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Bernhard Gander, Ensemble Modern, Attila Csihar, Kevin Paradis Oren
Bernhard Gander, Ensemble Modern, Attila Csihar, Kevin Paradis 20OOZING EARTH Oren Ambarchi, Attila Csihar, Stephen O’Malley GRAVETEMPLE 20 MUSIK Ort Halle E im MuseumsQuartier Warm up! Einführungen, Lectures und Gespräche 13. September, 18.30 Uhr, Crossing over: Neue Termin 13. September, 20 Uhr Musik meets Metal, Gespräch mit Bernhard Gander Dauer 2 Std. 30 Min., inkl. 1 Umbaupause und Attila Csihar, in englischer Sprache, Portikus im Haupthof des MuseumsQuartier Wir bitten Sie, während dieser kurzen Pause den Saal nicht zu verlassen. Der erste Engel blies seine Posaune. Da fielen Hagel und Feuer, die mit Blut vermischt waren, auf das Land. Es verbrannte ein Drittel des Landes, ein Drittel der Bäume und alles grüne Gras. OFFENBARUNG 8,7 The first angel sounded, and there followed hail and fire mingled with blood, and they were cast upon the Earth: and the Mit Musik von Bernhard Gander, Oozing Earth, for voice, extreme-metal drummer and ensemble third part of trees was burnt up, Interpretiert von Attila Csihar / Stimme, Kevin Paradis / Schlagzeug, Ensemble Modern (Dietmar Wiesner / Flöte, Christian Hommel / Oboe, Hugo Queirós / Klarinette, Johannes Schwarz / Fagott, Saar Berger / and all green grass was burnt up. Horn, Sava Stoianov / Trompete, Mikael Rudolfsson / Posaune, Ueli Wiget / Klavier, Hermann Kretzschmar / Klavier, David Haller / Perkussion, Rainer Römer / Perkussion, Jagdish Mistry / Violine, Giorgos Panagiotidis / Violine, Megumi Kasakawa / Viola, Paul Beckett / Viola, Eva Böcker / Violoncello, REVELATION 8:7 Michael Maria Kasper / Violoncello, Paul Cannon / Kontrabass, Norbert Ommer / Klangregie) Dirigent Bas Wiegers Und Musik von Gravetemple (Attila Csihar, Oren Ambarchi, Stephen O’Malley) Lichtkonzept Raphael Haider, Marlene Posch durchgeführt vom Team Wiener Festwochen Uraufführung Oozing Earth, März 2020, cresc… Biennale für aktuelle Musik Frankfurt Rhein Main 2 DE / EN 3 DER ULTIMATIVE ABGESANG AUF DIE MENSCHHEIT unfreiwilligen Propheten. -
Jazz at Lincoln Center with Wynton Dave Liebman Explained from His Seat at Jazz at Marsalis Fêted Mccoy Tyner and Charles Mcpherson Kitano’S Bar (Apr
new york @ nigHt To provide healthcare and disaster relief for needy Jazz these days can be found most anywhere, from musicians, Wendy Oxenhorn and the Jazz Foundation hallowed concert hall to basement dive bar screaming o f of America must repeatedly replenish the non-profit’s fire-code violations. But perhaps the best place to hear FrEeDoM Sound coffers. The 17th annual “A Great Night in Harlem” creative musicians is in the company of other creations, benefit, held at the Apollo Theater on the anniversary like an art gallery or bookstore. There is an analogue of Martin Luther King’s 1968 assassination (Apr. 4th), between the notes and lines being generated by the could have been a somber occasion, but the mood was instruments and the colors and textures of a painting celebratory. Harry Belafonte (not present), Tony or sentences and themes of a novel. This synergy is Bennett and the late Hugh Masekela were honored for what drove local jazz journalist and all-around lifelong commitment to humanitarian causes, each an enthusiast Luigi Santosuosso to form a partnership agent for political change through music. Indeed, in with Rizzoli Books, one of the city’s most charming his remembrances of Belafonte and King, erstwhile purveyors of print. His series is in its ninth month and Civil Rights activist/ambassador Andrew Young fills a need for afternoon jazz appropriate for both quoted Paul Robeson: “Artists are the gatekeepers of aficionados and families striving to become so. On the truth.” The music, casual but passionate, scripted yet first gorgeous weekend of 2019, a large crowd came to freeform, reinforced the political spirit. -
New York Stories« Elbphilharmonie Brings the Music of the Big Apple to Hamburg – from 30 March to 4 April
