#feel was initially acappella

[peaceeandcoolestvibes]

These are in honor of some mfs

[putschki1969]

Get Ready for Kalafina on Anisong Premium Radio

DOWNLOAD the FULL EPISODE HERE (MP3 ~50MB) Added it to my "Kalafina Media Appearances" folder. What a blessing to finally be able to update that folder again!!

Wahhhhh, we got another group shot of the girls promoting their upcoming radio appearance (Source & Source & Source & Source & Source & Source & Source) and this time, it's so freaking cute!! I can't handle this!!! Absolutely adorable💙🖤🤍🥹

It’s been 6 years since Kalafina appeared on radio together🥳 Before their comeback performance next year, a 2 hour special will be aired on radio✨ You can listen LIVE on the “NHKラジオ らじる★らじる”WEBSITE HERE. However, you will need VPN to access since it is region-blocked. There’s also an “NHKラジオ らじる★らじる” app which you can download but again, VPN is required!📱 📻Screen-recording is not possible on the app so I will have to figure out a way to record the stream on the webbrowser. Hopefully it will work. Usually you can download archived radio programs on the site Radiko,jp (VPN required) but this particular program only seems to be available for premium users

Date/Time: 12/31 (Tue) 14:00~ 16:00 Radio Channel: NHK-FM MCs: Oishi Masayoshi, Asada Haruna Link: https://www.nhk.jp/p/rs/X7W4K87Q2K/

Will try to post some live updates during the broadcast but it depends on the stability of my stream/VPN〈(•ˇ‿ˇ•)-→

We are starting strong with ♪heavenly blue♪ BGM!!

Hearing them together just introducing themselves is special *sobs* Wakana says she was a bit nervous when they first started rehearsing because it had been so long but then it was like riding a bike, everything came back immediately when they were in the midst of it. Keiko was once again reminded of the difficulty of singing Kalafina songs, it was bot a refreshing as well as an exhausting feeling. Hikaru felt happy to hear this unique music resound again that can only be created with their three voices.

One big change everyone commented on was Hikaru's hair XD

The girls were as moved by their first pictures together as their fans. Seeing themselves together was a precious feeling and reminded them that Kalafina was still a thing.

1st Memorable Song of Kalafina's Historia is ♪oblivious♪ chosen by Wakana and Hikaru. Wakana chose it because of its special place in their discography (being their debut song and all). Hikaru chose it because it was the first song she listened to back then when she wasn't a member yet and considered applying at the audition. Her initial reaction was that her voice was completely unsuitable for this sort of music :P Nonetheless, she gave the audition a try and the rest is history.

Keiko brought some old music sheets with her. She still keeps them all from back them and always brings them to rehearsals.

2nd Memorable Song of their Historia is ♪seventh heaven♪ chosen by Keiko because of the way it beautifully connects all of their voices for the very first time.

Impromptu acappella session before they air the song. Naturally they decided to do ♪storia♪ which has always been their go-to song for this sort of stuff. They are accompanied by the host's acoustic guitar. People will complain about Wakana's voice or whatever but I don't care, shut up! This is not the time and place! It was perfect😭

3rd Memorable Song of their Historia is ♪Lacrimosa♪ chosen by Wakana and Keiko. It was a turning point for them since back then, it was decided that they would actually get to continue as a proper group and not be disbanded after Kara no Kyokai. Also, according to Keiko, the 8/6 time signature makes it very special. The host adds some technical trivia about time signatures and such and praises the complexity of the song.

4th Memorable Song is ♪Ongaku♪ chosen by Hikaru and Keiko. For Keiko it's such a great song because of Wakana's cool solo moment (Super!Wakana😂) where she gathers all of her strength and courage to stand in the center to belt out those high notes while being cheered on by Keiko and Hikaru. And then it's nice to see how proud Wakana is of herself when she did a good job. Hikaru picked it because it's a live staple and basically their "engine". It raises the tension and gives them power. Parts of the lyrics are also the inspiration for their infamous "maiyaiya" which they always do before every live.

Their 5th song is ♪Magia♪ (also picked by Keiko and Hikaru). The hosts are very excited about it. The impact of the song is so strong that they had no choice but to choose it. It makes you really feel like you are going crazy just like Mami from Puella Magi Madoka Magica (マミられてる). The host says it's such a traumatic experience to listen to it. The jarring difference between the cute visuals of the anime and the dark vibe of the ending is mind-blowing.

6th song is ♪to the beginning♪ chosen by Wakana because of the memorable MV shoot. They had a very unusual catering with lots of fried food. The katsudon Wakana ate back then remains one of the best she's ever had. She typically doesn't even eat a lot of fried food but that was an exception. So incidentally, the MV is probably the only time fans will have ever seen the way Wakana looks after she's eaten something like this (fantastic if you ask me :P). Keiko adds that this is also their most popular song when they perform overseas. Nothing gets their overseas audiences as hyped as this song.

7th song is ♪ring your bell♪ chosen by all of them. It was very challenging for Wakana due to the speed and high notes (lots of talk about her f# and the shark necklace she designed as merch). Waaaahhh, another impromptu acappella session. I think they really nailed that part of "ring your bell" and I'm usually not even a huge fan of the song. Wakana did so well on her high note but then immediately deflated (poor girl) while Keiko and Hikaru continued for a bit. LOL.

8th (and last) song of their Historia was chosen by the host Oishi. He picked ♪Alleluia♪ because it left such a huge impression as the final song of their 10th Anniversary Live. Wakana loves it because of its link to their origin Kara no Kyokai and the moving lyrics. it also showcases many new facets of Kalafina.

Afer finishing the Historia corner, it's time for Special Anisong Corner" where everyone introduces their favourite anisong. Oishi appears to be a really big Kalafina fan and says that the anisong world wouldn't be the same without them. He says they are a true treasure for this genre.[YES, THEY ARE!!!!!]

