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Live Among the White Trash: a History of Nono----Manman on Stage
Live Among the White Trash: A history of nono----manman on stage “There are no No-Man concerts scheduled for the foreseeable future.” (from the official no-man website) Anyone who has followed no-man’s career over the previous ten years or so will be acutely aware that the band does not play live. If no-man “exist” as a band at all – and their infrequent releases mean they are more an ongoing understanding between two men rather than an active unit – it is only in the studio. Over a series of uncompromising albums no-man’s music has become ever more complex, yet ironically, “live sounding” than the release which proceeded it. But this organic “liveness” is mainly an illusion; the feeling of spontaneity often the result of numerous edits and takes which only the precision of studio work can produce. Others have tried to perform equally difficult music live: Radiohead ambitiously thrusting their clicks-and- cuts post-rock upon the world’s stadiums, for example. But for a variety of reasons, no-man simply haven’t tried – at least, not since 1994 and not until a one-off performance in 2006. The only comparable case is Talk Talk’s retreat into the studio in the late 1980s. Both bands have undoubtedly crafted their best work without going near an audience. 1 But it wasn’t always so. no-man were once very much a live act, promoting singles and albums with dates and undertaking two full-blown tours – though they rarely played outside London, never went further north than Newcastle, and never played outside Great Britain. -
FPL Snag Leads to Blackouts by WILLIAM WACHSBERGER Blew," White Explained
RUSSIAN PORCELAIN BULLS NEXT FOR UM Lowe exhibit features Russia's rich, Two-game series at University of South artistic past. Florida next for surging Hurricanes after FRIDAY 7-4 victory over FIU. ACCENT, page 6 SPORTS, page 8 FEBRUARY 24, 1995 VOLUME 72, NUMBER 36 ****** RESERVE AN ASSOCIATED COLLEGIATE PRESS HALL OF FAME NEWSPAPER FPL snag leads to blackouts By WILLIAM WACHSBERGER blew," White explained. "They had to go to an auxil "I was on my computer working on a project when • FP&L Managing Editor iary feed to restore power the lights went out. Fortunately, I have an auto andUM The wind was calm. The skies were clear. The air "What was supposed to be a five-minute shutdown saver," he said. "I immediately went out to talk to was a cool 55 degrees. Then, the lights went out. became a 30-minute power outage," said White. some of the residents to see what was going on." officials The University suffered a partial blackout twice in Then, at approximately 2 a.m., FP&L and Physical Across the street at Eaton Residential College, AIDS WALK TO RAISE the early morning hours Wednesday, thus causing Plant personnel attempted to switch feeds again. sophomore A.J. Dickerson was visiting a friend dur say power confusion and a bit of pandemonium amongst resi However, they hit another snag, causing another out ing the first power failure. FUNDS, AWARENESS dential students. age. "As the lights went off, I went out in the hall where he annual AIDS Walk Miami is will be "No one knew what was going on when the emer White said that "a significant part of the campus this guy came out of his dorm screaming 'No! No!' from 9:30 a.m. -
The Claudia Quintet September
HotThe Box Critics John McDonough John Corbett Jim Macnie Paul de Barros René Marie I Wanna Be Evil Swing Fever ½ ½ Grand Masters Of Jazz The Claudia Quintet September Randy Brecker ½ ½ Brecker Brothers Band Reunion Critics’ Comments René Marie, I Wanna Be Evil: With Love To Eartha Kitt Swinging, soulful vocalist René Marie has great control and range but has had difficulty defining her territory. Oddly, this tribute album to Eartha Kitt has sparked some originality. Her clever, funky arrangement (in three) of “Let’s Do It,” a sexy “Santa Baby” and her daringly transgressive original “Weekend” add punch. The earnest Marie is more seduced by Kitt’s theatrical “earthiness” than by her winking kitsch. —Paul de Barros The Eartha Kitt songbook gives this excellent singer a superb array of