#jonathan quarmby

[nofatclips]

Bang Bang by Kovacs from the album Child of Sin - Director/DOP: Joao Bordeira

[mrsarnasdelicious]

I've been tagged for the simp list a few times now, so here it is.

C Tier [Everytime I see them, my mind gets a link funky]

Mark Rowley Ewan Mitchell Stefanie Martini Eliza Butterworth Ryan Quarmby Jacob Dudman Cody Christian Callum Turner Richard Harmon Eoin Macken Lee Pace

B Tier [Goddamn Fine]

Stan Ianevski Gustaf and Alexander Skarsgard Gijs Blom Cillian Murphy Colin O'Donaghue Tom Hardy Tom Hiddleston Jonathan Tucker Adam Driver Andy Biersack Daniel Sharman

A Tier [Mofo is made of solid gold and I want to be bred]

S Tier [The Holy Crud, I cannot stop thinking about, extra special soulmate sauce]

[endlich-allein]

Wait, did Till write the lyrics for "Child of Sin" or did he compose it, or both?!

Till is credited as Sharon Kovacs and Jonathan Quarmby as the composer of this song. Nothing more is specified.

[passportapproved]

MATTHEW MOLE

Multi-award-winning South African singer, songwriter, and producer Matthew Mole has achieved significant success in his 11-year career, emerging as a major pop figure in his home country. With over 250 million career streams and almost 100 million YouTube views, Mole’s track record includes the 50 million-stream hit “Take Yours, I’ll Take Mine,” and all his albums reaching No.1 on iTunes South Africa upon release. His latest venture, the fourth studio album titled Wake Up, It’s Morning (Universal Music Africa), which includes Jonathan Quarmby (James Arthur, James Morrison, Lewis Capaldi) as a co-writer and features the lead single “Always by My Side.” Co-written and co-produced by Ross Hamilton, marking Mole’s international collaboration debut, the single is part of a busy schedule that encompasses the album release and a 14-date European sold-out tour. Building on the success of previous hits like “I’m With You,” “Goodbye,” and “See Me Again,” “Always by My Side” maintains Mole’s uplifting style, using personal challenges as a catalyst for positive transformation.

LINK: www.instagram.com/matthewjmole/ LISTEN: "Always By My Side"

[hldailyupdate]

“He was very nice wasn’t he, he brought doughnuts for the assistants and gave everyone a lift home. He came into reception and offered to make everybody a cup of tea.”

-Jonathan Quarmby and the employees at Rak Studios talking about working with Harry! (11 May 2021)

x

[desertislandcloud]

Emilia Tarrant is a 19-year-old singer songwriter from Winchester, who started playing the piano at the age of 12 and has been writing songs ever since. She says: “songwriting is like writing a diary for me; each song comes from the heart and is a way for me to escape the daily stresses of life.”

Her early influences were formed from listening to her parent’s music collection around the house, playlists including Coldplay, Doves, Kings of Leon, Foals, Moby & Jack Johnson. Emilia says, “It was Moby who inspired me to pursue music production while in education.” Having recently completed her music and media courses, Emilia is now focusing on her music career and has recently been co-writing with other artists & songwriters, including James Walsh from Starsailor, Joshua "Joe" Keogh from Amber Run and Jonathan Quarmby (Tom Walker, Lewis Capaldi).

Her debut single ‘If You Want Love’ (produced by Coldplay-credited Danton Supple ), which climbed to Shazam UK’s chart position 16 and was featured as an end-of-episode sync on Love Island.

Emilia has recently supported Billie Marten, was booked for cancelled Glastonbury 2020, Jade Bird support for Soho House, played at The Houses Of Parliament for UK Music (the only performer invited) CIC Industry awards, The Ned, Groucho, White City House.

https://emiliatarrant.com https://twitter.com/EmiliaTOfficial https://www.facebook.com/EmiliaTarrantOfficial https://www.instagram.com/emiliatarrantofficial

[davidtennantbrasil]

CHILDREN IN NEED: David Tennant, Olivia Colman, Helena Bonham Carter e Jodie Whittaker se reúnem com outros grandes nomes das telas e palcos ingleses em prol de arrecadação de fundos para caridade.

Todos os atores e atrizes convidados para o Children In Need: Got It Covered, gravarão um cover de sua música preferida que fará parte do álbum. Toda renda das vendas será revertida para os projetos do Children In Need!