Wakana picks "Mononoke Hime". It was one of the songs she would always perform together with her mother (on piano) when she was a kid. Coming as a surprise to no one, Keiko picks "Anpanman's March" from Anpanman. She's always been such a huge fan of the anime. Hikaru picks "Card Captor Sakura"'s "Platina" because she has always been a huge fan of Clamp (especially "Magic Knight Rayearth" with the main character also being named Hikaru).

Last corner is Oishi introducing a recent anisong that he wants everyone to listen to. He picks the OP "Lilac" by Mrs. GREEN APPLE for the anime titled "Boukyaku Battery".

And that's a wrap. Fitting BGM with ♪into the world♪ Wakana is happy, excited and feels super grateful about the upcoming Kalafina live. Keiko feels so happy to get to meet the other two on a regular basis for preparations and rehearsals. It's a blessing to see all those meetings in her schedule and it immediately cheers her up. Hikaru is also grateful to be able to finally sing all those songs together with the other two and have unique "conversations" with the audience that couldn't be possible if it were just herself.

Not a single mention of Yuki Kajiura during these entire two hours, lots of people are commenting on that. I'll leave that info here without really adding anything to it. It's par for the course I guess, I don't blame them for it...

[halfdeadwallfly]

🌻

heyy!!!!!!! Ok so I promised acappella (did i? .... eh) so! I'm basically gonna take this as my chance to rant about my group and my friends <3333 (if this does end up being too annoying, genuinely i'm sorry, i just get excited abt it too much and i like talking abt it l o l )

ok so BASICALLY i am in this acappella group at my school, and we have 13 different ones so some of them have different themes so my group does music from movies, tv series, video games, and musicals [AND!!!!!!! something i recently proposed----- podcasts hehehehehhee bc i have sooooooooo many podcast song suggestions for our rep] anyway there's like 18 of us and it's really fun and everyone is just so lovely and kind. (i promise i'm not gonna talk abt everybody, just the ppl i'm like closest with)

the person who's probably the closest friend i've made so far in college is also an alto, and i love her so much, she's so wonderful. she's sort of boisterous and really caring and a very good actor. she's super nice just to chill with, and at the same time it's always so much fun talking to her. once at rehearsal during an audition i was having a tic attack and she noticed what was going on and said that she could help me out if i needed it, which was so weird but nice bc most of the time when i'm having tics, ppl aren't mean exactly but they definitely don't really know what's going on. she also has an AMAZING singing voice, and she did a killer solo on I'm Still Standing our first semester there. she's just so beautiful and the kind of person that you feel comfortable around just by the way she is

when i was running for music director, there was another freshman that was running for the job as well, which was stressful but also-- really so cool, bc she's so smart and talented and experienced, and so vibrant like just as a person too. she also has a killer singing voice (ofccccc) and the most expressive, commanding performance energy. when the rest of the group was discussing who they wanted to vote for (our group in particular amongst the thirteen is infamous for discussions) we were both super nervous!! and hanging out in the hallway talking about our goals for the group, and we both have so many of the same ideas about stuff like vowels and dynamics and like general technique, it's just been so exhilerating to get to talk to her and know her! i really hope that in the next election she runs again so we can work together officially!!! she's also an artist and her art is so good :DDD

ok last person i'm gonna go in detail abt---- my co-md, who i actually did not really like when i joined the group. just sort of like did not vibe with him initially, but getting to spend more time with him i actually really do enjoy talking to him and hanging around, esp now that we're working together! it's been a stressful semester acappella-wise due to a sudden and weird resignation from our former long term md, but me and him preparing to take over now that our remaining md graduated, it's honestly just been so fun. he's so smart at music theory, and i feel like our different strengths just work really well together when we're leading. one of the things i was most stressed abt in becoming md was having to take charge, esp as an underclassman leading upperclassmen, but he's been so open to all my thoughts and suggestions, and whenever i'm feeling anxious abt getting people's attention or being too pushy, he makes sure everyone is on the same page, which i think is really nice. we had group karaoke once and we sang teenagers by mcr together lol

anyway so now i'm going into my first official semester as co-md with a killer new rep selection, with one song that i'm co arranging which is so exciting!!!!! i just really love everyone i've met in acappella and every bit of music we've put together.

[moonboyyuto]

There isn’t enough words to explain how this video makes me feel. When I initially saw on Twitter that he posted something I saw the video on my timeline and saw his mouth making words and I said…AINT NO WAY BRUH. YUTO??? SINGING?!?!?!? AND PLAYING GUITAR?!?!?!?!

The excitement wore off and it truly sank in that it happened. If you don’t know, Yuto hasn’t been very confident in his singing voice even pre-debut. With the little bits here and there of him singing (like REALLY singing not that melodic rapping he does which is nice don’t get me wrong) I knew there was potential. He can harmonize well I mean…have you heard their acappella covers? Yuto absolutely eats up the lower harmonies, but when it’s just himself he tends to get really shy. He’ll do really well starting out then laugh it off. But this? Yes it’s short but I am SO proud. He felt comfortable and confident enough to share this on his IG story. It’s beautiful. The guitar playing is beautiful and his voice sounds lovely.

