#Daniel Halasz

[elmartillosinmetre]

"Quiero organizar el festival que se merece Sevilla"

[Francisco Bernier la mañana en que tuvo lugar esta entrevista / JUAN CARLOS VÁZQUEZ]

Un concierto de la japonesa Nene Yokomura en la Casa de los Pinelo abre mañana, martes 3 de octubre, la XIV edición del Festival de la Guitarra de Sevilla

Guitarrista de amplísima trayectoria internacional y profesor en el Superior hispalense, Francisco Bernier (Sevilla, 1975) fundó en 2010 y dirige artísticamente desde entonces el Festival de la Guitarra de Sevilla. 

–¿Cuáles son las principales novedades de este año?

–Dedicamos el festival a Federico García Lorca en el 125 aniversario de su nacimiento. Su relación con la guitarra fue cercana. Fue guitarrista autodidacta. Su relación con Falla y el concurso de Cante Jondo… Sus mismos poemas… Coincidimos en Córdoba con David del Puerto, Premio Nacional de Música de composición, que es guitarrista también. Él vino a escuchar el concierto que dimos el Cuarteto de Guitarras de Andalucía junto a Cañizares, y hablando después de nuestro proyecto lorquiano se comprometió a escribirnos una obra. Esa obra se titula Cuerdas del viento, parte del Poema del Cante Jondo y está escrita para cuarteto de guitarras (el nuestro) y soprano, que será Auxiliadora Toledano, una cordobesa que vive en Madrid. Es una obra muy compleja de casi una hora de duración, en diecinueve movimientos, pero que se tocan seguidos, sin pausas. Con su estreno inauguramos oficialmente este Festival el próximo 11 de octubre. Creo que va a ser un evento muy importante. David dará una charla antes del concierto sobre su obra, que además tenemos pensado grabar.

–¿La presentarán en algún otro sitio?

–Estamos en conversaciones con el Festival de Guitarra de Córdoba y con el Festival de Granada. Quizás haya alguna opción en la Fundación Juan March o en el Instituto Cervantes de Viena. David del Puerto es una gran personalidad de la música española de hoy y esta obra debería tener recorrido.

[La soprano cordobesa Auxiliadora Toledano cantará Cuerdas del viento, un estreno de David del Puerto. / D.S.]

–Tienen en cualquier caso actividades antes de ese programa inaugural…

–Sí, hacemos un concierto de presentación el día 3 en la Casa de los Pinelo. Lo dará Nene Yokomura, que es una chica muy talentosa que estudia aquí en Sevilla.

–Estuvieron ya en los Pinelo hace unos años. ¿Qué hay del resto de espacios?

–Sí, en los Pinelo estuvimos en 2019. Este año volvemos a la Capilla Gótica del Alcázar. Recuperamos el Cicus, donde hacía tiempo que no íbamos: allí se presentará una obra de José María Sánchez Verdú, que dará una charla previa. Su obra, que se titula Ochra, la tocará Giuseppe Menutti, un chico que pasó por el Conservatorio de Sevilla y que está haciendo una carrera fantástica en el ámbito de la música contemporánea. Volvemos al Antiqvarium, donde ya estuvimos el año pasado, y al Espacio Santa Clara, donde hemos estado también otras veces. El centro del festival sigue siendo el Espacio Turina.

[El alemán Franz Halasz actuará en el festival por primera vez. / D.S.]

–Siguen con la fórmula de programas dobles, pero este año juntan siempre un guitarrista clásico con uno flamenco, ¿son conscientes de que en Sevilla el público de la Clásica y el del Flamenco se cruzan poco?

–Sí, pero el festival está dedicado a Lorca, y él supuso un puente de unión entre las tradiciones clásica y jonda, y por eso nos pareció bonita esta apuesta. Actualmente además hay muchísimos guitarristas que pasan continuamente la línea entre un mundo y otro, que tienen muchos puntos en común. Ofrecemos por ejemplo en el Alcázar un espectáculo en el que actúan juntos Miguel Ángel Cortés y José María Gallardo del Rey presentando un disco que han hecho juntos, una perspectiva flamenca de la música de Albéniz. Qué mejor ejemplo. Lo que dice del público puede ser cierto. Conocemos los riesgos, pero nos pareció interesante. Quién sabe si así podemos conseguir que algunos aficionados flamencos se interesen por la clásica y viceversa. Teníamos que intentarlo.

