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Physicality of the Analogue by Duncan Robinson BFA(Hons)
Physicality of the Analogue by Duncan Robinson BFA(Hons) Submitted in the fulfilment of the requirements for the degree of Master of Fine Arts. 2 Signed statement of originality This Thesis contains no material which has been accepted for a degree or diploma by the University or any other institution. To the best of my knowledge and belief, it incorporates no material previously published or written by another person except where due acknowledgment is made in the text. Duncan Robinson 3 Signed statement of authority of access to copying This Thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Duncan Robinson 4 Abstract: Inside the video player, spools spin, sensors read and heads rotate, generating an analogue signal from the videotape running through the system to the monitor. Within this electro mechanical space there is opportunity for intervention. Its accessibility allows direct manipulation to take place, creating imagery on the tape as pre-recorded signal of black burst1 without sound rolls through its mechanisms. The actual physical contact, manipulation of the tape, the moving mechanisms and the resulting images are the essence of the variable electrical space within which the analogue video signal is generated. In a way similar to the methods of the Musique Concrete pioneers, or EISENSTEIN's refinement of montage, I have explored the physical possibilities of machine intervention. I am working with what could be considered the last traces of analogue - audiotape was superseded by the compact disc and the videotape shall eventually be replaced by 2 digital video • For me, analogue is the space inside the video player. -
Wegart Novinky – December 2010
WEGART NOVINKY – DECEMBER 2010 Igor Boxx (ex Skalpel) – Breslau (Ninja Tune) Igor Boxx je umelecký pseudonym Igora Pudla, člena po ľského dua Skalpel. Ich dva albumy vydané u Ninja Tune sa stali jedným z najdôležitejších hudobných exportov Po ľska. Debutový sólový album Breslau je inšpirovaný Igorovým domovským mestom Wroclaw a prostredníctvom hudby a zvukov rozpráva jeho príbeh z konca 2. svetovej vojny, kedy bolo obliehané Červenou armádou. Prvky krautrocku, jazzové rytmy, psychedelické ozdoby a nad časový ambient ilustrujú monotónnos ť nekon čiacej bitky, absurdnos ť vojnového šialenstva, vytrvalos ť terorizovaných civilistov či zúfalstvo spojené s obranou mesta. Autor: „Je to pokus o vysporiadanie si môjho vz ťahu k mestu, v ktorom žijem.“ CD 15 € (452 Sk) Kat. č. ZENCD166 EAN 5021392639123 Eskmo – Eskmo (Ninja Tune) Brendan Angelides je mladý skladate ľ elektronickej hudby zo San Francisca, ktorý vystupuje a nahráva pod pseudonymom Eskmo. Jeho multižánrové tracky vychádzali spo čiatku na menších tane čných labeloch, postupne však prešiel k tým vplyvným ako Warp alebo Planet Mu a nedávno podpísal zmluvu s Ninja Tune. Eskmova hudba zah ŕň a širokú škálu elektronických štýlov, preto sa vzpiera akejko ľvek klasifikácii. Je rovnako vzrušujúca ako transformatívna. Labelový kolega Amon Tobin sa k Eskmovej produkcii vyjadril nasledovne: „jedna z najlepších, čo som v poslednej dobe po čul.“ CD 15 € (452 Sk) Kat. č. ZENCD161 EAN 5021392615127 Teebs – Ardour (Ninja Tune/Brainfeeder) Mtendere Mandowa, vystupujúci pod pseudonymom Teebs, je jedným z najob ľúbenejších a hlboko zakorenených umelcov losangeleskej scény. Prostredníctvom svojej sústredenosti a obrazotvornosti si už dávnejšie urobil meno ako skúsený maliar a od štetcov a obrazov sa pomaly presúval do sveta hudby. -
Talktalk Telecom Group Limited Annual Report 2021 1 STRATEGIC REPORT Our Business Model
TalkTalk Telecom Group Limited 2021 Annual Report 2021 Annual Limited Group Telecom TalkTalk 2021 ANNUAL REPORT TalkTalk Telecom Group Limited (formerly TalkTalk Telecom Group PLC) At a glance Contents Strategic report IFC At a glance 2 Our business model 4 Our strategy 6 Key performance indicators 8 Business and financial review 13 Principal risks and uncertainties HQ 18 Section 172 Salford, Greater 24 Regulatory environment Manchester 26 Corporate social responsibility Corporate governance 30 Corporate governance 35 Audit Committee report 38 Directors’ remuneration report 53 Directors’ report 55 Directors’ responsibility statement 47,300 Financial statements Over 3,000 high-speed unbundled 56 Independent auditor’s report Ethernet 66 Consolidated income statement exchanges 67 Consolidated balance sheet connections 68 Consolidated cash flow statement 69 Consolidated statement of changes in equity 70 Notes to the consolidated financial statements 108 Company balance sheet 109 Company cash flow statement 110 Company statement of changes in equity 111 Notes to the Company financial statements Other information UK’s 116 Five year record (unaudited) 96% largest 117 Alternative performance measures population wholesale 118 Glossary coverage broadband 120 Registered office 120 Advisers provider Over 957 million GB average 4 million customer broadband downloads per customers month Stay up to date at www.talktalkgroup.com 2,019 2.8 million employees FTTC and FTTP (as at 28 customers February 2021) WHO WE ARE TalkTalk is the UK’s leading value for money connectivity provider. We believe that simple, affordable, reliable and fair connectivity should be available to everyone. Since entering the market in the early 2000s, we have a proud history as an innovative challenger brand ensuring customers benefit from more choice, affordable prices and better services. -