I get emotional just thinking about the growth Yuto has made during his kpop career. That man’s picture should be next to the word ‘perseverance’ in the dictionary. From coming from Japan to Korea not knowing the language to practicing hours on end to become the industries first Japanese rapper. Now within the past 2-3ish years he’s diligently been practicing guitar on his own, learning piano, learning how to produce, getting his own SoundCloud, learning bass now, and overall becoming more outgoing, funny, and confident. I’m loving Yuto blossom into something I knew he had in him. ❤️

I’m done ranting now. I’ll leave this blog for another couple months 😂

[love-over-bias]

24/4/2018 A cappella

He said, 

这么久了有好几次想说点什么，可编辑到一半又删除。有一段时间一直在迷茫和困惑中度过，有很多问题想问也不知道问谁，也不知道会不会得到答案。 我以前发过一个问答，当全世界否定你���时候你要怎么肯定自己还有未来。当时我已经有了自己的答案，并且想听听更多人的答案。 在这段迷茫的时期我一直在不断地看那个问答的回答，我看到了不同人的境遇和故事，也在不停地寻找新的答案。 这段Acappella是回西安的路上写的，从那时距离现在又有了三个月，此时的心境成长了更多。世界总是会以各种各样的方式去做平衡，生活也是最好的人生导师。人不轻狂枉少年，但随之过去也应该留下点什么，之前还没来得及留下的，之后一定也会向好的方向奔去，和支持我的人一起在积极的路上走下去。 一个人一生能有几次做梦的机会？这个答案并不是别人去给的，当你内心充满希望和阳光的时候，梦想依然会在不远处等你，这个跟任何因素都无关，自己能否坚定自己所坚持的才是关键。 之前我获得了人气和支持，我并没有太去想过以后如何将这份影响力放在积极的方向，而是只顾自己如何努力在专业上往更高处去，把中文说唱让全世界听到。当每天只剩去思考的这段时间，明白有些责任是应该主动承担的，在专注音乐之余，也应该正面去引导喜欢我的粉丝为这个世界做一些什么。 感谢赞美，也受住了诋毁，再有的，就都交给我这颗越来越强的心脏了。想不明白的事不想了，看不清的人和事情也不看了，把我要为之努力一生的事情坚持到最后就行，往后音乐上见，作品替我说话。

‘It’s been a while..I’ve always wanted to say something..but I was stuck in the process of writing it. There were times that I felt lost and confused, and there was no one there to answer to my questions, and I don’t even know if I will ever get an answer. I once asked, if the world turns it back on you, how do you make sure that you’ll still have a future. At that moment, I already had an answer, so I wish to hear some other responses from the others, Whenever I feel perplexed, I would keep reading those in search for new answers through others’ stories and perspectives. 

I wrote this A cappella when I was on my way back to Xi’an, it’s been three months since then, and I have learned and grew. There are a lot of ways that the world is finding its own equilibrium, and you could learn a great deal of lessons from life. ‘One who is not frivolous is no youth’, but as the time has passed there were some things that I want to leave behind, stuff that I did not manage to leave behind before. This time, taking steps in the right direction, along with the people who have always supported me every step of way. How many chances will you get to live your dream? You will not get an answer from anyone else but yourself. When you’re filled with hope and positive vibes, your dream will be within your reach, and the key to this is perseverance and strong determination. Since I’ve gained popularity and support, I did not put too much thoughts on how to build my influence in a positive direction, and I had placed too much focus on how to refine myself in my capacity as a rapper, and promoting Chinese Hip-Hop to the world. When I was left with time for self-reflection only, I came to the conclusion that I should have taken the initiative to shoulder some responsibilities, other than focusing on music, I shall guide my fans to do something good for the world. I appreciate acclaims and at the same time, I could stomach your slander, even if there is more vilification, I could deal with it as I’ve grown stronger since then. Leaving all the unanswered questions behind, letting go of all the people and things that I could never read clearly, I want to persevere in the thing that I work hard for till the end, we shall encounter each other in my music in future, and it would speak for me.’

Translated on 27/4/2018

[denicestocks613-blog]

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[project42311-blog]

Hhhhhggggggg, this is me crawling out of my dark, cobwebby crypt in order to provide some sort of update. Kudos to CNU and Sandeul’s vlive yesterday for giving me new life. 😗👍

So I feel like I’m sort of getting back to like normal, living human being stuff, but that’s only just a little bit. However there’s no need to worry about me abandoning this project! I plan on rolling out Phase 2 of PROJECT42311 possibly by mid-September. This next phase will include me testing the waters initially, getting in touch with the more active BANAs, who then might be able to help with reaching out to other BANAs.

BUT FIRST I need to write down a(nother) list of things that I need to have done before then, that way if I disappear off the face of the Earth again I’ll be able to at least have some straightforward things that I can do in the meantime without wasting more precious time.

So without further adieu:

🌟Cut the acappella into parts so that it makes it easier to compile the whole thing later. 🌟Start with separating the voices from the music, and then further seperate each members part of the song. 🌟Figure out all the little Doo’s and Dah’s to go in place of background instruments and noises. 🌟Make an example acapella to demonstrate how it will work out, and to also get more experience. 🌟Figure out Sony Vegas, or any other video editing programs. 🌟Use said video editor with stand in video and pictures to make a rough draft of the final project. Basically a blueprint. 🌟Cry

So yeah, I’ll figure out how to fit these few things into my schedule, alongside my Drs appointments, school, and unpacking plus repacking for my trip at the end of this month. MIGHT I ALSO ADD THAT MY FRIEND IS GOING TO ROOMING WITH ME WHEN I COME BACK, SO ILL PROBABLY BE FLOUNDERING AND IRREGULARLY UPDATING FOR OCTOBER AT LEAST. JUST A HEADS UP.

Also I don’t remember if I made this clear previously, but I’ll say it again; yes I know I’m not actually talking to or updating anyone by doing these posts. Currently I’m just recording this for future reference, not only to add some structure for myself, but also for anyone that ends up reading these eventually. https://www.instagram.com/p/BnUu7SehQWUjO-895bqrc9T8o3d5iOUR2rOJa00/?utm_source=ig_tumblr_share&igshid=u6elgme89akh

[nashvillesingersblog]

Deke Sharon talks to Todd Wilson about Pentatonix, Home Free, tips for aspiring vocal arrangers, the evolution of the music industry, and more...