–¿Qué guitarristas nuevos vienen este año?

–Tenemos algunos guitarristas flamencos que tocan por primera vez en el festival: Alejandro Hurtado, Paco Fernández, que tocará acompañado por la violinista Gloria Wasmer, o Pedro María Peña, que dará un concierto con el cante de Luis el Zambo. Daniel Casares y Dani de Morón hace tiempo que no venían, sobre todo el segundo de ellos. Entre los clásicos es completamente nuevo Franz Halasz, y luego los chicos del Off Festival, que son los jóvenes de talento que tenemos en el Conservatorio.

[El guitarrista flamenco Francisco Fernández debuta en el Festival. / KANA KONDO]

–¿De dónde salen los recursos para la organización del Festival?

–De donde siempre, aunque este año con un poco más de drama. En primer lugar, debo agradecer a los artistas participantes su buena voluntad para acercarse hasta Sevilla, porque vienen por cachés que no están en el mercado. Este año se nos ha caído la ayuda de la Consejería de Cultura de la Junta de Andalucía. Me parece algo sorprendente, porque el Canela Party de Torremolinos ha recibido 60 mil euros. Yo respeto mucho todas las iniciativas, pero se trata de un evento que no sé si lleva dos o tres ediciones, que es un macrofestival de tres días, con 900 mil euros de presupuesto, y sinceramente no sé si el dinero público tiene que ir a soportar algo que podría vivir del mercado. Esos 60 mil euros han hecho que nosotros y algún otro festival nos quedemos sin ayuda de la Junta. Así que nuestro soporte fundamental es el ICAS. Después tenemos pequeñas ayudas y colaboraciones, que nos ofrecen las Cuerdas Savarez, los hoteles ABBA o la Sociedad de Artistas Intérpretes y Ejecutantes. Pensábamos que la Fundación SGAE podría estar interesada este año, por la presencia de estrenos de David del Puerto y Sánchez Verdú, pero tampoco han querido o podido estar.

[El australiano John Griffiths presentará un disco de vihuela. / D.S.]

–¿Y quién avala todo esto?

–En buena parte, yo.

–En ese caso, ¿no es su proyecto demasiado ambicioso?

–Me parece que la tradición de la ciudad con la guitarra, su idiosincrasia, pide algo así, algo importante. Yo quiero organizar el festival que se merece Sevilla. Y creo que las instituciones públicas deberían estar detrás apoyándonos, o al menos que su planteamiento sea claro al respecto, para saber a qué atenernos, porque la acumulación de sinsabores año tras otro también cansa. Lo lamento mucho, porque son ya catorce ediciones. De cualquier forma, también le digo que esto se me pasa en el momento en que empieza a sonar la música, y yo estoy dispuesto a seguir luchando para sacar adelante más ediciones del festival.

–Cuando me siente con usted el año próximo para comentar la edición de 2024, ¿qué le gustaría decirme?

–Que 2023 se quedó pequeño.

 Más información en https://www.guitartfestivalsevilla.com/

[Diario de Sevilla. 2-10-2023]

[sangetfer]

𝐒𝐀𝐍𝐆 𝐄𝐓 𝐅𝐄𝐑

a dependent multi muse blog for @nomadhqz. written by eden || featuring ( 4 ) muses linked in the following doc you will find quick facts & basic intros. additionally, you will find an incoming and outgoing thread tracker [ link ]

CURRENT MUSES.

zosia halasz ( princess of hungary, alexandra dowling fc )

septimus titus ( eldest son of the roman emperor, daniel sharman fc )

nilani of york ( lady of york, simone ashley fc )

jian svensson ( king of sweden, lewis tan fc )

[liesthehead]

multimuse written for nomadhqz by jo

CURRENT MUSES

DAGMAR BJØRNDATTER, the Dowager Queen of Denmark (34, mecia simson) intro. interactions. musings. image.

MIHRIMAH BEG, the Second Wife of the Founder of the Seljuk Turks (47, nurgül yeşilçay) intro. interactions. musings. image

DOROTHEA HȦKANSDOTTER, the Queen of Sweden (39, natalie dormer) intro. interactions. musings. image.

KÁZMÉR HALASZ, the Crown Prince of Hungary (30, jamie blackley) intro. interactions. musings. image

CAOIMHE SEOIGE, the Queen of Ulster (29, danielle galligan) intro. interactions. musings. image.

