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κι ενα επισης πολυ δυνατο OST - Album
Most visitors online was 2716 , on 5 Dec 2023
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Καλώς ήρθατε στο AVsite! Ελάτε στην παρέα μας κάνοντας εγγραφή!
Ε-κλαίγοντας Album
- Thread starter Bhutia
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Monika Kabasele: Αφροφουτουρισμός αλά ελληνικά
Η τολμηρή τραγουδίστρια με έδρα το Παρίσι μιλάει στο "α" για το πρώτο της άλμπουμ "Grecofuturisme", στο οποίο η κονγκολέζικη καταγωγή της συνομιλεί τις ρίζες της στην ελληνική παράδοση μέσα από μια ανανεωτική τζαζ ματιά. Θα την απολαύσουμε στη σκηνή του "Half Note Jazz Club" (23/11)
wizzy
Music is our (Supernatural) friend!
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wizzy
Music is our (Supernatural) friend!
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Κάποιες φορές, ο αλγόριθμος προτεινόμενων ακροάσεων του YouTube, κάνει λάθη. Κι αυτή τη φορά, έκανε λάθος, όμως δεν θα μπορούσα να αισθάνομαι πιο "γεμάτος" σήμερα...
Κωσταντής Πιστιόλης - Live παρουσίαση δίσκου "Ξενιτεμένα" - Θέατρο Ροές (19/01/24)
Κωσταντής Πιστιόλης - Live παρουσίαση δίσκου "Ξενιτεμένα" - Θέατρο Ροές (19/01/24)
Decembered
Μαϊμού
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say no more
say nothin'
say nothin'
"The dark sounds she produces have a strange beauty...a miasma of blues, greys and blacks.”
-- The Arts Desk
Following her thrilling 2022 duo EP with Iggy Pop (The Dictator) Belgian composer/musician Catherine Graindorge returns with a luminous ensemble album. Collaborators include Simon Huw Jones (And Also the Trees) and Pascal Humbert (16 Horsepower, Lilium, Détroit).
Instrumental and vocal songs of life, love and death. Inspired by mythologies and elegies from the Greeks to the Beats.
-----------------------------------------------------
Stories and myths. They ripple like rivers through our lives, our cultures. Some are ancient, others more recent, but they all help to shape us, to guide and console us along the ways of life and love and death. They have a quiet power, and that’s what Belgian musician and composer Catherine Graindorge explores on her new album, Songs for the Dead.
Aptly, it all began with words.
“I had a residency at a venue here in Brussels,” she recalls. Graindorge had recently finished working on The Dictator, her widely-acclaimed EP collaboration with the legendary Iggy Pop, “and I had the chance to work on something new. I had a book by Allen Ginsberg, and I wanted to go deeper into his poetry.”
Ginsberg was the most acclaimed poet of the Beat Generation. But Graindorge explored beneath the obvious, well-known work and discovered a piece called “A Dream Record,” which provided the spark for Songs for the Dead.
“The poem touched me, it made me think about art and life and reality, so I decided to construct the album around it.”
In the work, a dreaming Ginsberg visits Joan, the dead wife of writer William Burroughs who killed her while allegedly trying to emulate William Tell and shoot a glass off her head.
The pair laugh and talk of mutual friends as if she was still alive. But the reality of the grave returns and the dream fades.
“I didn’t know anything about Joan Vollmer, but the poem says everything about our lives,” Graindorge explains. “Something can happen and there’s no return, except in our dreams, when the dead come to visit us. Like the myth of Orpheus and Eurydice. In the eyes of Orpheus, Eurydice seems alive for a moment, but one look is enough for her to vanish into the world of the Dead. He wants to bring her back to life with his love for her.”
But only in dreams can love be enough to cheat fate.
Graindorge saw Ginsberg’s poem as the heart of Songs for the Dead. Recorded here as “This Is a Dream,” it explores the place where the veil between worlds becomes thin. The music she wrote for the tracks explores the beauty and loss, creating a floating, ethereal dialogue of music and voice that carries the listener forward.
