Arctic Monkeys weave good rock (again) to 'UK Mine?'
'UK Mine?' Is the title of the new issue of Arctic Monkeys get promised recently. To accompany it have put online a video clip in which we can see how Alex Turner & Co. the first live radio broadcast of this new hit. Contrasting tones, air guitars and gasoline are mixed in one of those pleasant music that we like.
This new theme is not included in his latest album, Suck It and See (2011), but it is appreciated that from time to time decide artists out new things as we await the next. Of time after the tour that brought them to Barcelona and Madrid late last January, the British are prepared to begin a U.S. tour with The Black Keys's ubiquitous.
Tuesday, February 28, 2012
Wednesday, February 22, 2012
The Evangelists, February 2012
It seems that February comes to an end giving a respite environment. The harshness of the cold diluted. The noons are nicer. The street becomes a little more palatable. The South makes us a little closer. Sounds like a good time to open windows, usher in new life. A suitable time to meet the proposed Evangelists, the group created by members of The Planets and Lizard Nick to give a sense homage to flamenco Enrique Morente, who died just over a year. This project came to a few concerts, but the naturalness and the weight of the songs that were born, recalled to the realization of all this homage to a disc. 'Tribute to Enrique Morente' goes on sale this February 21, and to speak a little of it we are in Barcelona with Eric Jimenez (drums of The Planets, Lizard Nick and Napoleon Solo) and Antonio Arias (voice of Nick Lizard) . They are 50% of the Evangelists, the other half are Jack and Florent Munoz of The Planets.
Eric and Antonio seem to hold up well in the promotional hustle. You see them proud to present this tribute to Enrique Morente, of whom they speak as a teacher. The Flemish artist left deep dent in them, despite living apparently separate music venues. Eric says it "was a pivotal figure, a key piece especially for people who did not like flamenco. Closer to a world that has always been very closed with doors, and we have had the good fortune to know him and make us fall in love with an art, and he falls in love with us with the same opening. Then when you get there yourself, an ambassador of flamenco so great that for which we have moved by the standards of rock 'n roll has always pulled back a little, Henry made his art you'll love, so it is important that people know his work. " This shows the natural admiration and respect with which to start this tribute album. A complex process for the separation of styles that comment Evangelists, but the admiration and curiosity that lead to close the gap until you get to be diluted. "Trying to cover every facet of his work is a daunting task, but it is the intention of the album. Sometimes you try to summarize the most mystical, but when you try to address other parts of his repertoire quickly appear cheerful passages, where you see your soul. When you want to summarize something so big, once you miss, "said Antonio Arias.
The work and the artistic ability of Enrique Morente was capitalized, which is a complex process taking hand of his work. But all this has been reaping the fruits of years of mutual cooperation and coexistence nearby. Eric and Antonio explained that the relationship with the family of Morente was a facilitator of this approach to reality flamenco. The singer's wife and daughter Soleá actively involved in some of the songs. Pain, therefore, be bartered in the recording sessions with emotion and memory. Moreover, both as Lizard Planets Nick had worked in various collaborations with Morente, as the album 'Omega' (The European, 1996) jointly published the banda of Antonio Arias and Henry himself. The ability to want to learn beyond their natural habitat by the Flemish artist was a constant to understand his greatness. Evangelists themselves tell the story once they found Enrique Morente in a concert of Massive Attack, looking closely at the computers to try to understand how the music worked. In this regard Eric explains, "Morente was the common point between Lizard and Planets. Who has worked with Enrique know certain parameters, has stuck by him a few genes, a genetic code, a virus infects you in a way that makes you appreciate those things you know Enrique was on freedom of establishment, size, etc.. When we'd start working on songs all flowed and most times we forget that it was not. We had the impression that any time he came to sing. Also, what themes were chosen to weave the disc adds that "have picked the songs that we liked and we have impacted first. Songs in which Henry has a lot of copyright and that has taken over. Here we explain that flamenco in its most mystical has connections to the new wave of the eighties and after punk. Elements who wanted to promote and play with them. To the point of using the reverberation of Jesus & Mary Chain to represent sounds and environments like a drawer and a flamenco guitar to match atmospheres that could not otherwise get. "This process is like watching the same film from different angles. One thing is to make a record with him and another to do about it. It is trying to cover a boundless character, "says Antonio.
The conversation continues to advance and the same air of respect and admiration for the late artist remains the leitmotiv that colors his words. They are artists who speak and honoring their way to an icon, almost sacred land. The issue is causing some controversy with flamenco purists, as all do not understand the review that can do the work of Morente. Antonio Arias says that this album is an act of defiance in Andalusia, this is some debate that they are not interested or want to revive. All this at a time when it seems that the folk and traditional music live a sweet moment, but Eric Jimenez believes that these are labels and is normal and beneficial for independent artists like to look at your past to continue in his creative process. "We have already thrown too many years feeding on roots culturally from others, and I find it interesting that any roots delve into why it is where you can dig deeper" concludes in a didactic way. In this regard Antonio cree "you have to be honest with yourself. If you know things have to express them. "
Admiration, naturally, wandering in curiosity and underground attitude is, in short, the elements that have worked Evangelists to carry out this tribute to Enrique Morente. A set of qualities that always framed their relationship with the Flemish artist and is constantly denote the words of Eric Jimenez and Antonio Arias when talking about his mentor. The outlook for this 'Tribute to Enrique Morente' are then very promising. The March 1 will be a good day to participate collectively in this collective tribute, as the Evangelists will be presenting their album in a setting as special as the Palau de la Música in Barcelona.