LEIF ASTRIDSEN, Clan Member of Madsen Clan (25, sydney mae diaz)

intro. interactions. musings. image.

[atletasudando]

Kehr en Hungría, junto a las figuras del lanzamiento de martillo

El chileno Gabriel Kehr, campeón panamericano de lanzamiento del martillo, ocupó el 5° puesto de su prueba en el Memorial Istvan Gyulai, disputado este martes 18 de julio en Sekesfehervar (Hungría) por el Continental Tour de World Athletics. Kehur marcó 73.65 m. y participó allí junto a las figuras mundiales de la especialidad. Ganó el ucraniano Mykhaylo Kokhan con 79.37, seguido por el polaco Wojicec Nowicki con 77.89 y el local Bence Halasz con 77.82. Kokhan venía de obtener el título europeo sub-23 en Espoo y ahora consiguió aventajar al campeón olímpico, Nowicki. Otra atleta sudamericana que asistió a este evento fue la panameña y recordwoman de los 400 metros vallas, Giana Woodruff, quien marcó 56.43 y ocupó el 7° lugar de una carrera dominada por las jamaiquinas (ganó Andrenette Knight con 53.26). La gran figura del torneo fue el campeón olímpico de los 400 metros llanos, Steven Gardiner (Bahamas), quien se impuso con 43.74, mejor marca mundial de la temporada. En lanzamiento de bala también se dieron cita los superstars de la especialidad, con triunfo del recordman mundial Ryan Crouser (EE.UU.) con 22.51, seguido por su compatriota Joe Kovacs con 22.06 y el neocelandés Tom Walsh con 21.85. Y en disco, el sueco y campeón olímpico Daniel Stahl arrojó 68.98 metros para terminar delante de Andrius Guzius (676.6) y del campeón mundial Kristjan Ceh (67.60). Otro campeón olímpico que participó fue el griego Miltiadis Tenglu, ganando el salto en largo con sus 8.29 del último intento, superando la jamaiquino y ex campeón mundial Tajay Gayle por 5 cm. En esta prueba, pero en damas, se impuso la serbia Milica Gardasevic con 6.80. En los 200 metros masculinos, el flamante campeón de los Juegos Centroamericanos, el dominicano Alexander Ogando, marcó 19.99 y se dio el gusto de superar al juvenil prodigio estadounidense Erriyon Knighton (20.05).   Read the full article

[esztersipos]

Short List 2019 Esteházy Art Award

https://www.facebook.com/events/571204290121177/

scroll down for English version:

2019. december 12. 18 h – Díjátadó ünnepség 2019. december 13. – 2020. január 26. - Kiállítás a Ludwig Múzeum – Kortárs Művészeti Múzeum 2. emeletén 

A 2009-ben megalapított díj célja a kortárs képzőművészet és a nemzetközi párbeszéd támogatása. Az egyenként 5000 euróval jutalmazott díjat kétévente, három, 45 év alatti képzőművésznek itéli oda a független szakmai zsűri. A pályázaton festészettel és festészettel határos technikákkal lehet indulni. A zsűri 260 pályázóból választotta ki a díjra jelölt 25 művészt, akinek 2019. december 13-tól 2020. január 26-ig lesz látható a kiállítása a Ludwig Múzeum – Kortárs Művészeti Múzeumban. A Short List 2019 kiállítás alkalmából a művészek ezúttal első alkalommal dönthettek arról, hogy térinstallációval is kívánnak-e pályázni. Az ennek keretében benyújtott, komplex művészeti alkotások magas színvonala egyértelműen megmutatta, mennyire összhangban állt ez a bővítés a művészek aktuális alkotói törekvéseivel. A kiállítás ennek megfelelően megpróbál minden nevezett művésztől lehetőség szerint több, egymáshoz és a térhez egyaránt illeszkedő művet is bemutatni. A 2019-es díjra jelölt művészek / The Nominees of 2019 are: Adam Albert, Róbert Batykó, Sári Ember, István Felsmann, Mark Fridvalszki, Kitti Gosztola, Andrea Éva Győri, Daniel Halasz, HeyWeSeeAskShowandDie (Csaba Árpád Horváth és Eszter Sipos), Dorottya Kalocsai, Adrian Kiss, Gábor Miklós Kristóf, Áron Kútvölgyi-Szabó, Mátyási Péter, Judit Lilla Molnár, Zsolt Molnár, Nagy Barbara, Marton Nemes,  Peter Puklus, Anikó Süttő, Robotto Szabó Ottó, Péter Szalay, Gergo Szinyova, Kata Tranker, Adam Ulbert. 

