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.
Tuesday, February 14, 2012
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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