Eric and Antonio seem to hold up well in the promotional hustle. You see them proud to present this tribute to Enrique Morente, of whom they speak as a teacher. The Flemish artist left deep dent in them, despite living apparently separate music venues. Eric says it "was a pivotal figure, a key piece especially for people who did not like flamenco. Closer to a world that has always been very closed with doors, and we have had the good fortune to know him and make us fall in love with an art, and he falls in love with us with the same opening. Then when you get there yourself, an ambassador of flamenco so great that for which we have moved by the standards of rock 'n roll has always pulled back a little, Henry made his art you'll love, so it is important that people know his work. " This shows the natural admiration and respect with which to start this tribute album. A complex process for the separation of styles that comment Evangelists, but the admiration and curiosity that lead to close the gap until you get to be diluted. "Trying to cover every facet of his work is a daunting task, but it is the intention of the album. Sometimes you try to summarize the most mystical, but when you try to address other parts of his repertoire quickly appear cheerful passages, where you see your soul. When you want to summarize something so big, once you miss, "said Antonio Arias.
The work and the artistic ability of Enrique Morente was capitalized, which is a complex process taking hand of his work. But all this has been reaping the fruits of years of mutual cooperation and coexistence nearby. Eric and Antonio explained that the relationship with the family of Morente was a facilitator of this approach to reality flamenco. The singer's wife and daughter Soleá actively involved in some of the songs. Pain, therefore, be bartered in the recording sessions with emotion and memory. Moreover, both as Lizard Planets Nick had worked in various collaborations with Morente, as the album 'Omega' (The European, 1996) jointly published the banda of Antonio Arias and Henry himself. The ability to want to learn beyond their natural habitat by the Flemish artist was a constant to understand his greatness. Evangelists themselves tell the story once they found Enrique Morente in a concert of Massive Attack, looking closely at the computers to try to understand how the music worked. In this regard Eric explains, "Morente was the common point between Lizard and Planets. Who has worked with Enrique know certain parameters, has stuck by him a few genes, a genetic code, a virus infects you in a way that makes you appreciate those things you know Enrique was on freedom of establishment, size, etc.. When we'd start working on songs all flowed and most times we forget that it was not. We had the impression that any time he came to sing. Also, what themes were chosen to weave the disc adds that "have picked the songs that we liked and we have impacted first. Songs in which Henry has a lot of copyright and that has taken over. Here we explain that flamenco in its most mystical has connections to the new wave of the eighties and after punk. Elements who wanted to promote and play with them. To the point of using the reverberation of Jesus & Mary Chain to represent sounds and environments like a drawer and a flamenco guitar to match atmospheres that could not otherwise get. "This process is like watching the same film from different angles. One thing is to make a record with him and another to do about it. It is trying to cover a boundless character, "says Antonio.
The conversation continues to advance and the same air of respect and admiration for the late artist remains the leitmotiv that colors his words. They are artists who speak and honoring their way to an icon, almost sacred land. The issue is causing some controversy with flamenco purists, as all do not understand the review that can do the work of Morente. Antonio Arias says that this album is an act of defiance in Andalusia, this is some debate that they are not interested or want to revive. All this at a time when it seems that the folk and traditional music live a sweet moment, but Eric Jimenez believes that these are labels and is normal and beneficial for independent artists like to look at your past to continue in his creative process. "We have already thrown too many years feeding on roots culturally from others, and I find it interesting that any roots delve into why it is where you can dig deeper" concludes in a didactic way. In this regard Antonio cree "you have to be honest with yourself. If you know things have to express them. "
Admiration, naturally, wandering in curiosity and underground attitude is, in short, the elements that have worked Evangelists to carry out this tribute to Enrique Morente. A set of qualities that always framed their relationship with the Flemish artist and is constantly denote the words of Eric Jimenez and Antonio Arias when talking about his mentor. The outlook for this 'Tribute to Enrique Morente' are then very promising. The March 1 will be a good day to participate collectively in this collective tribute, as the Evangelists will be presenting their album in a setting as special as the Palau de la Música in Barcelona.
Monday, February 20, 2012
Death of Michael Davis, one of the pioneers of punk
The Whitney Houston has not been the only serious loss that has been in the last days the world of music. Michael Davis, MC5 bassist known to have been considered one of the pioneers of the punk scene, died last Friday at age 68 after suffering a long (and terrible) disease.
Born June 43, the musician won the attention of the media after being signed by MC5 in 1964 as subtituto Pat Barrows, an original member of the legendary band. Davis recorded three albums with the group, one of them was the legendary "Kick Out The Jams", and finally leave the formation at 72. Besides his work with MC5 bassist was a member of Blood Orange, Rich Hopkins and Luminaries and launched a project in 2006 - "The Music Is Revolution" - to promote his wife of music education in public schools.