Founded in 2009, the Esterházy Art Award supports contemporary Hungarian art and its international exchange. It consists of three prizes of €5000 each, awarded every two years to artists selected by an independent international jury. It is an open call eligible to all Hungarian artists below the age of 45 working in painting and other associated techniques. 260 Applications were received for the “Esterházy Art Award – Short List 2019” An expert jury nominated 25 artists from this impressive pool of potential applicants for this year’s Art Award. The anniversary exhibition from the works of the 25 artists  will be open to the public from 13 December 2019 until 26 January 2020. On the occasion of the “Short List 2019” exhibition, the artists were free to also submit installation entries for the first time. The high quality of the more complex groups of works submitted clearly illustrated how fitting this extension was to the current creative efforts of the young artist. Accordingly, the exhibition attempts to present preferably several works, coordinated with each other and with the space, by the nominees.

[lesterplatt]

jem & fix - Mega Washer 3000 from Bacon on Vimeo.

Director: Bart Timmer

Production Company: Bacon

EP: Samuel Cantor

DoP: Rasmus Videbæk

Production Managers: Oliver Sand & Nicholas Perry

1st AD: Stefan Danholm

Production designer: Nikolaj Danielsen

Props team; Lukas Gauger, Sputnick, Anette Riis, Astrid Danielsen,

1st AC Daniel Parmo

Video Assist: Atli Kristofer

DIT: Allan Legarth

Chief Gaffer: Morten Kildegaard

Gaffer: David Medina

Gaffer: Mathias Rasmussen

Gaffer Aske Wagner

Grip: Christian Brøndum

Grip ass: Marius Krab

Stylist: Melanie Buchhave

Wardrobe ass: Jonas Worup

Hair and makeup: Henrik Steen

Hair and makeup ass: Christina Dahlin

SFX: Hummer Højmark

Stunt: Anders Nylander

Production ass. Mads Randrup

Runner: Tobias Kjær

Runner: Emil Løppke

Runner: Caroline Rievers

Runner: Mads Friis Becquet

Editor: Anders Jon Petersen

Composers: Asger Baden & Peder Thomas Pedersen

Sound design: Adrian Aurelius / ballad

Post Production: BaconX

VFX supervisor: Jan Tvilling

Colorist: Hannibal Lang

Conform artists: Søren Knudsen & Lasse Selvli

Composite artists: Christian Malkut Predut, Jacob Carlsson & Oliver Buus

VFX producer: Jim Lerch

Exec. producer: Eliana Carranza-Pitcher

Client: jem & fix

Head of marketing & e-commerce: Anna Lund Paludan

Offline & Content Team Manager: Mette Frost Schrøder

Creative Agency: Uncle Grey

Creative Chairman & Chief Strategy Officer: Lars Samuelsen

Chief Operating Officer: Charlotte Porsager

Associate Creative Director: Magnus Breum

Head of Production: Daniel Halasz

Executive Producer: Casper C. Rasmussen

Account Manager: Signe Aas Dam

[theplaguezine]

SEAR BLISS

Interview with András Nagy by Daniel Hinds

(conducted February 2000)

Sear Bliss is one of the coolest bands to emerge from the dark/black metal scene in the past few years.  Mixing up elements of black, death and doom metal with acoustic guitar and mournful trumpet, the band really defines their own sound.  1998 saw the release of the epic The Haunting and the band has been busy readying a follow-up for release sometime this year, as soon as a solid deal is signed.

Bassist/vocalist András Nagy (pictured above with drummer Zoltán) reveals the story behind this dark and creative outfit...

Can you tell me a little about how you personally first got interested in playing bass? Well, I first got interested in bass when I was 14. Then I bought a bass guitar and started rehearsing with some of my friends. I had a couple of bands back then but nothing serious. Anyway, I started playing guitar when I was ten years old. Later, I discovered that bass is my instrument. When things turned serious with Sear Bliss, I went to a professional bass teacher to have some lessons. By the way, I have always been into low tones and I really love the grounding sound of the bass guitar. That's why I chose the bass.

