DOCSLIB.ORG

Linda-I ENG.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Linda-I ENG.Pdf linda is a weekly online magazine which Besides this compilation, we also present proposes to debate electroacoustic culture. in this edition two previously unpublished If at first the word electroacoustic was articles. Julia Teles asks where are the connected to musical traditions of France female composers, in a text addressing and Germany in the late 1940s, what is sexism within the world of music being brought up here now is absolutely composition. And Sérgio Abdalla brings us contemporary and Brazilian. Such a talk with Eva Sidén and Jens Hedman, in reservation is necessary for this edition. which the universes of musical creation, Not only is it essentially composed of a both in Brazil and Sweden, are discussed. compilation of the best articles written by May linda be a gateway for you to know a little its regular authors in the past quarter, it is more about what NME has made. Since you also our first bilingual edition. won’t be able to drop by one of our concerts, A compilation, in order to create new don’t miss the chance to listen to the albums intertextual narrative paths. available free of charge through our label – http://nmelindo.bandcamp.com –, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Bilingual, in order to put said production into or to watch our video-clips channel– iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii perspective, in the face of what has been http://youtube.com/nmeclipes. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii produced around the world. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii For now, we invite you to dive into this iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii It is important to emphasize how confident iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii linda – i (the first!) for a most pleasurable iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii we are in our work, and that we understand iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii reading – as usual. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the relevancy of the themes and opinions iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii presented here for art and contemporary iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii studies. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii LINDA iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Tiago de Mello iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii INDEX (8-15) TRANSWEST (36-38) GLITCH AS SPAM Tiago de Mello Rodrigo Faustini She stops and says: like to stress: electroacoustic culture. (18-21) WHERE ARE THE (40-41) HURRY Sound art, experimental music, sound FEMALE COMPOSERS? Natália Keri — linda! (beautiful!) experimentalism… And then, rest assured Julia Teles and breathes. there will be a graceful sforzato of many themes — and their reverse. (42-45) STRUGGLING TO In such a suffering and divided country as (22-23) “TRADITIONAL” (?) LISTEN / MO(U)RNING GLORY Amidst the silence of many and the today’s Brazil, there couldn’t be better COMPOSITION Bruno Fabbrini unperceptiveness of others, reading linda news than an independent magazine about Francisco de Oliveira each week has been just like breathing. electroacoustic culture! Not because it is about this particular niche in musical (46-49) THAT PLEASANT LITTLE Forget the accumulated dust of the fight culture, but because it is a breeze of fresh for shelves at universities, where the fight (24-25) PRAXIS SOUND AT THE JAPANESE air, sounding that once again it is possible becomes so important, that shelves are Ricardo Lira RESTAURANT to breathe. forgotten. Forget the exclusivity of some Luis Felipe Labaki groups, exclusive to the point they don’t One can insist in something different, (28-31) MORTON FELDMAN even need to say what they want, since those detaching one’s listening from that which there to listen already know what it’s about. insists in monopolizing it. FOOLED ME (52-57) BARRIER WITHOUT Sérgio Abdalla GATE Unpretentious and secure, pretty and simple, linda has delicious curves in Ivan Chiarelli ideas that spacialize thought, in the So, breathe and: (32-34) ZAP, ZAP, ZAP: TV, AN diverse spectromorphology of authors — linda! UNKNOWN CARTOON AND (59-68) TALK WITH EVA SIDÉN and proposals, in the precise and poetic diffusion of nothing but what interests … or vice versa. ITS “STOP THE EXPERIMENTAL AND JENS HEDMAN those who want electroacoustic music.