The punk world has lost one of those figures that marked an important precedent in the musical culture that we met today. Unfortunately we are left with the desire to enjoy the production that he and Sonny Vincent were going to record soon in Belgium.
Born June 43, the musician won the attention of the media after being signed by MC5 in 1964 as subtituto Pat Barrows, an original member of the legendary band. Davis recorded three albums with the group, one of them was the legendary "Kick Out The Jams", and finally leave the formation at 72. Besides his work with MC5 bassist was a member of Blood Orange, Rich Hopkins and Luminaries and launched a project in 2006 - "The Music Is Revolution" - to promote his wife of music education in public schools.
The punk world has lost one of those figures that marked an important precedent in the musical culture that we met today. Unfortunately we are left with the desire to enjoy the production that he and Sonny Vincent were going to record soon in Belgium.
Friday, February 17, 2012
Girls Names - Gloomy Twee
So the cover for the single released on Slumberland "black saturday" that the Northern Irish band Girls Names are presented here looks so much time off after Gothic.
But although there is already a certain tendency to the dark corners of the music, the girls names but are significantly more "upbeat" and associated more with guitar pop. Oh yes, it even gives the song a free download.
But although there is already a certain tendency to the dark corners of the music, the girls names but are significantly more "upbeat" and associated more with guitar pop. Oh yes, it even gives the song a free download.
Thursday, February 16, 2012
Unrecognized Shoegazeperlen
Continue with my little music reviews - today it is once again in the U.S., after the ebbing of the first big wave represented the beginning of the 90s for a long time a stronghold for (unknown) great bands.
Alison's Halo were as a band that never made it into the major newspapers and music is their only album, "Eyedazzler" (a type of their best songs from 1992-1996), a real rarity. Here are the songs that the duo has to offer from Arizona, some of the best, it has to offer this kind of music. First and foremost, "Leech" and "Slowbleed" - classic floating Shoegazegitarren how I like them especially. Supposedly, the band is working on new material.
Alison's Halo were as a band that never made it into the major newspapers and music is their only album, "Eyedazzler" (a type of their best songs from 1992-1996), a real rarity. Here are the songs that the duo has to offer from Arizona, some of the best, it has to offer this kind of music. First and foremost, "Leech" and "Slowbleed" - classic floating Shoegazegitarren how I like them especially. Supposedly, the band is working on new material.
Wednesday, February 15, 2012
Art whisper
Extensive art collections, exclusive previews, hidden galleries, changing exhibitions - the Munich art scene has to offer. The bloggers of gallerytalk.net are dedicated to the aesthetic side of the city and provide the interested and curious, Skilled and non-immigrant art lovers with news, reviews and interviews from the scene.
Called a half years ago as a one-woman project of the law student Ms Boehm to life, the team has now grown to four co-workers and has continued to spread into Central Franconia. One half of blogging from Munich, the other two co-writers provide the latest news from Nuremberg.
For the parade, the art blog friends have asked to speak:
First Our blog is in no case
Art show ... as something Abgehobenes, but they bring interested people together.
Second Our ideally typical reader is a mixture of
Art expert and ... begeisterungsfähigem non-specialists.
Third The best headline so far
Sculptural ... debate in the House of Art.
4th The previously most viewed blog entry
Michael Wesely ... - Timeworks.
5th If we did not make this blog, we had time for
Around Andeln ... youthful.
6th Motto of the editorial
Karte_A6_hochkant.indd
7th Else we read online
Monopoly ... and zeit.de-magazin.de / culture / arts.
8th Online you can find us
... In the Golden Bar in the House of Art!
9th Our favorite song of the week
The Game ... of the Inland Knights.
popout
10th Munich needs urgent
Openness ... and spontaneity.
Called a half years ago as a one-woman project of the law student Ms Boehm to life, the team has now grown to four co-workers and has continued to spread into Central Franconia. One half of blogging from Munich, the other two co-writers provide the latest news from Nuremberg.
For the parade, the art blog friends have asked to speak:
First Our blog is in no case
Art show ... as something Abgehobenes, but they bring interested people together.
Second Our ideally typical reader is a mixture of
Art expert and ... begeisterungsfähigem non-specialists.
Third The best headline so far
Sculptural ... debate in the House of Art.
4th The previously most viewed blog entry
Michael Wesely ... - Timeworks.
5th If we did not make this blog, we had time for
Around Andeln ... youthful.
6th Motto of the editorial
Karte_A6_hochkant.indd
7th Else we read online
Monopoly ... and zeit.de-magazin.de / culture / arts.
8th Online you can find us
... In the Golden Bar in the House of Art!
9th Our favorite song of the week
The Game ... of the Inland Knights.
popout
10th Munich needs urgent
Openness ... and spontaneity.
Tuesday, February 14, 2012
Winter Greetings from Magdeburg
I am now almost exactly 3 months away from the Franconian way home and would like to engage this time in style. You've all noticed it determines:
Winter is here. With all its shadows and light sides. The last one for me, anyway Samstagbend already one of the highlights of the cold season 2009/2010. Why is this so, I want to tell you in the following lines.
