#a.r.t wilson

[trevlad-sounds]

Bermuda Spiral

Tegu–2×7 00:00 Drapizdat, Reather Weport–Pattern #5 04:50 Noyce–Bare 07:54 Shakali–Juoluat 10:46 Wave Temples–Blue Bermuda 17:33 Azu Tiwaline–Terremer 20:43 Cartas de Japón–Toay 25:55 Union Jack–Water Drums 31:25 Baka Forest People Of South East Cameroon–Liquindi 2 39:56 Kilchhofer–Skimo 40:49 Yatha Bhuta Jazz Combo–Thats How I Feel 45:39 Sara Berts–Mayflies 48:48 another fine day–ammonite spiral 52:42 A.R.T Wilson–Rebecca’s Theme (Water) 1:00:02 Danny Scott Lane–Eleven 1:04:07 2muchachos–Thaw 1:07:10

[likeafantasy]

[artsyfartsypaige]

Guess who saw the A.R.T production of Gatsby the other night?!?!?! It was truly an amazing show (I legit cried during it) and I would love to bring up some of the highlights. In a few scenes, my only thought was “the tumblr is gonna love this”. It was a phone free show so I don’t have photos of the stage or actors but I’m happy with discuss.

1) The stage was made of metal car parts, glittery string curtain and two black marble staircases. It was kinda split between Gatsby’s world and the Valley of Ashes.

2) The actor for Nick, Ben Levi Ross, was probably the funniest actor in the show. He had great line delivery. He was also super short and literally everyone towered over him.

3) on everyone’s costumes, there was a coating of dirt/rust at the bottom. It was such a cool little detail.

4) Nick has a small panic attack when fireworks go off at the party and this is how him and Gatsby meet. They sit together on the bottom of the stairs and it legit felt like a rom com meet cute.

5) yes, Nick makes out with McKee. He spends every party scene from that point on flirting with some guy or making out with a member of the ensemble.

6) I’m not totally sure if Gatsby is still a bootlegger in this version but they show him killing a man so he’s definitely involved in some sketchy business.

7) Wolfsheim signs a song called “Look like heaven but feel like hell” which was my favorite. It’s him explaining Gatsby’s fake origins to Nick. Gatsby gets to do a full dance number and quick change into his pink suit.

8) They added some backstory to Myrtle and Wilson that they lost a daughter in the Spanish flu. It was a sad but sweet detail as to why they’re the way they are.

9) In the tea party scene, Nick pushes Gatsby back onto stage after he runs out in a panic.

10) Gatsby doesn’t die in the pool, Wilson shoots him on the staircase.

11) Gatsby’s father is indigenous which is LOVED! I’ve always imagined Gatsby to be indigenous and so seeing that others had the interpretation was amazing.

12) overall beautiful music. A lot of raw emotion and a wide range. Wolfsheim’s song and “The Damage you do” by Tom and Daisy were my favorites.

Let me know if have any questions about anything!!! I really want to discuss the show!! Here’s the book I brought signed by the cast!!!

[funkqs]

Rebecca's Theme (Water) | A.R.T. Wilson

[classicalmusicdaily]