Load more

Recommended publications
  • NEW RELEASE Cds 24/5/19
    NEW RELEASE CDs 24/5/19 BLACK MOUNTAIN Destroyer [Jagjaguwar] £9.99 CATE LE BON Reward [Mexican Summer] £9.99 EARTH Full Upon Her Burning Lips £10.99 FLYING LOTUS Flamagra [Warp] £9.99 HAYDEN THORPE (ex-Wild Beasts) Diviner [Domino] £9.99 HONEYBLOOD In Plain Sight [Marathon] £9.99 MAVIS STAPLES We Get By [ANTI-] £10.99 PRIMAL SCREAM Maximum Rock 'N' Roll: The Singles [2CD] £12.99 SEBADOH Act Surprised £10.99 THE WATERBOYS Where The Action Is [Cooking Vinyl] £9.99 THE WATERBOYS Where The Action Is [Deluxe 2CD w/ Alternative Mixes on Cooking Vinyl] £12.99 AKA TRIO (Feat. Seckou Keita!) Joy £9.99 AMYL & THE SNIFFERS Amyl & The Sniffers [Rough Trade] £9.99 ANDREYA TRIANA Life In Colour £9.99 DADDY LONG LEGS Lowdown Ways [Yep Roc] £9.99 FIRE! ORCHESTRA Arrival £11.99 FLESHGOD APOCALYPSE Veleno [Ltd. CD + Blu-Ray on Nuclear Blast] £14.99 FU MANCHU Godzilla's / Eatin' Dust +4 £11.99 GIA MARGARET There's Always Glimmer £9.99 JOAN AS POLICE WOMAN Joanthology [3CD on PIAS] £11.99 JUSTIN TOWNES EARLE The Saint Of Lost Causes [New West] £9.99 LEE MOSES How Much Longer Must I Wait? Singles & Rarities 1965-1972 [Future Days] £14.99 MALCOLM MIDDLETON (ex-Arab Strap) Bananas [Triassic Tusk] £9.99 PETROL GIRLS Cut & Stitch [Hassle] £9.99 STRAY CATS 40 [Deluxe CD w/ Bonus Tracks + More on Mascot]£14.99 STRAY CATS 40 [Mascot] £11.99 THE DAMNED THINGS High Crimes [Nuclear Blast] FEAT MEMBERS OF ANTHRAX, FALL OUT BOY, ALKALINE TRIO & EVERY TIME I DIE! £10.99 THE GET UP KIDS Problems [Big Scary Monsters] £9.99 THE MYSTERY LIGHTS Too Much Tension! [Wick] £10.99 COMPILATIONS VARIOUS ARTISTS Lux And Ivys Good For Nothin' Tunes [2CD] £11.99 VARIOUS ARTISTS Max's Skansas City £9.99 VARIOUS ARTISTS Par Les Damné.E.S De La Terre (By The Wretched Of The Earth) £13.99 VARIOUS ARTISTS The Hip Walk - Jazz Undercurrents In 60s New York [BGP] £10.99 VARIOUS ARTISTS The World Needs Changing: Street Funk..
    [Show full text]
  • Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
    Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time.
    [Show full text]
  • Negotiating Sound, Noise and Silence Through Improvisation, Composition and Image
    University of Huddersfield Repository Harvey, Stephen Negotiating sound, noise and silence through improvisation, composition and image Original Citation Harvey, Stephen (2014) Negotiating sound, noise and silence through improvisation, composition and image. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/23395/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Negotiating sound, noise and silence through improvisation, composition and image Stephen Harvey A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of MA by research August 2014 Copyright Statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and s/he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes.
    [Show full text]
  • Music for the Augmented Pipe Organ
    Music for the Augmented Pipe Organ by George Rahi B.A. (Hons.), University of British Columbia, 2011 Project Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in the School for the Contemporary Arts Faculty of Communication, Art and Technology © George Rahi 2019 SIMON FRASER UNIVERSITY Spring 2019 Copyright in this work rests with the author. Please ensure that any reproduction or re-use is done in accordance with the relevant national copyright legislation. Approval Name: George Rahi Degree: Master of Fine Arts Title: Music for the Augmented Pipe Organ Examining Committee: Chair: Peter Dickinson Professor Sabrina Schroeder Senior Supervisor Assistant Professor Arne Eigenfeldt Supervisor Professor Giorgio Magnanensi External Examiner Artist Date Defended/Approved: January 15, 2019 ii Abstract Music for the Augmented Pipe Organ is a composition for a 74-rank Casavant pipe organ which incorporates newly devised digital controls systems. The work stemmed from research into the confluences between the pipe organ and contemporary electronic and digital music practices. With a reflexive attention to the organ‟s spatial context and unique embodiment of the harmonic series, the work explores new sonic terrains that emerge through a digital approach to the world‟s oldest mechanical synthesizer. Through this process of hybridizing acoustic and digital sonic imaginations, the work creates a dialog between the vibrant material and ethereal space of the organ and the techniques of electronic and post-digital music forms. Site-specific elements such as the church‟s architecture and interior acoustics are further incorporated into the work through the use of a controlled feedback system and projection mapping, considering the resonant relationships between the instrument and its surrounding space as a generative element interwoven into the composition.
