Brain+damage

​The second edition of this book explores different aspects of the relationship between hypertension and brain damage, providing readers with up-to-date information that will be of interest to clinicians and researchers alike. In recent years, numerous studies have been published that have added new evidence on different aspects of the disease. New recommendations and the latest hypertension guidelines on stroke and dementia will be described in this edition, which will include not only updated content but also new chapters on aspects that have recently emerged in relation to hypertension and brain damage. After an introductory chapter on the epidemiology and burden of neurological disease induced by hypertension, the significance of various comorbidities that represent risk factors for brain damage in the context of hypertension is discussed.

Our brain is the source of everything that makes us human: language, creativity, rationality, emotion, communication, culture, politics. The neurosciences have given us, in recent decades, fundamental new insights into how the brain works and what that means for how we see ourselves as individuals and as communities.

Quand Martin Nathan alias Brain Damage a l’idée d’un nouveau projet, il contacte Sam Clayton (producteur et ingénieur du son ayant travaillé entre autre avec Steel Pulse ou Toots & the Maytals). Sam convie alors le riddim maker stéphanois en Jamaïque, dans le Harry J Studio (où ont enregistré des artistes comme Bob Marley, Jimmy Cliff ou Peter Tosh) lui faisant profiter de ses nombreuses relations sur l’île pour rencontrer des légendes du reggae telles qu'Horace Andy, Winston McAnuff, Ras Michael, Kiddus I et Willi Williams. Le résultat avait donné l’album Walk the Walk, dont tout le monde se souvient, en 2015.

With more than 11 albums behind him already, Martin Nathan ventures since 15 years into many artistic and stylistic experiments, under the name of Brain Damage. Alternately dark, atmospheric, aggressive or poetic, his universe seems to be constantly evolving, what may be the key to his project longevity.

Solid Gold Cadillac was a British jazz-rock group set up in the early 1970s. The band featured, variously, Roy Babbington (bass), Mike Westbrook (electric piano), Fi Trench (piano, organ), Chris Spedding (guitar), Brian Godding (guitar), Rick Morcombe (guitars), Malcolm Griffiths (trombone), Phil Minton (lead vocals, trumpet), George Khan (sax, flute), Butch Potter (bass) and Alan Jackson (drums). The band released two albums on RCA Records: Solid Gold Cadillac (1972) and Brain Damage (1973), re-released together on CD in 1999.

Quand Martin Nathan alias Brain Damage a l’idée d’un nouveau projet, il contacte Sam Clayton (producteur et ingénieur du son ayant travaillé entre autre avec Steel Pulse ou Toots & the Maytals). Sam convie alors le riddim maker stéphanois en Jamaïque, dans le Harry J Studio (où ont enregistré des artistes comme Bob Marley, Jimmy Cliff ou Peter Tosh) lui faisant profiter de ses nombreuses relations sur l’île pour rencontrer des légendes du reggae telles qu'Horace Andy, Winston McAnuff, Ras Michael, Kiddus I et Willi Williams. Le résultat avait donné l’album Walk the Walk, dont tout le monde se souvient, en 2015.

To gain some grasp of the genesis of this new project, that may seem surprising at first, let's address what both artists have in common, rather that what differentiates them. Internationally recognized masters in the styles, respectively reggae & dub, that they are developing in parallel for almost 20 years, without never really meeting each other, the two protagonists strive to challenge their codes in an ever greater respect to their Jamaican roots: two decades furthering a relentless fight against musical orthodoxy, to the benefit of interbreedings that have always been major contributions to music — and arts in general — History. This is evidenced by jazz and Jamaican traditional music fusion in the case of Harrison Stafford, and notably with his amazing adventure with Groundation, as well as by Martin Nathan countless experimentations, over Brain Damage prolific discography, always digging in more unlikely and audacious directions.

A normal, average guy who lives in New York City becomes dependent on an evil, disembodied brain. The brain feeds the guy a narcotic substance in exchange for his unwilling assistance in obtaining the brains of innocent victims for sustenance.