Anna Goryachova was born in Leningrad (Saint-Petersburg). In 2008 she graduated with distinction from the Vocals Faculty of the Rimsky-Korsakov St Petersburg State Conservatory (class of Tamara Novichenko and subsequently class of Galina Kiseleva). From 2009 to 2011 she trained under Renata Scotto and Anna Vandi at the Accademia Nazionale di Santa Cecilia (Rome) and also under Romualdo Savastano at the A.R.T. Musica academy (Rome). From 2008 to 2011 Anna was a soloist at the Mikhailovsky Theatre and the St Petersburg Chamber Opera. In 2010 she was nominated for Russia’s Golden Mask National Theatre Award for her performance of the role of Donna Elvira in the opera Don Giovanni staged by Yuri Alexandrov. In 2011 under the direction of Alberto Zedda she made her debut at the Vlaamse Opera (Flemish Opera) in Antwerp as the Marchesa Melibea (Il viaggio a Reims, Mariame Clément’s production). From 2012 to 2017 Anna was a soloist at the Opernhaus Zürich, where she performed the roles of Adalgisa (Bob Wilson’s production of Norma), Rosina (Rossini’s Il barbiere di Siviglia), Polina (The Queen of Spades), Magdalena (Die Meistersinger von Nürnberg), Zerlina (Don Giovanni), Eustazio (Handel’s Rinaldo), Zelim (Vivaldi’s La verità in cimento), Masha (Eötvös’ Three Sisters), Marchesa Melibea and so many others. She has collaborated with such conductors as Teodor Currentzis, Nello Santi, Fabio Luisi, Alain Altinoglu, Enrique Mazzola, Riccardo Frizza, Ottavio Dantone, Stefano Montanari and Daniele Rustioni among others. Took part in the world premiere of Christian Jost’s opera Rote Laterne (2015). In 2012 Anna sang the role of Alcina (Orlando paladino) at the Théâtre du Châtelet in Paris and made her debut at the Rossini Festival in Pesaro (Italy) as Edoardo (Matilde di Shabran) staged by Mario Martone and conducted by Michele Mariotti. In 2020 at the Grand Théâtre de Genève she sang the roles of Angelina (La Cenerentola) and Sesto (La clemenza di Tito, staged by Milo Rau) in addition to making her debut at the Vienna State Opera in the role of Olga (Dmitri Tcherniakov’s production of Eugene Onegin); in Vienna she subsequently performed the roles of Angelina and Carmen. In 2022 as Angelina she made her debut at the Mariinsky Theatre (St.Petersburg). In the 2020–21 season Anna received Valencia’s “Best Mezzo-Soprano of the Season” award for the role of Angelina in La Cenerentola, staged by Laurent Pelly at the Palau de les Arts Reina Sofía. We all know that this has been a pretty tough time for the socio-political environment, which affected also the arts in a considerable way, and it was so beautiful to see you and your Ukrainian colleague hugging each other during the standing ovation. What do you think about this matter, about the way theaters, but also the society, took actions towards the Russian artists? Honestly, during these 3 months I have never found any change of attitude from my colleagues, nor from the theaters. The political conflict should not affect the cultural environment. Indeed, you all seemed such an united team on stage and behind it! Was it your first Carmen in the amazing production of Calixto Bieito, which such a passionate stage parter as Vittorio Grigòlo, for his debut at Don José? There was such an amazing energy coming from the stage towards us, in the audience! Thank you so much, I already sung in this production in Madrid in 2017. It’s a very intense staging. And I was very much touched to see the standing ovations in Wiener Staatsoper every evening. I never met Vittorio before and we really enjoyed playing and singing together. It was a perfect artistic match, I think! I adore Vittorio! He is not only an incredibly talented artist, but he is also a very nice person offstage. And his role debut was sensational! reposted from https://opera-charm.com/

[thesunlounge]

Reviews 290: Wilson Tanner

Back in 2016, Andrew Wilson and John Tanner joined together for 69 on Growing Bin, which for me is a something of a masterpiece. Across the album, the duo married bucolic guitars, meditative woodwinds, and sunset electronics to gorgeous effect, resulting in a sonic experience of deep serenity and new age mastery. So when Efficient Space released the newest Wilson Tanner experience II, it was a sincere surprise discovering how abstract, strange, and challenging everything was this time around. Mostly gone are the lush and organic textures of that last album, with the focus now on modular electronics and experimental ecosystems of aquatic looping, alien minimalism, and vaporous prog ambiance. Everything here swims through layers of shadowy delirium and the entire experience is informed by the album’s unconventional recording process, which saw Wilson and Tanner loading a 1950’s riverboat called “These Days” with an array of weather proof electronics. Leaving behind terrestrial foundations and resting above the mysterious underwater universe, the duo perhaps lost sight of who or where they were, lapsing into some forgotten ancestral remembrance of a time lost at sea…of the primal experience of surrendering to the totalities of the ocean world. And to combat the onset madness and intense feelings of isolation, Wilson and Tanner turned to these mystifying electroacoustic sea shanties...these strange expanses of subaquatic drone that sound as if they were constructed by beings who’ve only ever known only the motions of the waves, the smell of a salt breeze, the sun’s blaze, and a sparkling canopy of stars.