Saiba mais detalhes abaixo:

BBC One e BBC Children in Need anunciaram o lançamento do Children in Need: Got it Covered, uma nova aventura para 2019, na qual envolve alguns dos maiores nomes das telas e palcos ingleses. Eles se unem para produzir um álbum inteiro de músicas cover, enquanto ajudam a fazer uma diferença positiva na vida de crianças desfavorecidas e jovens ao redor do Reino Unido.

Uma série de atores aclamados pela crítica se voluntariaram para participar desse projeto incrível do Children in Need este ano. Dentre eles estão: Helena Bonham Carter (O Discurso do Rei, Sweeney Todd), Jimm Broadbent (Iris, Harry Potter e o Príncipe Mestiço), Olivia Colman (A Favorita, Fleabag), Shaun Dooley (Gentleman Jack, Gunpowder), Luke Evans (A Bela e a Fera, Velozes e Furiosos 7 e 8), Suranne Jones (Gentleman Jack, Doctor Foster), Adrian Lester (Trauma, Hustle), Himesh Patel (Yesterday, EasterEnders), David Tennant (Good Omens, Doctor Who) e Jodie Whittaker (Doctor Who, Trust Me).

Um programa especial de 60 minutos acompanhará todo o processo de gravação e explorará todo os bastidores em ação, enquanto os atores enfrentam a tarefa desafiadora de lançar suas faixas personalizadas nos estúdio lendários do Rak e Abbey Road Studios em Londres. Cada um dos atores irá selecionar uma música que é mais significativa para eles e receberão orientação especializada de Guy Chambers e Jonathan Quarmby, que são produtores, compositores e vencedores dos Brit Awards e Mercury Awards.

O renomado treinador vocal Mark De-Lisser também estará disponível para ajudar os atores a produzir suas faixas. O programa também vai iluminar os projetos financiados do Children in Need, com uma seleção de atores visitando projetos para ver em primeira mão a diferença que seu apoio fará às vidas dos jovens.

O programa será transmitido pela BBC One antes do programa anual BBC Children in Need Appeal. O álbum, em auxílio da BBC Children in Need, será lançado em parceria com a Silva Screen Records e está previsto para ser lançado no final do ano.

Children in Need: Got it Covered é uma coprodução da BBC Studios e da 20four7films. Foi encomendado por Charlotte Moore, diretora da BBC Content e Kate Phillips, Controller, Entertainment Commissioning. O editor de comissionamento da BBC é Rachel Ashdown. Os produtores executivos são Mel Balac e Polly Dooley e o diretor é Peter Coventry.

BBC Children in Need confia na generosidade e criatividade dos milhares de apoiadores e engajadores de fundos que arrecadam milhões de libras para a caridade todos os anos. Até o momento, o público britânico arrecadou mais de 1 bilhão de libras para crianças e jovens que enfrentam desvantagens em todo o Reino Unido.

Todos os lucros irão para a BBC Children in Need, com um mínimo de £ 1,50 por álbum (número para doações na Inglaterra e País de Gales: 802052 e Escócia: SC039557).

 Fonte 

Tradução: Chris Redy. | Revisão: Marília Ramos.

Equipe David Tennant Brasil.

[skybirdonthego]

