Bjork and Pj Harvey Satisfaction Live
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
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. -
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. -
Media Pack Final December E
Music Coverage At a Glance The Skinny has a wide ranging music policy, Our Readers always on the look out for the newest emerg- listen to music every day The Lovely Bones 98% cHVRcHES are a bona fide Scottish synth-pop phenomenon – as they ing stars alongside supporting the acts that prepare to release debut album The Bones Of What You Believe, we Interview: Bram E. Gieben talk gear-packing Tetris, growing up in public, and expelling half-truths Photography: Eoin Carey o call CHVRCHES’ rise to fame meteoric is to presence – it is a process that is still ongoing. have a special place in our hearts. Tunderestimate – in an age of instant one-hit “This is the first band where the vocals have been rate Music as the most-read wonders, it might have seemed tempting to dis- my sole thing,” she explains. “It was a learning 91% miss them on the basis of the hype that followed curve, figuring out what the possibilities were the internet-only release of Lies back in May last with the live set, and becoming comfortable with year. Now, as the band prepare to release their not really giving a shit what other people think first album The Bones of What You Believe, coming about your performance. Because a lot of people section off the back of an extensive bout of touring which have a lot of opinions. I’m just trying to figure it saw them hone their sound and performance out, and I guess there was that aspect of ‘growing with gigs across Europe, the US and Asia, the up in public’ to an extent.” world is finally going to be in a position to judge “That’s something that we’ve all gone them on their merits. -
Marianne Faithfull and Courtney Love Talk Poetry, Survival - Los Angeles Times
4/29/2021 Marianne Faithfull and Courtney Love talk poetry, survival - Los Angeles Times LOG IN ADVERTISEMENT MUSIC Marianne Faithfull and Courtney Love talk romantic poetry, cheating death and the joys of sober sex Courtney Love, left, and Marianne Faithfull. (Matthew Lloyd / For The Times) By DORIAN LYNSKEY APRIL 27, 2021 1:40 PM PT https://www.latimes.com/entertainment-arts/music/story/2021-04-27/marianne-faithfull-courtney-love-poetry-cheating-death-sober-sex 1/13 4/29/2021 Marianne Faithfull and Courtney Love talk poetry, survival - Los Angeles Times Marianne Faithfull and Courtney Love are two of rock music’s great survivors. Both have weathered addiction, rough handling from the media and the music industry and the challenge of establishing their own artistry in the shadow of famous partners: Mick Jagger and Kurt Cobain, respectively. Yet their origins could hardly be more different. Faithfull, 74, has the regal air of a daughter of English privilege, while Love, 56, has a scrappy, mile-a-minute energy that reflects her chaotic, hardscrabble upbringing and punk-rock adolescence. Friends since the 1990s, they seem both fond and protective of one another when they meet in Faithfull’s west London apartment one April afternoon, surrounded by antique furniture, oil paintings, memorabilia and piles of books. Faithfull first attained celebrity as a member of the Rolling Stones’ inner circle at the height of their 1960s notoriety — in her hallway hangs a collage of newspaper cuttings from the infamous 1967 Redlands drugs bust of Jagger and Keith Richards, a gift from pop artist Richard Hamilton — but wasn’t taken seriously as a musician in her own right until her 1979 album “Broken English” set her on the path to cult status. -
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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
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Music Volume 1 of 2 Phono-somatics: gender, embodiment and voice in the recorded music of Tori Amos, Björk and PJ Harvey by Sarah Boak Thesis for the degree of Doctor of Philosophy October 2015 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Music Thesis for the degree of Doctor of Philosophy PHONO-SOMATICS: GENDER, EMBODIMENT AND VOICE IN THE RECORDED MUSIC OF TORI AMOS, BJÖRK AND PJ HARVEY Sarah Boak This thesis is a feminist enquiry into the relationship between gender, embodiment and voice in recorded popular music post-1990. In particular, the study focuses on the term ‘embodiment’ and defines this term in a way that moves forward from a simple understanding of representing the body in music. -
