#Antony Hegarty

[gregorsamsa-ra]

patti smith, matthias grunewald, sylvia plath, john singer, toni morrison, frida kahlo, gina pane,, oscar wilde, el greco, george struikelblok, tracey emin, mark rothko, julia margaret cameron, jung boc su, ron athey, andrea mantegna, seamus heaney, nico, gustav mahler, paula rego, diane arbus, arvo part, bob flanagan, leonard cohen, ahn chang hong, francisco goya, nina simone, ulay, susan sontag, marina abramovic, edith piaf, edvard munch, louise bourgeois, beth gibbons, ian curtis, raimund hoghe, antony hegarty, maria callas, samuel barber, gunter bruce, francis bacon, arthur rimbaud, kae tempest, mike parr, david nebreda, pier paolo pasolini, sam fender, nick cave, ana mendieta, christian boltanski, leon golub, fabio mauri, david olusoga, kiki smith, maya angelou, hieronymus bosch, bobby baker, janis joplin, nan goldin, andrei tarkovsky, bob dylan, abel ascona, nancy spero, billie holiday, robert capa, sarah lucas, friedrich nietzsche, sonia boyce, steve mcqueen, fabrizio de andre', alda merini, letizia battaglia, nick drake, charles bukowski, iannis xenakis, rogier vander weyden, janine antonii, arvo parks, tracy chapman, jean genet, valie export, linda mary montano, william blake, john cooper clarke, hannah wilke, lou reed, tracey moffat, doris salcedo, rebecca horn, giacomo leopardi, santiago sierra, teresa margolles, regina jose' galindo, suzanne lacy

[dankusner]

Anohni and the Johnsons deliver on promise with impassioned show

The loaded promise of a concert titled “It’s Time to Feel What’s Really Happening” constituted more than a snappy tour slogan for Anohni and the Johnsons Saturday at a well-attended Symphony Center.

It represented the unvarnished truth.

Performing their first local show in more than 15 years, the transgender singer and her group delivered nothing but sheer emotion during one of the most courageous, vital and provocative concerts to grace a Chicago stage in recent memory.

Giving the equivalent of an elegy for the state of the world, Anohni sounded as if she absorbed all the pain, audible and silent, coursing through our collapsing biosphere.

Addressing matters that can remain taboo despite their increasing visibility, she confronted ecocide, loss and decimation with a haunting frankness and sorrowful vulnerability that dared everyone in the building to share in a collective ache.

She frequently looked as if the grieving would be too much for even her to bear.

Stark, resigned, downcast:

Her facial expressions paralleled the hurt in the narratives.

Wearing a loose white dress and opera gloves, Anohni often stood frozen in front of the microphone stand, wringing her hands or painstakingly moving her arms in an apparent attempt to keep shell shock at bay.

Dark, low-lit lighting and cast shadows reinforced the severity of the moment.

Anohni’s gorgeous, ethereal singing provided alluring contrasts.

Occupying an ever-shifting middle ground between registers, she blended smooth tones, vibrato phrasing and a sweeping falsetto in elegant deliveries that were at once fragile and fierce, sensual and intense.

She stood at the intersection of a soulful crooner, gospel balladeer and art-pop chanteuse, with the role of protest singer serving as a common link.

Displaying profound levels of empathy and selflessness for the natural environment, Anohni seemingly internalized every line she sang.

Played at slow and midtempo paces by an assembly of strings, horns, guitars, piano and percussion, the music permitted her to dwell on what it all signified in the here and now.

That meant posing extremely difficult questions, admitting her own culpability, imagining herself in other beings’ positions, illuminating depressing details and challenging established conventions.

Being an outsider is nothing new to the singer.

Born in 1971 in England (as Antony Hegarty) and raised in California, she cut her teeth in New York’s underground in the early ‘90s and founded a performance collective that helped land her a grant.

That led to the genesis of a band, which she coined in honor of gay liberation leader Marsha P. Johnson.

Following a handful of low-key releases, a string of studio and live collaborations with her mentor — and fellow rule-breaking experimentalist — Lou Reed functioned as Anohni’s public breakthrough.

Immediately distinguished by an album cover that depicts photographer Peter Hujar’s iconic “Candy Darling on Her Deathbed” portrait, her 2005 “I Am a Bird Now” LP won the prestigious Mercury Prize.