PRESS RELEASE »NEW YORK STORIES« ELBPHILHARMONIE BRINGS THE MUSIC OF THE BIG APPLE TO HAMBURG – FROM 30 MARCH TO 4 APRIL Hamburg, 27 March 2017: On six evenings featuring a whole variety of big names, audiences at the Elbphilharmonie can hear different facets of the wealth of musical styles that New York City is home to. The programme ranges from John Zorn’s »Bagatelle Marathon«, contemporary pieces for string quartet with the JACK Quartet and from an evening with Michael Feinstein and the hr- Bigband, playing gems from the »Great American Songbook«, to rap with Zebra Katz, great art pop with Anohni and the ensemble yMusic, and electronic music with Tyondai Braxton. The climax of the festival will be two concerts given by the New York Philharmonic under its principal conductor Alan Gilbert with cellist Yo-Yo Ma and the soprano Christina Landshamer. In addition, one of America’s leading contemporary composers, John Adams, will be making a guest appearance. It's an unchallenged claim that New York never sleeps. And if a city never sleeps, its inhabitants obviously have more time for everything, including playing music and listening to it. And it’s true that New Yorkers set great store by music – not least because so many aspiring musicians gravitate to the city from far afield in the belief that this is the only place where they can make their fortune. How did Frank Sinatra put it in the song he made immortal, »New York, New York«? – »If I can make it there, I’ll make it anywhere«. For decades, the East Coast metropolis, consisting of the five boroughs Manhattan, the Bronx, Brooklyn, Queens and Staten Island, was the focus of longing for countless immigrants from all over Europe. -
Your Candidates Metropolitan
YOUR CANDIDATES METROPOLITAN First Peoples’ Assembly of Victoria Election 2019 “TREATY TO ME IS A RECOGNITION THAT WE ARE THE FIRST INHABITANTS OF THIS COUNTRY AND THAT OUR VOICE BE HEARD AND RESPECTED” Uncle Archie Roach VOTING IS OPEN FROM 16 SEPTEMBER – 20 OCTOBER 2019 Treaties are our self-determining right. They can give us justice for the past and hope for the future. The First Peoples’ Assembly of Victoria will be our voice as we work towards Treaties. The First Peoples’ Assembly of Victoria will be set up this year, with its first meeting set to be held in December. The Assembly will be a powerful, independent and culturally strong organisation made up of 32 Victorian Traditional Owners. If you’re a Victorian Traditional Owner or an Aboriginal or Torres Strait Islander person living in Victoria, you’re eligible to vote for your Assembly representatives through a historic election process. Your voice matters, your vote is crucial. HAVE YOU ENROLLED TO VOTE? To be able to vote, you’ll need to make sure you’re enrolled. This will only take you a few minutes. You can do this at the same time as voting, or before you vote. The Assembly election is completely Aboriginal owned and independent from any Government election (this includes the Victorian Electoral Commission and the Australian Electoral Commission). This means, even if you vote every year in other elections, you’ll still need to sign up to vote for your Assembly representatives. Don’t worry, your details will never be shared with Government, or any electoral commissions and you won’t get fined if you decide not to vote. -
The New York City Jazz Record
BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 THE NEW YORK CITY JAZZ RECORD BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 MUSICIANS OF THE YEAR ALBUMS OF THE YEAR MISCELLANEOUS CATEGORIES OF THE YEAR LAKECIA BENJAMIN (saxophone) JUHANI AALTONEN, JONAS KULLHAMMAR, JUHANI AALTONEN, JONAS KULLHAMMAR, TIM BERNE (saxophone) CHRISTIAN MEAAS SVENDSEN, CHRISTIAN MEAAS SVENDSEN, SOLO RECORDINGS BOXED SETS UNEARTHED GEMS ILMARI HEIKINHEIMO— ILMARI HEIKINHEIMO— MATS GUSTAFSSON (saxophone) CHRIS CORSANO—Mezzaluna (Catalytic Sound) PAUL DESMOND—The Complete 1975 Toronto Recordings ART BLAKEY & THE JAZZ MESSENGERS— The Father, the Sons & The Junnu (Moserobie) The Father, the Sons & The Junnu (Moserobie) (Mosaic) Just Coolin’ (Blue Note) JAMES BRANDON LEWIS (saxophone) SIGURD HOLE—Lys / Mørke ( Light / Darkness ) (s/r) DANIEL BINGERT—Berit in Space (Moserobie) PETER EVANS—Into the Silence (More is More-Old Heaven) HERMIONE JOHNSON—Tremble (Relative Pitch) CHARLES LLOYD—8: Kindred Spirits (Live From the Lobero) ELLA FITZGERALD—The Lost Berlin Tapes (Verve) CHARLES LLOYD (saxophone) (Blue Note) LUCA T. MAI—Heavenly Guide (Trost) LONDON JAZZ COMPOSERS ORCHESTRA— COLLOCUTOR—Continuation (On The Corner) FIRE! ORCHESTRA—Actions (Rune Grammofon) MODERN JAZZ QUINTET KARLSRUHE/ That Time (Not Two) MATTHEW SHIPP—The Piano Equation (Tao Forms) FOUR MEN ONLY—Complete Recordings (NoBusiness) CHARLES MINGUS—@ Bremen 1964 & 1975 (Sunnyside) ANDREA KELLER—Journey Home (s/r) DAVID KRAKAUER/KATHLEEN TAGG— UP-AND-COMERS OF THE YEAR CHARLIE PARKER—The Mercury & Clef 10-Inch LP ALAN WAKEMAN—The Octet Broadcasts (1969 and 1979) Breath & Hammer (Table Pounding) Collection (Verve) EMMET COHEN (piano) JON-ERIK KELLSO—Sweet Fruits Salty Roots (Jazzology) LATIN RELEASES (Gearbox) CHARLES LLOYD VARIOUS ARTISTS—Not Two.. -