It has long stood on a notepad on my pin board following appointment: "19.12. Kristofer Åström, Moritzhof". The name says Åström one or other of you may have something. For one, the man is actually the head of Fireside, a pioneer of what we blew up in recent years Sweden Rock so in the ears. In the last decade but made with Kristofer Åström eight LP-Publish again and again solo attention. You could also call the blond Scandinavian Sweden Pete Yorn. On his albums take a deep melancholy, sunny and refreshingly relaxed - just like on the last "Sinkadus EP," he testified again and again first-class songwriting skills.
I'm so late in the afternoon with the hope to get some tickets in advance for Moritzhof, which I already knew from the outside. Through the window I get to a small group of people, of whom I like a person than the advertised K.Å. recognized, see the table to sit. It looked very relaxed. We would like to set himself and knocked. But I just wanted my tickets and finally you will not want to impose. So, left through the door into the cafe and put on the counter. I wait two or three minutes opposes to me from the kitchen by my standards in the years who has come very, very bearded man with a bandana, hat over it and a pretty nerdy black glasses. "I would like to buy tickets for tonight's concert," to which he gives to me in English to understand that he does not understand me. No problem, I think, and ask again, but this time, consequently, in English.
I could sell tickets to the type not to change but already he has left an impression. When I go back to the apartment, I come to the conclusion that this had probably been one of his roadies. Fast.
TEst
20:50: At the door there was still tickets available. Luckily. The stage lights come on. The band takes the stage. And who is strapped to the bass, like the fraternal twin of John Paul Jones? Exactly, my acquaintance from the cafe. The beard he has twirled for the show funny tentacles. It looks something like the villain from the first part of "Pirates of the Caribbean". Nikke Ström is he, and as I suspected, he has been playing in bands for over thirty years. You can see (and hear) it to him.
What followed was a concert of the finest grade, let's take impressions are difficult to describe. But what we can say with complete justification: The songs shine by Kristofer Kristofer Åström live in an incredible depth, not least because of the superb musicians of the "Rain-aways," as the band around the artist. So all is now set his heart: Kristofer Åström. The best live.
Winter is here. With all its shadows and light sides. The last one for me, anyway Samstagbend already one of the highlights of the cold season 2009/2010. Why is this so, I want to tell you in the following lines.
It has long stood on a notepad on my pin board following appointment: "19.12. Kristofer Åström, Moritzhof". The name says Åström one or other of you may have something. For one, the man is actually the head of Fireside, a pioneer of what we blew up in recent years Sweden Rock so in the ears. In the last decade but made with Kristofer Åström eight LP-Publish again and again solo attention. You could also call the blond Scandinavian Sweden Pete Yorn. On his albums take a deep melancholy, sunny and refreshingly relaxed - just like on the last "Sinkadus EP," he testified again and again first-class songwriting skills.
I'm so late in the afternoon with the hope to get some tickets in advance for Moritzhof, which I already knew from the outside. Through the window I get to a small group of people, of whom I like a person than the advertised K.Å. recognized, see the table to sit. It looked very relaxed. We would like to set himself and knocked. But I just wanted my tickets and finally you will not want to impose. So, left through the door into the cafe and put on the counter. I wait two or three minutes opposes to me from the kitchen by my standards in the years who has come very, very bearded man with a bandana, hat over it and a pretty nerdy black glasses. "I would like to buy tickets for tonight's concert," to which he gives to me in English to understand that he does not understand me. No problem, I think, and ask again, but this time, consequently, in English.
I could sell tickets to the type not to change but already he has left an impression. When I go back to the apartment, I come to the conclusion that this had probably been one of his roadies. Fast.
TEst
20:50: At the door there was still tickets available. Luckily. The stage lights come on. The band takes the stage. And who is strapped to the bass, like the fraternal twin of John Paul Jones? Exactly, my acquaintance from the cafe. The beard he has twirled for the show funny tentacles. It looks something like the villain from the first part of "Pirates of the Caribbean". Nikke Ström is he, and as I suspected, he has been playing in bands for over thirty years. You can see (and hear) it to him.
What followed was a concert of the finest grade, let's take impressions are difficult to describe. But what we can say with complete justification: The songs shine by Kristofer Kristofer Åström live in an incredible depth, not least because of the superb musicians of the "Rain-aways," as the band around the artist. So all is now set his heart: Kristofer Åström. The best live.
Monday, February 13, 2012
Graphic Design Unplugged
On Thursday evening gathered at the turn of the young and older lovers of video Mirko Borsche Munich's honor. At the beginning provided a serenade of two trumpeters of the Bavarian Radio Symphony Orchestra for attention and the host of the Museum, Florian Hufnagl could begin his speech.
The event is more than just well-attended, and a square in front of the wall with the posters is especially at the beginning of the hotly contested issue. On the side wall between the staircase to the first Floor auditorium and hang close to densely black 74 - white originals. Close together, they act like a massive wall, which the visitors that stop along the corridor to go fast, but are urging him to stay and get in touch with each of the pictures apart. How do I know the subject again? This question is actually in each of the posters. Borsche has their existing motives for the Bavarian Radio Symphony Orchestra, NEON, SUPER PAPER, record covers for the label Gommagang and implemented many more for the issue again. The 74 pictures, all in size 70 x 100 centimeters, 'abstraction by reduction' this is the main idea of the work. It is a radical reinterpretation of the design task, "poster" as a substantive element within a museum exhibition. The abstraction of the original design ideas with black brush strokes on a light background, and always the same size to which the composition of large posters will be placed as well as magazine covers, CD covers permits, an unusual, new look at the work and the creative attitude of the Bureau Mirko Borsche. Whether it was originally in the work concerned a photograph or an illustration, you can not see more, there remained only an idea. '
The second presenter of the evening, Christoph Amend, editor of TIME magazine, brings his thoughts about the artist with a loving expression Quote: "If I close my eyes and think Mirko Borsche - then I see a magician in front of me."