    [Show full text]
  • Tim Hecker Virgins Download 320Kbps Full Album Tim Hecker
    tim hecker virgins download 320kbps full album Tim Hecker. Montreal producer Tim Hecker made his initial breakthrough as Jetone, but followed with some incredible ambient work attributed to his born name. This experimental ambient work, released by Alien8 sublabel Substractif beginning in late 2001 with Haunt Me Haunt Me, Do It Again, won much acclaim. It also familiarised listeners with the producer himself, and not just because it featured his real name rather than a moniker: Hecker's self-titled work was much more personal than his Jetone recordings. As a graduate student studying digital acoustics and software, Hecker spent years dabbling with electronic music before finally debuting as Jetone in 2000 with Autumnumonia for Pitchcadet. The release interested Force Inc, which released Hecker's next album as Jetone, Ultramarin, a year later. Following this popular release, he aligned himself with Alien8, an experimental label based in Montreal. He recorded Haunt Me Haunt Me, Do It Again for the label's ambient sub-label, Substractif, and watched it inspire critical praise upon its release in late 2001. The album proved so successful that Substractif released a follow-up EP, My Love Is Rotten to the Core, less than a year later in hopes of building upon the lingering critical buzz surrounding Haunt Me. Hecker then recorded Radio Amor for Mille Plateaux, Force Inc's experimental ambient sublabel, which released the album in April 2003. Inspired by a 1996 journey to Central America, where he experienced a memorable boat ride off the coast of Honduras, Radio Amor consolidated the various aspects of Hecker's previous two efforts into his most accessible ambient work to date and accordingly won him yet more acclaim.
    [Show full text]
  • Representée Par Galerie Charlot, Paris Galerie Ellephant, Montreal
    Representée par Galerie Charlot, Paris Galerie Ellephant, Montreal Formation 2012 Université Concordia, Montréal, Canada, MFA Film Production 2011 Université Paris 8, Paris, France, Master Cinéma 2005 Université Concordia, Montréal, Canada, BFA Film Production Expositions solo / 2 personnes 2021 Installation vidéo, Cinémathèque Québécoise, Montréal, Canada 2019 Sabrina Ratté & Yoshi Sodeoka, UltraSuperNew Gallery, Tokyo, Japon Exposition solo, Galerie Charlot, Tel Aviv, Israël Exposition solo, Galerie Charlot, Paris, France Sabrina Ratté & Rick Silva, Transfer Gallery, Los Angeles Sabrina Ratté & Samuel Arsenault-Brassard, Ellephant Gallery, Montreal CA Exposition solo, Salisbury University Art Gallery, Salisbury, USA 2018 Exposition solo, Galerie Ellephant, Montréal, CA Machine for Living, installation vidéo, Festival Mirage, Lyon, France 2017 Aires, Never Apart, Montréal, CA Sabrina Ratté / Marie-Douce St-Jacques, Commissaire: Nathalie Bachand, 375e anniversaire de Montréal, CA 2016 Exposition solo, Young Project Gallery, Los Angeles, CA, USA Exposition solo, Dolby Gallery, San Francisco, CA, USA Installation vidéo, Atonal Festival, Berlin, Allemagne Installation vidéo, Société des arts technologiques (SAT), Biennale d’art numérique de Montréal 2015 Exposition solo, Window Display, Kuenstlerhaus Bethanien, Berlin, Allemagne Surabhi Ghosh et Sabrina Ratté, Ditch Projects, Springfield, Oregon, USA Felicia Atkinson & Sabrina Ratté, KRETS Gallery, Malmö, Suède Installation vidéo, The Museum of Moving Images, New York, USA Résidences / Prix
    [Show full text]
  • Longlist 3/2019 Vom Preis Der Deutschen Schallplattenkritik E.V
