DOCSLIB.ORG

Murder Ballads

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Murder Ballads La monstruosité dans la musique de PJ Harvey et Nick : une dynamique grotesque dans le rock Catherine Girodet To cite this version: Catherine Girodet. La monstruosité dans la musique de PJ Harvey et Nick : une dynamique grotesque dans le rock. Littératures. Université Paul Valéry - Montpellier III, 2019. Français. NNT : 2019MON30064. tel-02926180 HAL Id: tel-02926180 https://tel.archives-ouvertes.fr/tel-02926180 Submitted on 31 Aug 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. ! ! ! XECUQX9!I5Q!Ea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c"eXSfIbc"cYXYbIc"HIc"EedIebcDGYW`YcSdIebc"HI"bYGU"SXHq`IXHEXd"4("&EbfIi"Id"2SGU"!EfI"cYXd"cYefIXd" `bqcIXdqc"GYWWI"eXI"WsWI"bqEVSdq"WecSGEVI"HI"cIXcSFSVSdq"v"QYdRSaeI"wS"REXdqI"`Eb"VE"fSYVIXGIS"VE"PYVSI" Id"VE"`Ieb8"4Eb"ESVVIebcS"VIc"HIeh"`EbGYebc"`EbdEQIXd"eXI"IcdRqdSaeI"HI"VIhdbsWI"Yt"cI"WsVIXd"QbYdIcaeIbSI" `ciGRSaeIS"GYb`YbEVSdq"EFTIGdI"Id"dbEXcQbIccSYX"Ee"Qbq"HeX"WYHI"Ri`IbFYVSaeI"YcGSVVEXd"IXdbI"RYbbIeb"Id" `EbYHSI8" #X"cE``eiEXd"ceb"VIc"WYHEVSdqc"He"WYXcdbeIeh"HEXc"VIc"xefbIc"HIc"HIeh"EbdScdIcS"SV"cEQSd"HI"WIddbI"Ee" TYeb"VE"cdbEdqQSI"HI"be`debI"Id"HI"GYXdbEHSGdSYX"Hq`VYiqIS"ESXcS"aeI"VIc"WqGEXScWIc"QbYdIcaeIc"aeS"VE"cYecD dIXHIXd8 "" #X" cE``eiEXd" ceb" VIc" qdeHIc" QYdRSaeIc" EXQVYDEWqbSGESXIcS" VE" GbSdSaeI" He" QbYdIcaeI" Id" VE" bqGIXdI" bIGRIbGRI"EXQVY`RYXI"ceb"VE"WYXcdbeYcSdq"Z !""#$%&'()*+'#(,) w[S"GI"dbEfESV"WId"IX"VeWSrbI"eXI"qGbSdebI" dbEXcQbIccSfI"HI"VReWESX"aeS"`EccI"He"WYHI"GEbXEfEVIcaeI"Ee"WYHI"SXdbYc`IGdSPS"IXdbIWsVEXd"VIc"`VEScSbc" dbYeFVIc"He"TIe"WYXcdbeIeh"Id"VI"bqGSd"HI"fSIS"`Eb"VI"FSESc"HeXI"c`IGdbEVSdq"WecSGEVIS"SXdIbdIhdeIVVI"Id" SXdIbDEbdScdSaeI8"" " 1387D!0#$7"" WFSfEVIXGI"y"%YdRSaeI )y"%bYdIcaeI"y""&iFbSHEdSYX"D"&YbbIeb"y"&eWYeb"XYSb"D"1YXcdbeYcSdq"y"8RqYbSI" HI"VE"WYXcdbeYcSdq""D"6qGSd"HI"fSI""D"8bEXcQbIccSYX""D"6YGU"SXHq`IXHEXd"y"8bEeWEdScWI"D"@SYVIXGI" " ! Y! "" ! ! ! Z! "2.-34#-! " 13278637'8B"'2"8&#"197'!"3$"4("&6@#B"2""2'!)"!@#" 8&#"43#8'!7"3$"8&#"%638#759#"'2"63!)8" " " 8RI"SXHI`IXHIXd"bYGU"cSXQIbcDcYXQgbSdIbc"4("&EbfIi"EXH"2SGU"!EfI"REfI"YPdIX"FIIX"GbSdSGEVVi"GYW`EbIH" YX"EGGYeXd"YP"dRISb"%YdRSG"cIXcSdSfSdSIc"EXH"PEcGSXEdSYX"gSdR"fSYVIXGIS"SXcEXSdiS"EXH"PIEb8"1YbIYfIbS"dRI" dgY"WecSGSEXc"cREbI"EX"EIcdRIdSGc"YP"dRI"IhdbIWI"SXdIbWSXQVSXQ"`ciGRSG"QbYdIcaeIbSIS"QbYcc"GYb`YbEVSdiS" EXH"dbEXcQbIccSYX"Fi"WIEXc"YP"E"Ri`IbFYVSG"WYHI"YcGSVVEdSXQ"FIdgIIX"RYbbYb"EXH"`EbYHi8""" $YGecSXQ"YX"dRI"WYXcdbeYec"WYHEVSdSIc"Ed"gYbU"SX"FYdR"FYHSIc"YP"gYbUS"dRSc"HSccIbdEdSYX"SXfIcdSQEdIc" &EbfIic"EXH"!EfIc"cdbEdIQi"YP"GYXdbEHSGdSYX"EXH"HScbe`dSYX"EXH"Sdc"QbYdIcaeI"WIGREXScWc8 ""bEgSXQ" e`YX"XQVYDWIbSGEX"%YdRSG"cdeHSIcS"QbYdIcaeI"GbSdSGScWS"EXH"bIGIXd"1YXcdIb"8RIYbiS"dRSc"bIcIEbGR" FbSXQc" dY" VSQRd" E" dbEXcQbIccSfI" bIXHIbSXQ" YP" ReWEX" SHIXdSdi" bEXQSXQ" PbYW" dRI" GEbXSfEVIcaeI" dY" SXdbYc`IGdSfI"WYHIcS"SX"E"cYXQgYbVH"EVdIbXEdSXQ"dRI"VebI"YP"FEbFEbSG"HbEWE"EXH"VSPI"gbSdSXQS"EXH"gSdR"EX" EIcdRIdSG"YP"SXdIbWecSGEVS"SXdIbdIhdeEVS"EXH"SXdIbDEbdScdSG"c`IGdbEVSdi8"" ! S8\!]