material (from Dave Frishberg to Cole Porter) in which to show her winking, sinewy stuff. The East Side cleverness and sophistication tilt toward cabaret, but Wycliffe Gordon bridges the gap with humor and a few strange sounds. —John McDonough Successful transfusion of Eartha Kitt’s red-blooded, raw sex and exotica, purred and snarled as a steely story of determination and triumph. Marie throws a few of her own curves into the mix, but plays it rather close to the source. —John Corbett Swing Fever, Grand Masters Of Jazz Obviously prepared with love and admiration for the swing-pins. Memorable flashes from Clark Terry and Jackie Ryan, and DeFranco’s got such a huge presence, but much of the disc and two freebie DVDs falls short of being extraordinary. —John Corbett Love the idea of the locals hosting the heroes, especially when the locals kick it with so much verve. -
David Sylvian As a Philosopher Free Download
DAVID SYLVIAN AS A PHILOSOPHER FREE DOWNLOAD Leonardo Vittorio Arena | 66 pages | 28 Feb 2016 | Mimesis International | 9788869770029 | English | MI, Italy ISBN 13: 9788869770029 It would be another six months before the Nine Horses album would surface. But ours is a way of life. Secrets of the Beehive made greater use of acoustic instruments and was musically oriented towards sombre, emotive ballads laced with string arrangements by Ryuichi Sakamoto and Brian Gascoigne. Sylvian and Fripp's final collaboration was the installation Redemption — Approaching Silence. The two artists lived in New Hampshire where they had two children. For me, that David Sylvian as a Philosopher an exploration of intuitive states via meditation and other related disciplines which, the more I witnessed free-improv players at work, appeared to be crucially important to enable a being there in the moment, a sustained alertness and receptivity. Keep me signed in. Lyrics by David Sylvian. Forgot your details? By Stephen Holden, 16 December David Sylvian. Venice by Christian Fennesz Recording 3 editions published in in Undetermined and English and held by 26 WorldCat member libraries worldwide. Martin Power. Following Dead BeesSylvian released a pair of compilation albums through Virgin, a two-disc retrospective, Everything and Nothingand an instrumental collection, Camphor. He has said about his process, "With Blemish I started each day in the studio with a very simple improvisation David Sylvian as a Philosopher guitar. His father Bernard was a plasterer by trade, his mother Sheila a housewife. Home Learning. Never one to conform to commercial expectations, Sylvian then collaborated with Holger Czukay. -
Ryuichi SAKAMOTO: from Bach to Rock to Pop
Volume 4 | Issue 12 | Article ID 2284 | Dec 02, 2006 The Asia-Pacific Journal | Japan Focus Ryuichi SAKAMOTO: From Bach to Rock to Pop . and the Fate of the Corporate Earth David McNeill Ryuichi SAKAMOTO: From Bach to Rock to Pop . and the Fate of the Corporate Earth Interviewed by David McNeill Japan's expat rebel with many causes blends music and a wider world view Former Japanese pop heart-throb and musical pioneer Ryuichi Sakamoto talks to David McNeill about music, the state of the planet -- and why he still reluctantly lives in New York City. What a long, strange journey it has been for Ryuichi Sakamoto. A revolutionary firebrand in the 1960s, he morphed into a '70s techno-pop pioneer with the seminal band Yellow Magic Orchestra, which he co-founded with Hosono Haruomi and Takahashi Yukihiro. YMO became one of Japan's biggest-selling bands ever -- and even posted a late-'70s Top 20 hit in Britain with "Firecracker." The band was also a key influence on the techno and house movements that swept Western pop culture a decade later. Multi-talented Ryuichi Sakamoto pictured during his recent interview in Tokyo. Jeremy Sutton-Hibbert Photo After a brief stint as a movie star in the early 1980s, including his role in Oshima Nagisa 's 1983 standout "Merry Christmas Mr. Lawrence" -- for which he also wrote the soundtrack -- Sakamoto co-wrote (with Talking Heads' singer David Byrne and Cong Su) the 1987 Oscar-winning soundtrack for Bernardo Bertolucci's "The Last Emperor" -- still the best known of the many soundtracks he has written 1 4 | 12 | 0 APJ | JF -- of which 2002's "Femme Fatale" is among his latest. -