The record established the singer as an inimitable voice, visual maverick and uncompromising activist who excels on multiple fronts — and whose work helped lay foundations for modern LGBTQIA+ and feminist causes that currently find themselves in political crosshairs.

Her multifaceted output continues to attract substantial acclaim and achieve considerable success, particularly overseas.

In the past two decades, she’s paired with filmmakers, orchestras, festivals, and fashion events; headlined benefits; crafted essays, books and videos; staged exhibitions and plays; and earned a second Mercury Prize nomination, an Academy Award nod and best-of-year acknowledgments from heavyweights such as the New York Times, The New Yorker and Pitchfork.

An impressive pedigree for any creative, especially one whose messages, however credible, are usually not what people want to hear.

And yet, the timing of Anohni’s declarations couldn’t be more necessary.

Though she made no direct references to a pair of massive hurricanes that decimated regions in the Southeast, climate change was top of mind.

Anohni used an extended version of the delicate “You Are My Sister” as an opportunity to weave in first-hand experiences and observations amid new and old verses.

She spoke of the mass die-offs of cedar trees she witnessed last week in the Pacific Northwest;

of hearing women tell her of their fears of femicide in Greece;

of watching scientists weep as they discussed the soon-coming total breakdown of coral reefs;

of the veteran meteorologist who, days ago, went viral after shedding tears on television reporting on Hurricane Milton.

“What does it mean to cry about a statistic,” she wondered, hinting at the mourning and reflection at the core of nearly all her songs.

She asked far tougher questions.

Several of the harshest framed an entire song, “Why Am I Alive Now?,” while another that fearlessly equated humans with disease — “how did I become a virus?” — anchored “Hopelessness.”

She also called out glaring contradictions of elite systems, ranging from organized religions to capitalist economies, all the while her exceptional nine-piece band reacted on the fly with chamber-pop backdrops.

Along with riffing on the notion that “empirical truth has no opposite,” Anohni unmasked certain social constructs and demasculated control in her implied pleas for understanding, compassion and awareness.

Her love for plants, wildlife, insects, rivers and seasons manifested in explicit sonic and lyrical manners.

Cooing, humming, fluttering, scatting, quivering, moaning, sighing: Anohni drew on a diverse range of vocal techniques.

On occasion, her singing evoked a composed sobbing.

It turned aggressive only once, though ruin, destruction and injustice lurked right beneath the primarily sweet and tender surfaces.

The tranquil, twirling “Manta Ray” could’ve passed for a children’s lullaby save for the fact the tune lamented the disappearance of biodiversity in no uncertain terms.

Staked to a hip hop beat and churning rhythm, “4 Degrees” found the singer pointing the finger at herself for her complicity in contributing to the planet’s overheated condition.

Despite its outward beauty, the acoustic folk of “Cut the World” harbored savage tension that ultimately burst via crashing cymbals and mallet-pounded drums.

For “It Must Change” and “Can’t,” Anohni and company glided to rubbery R&B grooves whose upbeat attributes belied the solemnity of the words.

For all the sobering honesty and bold creativity on offer, the performance briefly lost focus during a protracted piano introduction and a subsequent, overly lengthy reading of “Everglade.”

There, the singer and her mates aimlessly drifted, succumbing to avant garde excesses that the remainder of the pursuits — including two interpretive dance sequences by longtime Anohni colleague Johanna Constantine — avoided.

Indeed, nobody could’ve missed or misconstrued the ensemble’s aims in the horrifying “Drone Bomb Me.”

A veiled Anohni sang from the perspective of a traumatized individual in a war-torn country who begs to die rather than survive amid the constant assaults of an unseeable tech-savvy military power.

Completed with heavy gong thwacks that mimicked targeted explosions, the presentation took on heightened relevance due to the ongoing carnage and violence, especially pertaining to women and children, in the Middle East and Ukraine.

During the encore, Anohni left some room for understated humor — a well-deserved exhale. She expressed gratitude and, sardonically, wished everybody luck with the presidential elections.

As she sat at the piano and began to play the hymn-like “Hope There’s Somebody,” she paused to muse about stasis.

She resumed until, seconds later, she interrupted the song again and chased another tangent with verbose enthusiasm.

That pattern persisted, eliciting laughter and, revealingly, allowing for fascinating insight into a beautiful, concerned soul for whom being comfortably numb is not an option.

And neither, for her or us, despite the singer’s deepest wishes, is another world.