When did you first get into metal?  What were some of your early favorite bands/albums? Probably it may seem impossible but I'm a metal fan since the age of 9. You know, I always had elder friends in the school and when they showed me Inside the Electric Circus from WASP, suddenly everything changed in me and I got hooked on metal. Of course, I didn't understand the meaning of it then but it changed my life. That is still one of my dearest albums anyway. Besides WASP, my early favourites were: Metallica (Master Of Puppets is one of the best album ever), Iron Maiden (Powerslave mostly), Running Wild, and some heavier like Sodom, Destruction, Kreator, Deathrow, etc..... I still like them very much.

Did you play in any bands prior to Sear Bliss? As I told you, I played in a couple of bands before but they were nothing serious. I formed Sear Bliss in 1993 and I was quite young then, so it was and still is my main band.

How did Sear Bliss first come together? In a very spooky night and a very eerie autumn... haha, I like these cliches. Actually, it happened in 1993 when I decided to form Sear Bliss with the aim to create something fresh and a bit outside the norm. The line up was ready quite quickly, as I had some musician friends. So, we started rehearsing like hell and we wrote a couple of songs. We have shown no sign of existence til 1995 when we recorded our first and only demo, entitled The Pagan Winter.

'Sear Bliss' is a great band name.  How did you come up with it?  Is there any special meaning behind it? I'm glad you like it. Thank you. Actually, I can't remember exactly how I come up with it. I often read poetry and I was inspired by a poem of Charles Baudleaire when I found out this name. I wanted something unique, not the average shit, you know. I was sick of the many boring and brainless band names at that time.

On the main page of your web-site, it says "Atmospheric Black Metal."  Is this how you would describe Sear Bliss' music? No. It was probably the idea of the web masters. I'm going to tell them to change it. I'm not into labeling our music as atmospheric black metal. I would describe it as a very dark and sorrowful music - similar to black metal. Our music is more complex in some ways. I mean, we use acoustic guitars, trumpets, etc. and we try to play intelligent music in the metal genre. It's a mixture of the feelings and emotions of the different personalities found in Sear Bliss. Anyway, it's up to the people to describe it.

Can you describe to me the typical process you guys go through when writing songs? We write our songs at home mostly. My ideas for a song are born when I'm alone. I play it for the other guys and each of us put his own ideas into the song. The process is very democratic in Sear Bliss. Each of us has got the right to put something into the song. We rehearse the parts and try to get a whole song together. Sometimes it takes quite a lot of time. By the way, a lot of things inspire us during the process of writing.

On The Haunting, you had a few people outside the band write or co-write some of the lyrics. How did you hook up with them? They are close friends of ours. They knew our music and the songs very well, so they created some lyrics for us that we liked and thought would fit well to the songs, so we used their ideas. We like these lyrics. The names of those who contributed to the lyrics are: Attila Halasz, he is a great friend of mine for a long time. He taught me to speak English and he helped a lot to Sear Bliss when we started. Anyway, he lives in Australia. Laszlo Fodor is a friend of ours and he is the editor of Stygian Shadows 'zine and David Bowers is a Sear Bliss fan from the States and we are in contact for years now.

The use of trumpet is very inspired and really adds to your sound.  What made you guys decide to take this rather bold step in the first place?  Can we expect more trumpet in the future? The idea of using trumpet in this rather violent type of music came to my mind when I formed the band. Actually we wanted to try fresh things and to be original and exciting, that's why we include this instrument. Actually, with the softening sound of the trumpet we try to find the right balance between anger and desire, the two main components of Sear Bliss' music. A lot of bands use violins and cellos but I think the brasses are a lot more powerful. Some people think it's nonsense to use a trumpet in this music but when they listen to our albums or come to our gigs, their point of view changes. Yes, you can expect more trumpet in future, definitely. We will give more creativity and space to this instrument.

It has been a couple of years since The Haunting was released.  Have there been any line-up changes during that time? Yes, there have been some changes, as we have a new guitar player and a new keyboard player now. Two years have passed since "The Haunting" and it turned out that some of us weren't dedicated to the band totally, therefore the changes were needed.

Have you started work yet on the new album? Absolutely. With full force. Actually, we have written the whole album. We are ready and eager to record it.  The fact is that our contract is fulfilled and we are looking for a good label. Fortunately, we got some offers, so I hope we can record the album soon. We will make an advance recording in February and hopefully we will record the album in spring. It will contain 7 songs and probably it is going to be our most powerful material.