^9R"U! ! WFSfEVIXGI"y" VEGU"ReWYeb"D""%YdRSG )y"%bYdIcaeI"y""&iFbSHScEdSYX"D"&YbbYb"y"'XHI`IXHIXd"6YGU"D" 0SPIgbSdSXQ"D""1YXcdbeYcSdi"y"1YXcdIb"8RIYbi""D"8bEXcQbIccSYX""D""8bEeWE"D"@SYVIXGI" " [! ! ! _! "#$%&!'(!)*+,&+,-! "#$%&'()*+),)%-.!/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////!0 ! 12.3,2!////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////!4! "5.-67#-!///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////!8! 975()!:;!<&%-)%-.!////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////!= ! !"#"$%&'(#)$*+,-)(*#'.................................................................................................'/0' >/!?6).)%-7-@&%!&;!-A)!9'&!"[email protected]!C&%+'&6(*.!////////////////////////////////////////////////////////////////////////////////!>= ! D/ !E%*@F@*37(!G7((,76$.!//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////!DH ! D/>/!I@#$!<7F)!////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////!DH ! D/D/!?J!G76F)KB.!LM-6),)!N3-75@(@-K!/////////////////////////////////////////////////////////////////////////////////////////////!DO ! 0/!P@-)67-36)!1)F@)'!//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////!0Q ! 0/>/!1&#$!7%*!?&R3(76!<6@-@#@.,!////////////////////////////////////////////////////////////////////////////////////////////////////!0Q ! 0/D/[email protected]@%+!"#7*),@#!<6@-@#@.,!&%!G76F)K!7%*!<7F)!///////////////////////////////////////////////////////////////////!0D ! H/!9A)&6)-@#7(!S67,)'&6$!7%*!1).)76#A!?6),@.).!///////////////////////////////////////////////////////////////////////////!04 ! H/>/!!?&R3(76!N3.@#!///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////!04 ! H/D/!9A)&6K!&%!N&%.-6&.@-K!///////////////////////////////////////////////////////////////////////////////////////////////////////////!0O ! H/0/!"%+(&T",)6@#7%!U&-A@#!7%*!U6&-).V3)!9A)&6K!/////////////////////////////////////////////////////////////////////!HQ ! 4/ !1).)76#A!?36R&.)!//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////!H> ! W/ !<&6R3.!///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////!H0 ! 8/ !N)-A&*!7%*!:3-(@%)!//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////!H4 ! ' 1%$)'(.'1$*2&"3%)(4(#!'5,3%#'(+"#)()67' %'4)$%)"!6'*8'3*#4)$*,4'+(4$,1)(*#' ! (#)$*+,-)(*#')*'1%$)'('................................................................................................'9/' -5%1)"$'(7'4:;<=>?'@A:'3@>B:CDE3@>?CD=>?'-;FC';>G'5;DFCH'4:HIC'..................................'9J' >/ !U&-A@#X!U6&-).V3)X!7%*!N&%.-6&.@-KY!9A)&6)-@#7([email protected],5@+37-@&%!///////////////////////////////////////////////!40 ! >/>/!U&-A@#!/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////!40 ! >/D/!U6&-).V3)!<&%#)R-37(!S67,)'&6$.!//////////////////////////////////////////////////////////////////////////////////////!4W
Load more

Recommended publications
  • Full Results of Survey of Songs
