Isolation Berlin: Element of Pein

On her second full-length record, Head of Roses, Jenn Wasner follows a winding thread of intuition into the unknown and into healing, led by gut feelings and the near-spiritual experience of visceral songwriting.

Der Kampf um die Macht in Westeros ist zwar blutiger als in jedem heutigen Unternehmen, aber genauso berechnend mit Intrigen, Fallen und Demütigungen. Das Buch analysiert Strategien von Führung (Leadership) am Beispiel der beliebten Fernsehserie und verbindet Serienkulturen mit Managementforschung.

A train speeds through the country on its way to Berlin, then gradually slows down as it pulls into the station. It is very early in the morning, about 5:00 AM, and the great city is mostly quiet. But before long there are some signs of activity, and a few early risers are to be seen on the streets. Soon the new day is well underway - it's just a typical day in Berlin, but a day full of life and energy.

Lest you miss Theo Bleck-mann and Fumio Yasuda’s attempt to tune in to a bygone era, the vocalist and pianist begin this collection of early-to-mid 20th century German songs with the sound of radio static. The white noise is gone by the end of the second track, Eisler and Brecht’s “Das Deutsche Miserere,” and its absence suggests that the musicians found what they were looking for. But what should we make of what they’ve found? That everything here dates back to the Weimar Republic and the Third Reich is hardly indicative of an exercise in nostalgia. Bleckmann, according to his Web site, is a “Genre-bending, -skipping and -skirting vocalist and composer.” And Yasuda works in both the classical and jazz realms.

This movie shows us one day in Berlin, the rhythm of that time, starting at the earliest morning and ends in the deepest night.

The Sunday Times-bestselling author of Dresden returns with a monumental biography of the city that defined the twentieth century - Berlin

Bis Ende der 80er Jahre, also während der ersten vier Jahre und ersten vier Langspielplatten von Element of Crime, war „Take Me To The River“, der Al-Green-Klassiker auf der LP „Basically Sad“ von 1986, das einzige nicht selbstgeschriebene Lied, das wir veröffentlichten. Das lag wohl daran, dass wir damals eine junge und zerstrittene Band waren und schwer damit beschäftigt, unter Hauen und Stechen und ständigem Veröffentlichungsdruck zu einem eigenen Stil zu finden.