MERCURY PRIZE NOMINATIONS 2011

Αυτά  είναι  τα δώδεκα  άλμπουμς  που  προτάθηκαν   για  το  Mercury  Prize   2011 :

• Adele - 21
• Anna Calvi - Anna Calvi
• Elbow - Build A Rocket Boys!
• Everything Everything - Man Alive
• Ghostpoet - Peanut Butter Blues and Melancholy Jam
• Gwilym Simcock - Good Days At Schloss Elmau
• James Blake - James Blake
• Katy B - On A Mission
• King Creosote & Jon Hopkins - Diamond Mine
• Metronomy - The English Riviera
• PJ Harvey - Let England Shake
• Tinie Tempah - Disc-Overy   

FUCKED UP "David comes to life"

     Toronto's fucked up possess quite a few barriers to entry. There's the fitting yet unfit-for-print name, for starters. Then there are the band's chaotic live shows, during which gargantuan frontman Damian Abraham -- imagine the Neverending Story's Rockbiter, 
only beardier -- often bonks his noggin till it bleeds. Finally, there's the music itself, a hardcore punk-indebted slurry of grunt-gargling vocals, serrated feedback squalls, and densely packed lyrics that cover everything from police brutality to metaphysical phenomena. It makes for great workout music, provided your workout consists of jogging through 
a quarry while on mescaline.

The band's maximalistic approach means that even the most ostensibly straightforward task -- writing a collection of songs about love -- becomes a huge undertaking, as evidenced by David Comes to Life, Fucked Up's third studio album and first kinda-sorta musical. An 18-song bildungsroman that runs nearly 80 minutes, David is alarmingly caustic, disarmingly graceful, and loaded with all sorts of unnecessary lyrical twists and fake-outs. It's one 
of the most overly complicated hard-rock records 
of the past ten years. It's also one of the best.

     The tale of a glum factory drone who may or may not have killed his soul mate, David rarely makes a lick of sense; the characters are too thinly drawn, and the escape-hatch plot-reveals too cynically gimmicky, while the story line requires 
a novella's worth of liner notes to comprehend 
(a series of accompanying seven-inches may flesh 
out the characters, though that feels a bit like a cheat). As a cohesive musical statement, it's a mess. The only way this thing will play on Broadway is if someone blasts it out of an unmarked van parked in Times Square.

     But David's core themes -- romantic self-defeat, misplaced deification -- are so resonant and sturdy that the songs stand on their own. And holy moly, those songs! Fucked Up, or more specifically, founding member and lead guitarist Mike Haliechuk, layer track upon track until they achieve a sort of black-hole density. Haliechuk and fellow guitarist Ben Cook send power chords swooping and soaring like a giant's scythe; Jonah Falco's drums kick with rat-a-tat urgency; and Abraham's roar rises high and rings clear, aided by backing vocalists Jennifer Castle and Madeline Follin of Cults.

    That David is so immediately enthralling isn't exactly a shock; the band's 2008 breakthrough, The Chemistry of Common Life, revealed a combative crew increasingly at ease with melody. And now, Fucked Up stretches well beyond their get-in-the-pit predecessors, with the album veering off from any semblance of hardcore doctrine, incorporating Unforgettable Fire-style, crystalline guitar wails ("The Other Shoe") and even touches of art-damaged '80s 
indie rock ("A Slanted Tone" sounds like an Athens, Georgia college-basement experiment gone wonderfully awry).

      That such moments orbit a nebulously structured narrative doesn't really matter -- 
a leaner, more logical band wouldn't be anywhere near as interesting; and besides, David's epochal enough as it as. For years, numerous hacks -- yours truly included -- have been tossing around the phrase "post-hardcore" with little care, diluting an already amorphous term by throwing it at any group with speedy time signatures and a few effects pedals. Fucked Up, though, have finally provided a proper definition, with a sound that pushes hardcore out of the VFW halls and basement shows and into the arena. 
Can't wait to see how their name looks 
on the marquee.

