Jon Hopkins Releases Cover of Thom Yorke's “Dawn Chorus” Listen HERE

Total Page:16

File Type:pdf, Size:1020Kb

Jon Hopkins Releases Cover of Thom Yorke's “Dawn Chorus” Listen HERE December 10, 2020 For Immediate Release Jon Hopkins Releases Cover of Thom Yorke’s “Dawn Chorus” Listen HERE Photo Credit: Steve Gullick As 2020 comes to a close, Jon Hopkins releases a piano cover of “Dawn Chorus” by Thom ​ ​ ​ ​ ​ Yorke with an accompanying visualizer. The track is off of Yorke’s recent album, Anima. ​ ​ ​ Recorded in one take on the upright he’s had since childhood, Hopkins’ version of “Dawn Chorus” is a beautifully melancholic reinvention of the original. “I felt such bliss the first time I heard this piece - it seemed so mysterious and hypnotic, oblique ​ but warm,” says Hopkins. “I thought there was so much beauty in that chord sequence that ​ ​ there was room to explore it on the piano and see what grew from it. One day in early April when everything was particularly quiet and surreal outside, I went into my studio for the first time in weeks and ended up recording the whole thing in one take. I left it very raw and upfront, with just some sub bass and vocal drones in the background. The whole thing was done in a day and was a very cathartic experience.” ​ Watch the Visualizer for Jon Hopkins “Dawn Chorus” (Thom Yorke Cover) Stream “Dawn Chorus” (Thom Yorke Cover) “Dawn Chorus” follows “Singing Bowl (Ascension),” which was premiered as part of a ​ ​ specially curated 24-hour long playlist for Spotify. Designed with deep meditation experiences in mind, the piece perfectly fits into Hopkins’ transcendent selections. Download hi-res images and jpegs of Jon Hopkins “Dawn Chorus” Track Artwork Official Website | Facebook | Twitter | Instagram ​ ​ ​ ​ ​ ​ ​ ​ ​ For more information, contact: Jessica Linker | Pitch Perfect PR – [email protected], 773-942-6954 ​ ​ ​ .
Recommended publications
  • Hyperreality in Radiohead's the Bends, Ok Computer
    HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A Thesis Presented as Partial Fulfillment of the Requirements for the Attainment of the Sarjana Sastra Degree in English Language and Literature By: Azzan Wafiq Agnurhasta 08211141012 STUDY PROGRAM OF ENGLISH LANGUAGE AND LITERATURE DEPARTMENT OF ENGLISH LANGUAGE EDUCATION FACULTY OF LANGUAGES AND ARTS YOGYAKARTA STATE UNIVERSITY 2014 APPROVAL SHEET HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A THESIS By Azzan Wafiq Agnurhasta 08211141012 Approved on 11 June 2014 By: First Consultant Second Consultant Sugi Iswalono, M. A. Eko Rujito Dwi Atmojo, M. Hum. NIP 19600405 198901 1 001 NIP 19760622 200801 1 003 ii RATIFICATION SHEET HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A THESIS By: AzzanWafiqAgnurhasta 08211141012 Accepted by the Board of Examiners of Faculty of Languages and Arts of Yogyakarta State University on 14July 2014 and declared to have fulfilled the requirements for the attainment of the Sarjana Sastra degree in English Language and Literature. Board of Examiners Chairperson : Nandy Intan Kurnia, M. Hum. _________________ Secretary : Eko Rujito D. A., M. Hum. _________________ First Examiner : Ari Nurhayati, M. Hum. _________________ Second Examiner : Sugi Iswalono, M. A. _________________
    [Show full text]
  • 500 Drugstore Feat. Thom Yorke El President 499 Blink
