#Jon Hopkins Everything Connected

[ingentiiing]

Thanks for tagging me @jemgirl86 🥰

for some reason it didn't show up on my notification, hence the late answer.

anywho;

RULES: When you get this you have to put 5 songs you actually listen to, then tag 10 of your favorite followers beloved beauties who live in ur phone

i'm just gonna straight up copy my top 5 repeat list on spotify:

Alright - Victoria Monét

Puff Lah - Kaytranada

Big hammer - James Blake

Everything connected - Jon Hopkins

The feels - Labrinth

Tagging @arms-and-arrows @siancore @abarbaricyalp @cobrafantasies @mssr-mcknickers @purpleandgreen13 @morethancupcake @vafanjosse

No pressure 💕

[denimbex1986]

Sounds from a Safe Harbour festival has announced its last brace of ticketed live and cinema programming for its 2023 instalment in September, in Cork city.

Taking place between Thursday, September 7 and Sunday, September 10, the festival has added a new film from Cillian Murphy, new theatre work from Enda Walsh, and an expansive live music offering to a four-day line-up of previously-announced music, performance and conversation events, which organisers are calling "the biggest to date".

Friday, September 8 sees the Irish premiere of All of this Unreal Time at Triskel Christchurch - a short film starring Cillian Murphy, written by celebrated author Max Porter (Grief Is The Thing With Feathers), directed by Aoife McArdle, and featuring music by festival co-curators Aaron & Bryce Dessner (The National), and UK electronic producer Jon Hopkins. The 24-minute film was originally commissioned and produced by Manchester International Festival in 2021.

On Saturday 9 and Sunday 10, the festival stages a co-production with the Abbey Theatre of Untitled Song Cycle, by festival co-curator Enda Walsh and Anna Mullarkey, at the Cork Arts Theatre; sung by Aoife Duffin with projections by Jack Phelan - a work-in-progress detailing the impact of bullying and memory on a woman who leaves her small town.

American composer and musician Alex Somers, and special guests, head to the Marina Market on Saturday, September 9 at 10pm, providing "a way of experiencing music in a live environment where slowing down, focussing on your senses and being present in the moment are the aim", according to the Sigur Rós producer - patrons are encouraged to bring their yoga mats.

Seanie Buttons presents Mayfield punks Pretty Happy at the Opera House's Green Room on Friday, September 8; and Cork-based singer and songwriter Elaine Malone launches debut LP Pyrrhic on Saturday, September 9, at the same venue.

Meanwhile, at the newly-refurbished Pavilion venue on Carey's Lane, Saturday September 9 sees a midday performance from Rónán Ó Snodaigh (Kíla) and Myles O'Reilly, with songs from new album The Beautiful Road representing a crossover of tradition and ambient music. American songwriter and producer Caroline Rose will also perform at the venue that afternoon.

The Pav also plays host to the festival's late-night club, with DJ Sally Cinnamon anchoring proceedings with special guests on the Friday and Saturday nights.

Speaking on a heavily-loaded announcement, Festival Director Mary Hickson says: "This is the biggest SFSH to date - we are really pushing the boat out this year. We have one more piece of information to come later this month that will connect everything. You'll see special guests listed on many events, we plan to share these details with you soon.

"Working with The Abbey is a huge deal for the festival, we're thrilled to be working with them to bring Enda and his team back to Cork for the week to workshop ‘Untitled Song Cycle’ and share their work in progress with an audience. The final work will be produced for The Abbey Theatre at a later date.

"Presenting the Irish Premiere of ‘All of This Unreal Time’ in our home town of Cork is very important for Cillian and I. Add our incredible director, Aoife McArdle to this and we have a lot to celebrate together on Irish soil."

The announcements join a stacked festival line-up, including major independent music artists like Feist, Wilco and supergroup Bonny Light Horseman; Ye Vagabonds' Lighthouse Constellations residency, including Anna B Savage & Brìghde Chaimbeul, Cormac Begley, Crash Ensemble and more; and experiences like Teac Damsa’s How to Be a Dancer, Luke Murphy’s Volcano, and much more besides.'

[thousandisthemaximum]

19 brani bellissimi da ascoltare nel weekend

http://bit.ly/2HwcLRE

[tineyearthling]

Jon Hopkins - Everything Connected (Official Audio)

[hjartamusik]

Jon Hopkins - Everything Connected This album is a perfect follow-up to one of my all-time favorite albums: Immunity. The sound is the same, which is rare, with albums released years apart! I will definitely be buying this album on Vinyl as these two albums create a whole and I look forward to hearing and seeing more of JH in the future.  Friends have tickets to go see Jon Hopkins in the UK this November and with all the released tour dates being sold out, I am now looking out for more upcoming gigs. Fingers crossed! 

[foryourearholes]

A new Jon Hopkins song and music video. There’s something special about his simultaneously minimalist/maximalist music that makes it perfect to zone out to.