[Review  from  the  Spin magazine]

"Mια φορά κι έναν καιρό ήταν η Ευρώπη" του Κώστα Τσιαχρή

      Ακόμη  κι ένας  καλοπροαίρετος  και μετριοπαθής   παρατηρητής  των  πραγμάτων   θα άρχιζε να   ανησυχεί   για   τη  φωτιά     που   απειλεί    να      αποτεφρώσει    μια  για  πάντα   το     Ευρωπαϊκό   όραμα   , έχοντας   για  σπινθήρα    την κρίση   χρέους  των χωρών   του     Νότου . Οι  ευγενικές    επιδιώξεις  ,  τα   ανθρωπιστικά   ιδεώδη   και  οι   αισιόδοξες   διακηρύξεις   των  πρωτεργατών   της   ενοποίησης    κινδυνεύουν   να  ξεπέσουν  σε ρητορικά   τεχνάσματα  , που  συγκαλύπτουν    την αέναη  επιθυμία    του  ισχυρότερου  να  εφευρίσκει   τον καταλληλότερο κάθε φορά  τρόπο , για  να  θωρακίζει  και  να   πολλαπλασιάζει   τα  υπάρχοντά  του .Αποδείχτηκε  μάλιστα    ότι   η  οικονομία   είναι  ο νευραλγικός  εκείνος  τομέας   ο οποίος   καθορίζει   το  πολιτικό μέλλον  των πάσης  φύσεων  συνασπισμών   κι ότι στην περίπτωση  της   Ευρωζώνης   δεν ακολουθήθηκαν   όλα  τα απαραίτητα  βήματα  που δεν θα  επέτρεπαν  στον  οικονομικό παράγοντα  να παρασύρει   και  να εκμηδενίσει   το  ιδεολογικό  υπόβαθρο   της   ενωμένης  Ευρώπης .  Κι  εδώ  αρχίζει    κανείς  να   προβληματίζεται  για  το   τι   απέγινε    μέσα   στα  σπλάχνα   της  Ευρωπαϊκής  Ένωσης   εκείνη  η περίφημη  διακήρυξη   του  Αμερικανού  προέδρου   Wilson  για   την αυτοδιάθεση  των  λαών .

    Πριν  απαντήσουμε  σ’ αυτό   , ας  δούμε  κάτι   παράδοξο  .Αυτό  που πραγματικά   προξενεί  απορία   στο  εγχείρημα   της  Ευρώπης   είναι  η απόπειρα   να  συνυπάρξουν  κάτω από  τη στέγη  ενός  κοινού  πολιτικού  μορφώματος   εντελώς  διαφορετικές  εθνότητες  , χωρίς  όμως  να   καλλιεργηθεί  προηγουμένως  συστηματικά   η  ιδέα   της  κοινής  πολιτισμικής  καταγωγής  ,ώστε  να τραφούν    μ’ αυτήν   τα  φρονήματα    όλων   των  Ευρωπαίων . Έτσι , ο  Έλληνας  ποτέ  δεν έπαψε  να αισθάνεται   Έλληνας  και  ο   Ολλανδός  Ολλανδός . Θα  αντιτάξει  βέβαια κάποιος  ότι  οι    ιδεολογικές   αλλαγές     απαιτούν  μεγαλύτερα  περιθώρια  χρόνου  , για να   συντελεστούν . Το μυαλό   του   ανθρώπου   είναι   κατά   κανόνα   συντηρητικό   και  οι ανακατατάξεις   το τρομάζουν   . Συμφωνώ  αλλά  το παράδοξο  παραμένει . Η  βεβιασμένη  μεταμόρφωση   της   Ευρώπης   σε  ομοσπονδιακή  κρατική  οντότητα  χωλαίνει  αρχικά  ως προς το   σημείο  της   ιδεολογικής  απόστασης     μεταξύ   των   λαών  της .

    Μειονεκτεί  επιπλέον   και  στο  επίπεδο   της σύγκλισης  του βιοτικού επιπέδου  μεταξύ   των  διαφορετικών  εθνοτήτων  .Δεν  μπορεί   δηλαδή να προωθηθεί   η  ιδέα  της ομοσπονδίας     μέσα  σε ένα  περιβάλλον ανισοτήτων   , χωρίς   την  εφαρμογή  μιας  ενιαίας  οικονομικής  πολιτικής  που  θα  εξισορροπεί   , μέσα  σε  ένα   εύλογο αλλά σύντομο   χρονικό   διάστημα  , τα  οικονομικά  μεγέθη    των   περιοχών   που  θα  ενταχθούν  σ’ αυτήν  .  Κάτι  τέτοιο    δεν έχει  συμβεί  μέχρι  στιγμής   στην  Ευρωπαϊκή   Ένωση  , αν και έχει  διαβεί   αρκετός   χρόνος  από  τη  σύστασή  της .   Οφείλουμε  βέβαια  να παραδεχτούμε  ότι  δεν είναι   εύκολο   εκείνος  που  απολαμβάνει  ένα   ψηλό   βιοτικό  επίπεδο  να  θελήσει  να κάνει  παραχωρήσεις   και   να  φορολογηθεί  ασφυκτικά  , προκειμένου  να πετύχει  ένα  τέτοιο πείραμα .  Αντίστοιχα  , όμως,   δεν είναι   εύκολο   κι  εκείνος  του οποίου  το επίπεδο  διαβίωσης  είναι   και   παραμένει   χαμηλό  ,  να   πεισθεί   για  την αναγκαιότητα   του   ίδιου  πειράματος  και  να μην αναπτύσσει  εθνικιστικά   αντανακλαστικά . Η  επιλογή  του  να  επιδιώκεται    η σύγκλιση   σε όλα  τα άλλα  επίπεδα   εκτός    αυτού  της εισοδηματικής    πολιτικής   μοιάζει  με  ένα  καλομαγειρεμένο  φαγητό  χωρίς  αλάτι . 