    500 DRUGSTORE FEAT. EL PRESIDENT THOM YORKE 499 BLINK 182 ADAMS SONG 498 SCREAMING TREES NEARLY LOST YOU 497 LEFTFIELD OPEN UP 496 SHIHAD BEAUTIFUL MACHINE 495 TEGAN AND SARAH WALKING WITH A GHOST 494 BOMB THE BASS BUG POWDER DUST 493 BAND OF HORSES IS THERE A GHOST 492 BLUR BEETLEBUM 491 DISPOSABLE HEROES TELEVISION THE DRUG OF THE OF... NATION 490 FOO FIGHTERS WALK 489 AIR SEXY BOY 488 IGGY POP CANDY 487 NINE INCH NAILS THE HAND THAT FEEDS 486 PEARL JAM NOT FOR YOU 485 RADIOHEAD EVERYTHING IN ITS RIGHT PLACE 484 RANCID TIME BOMB 483 RED HOT CHILI MY FRIENDS PEPPERS 482 SANTIGOLD LES ARTISTES 481 SMASHING PUMPKINS AVA ADORE 480 THE BIG PINK DOMINOS 479 THE STROKES REPTILIA 478 THE PIXIES VELOURIA 477 BON IVER SKINNY LOVE 476 ANIMAL COLLECTIVE MY GIRLS 475 FILTER HEY MAN NICE SHOT 474 BRAD 20TH CENTURY 473 INTERPOL SLOW HANDS 472 MAD SEASON SLIP AWAY 471 OASIS SOME MIGHT SAY 470 SLEIGH BELLS RILL RILL 469 THE AFGHAN WHIGS 66 468 THE FLAMING LIPS FIGHT TEST 467 ALICE IN CHAINS MAN IN THE BOX 466 FAITH NO MORE A SMALL VICTORY 465 THE THE DOGS OF LUST 464 ARCTIC MONKEYS R U MINE 463 BECK DEADWEIGHT 462 GARBAGE MILK 461 BEN FOLDS FIVE BRICK 460 NIRVANA PENNYROYAL TEA 459 SHIHAD YR HEAD IS A ROCK 458 SNEAKER PIMPS 6 UNDERGROUND 457 SOUNDGARDEN BURDEN IN MY HAND 456 EMINEM LOSE YOURSELF 455 SUPERGRASS RICHARD III 454 UNDERWORLD PUSH UPSTAIRS 453 ARCADE FIRE REBELLION (Lies) 452 RADIOHEAD BLACK STAR 451 BIG DATA DANGEROUS 450 BRAN VAN 3000 DRINKING IN LA 449 FIONA APPLE CRIMINAL 448 KINGS OF LEON USE SOMEBODY 447 PEARL JAM GETAWAY 446 BEASTIE
    [Show full text]
  • Rock Harmony Reconsidered: Tonal, Modal and Contrapuntal Voice&
    DOI: 10.1111/musa.12085 BRAD OSBORN ROCK HARMONY RECONSIDERED:TONAL,MODAL AND CONTRAPUNTAL VOICE-LEADING SYSTEMS IN RADIOHEAD A great deal of the harmony and voice leading in the British rock group Radiohead’s recorded output between 1997 and 2011 can be heard as elaborating either traditional tonal structures or establishing pitch centricity through purely contrapuntal means.1 A theory that highlights these tonal and contrapuntal elements departs from a number of developed approaches in rock scholarship: first, theories that focus on fretboard-ergonomic melodic gestures such as axe- fall and box patterns;2 second, a proclivity towards analysing chord roots rather than melody and voice leading;3 and third, a methodology that at least tacitly conflates the ideas of hypermetric emphasis and pitch centre. Despite being initially yoked to the musical conventions of punk and grunge (and their attendant guitar-centric compositional practice), Radiohead’s 1997– 2011 corpus features few of the characteristic fretboard gestures associated with rock harmony (partly because so much of this music is composed at the keyboard) and thus demands reconsideration on its own terms. This mature period represents the fullest expression of Radiohead’s unique harmonic, formal, timbral and rhythmic idiolect,4 as well as its evolved instrumentation, centring on keyboard and electronics. The point here is not to isolate Radiohead’s harmonic practice as something fundamentally different from all rock which came before it. Rather, by depending less on rock-paradigmatic gestures such as pentatonic box patterns on the fretboard, their music invites us to consider how such practices align with existing theories of rock harmony while diverging from others.