Rod Blackmore's
Rod Blackmore’s AUSTRALASIAN THEATRE ORGANS New South Wales section Best known location: Penn Hughes residence Bexley Composite Christie/WurliTzer theatre organ 2 manuals (later 4 manuals) 16 ranks now substantially incorporated into the Capri theatre 4/29 theatre organ, Goodwood, Adelaide, South Australia Jack Penn Hughes originated from South Australia and was a professional theatre organist throughout the 1930s- 1940s until the late 1950s featuring at many organs reviewed in this series, particularly in Sydney but also in New Zealand. He was also known as the “singing organist”. His last theatre residence was at the Plaza theatre, Sydney. Despite his musical talents, many found him to be personally irascible, and in his dealings with redundant theatre organs he bordered on the unconscionable. In all some 12 organs were acquired by him and sold on to others, it being claimed that the purchasers did not always receive the organs they expected, Hughes having retained the best features for himself. He has also been identified in the late 1930s with involvement in the installation of instruments in theatres, eg the Astra theatre, Parramatta, and the Astra theatre, Drummoyne. In about 1957 Hughes bought the 2/10 Christie organ from the Empire (later St. James) theatre, Dunedin, New Zealand, and in 1959 he acquired the 2/8 WurliTzer organ (opus #748) previously in the Plaza theatre, Sydney. These two organs formed the basis of his residence organ, initially utilising the Empire Christie console. Later, Hughes acquired the 4 manual secondary console previously installed with the WurliTzer organ (opus #1987) of the State theatre, Melbourne, Victoria, and connected it to his residence organ. -
Oslo, Norway – 31
OSLO, NORWAY – 31. MARCH - 03. APRIL 2010 MAYHEM A RETROSPECTIVE OF GIANTS A VIEW FROM BERGEN TAAKE NACHTMYSTIUM THE TRANSATLANTIC PERSPECTIVE REVELATORY, TRANSFORMATIVE MAGICK JARBOE TEN YEARS OF INFERNO – THE PEOPLE TELL THEIR STORIES OSLO SURVIVOR GUIDE – CINEMATIC INFERNO – CONFERENCE – EXPO – AND MORE WWW.ROSKILDE-FESTIVAL.DK NÅ PÅ DVD OG BLU-RAY! Photo: Andrew Parker Inferno 2010 (from left): Carolin, Jan Martin, Hilde, Anders, Runa, Torje and Melanie (not present: Lars) HAIL ALL – WELCOME TO THE INFERNO METAL FESTIVALS TEN YEAR ANNIVERSARY! n annual gathering of metal, the black and extreme, the blasphemous Aand gory – music straight from hell! Worshippers from all over the world congregate for the fest of the the black metal easter in the North. YOU are hereby summoned! ron fisted, the Inferno Fest has ruled the first decade of the new Millenn- INFERNO MAGAZINE 2010 Iium. It has been a trail of hellfire. Sagas have been written and legacies Editor: Runa Lunde Strindin carved in willing flesh with new bands and new musical territory continously Writers: Gunnar Sauermann, Jonathan Seltzer, Hilde Hammer, conquered ! Bjørnar Hagen, Trond Skog, Anders Odden, Torje Norén. Photos: Andrew Parker, Alex Sjaastad, Charlotte Christiansen, Trond Skog, ail to all the bands, the crew and the volunteers, venues and clubs! Lena Carlsen. HHail to the dedicated media, labels and managements, our partners and IMX and IMC photos: Viktor Jæger collaborators! Inferno logos and illustrations, magazine layout: Hail to the Inferno audience with their dark force and energy. Asgeir Mickelson at MultiMono (www.multimo.no) With you all onboard we set our sails for the next Inferno! Advertising: Melanie Arends and Hilde Hammer at turbine agency (www.turbine.no) Join this years fest and the forthcoming gatherings in the Distribution: turbine agency + Scream Magazine years to come. -
Musiques Du Diable Et Autres Bruits Bénéfiques , Avec
