#modern rites

[symmetricalscar]

Modern Rites - Endless

[metalshockfinland]

MODERN RITES Stream Full Album "Endless" Ahead of Release

“It offers captivating, driving anthems with immense dynamism—on one hand, monumental and monolithic, on the other, brilliant and varied!” (Legacy) Shortly before the official release of MODERN RITES‘ second album, “Endless“, artistic duo Berg (AARA) and Jonny Warren (KUYASHII) present the full album stream. Building upon acclaimed 2021 debut “Monuments“, new album “Endless” drives powerful…

[kimkimberhelen]

Modern Rites - Becoming (2024)

[bvckbiter]

me going into the rr crit tag lately: perhaps you would be happier writing your own books

[blackswaneuroparedux]

There is no beauty in Music itself, the beauty is within the listener.

- Igor Stravinsky

“The idea of The Rite of Spring came to me while I was still composing Firebird,” Igor Stravinsky recalled, 45 years after the ballet’s first performance in 1913, in his book Conversations. “I had dreamed of a scene of pagan ritual in which a chosen sacrificial virgin danced herself to death.” If Stravinsky is to be believed, this dream marked the beginning of a process that culminated in the premiere of one of the 20th century’s most important musical works.

Stravinsky’s music was meant to capture the spirit of the scenario, which he had outlined with the help of painter and ethnographer Nikolai Roerich and dancer and choreographer Mikhail Fokine during the spring and summer of 1910. Roerich had filled Stravinsky’s head with tales about all sorts of rituals from ancient Russia – divinations, sacrifices, dances, and so on – involving a variety of characters. The ballet that resulted revolves around the return of spring and the renewal of the earth through the sacrifice of a virgin. In his handwritten version of the story, Stravinsky described The Rite as “a musical choreographic work. It represents pagan Russia and is unified by a single idea: the mystery and the great surge of the creative power of spring….”

Stravinsky completed the score on 29 March 1913, and exactly two months later, the ballet premiered in Paris at the Théâtre des Champs-Élysées, where it caused the famous scandal that ushered in modern music. Nijinsky’s choreography and the wild, unchecked power of Stravinsky’s score were something wholly new. Stravinsky wrote for one of his largest orchestras ever in The Rite of Spring, and he used it with an assurance and confidence one would hardly expect from a composer just out of his twenties and with only two big successes - The Firebird and Petrushka - behind him.

But those two scores, for all of their individuality and accomplishment, did not seem like they were leading to The Rite of Spring. What Stravinsky did was totally unexpected.

The stage action during the ballet’s second half, leading up to the sacrifice, was enough to capture the attention of even that raucous audience at the first performance. Finally quiet, they could hear Stravinsky’s score and watch as Maria Piltz, the dancer who played the sacrificial victim, stood motionless as the ritual unfolded around her, gradually coming to life to perform her dance, with its angular contortions and tortured motions.

What actually happened on that scandalous night will always be a mystery to some degree, because the reports contradict each other. Was it the choreography that annoyed people, or the music? Were the police really called? Was it true that missiles were thrown, and challenges to a duel offered? Were the creators booed at the end, or cheered?

The dancer Dame Marie Rambert remembered that right at the beginning ‘a shout went up in the gallery: “Un docteur!" (Call a doctor!). Somebody else shouted louder, “Un dentiste!" (a dentist!)’. The aristocrat Harry Kessler said that people started to whisper and joke almost immediately. Stravinsky himself was so angry that he stormed out and went backstage to help the dancers keep time.

What is certain is that the audience was shocked - and with good reason. Stravinsky’s score for The Rite of Spring contradicted every rule about what music should be. The sounds are often deliberately harsh, right from opening Lithuanian folk melody, which is played by the bassoon in its highest, most uncomfortable range. The music was cacophonously loud, assaulting the ears with thunderous percussion and shrieking brass. Rhythmically it was complex in a completely unprecedented way. In the ‘Ritual of the Rival Tribes’ the music unfolds in two speeds at once, in a ratio of 3:2. And it makes lavish use of dissonance, i.e. combinations of notes which don’t make normal harmonic sense. ‘The music always goes to the note next to the one you expect,’ wrote one exasperated critic.