Imsk Week for Everyone in the Business of Ivlusic 13 MOVEMBER 1993 £2.8
imsk week For Everyone in the Business of IVlusic 13 MOVEMBER 1993 £2.8 BPI: pil himnow The music industry has roundly con- Keely Gilbert, of Chris Rea's man- Highdemned Court the judge warning last metedweek to eut alleged by a wasagement able toReal order Life, video says bootlegs the company of Rea's bootleggerCharlesworth, Stephen previously Charlesworth. of Clwyd- threeconcerts months by phone. to arrive "They and took were about rub- guilty in the High Court of breaching judgebish," isn'tshe muchadds. of "A a punishment."warning from a latingan injunction leaflets stopping advertising him from circu-video APUThe on case Designatec's arose from premises a raid inby May, the That,bootlegs Chris of Rea,top artistsand Peter such Gabriel. as Take CharlesworthMr Justice to payFerris the costs ordered of the behalfBPI, which of sixhad memberbrought thecompanies. case on Charlesworth was also wamed that and July 26 the BPI wouid have ceedingsSubsequently for conte. tl : BPI bi CourtStephen last Charlesworth week after heing leaves found the inHigh And warning to pii pirated acts unauthorised Take That_ he videoshad offered and contempt of an injunction restraining "It's laughable," says lan Grant, mai tapesCharlesworth for sale in July. appeared in the High advertisinghim from circulating pirate audio leaflets and hootleg iEVERLEY plainedager of inBig the Country, past of leafletswho has offerin con Court ins Septemberadjourned' for " but s1 the proceed-' until video cassettes. Charlesworth, of video bootlegs of the band. This maki photographerClwyd, -
Artificial Intelligence, Ovvero Suonare Il Corpo Della Macchina O Farsi Suonare? La Costruzione Dell’Identità Audiovisiva Della Warp Records
Philomusica on-line 13/2 (2014) Artificial Intelligence, ovvero suonare il corpo della macchina o farsi suonare? La costruzione dell’identità audiovisiva della Warp Records Alessandro Bratus Dipartimento di Musicologia e Beni Culturali Università di Pavia [email protected] § A partire dai tardi anni Ottanta la § Starting from the late 1980s Warp Records di Sheffield (e in seguito Sheffield (then London) based Warp Londra) ha avuto un ruolo propulsivo Records pushed forward the extent nel mutamento della musica elettronica and scope of electronic dance music popular come genere di musica che well beyond its exclusive focus on fun non si limita all’accompagna-mento del and physical enjoinment. One of the ballo e delle occasioni sociali a esso key factors in the success of the label correlate. Uno dei fattori chiave nel was the creative use of the artistic successo dell’etichetta è stato l’uso possibilities provided by technology, creativo delle possibilità artistiche which fostered the birth of a di- offerte dalla tecnologia, favorendo la stinctive audiovisual identity. In this formazione di un’identità ben ca- respect a crucial role was played by ratterizzata, in primo luogo dal punto the increasing blurred boundaries di vista audiovisivo. Sotto questo profilo between video and audio data, su- un ruolo fondamentale ha giocato la bjected to shared processes of digital possibilità di transcodifica tra dati transformation, transcoding, elabora- audio e video nell’era digitale, poten- tion and manipulation. zialmente soggetti agli stessi processi di Although Warp Records repeatedly trasformazione, elaborazione e mani- resisted the attempts to frame its polazione. artistic project within predictable Nonostante la Warp Records abbia lines, its production –especially mu- ripetutamente resistito a ogni tentativo sic videos and compilations– suggests di inquadrare il proprio progetto arti- the retrospective construction of a stico entro coordinate prevedibili, i suoi consistent imagery. -
Development of Musical Ideas in Compositions by Tortoise