Ryuichi Sakamoto: Async Remodels
Ryuichi Sakamoto: async remodels spectrumculture.com/2018/03/04/ryuichi-sakamoto-async-remodels-review Daniel Bromfield March 4, 2018 Ryuichi Sakamoto is sort of a Paul McCartney or Stevie Wonder for experimental electronic music, a happy-go-lucky, slightly-batty great-uncle whose work is essentially harmless even at its most esoteric. When faced with a prickly collaborator like Alva Noto or Christian Fennesz, his instinctive reaction is to offset their noise with placid piano. It’s interesting to see how the tracks on last year’s async fare in the hands of a cast of acolytes whose work largely adheres to the postmodern hellscape aesthetic prevalent in left-field electronic music. async remodels is as much a gritty reboot as a remix album, and though it’s alluringly prickly, it sacrifices a lot of what makes async special, like its innocence and its bittersweet awareness of the transience of life. Most of the 11 remixes—many of the same songs—add rather than subtract, demonstrating how a few small alterations can change a piece for better or worse. The remix most in line with Sakamoto’s vision is Daniel Lopatin’s take on “andata,” which is more or less identical to the original until he puckishly turns up the reverb on a single piano note and lets his trademark sine-wave swell out of the depths of the mix. Not many producers are better at mechanized melancholy than Lopatin, and his hangdog synths work wonderfully with “andata”’s painfully plaintive piano motif. His strategy isn’t dissimilar to Cornelius’, whose “ZURE” remix augments the original with foley sound effects but feels too cartoonish to work with Sakamoto’s sad synths. -
Music & Entertainment
Hugo Marsh Neil Thomas Forrester Director Shuttleworth Director Director Music & Entertainment Tuesday 18th & Wednesday 19th May 2021 at 10:00 Viewing by strict appointment from 6th May For enquires relating to the Special Auction Services auction, please contact: Plenty Close Off Hambridge Road NEWBURY RG14 5RL Telephone: 01635 580595 Email: [email protected] www.specialauctionservices.com David Martin Dave Howe Music & Music & Entertainment Entertainment Due to the nature of the items in this auction, buyers must satisfy themselves concerning their authenticity prior to bidding and returns will not be accepted, subject to our Terms and Conditions. Additional images are available on request. Buyers Premium with SAS & SAS LIVE: 20% plus Value Added Tax making a total of 24% of the Hammer Price the-saleroom.com Premium: 25% plus Value Added Tax making a total of 30% of the Hammer Price 10. Iron Maiden Box Set, The First Start of Day One Ten Years Box Set - twenty 12” singles in ten Double Packs released 1990 on EMI (no cat number) - Box was only available The Iron Maiden sections in this auction by mail order with tokens collected from comprise the first part of Peter Boden’s buying the records - some wear to edges Iron Maiden collection (the second part and corners of the Box, Sleeves and vinyl will be auctioned in July) mainly Excellent to EX+ Peter was an Iron Maiden Superfan and £100-150 avid memorabilia collector and the items 4. Iron Maiden LP, The X Factor coming up in this and the July auction 11. Iron Maiden Picture Disc, were his pride and joy, carefully collected Double Album - UK Clear Vinyl release 1995 on EMI (EMD 1087) - Gatefold Sleeve Seventh Son of a Seventh Son - UK Picture over 30 years. -
Leksykon Polskiej I Światowej Muzyki Elektronicznej