MUSIQUES DU DIABLE ET AUTRES BRUITS BÉNÉFIQUES ALEXANDRE VINCENT FONTAINE ROUSSEAU GIARD sélection et textes dessins MUSIQUES DU DIABLE ET AUTRES BRUITS BÉNÉFIQUES sélection musicale 2010 — 2015 LES ÉDITIONS DE TA MÈRE attention : Ce livre contient au moins 23 tounu·e·s, Pour mon voisin préféré 23 têtes de mort (dont 3 avec du feu) et un nombre incalculable de coches pétées. Pour mon voisin préféré Direction littéraire : Révision : Maxime Raymond Maude Nepveu-Villeneuve Direction artistique : Maquette et composition : Benoit Tardif Vincent Giard © Éditions de Ta Mère, 2017 © Alexandre Fontaine Rousseau, 2017 © Vincent Giard, 2015 — 2017 Bibliothèque et Archives nationales du Québec, 2017 Bibliothèque et Archives du Canada, 2017 isbn : 978-2-924670-13-2 www.tamere.org Nous remercions de son soutien financier le Conseil des Arts du Canada. L’an dernier, le Conseil a investi 153 millions de dollars pour mettre de l’art dans la vie des Canadiennes et des Canadiens de tout le pays. Nous remercions de leur soutien moral Cathon et Sophie Bédard, qui ont chacune commis un dessin dans ce livre. Saurez-vous les trouver ? plus sérieusement : Ce livre est un hommage aux treize numéros du défunt zine Tout va bien, publiés entre 2009 et 2013. Son existence est aussi intimement liée à celle des États altérés, diffusés depuis janvier 2009 sur les ondes de cism. Les auteurs tiennent à remercier celles et ceux qui ont contribué, de près ou de loin, à ce que ces deux entités existent. Ils désirent aussi profiter de cette occasion pour rassurer le lecteur quant à leur santé physique et mentale, leur hygiène personnelle ainsi que leur alimentation (liquide ou non). -
Entertaining the Classes
Entertaining the Classes An archaeological investigation of historic cinemas in Metropolitan Adelaide, South Australia, and their development in relation to social class, 1896-1949 Antoinette Hennessy This thesis is subitted as partial requirement for the degree in Master of Cultural Heritage Management, Department of Archaeology, Flinders University November 2013 Declaration I certify that this thesis does not incorporate, without acknowledgment, any material previously submitted for a degree or diploma in any university; and that to the best of my knowledge and belief it does not contain any material previously published or written by another person except where due reference is made in the text. Name: Signature: Date: i Abstract This research analyses the influence of social class on the development of cinemas in metropolitan Adelaide during the period between 1908 to 1949 using a six-point business strategy (location, building, services, programming, airconditioning/ventilation and affordability), relating to the development of effective businesses. It assesses the validity of two competing theories of cinema histories, using a case study of metropolitan Adelaide, South Australia. The long-standing ‘embourgeoisement’ theory argued that cinemas and cinema- going underwent a gentrification process in which cinema proprietors gradually shifted their target demographic towards the wealthier middle classes, and made changes to venues according to middle class tastes and financial capabilities. During the 1970s, this position was questioned by proponents of the ‘revisionist’ theory, which argued that early film audiences were likely to be a mixture of class demographics, including the working, middle and wealthy classes. The results from this study largely supported the revisionist theory of early cinema development in Adelaide, South Australia. -
Mysticism, Implicit Religion and Gravetemple's Drone Metal By
1 The Invocation at Tilburg: Mysticism, Implicit Religion and Gravetemple’s Drone Metal by Owen Coggins 1.1 On 18th April 2013, an extremely slow, loud and noisy “drone metal” band Gravetemple perform at the Roadburn heavy metal and psychedelic rock festival in Tilburg in the Netherlands. After forty-five minutes of gradually intensifying, largely improvised droning noise, the band reach the end of their set. Guitarist Stephen O’Malley conjures distorted chords, controlled by a bank of effects pedals; vocalist Attila Csihar, famous for his time as singer for notorious and controversial black metal band Mayhem, ritualistically intones invented syllables that echo monastic chants; experimental musician Oren Ambarchi extracts strange sounds from his own looped guitar before moving to a drumkit to propel a scattered, urgent rhythm. Momentum overtaking him, a drumstick slips from Ambarchi’s hand, he breaks free of the drum kit, grabs for a beater, turns, and smashes the gong at the centre of the stage. For two