Story behind clean bandit symphony

Check out the full tracklist and watch a short behind-the-scenes video about the making of the album below. That includes Jodie Whittaker covering Coldplay, Helena Bonham Carter covering Joni Mitchell, David Tennant covering the Proclaimers, and just in case you thought she couldn’t get any cooler, Olivia Colman covering fucking “Glory Box” by Portishead. Got It Covered, which comes out next month ahead of the BBC Children In Need Appeal show later this year, will feature stars covering hand-picked song significant to them with some help from producers Guy Chambers and Jonathan Quarmby at London’s Rak and Abbey Road Studios. “Singer Zara Larsson has talked on the reason they wanted to namely incorporate a black gay couple in this video.A whole bunch of famous UK actors have gotten together to record a charity album to raise money for BBC Children In Need. The conductor leads the symphony orchestra we are a portion of. The song centers on being single after the demise of a. The lyrics of Solo see Lovato singing about her woes of living without a lover. Two hit singles and a cover aren’t quite enough for Clean Bandit to carry a 90-minute set at. Read Clean Bandit Ft Zara Larsson - Symphony from the story Lirik Lagu Barat by YuDe01 (diah ajeng ayu lestari) with 8975 reads. The track features American singer/songwriter Demi Lovato on vocals. Clean Bandit review classical-pop hitmakers over-awed at biggest gig yet. Even before we’ve heard a note, we learn that the song is going to be about love, music and the interplay of the two. The directors have clarified from the”Making of” film and also in interviews which the video includes a homosexual couple and”tells the tragic story of a stunt who wins his boy friend at a bike accident. Demi Lovato) Solo is a song by the Grammy Award-winning English EDM band Clean Bandit. The video then sets up the premise of the story it’s going to tell: a professional conductor’s partner is killed in a road accident, and music becomes one of the ways the conductor deals with this loss. It was guided by sterile Bandit’s associates Grace Chatto and Jack Patterson and comprises Larsson at a glittery dress endorsed by sterile Bandit along with also an orchestra while a psychological narrative ends. Anne Marie and Sean Paul), the British Trio whom hail from Cambridge, England certainly aren’t an overnight success story by any means. Jess Glynne) and more recently chart-topping Rockabye (ft. Known best for their Grammy-winning smash hit Rather Be (ft. The song’s music video premiered the exact same afternoon that the song was launched, on 17 March 20 17. Clean Bandit are sweeping the world with their brand of irresistible pop and that rise is only beginning. Away from uk, the single also topped the graph at Larsson’s indigenous Sweden, in addition to in neighbouring Norway. Ludwig van Beethovens Symphony Number Five premiered in 1808, and quickly won acclaim. Eight ferocious notes open one of the most explosive pieces of music ever composed. It’s the 3rd single from sterile Bandit’s next studio record, what’s Love? The song was released as the first step only from Larsson’s next studio record, therefore Great (20 17 ). Discover what makes Ludwig van Beethovens Symphony Number Five a musical masterpiece, and uncover the story behind its inception.

“Symphony” is just a song by British classical cross over group sterile Bandit comprising Swedish singer Zara Larsson.

[nofatclips]

Live rendition of Fragile by Kovacs - Director / DOP: João Bordeira

[umusicians]

Tom King Releases Single “Hiding Away”

18-year-old British artist Tom King has released new single “Hiding Away”. The single is a follow up to his widely acclaimed single “Be That For Me” which was released in July.

Speaking on “Hiding Away”, Tom explains: 

“I wrote Hiding Away with Jonathan Quarmby in a session at RAK Studios. I spoke about an experience I had with someone where everything was secretive and all I wanted to do was break free from it. We came up with the line ‘Hiding Away’ and it all fell into place. I love songs that tell a story, so wanted to incorporate that when writing the lyrics in the verse. I love the feeling the song has; it’s liberating and uplifting.”

Stream/Download “Hiding Away” here and watch the music video below!

[wavvyru]

Benjamin Clementine — I Tell A Fly

I Tell A Fly — второй студийный альбом английского поэта, композитора и музыканта ганского происхождения Benjamin Clementine, записанный в лондонских студиях, RAK, Abbey Road, Studio 13, и выпущенный лейблами Virgin, Universal Music и Behind Records. В записи ему помогали приглашенные музыканты, среди которых барабанщик Alexis Bossard и виолончелистка Barbara Le Liepvre, а также звукоинженеры, среди которых Stephen Sedgwick, работавший с Gorillaz, Blur и Ian Brown, на ряду с John Davis, Max Anstruther, Wes Maebe, Robbie Nelson и Duncan Fuller. Дизайн и обложку пластинки Clementine разрабатывал вместе с дизайнером Akatre и модным фотографом из Нью-Йорка Craig McDean. Песня «Phantom of Aleppoville» была написана под впечатлением от трудов британского психоаналитика-новатора Donald Winnicott, который много писал о детях, испытавших издевательства в школе и дома, а также психологические травмы, полученные ими на войне. В песнях он также касается темы беженцев и войны в Сирии. Benjamin Sainte-Clémentine родился в Лондоне в семье выходцев из Ганы. В школьные годы увлекался литературой, часами, просиживая в библиотеке. Среди его любимых книг была Библия и сборник стихотворений Уильяма Блейка и Томаса Элиота. Не умея читать ноты, Клементин самостоятельно обучился нотной грамоте, подражая произведениям Клода Дебюсси и Эрика Сати. В возрасте 19 лет он уехал в Париж, где провёл несколько лет, играя в барах и отелях. В 2012 году, выступая на Каннском фестивале, он познакомился со своим будущим другом и менеджером, французским бизнесменом Лионелем Бенземуном, с которым они вскоре основали звукозаписывающий лейбл Behind, на котором вышел его дебютный альбом «At Least for Now», записанный вместе с продюсером Jonathan Quarmby.