    [Show full text]
  • Radiohead: the Guitar Weilding, Dancing, Singing Commodity
    Georgia State University ScholarWorks @ Georgia State University Communication Theses Department of Communication 2-23-2009 Radiohead: The Guitar Weilding, Dancing, Singing Commodity Selena Michelle Lawson Follow this and additional works at: https://scholarworks.gsu.edu/communication_theses Part of the Communication Commons Recommended Citation Lawson, Selena Michelle, "Radiohead: The Guitar Weilding, Dancing, Singing Commodity." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/communication_theses/47 This Thesis is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. RADIOHEAD: THE GUITAR WEILDING, DANCING, SINGING COMMODITY by SELENA LAWSON Under the Direction of Jeffery Bennett ABSTRACT In 2007, Radiohead released a downloadable album, In Rainbows, allowing consumers to pay what they thought the album was worth. The band responded to a moment of change in the music industry. Since then, other bands, like Nine Inch Nails and Coldplay, have made similar moves. Radiohead's capability to release an album and let the fans decide its worth relied on the image they built, which foregrounded their commodification. The historic move redefined the boundaries between art and commodity, a well know tension in popular music studies. The thesis focuses on popular music as communication in the changing industry. Using Radiohead’s album as a case study, it looks at the changing boundaries in the tension between art and commodity. The thesis examines Radiohead's performance, its mediation by the press, and what the album’s distribution method meant to the fans.
    [Show full text]
  • The Pleasure of the Intertext: Towards a Cognitive Poetics of Adaptation
    !1 THE PLEASURE OF THE INTERTEXT: TOWARDS A COGNITIVE POETICS OF ADAPTATION A dissertation presented by Meg Tarquinio to The Department of English In partial fulfillment of the requirements for the degree of Doctor of Philosophy in the field of English Northeastern University Boston, Massachusetts April, 2017 !2 THE PLEASURE OF THE INTERTEXT: TOWARDS A COGNITIVE POETICS OF ADAPTATION by Meg Tarquinio ABSTRACT OF DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English Literature in the College of Social Sciences and Humanities of Northeastern University April, 2017 !3 ABSTRACT The field of adaptation studies has been diagnosed as lacking consensus around its main tenets, especially those that would build a strong ontological foundation. This study participates in the burgeoning critical approach that places cognitive science in conversation with literary theory, looking towards the start of a cognitive turn in adaptation studies. Specifically, I offer the axiom that adaptations are analogies. In other words, I advance the original argument that adaptations are the textual expression of the cognitive function of analogy. Here, I’m using a cognitive theory of analogy as the partial mapping of knowledge (objects and relations) from a source domain to a target domain. From this vantage point, I reassess the theoretical tensions and analytical practices of adaptation studies. For instance, the idea of essence is an anathema within academic studies of adaptation, yet it continues to hold sway within popular discourse. My approach allows for a productive return to essence, not as some mystical quality inherent in an original text and then indescribably transmitted to its adaptation, but as the expression of a key sub-process of analogical reasoning – what Douglas Hofstadter refers to, conveniently, as “essence” or “gist extraction.” This line of argument demonstrates the degree to which André Bazin’s 1948 theorization of adaptation is in line with this cognitive version of essence.
    [Show full text]
  • Where Murakami Ends and Radiohead Begins: a Comparative Study
    WHERE MURAKAMI ENDS AND RADIOHEAD BEGINS: A COMPARATIVE STUDY By Samuel JP Shaw Foreword: This is not an academic essay, in so far I do not wish for it to be taken too seriously. I am all too aware of the danger of comparative studies. In simply setting down the title above, I am likely to have to answer to the charge of pretension. However, I would not set about this task unless I believed that, on a basic level, there is some worth in it. And I believe there is. You can judge for yourself I must also point out that it is not my intention to try and make explicit links between my two subjects. I don’t mean to argue that they are coming from exactly the same place and not for a moment do I wish to suggest that my interpretations are the only ones there can be. You may disagree with all that I say. I have simply noted a range of similarities, which I have tentatively explored in a way which, I hope, insults neither subject and complements both. This study is not designed for the reader to leave thinking, ‘Wow! Radiohead and Murakami are just like each other!’ Quite simply, this is not the case. My aim instead is that the reader will leave thinking ‘Hey! That makes me look at Radiohead/Murakami in a different way’. 1 Where I begin: I started reading Murakami in the spring of 2002. I first heard Radiohead a long time before that, but their music had probably at this same time become a bigger feature in my life than ever before.