Over the years, Graindorge has worked with an incredible cast of collaborators, including Iggy, Nick Cave, Hugo Race and producer John Parish (PJ Harvey). But for Songs for the Dead she wanted a small, tight ensemble, so she called on regular collaborators Simon Ho on keyboards, and bassist Pascal Humbert (16 Horsepower, Lilium, Détroit) who both know her and her music well. For a singer “I thought of Simon Huw Jones. His voice has a very theatrical quality, like a narrator. For him, literature is important; he’s attached to words. I sent him the Ginsberg poem and we talked about the Greek myth.”
Best known as the vocalist with And Also the Trees, Jones’s voice gives the lines gravity, a delivery between singing and speaking.
“I recorded demos of the music I’d written and sent them to him,” Graindorge recalls, “then he returned them with his ideas for the words. He understood what I was looking for.”
Things coalesced quickly, and by the time they went into the studio “almost everything was written, so we didn’t need to discuss much. We took six days to record the album, then another five to complete the mixing.”
All the mixing was analogue, Graindorge explains because “it’s warmer, and it makes more sense to me with my instruments and the way I write, acoustically on violin and viola. More like baroque music, in a way.”
Songs for the Dead is quite deliberately an album that gives space for the imagination, “where people can come and go in the music,” Graindorge says. And there’s plenty to explore in the stories of Orpheus and Eurydice and Ginsberg’s dream meeting with Joan Burroughs. Myths ancient and modern. Legends and stories.
“I like to tell a story,” she says. “I come from theatre, and I’m also an actor. These are narratives, questions and answers that relate and connect to each other.”
One of the most powerful of these stories is the pure sadness of “Joan” – the only piece here for which she wrote both music and lyrics. It caresses its loss, something she “wrote to challenge myself. I’m not really a singer, but this was a story I wanted to tell.” Graindorge’s viola and voice offer a sonic elegy.
It all culminates with “Time Is Broken,” where Jones and Graindorge (with daughter Lula Rabinovitch) duet until the music tails away and the final lines conclude: “There is no more to say.”
Composed by Graindorge and Simon Ho, the song came from a small, simple source – a piano line that Ho played while the pair were working together in the Brussels residency.
“He had the idea. That’s the heart of the piece and the lyric that grew into this song about loss and love.”
It ties everything together, moving from myth and into the lives of two people who are wrapped in the sadness and heartbreak of their lives coming apart.
Songs for the Dead is a quietly understated epic, with plenty of shade and light in the playing and the compositions. Yet throughout, it carries the creeping sense of foreboding and inevitability that befit its title. As a seasoned composer for film and theatre, Graindorge understands the power of atmosphere in music and uses it to the full here, especially on the instrumentals “Small Trees” and “The Unvisited Garden,” where her violin and voice create a trembling, fragile stillness. Melodies unfurl slowly, always lyrical, and the silences are as important as the notes.
“Musically, this album is an evolution for me,” she says. “I try to push myself where I haven’t been before.”
And these stories Catherine Graindorge tells are eternal. The music of love and grief, songs for the end of love and life. Songs for the dead who live on in hearts and memories
released April 26, 2024
-- The Arts Desk
Following her thrilling 2022 duo EP with Iggy Pop (The Dictator) Belgian composer/musician Catherine Graindorge returns with a luminous ensemble album. Collaborators include Simon Huw Jones (And Also the Trees) and Pascal Humbert (16 Horsepower, Lilium, Détroit).
Instrumental and vocal songs of life, love and death. Inspired by mythologies and elegies from the Greeks to the Beats.
-----------------------------------------------------
Stories and myths. They ripple like rivers through our lives, our cultures. Some are ancient, others more recent, but they all help to shape us, to guide and console us along the ways of life and love and death. They have a quiet power, and that’s what Belgian musician and composer Catherine Graindorge explores on her new album, Songs for the Dead.
Aptly, it all began with words.
“I had a residency at a venue here in Brussels,” she recalls. Graindorge had recently finished working on The Dictator, her widely-acclaimed EP collaboration with the legendary Iggy Pop, “and I had the chance to work on something new. I had a book by Allen Ginsberg, and I wanted to go deeper into his poetry.”