How is it sounding in comparison to your previous works? The songs are more violent and fierce, but we keep the moody parts played with the acoustic guitars and the trumpet. We want to eliminate the faults we had in the sound last time. So, we are striving for a more dynamic production. Music-wise it is going to be more improved and it will have a deeper meaning but let's talk of it when we hold the CD in our hand.

Who will you have produce the new album?  Where will it be recorded? We will record it in Hungary this time, in a very professional studio and we will have a very good producer, so we hope the production will live up to our expectations. The advance recording in February will take place in a smaller but quite good studio in our town anyway.

The Haunting was recorded in Holland.  What made you decide to record there? Actually, our label advised that we should record there. It was a very good studio but our label fucked up the sound. We spent almost two weeks there to record everything and to make a rough mix which sounded quite good. Then we went home and let the sound engineer do the final mixing. When he finished, our label wanted to re-mix the whole thing because they were not satisfied with the sound. They did the remix without any sense for sound engineering and this is the result. We were quite angry because the production they did is quite shit but what can we do? We were not pleased with this label anyway. It was great fun to record in Holland, but this time we won't let anyone fuck the production up. We want to control everything by ourselves.

So far, all your releases have been through II Moons/Mascot.  How did you initially hook up with the label?  Are you satisfied with their work so far?  Will you continue working with them in the future? When we released our demo The Pagan Winter in 1995 we sent it to a lot of labels. That demo was quite popular in the underground scene, we sold 900 copies of it without any promotion and we got very good responses and reviews. Things went quickly and we got some offers from a couple of labels and Mascot seemed the most serious one, so we signed to them. As I told before, we are no longer at Mascot and we are looking for a better and more trustable label, so we will not continue working with them. All in all, we are satisfied with their work and they helped a lot in the early times which is good, but on the other hand they were dishonest sometimes and we don't like that, so the change was needed.

How is the scene in Hungary?  Are you in touch with many other bands or not? It's getting strong now, there are many good bands over here, playing serious music and wanting the world know that "yes" there is high quality original metal music in Hungary. I hope more and more Hungarian bands will get international recognition soon. We are not in touch with many bands. We are now used to working on our own.

Looking at the concert dates on your web-site, it appears you played a number of shows all over Europe in 1997.  Any special memories from that tour that you'd like to share?  Who all did you play with? Yeah, it was a very good and memorable tour. We played with Marduk and Tsatthoggua and it was a great opportunity for us. We have a lot of special memories, I wish I could return to those days. Marduk is a really great band and it was a nice surprise that they are such cool guys. As far as the shows are concerned, people were surprised by our music. You know our music is quite different than Marduk's. It was unusual for the crowd to see a trumpet player. It was good to see that Sear Bliss is not unknown abroad. Especially people in Holland and Italy have shown big interest for our music. I really enjoyed the whole tour. The guys from Marduk were great and it was good to meet some exciting people, to see different countries. Travelling a lot and playing each night is quite a big challenge, but I enjoyed it anyway. We had an opportunity to tour with Ancient to support The Haunting but unfortunately we had to cancel it due to my studying at a university. I regret it but I hope we can tour again after the release of our new album.

How have the albums sold so far?  What countries do you have the largest followings in? Unfortunately we don't know too much of the sales because of the dishonesty of our label. I don't know exact numbers but we know that almost 10,000 copies have been sold from the first album Phantoms, which is very good for a debut album. The Haunting was sold a bit lesser and The Pagan Winter mini-CD, too. Sale wise Holland, Germany and Greece were the best countries but I think we have the most enthusiastic following in Hungary.

All of your CDs have very beautiful, epic album covers.  Is it the same artist (Kris Verwimp) that did all of them or not?  How did you hook up with him? Yes, Kris did all of our cover artworks and we are very satisfied with his works. I think our covers are perfect visualizations of our music and Kris is able to paint what we want to see. We always tell him our ideas and draw some drafts, he listens to the songs and reads the lyrics to have a clue of what we want to express. Anyway, our label offered him and I was really astonished when I first saw the artwork for Phantoms. We met Kris in Holland when we toured and he is a nice guy. We want to continue working with him in the future.