    Existential Songs Full results Supplementary material for Mick Cooper’s Existential psychotherapy and counselling: Contributions to a pluralistic practice (Sage, 2015), Appendix. One of the great strengths of existential philosophy is that it stretches far beyond psychotherapy and counselling; into art, literature and many other forms of popular culture. This means that there are many – including films, novels and songs that convey the key messages of existentialism. These may be useful for trainees of existential therapy, and also as recommendations for clients to deepen an understanding of this way of seeing the world. In order to identify the most helpful resources, an online survey was conducted in the summer of 2014 to identify the key existential films, books and novels. Invites were sent out via email to existential training institutes and societies, and through social media. Participants were invited to nominate up to three of each art media that ‘most strongly communicate the core messages of existentialism’. In total, 119 people took part in the survey (i.e., gave one or more response). Approximately half were female (n = 57) and half were male (n = 56), with one of other gender. The average age was 47 years old (range 26–89). The participants were primarily distributed across the UK (n = 37), continental Europe (n = 34), North America (n = 24), Australia (n = 15) and Asia (n = 6). Around 90% of the respondents were either qualified therapists (n = 78) or in training (n = 26). Of these, around two-thirds (n = 69) considered themselves existential therapists, and one third (n = 32) did not. There were 235 nominations for the key existential song, with enormous variation across the different respondents.
    [Show full text]
  • Dr. Richard Brown Faith, Selfhood and the Blues in the Lyrics of Nick Cave
    Student ID: XXXXXX ENGL3372: Dissertation Supervisor: Dr. Richard Brown Faith, Selfhood and the Blues in the Lyrics of Nick Cave Table of Contents Introduction 2 Chapter One – ‘I went on down the road’: Cave and the holy blues 4 Chapter Two – ‘I got the abattoir blues’: Cave and the contemporary 15 Chapter Three – ‘Can you feel my heart beat?’: Cave and redemptive feeling 25 Conclusion 38 Bibliography 39 Appendix 44 Student ID: ENGL3372: Dissertation 12 May 2014 Faith, Selfhood and the Blues in the lyrics of Nick Cave Supervisor: Dr. Richard Brown INTRODUCTION And I only am escaped to tell thee. So runs the epigraph, taken from the Biblical book of Job, to the Australian songwriter Nick Cave’s collected lyrics.1 Using such a quotation invites anyone who listens to Cave’s songs to see them as instructive addresses, a feeling compounded by an on-record intensity matched by few in the history of popular music. From his earliest work in the late 1970s with his bands The Boys Next Door and The Birthday Party up to his most recent releases with long- time collaborators The Bad Seeds, it appears that he is intent on spreading some sort of message. This essay charts how Cave’s songs, which as Robert Eaglestone notes take religion as ‘a primary discourse that structures and shapes others’,2 consistently use the blues as a platform from which to deliver his dispatches. The first chapter draws particularly on recent writing by Andrew Warnes and Adam Gussow to elucidate why Cave’s earlier songs have the blues and his Christian faith dovetailing so frequently.