Wilson Tanner - II (Efficient Space, 2019) We open on “My Gull” and it’s pianos washing back and forth amidst oceanic clouds of ambiance, with subtle psychosonic fx kissing the mix. The keys lock into a simple chord refrain, though the patterns are sparsely embellished with dancing melodic filigree. Seagulls circle overhead, filtering synths glow in the background, and sometimes the piano melodies recede, leaving behind vacuous stretches of swelling ambiance. And towards the end, after one of these immerse stretches of synthesis cuts away, we are left with nothing but the calming sounds of a life by the sea, with boats bumping gently against wooden docks beneath grey clouds and patchwork sunlight. There are further synthetic piano meditations in “Loch & Key,” as a simplistic riff bounces on echowaves. Airy synthesizers trace colorful curlicues over the flowing piano spells and deep in the background, cloudform melodies are smothered yet beautiful, evoking ghost choirs and mermaid reveries. The mix is awash in seaside field recordings, all soft clatters and watery drips, and there are these guttural sounds that flow in at times, which are indistinguishable as electronic or organic. My best guess is that John Tanner’s clarinet is flowing through some modular chain, but whatever the source, the evocation is of some strange sea creature croaking towards the sky. By the end of the track, muted melodies dance in counterpoint to the pianos, creating a pop-tinged passage of minimalist magic, one that is eventually overlaid by strange sliding melodies and soft currents of feedback that progressively evolve into robotic fusion weirdness, resulting in a strange moment of sci-fi solo flamboyance at odds with the otherwise bucolic ambiance.

Mellotron flutes add touches of Aegean melancholy to “Perishable” while an acoustic guitar wanders through funereal desert atmospheres…like a spaghetti western deconstructed into wandering dreamfolk. Vibrato electronics arc overhead and haunted melodies are shrouded in spectral haze until we arrive at an ambient prog interlude, wherein sampled woodwinds sing mournfully over strange pulsations, resulting in a gaseous dance through layers of springtide sadness. The guitar returns, still shambolic and worn out, but now leaning towards Flamenco exoticisms while the flute continually ascends, at some point working itself into a radiant church hymn. The centerpiece of II is the epic “Killcord pts I-III,” which is centered on this mind-melting sequence…like a cyborg tuba caught in maniacal loop while constantly transforming into a mutant gurgle. Synths scream across the void and pull the soul into darkness before giving way to strange percussive bubble formations, with atonal musique concrète sonics working against the sequential hypnotics. The mix is alight with movement and sees liquids oscillating and muted trumpets blaring while crystalline idiophones play triumphant themes beneath layers of electronic dust. Imagine some strange approximation of Berlin school music submerged within an aquatic dreamworld, with hyperspeed pulsations causing time itself to skip and synthesizers weaving themes of alien majesty. The ecstatic energy surrounding Wilson and Tanner is palpable and it’s easy to imagine the pair locked into some sort shamanic ritual playing out  on primitive electronics, with spells cast in the form of mutant marimba lines, acidic slides, mechanical loops, and sub-bass rumbles.

