#On Music

[llovelymoonn]

@argumate \\ juhan liiv music (tr. h.l. hix & jüri talvet)

kofi

[maddieisnotreal]

on earth we’re briefly gorgeous by ocean vuong // love is a mixtape by rob sheffield // 20th century women (2016) // a world alone - lorde // quote by anna akhmatova // quote by friedrich nietzsche // i carry your heart with me by E.E. cummings // level 5 (1997) // wait by galway kinnell // chiquitita - abba

[savagewildnerness]

Ravel’s Piano Concerto in G, second movement, Adagio assai scores:

- Lestat’s letter

- DreamStat’s dissolve

- Loustat’s Reunion

Are there any more scenes it’s used in?

I love that, although I didn’t notice this on first watch, I must have felt it within myself before I was explicitly aware of the musical poignancy. 💓🥰🎶✨

Incidentally, I know I post music stuff here & obviously I play violin & a bit of rubbish piano. And I did do music GCSE & A-level. But I only ever had free violin lessons in school. I did not do a music degree. Nobody in my family plays an instrument. I never went to a single classical music concert as a child, nor did I ever hear any classical music played beyond what I played or found myself. So I’m just saying. I guess I always had music within me, but not much music around me (classical or popular. My Dad liked Frank Sinatra. My Mum doesn’t really like music. So there was very little music played ever in my home.)

Just to say/explain, I definitely don’t have an extensive knowledge of music. When friends know every popular song from childhood & all of the lyrics I am left bamboozled. I’ll recognise the tune of some, but I’m unlikely to know any words, or even the title. I don’t actually know much music. There’ll be specific pieces I know as they’ve been part of my life & knowledge. For example I studied a Mahler symphony & thus know a bit of Mahler; I adored Amadeus the film as a child so know some Mozart - that kind of thing. I might recognise some music is from one of a few composers as the era or style will be clear. But I don’t have a big knowledge of all music, unfortunately. Luddite me.

[sapientes]

let there be music.

mary oliver, evidence / hozier, to noise making (sing) / ruelle + fleurie, carry you / titanic (1997) dir. james cameron / anaïs mitchell, road to hell (reprise) / emily dickinson, hope is the thing with feathers / ariana grande, hope is the song / @silllllllllllll.da on instagram / rodgers and hammerstein, the sound of music / florence + the machine, free / bertolt brecht, motto

[wysteir]

Note to future self to keep the creative momentum up

Doesn't have to be the same project or the same medium or the same thing go make something go fulfill some dreams

You got this future Wys

[draculovemp3]

Writing the score for Pascal Laugier’s Martyrs was such an intense and extreme experience that I don’t know where or how to start.

We got the gig very late in the process of making the movie. We were hired as a replacement: some ‘high profile’ musician had fled when confronted to the task ahead I guess. More seriously, composing the soundtrack turned out to be a painful process indeed.

The combination of stress, lack of time, lack of sleep, lack of natural light and fresh air, extremely long hours (on our last day we worked 35 hours in a row with small 15-minute naps every once in a while) and the darkness of the movie itself put us in a kind of altered state. Some sort of daze where reality would sometimes fade into something very strange, hard to describe beyond that. To the point where I personally started thinking that Pascal was performing some kind of mental torture on us so we would at last be able to identify with the characters of the story and thus create music that would seem to be oozing from the images themselves…

We felt like martyrs, literally.

I have never told this to Pascal actually, and I don’t really think he was playing with our minds either because he’s way too honest to do this. If anything I have to thank him for this experience because in the end, some of the songs created for Martyrs, I feel will stay with me for a long, long time. They mean something, to me, personally.

Some people have asked us what our musical influences for this particular work were. I don’t really want to deconstruct the creative process and put names on what is essentially unconscious and instinctive. For sure a lot of artists have participated in giving some shape and form to the mental magma that in the end crystallized into music pieces and songs.

We had talked a lot with Pascal about the characters’ feelings, the tragedy in the story, the melancholy and most importantly the love story upon which rests the whole movie. That’s mainly what we concentrated on. Then there was the general conviction that we should go for a sound that would induce some sort of nostalgia, which was also very interesting because we usually have a quite futuristic sound, very dark and cold. This time we had to put some of the more modern aspects of our sound aside, reinvent ourselves as a musical entity while retaining what makes our sound interesting and personal.

Overall, working with Pascal on Martyrs was a very enriching experience, a roller coaster ride into hell and heaven. I sincerely hope that is what we will make you ‘feel’.

Propos de Willie Cortés

Seppuku Paradigm (Alex & Willie Cortés)

— Liner notes by Seppuku Paradigm from the Martyrs (2008) Original Motion Picture Soundtrack vinyl

[sunburnacoustic]

Do you ever write a lyric just for the rhyme only to figure out later that you actually said something profound?

Rhyme in some ways compromises the nature of pure poetry or words. I think what you achieve by rhyme is you link the lyrics and the music, which can have a more powerful effect than just words on their own.

Matt Bellamy on the words in Muse songs | "Innocence And Absolution", Keyboard Magazine, June 2005

[jaw-aches]

the thing that i find most interesting about the brat remixes is how central dialogue is in the album as in a lot of songs (mostly the ones featuring other women) engage in a explicit back-and-forth about fame and success and their own relationship to it and how it shapes them as people and their experiences. i think it’s very unique and interesting to have these candid conversation in such a format.

[ethanwylan]

missing people who were dead before i was born.

i am surrounded by dead people. artists of all kinds. their word engulf me gently, a warm blanket in the depth of winter. i feel the inside of their minds through every delicate word sung on worn recording. i feel the familiar sting when i realize yet again that there is no more of them. that these songs, these melodies are all we have to remember them by.

a wound reopened.

[gingerteaonthetardis]

Ursula K. Le Guin, No Time to Spare

[text ID: I came away from both these concerts marveling that while our republic tears itself apart and our species frantically hurries to destroy its own household, yet we go on building with vibrations in the air, in the spirit—making this music, this intangible, beautiful, generous thing. /end ID]

[llovelymoonn]

stephen bertman handbook to life in ancient mesopotamia

kofi

[cherry-jamx]

I swear I don't. Miss you at all. And I barely still remember who's in the pictures on my wall.

'Cause, no, I can't recall your scent: jasmine, tuberose, and lily or your silly French accent...

All but forgotten about those eyes

The shade of green that if he’d seen

Would make Scott Fitzgerald cry 😭

We’ve only talked about this song like 20 times today, I’m fine, this is fine!!!!!

[shesgonnachangetheworld]

The funniest thing about the unheard ep is learning that the song that named the album proper didn’t even end up on the album

[annabtg]

What are your thoughts on music that has a lot of swear words, or sexist comments that feel degrading to women?

Same as on fiction with lots of swear words or sexist comments: I judge it on its total merit and intent and as a product of its time.

(Lots of swear words are not usually my aesthetic, that said.)

[saayawolf]

🖤🌧