Ginsberg was the most acclaimed poet of the Beat Generation. But Graindorge explored beneath the obvious, well-known work and discovered a piece called “A Dream Record,” which provided the spark for Songs for the Dead.
“The poem touched me, it made me think about art and life and reality, so I decided to construct the album around it.”
In the work, a dreaming Ginsberg visits Joan, the dead wife of writer William Burroughs who killed her while allegedly trying to emulate William Tell and shoot a glass off her head.
The pair laugh and talk of mutual friends as if she was still alive. But the reality of the grave returns and the dream fades.
“I didn’t know anything about Joan Vollmer, but the poem says everything about our lives,” Graindorge explains. “Something can happen and there’s no return, except in our dreams, when the dead come to visit us. Like the myth of Orpheus and Eurydice. In the eyes of Orpheus, Eurydice seems alive for a moment, but one look is enough for her to vanish into the world of the Dead. He wants to bring her back to life with his love for her.”
But only in dreams can love be enough to cheat fate.
Graindorge saw Ginsberg’s poem as the heart of Songs for the Dead. Recorded here as “This Is a Dream,” it explores the place where the veil between worlds becomes thin. The music she wrote for the tracks explores the beauty and loss, creating a floating, ethereal dialogue of music and voice that carries the listener forward.
Over the years, Graindorge has worked with an incredible cast of collaborators, including Iggy, Nick Cave, Hugo Race and producer John Parish (PJ Harvey). But for Songs for the Dead she wanted a small, tight ensemble, so she called on regular collaborators Simon Ho on keyboards, and bassist Pascal Humbert (16 Horsepower, Lilium, Détroit) who both know her and her music well. For a singer “I thought of Simon Huw Jones. His voice has a very theatrical quality, like a narrator. For him, literature is important; he’s attached to words. I sent him the Ginsberg poem and we talked about the Greek myth.”
Best known as the vocalist with And Also the Trees, Jones’s voice gives the lines gravity, a delivery between singing and speaking.
“I recorded demos of the music I’d written and sent them to him,” Graindorge recalls, “then he returned them with his ideas for the words. He understood what I was looking for.”
Things coalesced quickly, and by the time they went into the studio “almost everything was written, so we didn’t need to discuss much. We took six days to record the album, then another five to complete the mixing.”
All the mixing was analogue, Graindorge explains because “it’s warmer, and it makes more sense to me with my instruments and the way I write, acoustically on violin and viola. More like baroque music, in a way.”
Songs for the Dead is quite deliberately an album that gives space for the imagination, “where people can come and go in the music,” Graindorge says. And there’s plenty to explore in the stories of Orpheus and Eurydice and Ginsberg’s dream meeting with Joan Burroughs. Myths ancient and modern. Legends and stories.
“I like to tell a story,” she says. “I come from theatre, and I’m also an actor. These are narratives, questions and answers that relate and connect to each other.”
One of the most powerful of these stories is the pure sadness of “Joan” – the only piece here for which she wrote both music and lyrics. It caresses its loss, something she “wrote to challenge myself. I’m not really a singer, but this was a story I wanted to tell.” Graindorge’s viola and voice offer a sonic elegy.
It all culminates with “Time Is Broken,” where Jones and Graindorge (with daughter Lula Rabinovitch) duet until the music tails away and the final lines conclude: “There is no more to say.”
Composed by Graindorge and Simon Ho, the song came from a small, simple source – a piano line that Ho played while the pair were working together in the Brussels residency.
“He had the idea. That’s the heart of the piece and the lyric that grew into this song about loss and love.”
It ties everything together, moving from myth and into the lives of two people who are wrapped in the sadness and heartbreak of their lives coming apart.
Songs for the Dead is a quietly understated epic, with plenty of shade and light in the playing and the compositions. Yet throughout, it carries the creeping sense of foreboding and inevitability that befit its title. As a seasoned composer for film and theatre, Graindorge understands the power of atmosphere in music and uses it to the full here, especially on the instrumentals “Small Trees” and “The Unvisited Garden,” where her violin and voice create a trembling, fragile stillness. Melodies unfurl slowly, always lyrical, and the silences are as important as the notes.
“Musically, this album is an evolution for me,” she says. “I try to push myself where I haven’t been before.”