The posters are worth a visit anyway - up to 18 März.2012 every day in the graphic arts collection of the Pinakothek der Moderne.
For more information:
http://www.pinakothek.de/pinakothek-der-moderne
The event is more than just well-attended, and a square in front of the wall with the posters is especially at the beginning of the hotly contested issue. On the side wall between the staircase to the first Floor auditorium and hang close to densely black 74 - white originals. Close together, they act like a massive wall, which the visitors that stop along the corridor to go fast, but are urging him to stay and get in touch with each of the pictures apart. How do I know the subject again? This question is actually in each of the posters. Borsche has their existing motives for the Bavarian Radio Symphony Orchestra, NEON, SUPER PAPER, record covers for the label Gommagang and implemented many more for the issue again. The 74 pictures, all in size 70 x 100 centimeters, 'abstraction by reduction' this is the main idea of the work. It is a radical reinterpretation of the design task, "poster" as a substantive element within a museum exhibition. The abstraction of the original design ideas with black brush strokes on a light background, and always the same size to which the composition of large posters will be placed as well as magazine covers, CD covers permits, an unusual, new look at the work and the creative attitude of the Bureau Mirko Borsche. Whether it was originally in the work concerned a photograph or an illustration, you can not see more, there remained only an idea. '
The second presenter of the evening, Christoph Amend, editor of TIME magazine, brings his thoughts about the artist with a loving expression Quote: "If I close my eyes and think Mirko Borsche - then I see a magician in front of me."
The posters are worth a visit anyway - up to 18 März.2012 every day in the graphic arts collection of the Pinakothek der Moderne.
For more information:
http://www.pinakothek.de/pinakothek-der-moderne
Friday, February 10, 2012
We Miss the Earth - Endlich wieder Noisepop
Nun wird es auch mal an der Zeit, wieder eine Shoegazeband vorzustellen – wie wäre es beispielsweise mit We Miss The Earth, einem Duo aus Portland, das gerade auf Bandcamp eine EP namens «Orphans, Widows, Indeed» mit unveröffentlichtem Material veröffentlicht hat, die mit „name your price“ auch für den Schnäppchenjäger erschwinglich ist.
Die Band spielt leicht psychedelisch verzerrten Shoegaze in Jesus & Mary Chain-Manier, der mich teilweise auch an frühere Ceremony-/Skywave-Sachen erinnert. Also eindeutig zu empfehlen!
Die Band spielt leicht psychedelisch verzerrten Shoegaze in Jesus & Mary Chain-Manier, der mich teilweise auch an frühere Ceremony-/Skywave-Sachen erinnert. Also eindeutig zu empfehlen!
Thursday, February 9, 2012
The Jason Derulo had concert at the Olympiahalle in Munich, little can be canceled
Jason Derulo on his sick bed - Photo: Jason Derulos twitter & facebook
Bad news for fans of R & B singer Jason Derulo: Being for the 17/03/2012 at the Little Olympiahalle Munich planned performance had to be canceled, just like the rest of his "Future History" tour. Derulo last Tuesday has drawn in a very difficult dance rehearsals neck injury, called a "hangman fracture". The name derives from the fact that here is the same as for a broken vertebra hanging (in English: "hangman's fracture"). Speaking of the gallows: Derulo showed black (gallows) humor and irony, but two days after the accident, he turned to twitter and facebbok with a short message from his sick bed to his fans: "I always try to put more of you raised the bar! Do you like my new necklace? "
After his failed acrobatics insert the samples Derulo was immediately taken to the Western Memorial Hospital in Miami, where the executioner Physicians diagnosed fracture. According to her testimony Derulo has narrowly avoided a permanent paralysis. He regrets the cancellation of the tour more than the actual injury: "To all my fans who were eager to 'Future History Tour' come: I'm terribly sorry to have to cancel the shows due to injury. This pains me to go much deeper than the violation of my own! My fans mean everything to me. I pray for a speedy recovery to be able to perform for you as soon as possible in full force! "
Jason Derulos Future History Tour abgesagtErst was injured in September, Jason Derulo his new second album "Future History" published in which he presents his own definition of modern pop music. Even his self-titled debut album went nearly a million times on the counter. The multi-platinum-Shooting Star has also sold well over 13 million singles. After worldwide mass hysteria during his first - completely sold out - now touring wanted Derulo hit with his second album is another chapter in its unprecedented success career.
Derulos career began two years ago when he was breaking with its many precious winning singles "Whatcha Say" and "In My Head" all sales records. That he has now broken a vertebrae is of course very unfavorable timing, but we want from Munich Blog Jason Derulo all good, quick healing and that he did not during his convalescence, the striking, sympathetic smile verliet!