Do you follow the metal scene at large?  What is your opinion about how the black metal scene as a whole has developed over the past ten years? Of course I follow the scene, as I'm interested in it very much. As far as the development of the black metal scene is concerned, I think it's got both the negative and positive side of it. I mean, it was good that suddenly a lot of great albums were released, but on the other hand, there were too many poor productions released. Many young bands without knowing how to play even one single note on their instrument. That fact surely destroyed the scene. I see that there are not too many black metal bands nowadays than a couple of years ago and the style is not so popular or trendy and that's good because the weak bands passed away and mostly the stronger and original bands stayed, there are not that many average ones. Black metal is existing for a long time and will be here forever.

The lyrics to "Land of Silence" are very interesting.  It seems to reflect a yearning for times of old, before so-called 'progress' destroyed the bond between humans and nature.  It also has something of an optimistic feeling, that there is hope.  Is this even close to what you were trying to express?  Please tell me what thoughts and feelings inspired this track. Yes, what you told is perfectly right but actually there was a real inspiration for this song.  After the first World War, the mighty Transylvania (along with other great territories) was stolen from Hungary. Transylvania now belongs to Romania because some fuckers decided that a beat country has to lose more. Transylvania is almost as big as the whole of Hungary now. It was a very mournful moment in the history of Hungary. I'm of Transylvanian origin, so it means a lot for me. My grandparents had to escape over the border to come to Hungary because the Romanians tried and are still trying to destroy everything which has got something to do with Hungary. These mournful things inspired this song. Transylvania is an incredibly beautiful place, full of enormous mountains and forests. If you read the lyrics now, aware of the things I mentioned, you can find these inspirations. Of course, these lyrics can be described the way you did figuratively.

What are your personal thoughts on religion vs. spirituality? Actually, I hate any kind of religion. Every religion is worthless when it becomes organized. So for me the image of any god means nothing. Religions destroy the personal freedom, individuality and spirituality too. Those who need religion are weak in some ways, I think.

Do you have any special interests outside of music? Sure. I have a lot of interests. For example I'm interested in movies, mostly David Lynch movies. I love sci-fi too. 2001 is definitely the best one ever created. I'm into motor bikes, too, and I'm interested in some sports, but these are just daily hobbies.

Has anyone in the band worked on any side-projects or is everyone pretty focused on Sear Bliss? Sear Bliss is definitely the most important for us; it is our main band, however some of us are involved in other bands, too. Our drummer is playing with a jazz band but it's only a project and he helps them as a session drummer. I got a side project which I do with our former keyboard player. It's a very dark and terrifying music. Quite horrible and chaotic, haha. Anyway, we plan to record a demo in the next couple of month.

Do you have any long-term goals for Sear Bliss? Of course we have. Now the most important is to record and release our new album firstly. Then we will have a couple gigs in the next months and we would like to tour as soon as possible. By the way, we have a strange plan for the summer. We were asked by a quite famous Hungarian director to do a very special performance. They want Sear Bliss to be featured in a Brecht opera on stage. He directs the opera with our music and it's quite strange as we don't write music for this opus, but he directs it to our songs. The money for the budget is almost there, so the rehearsals will start in April and the performances will take place in the summer as a tour in Hungary's theaters. It's definitely a unique plan and a great challenge for us. We don't know what to expect but we will see, haha. People will be surprised for sure.

www.searbliss.hu

[skewgee]

"Don Giovanni, K. 527: Overture" by Wolfgang Amadeus Mozart, Bo Skovhus, Janusz Monarcha, Adrianne Pieczonka, Torsten Kerl, Regina Schorg, Renato Girolami, Boaz Daniel, Ildiko Raimondi, Hungarian Radio Chorus, Nicolaus Esterhazy Sinfonia, Michael Halasz https://ift.tt/2Wb6S1Z

[jamiehaggerty]

Sina and Koré - Official Trailer #1 [HD] from Umbrella on Vimeo.

The lonely traveller born by the light Sina who has infinite knowledge is searching the Universe seeking for the source of life. He wants to understand the source of life in the hope that eventually he could become a creator himself. He’s able to replicate the creatures of the Universe but he’s incapable of creating real life. Through a signal he finds Koré – the young ancestress living on a dying planet. Together they are able to create real beings. But Sina eventually becomes envious of the creating power of the girl and this feeling pushes their relationship to decay. Sina has to fight with his own nature so that he could get forgiveness and eventually he and Koré could start to create a new world of purity.