[musicabir]

Celebrating LGBTQ+ Icons in Music

Throughout history, LGBTQ+ artists have been trailblazers in the music industry, challenging norms and spreading acceptance through their art. Here's a glimpse into the journeys and contributions of some of these incredible musicians:

1. Elton John - A global superstar with timeless hits like "Your Song" and "Rocket Man," Elton John faced both admiration and backlash in the '70s but became a staunch advocate for LGBTQ+ rights.

2. Freddie Mercury - The charismatic frontman of Queen, Mercury's powerful voice and unforgettable performances left a lasting impact on music and culture with anthems like "Bohemian Rhapsody" and "We Are the Champions."

3. Tegan and Sara - Indie pop icons, the Quin sisters have been open about their sexuality since their teens, using their platform to advocate for LGBTQ+ rights with albums like "The Con" and "Heartthrob."

4. Janelle Monáe - Monáe’s genre-blending music and bold visuals challenge conventions of gender and sexuality. Albums like "The ArchAndroid" and "Dirty Computer" celebrate empowerment and self-expression.

5. Frank Ocean - Breaking barriers in 2012, Ocean's soulful voice and innovative albums like "Channel Orange" and "Blonde" have earned him praise for his honesty and artistry.

6. Hayley Kiyoko - Dubbed "Lesbian Jesus" by fans, Kiyoko's catchy anthems and albums like "Expectations" explore themes of love and self-discovery, connecting with LGBTQ+ audiences.

7. Lil Nas X - A cultural phenomenon, Lil Nas X challenges norms and delivers hits like "Old Town Road" and "Montero (Call Me By Your Name)," addressing queer identity and societal expectations.

8. Anohni (Antony Hegarty) - With mesmerising vocals and lyrics, Anohni, a transgender artist, dives into themes of identity and activism, winning acclaim with albums like "I Am a Bird Now."

9. Sam Smith - Non-binary artist Sam Smith captivates with their soulful voice and heartfelt lyrics, exploring love and personal growth in albums like "In the Lonely Hour" and "Love Goes."

10. Ma Rainey - Known as the "Mother of the Blues," Rainey was a pioneering bisexual artist in the early 20th century, whose bold personality and music made the foundation for future LGBTQ+ artists.

These musicians have not only enriched the world with their talent but also contributed to greater acceptance and understanding in society. Let's honor their impact and ongoing contributions to the soundtrack of our lives.

[kristinzervos]

Björk & Antony Hegarty: Collaborations

[hestiasroom]

Okay so anyone who knows me knows I love Bjork.

One of my favorites from her has always been The Dull Flame of Desire off of Volta. It's a duet she did with Antony Hegarty, and the lyrics just get me every time. Just a beautiful track in my opinion.

I was in the mood to listen to it again today (okay maybe I listened to it like 6 times) and while I was, I just started a google search about the song. Imagine my shock to realize the man who did the duet with her has since transed himself, and now calls himself a woman named Anohni??! All this to say, these dudes are literally everywhere. Even where I'm not looking for it. I can't believe Bjork did a song with a pervert. ☹ I still love her though smh

[k-apme-h-salzc-a]

“The Internet might be useful for creating revolution, but all it’s creating in the Western world is more passivity, more disconnection. It’s a fucking nightmare. When I was 20 years old in New York City, do you think you walked into a coffee shop and saw 40 people staring at $2,000 purchases all made from the same company? And those are all the artists! I talk to young musicians now, and they’re just happy to be making records that get released. They don’t even consider that, in the old days, they could making a living by selling records. They don’t even get paid for their work. All that money just goes to Apple and they’re happy to just have people going to their shows. It just took two generations for Apple and similar companies to convince artists they don’t deserve to get paid and that they should just be grateful for the tools that Apple is providing us to make our work, as if we need them to make our art. It’s very, very fucked up. I’ve stopped using the Internet, basically. I text, but I’ve whittled that down. I’m trying to just revert to a landline. I don’t want to live in computer time.

The Internet doesn’t care if we’ve had enough.”