    Longlist 3/2019 vom Preis der deutschen Schallplattenkritik e.V. Jury Orchestermusik „Jet Set!“ – Symphonien & Arien von Abel, Mozart, Paisiello u.a. Otto, Murphy u.a. (Pentatone) Bartók: The Wooden Prince, Miraculous Mandarin Suite. Helsinki Philharmonic O, Mälkki (BIS) Bennett: Orchesterwerke Vol. 3. Connolly, BBC Scottish Symphony O, Wilson (Chandos) Berlioz: Symphonie fantastique, Lélio. Marsoner, Lafont u.a., Wiener Symph, Jordan (Solo Musica) Gossec: Symphonien op. IV, Nr. 1-6. Deutsche Kammerakademie Neuss, Gaudenz (cpo) Mahler: Symphonie Nr.1. Les Siècles, Roth (harmonia mundi) Mozart: Symphonien 39, 40 & 41. Le Concert des Nations, Savall (Alia Vox) Mussorgski, Rimski-Korsakow, Ljadow: Orchesterwerke. Gürzenich-O, Kitajenko (Oehms) Tschaikowsky: Symphonie Nr. 6. Berliner Phil, Petrenko (BPh Recordings) Weinberg: Symphonien Nr. 2 & 21. Kremer, City of Birmingham O u.a. Gražinytė-Tyla (DG) Jury Konzerte „Longing For Paradise“– Werke von Strauss, Goossens u.a. Mayer, Bamberger Symph, Hrůša (DG) Brahms: Violinkonzert u.a. Yang, Schwabe, DSO Berlin, Wit (Naxos) JS Bach: Violinkonzerte u.a. Faust, Loeffler, Akademie für Alte Musik, Forck (harmonia mundi) Locatelli, Nante: Le Fil d’Ariane. Marianne Piketty, Le Concert Idéal (Evidence) Rachmaninoff, Poulenc, Vierne: Orgelkonzerte. Carpenter, KonzerthausO Berlin, Eschenbach (Sony) Saint-Saëns: Klavierkonzerte. Kantorow, Tapiola Sinfonietta, Kantorow (BIS) Schostakowitsch, Weinberg, Kobekin: Cellokonzerte. Kobekina, Berner SymphonieO, Edusei (Claves) Jury Kammermusik „Quasi Morendo“ – Werke von Brahms, Pesson, Sciarrino. Bieri, Meta 4 (ECM) „The Yiddish Cabaret“ – Werke von Korngold, Schulhoff u.a.. Baggio, Jerusalem Q (harmonia mundi) JS Bach: Cellosuiten BWV 1007-1012. Gerhardt (Hyperion) Bartók: Intégrale des Quatuors à Cordes. Quatuor Diotima (naïve) Gernsheim: Streichquartette Vol. 1. Diogenes Quartett (cpo) Hindemith: Sämtliche Werke für Violine und Klavier u.a.
    [Show full text]
  • The Cyber-Guitar System: a Study in Technologically Enabled Performance Practice
    The Cyber-Guitar System: A Study in Technologically Enabled Performance Practice Jonathan Crossley (9405149d) Supervised by Professor Jeanne Zaidel-Rudolph and Dr Grant Olwage A thesis submitted to the Faculty of Humanities, University of the Witwatersrand, in fulfilment of the requirements for the degree of Doctor of Philosophy March 2017 i Declaration I know that plagiarism is wrong. Plagiarism is to use another’s work and to pretend that it is one’s own. I have used the author date convention for citation and referencing. Each significant contribution to and quotation in this dissertation from the work/s of other people has been acknowledged through citation and reference. I declare that this dissertation is my own unaided work. It is submitted for the degree of Doctor of Philosophy at the University of the Witwatersrand, Johannesburg. It has not been submitted before for any other degree or examination in any other university. Jonathan Crossley 9405149d 01-09-–2017 ii Abstract This thesis documents the development and realisation of an augmented instrument, the cyber-guitar, expressed through the processes of artistic practice as research. The research project set out to extend my own creative practice on the guitar by technologically enabling and extending the instrument. This process was supported by a number of creative outcomes (performances, compositions and recordings), running parallel to the interrogation of theoretical areas emerging out of the research. In the introduction I present a timeline for the project and situate the work in the field of artistic practice as research, explaining the relationship between research and artistic practice as research.