Lucy O'brien PJ Harvey Records a New Album in Public
I am given a laminated ticket, my mobile phone is taken away and I’m escorted to the basement of the New Wing of Somerset House in London. Formerly the Inland Revenue’s sta! gymnasium and ri"e range, this almost-bare room now features a large architectural installation: a steel-framed box with waist-high wooden walls and windows that stretch up to the ceiling. In this vitrine, PJ Harvey has set up a studio for her new, as-yet-untitled album and, for a four-week period during January and February, the public has been coming in to view the recording process in real time. ‘I hope peo- ple will see the attention and the labour and care that goes into making a recording,’ Harvey said before the project began. Harvey has always been interested in the connection between music and visual art. She was o!ered a place at London’s Central Saint Martins to study sculpture, but turned it down when her music career took o! in the early #$$%s. Although she has carved out a place at the forefront of rock, with eight best- selling albums and world tours, she has continued to paint and sculpt, exhibiting at the Lamont Gallery in London and at Bridport Arts Centre. The idea of turning her recording process into ‘a mutating sound structure’ – titled Recording in Progress – emerged out of a collaboration with public-art commissioning body Artangel and the cultural hub of Somerset House. PJ Harvey, photographed by Seamus Murphy, 2014 Lucy O’Brien Music PJ Harvey records a new album in public Courtesy: © Seamus Murphy FRIEZE NO. -
“THE GLORIOUS FRUIT of OUR LAND”: the GREAT WAR in PJ HARVEY's Let England Shake
“THE Glorious Fruit of our LAND”: THE Great WAR IN PJ Harvey’S LET ENGLAND SHAKE José Otaviano da Mata Machado1 Abstract: Let England Shake, PJ Harvey’s 2011 concept album, and the homonymous short films col- lection directed by Seamus Murphy in collaboration with the singer, consist of a very contemporary ex- ample of war narrative. The album’s lyrics focus centrally – but not exclusively – on the First World War, especially on the Galipoli Campaign, while Murphy’s film approaches mainly the recent conflicts in the Middle East. This article focuses on evidencing how the image of war in Let England Shake is aesthet- ically constructed both in song and in imagery, supported by the theories of war literature – especially Samuel Hynes’s – and by debates on the (aesth) ethics of the representation of violence. Keywords: War Narratives; First World War; Intermedia Studies; Song Studies. Resumo: Let England Shake, álbum conceitual de PJ Harvey de 2001, e a coletânea de curta-metragens homônima dirigida por Seamus Murphy em colaboração com a cantora, consistem em um exemplo con- temporâneo de narrativa de guerra. As letras do álbum se concentram principalmente – mas não exclu- sivamente – na Primeira Guerra Mundial, especialmente na campanha de Galipoli, enquanto o filme de Murphy aborda os recentes conflitos no Oriente Médio. Esse artigo evidencia como a imagem da guerra em Let England Shake é esteticamente construída tanto em canção quanto em imagens, apoiado pelas teorias de literatura de guerra – especialmente de Samuel Hynes – e por debates acerca da (est)ética da representação da violência. Palavras-chave: Narrativas de guerra; Primeira Guerra Mundial; Estudos Intermídia; Estudos da Canção. -
Bristol Massive
Bristol Massive 1.1 1) Intro (edited short version, Smith & Mighty:: Big World Small World, 2000) 2) Walk on By (Smith & Mighty:: Dj Kicks, 2001) 3) Unfinished Sympathy (Massive Attack:: Blue Line, 1991) 4) Down in Rwanda (Smith & Mighty:: Bass is Maternal, 1995) 5) Five Man Army (Massive Attack: Blue Lines, 1991) 6) Karmacoma (Massive Attack: Protection , 1996) 7) Overcome (Tricky:: Maxinquaye, w/Martina, 1995) 8) Glory Box (Portishead:: Dummy, 1994) 9) Hell is Around the Corner (Tricky:: Maxinquaye, 1995) 10) It Could Be Sweet (Portishead:: Dummy, 1994) 11) Christiansands (Tricky:: Pre-millennial Tension, 1996) 12) Three (Massive Attack:: Protection/ feat. Nicollete, 1994) 13) Mysterions (Portishead:: Dummy, 1994) 14) All Mine (Portishead:: Portishead, 1998) 15) Rain (Alpha:: Come From Heaven, 1998) 16) Delaney (Alpha:: ComeFromHeaven, 1998) 17) Trust Me (Roni Size/Reprazent:: New Forms, 1998) 18) Bass is Maternal (Smith & Mighty, Bass is Maternal, 1995) 19) U-Dub (Smithy & Mighty, Bass is Maternal, 1995) tracks selected by Jerry Saturn @ The Masthead, 2004 Bristol Massive 1.2 1) Closer (Smith & Mighty:: Bass is Maternal, 1995) 2) Jungle Man Corner (Smith & Mighty:: Bass is Maternal, 1995) 3) Spying Glass (Massive Attack:: Protection, w/ Horace Andy, 1996) 4) No Justice (Smith & Mighty:: Big World, Small World, 2000) 5) Be Thankful For What You Got (Massive Attack:: Blue Lines, 1991) 6) Sour Times (Portishead:: Dummy, 1994) 7) With (Alpha:: ComeFromHeaven, 1998) 8) Undenied (Portishead:: Portishead, 1998) 9) Move You Run (Smith & Mighty:: -