The B-side opens with “Idle” and its bells smearing into metallic distortion. Cyborg chirps flutter and gong-like swells of bass ambiance hover like stormclouds until abstracted rave electronics start firing through the mix, with big bubbles of acid and subsonic synth motions locking into drunken repetitions. Black hole vapors flow all around and horror film feedback  floats across the spectrum while sizzling snare hits transform into radiophonic weirdness. Squelching synths establish a sort of daydream groove alongside futuristic tom tom experimentations and ethereal melodies swim over heard…sometimes evoking a beautiful prog elegy while at other times devolving into sheets of dissonance. And as the track progresses, oscillations flutter on a sea breeze, mechanized chirps are joined by birdsong, and the massive clouds of bass ambiance recede momentarily, only to fade back in like some viscous body of shadow. Next is “All Hands Bury the Dead,” which features lullaby melodies and new age sonics mutating through an LSD haze, with notes curling in on themselves and spontaneously vaporizing. Water laps gently beneath the ambient waveforms and as we drift along in a state of meditative clam, it all begins evoking for me the music of Hiroshi Yoshimura and Satoshi Ashikawa…like a visage from a window of an unremarkable yet still beautiful afternoon where clouds drift lazily overhead and blue waves crash to shore. Eventually, choppy tremolo electronics move into the stereo field and disturb this pictaresque serenity and once the environmental keyboard melodies finally drift away, blurry synthesizers merge with the sounds of flowing water. 

A mutant funk bassline anchors “Safe. Bird.”…as if a clavinet is jamming through an ambient seascape. Percolating woodwinds and bleeping satellites execute some enigmatic Morse code conversation and soft focus melodies are surrounded by ring modulating psychedelia, all while the bassline continues its sludgy groove. It’s like some mid 70’s Miles fusion experiment a or Magma zeuhl ceremonial, only reduced to just stoner bass riffing and space age oceans of shimmering detritus. And by the end of the track, the basslines are replaced by alien chirps, extra-terrestrial gurgles, and vibraphones dazzling the mind with cinematic leads and downer descents. The album closes on “Crossing the Bar” and its wavering oscillations breaking apart over the motions of water. Resonant vocalisms swell on one side of the mix while bleary-eyed layers swirl on the other…as if two different stretches of ambient music have been overlaid then panned hard. Clicking percussive textures crackle in the air and bass synths pitch-shift continuously, evoking the engine sounds of the riverboat “These Days” as it makes its way across the deep dark waters. Synthesizers blend seamlessly with aquatic field records and the mind loses all sense of where the natural end and the electronic begins, with the track mostly just letting throbbing machines hum beneath bodies of atonal new age mesmerism. At some point, a slow motion synth solo erupts over the mix…calling out to the stars, desperate and pleading…as the rest of the stereo field mutates into a fractal soundbath. And by the end, we are left with looping chimes, feedback sirens, flying birds, haunted drones, and the increasingly distant sounds of Wilson’s and Tanner’s boat as it sales further and further towards some unknowable horizon.

(images from my personal copy)

[adsmusiconstellations]

A.R.T. Wilson - Overworld (2014)

[hontokana]

2014 - A.r.t. Wilson - Overworld

[theretirementhome]

A.R.T. Wilson - Overworld

Buy it here.

[trevlad-sounds]

Bermuda Spiral

Tegu-2x7 00:00 Drapizdat, Reather Weport-Pattern #5 04:50 Noyce-Bare 07:54 Shakali-Juoluat 10:46 Wave Temples-Blue Bermuda 17:33 Azu Tiwaline-Terremer 20:43 Cartas de Japón-Toay 25:55 Union Jack-Water Drums 31:25 Baka Forest People Of South East Cameroon-Liquindi 2 39:56 Kilchhofer-Skimo 40:49 Yatha Bhuta Jazz Combo-Thats How I Feel 45:39 Sara Berts-Mayflies 48:48 another fine day-ammonite spiral 52:42 A.R.T Wilson-Rebecca’s Theme (Water) 1:00:02 Danny Scott Lane-Eleven 1:04:07 2muchachos-Thaw 1:07:10

[caramelcat]

Playlist: Summer Moments, Triple R FM, January 15, 2022

listen back on demand

Laraaji - All Pervading

Mystic Moods Orchestra - The Awakening

Phil Stroud - Australiana

Cults Percussion Ensemble - Baia

Glass Beams - Mirage

Gigi - Tew Ante Sew

Wau Wau Collectif - Mouhamodou Lo and his Children

Steven Cooper - Key West Afternoon VII

Curtis Mayfield - The Makings Of You

Eddie Kendricks - My People…Hold On

Knxwledge - jstowee

Madlib - Road of the Lonely Ones

Kae Tempest - More Pressure

Space Afrika - Preparing the Perfect Response

Gil Scott-Heron, Brian Jackson - Peace Go With You, Brother (As-Salaam-Alaikum)