And these stories Catherine Graindorge tells are eternal. The music of love and grief, songs for the end of love and life. Songs for the dead who live on in hearts and memories
released April 26, 2024
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- 3.491
οι Glass Beams από την Αυστραλία
17 Μαρτίου κυκλοφόρησαν το νέο τους EP «Mahal» ένα πάντρεμα παραδοσιακής ινδικής μουσικής ( το τρίο είναι πνευματικό παιδί του Rajan Silva) με σύγχρονη ψυχεδελική μουσική
17 Μαρτίου κυκλοφόρησαν το νέο τους EP «Mahal» ένα πάντρεμα παραδοσιακής ινδικής μουσικής ( το τρίο είναι πνευματικό παιδί του Rajan Silva) με σύγχρονη ψυχεδελική μουσική
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Ενθυμούμενοι την σχετική νεότητα μας και το τι ήταν ιδιαίτερο για των υποστηρικτών (ακόμη μιας ίσως και της τελευταίας) της τότε σκηνής και για να προλάβω τον Bhuita που κάνει μουσικές αναφορές στο νήμα του όταν αντίστοιχες ή μή έχουν γίνει αλλού για ηχητικούς ή άλλους λόγους που τον κεντρίζουν ... ας ποστάρουμε άλμπουμ που παρόλο δεν αντικατοπτρίζει τις σημερινές τεχνικές δυνατότητες εγγραφής, πληρεί όμως άλλα πιο σπουδαία πράγματα.
Όσοι έχουν μια μικρή αλλεργία στις κιθάρες και στο μέταλ γενικότερα
ή άλλους σαν εμένα - που να ειπωθεί καλύτερα - έχουν αλλεργία στο "Βαράτε νταούλια, βαράτε ζουρνάδες να γεμίσει η μίξη χαμηλό και layerings και ας μην κάνει μουσικό νόημα ή το υπηρετεί" καλύτερα να αποφύγουν τα άλμπουμ μετά το In Absentia αλλά και 4-5 τραγούδια εντός αυτού. Καλά έγω έχω αποφύγει και απέχει και απο λίγο πιο νωρίς ακόμη.
Και για τους λίγους που δεν έχουν ή δεν θέλουν να έχουν λογαριασμό στο spotify :
Όσοι έχουν μια μικρή αλλεργία στις κιθάρες και στο μέταλ γενικότερα
ή άλλους σαν εμένα - που να ειπωθεί καλύτερα - έχουν αλλεργία στο "Βαράτε νταούλια, βαράτε ζουρνάδες να γεμίσει η μίξη χαμηλό και layerings και ας μην κάνει μουσικό νόημα ή το υπηρετεί" καλύτερα να αποφύγουν τα άλμπουμ μετά το In Absentia αλλά και 4-5 τραγούδια εντός αυτού. Καλά έγω έχω αποφύγει και απέχει και απο λίγο πιο νωρίς ακόμη.Και για τους λίγους που δεν έχουν ή δεν θέλουν να έχουν λογαριασμό στο spotify :
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Γειά σας παιδιάΕνθυμούμενοι την σχετική νεότητα μας και το τι ήταν ιδιαίτερο για των υποστηρικτών (ακόμη μιας ίσως και της τελευταίας) της τότε σκηνής και για να προλάβω τον Bhuita που κάνει μουσικές αναφορές στο νήμα του όταν αντίστοιχες ή μή έχουν γίνει αλλού για ηχητικούς ή άλλους λόγους που τον κεντρίζουν ... ας ποστάρουμε άλμπουμ που παρόλο δεν αντικατοπτρίζει τις σημερινές τεχνικές δυνατότητες εγγραφής, πληρεί όμως άλλα πιο σπουδαία πράγματα.
Όσοι έχουν μια μικρή αλλεργία στις κιθάρες και στο μέταλ γενικότερα
Και για τους λίγους που δεν έχουν ή δεν θέλουν να έχουν λογαριασμό στο spotify :
Φανταστικό άλμπουμ, υπήρχε εποχή, μεγάλη σε χρονικό διάστημα, που το ακούγαμε κάθε μέρα.