DEVELOPMENT OF MUSICAL IDEAS IN COMPOSITIONS BY TORTOISE Reiner Krämer Prologue For more than 25 years, the Chicago-based experimental rock band Tortoise has crossed over multiple popular music genres (ambient music, krautrock, dub, electronica, drums and bass, reggae, etc.) as well as different types of jazz music, and has made use of minimalist Western art music.1 The group is often labeled a pioneer of the »post-rock« genre. Allegedly, Simon Reynolds first used the term in his review of the album Hex by the English east Lon- don band Bark Psychosis (Reynolds 1994a) and shortly afterwards in his arti- cle »Shaking the Rock Narcotic« (Reynolds 1994b: 28-32). In connection to Tortoise he used »post-rock« in his review article of their 1996 album Mil- lions Now Living Will Never Die (Reynolds 1996). Reynolds describes music he labels as ›post-rock‹ where bands use guitars »in [non-rock] ways« to manipulate »timbre and texture rather than riff[s]« and »augment rock's basic guitar-bass-drums lineup with digital technology such as samplers and sequencers« (Reynolds 2017: 509). Most members of Tortoise act as multi- instrumentalists that play different combinations of instruments at different times. As Jeanette Leech (2017: 16) has stated, a typical Tortoise stage set- up can feature vibraphones, marimbas, two drum sets, and a multitude of synthesizers. With regards to the instrumental setup Leech draws up paral- lels with progressive rock of the 1970s but points to one decisive difference within the genres: »for Tortoise, the range of instrumentation [is] about creating mood, not showboating« (ibid.). -
Idioms-And-Expressions.Pdf
Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context. -
Nine Inch Nails Pretty Hate Machine Free
FREE NINE INCH NAILS PRETTY HATE MACHINE PDF Daphne Carr | 144 pages | 03 May 2011 | Bloomsbury Publishing PLC | 9780826427892 | English | London, United Kingdom Nine Inch Nails - Wikipedia The album consists of reworked tracks from the Purest Feeling demo tape, as well as songs composed after its original recording. The album, which features a heavily synth-driven electronic sound blended with industrial and rock elements, bears little resemblance to the band's subsequent work. Conversely, much like the band's later Nine Inch Nails Pretty Hate Machine, the album's lyrics contain themes of angst, betrayal, and lovesickness. The record was promoted with the singles " Down in It ", " Head Like a Hole ", and " Sin ", as well as the accompanying tour. A remastered edition was released in Although the record was successful, reaching No. Pretty Hate Machine was later certified triple-platinum by RIAAbecoming one of the first independently released albums to do so, and was included on several lists of the best releases of the s. During working nights as a handyman and engineer at the Right Track Studio in ClevelandOhioReznor used studio "down-time" to record and develop his own music. The sequencing was done on a Macintosh Plus. With the help of manager John Malm, Jr. Reznor received contract offers from many of the labels, but eventually signed with TVT Recordswho were known mainly for releasing novelty and television jingle records. Much like his recorded demo, Reznor refused to record the album with a conventional band, recording Pretty Hate Machine mostly by himself. I became completely withdrawn. I couldn't function in society very well. -
How It Works: This Is a Way of Working That
- - - - - - - - - - - - - - - - - - How it works: This is a way of working that anyone can do. This will clear your mind. You must not worry. You will not be judged. Relax and enjoy the materials and music. Allow your whole body to loose control and let the materials and music take over. You may use a visual reference if you prefer or let your hand guide you. The materials will do lovely blends by themselves We will start with warm up exercise 1. Then exercise 2 onwards is more of a process that you can do over a few days or in 1 long session. There are 2 processes. I have given you a descriptive plan of making an image using various materials whilst listening to music. Also use a references, E.g still life or landscape, or life drawing. You can have an image in-front of you to respond to. The seascape example you see in picture form in this pack. I listened to the sea and the wind, bird and atmospherics to help with the brush strokes. The still life of a stack of large beach pebbles, where I still listened to music. mainly classical. For this project I have the following music Chinese music that is very simple and you hear each sound and instrument clearly. Talk Talk. From the Album Spirit of Eden. Specifically The Rainbow, Eden, Desire, Inheritance, I believe in you, wealth. https://www.youtube.com/watch?v=HSfGvuiFOWI Also the Harpist Lavinia Meijer. Her work Gnossienne, Lift off and Metatmorphosis, https://www.youtube.com/watch?v=FWEymbfwNzo https://www.youtube.com/watch?time_continue=1&v=hV2-zFh3tAU&feature=emb_lo go https://www.youtube.com/watch?v=oN99NYFHWEs https://www.youtube.com/watch?v=WbCjceRPXyw Your materials are: Bamboo stick, which you can extend by using your own longer stick. -
Rock Music Is a Genre of Popular Music That Entered the Mainstream in the 1950S