     Και  για να επιστρέψουμε   στο  ζήτημα  της αυτοδιάθεσης ,   είναι   απολύτως εύλογο  ότι  από τη  στιγμή  που μία χώρα  εντάσσεται   σε   έναν   ευρύτερο   σχηματισμό , να εκχωρεί  ένα  μέρος   από   την  αυτονομία  της   στο  όνομα  των  κοινών επιδιώξεων   και    της χάραξης   μιας   παράλληλης   στρατηγικής   για  την αντιμετώπιση   σημαντικών   προβλημάτων . Με  μία  όμως   προϋπόθεση   : ότι  μία  τέτοια  επιλογή   αντισταθμίζεται   από   κάποια  πλεονεκτήματα  στους περισσότερους τομείς   της  εσωτερικής  πολιτικής   ζωής , και  κυρίως   στα δημοσιονομικά  ζητήματα [χωρίς   φυσικά  να  απαξιώνω   τη δυναμική   που έχουν  και  τα  κοινωνικά  και   πολιτισμικά  αγαθά   στο   σύστημα  των  αξιών  ενός  λαού ] .Όσο  ένας   λαός  , παρά  το  γεγονός  ότι   ελέγχεται  με υπόγειο  τρόπο ,  ευημερεί    μέσα   στα  πλαίσια   μιας   πολιτικής  ή   οικονομικής    Ένωσης  , τότε   όλα  εξελίσσονται  ομαλά   και   η αντίδραση   για   τον  περιορισμό της απόλυτης[αν  υφίσταται   κάτι  τέτοιο]    ανεξαρτησίας  του  είναι  αμελητέα . Όταν  όμως διαπιστώνει   ότι   η καθημερινότητά   του   γίνεται  περισσότερο  φορτική   και   ότι   η απώλεια  της   εθνικής  κυριαρχίας   δεν έχει  κανένα  αντίκρισμα    για   τον ίδιο  και το  μέλλον του ,  είναι  αναπόφευκτο   να   διασαλεύεται  μέσα  στο μυαλό  του  η αναγκαιότητα   της  παραμονής   του  λαού   του   σ’  αυτό  το  ιδιότυπο  καθεστώς  ομηρίας  .

   Ας  ζυγίσουν  επομένως   υπεύθυνα  οι  εγκέφαλοι   της  Ευρωπαϊκής   Ένωσης  τι είναι   αυτό   που   θα θέσουν  ως προτεραιότητα  στο αμέσως επόμενο χρονικό  διάστημα, αν   θέλουν  πραγματικά    να   αποφύγουν  τους τριγμούς    στο   οικοδόμημα  που   σχεδίασαν  : επιθυμούν  μία  Ευρώπη   με  έναν  ομοσπονδιακό  μανδύα   αλλά  με  έναν  πυρήνα   ανισοτήτων    ή  μία   Ευρώπη  που   θα  τιμά  το πολιτισμικό  της υπόβαθρο  και   δεν θα δίνει   στους πολίτες  των  λιγότερο αναπτυγμένων  περιοχών  της    την αίσθηση  ότι  υποτάσσονται   σε μία απρόσωπη  μηχανή εξουσίας   κι ότι  έτσι   ταπεινώνεται   η εθνική   τους  υπερηφάνεια ; Η  σημερινή  βέβαια  κρίση  μπορεί  να είναι  απλώς το  μεταβατικό εκείνο   στάδιο  που  θα  ταρακουνήσει  τους  ηγέτες   και  θα  τους  δώσει  τη λαβή  να   εργαστούν αποφασιστικά   για   τη  δημιουργία   ενός άλλου  μοντέλου   διακυβέρνησης   της    Ευρώπης . Το   ουσιώδες  , ωστόσο  , είναι   να  μη χαθεί  πολύτιμος  χρόνος  στην αναζήτηση  της  κατάλληλης  θεραπείας      , γιατί   μέχρι  τότε   θα έχει  αποβιώσει  στη  συνείδηση   των  πολιτών   η   νοσούσα   Ευρωπαϊκή  ταυτότητα . Και  οι επόμενες  γενιές   θα  έχουν  να διηγούνται  ένα   παραμύθι  με θλιβερό  τέλος .