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Ειδική παραγγελιά :
Τα "original" σε βάζω
¨Ολο το Moonloop και χωρίς τα μετέπειτα (μη κριτικάρω χα χα) drums του Gavin Harrison στο Stars die.
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Έχω τη συλλογή που απεικονίζεται σε CD box με τα δύο δισκάκια σε διαφανές κίτρινο και μπλε πλαστικό φακελάκι που είναι εκνευριστικά κατά το χειρισμό τους επειδή προσκολλάται το υλικό πάνω στα δισκάκια. Τότε ακόμα τους καταλόγιζαν ότι μιμούνταν συγκροτήματα όπως οι Pink Floyd... Όταν όμως ακολούθησε το αριστουργηματικό "Fear Of A Blank Planet" βουλώθηκαν αρκετά κακεντρεχή στόματα.
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E, ο κόσμος ξέρεις τώρα. Εάν είναι να έλεγε κάποιος κάτι σαν επηρρεασμό δηλαδή... καλύτερα θα ήταν Camel στην πιο πόπ έκδοσή τους.
¨Ησουν μήπως και στο Ρόδον στην πρώτη τους εμφάνιση στην Ελλάδα το 1995 ; Μετά ήρθαν πολλές φορές αλλά εκείνη ήταν σημαντική γιατί το κλίμα έβραζε και οι υποστηρικτές της σκηνής ήταν όλοι εν υπνώση. Βγήκαμε απο τους τάφους σαν ζόμπι χα χα. Ωραίες εποχές. Είχα πάει μαζί με πολλούς παρέα ήταν και ο Σακκάς νομίζω μαζί των Raining Pleasure (δε θυμάμαι και καλά είναι πολλές οι συναυλίες που πηγαίναμε ακόμη και τότε).
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εκδοχή τους....
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The Modern Musical Poetry of Terez Sliman
Terez Sliman – When the Waves (Kirkelig Kulturverksted, 2020)
Palestinian singer-songwriter and composer Terez Sliman creates modern music in Arabic, combining pop hooks, electronic dance music, rock and trance-like mesmerizing musical soundscapes.
On When the Waves, Sliman collaborated with fellow Palestinian composer and multi-instrumentalist Raymond Haddad. Raymond plays bass and also modular synthesizer and did the programming.
Two well-known Norwegian musicians also participate extensively in the album: Helge Norbakken on drums and Eivind Aarset who adds a wide-range of exquisite guitar sounds.
Terez Sliman – When the Waves (Kirkelig Kulturverksted, 2020)
Palestinian singer-songwriter and composer Terez Sliman creates modern music in Arabic, combining pop hooks, electronic dance music, rock and trance-like mesmerizing musical soundscapes.
On When the Waves, Sliman collaborated with fellow Palestinian composer and multi-instrumentalist Raymond Haddad. Raymond plays bass and also modular synthesizer and did the programming.
Two well-known Norwegian musicians also participate extensively in the album: Helge Norbakken on drums and Eivind Aarset who adds a wide-range of exquisite guitar sounds.
The Modern Musical Poetry of Terez Sliman | World Music Central
Terez Sliman - When the Waves (Kirkelig Kulturverksted, 2020) Palestinian singer-songwriter and composer Terez Sliman creates modern music in Arabic, combining pop hooks, electronic dance music, rock and trance-like mesmerizing musical soundscapes. On When the Waves, Sliman collaborated with...
worldmusiccentral.org
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Το ολοκαίνουργιο album των UB40 (UB45 for their 45 years) σε περίπτωση που δεν το πήρατε χαμπάρι. (19 April 2024).
Θα το πόσταρα πιο νωρίς αλλά είδα ότι "έλειπες". Και με κάποιον θα "τσακωνόμουνα" πάλι και το ξέχασα.
Enjoy y'all.
Θα το πόσταρα πιο νωρίς αλλά είδα ότι "έλειπες". Και με κάποιον θα "τσακωνόμουνα" πάλι και το ξέχασα.
Enjoy y'all.