    [Show full text]
  • Billboard Magazine
    11.02.2013 billboard.com billboard.biz ATLANTIC'S SUPER BOWL PLAY Doritos Partnership Drives Synchs NEW LIFE FOR RHAPSODY Telecom Bundles Drive 13* Scale FILM/TV MUSIC CONFERENCE HELLO, SIA 4. IL r!1 ti 14,1 410 $6 99US $8.99CAM 4 2> 7 896 47205 9 UK £5.50 "ONE OF THE BESTWorldMags.net"THE ARRIVAL OF "ONE OF THE MOST STRIKING STORIES IN POP" A NEW KIND OF STAR " ARTISTS IN R&B " -- ROLLING STONE -- ENTERTAINMENT WEEKLY -- NEW YORK TIMES * * * * * * * * * * taylor swift lorde the weeknd *IDE / BILLBOARD TOP 200 ALBUMS a1 DEBUT / BILLBOARD TOP ROCK ALBUMS / BILLBOARD TOP R&B ALBUMS siSINt "I KNEW YOU WERE TROUBLE" #1 SINGLE "ROYALS"' "LIVE FOR" Source: Billboard Hot Digital Songs Source: Billboard Hot too Songs Source: rTunes / Top R&B / Soul Song's (8.20.13) "THIS MIGHT BE THE MOST -AN AMALGAM OF EVERYTHING "THE BIGGEST STORY IN COUNTRY INVITING POP RECORD OF 20f3 " YOU'D WANT FROM A NEW MUSIC THIS YEAR [201.91 IS MOST -- LA TIMES BLACK SABBATH ALBUM" -- NME CERTAINLY FLORIDA GEORGIA LINE" * * -- THE ARGUS LEADER * * * * * ariana grande black sabbath florida #1 DEBUT / BILLBOARD TOP 200 ALBUMS / BILLBOARD TOP 200 ALBUMS #1 SINGLE "THE WAY"" "GOD IS DEAD" georgia line #1 DEBUT / BILLBOARD TOP COUNTRY ALBUMS #1 SINGLE "CRUISE"` -.+111P. Source: iTures / Top Singles (3.25.r3) Source: Mechabase Mainstream Rock (5.24,3) "...HELLA-COOL DEBUT" `AN ARTISTIC TOUR DE FORCE THAT ROWLAND STEPS OUT WITH PEOPLE FURTHERS THE POTENT/AL SHOWN SURE FOOTING, A GIRL -NEXT * * * * ON GROUP'SAWARD-WINNING DEBUT. " DOOR WHO BELONGS ON TOP" -- THE ASSOCIATED PRESS - SPIN of monsters * * * * * and men the band perry kelly rowland *1DEBI./ BILLBOARD TOP ROCK ALBUMS #1 DEBUT / BILLBOARD TOP COUNTRY ALBUMS / BILLBOARD TOP R&B ALBUMS "LITTLE TALKS" #1 SINGLE "BETTER DIG TWO"` "KISSES DOWN LOW" *t- IN V ' Atk 4446 A Irrirffei Source: Billboard Country Airplay republic for your grammy® consideration WorldMags.net WorldMags.net THIS WEEK Volume 125 [ No.
    [Show full text]
  • COLIN STETSON PROGRAM Saxophone
    Saxophone COLIN STETSON Visiting Artist Series presents ARTIST PARTNER PROGRAM November 9, 2017 . 8PM @ MilkBoy ArtHouse VISITINGVAS ARTIST 1SERIES The Clarice Smith Performing Arts Center's Visiting Artist Series presents COLIN STETSON PROGRAM Saxophone This performance will last approximately 1 hour. Join the artists for a conversation during the performance. Program to be selected from: Spindrift Judges Between Water and Wind All this I do for Glory The love it took to leave you In the clinches Strike your forge and grin 2 Colin Stetson was born and raised in Ann Arbor, spent a decade ABOUT THE ARTIST in San Francisco and Brooklyn honing his formidable talents as a horn player, eventually settling in Montreal in 2007. Over the years he has worked extensively live and in studio with a wide range of bands and musicians including Tom Waits, Arcade Fire, Bon Iver, TV On The Radio, Feist, Laurie Anderson, Lou Reed, Bill Laswell, Evan Parker, The Chemical Brothers, Animal Collective, Hamid Drake, LCD Soundsystem, The National, Angelique Kidjo, Fink, and David Gilmour. Meanwhile he has developed an utterly unique voice as a soloist, principally on saxophones and clarinets, his intense technical prowess matched by his exhilarating and emotionally gripping skills as a songwriter. Stetson’s astounding physical engagement with his instruments (chiefly bass and alto saxophones) produces emotionally rich and polyphonic compositions that transcend expectations of what solo horn playing can sound like. Stetson is equally at home in the avant jazz tradition of players who have pushed the boundaries of the instrument through circular breathing, embouchure, etc. (i.e.