Abiodun Oyewole - Harlem

Ron Everett - Glitter of the City (Song by Tahira)

Prince Far I & the Arabs - Long Life

Khan Jamal, Bill Lewis - The Waterfall

Bobby Hutcherson - Little B’s Poem

Celestial Being - Raise The Vibration

Haruomi Hosono, The Orb - Laughter Meditation (The Reality Of Impossible Orbjects)

A.R.T. Wilson - Past Life Regression

Sidney Poitier, Doris Belack -  Ere Sleep Comes Down To Soothe The Weary Eyes

William Parker - The Golden Light (Hymn)

Emily A. Sprague - Piano 1

Kuumba-Toudie Heath - Kamili

[lamignonette]

A.r.t Wilson - Rebecca's Theme (Water)

[magicalmysterymix]

Slow Burners Mix by Glenn Astro Feat. A.r.t. Wilson, The Beat , Fizzy Veins, Madonna, Anna Domino, Andras Fox, Terry Keega, SVN, Sami Baha, Jah Shaka, Björn Torske, Andras, Glenn Astro.. #electronicmusic #dubmusic #housemusic #percussions 

[burlveneer-music]

Shelter - Profondeur 4000 (Growing Bin Records)

Last time we heard from the Growing Bin, Basso was sat at the water‘s edge, trousers rolled up, toes in the tide, savouring a Falanghina while Eleventeen Eston went with the wave. Now we move from the shoreline to the ocean shelf, led on an underwater adventure by young Parisian Shelter. Where previous releases have seen the synth-obsessed Frenchman take his inspiration from Caribbean rhythms or Balearic attitudes, this marine missive sees Shelter turn to the lavish world of the library, creating his an alternate score to Jean Faurez’ 1960 documentary short. More submersible than snorkel, our journey begins in the very dark of the deep, mystical harp trills echoing through the inky blackness, picking up the bioluminescent shimmer of an Abraliopsis Squid. Gradually we make our way into the light, cruising past shoals of silver scales and underwater forests. ‚Immersion’ offers a placid, percolating rhythm and billowing pads, providing sonic symmetry for the dancing leaves, while the spheric soundscape of ‘La Vie A L’Ombre’ bubbles away like an underwater volcano. The optimistic ambience of ‘Plenitude Azotee’, brimming with delicate melody and glistening sequences, perfectly captures the wide-eyed wonder of a reef dive, before drifting into the serenity of ‘Parade’, an aquatic acquaintance of A.R.T. Wilson’s ‘Overworld’. A brief foray into shark fin funk sees out the A-side, before we’re back amid the beauty of the ocean floor; ‘Variation Abyssale II’ echoing the album opener but with even more poetry. The exotic and otherworldly sine waves of ‘Dans La Jungle De Varech’ simultaneously sound like a rainforest canopy, alien landscape and coral microcosm, expanding our horizons nicely ahead of the adrenaline rush of ‘Hors D’Haleine’. Shelter then sets us at ease with the tidal tonality and subtle shuffle of ‘Fumeurs Noirs’, a sublime synthetic suite, then leaves us to marvel at the soft focus splendour of ‘Synthii Outro’. This is Jules Verne by way of Vangelis, just grab your goggles and take the plunge... words by Patrick Ryder

[kl-na]

2021年5月のプレイリスト ～ New to me 2020-2021 ～

～ New to me 2020-2021 ～

→ https://youtube.com/playlist?list=PL4R5kLX_ups0ZQ3tS9xA9c0954MdIy1k_ (33曲、約1時間58分)