[mitjalovse]

Brian Eno's 10's finale made me question about the state of the electronica during the late part of the period. However, I am particularly interested in the type of machine music that doesn't seem to fit any sort of a moniker, one could use the name of the player as a style. Thus, we move within the fields travelled, for instance, by Eno or Jon Hopkins, whose work could be seen as the modern equivalent of IDM, though that may be stretching a description of his work a lot. Of course, he's on Warp, yet he's much more interested in the emotional response that can be triggered by the electronic instruments, but I wouldn't dare to call him sentimental. To be honest, I am unsure what to say about him, he continues to puzzle me with his opus, though we need those like him.

[underachievers-please-try-harder]

Track of the day // Jon Hopkins - Everything Connected

From the album Singularity, out May 4th via Domino.

[vintagechiquevinylfreak]

Jon Hopkins - Everything Connected

“Halo” used to be the working title for what has now turned into “Everything Connected”. It’s glorious and I’m so glad I will no longer have to listen to my low quality Glastonbury and Melt! livestream rips of this.

[stevenvenn]

Jon Hopkins - Everything Connected (from Singularity out May 4th) Bumpin’! Can’t wait for the new album, Singularity. Been awhile since we’ve heard something from him. Sounds like the wait has been worth it. There’s also a 10.5 minute version that you can hear up on Spotify.

[ingentiiing]

URL Tag game

Thanks for the tag @jemgirl86 ❤️

(Sorry for the extremely late respons, I shouldn’t be allowed to save things in my drafts 😅)

Rules: Spell Your URL with song titles and tag as many people as there are characters.

I have nothing - Whitney Houston

NY is killing me - Gil Scott Heron, Jamie XX

Glue - Bicep

Everything connected - Jon Hopkins

No ordinary love - Sade

Time to walk away -Washed out

I owe you nothing - Seinabo Sey

Into my arms - Nick Cave & the bad seeds

I would die 4 U - Prince

Never too much - Luther Vandross

Golden - Cannons

I’m not gonna tag anyone since it’s been a while since this game was running, lol. But if you want to answer it anyway, go ahead! I always like to know what other people listen to.

[thebittersweetdistractor]

JON HOPKINS - Everything Connected

‘Singularity’, Jon Hopkins’ long awaited follow up to 2013’s breakthrough album ‘Immunity’, will be released on May 4th via Domino. We’ve already heard the first single ‘Emerald Rush’ and today he’s shared another album track, a nearly six-minute electronic soundscape called ‘Everything Connected’. Listen to it above and pre-order ‘Singularity’ here.

[ratingtheframe]

Everything That Happened at the 2021 Golden Globes

The first two months of the year are finally over and as the days grow longer, we can start to see the early signs of spring. With spring comes summer and with summer comes an influx of movie releases, with the majority of films that were put on hold last year scheduled to be released in the following months in cinemas across the world. You know, cinemas, as in those big rooms where you pay to sit and watch movies from start to finish without pausing it? Gosh have I missed the pre movie adverts, comfy chairs and super wide screens. It's not the same at home and despite Netflix, HBO and Amazon Prime thriving, we shouldn’t set anything in stone when it comes to the quality and accessibility of film. 

Cinema is tradition whereas On Demand is convenience and usually choosing convenience over tradition does impact the quality of work being distributed. There are a bunch of films on streaming platforms that would be too inappropriate for cinemas, seeing as they lack a cinematic or dramatic feel to them to be good enough for a big screen. This allows mediocre to downright awful films to find an audience via streaming platforms. All well and good, seeing as these platforms are great exposure for upcoming filmmakers but at the same time it's a capitalistic system that puts views above the quality of content. It doesn’t matter if what you’re watching on Netflix is bad, they just want you to keep coming back for more. This can be said for mainstream cinema too, but to a lesser degree seeing as cinemas typically release around 68 movies per month, whereas Netflix has the ability to add up to 200 releases on their platform per month. It makes perfect sense that Netflix has the viewers that it does, as we can see that it releases almost twice the content of cinemas per month. For the avid cinephiles, this leaves us wanting a lot more as we’re only able to enjoy maybe one or two films a month from online streaming services, because the quality is so inconsistent. I hope that cinemas open soon so that I can relax knowing that the film I’ve paid money for will be of a good quality. 

Speaking of good quality films, Chloé Zhao, director of Nomadland (2021) became the second woman in the 78 year history of the Golden Globes to win an award for directing. This is an exceptional triumph and from the moment I saw Nomadland, I knew that it would have an incredible impact on awards circuits this year. Nomadland also won Best Picture, which proves something that up and coming filmmakers may need to start getting their heads around. People may not necessarily be gravitating towards cinema for a chance of escapism any more. I thoroughly believe those days are behind us, buried in the 70s and 80s with films that defied the laws of filmmaking and went to extreme lengths to serve us an entire universe that we couldn’t even comprehend. However, as the world grows more fragile and people start to realise the fragility of life, we want to connect with one another authentically and realistically. 