Bad news for fans of R & B singer Jason Derulo: Being for the 17/03/2012 at the Little Olympiahalle Munich planned performance had to be canceled, just like the rest of his "Future History" tour. Derulo last Tuesday has drawn in a very difficult dance rehearsals neck injury, called a "hangman fracture". The name derives from the fact that here is the same as for a broken vertebra hanging (in English: "hangman's fracture"). Speaking of the gallows: Derulo showed black (gallows) humor and irony, but two days after the accident, he turned to twitter and facebbok with a short message from his sick bed to his fans: "I always try to put more of you raised the bar! Do you like my new necklace? "
After his failed acrobatics insert the samples Derulo was immediately taken to the Western Memorial Hospital in Miami, where the executioner Physicians diagnosed fracture. According to her testimony Derulo has narrowly avoided a permanent paralysis. He regrets the cancellation of the tour more than the actual injury: "To all my fans who were eager to 'Future History Tour' come: I'm terribly sorry to have to cancel the shows due to injury. This pains me to go much deeper than the violation of my own! My fans mean everything to me. I pray for a speedy recovery to be able to perform for you as soon as possible in full force! "
Jason Derulos Future History Tour abgesagtErst was injured in September, Jason Derulo his new second album "Future History" published in which he presents his own definition of modern pop music. Even his self-titled debut album went nearly a million times on the counter. The multi-platinum-Shooting Star has also sold well over 13 million singles. After worldwide mass hysteria during his first - completely sold out - now touring wanted Derulo hit with his second album is another chapter in its unprecedented success career.
Derulos career began two years ago when he was breaking with its many precious winning singles "Whatcha Say" and "In My Head" all sales records. That he has now broken a vertebrae is of course very unfavorable timing, but we want from Munich Blog Jason Derulo all good, quick healing and that he did not during his convalescence, the striking, sympathetic smile verliet!
Wednesday, February 8, 2012
Mnozil Brass with Magic Moments in the Old Congress Hall
Mnozil Brassvon obenDie Austrian Brass Combo Mnozil it blows the audience away with drums and trumpets in front and with an irrepressible enthusiasm: The local folk music alive, inspired and touched! Quite contrary to popular opinion, that folk music is subject mostly to the influence of populist political appointments or conservative customs guards and other abuses have fallen victim, it can be opened despite their rootedness other musical styles, integrate them and thus to find a whole new musical expression. As with Mnozil Brass. The studied seven musicians from Vienna have never been done differently folk music. In her current show "Magic Moments" she enchanted the audience literally.
In graceful finely crafted arrangements and original compositions, the beautiful sounds of their priceless brass instruments are fully exploited. With instinctive certainty limits are exceeded, and rightly forgotten works again kissed awake - and it is once more pointed out that the basis of any basis is the foundation.
From feature the men were certified even months before the premiere of a gripping transparency in the tone and acting Inkontin uhhh-uhhh-Intransposi thing. It has therefore used in an enthralling two hours, or to tell how the ancient Greeks, at one hundred and twenty minutes mopsfidele theater entertainment show eureka moment Magic Thing Thing Again insane concert. True to the motto mnozilschen: a gentle tones can also spoil.
Mnozil Brass was formed in 1992 with the legendary musician's regular tables in the guest house of Joseph Mnozil, a tavern in the first District of Vienna. About weddings, birthdays, funerals and farmers markets, the group worked slowly to the concert and theater stages. Due to the booming demand, the seven members of the group decided in 2000 to devote himself mainly to the group Mnozil Brass. Since then, they are playing 120-130 gigs a year around the world! So they were already in Switzerland to Austria, Germany, Poland, Slovakia, Czech Republic, Italy, France, Spain, England, Belgium, Holland, Luxembourg, Sweden, Norway, Finland, Russia, Taiwan, Japan, Canada, America and Australia.
You fill it houses such as the Royal Albert Hall in London, the KKL in Lucerne, the Burgtheater in Vienna, the Tchaikovsky Conservatory in Moscow, the Centennial Hall in Bochum, the opera houses of Stuttgart, Wiesbaden and Leipzig, the Thalia Theater in Hamburg, Düsseldorf Schauspielhaus and the Berliner Ensemble. www.mnozilbrass.at
In graceful finely crafted arrangements and original compositions, the beautiful sounds of their priceless brass instruments are fully exploited. With instinctive certainty limits are exceeded, and rightly forgotten works again kissed awake - and it is once more pointed out that the basis of any basis is the foundation.
From feature the men were certified even months before the premiere of a gripping transparency in the tone and acting Inkontin uhhh-uhhh-Intransposi thing. It has therefore used in an enthralling two hours, or to tell how the ancient Greeks, at one hundred and twenty minutes mopsfidele theater entertainment show eureka moment Magic Thing Thing Again insane concert. True to the motto mnozilschen: a gentle tones can also spoil.