Todd Wilson had a chance to interview Deke Sharon for our email newsletter. Todd is one of our founders and serves the Nashville Singers as Executive Director and Artistic Director.    

You can subscribe to our newsletter by texting the word SINGERS to 42828

Published October 30, 2017

TW: What started you down the path of making music? DS: My parents tell me I sang myself to sleep before I could utter a word, so it was perhaps always inevitable. I joined church choir at age 5, the San Francisco Boys Chorus at age 7, and by 9 I was singing in operas and touring the US. From there I had no desire to slow down. TW: The number of descriptors about who you are and what you do seems to grow with every passing year - singer, arranger, composer, director, producer, teacher, leader, promoter and author. Two-part question: Which of these pursuits brings you the most personal satisfaction? Which of these pursuits has provided you with the greatest personal challenges? DS: Ooh... The greatest joy is in impacting people's lives, which I see and feel most directly when I'm coaching groups. Movies and television reach more people and get them excited about a cappella, but it's when I'm in a room with them that I feel I can best inspire them. As for the biggest challenge... editing a book is thankless, eye-crossing work. Imagine rereading something you've written ten times, and imagine that thing you wrote was 400 pages. Ugh. TW: Some a cappella" authors have described you as "the father of contemporary a cappella." That has to be rather humbling. Knowing your direct knowledge of the many movers and shakers in the world  of a cappella, who do you think is most deserving of earning the title of "mother of contemporary acappella?" DS: That's tough. Current title holder would likely be Amanda Newman, owner and producer of the International Championship of Collegiate A Cappella, High School A Cappella, and the new tournament open to anyone (called, appropriately enough, "The Open"). We make the Best of College A Cappella and High School A Cappella compilations together each year as well. Before her it was former CASA president Julia Hoffmann, who for many years steered the non-profit side of our community brilliantly. TW: Your time with the Tufts Beelzebubs seems to have been quite transformative. What are your fondest memories of your college days? DS: It's the little things: the in-jokes, the vocabulary, the four hour album title discussions, getting breakfast on a groggy Sunday morning before a twelve hour drive back to campus. It was the greatest thing about college, and a big part of why I started CASA was so that more people would have that opportunity. TW: You founded the House Jacks in 1991 and traveled all over the world with the group. How did you come to the decision to leave the group in 2015? DS: I honestly never thought I'd leave the group. i figured I'd be like he old, white haired guy on the end of the King's Singers who hangs in there until they put me out to pasture. Thankfully my career took off like a rocket, and yet I was having to sub out of over 1/2 of all gigs because of movies, television, and other impossible-to-turn-down-opportunities, so it seemed the only reasonable, fair thing to do. TW: I read somewhere that you have completed 2,000 vocal arrangements so far. When do you sleep? Seriously,  when did you complete your first vocal chart. Do you remember the name of the song? DS: Indeed! It was "When I'm 64", junior year, for my barbershop quartet in high school. I wanted to start singing pop songs in addition to barbershop and doo-wop, but nothing was available, so I had to figure out how to do it myself. That drive to always sing the latest music in the most compelling way is what drove me to start integrating instrumental vocal sounds in college, and when other groups heard what I was doing my phone started ringing. By the time I graduated, I was making enough money from arranging that I never had to work a day job, and for the next fifteen years pretty much every group that wanted a modern contemporary a cappella arrangement (and didn't have their own arranger) called me, so I was doing arrangements during every spare moment (my max: five in one day). Plus, I had a staff of arrangers who did the ones I couldn't handle. By the time the internet took off and others started advertising that they were arranging, I was exhausted, too busy, and tired of managing so I focused elsewhere, to the point that now when people contact me I almost always have to say I'm too busy. TW: Do you ever encounter writer's block, times when your creative juices are not flowing adequately enough to get an arrangement started? If yes, how do you usually overcome that situation? DS: Of course. The way I get over it is by reminding myself that arranging is a craft - an art with a specific function - not a purely artistic endeavor, and these people have a need. The most useful analogy I have come up with is that of being a chef: sometimes you want to be Thomas Keller creating a gourmet, world-attention-getting meal, but most of the time people aren't expecting or wanting that, they just want a meal, especially for the kind of college and high school groups who don't have their own arrangers (which is to say newer, less experienced ones). Not fllet mignon, but a burger. And I can make a really delicious burger, quickly and easily. So, I just jump in, tell the "artiste" in myself to shut up, and start cooking. TW: What advice could you give to aspiring arrangers? DS: Repetition, repetition, repetition. It's like Ira Glass says: you start with great taste but not great skills, and the difference between what you love and what you can do is deeply troubling. Don't let it stop you, just keep creating, and you'll get better. Moreover, don't try to make every work a Picasso, with your groups highest and lowest notes, and some crazy overarching leitmotif. Arrange a simple song well, one you can learn in a rehearsal and sing the very same weekend. Get good at making burgers before you try to make filet mignon. You're not gonna want to, and you're not gonna listen to me, but after you turn a couple nice pieces of meat into a rubbery brick you'll step back and enjoy the process of working your way up. TW: What are your thoughts on the evolution of the music industry and songwriting over the course of your lifetime? Are you happy with this evolution? DS: In short, no. Whereas there are some great modern songwriters (Ed Sheerin comes to mind), it has been a downward journey. The Great American Songbook was born of a time when everyone had their specialty: One person wrote lyrics, another wrote the melody and chords, a third arranged, a fourth lead the band, a fifth sang the melody, and so on. The sixties brought the singer-songwriter, which gave us more personal and unique songs in some cases, and allowed for more socially and politically impactful statements, so that was perhaps a net gain, but then the Eighties destroyed everything, as those solo artists were prized for their image and dance moves more than their voice and songwriting ability (Madonna, for instance). The universally singable song became a personal statement and furtherance of a brand (have you every heard a compelling cover of Michael Jackson's "Thriller"?) Nowadays, songs are created initially by a producer who creates a four chord loop in his synthesizer/computer program, and then someone sings a melody over the top