    [Show full text]
  • Artist: Tim Hecker Title
    artist: Tim Hecker title: Dropped Pianos catalog#: krank161 formats available: LP / CD / digital upc code cd: 7 96441 81612 5 release date: October 10, 2011 content: !This new Tim Hecker release is composed of sketch pieces recorded in 2010 in preparation for what would become the Ravedeath, 1972 album. All of the compositions are piano driven and minimal in nature. !This is not a new Tim Hecker album, but rather a peek behind the curtains into the working process. That these pieces stand on their own as compelling soundworks is a testament to the fact that Tim Hecker is at the absolute top of his game at the moment, and has been for years. track listing: 1. Sketch 1 2. Sketch 2 3. Sketch 3 4. Sketch 4 5. Sketch 5 6. Sketch 6 7. Sketch 7 8. Sketch 8 9. Sketch 9 selected discography: Ravedeath, 1972 2011 An Imaginary Country 2009 Harmony in Ultraviolet 2006 press quotes for Ravedeath, 1972: "We can't think of another producer in the field who's had such an unstoppable winning streak over the past ten years." Altered Zones "So whatever grand plan Hecker may or may not have had in mind here, let#s just say that much of Ravedeath, 1972 will put you in the position of a slack-jawed medieval peasant, floored by hearing the power and beauty of that organ for the first time." Drowned in Sound "Easily his best yet, and one of our new favorite records, and for sure, a contender for record of the year, even just a little over a month in..
    [Show full text]
  • Represented by Galerie Charlot, Paris Ellephant Gallery, Montreal Education 2012 Concordia University, Montreal, Canada
    Represented by Galerie Charlot, Paris Ellephant Gallery, Montreal Education 2012 Concordia University, Montreal, Canada, MFA Film Production 2011 Université Paris 8, Paris, France, Master Cinema 2005 Concordia University, Montreal, Canada, BFA Film Production Solo + Two Person Exhibitions 2021 Video Installation, Cinémathèque Québécoise, Montréal, Canada 2019 Sabrina Ratté & Yoshi Sodeoka, UltraSuperNew Gallery, Tokyo, Japan Solo exhibition, Galerie Charlot, Tel Aviv, Israel Solo exhibition, Galerie Charlot, Paris, France Sabrina Ratté & Rick Silva, Transfer Gallery, Los Angeles Sabrina Ratté & Samuel Arsenault-Brassard, Ellephant Gallery, Montreal CA Solo exhibition, Salisbury University Art Gallery, Salisbury, USA 2018 Solo exhibition, Ellephant Gallery, Montreal, CA Video Installation, Mirage Festival, Lyon, France 2017 Video Installation, Never Apart, Montreal, CA Sabrina Ratté & Marie-Douce St-Jacques, Curator: Nathalie Bachand, Montreal 375th anniversary, Montreal, CA 2016 Solo Exhibition, Young Project Gallery, Los Angeles, USA Solo Exhibition, Dolby Gallery, San Francisco, USA Video Installation, Atonal Festival, Berlin, Germany Video installation, Montreal Digital Art Biennal, Société des Art Technologiques, Montreal,CA 2015 Solo exhibition, Window Display, Kuenstlerhaus Bethanien, Berlin, Germany Surabhi Ghosh & Sabrina Ratté, Ditch Projects, Springfield, Oregon, USA Video Installation, Museum of the Moving Image, NYC Felicia Atkinson & Sabrina Ratté, KRETS Gallery, Malmö, Sueden Grants and Prizes 2020 Explore and Create Grant,
    [Show full text]