Mnozil Brass was formed in 1992 with the legendary musician's regular tables in the guest house of Joseph Mnozil, a tavern in the first District of Vienna. About weddings, birthdays, funerals and farmers markets, the group worked slowly to the concert and theater stages. Due to the booming demand, the seven members of the group decided in 2000 to devote himself mainly to the group Mnozil Brass. Since then, they are playing 120-130 gigs a year around the world! So they were already in Switzerland to Austria, Germany, Poland, Slovakia, Czech Republic, Italy, France, Spain, England, Belgium, Holland, Luxembourg, Sweden, Norway, Finland, Russia, Taiwan, Japan, Canada, America and Australia.
You fill it houses such as the Royal Albert Hall in London, the KKL in Lucerne, the Burgtheater in Vienna, the Tchaikovsky Conservatory in Moscow, the Centennial Hall in Bochum, the opera houses of Stuttgart, Wiesbaden and Leipzig, the Thalia Theater in Hamburg, Düsseldorf Schauspielhaus and the Berliner Ensemble. www.mnozilbrass.at
Monday, February 6, 2012
This is The Long Count...
Barbican, London
It all ends on the count of "one". At one point, a swinging guitar gets whacked by baseball bats, like a particularly unyielding piñata. At another, Kelley Deal (best known as one of the Breeders) stabs at the mirrored floor with a knife.
This is (some of) The Long Count, a performance of music and visuals by artist Matthew Ritchie and brothers Aaron and Bryce Dessner of the National. Erudite doom-mongers may recognise The Long Count as the system by which the Mayans measured time, a cycle apparently due to reset on 21 December 2012. The time before Mayan time begins provides the dreamlike setting here for a baffling, but periodically thrilling, set of songs inspired by Mesoamerican myth, played out by indie-rock luminaries accompanied by (in this latest run) the Heritage Orchestra. First performed in 2009 at the Brooklyn Academy of Music (BAM), it was revived in Holland last summer. Now – in the apocalypse year – The Long Count arrives at the Barbican.
Although Ritchie's personal interest in creation myths and his organic, replicating visuals form the origins of this collaboration, The Long Count's song cycle, and its momentum, belongs to the Dessners, two of the hardest-networking figures in contemporary American music. They run a label. They curated the celebrated Dark Was the Night compilation in aid of Red Hot and Blue in 2009, which served as a who's who of the international Brooklyn scene. Aaron has just produced a terrific record, Tramp (see review below), by Sharon Van Etten; Bryce has worked with Kronos Quartet and Philip Glass. A song cycle with Sufjan Stevens and Nico Muhly is in the works.
If tonight's performance is bewildering, the surging music really impresses, particularly when guitars, strings, woodwind and brass reach full pelt as on "Aheym", tonight's penultimate track. The twins' guitars frequently chase each other around repetitive cycles, a theme taken up by the strings. There are drones and grooves, and nods to Steve Reich, for whose 75th birthday "Aheym" was, apparently, originally composed.
Both Dessners have been at pains to explain the non-linear abstractedness of the work in recent interviews. But tonight The Long Count's great backstory – featuring twins and baseball – remains painfully disjointed from its practice.
Ritchie sets events in motion by coming onstage to precis the Popol Vuh – the Mesoamerican creation myth. He notes that The Long Count has been "remade" every time it has been performed, something of an understatement.
Tonight's rendition differs from reports of the original in several respects. The National's singer, the brilliantly lugubrious Matt Berninger, is absent, replaced by TV on the Radio's Tunde Adebimpe, owner of one of the most psychedelically soulful voices in rock.
Kelley is without her better-known twin, Kim Deal, absent on Pixies duty (or, possibly, a solo album). The classically trained singer Shara Worden, of My Brightest Diamond, is a constant, wearing masks whose lace and filigree recalls Ritchie's organic, fractally replicating, hole-y visuals. The stage set resembles slices of grey Emmenthal bolted together into stools.
In the original BAM performance, the twin brothers mirrored each other stage right and left, as did the Deal twins. Ritchie's visuals were symmetrical and reflected from the screen on to the mirrored floor. The meticulous duplication all made engaging sense, given that the Popol Vuh prominently features two "hero twins". The young Dessners were crazy about baseball, and a soundtrack of baseball commentary plays out as the audience enters, suggesting the ball game that the hero twins play in the Popol Vuh.
You glean much of this from the programme notes, rather than what goes on onstage. The symmetry has gone, with the Dessners both playing guitar on the lunar cheese structures to the left, and the orchestra arrayed on the right. Kelley is by herself, distortedly half-rapping two songs, "Bull Run" and "When You Were Born".
The mighty Adebimpe is perhaps the biggest disappointment. This powerhouse is made to sing "Tests" – the standout track from previous performances – too stagily, in a costume accessorised with beads and feathers. We may be in the former London home of the Royal Shakespeare Company, but still.
It is best to forget all about the Popol Vuh, the baseball and the absentees, and just feel the orchestra. At one point, midway through, percussionist Sam Solomon doubles up on drums and xylophone, two sticks in each hand. "Mathilde" – over-sung by Worden – ends in a gloriously dissonant flurry of saxophone, looped and distorted.
There is no question the Dessner brothers have a musical reach well beyond the saturated rock songs of their day job. Tonight's obtuse retelling of their Long Count falls far short of heroic, but it is by no means the end of the world.
It all ends on the count of "one". At one point, a swinging guitar gets whacked by baseball bats, like a particularly unyielding piñata. At another, Kelley Deal (best known as one of the Breeders) stabs at the mirrored floor with a knife.