    [Show full text]
  • Radiohead in 2007: Phil Selway, Ed O'brien, Jonny Greenwood, Thom Yorke, and Colin Greenwood (From Le )
    Radiohead in 2007: Phil Selway, Ed O’Brien, Jonny Greenwood, Thom Yorke, and Colin Greenwood (from le) 20494_RNRHF_Text_Rev1_22-61.pdf 33 3/11/19 5:23 PM > > ONE OF THE MOST RadioheadINNOVATIVE GROUPS OF RadioheadTHE NINETIES, THEY CONTINUE TO BUCK MUSICAL TRENDS BY DAVIDA FRICKE n October 2000, a week after Radiohead’s fourth al- (1993), a Top Five hit in the U.S. or U.K., usually both – and bum – the cryptic, electronica-soaked Kid A – shot a succession of sold-out arena tours and festival triumphs to Number One in America upon release, singer that have established the 2019 Rock & Roll Hall of Fame Thom Yorke politely dodged a question about the inductees as enduring alternative-rock heirs to the Beatles’ record’s improbable success, especially given the psychedelic idealism and Pink Floyd’s progressive-rock English modern-rock band’s perversely low-key searching. Willfully experimental in their songwriting promotion. They had done no videos and released and exploration of the studio’s outer limits, Radiohead are no singles; they did three tour dates in North America plus fiercely uncompromising in their protection and presenta- a TV appearance on Saturday Night Live; and they had just tion of the results. But they are also absolutely commercial one U.S. interview, on a bench in New York’s Central Park in in their consistent all-embracing impact: a people’s band on the crisp autumn dusk. record and in performance, propelling Yorke’s naked, often “I’m actually the last person in the band to talk about it,” brutal lyric honesty with an explosive, universal resonance Yorke declared with an impish grin.
    [Show full text]
  • Corpus Antville
    Corpus Epistemológico da Investigação Vídeos musicais referenciados pela comunidade Antville entre Junho de 2006 e Junho de 2011 no blogue homónimo www.videos.antville.org Data Título do post 01‐06‐2006 videos at multiple speeds? 01‐06‐2006 music videos based on cars? 01‐06‐2006 can anyone tell me videos with machine guns? 01‐06‐2006 Muse "Supermassive Black Hole" (Dir: Floria Sigismondi) 01‐06‐2006 Skye ‐ "What's Wrong With Me" 01‐06‐2006 Madison "Radiate". Directed by Erin Levendorf 01‐06‐2006 PANASONIC “SHARE THE AIR†VIDEO CONTEST 01‐06‐2006 Number of times 'panasonic' mentioned in last post 01‐06‐2006 Please Panasonic 01‐06‐2006 Paul Oakenfold "FASTER KILL FASTER PUSSYCAT" : Dir. Jake Nava 01‐06‐2006 Presets "Down Down Down" : Dir. Presets + Kim Greenway 01‐06‐2006 Lansing‐Dreiden "A Line You Can Cross" : Dir. 01‐06‐2006 SnowPatrol "You're All I Have" : Dir. 01‐06‐2006 Wolfmother "White Unicorn" : Dir. Kris Moyes? 01‐06‐2006 Fiona Apple ‐ Across The Universe ‐ Director ‐ Paul Thomas Anderson. 02‐06‐2006 Ayumi Hamasaki ‐ Real Me ‐ Director: Ukon Kamimura 02‐06‐2006 They Might Be Giants ‐ "Dallas" d. Asterisk 02‐06‐2006 Bersuit Vergarabat "Sencillamente" 02‐06‐2006 Lily Allen ‐ LDN (epk promo) directed by Ben & Greg 02‐06‐2006 Jamie T 'Sheila' directed by Nima Nourizadeh 02‐06‐2006 Farben Lehre ''Terrorystan'', Director: Marek Gluziñski 02‐06‐2006 Chris And The Other Girls ‐ Lullaby (director: Christian Pitschl, camera: Federico Salvalaio) 02‐06‐2006 Megan Mullins ''Ain't What It Used To Be'' 02‐06‐2006 Mr.
    [Show full text]
  • Idioteque” from the Kid a Album
    M. Musick April 2009 An Analysis of Radiohead’s “Idioteque” from the Kid A album “Idioteque” is a song that combines the dark energy of Radiohead with a steady dance beat to help send a message about the state of commercialism and the ignorance of society to the impending social “ice age.” This song appears on the second half or “B-side” of their fourth full length album, Kid A and was a major departure from the melodic guitar driven sound that made them famous on their previous album OK Computer. The Radiohead that produced Kid A, and more specifically the song “Idioteque”, had been almost torn apart by the success of OK Computer. From the depression, torment, and disgust they had with themselves, they were able to create this complex, beat-driven, electronic track that must be listened to a few times through to fully appreciate its sincerity, message, and beauty. Radiohead became popular in the 90’s for their melodic, lyric- and guitar-driven songs. Between their breakout single “Creep” off Pablo Honey and their very popular OK Computer album, they were poised to be the next ‘big’ rock band.1 However as they were forced to perform a two-year concert tour for the OK Computer album, they became sick of their songs. Because of the control placed on them by corporations, they began to detest everything that was happening to them. This caused the band to feel disenfranchised with everything that was going on in their music and lives. When it came time for them to work on a new album, they knew they had to approach it radically different or they would not survive as a band.
