remixes, the crowd's energy — expressed through a variety of fist pumps, grinding, jumping up and down and throwing the bow 'n' arrow — was reminiscent of a Justice concert, proving that there was something gained from the screening (even though I don't know what that was).

- Katelyn Bogucki

Justice: www.myspace.com/etjusticepourtous
El Nino: www.elnino.tv

Cinephiles of the world rejoice! The second annual Serbian Film Festival kicks off this week in Chicago, featuring fifteen features, shorts, and documentaries from legendary and up-and-coming Serbian talent. Over the last two decades, Serbia has built a name for itself in world cinema, proving to be a fertile and fearless region for uncompromising and guerilla filmmaking.

Festival co-founder and proud Serb Slavko Gajic is also the president of Euro-American Spirit, a non-profit that promotes European culture through film festivals. Gajic says, “Chicago is one of the largest Serbian cities in the world, and we wanted to present films to the built-in Serbian audience in Chicago, but also to expose to the public, who might not have a chance to see them, what Serbian films are all about.”

The opening night ceremonies begin Thursday, Sept. 18 and run through Sunday, Sept. 21 at Loews Pipers Alley, 1608 N. Wells, with $60 passes allowing access to all films.

“Because of the history and the culture of Serbia, it’s a fearless kind of filmmaking,” says Gajic. “The films can be very dark, but they can also poke fun at topics such as war, hate, and death. There is always some element of celebration, what I like to refer to as a ‘euphoric delirium’ within the films. … It is ultimately a cathartic experience."

"Serbian film is fearless; there is no realm that is off limits, and even if it makes the culture look bad…it’s not afraid. That is the ultimate achievement of the films and is the gift it presents to world cinema.”

The event is grassroots, with the ticket price going to finance the Pipers Alley rental fees. This year, the intrepid Gajic was able to bring in guest director Zelimir Zilnik, whose films Kenedi is Getting Married and That’s How Steel Was Hardened serve as the opening-night presentations. Kenedi tells the story of a Romani gypsy who is kicked out of Kosovo by Albanians and in order to survive becomes a gigolo whose main source of income is older women.

“There are all sorts of political problems with Kosovo declaring independence unilaterally, which means it’s not recognized by Serbia and 140 countries around the world, so it’s in political limbo at the moment,” says Gajic. “Film is a kind of escapism, and a way for us to know that we’re still producing something culturally. It’s very typical that in times of political crises and oppression, some of the best culture emerges. Serbs have had severe political problems the last two decades, but culturally, we are thriving.”

-Drew Fortune

Serbian Film Festival: www.serbianfilmfestival.com

Such Hawks, Such Sounds

Thursday, July 17, 2008 @ 8pm $15
Silent Movie Theater
611 N. Fairfax Ave (half a block south of melrose)
Los Angeles, California

For more information, please call (323) 655-2510

MySpace: www.myspace.com/heavythemovie

Heavy Metal In Baghdad (Vice Films) documents Acrassicauda – the first and possibly only Metal band in Iraq. Director Eddy Moretti and interviewer Suroosh Alvi of Vice magazine travel through the Middle East, tracking the band they've become infatuated with. They risk danger, donning flak jackets and are even escorted by armed guards just to tell the band's story of woe.

Acrassicauda is comprised of four Iraqi twenty-somethings: Firas, Marwan, Faisal, and an insanely gifted lead guitarist named Tony. Over the course of several years, Acrassicauada's existence is shown – from their loyal following of Metal-heads in their native Baghdad to living in slums as refugees in Syria. The quartet is more than obliging during the film, often times risking their own lives just to meet with Alvi and Moretti. But that is nothing new to them – the band risks their lives daily just by playing Metal music, by wearing Slipknot t-shirts, and by growing goatees. They're all targets to dogmatic insurgents and militia, but it's all just part of life for them.

If any city frowns upon a Heavy Metal scene, it is certainly Baghdad, where just head-banging can get you thrown in jail. The details surrounding the band are disturbing as well: power failures in the middle of gigs, gunfire during interviews, and the destruction of their practice space by missiles. Near the beginning of the documentary, Marwan – the drummer – says that Acrassicauda is not political; but as the film goes on, it becomes harder and harder for them to ignore their desperate situation. Nevertheless, Acrassicauda trudge through their country's misfortune, continually finding redemption in their music.

The film is effective in showing the ravages of war and how it affects innocent civilians like the members of Acrassicauda. It does an excellent job illustrating the enduring struggles that a young band must face in an ever-imploding setting that’s constantly torn with conflict. Tensions build and the suspense never lets up, eventually leading to a gut-wrenching climax. The sentiments are genuine and ultimately, heartbreaking.

- Michael Danaher

If you're in the Chicago area, Heavy Metal in Baghdad will be screened at the Stop Smiling storefront, located at 1371 N. Milwaukee on Thursday, June 19th at 7PM. RSVP to rsvp@stopsmilingonline.com. An afterparty with DJs Laurent Lebec (Pelican) and Ben Fasman will take place from 10 PM to 4 AM at the Continental, located at 2801 W. Chicago.

Heavy Metal in Baghdad: www.heavymetalinbaghdad.com

Acrassicauda: www.myspace.com/wwwacrassicaudas5com

VBS.TV: www.vbs.tv

Thomas Bangalter and Guy-Manuel De Homem-Christo wrote and directed the 74 minute robot epic, Electroma, as a conceptual complement to the duo's 2005 album Human After All (Virgin). Composed of five set-pieces and shot on 35 mm film stock in the California deserts, the film follows the leather clad avatars of Daft Punk, Hero Robots #1 and #2, down perpetual highways and endless deserts in the pursuit of humanity. Devoid of dialogue and anything from the Daft Punk catalogue, the film floats on the potency of lingering camera sequences and stark cinematography.

The characterization of Electroma as "experimental" and "inexcessible", by critics and viewers alike shouldn't come as a surprise. Bangalter and Homem revolt against the conventions of even their previous efforts D.A.F.T. and Interstella 5555, transposing Brian Eno and Curtis Mayfield into their dialectic on humanity.

Since the number of films by french auteurs, set in americanesque landscapes, that end happily, probably numbers around five, its safe to assume that our heroes don't get their happily ever after. At one point in the film, the robots emerge from the care of invisible technicians in a bleach white operating room, with flesh colored liquid latex and mr. potato head prosthetics applied to their helmets. Symbolically human, the heroes are subjected to the scrutiny, fear, and misunderstanding of their robot brethen, as their brand new faces begin to melt in the sun.

The heroes eventually succumb to hopelessness and resolve to self destruct. Unable to do so by himself after the destruction of his partner, Robot #2's only recourse is to smash his helmet to pieces and set himself on fire, unknowingly acquiring some semblance of humanity amidst self sacrifice and imperfection as he burns in the desert night.

-Justin Mitchell

Daft Punk’s Electroma
Thomas Bangalter, Guy-Manuel De Homem-Christo
DVD, Blu-Ray Disc, 74 Min., Vice Records
www.electroma.org

Daft Punk: www.daft-musique.com
Vice Records: www.vicerecords.com