    [Show full text]
  • Laura Harker & Paul Sullivan on Nick Cave and the 80S East
    Behaviour 11 Extr me LaurA HArKer & PAul SullIvAn On Nick CAve AnD THe 80S East KreuzBerg SCene Photography by Peter gruchot 10 ecords), 24 April 1986 Studio session for the single ‘The Singer’ (Mute r Cutting a discreet diagonal between Kottbusser Tor and Oranienplatz, Dresdener Straße is one of the streets that provides blissful respite from east Kreuzberg’s constant hustle and bustle. Here, the noise of the traffic recedes and the street’s charms surge subtly into focus: fashion boutiques and indie cafés tucked into the ground floors of 19th Century Altbauten, the elegantly run-down Kino Babylon and the dark and seductive cocktail bar Würgeengel, the “exterminating angel”, a name borrowed from a surrealist film by luis Buñuel. It all looked very different in the 80s of course, when the Berlin Wall stood just under a kilometre away and the façades of these houses – now expensively renovated and worth a pretty penny – were still pockmarked by World War Two bulletholes. Mostly devoid of baths, the interiors heated by coal, their inhabitants – mostly Turkish immigrants – shivered and shuffled their way through the Berlin winter. 12 13 It was during this pre-Wende milieu that a tall, skinny and largely unknown Australian musician named Nicholas Edward Cave moved into no. 11. Aside from brief spells in apartments on naumannstraße (Schöneberg), yorckstraße, and nearby Oranienstraße, Cave spent the bulk of his seven on-and-off years in Berlin living in a tiny apartment alongside filmmaker and musician Christoph Dreher, founder of local outfit Die Haut. It was in this house that Cave wrote the lyrics and music for several Birthday Party and Bad Seeds albums, penned his debut novel (And The Ass Saw The Angel) and wielded a sizeable influence over Kreuzberg’s burgeoning post-punk scene.
    [Show full text]
  • The Formal and Contextual Relation of Typographic and Visual Elements of Pj Harvey Album Covers
    THE FORMAL AND CONTEXTUAL RELATION OF TYPOGRAPHIC AND VISUAL ELEMENTS OF PJ HARVEY ALBUM COVERS Cinla Seker The aim of this research is to determine 21st century’s formal and contextual design solutions with the guidance of graphic design principles by analyzing design products. Twenty-nine times nominated and six times winner for the international worldwide music awards Pj Harvey’s eight alternative rock studio album covers have chosen; Dry (1992), Rid of Me (1993), To Bring You My Love (1995), Is this Desire?(1998), Stories from the City, Stories from the Sea (2000), Uh Huh Her (2004), White Chalk (2007), Let England Shake (2011).Graphic design as a design discipline in special means determining the formals of a 2d before production process according to the context. Album covers are one of the many graphic design products of 21st century. With the help of an album cover the artist reflects an audial expression visually. For a successful visualization some graphic design principles should have been considered by the designers. Design principles are the guides of organizing elements like visuals, typography and color. In this research five design principles are looked for; unity/harmony, balance, hierarchy, scale/proportion, dominance/emphasis and, similarity and contrast. On Pj Harvey’s album covers it is determined that every five of these principles were considered by the graphic designer during the design process as outlined. INTRODUCTION ............................................................................................ 750 I. ALBUM COVERS AS A GRAPHIC DESIGN PRODUCT................................... 751 A. Analysis of Pj Harvey Album Covers........................................ 752 CONCLUSION ............................................................................................... 757 INTRODUCTION Formal and functional features determination process called the design.
    [Show full text]
  • Murder Ballads.Pdf
    This is an Open Access document downloaded from ORCA, Cardiff University's institutional repository: http://orca.cf.ac.uk/104313/ This is the author’s version of a work that was submitted to / accepted for publication. Citation for final published version: Newman, Daniel 2017. Murder ballads: Nick Cave and his approach to killing in song. Musicology Australia 39 (2) , pp. 96-115. 10.1080/08145857.2017.1393149 file Publishers page: https://doi.org/10.1080/08145857.2017.1393149 <https://doi.org/10.1080/08145857.2017.1393149> Please note: Changes made as a result of publishing processes such as copy-editing, formatting and page numbers may not be reflected in this version. For the definitive version of this publication, please refer to the published source. You are advised to consult the publisher’s version if you wish to cite this paper. This version is being made available in accordance with publisher policies. See http://orca.cf.ac.uk/policies.html for usage policies. Copyright and moral rights for publications made available in ORCA are retained by the copyright holders. Daniel Newman, Cardiff Law School To be published in Musicology Australia Murder Ballads: Nick Cave and his approach to killing in song Abstract Violence and murder have a strong cultural currency the implications of which should be pursued by those with an interest in law and society, crime, and justice. Murder ballads are songs about death and killing with a history stretching back to the nineteenth century. Drawing out the major themes of this genre can help scholars gain a handle on how murder has been treated in popular culture, thereon providing an enhanced understanding of the human condition.