Then there was the dance, choreographed by Nijinsky. According to some observers this was what really caused the scandal at the first night. When the curtain rose the audience saw a row of ‘knock-kneed and long-braided Lolitas jumping up and down’ as Stravinsky called them, who seemed to jerk rather than dance. Classical dance aspired upwards, in defiance of gravity, whereas Nijinsky’s dancers seemed pulled down to the earth. Their strange, stamping movements and awkward poses defied every canon of gracefulness.

Both the music and the dance of The Rite of Spring seemed to deny the possibility of human feelings, which for most people is what gives art its meaning. As Stravinsky put it, ‘there are simply no regions for soul-searching in The Rite of Spring’. This is what separates it so decisively from Stravinsky’s hit of 1911, Petrushka. There we’re immersed in a human world, which exudes the very specific cultural ambience of Russia. It’s true that the main characters are puppets, rather than rounded human beings. But they have characters, even if they’re somewhat rudimentary, and at the end there’s even a suggestion that Petrushka might have a soul.

* Pina Bausch's interpretation of Stravinksy's Rite. A masterpiece of modern dance.

[schlock-luster-video]

On November 14, 1992, Taste the Blood of Dracula, The Satanic Rites of Dracula, Dracula A.D. 1972, Legend of the Seven Golden Vampires and The Return of Dracula were screened on MonsterVision.

[sstvar]

“Cheri Cheri Lady”

For someone so seemingly nonchalant, “Cheri” is quite serious about her job. It’s not that odd considering the fact that it’s all she has.

[nomadicrusalka]

Aaaaa I’m obssesed with modern aus for genshin! Xinyan and Hu Tao are such a good duo for it and I love them in this aesthetic and just gah they make my brain go brrrrrrr your honor

My kofi <3 Commissions open!

[welcome-to-green-hills]

Given the direct Paramount connections, it's only a matter of time until we see the boys watching SpongeBob

❤️🥹❤️ They sing the Camp Fire Song Song all the time whenever they’re together ❤️🥹❤️

[msclaritea]

Jesus fucking Christ.

[ellenolphe]

Ellenolphe modern au Ellenore has a strap and Adolphe has a job that he bitches to Ellenore about after every shift

Adolphe: The manager is soooo annoying like he keeps telling me what to do I bet I could be a better manager if I could without even trying anything and blah blah blah Ellenore thought bubble when will this bitch have a good day

[notamean-greenbean]

chat am i cooked. my seven page paper is due tmrw at midnight and i've been "planning" it (writing down notes that could potentially pass for an outline so i don't feel unproductive) for the past week already and i can't get myself to actually write anything. chat what do i do here do we have any cheat codes for this shit

[metalshockfinland]

MODERN RITES Premiere New Song 'Becoming' from Upcoming Album

MODERN RITES use raw intensity to fuse Industrial music, Black Metal and atmospheric soundscapes. ‘Becoming‘, the second single from upcoming new album “Endless“, finds the duo of Berg (AARA) and Jonny Warren (KUYASHII) masterfully combining ferocious riffs with haunting melodies in a captivating and emotive exploration of existential despair. Jonny Warren describes the genesis of…

[kimkimberhelen]

Lyrically "Endless" examines cognitive dissonance and how to preserve a sense of self against hostile ignorance. The cover art is inspired by modern takes on traditional funerary imagery: the shrouded figure representing contemplation, self-reflection and an endless search for answers.

[4-fuckssake-deactivated-42069]

I'm not going back to kill baby Hitler or stopping Constantine from winning the battle at Milvian Bridge no I'm going to the Théâtre des Champs-Élysées in Paris on the 29th of May, 1913

[mary1in]

Wine Cellar Vancouver Ideas for remodeling a medium-sized modern wine cellar with storage racks