Grammy's 2017
BALLOT Grammy’s 2017 FEBRUARY 12, 2017, 8:00 PM PST Record Of The Year Album Of The Year Song Of The Year Hello - Adele 25 - Adele Formation - Beyoncé Formation - Beyoncé Lemonade - Beyoncé Hello - Adele 7 Years - Lukas Graham Purpose - Justin Bieber I Took A Pill In Ibiza - Mike Posner Work - Rihanna Featuring Drake Views - Drake Love Yourself - Justin Bieber Stressed Out - Twenty One Pilots A Sailor's Guide To Earth 7 Years - Lukas Graham - Sturgill Simpson Best Pop Solo Performance Best Rock Song Best Rock Album Hello - Adele Blackstar - David Bowie California - Blink-182 Hold Up - Beyoncé Burn The Witch - Radiohead Tell Me I'm Pretty - Cage The Elephant Love Yourself - Justin Bieber Hardwired - Metallica Magma - Gojira Piece By Piece - Kelly Clarkson Heathens - Twenty One Pilots Weezer - Weezer Dangerous Woman - Ariana Grande My Name Is Human - Highly Suspect Death Of A Bachelor - Panic! At The Disco Best Alternative Music Album Best R&B Album Best Rap Song 22, A Million - Bon Iver In My Mind - BJ The Chicago Kid All The Way Up - Fat Joe & Remy Ma Blackstar - David Bowie Lalah Hathaway Live - Lalah Hathaway Famous - Kanye West Post Pop Depression - Iggy Pop Velvet Portraits - Terrace Martin Hotline Bling - Drake A Moon Shaped Pool - Radiohead Healing Season - Mint Condition No Problem - Chance The Rapper The Hope Six Demolition Project Smoove Jones - Mýa Ultralight Beam - Kanye West - PJ Harvey Best Rap Album Best Country Song Best Country Album Coloring Book - Chance The Rapper Blue Ain't Your Color - Keith Urban Big Day In A Small Town - Brandy Clark Major Key - DJ Khaled Die A Happy Man - Thomas Rhett Full Circle - Loretta Lynn Views - Drake Humble And Kind - Tim McGraw Hero - Maren Morris Blank Face LP - ScHoolboy Q My Church - Maren Morris Ripcord - Keith Urban And The Anonymous Nobod Vice - Miranda Lambert A Sailor's Guide To Earth - De La Soul - Sturgill Simpson Your Score:. -
The Lost Generation How UK Post-Rock Fell in Love with the Moon, and a Bunch of Bands Nobody Listened to Defined the 1990S by Nitsuh Abebe
Pitchfork | http://pitchforkmedia.com/features/weekly/05-07-11-lost-generation.shtml 11 July 2005 The Lost Generation How UK post-rock fell in love with the moon, and a bunch of bands nobody listened to defined the 1990s by Nitsuh Abebe his decade’s indie-kid rhetoric is all about excitement, all about fun, all about fierce. TThe season’s buzz tour pairs ... with Soundsystem, scrappy globo-pop with the kind of rock disco that tries awfully hard to blow fuses. The venues they don’t hit will play host to a new wave of stylish guitar bands, playing stylish uptempo pop, decamping to stylish afterparties. Bloggers will chatter about glittery chart hits, rock kids will buy vintage metal t-shirts and act like heshers, eggheads will rave about the latest in spazzed-out noise, and everyone will keep talking about dancing, right down to the punks. Yeah, there are more exceptions than there are examples—when aren’t there, dude?—but the vibe is all there: We keep talking like we want action, like we want something explosive. The overriding vibe of the s—serene, cerebral, dreamy—was anything but explosive. Blame grunge for that one. Just a few years into the decade, and all that muddy rock attitude and fuzzy alterna-sound had bubbled up into the mainstream, flooding the scene with new kids, young kids, even (gasp!) fratboys. Big kids in flannel, freshly enamored of rock’s “aggres- sion” and “rebellion”—they were rock jocks, they tried to start mosh pits at Liz Phair shows. So where was a refined little smarty-pants indie snob to turn? Well: Why not something spacey and elegant? Why not sit comfortably home, stoned or non-stoned, dropping out into a dreamier little world of sound? It had been a few years since My Bloody Valentine released Loveless, and there were plenty of similarly floaty shoegazer bands to catch up on.