Benjamin Clementine — I Tell A Fly слушать альбом

(function() { VK.Widgets.Playlist("vk_playlist_-2000801953_1801953", -2000801953, 1801953,'4b5d1b158c68b65dc1'); }()); Тексты песен Скачать альбом Read the full article

[underachievers-please-try-harder]

Interview // Benjamin Clementine

I spoke to Benjamin Clementine for 7digital.

You were catapulted into the spotlight with your 2015 Mercury Prize win. How did life changed for you after that? Did it have a big impact?

Judging by the attention I’ve got, yes. It has had an influence, of course. [The album] didn’t sell a lot but it’s still made people look in my direction a little bit. And, of course, I’m more than honoured to have won the Mercury Prize. It’s nice for people to appreciate what you do, but life goes on I suppose.

Do you feel the Mercury Prize is still a helpful initiative?

It is useful for helping music. Whether it’s doing enough, I’m not quite sure. But it certainly is one of the assets that is very important to artists that are trying to break the UK. It is very hard to break the UK, so to have been awarded something like the Mercury Prize is a plus. I think we should do more though, but that’s another topic.

Did you have pressure from your label to repeat the success of your debut, or pressure from fans to produce more of the same?

No, luckily for me I haven’t had any pressure from my fans. The thing is I’m not a popular artist. I want to be a popular artist, but I’m not the kind of artist that has got a formula, I suppose. So I’m really lucky to be in the position I’m in because my label know that I’m not the guy who’s going to write hits. Maybe I’ll write hits for other people, but I don’t think I’m really interested in that for myself... I don’t get any pressure from anyone to be honest; it’s easy going. Of course, for the first album I did because there was banter between me and my record label, but eventually they allowed me to do what I wanted to do and, winning the Mercury Prize obviously helped me as well because then it’s all proving a point. So I think they had to allow me to do what I wanted to do.

Listening to the new album, it sounds like you’ve had free reign to explore whatever interests you. Can you tell us about what your goal was for I Tell A Fly?

It was mainly to talk about my time and what’s happening right now; to take a different approach, to be more narrative, and to talk about matters that concerned me greatly. You know, we’ve been bombarded with a lot of news about Syrians running away from Syria, and people getting shot for no reason in America, and flats getting burned in England because they’re not built properly. There have been so many things we’ve been told and we’ve seen and, as an artist, I can talk about myself all day but at a certain moment you get bored and you have to look at things from a different perspective. So I felt like if I was going to create a second album, I may as well make something different.

Like you say, you tackle a real range of far-reaching subjects linked to politics and current affairs. Do you feel there is a sense of duty amongst the music community to discuss these issues?

I can’t say there’s a duty, because nobody can put a gun at anyone’s head, and nobody has. But I think it’s a natural instinct, really, and I think it is about how you do it. I’ve done it this way, but I think other artists do it in certain different ways that might not seem quite obvious. But I think as an artist it’s natural that you somehow delve into the situations around you. Some artists find a formula because it breeds money and success and fame. Other artists do things differently to bring themselves happiness and satisfaction. I’d be happy if every artist did more to somehow give us what is realistic, but every artist is entitled to their own creation.

There are a few songs on the album that deal with the experiences of refugees and immigration, and on ‘God Save The Jungle’ you reference the Calais jungle. Did you visit it?

I didn’t say Calais jungle, but obviously they will say that because they’re linking to it. It’s fine. I haven’t been to the Calais jungle but I know what it means to be suffering and trying to find a safe place to be. I know what that means, because I’ve been through that.

It’s very easy to sit down and watch television news, but that isn’t going to solve anything, you know; a bunch of people trying to get near you is something that people don’t want to relate to. I think that it isn’t an easy situation we’re in. It should be of no surprise because ever since we were all born – ever since we matured into the state we are in right now – we all had to travel to a certain place, wherever that was, by wandering through our minds or wandering down the street. And the clock is always ticking; everything is moving. The matter is of whether we are capable to look after ourselves and look after other people.

I think the real issue is that we are not looking after our own selves and at the same time we’re being asked and forced to look at other people to see what we can do to help. So it’s two things intertwined. And that’s the problem, especially in England. I am an artist, not a politician, but from what I know of the refugee crisis, Germans have accepted and looked after so many more aliens and immigrants than the United Kingdom. I don’t own the United Kingdom, so if people there don’t want to accept refugees then so be it. But for me, it is a sad situation.

Can you tell us more about the time you spent in America ? But that period is reflected in ‘Jupiter’, right?