of it. The result is a batch of songs so repetitive and mundane that I feel bad for my kids (who eschew EDM for classic jazz and the songs coming out of musical theater, which remain well crafted). Oh well, we lived through the clumsy, four-chord songwriting of the 1950s and early 60s when rock and roll was being figured out, and I have faith that at some point this clumsy robotic technology-driven pop will eventually give way to a rebirth of great songwriting. TW: I read on your Wikipedia page that you were able to convince Home Free to pursue a path in the direction of Country A cappella. What inspired that thought and what was their initial response to this suggestion? DS: The guys had come to every Sing Off audition, and by Season 4 I felt a little bit bad as I had a feeling I knew that once again they wouldn't clear the bar, but they had two guys with Southern accents and a country rock swagger (Austin and Tim), so we simply asked if they could come back the next day with a country song. We did this all the time with groups we liked but didn't feel they'd lived up to their full potential, as NBC wanted clear stories and styles rather than a dozen groups who all sing pop songs. Little did we know... TW: You made a splash on TV with your behind the scenes involvement in the Sing-Off and on the big screen with Pitch Perfect. Now Pentatonix is winning Grammy Awards. Are you surprised it took so long for a cappella to become more mainstream? DS: Back in 1994, when The House Jacks were being pursued by a couple of different record labels, an A&R guy told me "You know, there are two kinds of music that everyone loves, that always draw a huge crowd at festivals, but no one knows anything about: reggae and a cappella. Sure, there's a group or two that are well known, but it stops there. You guys could be the next big thing, no doubt"... but we weren't, for the reason that our college agent pointed out: "People need to see you. If they just hear you, they can't tell it's not a band with instruments. You need a way to get in front of people." We were ahead of our time, clearly, but as technology caught up, as collegiate a cappella grew to the point the media took notice, as YouTube made it possible for a cappella groups of all styles to reach people in their homes, a cappella got the recognition I knew it could. It was an overnight success, 25 years in the making! TW: Speaking of Pentatonix, do you have any inside scoop on their quest for a new bass to replace the departing Avi Kaplan? DS: Indeed! Their new bass for their upcoming Christmas tour and album, is Matt Sallee, Berklee College of Music grad and member of both Pitch Slapped and The House Jacks. He's a great addition to the lineup, and my money is on him becoming the permanent replacement. TW: With your work in other countries like Sing-Off South Africa, the Dutch Sing-Off, Sing-Off China, and on the BBC1 show Pitch Battle, how does the audience response in those countries compare to fans of a cappella in the USA? DS: A cappella was the first music, and music the international language, so the love and joy that a cappella brings remains constant throughout the world. In South Africa, where a cappella is a big part of the culture, it was fully embraced. In the Netherlands, the reception was more cool and intellectual, as fits their culture. In China, a cappella - at least how we do it - was completely new, so people were as shocked as they were excited. We took old folk songs and Maoist anthems and turned them into modern pop, disco and the like, so the "wow" factor was as much that creativity as it was their first exposure to vocal percussion and the like. This summer, when the BBC1 show aired, I don't think a single person in the UK hadn't seen Pitch Perfect, so not only wasn't there any shock, people expected it to be a cappella... but it wasn't (there was a live band, with only one a cappella group each episode). The backlash was the #1 story in the media, as many were expecting and hoping for an a cappella show (with the title "Pitch Battle", with the riff offs, and with me behind the scenes as well as on camera). Looks like we need to create a new a cappella show, don't we? TW: Straight No Chaser garnered national attention with their appearances on PBS. What is your connection to the group? DS: Atlantic Records chair Craig Kalman roped me in to arrange and produce their second album ("Christmas Cheers") to make it more fun and energetic, along the lines of their original Twelve Days viral video. I also helped with their breakthrough PBS special, their first non-holiday album ("With A Twist") and a bunch of other projects. They're a joy to work with, much like being back in college. TW: In 2013, you published an article on the CASA website entitles Barbershop: A cappella's Martial Art. What are some of the groups that inspired you to reach such a notable opinion of this art form? DS: I'd always loved barbershop from my early high school days, but it was groups like The Gas House Gang, FRED, and your own Acoustix during the 90s while I was creating and running the CARAs (Contemporary A Cappella Recording Awards) that opened my eyes and ears to the new sound and style. TW: In 2016, you were bestowed with honorary membership in the Barbershop Harmony Society. What was that experience like for you? DS: Surreal. I was not expecting it, and am pretty certain I'm the least famous person to have ever been given the honor. I will do my best to remain worthy of it. TW: Is it just me or do you also see and hear the over-use of pitch correction by singing groups in the studio these days? If you had any advice on this subject, what would it be? DS: Of course, the "roboticization" prevalent in current pop music is frustrating, but I think it just drives more people into the a cappella, where they can hear and feel the honest human voice. Granted it is used in a cappella recordings as well, sometimes to extremes, but just as it took a little while for bands to figure out how to mix their albums in stereo (some Beatles albums remain awkward, with the guitar only in one ear and the drums only in the other), we'll get there. When used judiciously, it's a gift, just as photoshop can be used well or horribly. TW: With so many accomplishments under your belt, what is your proudest achievement to date? DS: I don't really know. I don't feel like I have great perspective down here in the trenches, I just keep digging. At some point I'll come up for air. TW: Do you have any hobbies outside of music? DS: Indeed! In fact I don't often listen to a cappella in my free time to stave off burnout. I read around 80 books a year, do all the cooking for my family (I love cooking exotic cuisines like Burmese and Singaporean), enjoy gardening, and for exercise hate the gym but love taking long walks. TW: What's the next item on your bucket list? DS: It was Broadway, but that's done thanks to In Transit ...and I'm back at it again with a new project that I can't announce just yet. Honestly, I don't think in terms of what I need, I think in terms of what will most benefit the a cappella community, and at this point we could really use a new show on TV to motivate new groups, help launch more future stars like Pentatonix, and show a new generation what a cappella can be. Then again, with a cappella seemingly everywhere, maybe they already know. Maybe I should take the weekend off. Deke Sharon http://www.dekesharon.com http://capublishing.com