This is (some of) The Long Count, a performance of music and visuals by artist Matthew Ritchie and brothers Aaron and Bryce Dessner of the National. Erudite doom-mongers may recognise The Long Count as the system by which the Mayans measured time, a cycle apparently due to reset on 21 December 2012. The time before Mayan time begins provides the dreamlike setting here for a baffling, but periodically thrilling, set of songs inspired by Mesoamerican myth, played out by indie-rock luminaries accompanied by (in this latest run) the Heritage Orchestra. First performed in 2009 at the Brooklyn Academy of Music (BAM), it was revived in Holland last summer. Now – in the apocalypse year – The Long Count arrives at the Barbican.
Although Ritchie's personal interest in creation myths and his organic, replicating visuals form the origins of this collaboration, The Long Count's song cycle, and its momentum, belongs to the Dessners, two of the hardest-networking figures in contemporary American music. They run a label. They curated the celebrated Dark Was the Night compilation in aid of Red Hot and Blue in 2009, which served as a who's who of the international Brooklyn scene. Aaron has just produced a terrific record, Tramp (see review below), by Sharon Van Etten; Bryce has worked with Kronos Quartet and Philip Glass. A song cycle with Sufjan Stevens and Nico Muhly is in the works.
If tonight's performance is bewildering, the surging music really impresses, particularly when guitars, strings, woodwind and brass reach full pelt as on "Aheym", tonight's penultimate track. The twins' guitars frequently chase each other around repetitive cycles, a theme taken up by the strings. There are drones and grooves, and nods to Steve Reich, for whose 75th birthday "Aheym" was, apparently, originally composed.
Both Dessners have been at pains to explain the non-linear abstractedness of the work in recent interviews. But tonight The Long Count's great backstory – featuring twins and baseball – remains painfully disjointed from its practice.
Ritchie sets events in motion by coming onstage to precis the Popol Vuh – the Mesoamerican creation myth. He notes that The Long Count has been "remade" every time it has been performed, something of an understatement.
Tonight's rendition differs from reports of the original in several respects. The National's singer, the brilliantly lugubrious Matt Berninger, is absent, replaced by TV on the Radio's Tunde Adebimpe, owner of one of the most psychedelically soulful voices in rock.
Kelley is without her better-known twin, Kim Deal, absent on Pixies duty (or, possibly, a solo album). The classically trained singer Shara Worden, of My Brightest Diamond, is a constant, wearing masks whose lace and filigree recalls Ritchie's organic, fractally replicating, hole-y visuals. The stage set resembles slices of grey Emmenthal bolted together into stools.
In the original BAM performance, the twin brothers mirrored each other stage right and left, as did the Deal twins. Ritchie's visuals were symmetrical and reflected from the screen on to the mirrored floor. The meticulous duplication all made engaging sense, given that the Popol Vuh prominently features two "hero twins". The young Dessners were crazy about baseball, and a soundtrack of baseball commentary plays out as the audience enters, suggesting the ball game that the hero twins play in the Popol Vuh.
You glean much of this from the programme notes, rather than what goes on onstage. The symmetry has gone, with the Dessners both playing guitar on the lunar cheese structures to the left, and the orchestra arrayed on the right. Kelley is by herself, distortedly half-rapping two songs, "Bull Run" and "When You Were Born".
The mighty Adebimpe is perhaps the biggest disappointment. This powerhouse is made to sing "Tests" – the standout track from previous performances – too stagily, in a costume accessorised with beads and feathers. We may be in the former London home of the Royal Shakespeare Company, but still.
It is best to forget all about the Popol Vuh, the baseball and the absentees, and just feel the orchestra. At one point, midway through, percussionist Sam Solomon doubles up on drums and xylophone, two sticks in each hand. "Mathilde" – over-sung by Worden – ends in a gloriously dissonant flurry of saxophone, looped and distorted.
There is no question the Dessner brothers have a musical reach well beyond the saturated rock songs of their day job. Tonight's obtuse retelling of their Long Count falls far short of heroic, but it is by no means the end of the world.
Wednesday, February 1, 2012
Hear new music from Oneohtrix Point Never’s Software label
Oneohtrix Point Never fans, take note: this week, Daniel Lopatin and Joel Ford's Software label released two new records, both of which should satisfy your cravings for off-center synth-pop. The debut album from New York's Megafortress is a heartbreakingly beautiful four-track EP encompassing reverb-soaked R&B lullabies, churchly organ drone and ethereal falsetto; for fans of How To Dress Well and James Blake, it comes highly recommended. Rejoice is the debut album from Napolian, the 19-year-old producer behind Los Angeles' Renaissance Music Group. Far than the devotional mood of Megafortress, Napolian's warbly music proposes an unstable hybrid of '80s electro-funk and '90s R&B with elements of juke, trap music, ambient, and more. It's an ambitious project, and it's out there, but the more time you spend with it, the more sense it begins to make. Finally, if you missed its limited vinyl release, Ford & Lopatin's collaborative EP with Shannon Funchess and Tamaryn is out digitally on Mexican Summer; check it out on Beatport here. Keep reading to check out SoundCloud players for Software's latest releases.
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