Well, I don’t want politicians to impact on my songs... There’s too much noise, there’s too much noise. There’s too much fear: the fear that someone’s going to do something to you. From Fox News to CNN to BBC News, even Twitter, every day I remember in America there was always something going on like, pray for Paris, pray for New Orleans, pray for Orlando, you know? There’s this fear thing going on, and I looked to myself because you’re meant to appreciate life, and what life brings you.

Americans are very, very fortunate. There are arguments with the police, but there are also a bunch of people who exacerbate issues simply for the sake of it. And I thought to myself, “Hey, actually you guys have it very easy there. Come and check out England.”

You struck up a friendship with Damon Albarn in the interim between your two albums. How did Damon help with this record?

Well, Damon didn’t have any creative influence on [the album], but in his studio he’s got so many instruments so I had the opportunity to use new instruments, like the Korg Chroma and Polaris. I also had the chance to work with his engineer, Steven Sedgewick. I actually spent more time with Steven Sedgewick than Damon Albarn simply because the timing was wrong: Gorillaz were just coming back and they didn’t have time to make things happen. But it was great to have met him, and he’s such a lovely person. We shared some thoughts and ideas.

Tell us about the decision to self-produce?

On my first record I did the same thing too; I just co-produced with another guy. Look, I just think a lot of people haven’t believed in me in my life. I remember when I was in France and I met Mark Ronson, in a bar in Paris. A friend of mine introduced me to him, and I remember giving him my song ‘Cornerstone’ to listen to and he listened to it and after he gave the tape back he said nothing to me. And a few years later I won the Mercury Prize by co-producing my album with Jonathan Quarmby, who nobody knew.

I produced by myself, but I worked with about 15 people, creating this second album. I’m learning quickly because I eventually want do production much more than making music for myself to be honest. And also, it’s cheaper to produce things yourself. (Laughs) And it saves you from the nightmares of record labels because it saves the label a lot of money. But I admire Rick Rubin and all these guys. We’ll see what happens with my third album; maybe I’ll go to one of them? But I’m happy with what I’ve done as a trial and we’ll see what happens.

Is there anything else you’ve learned in the making of this album?

Yeah. I’ve learned how to produce things, how to use a mixing desk, and to liaise with engineers and mixers and mastering engineers and studios themselves. I’ve also learned there’s a difference between recording a live album and recording a studio album, and also learned to just be more precise. Going forward I want to not think about the consequences: I just want to do something because I love it, and not worry someone will think that it’s rubbish.

What’s next for you?

I’m looking forward to touring the UK. It starts in December. Before that I’ll be playing across Europe and America. I’m looking forward to Brixton Academy and also to the Ritz in Manchester. I’m mostly looking forward to English shows because I need to really prove a point.

What point are you proving?

Well, you know it’s stereotypes. It’s very hard to somehow show people – especially in the United Kingdom – that if you’re a black man sitting in front of a piano with an afro, it doesn’t mean that you’re Ray Charles or Little Richard or Nina Simone. I have an ambition, not just for myself but for people that resonate with me, to clear out some stereotypes. And it’s not just about proving a point, because that sounds very sad. I also want to have fun; that’s what music’s all for, right?

[passportapproved]

GEORGE DIAZ

George Diaz is a 26-year-old London-based solo artist, whose music is meticulously designed to provoke thought, stir emotion and communicate a a sense of hope in an increasingly cynical world. A self-taught singer and songwriter, George honed his talent in the grass roots music scene with a particular artistic integrity that shines through in his original work. George signed with independent label De Angelis Records (Jack Savoretti) and was promptly invited to develop his music with Jonathan Quarmby (Lewis Capaldi, Tom Walker, James Arthur) and Ruadhri Cushnan (Ed Sheeran, Mumford & Sons, Shawn Mendes). George’s debut single “High Rise” is the result of an authentic artist in the truest sense of the word, with a professional polish that affords mass appeal accessibility.

LINK: www.georgediazofficial.com LISTEN: "High Rise"

[firstnightdesign]

Archive Review • THE CRUCIBLE • Birmingham Rep @ New Wimbledon Theatre [tour] • 2004

Archive Review • THE CRUCIBLE • Birmingham Rep @ New Wimbledon Theatre [tour] • 2004

Arthur Miller’s The Crucible, which is appearing on tour at the New Wimbledon Theatre, is regarded by many as a modern classic. First performed in New York just over fifty years ago in 1953, The Crucibleis a thinly veiled attack on the political witch-hunt of the Un-American Activities Committee headed by McCarthy. Miller saw the frantic search for reds under the bed, the public denunciation of…