— Antony Hegarty

[musicarenagh]

CAVN's 'Pure & Grey': A Soul-Stirring Debut "Pure & Grey," the inaugural whisper from CAVN's soul-stirring symphony, arrives like a gentle storm breaking over an ocean of human emotion. With Stefan Kelk lending his vocals—a vessel laden with deep-sea truths and tales of heartache—it's vividly evident this track is layered with more than just notes; it’s weaved with threads of visceral experiences. https://open.spotify.com/track/6cAAqVY7ipdkqlwBKIHG3q?si=2aa752b3337a43c3 In a haunting melange that feels as though Hans Zimmer stumbled into an underground electronic show, "Pure & Grey" defies genre boxes, flirting shamelessly between cinematic grandeur and sharply crafted electronic beats reminiscent of M83's midnight anthems. The classical roots are not merely influences but ancestors calling across time—their wisdom pulsating through beats and strings. CAVN dawns her role seamlessly as both composer and emotional architect. Her debut offering doesn’t just scratch at the surface but claws deeply into the struggle for reconciliation after love has expired into echoing memories. The acoustics swell in harmony with our own chests—each orchestral rise another breath drawn against life's most intimate sorrows. [caption id="attachment_54608" align="alignnone" width="1242"] CAVN's 'Pure & Grey': A Soul-Stirring Debut[/caption] Kelk brings authenticity that might remind one eerily of Antony Hegarty—if Antony fed their fairy-like timbre through a walkie-talkie made from discarded cello parts. Under this partnership, layers converge to become something all too rare: genuinely touching music composed in high-definition clarity while embracing technology’s raw edge. Mixed by Josh Allmark—who evidently knows how to let subtlety steer—and mastered to perfection by Robin Barte, “Pure & Grey” doesn't simply speak; it confesses shades of feelings that often find no words—a soundtrack not for merely a moment in film but for snapshots stapled within personal histories. For those who’ve ever felt loss tangle itself around their bones or have danced alone remembering hands once held close—one listen will confirm that CAVN doesn’t just create songs but instead sculpts solace out of silence. Follow CAVN on Website, Facebook, Instagram and TikTok.

[decibelico]

Björk - Volta.

Volta, el sexto disco de Björk, ha salido a la luz y con el poco tiempo transcurrido desde su lanzamiento ha generado opiniones encontradas. Esto no es novedad ya que la artista ha sido controversial desde 1993 cuando lanzó su disco Debut, que se particularizaba por sus delicados arreglos incrustados entre poderosos beats. 

La mayor parte de este trabajo es producido por Björk, exceptuando los temas Earth Intruders, Innocence y Hope, co-producidos con Timbaland (Jay-Z, Justin Timberlake) y Mark Bell (LFO, Depeche Mode). El material una vez más presenta a una artista arriesgada con un estilo único que puede deleitar o entorpecer al oído más crítico.

En Volta, Björk incluye sus tradicionales secuencias con mezclas interesantes de instrumentos de viento. Sobresale el tema Wanderlust, que muestra un excelente arreglo con un ensamble de metales que se mueve sin problemas sobre una dominante secuencia.

El estilo de los temas es variado a lo largo del disco. Esta posible inconsistencia puede ser criticable. Sin embargo, para los fieles seguidores de la islandesa, es un atractivo irrechazable ya que podrán tener una muestra de las cualidades de Björk en cada tema. Los arreglos han alcanzado madurez y se presentan suavemente para ser disfrutados con detenimiento.

La producción de Volta contó con artistas invitados de la talla de Antony Hegarty, vocalista de Antony And The Johnsons, quien canta a dúo los temas Dull Flame of Desire y My Juvenile, así como el baterista Chris Corsano, quien ha colaborado anteriormente con Thurston Moore, guitarrista de Sonic Youth.

Volta puede ser considerado uno de los discos más digeribles de Björk, que incluye todas las variantes del estilo que la identifica: participación de instrumentos poco comunes, secuencias recurrentes, melosas baladas, saturaciones en los puentes y fraseos extendidos. Es un buen álbum que permitirá a otras audiencias acercarse a esta compositora que tiene una calidad musical indiscutible.

Para más información sobre Björk:

www.bjork.com

www.myspace.com/bjork

Publicado el 8 de mayo de 2007 en Milenio Blogs

[chrisryanspeaks]

HEAR: Anohni and the Johnsons - ‘My Back Was A Bridge For You To Cross’