[theseventhhex]

Benjamin Wallfisch Interview

Benjamin Wallfisch

‘A Cure for Wellness’ is the new psychological thriller from visionary director Gore Verbinski. The music to the film was written by acclaimed composer Benjamin Wallfisch. Wallfisch, fresh off a Golden Globe nomination along with Hans Zimmer and Pharell Williams for ‘Hidden Figures’, is an Emmy nominated composer who has worked on more than 60 feature films over the last decade, composing music for such legendary filmmakers as Steven Spielberg, Rupert Wyatt, Gore Verbinksi and Lars von Trier. His projects have been recognized with multiple awards and nominations at the Academy Awards, Golden Globes, BAFTAS, Ivor Novello and World Soundtrack Awards. Throughout the soundtrack for ‘A Cure For Wellness’, Wallfisch’s compositions evolve immaculately as the story takes shape. Benjamin conceives a narrative opera that informs the film with an exceptional and inspiring outcome… We talk to Benjamin Wallfisch about being an observer, having Hans Zimmer as a mentor and the Golden Globes…

TSH: Talk us through the primary framework for your approach whilst working on the excellent soundtrack for ‘A Cure for Wellness’…

Benjamin: This movie forces the audience to confront difficult existential questions about the nature of our reality in the modern world. It pushes so many boundaries, both in terms of the brilliance and boldness of the filmmaking, the inner-workings of the story, and also the psychological thriller genre itself. It’s almost as if the film diagnoses the audience, and then offers a cure. But a cure with a terrible secret. I hadn’t come across any other film like it when I started the scoring process and as such it was a liberating, dangerous and exciting experience. In the end the primary framework was finding two character themes, strong enough to sustain the entire score and malleable enough so they could effortlessly evolve and metamorphose with the unpredictability and mind-bending nature of the narrative.

TSH: Was it particularly challenging to deliver the human truth of what these characters are experiencing in the movie?

Benjamin: Yes, but as ever it was about deciding from which character’s point of view the music was being told. For example, when Lockhart finds himself in an almost unimaginable predicament towards the end of the film; does the score support his own emotional experience at that moment, or that of the doctor responsible for his situation, or neither? Those kinds of decisions were sometimes made to completely disorientate the audience.

TSH: You’ve previously mentioned ‘being improvisatory and raw’ is really important. To make the music match the thriller, did you look to incorporate much of an improvisational outlook?

Benjamin: Whenever I write a film score, story is king. And to be true to that, it’s important in the first stages of the music’s development to almost be an observer of my own emotional response to the story and characters, and what that might sound like in music. So, my initial approach is often to put myself in the shoes of one or more of the characters, or focus on a particular story or mythology point, feed in the director’s overall vision for the tone and feel for the movie, and then just play; see where my musical instincts are through improvisation at the piano. Sometimes the central idea comes straight away, other times you have to ‘creep up on it’ as my mentor Hans Zimmer often says. For ‘A Cure for Wellness’, the process was the same, the only difference was I was working out of Gore Verbinski’s cutting rooms during the entire composition process from start to end, so I was in the fortunate position of being able to get immediate feedback on my ideas from Gore, and be guided by him at every turn. It was an incredibly inspiring experience.

TSH: Let’s talk about some of the top music on this body of work. Firstly, ‘Bicycle’ – the track resonates so infectiously. What were your intentions as you fleshed this piece out?

Benjamin: This is literally the singular moment in the entire movie where there is a sense of hope and freedom for our two main characters. Putting that into context: Lockhart is plagued with a childhood trauma he feels responsible for, and has channelled those energies into driving himself ruthlessly up the corporate ladder. Now he is unexpectedly in a strange environment with a broken leg, trying to fulfil what should be a simple task, were it not for the mysterious unfolding of the reality of his new environment. Hannah, is a girl in a woman’s body - a mysterious, fragile muse, with a kind of deceptive innocence. She has also gone through childhood trauma she can’t recall, and has been in the confines of the castle for as long as she can remember. So here there is a beautiful moment in the film where, just for the sheer adventure of it, they take a bike ride together away from the castle - Hannah pedalling, Lockhart precariously balancing himself on the back. The way it is shot and the energy of the cut gives the audience a moment of uplifting reflection and the score needed to support that emotion. I used rising melodies played by a full string orchestra to project a sense of hope, and driving harp and cascading piano figures to drive the physical energy of the scene. Gore often spoke to me about the concept of a ‘bicycle with the chain off’, not just literally as in this scene, but also in the sense of unrelenting inevitability the characters feel as they hurtle through the unimaginable truths of this place - the lack of control. So, this bicycle cue also had to reflect the hidden subtext of this bicycle ride, and that happens in the second half of the track, where the harmonies get darker and the orchestration moves into the lower strings.

TSH: ‘Clearly He's Lost His Mind’ is harrowing and daunting. What sort of ideas did you have in mind to capture such energy?