Director Emil Goodman with an ever extraordinary cinematic vision gave another twist of visual technology when he and his fellow creatives brought the first episode of the Sina Koré series to life.

Produced by Miklos Kazmer and Zoltan Hidvegi / Umbrella Collective Story by Gabor Divinyi & Emil Goodman Creative team: Tamas Borjan, Balint Bayer, Mate Fekete, Laszlo Bodrozsan Character design: Mark Juhasz Colorist: Adam Halasz Editor: Daniel Szabo Music: Karanyi

sinakore.tumblr.com behance.net/gallery/27541763/Sina-and-Kor-Digital-Puppet-Animation

[hungarianfashionsbeauty-blog]

JULIAKALDY 'Construct' Collection 2013 Campaign:

Renata Ladics by Sam Scott Schiavo & Daniel Halasz

[atletasudando]

Sudamericanos, junto a las estrellas mundiales en Hungría

Varias de las figuras del atletismo sudamericano tomaron parte del Memorial Gyulai István, realizado este lunes 8 de agosto en Szekesfehervar (Hungría) en  homenaje a quien fuera uno de los más importantes directivo de la IAAF/World Athletics. Este meeting reunió a grandes figuras del atletismo mundial aunque, ya por lo avanzado de la temporada, los rendimientos van bajando. El brasileño Alison Brendom Alves dos Santos -flamante campeón mundial de los 400 metros con vallas- incursionó ahora en la distancia plana y ocupó el segundo puesto con 45s.11 (tiene 44s.54 como marca personal desde esta temporada). La carrera fue ganada por el estadounidense Vernon Norwood con 44s.96, quedando tercero Michael Cherry con 45s.42. En salto con garrocha, el recordman sudamericano (y dos veces medallista olímpico) Thiago Braz da Silva se quedó sin marca. El astro sueco Armand Duplantis, recordman mundial, campeón mundial y olímpico, esta vez se limitó a ganar con 5.80 m., diez centímetros por delante del ex campeón Renaud Lavillenie, de Francia. En los 110 metros con vallas, el brasileño y campeón sudamericano Rafael Henrique Campos Pereira quedó cuarto con 13s.34. Allí ganó el jamaiquino Rasheed Broadbell con 13s.12, en ajustada definición con el estadounidense Grant Holloway, quien registró la misma marca, quedando tercero su compatriota Daniel Roberts con una centésima más. Los 400 metros con vallas femeninos vieron en acción a la asombrosa campeona mundial y olímpica Sydney McLaughlin, tras su maravillosa exhibición en Eugene. Y ahora marcó 51s.68, en una prueba donde se ubicó en el cuarto puesto la panameña Gianna Woodruff (recordwoman sudamericana, finalista mundial y olímpica) con 55s.73. Otra de las estrellas de Eugene, la jamaiquina Marlene Fraser, continuó con su racha victoriosa y marcó 10s.67 en los 200, en tanto su compatriota Shericka Jackson -campeona mundial de 200- triunfó en esta prueba con 22s.02. Los 100 metros vallas femeninos también estuvieron en alto nivel, pero el viento de 24 ms a favor impedirá la homologación. Ganó la puertorriqueña y campeona olímpica Jasmine Camacho-Quinn con 12s.27. Entre los hombres hubo elevados rendimientos en la zona de lanzamientos. El estadounidense Joe Kovacs alcanzó los 22.89 metros en bala. Y en disco se reunieron los mejores del mundo con triunfo del flamante campeón, el esloveno Cristhian Cejh con 71.23, seguido por el lituano Andresz Gudzius con 67.39 y el sueco y campeón olímpico Daniel Stahl con 67.01. En martillo se reeditó el duelo entre los astros polacos, con triunfo de Nowicki con 79.96, quedando tercero Pavel Fajdek con 79.15 (entre ellos se ubicó el local Halasz con 79.44). El italiano Gianmarco Tamberi, campeón olímpico de salto en alto, desplegó su calidad, ahora con 2.24 m. Y en las pruebas de velocidad dominaron los estadounidenses. Erriyon Knighton, el prodigio de apenas 18 años, ganó ahora los 200 metros llanos con 19s.88. Y en 100 se impuso Marvin Bracy con 9s.97, delante de Trevon Brommell con 10s.01. Read the full article