    [Show full text]
  • IN the STUDIO with Melbourne Ska Orchestra
    IN THE STUDIO WITH Melbourne Ska Orchestra Muso ! nds the Melbourne Ska Orchestra kneep deep in recording their debut album, due out in March 2013. Sean Pollard dug Nicky Bomba out of the trenches for a chat. version of Pro-Tools through an iMac. Perched next to the studio’s huge in-house mixing console is an API-6B lunchbox with a JLM HPM500 mixer, four JLM TG500 mic preamps and two JLM PEQ500 EQs. This sits atop a collection of Golden Age Pre-73s. Also in play is a Shadow Hills Mastering Compressor (belonging to Nicki) that features two compressors and a selection of three classic console output transformers. “When we record we’ll bring in stuff like the Shadow Hills, JLMs, bits and pieces and our engineer (Robin) and they’ll stay here,” Nicky details, although Mai is obviously free to come and go as he pleases. “When we’re not here though, there’s still the converters, all the amps, the lines in alking down Johnston Street in Fitzroy, “Adelphia has been the brothers put in their time, we pooled our touch has allowed the and everything. It’s all eighty per cent there and if there’s a street sign just opposite a in the family for many microphones, Robin’s gear, my gear and everything Orchestra to track as you want to bring in the extras - which we did - you row of bizarre furniture shops (one years, ten or fifteen and created our own studio right here.” fast as they can in a live can.” All of these compressors and pre amps are presumptuously decked out for Christmas trading in years,” Bomba explains, environment, netting the W Bomba himself is a man who thrives on big working to serve the sound fed in by Bomba and early November) that reads ‘Juddy Roller’.
    [Show full text]
  • Words That Transform, Vibrate and Glow: 13 Paintings Inspired by the Lyrics of Nick Cave Emma Bennett, Daniel P
    336 Old Street, London EC1V 9DR, United Kingdom | +44 (0)20 7739 4055 | [email protected] | charliesmithlondon.com | @CHARLIESMITHldn Wednesday–Saturday 11am–6pm or by appointment Words that transform, vibrate and glow: 13 paintings inspired by the lyrics of Nick Cave Emma Bennett, Daniel P. Carter, Nadine Feinson, Maggi Hambling, Florian Heinke, Sam Jackson, James Johnston, Susanne Kühn, Concha Martinez Barreto, George Shaw, Dominic Shepherd, George Stamatakis, Rose Wylie Curated by Angela Koulakoglou PRIVATE VIEW Thursday 16 January 2020 6:30-8:30pm EXHIBITION DATES Friday 17 January – Saturday 8 February 2020 GALLERY HOURS Wednesday-Saturday 11am-6pm or by appointment CHARLIE SMITH LONDON is delighted to invite curator and collector Angela Koulakoglou to present Words that transform, vibrate and glow: 13 paintings inspired by the lyrics of Nick Cave. The exhibition was conceived over a year ago and its timing is prescient; Cave’s latest album, Ghosteen, was released with a hallucinatory painting as its cover in October 2019. Unprecedented in their visuality and striking in their ability to conjure apocalyptic landscapes, all the songs on Ghosteen are visions. As Cave embarks on a world tour in 2020, a conversation between his lyrics and painting becomes all the more relevant. ‘I can’t write a song that I cannot see’, Cave once stated in an interview. Having started his career as a painter, he soon turned to song writing and over several decades has produced a body of lyrics unparalleled in their consistent richness, unforgettable imagery, and unique combinations of darkness, humour, despair and hope. Drawn from songs written throughout his career, from the famed Peaky Blinders signature tune Red Right Hand to the early and more obscure Release the Bats, the thirteen paintings included in this exhibition are testimony to the fertile but often unexplored territory that lies between the arts.