Anohni, formerly known as Antony Hegarty, is an English-born singer, songwriter, and visual artist. As the lead singer of the band Anohni and the Johnsons, Anohni garnered critical acclaim for her unique voice and emotionally charged performances. Let's take a closer look at their work and explore their musical style. Anohni's music is often characterized by its haunting beauty and raw vulnerability. Her voice is a truly distinctive instrument, with a rich and soulful quality that captivates listeners. She possesses a remarkable ability to convey deep emotions and introspection through her powerful vocal delivery. The Johnsons, consisting of a rotating cast of musicians, provide a lush and atmospheric backdrop to Anohni's vocals. Their arrangements are often minimalistic, focusing on delicate piano melodies, string arrangements, and subtle percussion. This minimalist approach allows Anohni's voice to take center stage, creating an intimate and introspective atmosphere. Lyrically, Anohni explores a wide range of themes, including love, loss, identity, and political activism on “MBWABFYTC”. Her songs often carry a sense of melancholy and longing, and her deeply personal lyrics resonate with listeners on a profound level. There is an inherent vulnerability in her writing that makes the songs relatable and emotionally resonant. One of the standouts on the album from Anohni and the Johnsons is "Drone Bomb Me". This album is already receiving widespread critical acclaim. It features beautifully crafted songs such as “If I Must Change” and “Scapegoat” which showcase Anohni's poignant songwriting and powerful vocal performances. Anohni and the Johnsons' discography is a testament to their artistic integrity and emotional depth. Through their music, they have touched the hearts of many listeners, offering a unique and introspective experience and “MBWABFYTC” attests to their strength in songwriting. Their ability to create atmospheric soundscapes and deliver poignant lyrics with Anohni's exceptional voice sets them apart in the music industry. In conclusion, Anohni and the Johnsons' music is a soul-stirring journey filled with emotional depth, vulnerability, and profound introspection. Their distinctive sound, characterized by Anohni's haunting vocals and minimalist arrangements, creates an intimate and captivating atmosphere. We strongly recommend you listen to her new album below. Read the full article

[audiofuzz]

HEAR: Anohni and the Johnsons - ‘My Back Was A Bridge For You To Cross’

Anohni, formerly known as Antony Hegarty, is an English-born singer, songwriter, and visual artist. As the lead singer of the band Anohni and the Johnsons, Anohni garnered critical acclaim for her unique voice and emotionally charged performances. Let's take a closer look at their work and explore their musical style. Anohni's music is often characterized by its haunting beauty and raw vulnerability. Her voice is a truly distinctive instrument, with a rich and soulful quality that captivates listeners. She possesses a remarkable ability to convey deep emotions and introspection through her powerful vocal delivery. The Johnsons, consisting of a rotating cast of musicians, provide a lush and atmospheric backdrop to Anohni's vocals. Their arrangements are often minimalistic, focusing on delicate piano melodies, string arrangements, and subtle percussion. This minimalist approach allows Anohni's voice to take center stage, creating an intimate and introspective atmosphere. Lyrically, Anohni explores a wide range of themes, including love, loss, identity, and political activism on “MBWABFYTC”. Her songs often carry a sense of melancholy and longing, and her deeply personal lyrics resonate with listeners on a profound level. There is an inherent vulnerability in her writing that makes the songs relatable and emotionally resonant. One of the standouts on the album from Anohni and the Johnsons is "Drone Bomb Me". This album is already receiving widespread critical acclaim. It features beautifully crafted songs such as “If I Must Change” and “Scapegoat” which showcase Anohni's poignant songwriting and powerful vocal performances. Anohni and the Johnsons' discography is a testament to their artistic integrity and emotional depth. Through their music, they have touched the hearts of many listeners, offering a unique and introspective experience and “MBWABFYTC” attests to their strength in songwriting. Their ability to create atmospheric soundscapes and deliver poignant lyrics with Anohni's exceptional voice sets them apart in the music industry. In conclusion, Anohni and the Johnsons' music is a soul-stirring journey filled with emotional depth, vulnerability, and profound introspection. Their distinctive sound, characterized by Anohni's haunting vocals and minimalist arrangements, creates an intimate and captivating atmosphere. We strongly recommend you listen to her new album below. Read the full article

[turnupthevolumebelgium]

ALBUM OF THE DAY

8 July 2023

[montyjohnnyart]

one of day I was looking for "birdgirl(tv show)" on youtube and I found this music with the song "anthony and the johnson" "bird gurhl" there. I really liked the song so I edited one of my drawings

[nofatclips]

End of the Freak Show by CocoRosie featuring Big Freedia, Anohni, Brooke Candy and Cakes Da Killa

[disease]

HERCULES & LOVE AFFAIR // ROAR [2007, PARLOPHONE UK]

[brusiocostante]

Hercules & Love Affair - Blind (Hercules Club Mix)