Benjamin: This cue is heard over a sequence of scenes where Lockhart is first briefed on his mission at the beginning of the movie. The setting is an elevator and then a stark boardroom, the photography and performances always gives the feeling of silent confrontation, perhaps the atmosphere every day in a high powered financial corporation. You hear the voiceover of a letter being read by Pembroke, the company’s CEO Lockhart has been tasked to bring back to New York, diagnosing his new view of the human condition. At the end of the letter Lockhart is asked what he makes of the letter: “clearly he’s lost his mind” is his response. Gore and I spent a lot of time together honing this particular cue, getting the exact degree of erosion of reality that is communicated in Pembroke’s letter, together with the stark tone of the scene’s setting. We chose strange mono synths that slide between notes, dark strings and cold harmonics as the sound world, and there are very subtle hints of Volmer’s theme in the string harmonics, which echoes the setting in which the letter was written.

TSH: What was the experience like in collaborating with Mirel Wagner on the album closer ‘I Wanna Be Sedated’?

Benjamin: Mirel is a wonderful artist, with such an evocative sound - she has a kind of strength and vulnerability intertwined in her vocals. Gore approached her to sing an acappella rendition of the classic Ramones song for the movie’s first trailer, but with a totally different energy from the original. Almost like an anthem for the patients at Volmer’s wellness centre, maybe even an anthem for modern society, the way 24 hour news, the advent of disorientating ‘fake news’, social media ‘curated reality’, relentless corporate advertising etc - can create a feeling of disconnect from the world - a form of sedation almost. Her first take was the one we used in the trailer - it was perfect, so we were done pretty fast with the recordings. So almost for fun she also did a version of the full song with guitar, and it was beautiful. We decided to turn it into a full track for the album.

TSH: Do you still feel that your job is to try to find ideas that surprise the director, in the right direction?

Benjamin: There’s always that first moment with any director where you play them your ideas for the very first time, and the ideal outcome is they feel you have engaged with their vision, the tone and emotional intent of the movie, and set up real potential for story development through the score, whilst also leaving some unanswered questions. If you can pleasantly surprise them whilst doing all those things, with an approach they might not have expected, it brings another layer to the storytelling, which is normally a good thing to shoot for. The bottom line is, whenever you start a new movie score - it’s always a blank sheet of paper. Each movie demands something completely musically bespoke and unique to exactly what the director intends, so that process of discovery of musical colour, theme, approach, energy is always something I try to approach as collaboratively as possible.

TSH: Your OST for ‘Summer in February’ received many kind words and was highly rated. What resonates with you most about this collection of work?

Benjamin: Alongside Beethoven, Stravinsky, Mahler, Bartok and many others, one of my absolute favourite composers is Vaughan Williams. This movie, set in Edwardian England, in one of the most beautiful parts of the country, was just crying out for a score that celebrates that lush and deeply emotive language which Vaughan Williams pioneered. Alongside Britten and Elgar, he really is the great hero of British music and in many ways I wanted to pay homage to him with this score. The narrative, which ultimately ends in real tragedy despite a pervading feeling of hope through much of the film, needed strong character melodies, and also a theme for the place - Lamorna, Cornwall. It’s a drama with a heightened sense of emotion throughout, a feeling of desperately wanting a resolution but never quite getting one. All of this motivated the score.

TSH: How inspiring is it to have someone like Hans Zimmer as a mentor?

Benjamin: Hans is without doubt the most generous artist I know, both personally and in terms of his ideas and concepts. Working with Hans is like walking into an high octane tornado of ideas and sheer force of creativity. I am constantly learning from him. With Hans, the project almost always starts with discovering the ‘big idea’ - what is it this movie has that no other film does, and how can that be manifested in music? How can that be done whilst living dangerously? How much risk can we take to maximize the creative reward? He has an uncanny ability to come up with an over-arching concept and musical ideas that will somehow be in such perfect sync with the movie's story, characters, subtext, rhythm, that it’s almost like that music has always existed for that particular movie. With Hans there is always the sense of a great musical adventure, driven by story, that elevates the film to a whole new level. Collaborating with Hans and being guided by him is a masterclass and I’m very grateful to count him as my mentor and good friend.

TSH: Furthermore, what were some of the highlights in working with Hans and Pharrell on the excellent ‘Hidden Figures’ film?

Benjamin: It was such a huge honour to be a part of this incredible movie: the opportunity to collaborate with incredible artists, creating a score that supports such an important story is truly something I will always treasure. To collaborate with Pharrell means truly examining a creative idea, no matter how challenging it may be. He looks beneath the surface of a creative dilemma, whether it’s a chord progression that doesn’t quite add up, or a story point that hasn't yet found the perfect musical analogue, and he goes inside, takes a walk. As a result, he makes the most difficult creative decisions feel easy, because they are truly considered. The end result is the music feels effortless, weightless, free, positive and joyful. He is a true artist - his love for his art shines through his incredible generosity of spirit. He has a way of making every interaction, whether it’s personal or creative, inclusive, benevolent and inspiring.

TSH: What do you miss most about London?

Benjamin: Mainly my family and friends there. Certain venues, museums, art galleries and orchestras, but honestly I really do love living in LA. Apart from all the obvious benefits professionally (and the incredible sunshine), there is a certain feeling of optimism and openness which I feel has been lost from London in recent years, especially since the financial crisis (which the UK is still very much recovering from) and of course more recently Brexit. With the new art galleries and museums being opened around LA, I think it’s an incredibly exciting time to be a resident here. I love visiting London which I do so regularly for recordings, but I’m not sure I can truly call it ‘home’ anymore.

TSH: How much did you frustrate your piano teachers as you’d never practice the music they set you to learn?