The way that film can do this is by showing our real selves on screen, showing our pain, redemption, emotions, fear, honesty, laughter, race, gender, humanity, darkest secrets and biggest dreams using the backdrop of cinema to sell us a story. People want films that are honest and are a reflection of humanity as well as the current society we’re living in. Not necessarily “a slice of life”, but a slice of humanity that we never see because it’s never impacted us directly, yet we still want to be made to feel like it has through film. That’s the key to success in any film, making the viewer feel like they’ve experienced something on screen even when they haven’t. If the film is too far away from our own psyche or humanity, we switch off, as we can no longer relate or even want to relate to something so obtuse and boring. Nomadland was the complete opposite to this theory, bringing us humanity in all its glory; its sadness and pure emotion that affects millions everyday, especially in such a time when loneliness is rife.

This is why Mank (2020) lost out. In a time where the world is in a sensitive disposition, Mank came as ineffective to the world of film. Though triumphant in it’s making, the film proves the fundamental foundation of film that Mank failed to do; have a good story. Mank just wasn’t the story people wanted or needed to see and one can appreciate a filmmaker’s efforts to make films but at the end of the day, the story is truly the only thing that’ll carry a film and if it's uninteresting and impersonal, people switch off. And they clearly did, seeing as Mank lost out to all SIX of its nominations. Less is more, I suppose, seeing as Nomadland won two out of four awards, including the top prize of Best Picture. David Fincher even took a shot every time he lost a category. Better luck next time.Other snubs included Emerald Fennell’s Promising Young Woman (2021) starring Carey Mulligan ,which was released on VOD last month. The film was nominated for four prizes and I suppose the lack of release in cinemas worldwide or at a Film Festival meant the lack of hype for the film. Regina King’s One Night In Miami...failed to pick up a prize, having been nominated for three awards. King shouldn’t be too disheartened, seeing as her debut definitely got her the recognition she deserved.

Aaron Sorkin most notably won Best Screenplay for his amazing picture, The Trial of the Chicago 7. I had the fortune of catching this in cinemas and the musicality of this screenplay was unreal. An incredibly authentic, riveting and honest piece of work, I believe we can safely say that Aaron Sorkin is the greatest writer for cinema and TV in our day and age. Sorkin is used to being showered with accolades, from Primetime Emmys with The West Wing, to an Oscar with David Fincher’s The Social Network.

The late Chadwick Boseman was honoured in full glory, having won the award for Best Supporting Actor in a Motion Picture for his role as Levee in Ma Rainey’s Black Bottom. An exceptional performance that reeks with Oscar success, Boseman is the first actor to be awarded the prize posthumously.

What’s also to be noted is the amount of British nominees and winners at this year’s ceremony. It seems like the American Film & TV market is wide open for Brits, seeing as Emma Corrin, Josh O'Connor, Daniel Kaluuya, Sacha Baron Cohen, Rosamund Pike, John Boyega and Anya Taylor Joy all won awards for acting. Helen Bonham Carter, Olivia Coleman, Vanessa Kirby, Riz Ahmed, Gary Oldman, Antony Hopkins, Dev Patel, James Corden, Hugh Grant, Jodie Comer, Lilly Collins and Nicolas Hoult all received nominations and were all born in the UK. The Crown in particular just seems to be getting more successful with each year and despite its controversy, the show has won Netflix 7 Golden Globes and 10 Emmys. What does this tell us about our actors and their ability in comparison to our friends overseas? Is it just a stroke of luck that the majority of actors who won this year are British or are we doing something different? Only time will tell as more British actors begin to be recognised for their flare over in the US.

If anything, we’ve learnt that The Golden Globes is for everyone. Anyone can win an award despite their background as long as those who control the awards ceremony are willing to give a variety of films a chance, not just ones directed by David Fincher. Nomadland is certainly an underdog for cinema, one that may not have done as well had other films been released last year. COVID-19 created space for this film to be seen and has truly been taken in as a work of art, proving that films of the same kind deserve to be seen in the up and coming future. British actors can and have made it big in Hollywood and it seems like American audiences welcome them with open arms. Sacha Baron’s Cohen’s humour in Borat Subsequent MovieFilm wasn’t unrequited, seeing as it won Best Musical / Comedy at this year’s award season, meaning every moment of that film (incriminating or not) WAS WORTH IT. Even though Regina King and Emerald Fennell lost out on their respective films, their work has been courageous and profound in helping to give space to women in the film industry. The fact that they were even nominated along with Chloé Zhao, was an achievement in itself and has women like me looking up to the success of these three women and realising that I could have the same shot. Mank came at the wrong time, and though good visually, it lacked a beating heart that the Golden Globes could identify with enough to give it at least one award. Soul was named Best Animation Feature Film of the year, also winning an award for music with a beautiful score by Atticus Ross, Trent Reznor and Jon Batiste. The Queen’s Gambit also reigned supreme, as Anya Taylor Joy won Best Actress for a performance in a mini series / tv film and the overall series won Best Television Mini Series / Television Film.

This has to be the best Golden Globes I’ve ever witnessed. Not only did it champion diversity in the film categories, British Actors and female directors, it actually gave consumers as well as judges, something that actually wanted, which was to see underdogs thrive in an environment that’s usually laid bare for the same characters. Let’s keep this up for the next ceremony !

ig @ratingtheframe

[getdownsaturdaynight]

Jon Hopkins - Everything Connected [2018]