Piotr Mulawka Leksykon polskiej i światowej muzyki elektronicznej „Zrealizowano w ramach programu stypendialnego Ministra Kultury i Dziedzictwa Narodowego-Kultura w sieci” Wydawca: Piotr Mulawka [email protected] © 2020 Wszelkie prawa zastrzeżone ISBN 978-83-943331-4-0 2 Przedmowa Muzyka elektroniczna narodziła się w latach 50-tych XX wieku, a do jej powstania przyczyniły się zdobycze techniki z końca XIX wieku m.in. telefon- pierwsze urządzenie służące do przesyłania dźwięków na odległość (Aleksander Graham Bell), fonograf- pierwsze urządzenie zapisujące dźwięk (Thomas Alv Edison 1877), gramofon (Emile Berliner 1887). Jak podają źródła, w 1948 roku francuski badacz, kompozytor, akustyk Pierre Schaeffer (1910-1995) nagrał za pomocą mikrofonu dźwięki naturalne m.in. (śpiew ptaków, hałas uliczny, rozmowy) i próbował je przekształcać. Tak powstała muzyka nazwana konkretną (fr. musigue concrete). W tym samym roku wyemitował w radiu „Koncert szumów”. Jego najważniejszą kompozycją okazał się utwór pt. „Symphonie pour un homme seul” z 1950 roku. W kolejnych latach muzykę konkretną łączono z muzyką tradycyjną. Oto pionierzy tego eksperymentu: John Cage i Yannis Xenakis. Muzyka konkretna pojawiła się w kompozycji Rogera Watersa. Utwór ten trafił na ścieżkę dźwiękową do filmu „The Body” (1970). Grupa Beaver and Krause wprowadziła muzykę konkretną do utworu „Walking Green Algae Blues” z albumu „In A Wild Sanctuary” (1970), a zespół Pink Floyd w „Animals” (1977). Pierwsze próby tworzenia muzyki elektronicznej miały miejsce w Darmstadt (w Niemczech) na Międzynarodowych Kursach Nowej Muzyki w 1950 roku. W 1951 roku powstało pierwsze studio muzyki elektronicznej przy Rozgłośni Radia Zachodnioniemieckiego w Kolonii (NWDR- Nordwestdeutscher Rundfunk). Tu tworzyli: H. Eimert (Glockenspiel 1953), K. Stockhausen (Elektronische Studie I, II-1951-1954), H. -
Somewhere Between Sound, Noise, and Music Q. What
Somewhere Between Sound, Noise, and Music Q. What was the starting point of this project? A. I’ve been making music for a long time, but the past few years I’ve been wanting to distance myself from existing forms of music, and to enjoy more the sounds made by things. Instruments today, having gone through modernization, are designed efficiently not just to produce the sounds themselves, but to express Western music clearly and precisely. Sounds that are more primitive than that – made originally from materials like wood, metal, or animal hide – have been increasingly more attractive to me. Q. Where did the desire to distance yourself from music come from? A. In 2000 or 2001, around the time I started collaborating with Carsten Nicolai’s Alva Noto, the difference between the sound of a piano as an instrument, and actual sounds started to disappear for me. I began enjoying more and more the indeterminate, turbid qualities of noise. SN (Sound vs. Noise) are competing elements. But both Sound and Noise have become music to me, and the difference between the two has disappeared. Not only that, my desire has grown to return so-called Sound (like that which comes from a piano) to a more primitive Noise. Q. Tell me about the title. A. It’s “async,” where “a” is a negative. And “sync” means in alignment, the “sync” of synchronized. So it’s “async,” meaning, “not in sync.” For example, because of its use of computers, YMO was the epitome of synchronization without the slightest deviation – but even back then I felt I would one day make “asynchronized” music. -
Tom Burr Body/Building
TOM BURR BODY/BUILDING BODY/BUILDING A selection of material to accompany the exhibition Tom Burr / New Haven, an Artist / City project BY ADRIAN GAUT TEXT BY MARK OWENS PHOTOGRAPHY BY ADRIAN GAUT TEXT BY MARK OWENS PHOTOGRAPH YALE ART AND ARCHITECTURE BUILDING, PAUL RUDOLPH (1963). 180 YORK STREET, BRUTAL RECALL NEW HAVEN. A SELECTIVE ROADMAP OF SOME OF NEW HAVEN’S MOST ICONIC CONCRETE LANDMARKS Entering New Haven by car along Interstate 95 offers a tour through one of America’s last remaining Brutalist corridors. Approaching the Oak Street Connector, you can still catch a glimpse of the briskly fenestrated raw-concrete façade of Marcel Breuer’s striking Armstrong Rubber Company Building (1968), which now sits vacant in a vast IKEA parking lot. Heading towards George Street along Martin Luther King Jr. Boulevard, a stoplight just outside the town’s commercial center brings you momen- tarily to rest at the foot of Roche-Dinkeloo’s enigmatic Knights of Columbus Building (1969), whose 23 raw-steel stories are slung between four colossal brick-clad concrete columns. Further along the boulevard on the right rises the distinctive silhouette of Paul Rudolph’s Crawford Manor housing block (1966), whose “heroic and origi- automobile. It’s perhaps ironically fitting, then, that in order to complete this Brutalist nal” striated-cement cladding promenade you’re best off proceeding on foot. Continuing down Temple Street and was famously contrasted with making a left turn onto Chapel Street, you eventually come to the entrance of Louis the “ugly and ordinary” visage Kahn’s Yale University Art Gallery (1951–53), an expressive use of brick, concrete, and of Venturi and Rauch’s Guild curtain wall that was completed a year before the Alison and Peter Smithson’s Hun- House in the pages of Learning stanton School (Norfolk, England, 1949–54), generally considered the opening salvo from Las Vegas. -