Τσιαχρής  Κώστας  

15/7/2011



ALEX TURNER Submarine

It’s impossible to not love the transparency of Alex Turner. When Arctic Monkeys’ Whatever People Say I Am, That’s What I’m Not exploded into the world, a large amount of focus was on Turner. For once, it was possible to listen to contemporary rock music, and not have to interpret every lyric for what it might have meant. Turner was blatant, almost playing the role of an observational Jerry Seinfeld of Sheffield. By being crass enough to admit that there was “only music so that there’s new ringtones,” amongst a plethora of other brilliant lines, Arctic Monkeys were easy to consume, and because of Turner, they were also insightful.As we’ve seen Arctic Monkeys grow, the transparency may have explicitly have deteriorated in some people’s minds, with Turner abandoning his great sense of youthful insight for something more mystic and personal. Where it was once easy to think it was possible to identify Turner through his lyrics, the focus has been centralised to his song writing ability. A simply thoughtful lyric can captivate the mind, but it seems as though the shift is now coming through emotion evoking music.

With three Monkeys albums under his belt, and an admirably adventurous dive into the Scott Walker and Leonard Cohen influenced world of the Last Shadow Puppets, it is obvious that Turner is constantly progressing as a song writer in a positive light. He has more depth, more knowledge, and most importantly, more confidence. While Submarine is the accompanying soundtrack to Richard Ayoade’s coming-of-age film, it’s almost better to merely see this as a solo Alex Turner EP. While purists might argue that a soundtrack has to match its film, in this case, I personally feel there is an exception, as Ayoade didn’t even allow Turner to see Submarine before and during the composition of the five and a bit songs.

“Stuck On The Puzzle” (including an extended introduction) and “Piledriver Waltz” are the most straightforward tracks. However, by being straightforward, they should not be dismissed in any way. These are perhaps some of the most stunningly beautiful songs that Turner has ever composed under any moniker. “Piledriver Waltz” (which is said to appear in a more finite form on the upcoming Arctic Monkeys’ upcoming Suck It and See), is a simple affair, but it’s Alex’s inherent knack for melody that conveys a great sense of sincerity and emotion. This is the same established craft that made “Cornerstone” so perfect. Almost crooning, he establishes the scene for a forlorn love making reservations at the metaphorical Heartbreak Hotel, where both waitresses and the food itself are purely miserable. “Stuck On The Puzzle” finds Turner in an unfamiliar situation, his voice humbly sinking over a lone piano, drum and bass. While it’s unfamiliar, it certainly feels comfortable; something which can be attributed to his undeniably improvement as a vocalist. Where once Alex Turner was a feasible mumbler, excused by a lyrical prowess and the charm of his northern accent, he is now an efficient singer, capable of using his voice to carry a song.It’s this voice that makes it now possible for Turner to complete a large majority of these songs acoustically. “It’s hard to get around the wind” is another gem that can sit at the mantle of Turner’s best songs, drawing similarities between the line to Heaven to that of a nightclub. Sometimes these lyrics are a bit stifling and confusing to place in context, but once more, these songs become something more due to Turner’s impeccable vocal melodies. It’s almost difficult to describe, and admittedly, as a music reviewer, one should be ashamed to admit that, but as silly as it sounds, it’s hard to not want to live in the worlds that Turner manifests through song.One of the most redeeming qualities that an artist and composer can possess these days is a sense of dynamic progression. Many great artists were like this, and Turner is definitely making his way there. As soon as people think they have Alex Turner figured out, he’s already leaps and bounds beyond what ever impressive precedent he has established. This may not mean a lot to some, but it’s impossible to deny that it’s not endearing.