    [Show full text]
  • Nick Cave Is Now the Subject of His Own Exhibition
    Western Australian Museum - Perth and the Arts Centre, Melbourne present English English Photograph by Polly Borland / original painting by Tony Clark. Commissioned by the Arts Centre, 2007 Clark. Commissioned by the Arts Centre, Photograph by Polly Borland / original painting Tony EDUCATION RESOURCE Iconic Australian musician, songwriter and author Nick Cave is now the subject of his own exhibition. Go behind the music and into Nick’s imagination and the sources of his unique vision through original lyrics, notebooks, artwork, photography and books. There will also be objects from the musician’s own library and office, and rare and previously unavailable video and documentary footage. A TOURING EXHIBITION Introduction English Nick Cave produces and performs texts that incite strong responses from audiences. His eloquent writing is ideal for analysing how language constructs themes and power relationships and the exhibition’s strong visual component allows students to critically analyse photographs and films. This exhibition is useful for students of the subject English as they will be encouraged to communicate ideas, feelings and attitudes through reading, writing, viewing, listening and speaking. The English package contains activities, background information, and teacher resources for years 10, 11 and 12. Activities range from prescriptive to open-ended and vary in difficulty. The package includes activities such as song interpretation, language analysis, viewing analysis, role play and creative writing. Activities may be helpful in aiding students to understand the concepts of theme, values, attitudes, symbolism, and stereotypes. Useful Websites http://www.museum.wa.gov.au/exhibitions/NickCave http://www.youtube.com/watch?v=6ew4tll-wRc http://www.nick-cave.com/ This education resource has been developed by Nikki Davenport, Cyril Jackson Senior Campus, Western Australia.
    [Show full text]
  • Bad Seed: the Biography of Nick Cave PDF Book
    BAD SEED: THE BIOGRAPHY OF NICK CAVE PDF, EPUB, EBOOK Ian Johnston | 352 pages | 03 Oct 1996 | Little, Brown Book Group | 9780349107783 | English | London, United Kingdom Bad Seed: The Biography of Nick Cave PDF Book Retrieved 12 October Archived from the original on 19 October London: Faber and Faber, Retrieved 27 August The difference in Cave and Howard's approach to songwriting was a major factor, as Cave explained in an interview with On The Street : "the main reason why The Birthday Party broke up was that the sort of songs that I was writing and the sort of songs that Rowland was writing were just totally at odds with each other. Archived from the original on 26 March The album also marked the arrival of Swiss drummer Thomas Wydler , a member of Die Haut , and featured guest appearances from Race, Pew, and Birthday Party guitarist Howard, who had briefly toured with the Bad Seeds as a substitute member in Even though this is the biography of Nick Cave, it felt more like an evolution of him and his band. The American edition of the same book published by Grove Press contains a foreword by the noted American writer Barry Hannah. Mute Records. Lists with This Book. The Birthday Party. Namespaces Article Talk. Casey — bass, backing vocals Conway Savage — piano, organ, backing vocals Thomas Wydler — drums, percussion, backing vocals Jim Sclavunos — percussion, drums, backing vocals. Bick's and Cave's twin sons, Arthur and Earl, were born in Brighton in At the request of his friend Russell Crowe , Cave wrote a script for a proposed sequel to Gladiator which was rejected by the studio.