Smash Hits Volume 63
35pUSA$l75 April 30 -May 13 1981 GIRLSCHOOL PAULWEILER THE FALL GET ENOUGH THE BANDS PlAY pRYNUMAN^ ADAM ECHO & THE B TEARDROP EX gjGS^ Vol. 3 No. 9 GREY DAY ON STIFF RECORDS THE LARCHES" lay bathed in the warm afternoon sunshine. Peregrine vas on the verandah, sipping a cool drink and dangling his toes in the When I get home it's late at night yping pool. Looking up from the Adam And The Ants colour portrait he I'm black and bloody from my life vatched a butterfly flit lazily from page to page, alighting briefly on the I haven't time to clean my hands ulian Cope feature before shooting off to inspect the Gary Numan Cuts will only sting me through my dreams entrespread. Somewhere in the distance he could hear the Head jardener whistling as he ran a heavy roller over the last part of The Jam It's well past midnight as I lie eries. In a semi-conscious state The only other sound to pierce the drowsy calm came from the back I dream of people fighting me age, where Samantha and Roderick were playing tennis on the Echo And Without any reason I can see he Bunnymen pin-up. Having completed his inspection of The Fall eature. Peregrine yawned and stretched. As Victoria began to rub the Chorus lirst of the tanning lotion into his back, he licked the end of his pencil and In the morning I awake Hon. ifl My arm* my lags my body aches The sky outside is wet and gray So begins another weary day GREY DAY Ma So begins another weary day CROCODILESJflio And Thj Builnymen After eating I go out KEEP OJpfvING YOU REO Speedwagon...|kga....8 People passing by ma shout this IT'SJPNG TO HAPPEN The Undertones....^A,9 I can't stand agony Why don't they talk to ma 1AGNIFICENT FIVE Adam And The Ants 15 the park I have to rest WIUDA TRIANGLE Barry Manilow....... -
David Sylvian As a Philosopher Free
FREE DAVID SYLVIAN AS A PHILOSOPHER PDF Leonardo Vittorio Arena | 66 pages | 28 Feb 2016 | Mimesis International | 9788869770029 | English | MI, Italy Releases Archives - David Sylvian : Expect Everything And Nothing Less Taking Polaroids, traveling, organizing an exhibition — oh and making a new record. In diesem Stadtteil von London leben Menschen, die weder besonders arm noch besonders reich sind, und scheinbar doch was vom guten Leben verstehen. His new work lies somewhere between wallpaper and revolution. David Sylvian as a Philosopher nobody seems quite sure. Interview by Tim Goodyer. Fotography by Martin Goddard. David Sylvian has inspired musicians with his ability to fuse traditional ethnic and hi-tech elements into a moving and unique brand of music. Master Craftsman David Sylvian by Mark Prendergast Since the break-up of his group Japan in NovemberDavid Sylvian has been slowly widening the base of his music to encompass both ethnic and avant-garde sounds. Mark Prendergast gathers the facts on the change of style. Tim Goodyer talks technology, philosophy and improvisation with David Sylvian. Spurning Japanese by Simon Dudfield and A. Barratt NME, Sep. Seconding that emulsion:. Shop Contact Privacy Policy. Toggle navigation. Go to the shop. Home Articles and Interviews Transcripts. By Fiona Russell Powell. Published in The Face, David Sylvian as a Philosopher Smash Hits Yearbook TranscriptsInterview0. David Sylvian: Portrait of an artist by Ian Birch. By Stephen Holden, 16 December Log In Username:. Keep me signed in. Log in with Facebook. Log In. Recent Comments. Log in David Sylvian as a Philosopher your credentials. Forgot your details? David Sylvian as a Philosopher : Leonardo Vittorio Arena : Sylvian, David Overview.