FLEET FOXES Helplessness blues

Fleet Foxes' unpretentious, crowd-pleasing directness was the key to their rapid rise. Their Sun Giant EP and self-titled debut LP, both released in 2008, brimmed with inviting melodies, evocative lyrics, and open-armed harmonizing that seemed designed to reach a wide variety of listeners. Their bright folk-rock sound wasn't exactly "cool," but that was sort of the point-- it's familiar in the most pleasing way, lacking conceit or affectation. Their expression of their love for music (and making music) was refreshing three years ago, and that sort of thing never gets old.But clouds inevitably roll in. On the band's follow-up, Helplessness Blues, the mood is darker and more uncertain, adding shade to their gold-hued sound. The change in tone reflects the tumultuous road Fleet Foxes traveled during the album's creation. In late 2009, Fleet Foxes had an album's worth of songs ready, but the tracks were mostly scrapped before mixing. The arduous creative process took a toll on the group members, particularly singer/songwriter Robin Pecknold  told "The last year has been a really trying creative process where I've not been knowing what to write or how to write." The group's persistence paid off, though: Helplessness Blues is comparatively deeper, more intricate, and more complex, a triumphant follow-up to a blockbuster debut. Working again with producer Phil Ek, they've crafted a cavernous record that allows more room for them to breathe and stretch. The album's longer, episodic cuts contain disquieting shifts in tone. "The Plains/Bitter Dancer", for example, begins as a spindly, psychedelic folk tune reminiscent of some of the Zombies' more introspective moments, and then, after a brief pause, bursts suddenly into the type of gangland chorus Fleet Foxes have practically trademarked by now. Elsewhere, shorter songs seem to end mid-thought; the rollicking tumble of "Battery Kinzie" cuts off suddenly, while "Sim Sala Bim"'s heavy-strummed raga quickly unfurls like broken strings. This battle between tension and serenity is new to the band's repertoire, and it lends the album a compelling uneasiness that starkly contrasts the sunnier disposition of their first two releases.The group harmonies that flowed from Fleet Foxes are in shorter supply here, employed largely to embellish tracks, allowing Pecknold to take a clearer lead role, both vocally and lyrically. He first emerged as an impressionistic songwriter, but he's since become stronger and more descriptive, conjuring vivid imagery of men striking matches on suitcase latches and penny-laden fountains. Mostly, he spends time working out his own personal puzzles, pondering the big questions of existence and meditating on the dissolution of his five-year relationship during one of Helplessness Blues' more difficult creative periods.The record reflects his determination to deal with the present while leaving the past behind. At times, Pecknold's voice takes an aggressive tone, as on the eight-minute breakup saga "The Shrine/An Argument"; other times, it cracks slightly, exposing his pain on the bittersweet "Lorelai". But the warmth is there. On the album's most intimate track, "Someone You'd Admire", he contemplates the contradictory impulses to love and to destroy, accompanied by spare harmony and softly strummed guitar.Pecknold confronts more universal concerns as well, starting with "Montezuma"'s memorable album-opening lines: "So now, I am older/ Than my mother and father/ When they had their daughter/ Now, what does that say about me?" He wrestles throughout the record with his own measurements of success, and whether any of it adds up to anything. He asks questions only to come up with more questions, and they all lead into a sort of resolution on the album's title track, "Helplessness Blues". Here, he retreats from the world into idyllic, pastoral imagery and wishes for a simpler life before trying to come to grips with his newfound renown. "Someday I'll be like the man on the screen," he promises at the end of the song.Helplessness Blues' analytical and inquisitive nature never tips into self-indulgence. Amidst the chaos, the record showcases the band's expanded range and successful risk-taking, while retaining what so many people fell in love with about the group in the first place. And once again, a strong sense of empathy is at the heart of what makes Fleet Foxes special. Much has been made of American indie's recent obsession with nostalgic escapism, but Robin Pecknold doesn't retreat. He confronts uncertainty while feeling out his own place in the world, which is something a lot of us can relate to.

DESTROYER Kaputt

 Dan Bejar from Canada for fifteen years fighting to create   his personal  sonic space . In the ninth album, " Kaputt "decides that an auspicious soft rock style with hanging  gentle  wide  orchestrations and maturity is what makes more sense for today's listener.Somehow he is right. " Kaputt "is a beautiful album. Rolls round, fragrant with the best hours of the afternoon hearing. It sounds happy and cheerful, has  romantic endings, has "space" to move and  the listener is left with such bravery in the American tradition and how strangely Scottish dash. Moreover, Dan Bejar does not skimp on the openings to electronica of our  days. Keyboards and synths stroll throughout its duration, like to enjoy a  strolling in the gardens of oblivion and peace . His compositions are "small" in ideas but big in performance.  " Kaputt "has every reason to claim the hand: it  has trouble in its effort, a positive effect (the female vocals highlight the elegance), a transcendent style and several moments that make the half-open eyes to shine here and there with joy. And further, in general   " Kaputt "  has a fair and a respectable ambition to soothe the listener without  making him  being bored . I appreciate it very much. An intersection between Al Stewart 's " Year Of The Cat "and Prefab Sprout 's " Andromeda Heights "never hurt anyone.