Rock music is a genre of popular music that entered the mainstream in the 1950s. It has its roots in 1940s and 1950s rock and roll, rhythm and blues, country music and also drew on folk music, jazz and classical music. The sound of rock often revolves around the electric guitar, a back beat laid down by a rhythm section of electric bass guitar, drums, and keyboard instruments such as Hammond organ, piano, or, since the 1970s, synthesizers. Along with the guitar or keyboards, saxophone and blues-style harmonica are sometimes used as soloing instruments. In its "purest form", it "has three chords, a strong, insistent back beat, and a catchy melody."[1] In the late 1960s and early 1970s, rock music developed different subgenres. When it was blended with folk music it created folk rock, with blues to create blues-rock and with jazz, to create jazz-rock fusion. In the 1970s, rock incorporated influences from soul, funk, and Latin music. Also in the 1970s, rock developed a number of subgenres, such as soft rock, glam rock, heavy metal, hard rock, progressive rock, and punk rock. Rock subgenres that emerged in the 1980s included new wave, hardcore punk and alternative rock. In the 1990s, rock subgenres included grunge, Britpop, indie rock, and nu metal. A group of musicians specializing in rock music is called a rock band or rock group. Many rock groups consist of an electric guitarist, lead singer, bass guitarist, and a drummer, forming a quartet. Some groups omit one or more of these roles or utilize a lead singer who plays an instrument while singing, sometimes forming a trio or duo; others include additional musicians such as one or two rhythm guitarists or a keyboardist. -
The Acoustic City
The Acoustic City The Acoustic City MATTHEW GANDY, BJ NILSEN [EDS.] PREFACE Dancing outside the city: factions of bodies in Goa 108 Acoustic terrains: an introduction 7 Arun Saldanha Matthew Gandy Encountering rokesheni masculinities: music and lyrics in informal urban public transport vehicles in Zimbabwe 114 1 URBAN SOUNDSCAPES Rekopantswe Mate Rustications: animals in the urban mix 16 Music as bricolage in post-socialist Dar es Salaam 124 Steven Connor Maria Suriano Soft coercion, the city, and the recorded female voice 23 Singing the praises of power 131 Nina Power Bob White A beautiful noise emerging from the apparatus of an obstacle: trains and the sounds of the Japanese city 27 4 ACOUSTIC ECOLOGIES David Novak Cinemas’ sonic residues 138 Strange accumulations: soundscapes of late modernity Stephen Barber in J. G. Ballard’s “The Sound-Sweep” 33 Matthew Gandy Acoustic ecology: Hans Scharoun and modernist experimentation in West Berlin 145 Sandra Jasper 2 ACOUSTIC FLÂNERIE Stereo city: mobile listening in the 1980s 156 Silent city: listening to birds in urban nature 42 Heike Weber Joeri Bruyninckx Acoustic mapping: notes from the interface 164 Sonic ecology: the undetectable sounds of the city 49 Gascia Ouzounian Kate Jones The space between: a cartographic experiment 174 Recording the city: Berlin, London, Naples 55 Merijn Royaards BJ Nilsen Eavesdropping 60 5 THE POLITIcs OF NOISE Anders Albrechtslund Machines over the garden: flight paths and the suburban pastoral 186 3 SOUND CULTURES Michael Flitner Of longitude, latitude, and -
Storm Static Sleep: a Pathway Through Post- Rock Pdf, Epub, Ebook
STORM STATIC SLEEP: A PATHWAY THROUGH POST- ROCK PDF, EPUB, EBOOK Jack Chuter | 295 pages | 15 Nov 2015 | Function Books | 9780957249226 | English | London, United Kingdom Storm Static Sleep: A Pathway Through Post-Rock PDF Book I wanted to write a book that would lay the groundwork for a strong, consistent understanding of the post-rock narrative. Do you sort of see that? So actually, probably, in some ways they might be truer to the original interpretation of post rock than its perception now. Trivia About Storm Static Slee People always seem so grateful to have a festival that they can congregate at to see this music. Jack: Yeah, absolutely! To ask other readers questions about Storm Static Sleep , please sign up. How much you enjoy eit Works as an expansion of Jeanette Leech's book on Post Rock, Fearless , though this book came out first. My favourite experience of seeing them was, again, at Primavera. This book is not yet featured on Listopia. Rating details. Rumour Cubes would be more comfortable with the former sort of description, you know. To accompany the publication, we asked Jack to select twelve such totems, twelve pillars of post-rock that tell the story of a genre that has grown from the bedrooms of Louisville into a worldwide phenomenon without ever fully emerging from the shadows. Nick Gati rated it liked it Dec 07, I own that album". Billy Anderson by Gavin Brown July 28, While the former took the sound of Slint and smashed it into the shoegaze of My Bloody Valentine no doubt inspiring Mono and Explosions In The Sky to do the same a few years later , the latter remains an absolute masterwork of implication and restraint.