    [Show full text]
  • C a L L a N S E T L I
    C A L L A N S E T L I S T Aloe Blacc - I Need A Dollar Alt-J - Breezeblocks Angus & Julia Stone - Big Jet Plane Angus & Julia Stone - Wedding Song Birds Of Tokyo - Lanterns Birds Of Tokyo - Plans Bon Iver -Skinny Love Chris Isaak - Wicked Game Christina Perri - Thousand Years Coldplay - Clocks Coldplay - Don’t Panic Coldplay - God Put A Smile Upon Your Face Coldplay - Scientist Coldplay - Viva La Vida Crowded House - Don’t Dream Its Over Crowded House - Fall At Your Feet Damien Rice - The Blowers Daughter Dean Lewis - Waves Disclosure - Latch Drake - Hotline Bling Ed Sheeran - Castle On The Hill Ed Sheeran - Shape Of You Ed Sheeran - Thinking Out Loud Elvis - Can't Help Falling In Love Gary Jewels - Mad World Gotye - Hearts A Mess James Bay - Let It Go Jamie Lawson - I Wasn't Expecting That John Legend - All Of Me José González - Heart Beats Julia Jacklin - Pool Party Keane - Somewhere Only We Know Kimbra - Settle Down Kyle Lionhart - Slow Sips Maroon 5 - Sunday Morning Matt Corby - Resolution Nick Cave & The Bad Seeds - Into My Arms Paramore - Only Exception Pearl Jam - Breathe Radiohead - Paranoid Android Red Hot Chili Peppers - Zephyr Zong Snow Patrol - Chasing Cars Sticky Fingers - Gold Snafu Tamia - So Into You Tears For Fears - Everybody Wants To Rule The World The Church - Under The Milky Way The Fray - How To Save A Life The Paper Kites - Bloom The Reubens - Elvis The Reubens - Paddy The Subways - Strawberry Blonde The Wombats - Turn The Xx - Angels Youth Group - Forever Young
    [Show full text]
  • Esben and the Witch Biography
    Esben and the Witch Biography Daniel Copeman – guitar, electronics Rachel Davies – vocals, bass Thomas Fisher – guitar, keys Since forming in Brighton in 2008, Esben and the Witch have forged a sound that springs forth from minds soaked in influences far and beyond any standard set of musical touchstones. Nature and literature, art and science, history and the unknown – the trio eschews the everyday for inspiration drawn from sources weird and wonderful, as well as the occasional Scott Walker and PJ Harvey record. Announcing their arrival with the demo-cum-EP, 33, which they sold at gigs and distributed online, led to an avalanche of coverage from British broadsheets to US blogs. They followed this unexpected success with a split release on the Dance to the Radio label, contributing the track ‘Skeleton Swoon’ to a 12” in the autumn of 2009, and their first official single, Lucia, at the Precipice, saw light of day as a 7” through the Too Pure Singles Club in February 2010. Whilst their music was finding its way out there so were they. Sharing stages, both home and abroad, with a wealth of critically acclaimed artists including The xx, Wild Beasts, Efterklang, The Big Pink, Deerhunter and Sian Alice Group helped them find their feet as a live proposition. It was with the release of their debut 7” that they ventured out on their first headline UK tour and in the summer of 2010, they took their ever-evolving live set to numerous European festivals including Latitude, Field Day, Dockville (Hamburg) and London Calling (Amsterdam). The second half of 2010 also saw Esben and the Witch find a permanent home with a worldwide deal with legendary indie, Matador Records, to become the label’s only UK signing and placing them alongside Sonic Youth and Cat Power on their impressive roster.
    [Show full text]
  • U2 360° Tour Statistics
    U2 360° Tour Production, Statistics, Biographies 1. Notes on U2 360° Tour 2. Story of 360° Design by Willie Williams 3. Biographies U2 Paul McGuinness Willie Williams Jake Berry Joe O’Herlihy For complete tour and ticket information, fan club memberships, merchandise and more, visit: www.U2.com Press materials available at: www.u2.com/rmpphoto NOTES ON U2360º TOUR • U2360º is designer Willie Williams 10th production for U2. • Mark Fisher serves as the architect on his 6th production for U2. • The stage design includes a cylindrical video screen • The band and Williams had discussed ideas for 360-degree stadium set for a number of years. Sketches of a four-legged set were first drawn after a model was built with forks over dinner during the Vertigo Tour 2006. • The stage is Built By the Belgian company, Stageco. The construction of each requires the use of high-pressure and innovative hydraulic systems. • The steel structure is 90 feet tall with the center pylon reaching 150 feet tall. • The design can support up to 180 tonnes. • The steel structure is clad in a fabric originally developed for Formula 1 motor racing. Green in daylight, at night it reflects whatever colour is shone on it. • The cylindrical video screen is 54 tonnes. When closed the screen is 4,300 square feet, opening to a size of 14,000 square feet. • The video screen is made up of 1 million pieces (500,000 pixels, 320 000 fasteners, 30,000 caBles, 150,000 machined pieces). • The video screen is Broken into segments mounted on a multiple pantograph system, which enables the screen to "open up" or spread apart vertically as an effect during different stages of the concerts.
    [Show full text]