Debtocracy A Greek Documentary about the financial crisis

   There is the traditional way to make movies (find producer, get money, shot the film, released), and there's crowdsourcing. In the world of crowdsourcing users from every corner of the Earth or financially support any project or exchange information and contribute to completion, depending on their skills, as a peculiar puzzle of the electronic era. The film world, and particularly the independent scene, it soon adopted the habit - at this year's festival Sundance even premiered the documentary «Life in a day», a collage of short videos users YouTube. In most cases, however, the contribution of public money is (so called and provided crowdfunding), and cases such as the documentary «Corporation» and «The Age of Stupid», have already managed to secure distribution through donations.

   Successful attempts crowdfunded longer one and the "Chreokratia" documentary journalists Mars Hadjistefanou and Katerina Kitidi on the economic crisis and debt of Greece. The two journalists, along with the production team they framed, decided to avoid the traditional mintiakes platforms and released their work initially only on the Internet through websites such as YouTube, Dailymotion and through torrents .

   The profile of the documentary, which presents an alternative view from those discussed in the dominant media, may dictate the choice, which helped them to avoid any interference in the content of parties, agencies or other donors. " If it was given information, we did not want to put a great deal to teach people a different view. We wanted to spread as much as possible, mainly to stimulate discussion. For these purposes, just the production should be free and without rights [use or reproduction] , "he said in an interview with one of two directors, Katerina Kitidi.

   Once shown a small sample of their work and invited the public to fund the effort, the response has surpassed expectations of: € 8,000 for the basic costs of production were collected within 14 days from 300 individuals, clubs and associations that have may appear as co-producers in the end credits. Your account has been closed since gathered twice in total amount, which includes the cost of distribution. A detailed list of fees and charges are posted on the official website , which, as he and Mrs Kitidi is vital for such a project. " What I think it helped that there were all the items available on the Internet. If you follow this model in the future should take care of the financial part "Under this policy, even Mrs Kitidi stresses that the extra money, which so far are heading for a future documentary team returned unless announced plans over the next six months.

    After the online premiere of the evening Wednesday, April 6 , which was promoted through social networking sites and blogs, the documentary has been featured in academic schools, clubs, and local channels in the province, while the players have already agreed to distribute the film in Athens and individual views on the rest of Greece. Prepare also has completed the subtitling in English, French and Portuguese, to distribute the film abroad , primarily through organizations such as CADTM, the Committee for the debt of Third World countries, and then possibly and festivals. Even in the face of these developments, however, the production team is prepared to withdraw from cyberspace because " especially when we turned to the public, we would just have to give back to the public. This project does not belong to us but the world was paid , "said Mrs Kitidi.

    Apart from the way they have chosen to cover their investment, notable is the web presence of "Chreokratia." factors have made ​​dynamic use of modern information and networking and the resulting numbers are impressive : the film has seen a total of over than 680,000 times the references to Google exceed 1,000,000, the official website has 320,000 unique users visit, and the film's page on Facebook has 12,780 friends and Twitter 1.500 members.

The authors continue to participate actively, not only to promote the film, but the debate that has arisen from it. The research team collected the most important questions raised by viewers, the replies and posted on the website, unity, according to Mr. Kitidi will continue to be renewed. In their plans, too, is to enrich the content of the website with additional material that could not fit in the final result, which will be integrated into a mini theme documentaries, in addition to the main work. At the same time have already posted " a new version of the script, which will link to specific words that refer to our inquiry: what sources were consulted, or what other material you find on the specific word of the script. So, not only the content but the search will be available to the public . "

   But this kind of journalism is a long term viable proposal in front of the undeniable crisis, economically and effectively, the mainstream media? Mrs Kitidi believes that " the situation has now reached the media, what is needed is to find a way be able to have independent information without commitments or political institutions or from commercial companies, because a greater commitment in our times is towards the operator or entity, which is opposite to the advertising department. To be able to have independent information, perhaps the best way is to finance the public. "