Documentary which tells the remarkable story of Matt Van Dyke, a timid 26-year-old with Obsessive Compulsive Disorder, who left home in Baltimore in 2006 and set off on a self-described 'crash course in manhood'. He bought a motorcycle and a video camera and began a multi-year, 35,000-mile motorcycle trip through northern Africa and the Middle East. While travelling, he struck up an unlikely friendship with a Libyan hippie, and when revolution broke out in Libya, Matt joined his friend in the fight against dictator Muammar Gaddafi. With a gun in one hand and a camera in the other, Matt fought in - and filmed - the war until he was captured by Gaddafi forces and held in solitary confinement for six months. Two-time Oscar-nominated documentary filmmaker Marshall Curry tells this harrowing and sometimes humorous story of a young man's search for political revolution and personal transformation.
A decade after they delivered Okie Dokie It's the Orb on Kompakt on…Kompakt, Alex Paterson and Thomas Fehlmann return to the stalwart Cologne label with an album bearing a less sportive title and it sounds like serious sci-fi business. The standard edition consists of four tracks, each one between nine and 15 minutes in length. Not one of them is humorously titled "Captain Korma" or "Komplikation," unless "God's Mirrorball" triggers a recollection of the first Tad album. Unlike Okie Dokie, this is all new, not an amalgamation of tweaked, previously released tracks and new material. Lest this be seen as the Orb's "most mature work to date," within seconds of the opener, a mild-mannered voice from a colorful documentary about Sumerian gods intones, "If you believe in evil, then you probably need a whack on the back of the neck with a big fucking stick." After four-and-a-half minutes of ambience that intensifies in gradual fashion, a fluid, sturdy beat and light chime-like accents enter to set the tone for the remainder of the 50-minute program. Both "God's Mirrorball" and "Moon Scapes" contain several sections that tug and drift with a calm but steady flow (one of Fehlmann's favorite terms). The latter is heavier and more propulsive than the former, trucking dub techno filled with thrumming and thwacking drums and sections highlighted by electric keyboard fillips and string-sample flickers.