    [Show full text]
  • Radiohead Launches Austin City Limits New Season Season Premiere Airs October 6Th on PBS
    Radiohead Launches Austin City Limits New Season Season Premiere Airs October 6th on PBS Austin, TX—September 28, 2012—The groundbreaking PBS television series Austin City Limits (ACL), premieres its brand new season Saturday, October 6th, with a rare, full-hour performance from iconic British band Radiohead. The episode marks Radiohead's long-awaited and unforgettable debut appearance, taking to the ACL stage for the first time. Viewers can tune-in to their local PBS station for the season premiere; check local listings for times. “Hi, we're Radiohead, we're pleased to meet you,” says the band's Thom Yorke by way of a greeting in their ACL debut. Taped in Austin before a concert audience at ACL's new home, The Moody Theater, the premiere features an epic hour of music from one of the world's most acclaimed bands. Drawing largely from their last three albums, The King of Limbs, In Rainbows and Hail to the Thief, and also touching on classics from Kid A and OK Computer as well as the odd obscure B-side and rare and unreleased tracks, Radiohead blazes through some of their most daring material in a masterful eleven-song performance. As the single most celebrated and influential alternative rock act of the past two decades, Radiohead’s musical legacy is undisputed. The band’s ACL set is a prime example of how its progressive sound and experimental structures have come to define them as masters of innovation in modern rock music, and nowhere is this more evident than in their peerless live show.
    [Show full text]
  • Composer As Appropriator: Semiotic Analysis of Musical Works Based on Appropriated Materials
    COMPOSER AS APPROPRIATOR: SEMIOTIC ANALYSIS OF MUSICAL WORKS BASED ON APPROPRIATED MATERIALS By GARRETT AUSTIN HECKER A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2018 © 2018 Garrett Austin Hecker To my Mom, my Dad, and my Brother ACKNOWLEDGMENTS I thank my Mom and Dad for helping me find an artistic and scholarly path in life and for encouraging me to always try my hardest in every endeavor. I thank my brother for constantly challenging every idea that I ever presented to him and for forcing me to define and defend my positions. And I thank the chair of my supervisory committee, Dr. James Paul Sain, for his clear and sober advice about the profession of music and about dealing with life in general. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF FIGURES .......................................................................................................... 7 LIST OF EXAMPLES ...................................................................................................... 8 LIST OF OBJECTS ......................................................................................................... 9 ABSTRACT ................................................................................................................... 10 CHAPTER 1 INTRODUCTION ...................................................................................................
    [Show full text]
  • Hail to the Thief: Radiohead's Political Album and Its Boundary
    Philologia Volume: IX Hail to the Thief: Radiohead’s Political Album and Its Boundary-Breaking Protests By: Paul Veracka Radiohead’s sixth album, Hail to the Thief, was released in June 2003, but fans only knew of its existence by just the autumn beforehand. The band recorded the album in two weeks while on tour, producing an astonishing “track a day” (Fricke). This urgency comes across in the songs, which trap the listeners in a world of surveillance, oppressive measures, and mysteriously infected rabbits. What is the cause of such urgency and paranoia? Radiohead scholars (yes, they exist) maintain that the work is politically focused, inspired by the band’s outrage at America’s recent ventures into Iraq. What evidence is there that it’s political? Considering the political landscape at the time, as well as the album name being lifted from protest posters preceding the war in Iraq (Fricke), there is an undeniable political influence that persuaded the conception of the album. The year the album was released, the American and British governments began an invasion into Iraq, which many citizens around the world were hell-bent on protesting. On February 15, 2003 there were worldwide protests in a demonstration which has been called “the largest protest event in human history” (Verhulst). Informed by this political landscape, scholars quote lead singer Thom Yorke’s lyrics to show obvious political undertones in the album, describing the album’s content as portraying a “darkly authoritarian world” (Burt 164). The band, however, often denies the album’s political affiliation. Considering the band’s disavowal of any “claims of meaning in the album” (Letts 185), Hail to the Thief’s real political status must be further explored.
    [Show full text]