Benjamin: A lot! But they were very patient, and I’m grateful for that. For me, I’ve always been more at home improvising and inventing on the piano than learning someone else’s music. As a kid I’d sit down for 5-10 minutes learning what I should be learning, but then discovering a chord sequence in the piece which was really intriguing, and then spending about 3-4 hours improvising around it, figuring out what was going on, trying to understand it and internalize it. I come from a family of classical musicians and my Grandfather Peter Wallfisch was a great concert pianist. I think as a kid it’s most natural to follow in the footsteps of those you are closest to and for a while I found myself deeply immersed in the world of classical music - not just as a pianist, but as a conductor. I’ve been completely obsessed with film music from the age of 6 (it helps growing up in the 80s during the incredible heyday of the Williams/Spielberg collaboration), and began writing my own little piece of music at a young age. I was a teenager when my piano teacher at the time Ronan O’Hora pulled me aside and basically said - ‘what are you doing trying to be a pianist? You’re a composer!’ From that moment onwards everything changed.

TSH: How is time spent for you when you’re not immersed within music?

Benjamin: I’m lucky enough to have a wonderful and incredibly patient wife and any moment I can spend away from the studio, it’s with her. We love cooking together, going for long walks on the beach, and we also both share a passion for photography.

TSH: What were some of the highlights as you attended the Golden Globes ceremony earlier this year?

Benjamin: It was such an honor to be nominated alongside Hans and Pharrell for our ‘Hidden Figures’ score, and I just felt very fortunate to be in the room with such an incredible group of actors, film makers and artists. I think a particular highlight was meeting one of my director heroes, JJ Abrams on the red carpet, and having the opportunity to speak with him briefly. Also seeing Meryl Streep’s powerful and moving acceptance speech. I’ve never experienced such potent energy in a room as she was speaking. Again, a real honor to be there.

TSH: Finally, heading forward, what sort of opportunities do you want to explore?

Benjamin: I try to keep my main ambitions simple, which are to write better and better music, become the best storyteller I can be, and to collaborate with film makers where there is a real creative synergy. I love being challenged by new genres and approaches and one of the most exciting things about being a film composer is you never know what’s next. So it’s all about making sure your craft is evolving, developing and improving, so you are ready for whatever might come your way.

Benjamin Wallfisch Ft. Mirel Wagner - “I Wanna Be Sedated”

A Cure For Wellness (Original Soundtrack Album)

[putschki1969]

Kalafina 27 Week Challenge (♥‿♥ ) ~♪            

Week #9: Favourite & Second Favourite Song in 『Winter Acoustic “Kalafina With Strings”』?

「We Wish You A Merry Christmas」, 「In Dulci Jubilo」 and 「Yasashii Uta」

Sorry, I had to cheat a little bit and choose three songs, it’s just way too hard to decide >_<

「We Wish You A Merry Christmas」 I never thought I’d love this song so much. Among all Christmas songs I’ve ever heard, I never cared much for this particular piece. I just never liked the overall sound and vibe of it. As a result, I was initially quite disappointed when I saw this song on the tracklist for Kalafina’s new album. I wondered, “Why the hell do you choose this out of ALL Christmas songs out there???!!” Oh boy was I wrong. I shouldn’t have doubted Kalafina and Yuki Kajiura. Although to be quite honest, I am not so sure how much credit I should give YK for the Christmas songs since they were all arranged and conducted by Hiromitsu Ishikawa. As far as I know he has been working on and off as an “assistant composer” for YK for quite some time now. I remember Hikaru mentioning him in one of her posts back in 2013 regarding their Christmas Live. Either way, whoever is responsible for creating this utterly gorgeous rendition, I bow before you!!! The strings arrangement, the piano, Wakana’s angelic voice, Keiko’s and Hikaru’s harmonising as well as their solo parts, the newly added bridge with those gorgeous lyrics (♥ω♥ ) ~♪ This is what perfection sounds like! Hands down my favourite Christmas song at the moment! I am actually still listening to it even though it’s already mid-March XD Also, this song once again proves how Wakana manages to make even the most joyful tune sound almost tragic. All that’s left to say is, WHY THE HELL ARE THE CHRISTMAS SONGS SO SHORT ON THIS ALBUM?????!!!! *cries forever*

「In Dulci Jubilo」 I wasn’t really all that familiar with the original version and once again I was a tad disappointed that they opted to include this song instead of let’s say 「Angels We Have Heard On High」 but turns out I needn’t have worried. When the album got leaked, this was the first song I listened to and I was immediately blown away by its beauty (even though the version I listened to had quite the shabby quality). That acappella intro is simply flawless, the girls are harmonising so well with each other and Wakana’s voice is once again beyond angelic. I am telling you, she was made to sing Christmas songs (I still don’t get how people were complaining about her getting way too many main parts in this album! That’s just crazy!) Whenever they sing “Alpha es et O” I am melting into a puddle of kala-happiness. Then we have these utterly gorgeous instrumental parts, I honestly almost cried the first time I heard them. Kudos to Ishikawa! Hearing the girls sing in both English and Latin was also a true delight. I’ll have to admit though that I didn’t like their English pronounciation here as much as I liked it in 「We Wish You A Merry Christmas」. I think this may be ascribed to the fact that 「In Dulci Jubilo」’s lyrics are a bit more complex and antiquated. Lastly, WHY THE HELL IS THIS SO SHORT??!!! *cries some more*

「Yasashii Uta」 I just had to include this, sorry >_< It’s Kalafina’s first original Christmas song and it’s so freaking lovely, how could I not include it???? It’s sweet, gentle, fragile and oh so beautiful, as one would expect from a song called 「Yasashii Uta」. I feel it’s very fitting to conclude this gorgeous album with a song that almost sounds like a lullaby. The girls each get a chance to shine and you can really feel the love and tenderness they put into their singing.