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Εγώ παιδί (και) της καλής pop (που πολλοί λανθασμένα κατά την γνώμη μου σνομπάρουν ιδίίως χρήσιμη για την στιχογραφία της) θα ήθελα να ποστάρω και την κάτωθι μουσικό και ιδιαίτερα την αποκρυπτογράφηση των στίχων της με κορωνίδα αυτή της αποκρυπτογράφησης του όποιου μηνύματος και σημασίας για τον καθένα του Fake your Beauty.
Bertine Zetlitz began her musical journey at a young age, penning her first numbers aged just 12. After gaining a background in classical music, Zetlitz began to experiment. Her debut album Morbid Latenight Show was released in 1998 and spawned several successful singles. In 1999 she toured in USA with Lilith Fair. It was followed by the Tore Johansson produced Beautiful So Far in 2000. Her third album, Sweet Injections, was released in 2003, helmed by electronic experts Howie B, Magnus Fiennes and Richard X (Sugababes, Rachel Stevens). Lead single "Girl Like You" signalled a change of direction for the singer.
en.wikipedia.org
Bertine Zetlitz began her musical journey at a young age, penning her first numbers aged just 12. After gaining a background in classical music, Zetlitz began to experiment. Her debut album Morbid Latenight Show was released in 1998 and spawned several successful singles. In 1999 she toured in USA with Lilith Fair. It was followed by the Tore Johansson produced Beautiful So Far in 2000. Her third album, Sweet Injections, was released in 2003, helmed by electronic experts Howie B, Magnus Fiennes and Richard X (Sugababes, Rachel Stevens). Lead single "Girl Like You" signalled a change of direction for the singer.
Bertine Zetlitz - Wikipedia
en.wikipedia.org
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Για όσους νιώθουν τη μουσική να μην τους αγγίζει όπως κάποτε , δύο album σαν ερωτικές αφιερώσεις προς την ίδια την τέχνη της μουσικής, με λυρισμό, μελωδικότητα και ζωηρό ρυθμό σαν την ΄΄πρώτη φορά΄΄.
John Zorn - Jesse Harris "Love Songs Live"
John Zorn "Alhambra Love Songs"
John Zorn - Jesse Harris "Love Songs Live"
John Zorn "Alhambra Love Songs"
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Και μια ευχάριστη αναδρομή στον χρόνο.
Στα ιστορικά Bell Studios.
Στα ιστορικά Bell Studios.
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Τι έφερες τώρα στο μυαλό με το δεύτερο κομμάτι σε σύνθεση Burt Bacharach... Πρώτο μισό της δεκαετίας του 2000 με τη διεξαγωγή των Ολυμπιακών να πλησιάζει, εορταστική περίοδος Δεκεμβρίου και πετυχαίνω προβαλλόμενη σε τηλεοπτικό κανάλι διαφήμιση γνωστής και μη εξαιρετέας τράπεζας για εορτοδάνεια και λοιπές καταναλωτικές ανάγκες που είχαν τότε μεγάλη πέραση με μουσική υπόκρουση το "What The World Needs Now" κομμάτι που φέρνει με την ακεραιότητα του μηνύματος ανατριχίλα στον γράφοντα ...
Η διάθεση της συγκεκριμένης στιγμής με τη δυσαρμονία ανάμεσα στο τραγούδι και τα προωθούμενα προϊόντα έδωσε έναυσμα στη σκέψη ότι από κάποιο σημείο και μετά δεν είναι δικαίωμα αλλά... υποχρέωση των καταναλωτών να συνειδητοποιούν κατά πόσο τους επεξεργάζονται ή όχι... Καθότι καμία ελευθερία δεν είναι δεδομένη και μπορεί να χάνεται υπό πολλές διαφορετικές συνθήκες, για να συνδεόταν νοερά και με την επικαιρότητα...
Ήταν τότε το δικό μου ξεκίνημα απεξάρτησης από hi-end και διάφορες ΄΄πολύτιμες΄΄ συσκευές.
Η πιο πρόσφατη έκδοση σε live album των CAN σκορπά πιο ευοίωνα κύματα με τον αυτοσχεδιασμό του συνόλου πάνω στην ακροαματική ονειροπόληση .
Τελευταια Μηνυματα
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Clearaudio chmpion + unify 9inch tonearm .
- Latest: doukandrikos
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