long seconds the all-encompassing rumble that has amassed throughout the performance drones on with a kind of relentless inertia, still without a sonic acknowledgement of the visual climax. Finally, the pulsating wave from the heavily amplified gong reverberates through the corporate body of the audience, felt in physical vibration more than heard as sound. The musicians leave the stage, their abandoned instruments still expelling squalling sounds which gradually begin to dissipate. Listeners breathe out, perhaps open their eyes, raise their heads, shift their feet and awaken enough to clap and shout appreciation, before turning to friends or strangers, reaching for phrases and gestures, often in a vocabulary of ritual, mysticism and transcendence, which might become touchstones for recollection and communication of their individual and shared experience. -
Media Kit Emma Donovan & the Putbacks
MEDIA KIT EMMA DONOVAN & THE PUTBACKS CHEVRON LIGHTHOUSE SUN 9 FEB TICKETS: $39 Click here for images EMMA DONOVAN AND THE PUTBACKS Acclaimed Indigenous vocalist Emma Donovan and Melbourne rhythm combo The Putbacks burst on to the Australian scene with their album Dawn in 2015, announcing a new voice in Australian soul music. Emma’s songwriting is optimistic, impassioned, and bruisingly honest, The Putbacks’ music is fluid, live and raw, and the collaboration has won friends and admirers all over the world. The project was born of Emma and the band’s shared love for classic US soul and the protest music of Indigenous Australia. Shades of every soul record you ever liked sneak through: Al Green’s Hi Recordsera? Check. Aretha’s Classic Atlantic recordings? Check. Stacks of Stax? Check. It’s all there, but there’s also a whole lot of Coloured Stone and Warumpi Band influences giving this project a uniquely Australian slant. Emma grew up singing church songs with her grandparents on the North coast of New South Wales and her first secular gigs were singing in the family band, The Donovans, with her mother and five uncles. Throughout her career, she has toured and recorded with many of the mainstays of Indigenous music from Archie Roach to Dan Sultan and was a leader of the Black Arm Band project. It was in The Black Arm Band that Emma met members of The Putbacks and their journey together began. The Putbacks are stone cold pros, grizzled veterans of all the tours and all the studios. As individuals, they’re the players behind so many bands it’s difficult to list, but let’s start with Hiatus Kaiyote, The Bombay Royale, D.D Dumbo, Swooping Duck and The Meltdown. -
The Black Arm Band Hidden Republic
BIOGRAPHIES David Arden Sally Dastey Bevan Gabanbulu Ruby Hunter Rachael Maza Long Steven Richardson NEW AUSTRALIAN WORK Artist, Repertoire Adviser Artist (Gapanbulu Yunupingu) Artist Artist, Stage Direction, Spoken Word Script Conception, Direction World Artist Premiere David Arden has worked with many Aboriginal As one-third of Tiddas, Sally Dastey released Ruby Hunter is an Aboriginal woman of the Originally from the Torres Strait Islands, Rachael Steven Richardson has broad experience in the artists, from Hard Time Band and Koori Youth two acclaimed albums and four singles with Gapanbulu Yunupingu (Bevan Gabanbulu’s Ngarrindjeri clan of South Australia and was the Maza Long comes from a family of actors that arts spanning 20 years in a variety of artistic, Band to Bart Willoughby and Mixed Relations. accompanying videos, and was awarded an ARIA stage name) is the grandson of Yothu Yindi lead first Aboriginal woman to record her own album. spans three generations. A graduate of the producing and programming roles. He holds a As a guitarist with Archie Roach, he has toured Award. She launched her solo career with Secrets singer Mandawuy Yunupingu, and current yidaki She has recorded two albums, Thoughts Within Western Australian Academy of Performing Arts, Fine Arts degree in visual arts and also studied extensively both nationally and internationally. To Keep (2002) and has performed at numerous (didjeridu) player with Yothu Yindi. Gapanbulu and Feeling Good, and has toured extensively in she has had an impressive career in theatre, film, contemporary dance at Victorian College of the He has also written and performed songs for festivals while working on a range of projects Yunupingu has performed everywhere from Australia and overseas.