自分がこの一年で新しく知った曲 (一部を除く) を集めた。 いつも以上にまとまりがなく、古いもの新しいもの混じっている。

この種のプレイリストを2020年4月に作ったのだが、それから現在に至るまでに知った曲を33曲。 約一年ともなると、他にもたくさんの印象深い曲があるのだが、キリがないので、だいたい2時間くらいの分量になるように絞った。

01 Orphan Black Main Title … Dominik Hauser 02 Mover Awayer … Hobo Johnson 03 C'est la ouate … Caroline Loeb 04 Liquid Sunshine … John Cameron 05 Que Maldicion … Banda MS de Sergio Lizarraga 06 Here Comes Love, Tenderness And Kindness … The Cigarettes 07 １日 … rei harakami 08 A Day For The Hunter, A Day For The Prey … Leyla McCalla 09 Take a Trip to the Islands … The Chi-Lites 10 Stay High … Brittany Howard 11 Twin Peaks Theme  Instrumental … Angelo Badalamenti 12 Track X … Black Country, New Road 13 Reggae Rock … Jackie Mittoo 14 Mykologics … Mouse on Mars 15 Andrew Wasylyk … Last Sunbeams of Childhood 16 Shadows From Nowhere … Blue Gas 17 Argos Farfish … Sharhabil Ahmed 18 Smoothpipe … Flamingo Star 19 Kushimoto-Bushi … Chiemi Eri 20 You Are Just a Tiny Bunny! … Leenalchi 21 Poroy Station … John Carroll Kirby 22 Questions (Part I) … Pat Stallworth 23 Vivre pour vivre … The Peanuts 24 Cabaret Dance Music … Kalyanji-Anandji 25 Be careful it's my heart … Bola de Nieve 26 The Biggest Pile of Leaves You Have Ever Seen … Lullatone 27 Janine's Theme (Earth) … A.r.t. Wilson 28 Melody of the Moon … GONTITI 29 Keep Your Faith to the Sky … Willie Scott & The Birmingham Spirituals 30 Yes Sir That's My Baby … Baja Marimba Band 31 Clube Da Esquina Nº 2 … Milton Nascimento & Lo Borges 32 outro … rei harakami Feat. 原田郁子 33 蘇州夜曲 … Sandii

<メモ> 01 Orphan Black Main Title (Dominik Hauser) … BBC制作ドラマのタイトル曲らしい。

03 C'est la ouate (Caroline Loeb) … 1986年、フランスなど欧州でチャートをにぎわせた曲。

04 Liquid Sunshine (John Cameron) … いかにもなライブラリ・ミュージックの一曲。

11 Twin Peaks Theme (Angelo Badalamenti) … ツイン・ピークスのテーマ曲。改めて聞くと、穏やかなのにどこか不穏な感じで、良い。

18 Smoothpipe (Flamingo Star) … どこかのお店で流れていたものを、Shazamで曲名を突き止めた。

19 Kushimoto-Bushi (Chiemi Eri) … もうずいぶん前のこと。Retro Cocktail Hourというラジオでそれなりによく流れていたのだが、なぜか「Soma Bon-uta」と紹介されていた。YouTubeにあるのを最近知った。

20 You Are Just a Tiny Bunny! (Leenalchi) … ポンチャックみたいだなと思ったら、パンソリを元にしたK-Popらしい。

23 Vivre pour vivre (The Peanuts) … 「パリのめぐり逢い」のテーマソング、ザ・ピーナッツ版。

24 Cabaret Dance Music (Kalyanji-Anandji) … ボリウッドの、良くも悪くも振り切った一曲。

25 Be careful it's my heart (Bola de Nieve) … 非常に非常にエモーショナル。こういうのも「エモい」と言っていいかどうかはわからないけど。

27 Janine's Theme (Earth) (A.r.t. Wilson) … 動画 (レーベル?が出している動画なので、たぶんオフィシャル) はビミョーだが、曲は良いと思う。

33 蘇州夜曲 (Sandii) … 原曲は、服部良一 作曲、西条八十 作詞、李香蘭 (山口淑子) 歌。