#peter albrechtsen

[sound-notes]

The Sound of The Territory

A documentary film on the struggle of the Uru Eu Wau Wau indigenous people to hold onto their lands in the Amazon Rainforest – has earned several international awards and the sound editing team recently earned an MPSE nomination for 'Outstanding Achievement in Sound Editing – Feature Documentary.'

[kristenswig]

Best Film Editing 2023

Winner

All Dirt Roads Taste of Salt - Lee Chatametikool

Nominees

The Killer - Kirk Baxter Reality - Ron Dulin and Jennifer Vecchiarello Theater Camp - Jon Philpot Tótem - Omar Guzmán The Zone of Interest - Paul Watts

Best Original Score 2023

Winner

The Zone of Interest - Mica Levi

Nominees

The Killer - Trent Reznor and Atticus Ross Killers of the Flower Moon - Robbie Robertson Other People's Children - Robin Coudert & Gael Rakotondrabe Pacifiction - Joe Robinson and Marc Verdaguer Trenque Lauquen - Gabriel Chwojnik

Best Sound Editing 2023

Winner

The Zone of Interest - Johnnie Burn

Nominees

Enys Men - Mark Jenkin and Barney Oram Evil Dead Rise - Peter Albrechtsen The Killer - Ren Klyce No One Will Save You - Will Files and Chris Terhune

Best Sound Mixing 2023

Winner

The Zone of Interest - Johnnie Burn and Tarn Willers

Nominees

All Dirt Roads Taste of Salt - Nicolas de Poulpiquet Infinity Pool - Rob Bertola and Alex Bullick The Killer - Ren Klyce and Stephen Urata Leave the World Behind - Jason King, Beau Borders, John W. Cook Pacifiction - Jordi Ribas and Bruno Tarrière

Best Visual Effects 2023

Winner

Evil Dead Rise

Nominees

Beau is Afraid No One Will Save You

[nofatclips]

Fjer by Jeanette Nørgaard

[lifeisacinemahall]

‘Dunkirk’ review: A Powerful Cinematic Dynamo

‘Dunkirk’ review: A Powerful Cinematic Dynamo

With Dunkirk, director Christopher Nolan, who also wrote this project, scales cinematic heights that’s as startling as it is audacious. In Dunkirk, Nolan devours the screen edaciously, opening up the wormhole of his vision to you –  no screen size on this planet is enough to encompass this spectacular vision, but for now, we’ll have to make do with an IMAX – embracing you and ensconcing you, and…

[tiesandtea]

SUEDE – now with humour

Suede featured in the Danish free music magazine GAFFA shortly after A New Morning came out, October 2002 (no. 10). An interview with Brett and Mat, short comments on the album tracks, and a review. 

Photos by Casper Helmer and Morten Larsen. The magazine can be downloaded as .pdf here (look for pages 22-24 and 50).

Translation of the interview by Peter Albrechtsen under the cut. Own work.

OUT OF THE DARK

Brett Anderson and the rest of Suede have acknowledged that the substance that dreams are made of can neither be ingested nor inhaled. It has to come from the heart. And it does on their new album A New Morning, which was one of the topics of conversation when GAFFA met a transformed band in Copenhagen

FIRST HE TURNS LEFT, TAKES A FEW STEPS FORWARD and looks towards the mirror in front of him. Then he turns right, but keeps looking at himself. Everything is taking place in sliding movements, and there is evidently some satisfaction with what the mirror shows: The black leather jacket with a retro cut and a white back label sits tight around the slender, yet top-trimmed body.

If you didn't know better, you would think that Brett Anderson was practicing for a catwalk. The 35-year-old Suede frontman is hardly going to throw himself into that kind of thing for the time being, though he would be guaranteed to do well with his obvious expertise in hip twists, affectations and flirting from the edge of the stage. Right now, though, Brett is in a Copenhagen luxury hotel, where he's trying on a jacket just purchased by the band's British make-up artist, Nicci Welsh, who eagerly watches Brett's shameless poses. Brett is satisfied, but he has a twinkle in the eye at the same time, which reveals that something is hiding behind the charismatic singer's wide smile and chalk-white teeth.

–What do you say, Mat? Isn't it cool? Brett asks and looks over to his childhood friend, bassist Mat Osman, who understands well the look Brett's sending: Now, Mat must nod affirmatively. So he does. Brett looks over at Nicci with "thank you – yes, he would like to take the leather jacket home with him to London". But Nicci has also noticed Brett's hidden agenda and politely but firmly points out that "if you just thought to give it to a friend when you get back to London, then you can easily forget that."

Oops. Brett is exposed and quickly hands the jacket back to Nicci, but his now even cheekier grin shows that he certainly does not feel guilty, but simply perceives the whole scene as a bit of a show-off. As he himself puts it, a few minutes later: –Had it been three years ago, I would have kept the jacket for fun and given it to a friend 14 days later – simply to take advantage of my position as a pop star.

In other words, Brett Anderson has undergone certain changes over the three years since Suede's previous album, Head Music, and their brand new, fifth opus A New Morning. And the changes apply not just to his relationship to leather jackets, but simply to his whole lifestyle. In fact, the whole band's lifestyle.

Breakdown

Ever since the ten-year-old debut single, The Drowners, Suede have been heavy consumers of drugs all over the world, and they have never hidden that. Right from deliberately ambiguous song titles as Heroine and The Chemistry Between Us for opinions on the benefits of narcotics in provocative interviews, which the sensationally horny British press has lapped up themselves. "Coke is good for sex", "it's great to hear music on ecstasy" and "it's better to take drugs than to drink, because then you have a better next day" – all immortal quotes from Anderson.

But now it's over: Suede is clean – or something like that – and Brett clearly states that "I have become a happier person. My life on hyperspeed is a chapter over. I've even gotten into a good shape!"

–You start taking drugs because you want to feel good. It's that simple. And at some point, you do not feel good any more. It's that simple, too. That's what happened to us, Brett states in a dry and declaratory way.

Since Head Music, Suede had to say goodbye to keyboardist Neil Codling, who collapsed due to overexertion on Suede's tour in Australia in the autumn of 2000 (actually 1999). Half a year later, he quit completely because he suddenly had a relapse after having been recovering otherwise, and was about to break down completely. Neither Brett nor Mat clearly want to talk about it, but then admit that "it made them reflect on some things around both the band and themselves“. Brett, however, insists that “It was many different elements that led to what has happened with our lifestyle in recent years. Both the band and I myself have entered a new stage."

The changes around both Brett and Suede have also taken place over a longer period. First, Anderson started with giving the critics right who had complained loudly that he repeated himself on Head Music. Then he moved from the hectic London into his newly acquired country house in the peaceful natural area of Croydon (somewhat similar to when he moved into a monastery to write the texts of Suede's eight-year-old masterpiece Dog Man Star). He totally isolated himself, lived without a telephone and television, "buried" himself in literature and wrote the first lyrics for A New Morning.

–Oh, now it's starting to sound like I've gone and became boring, Brett chuckles, but hurries to add: -This is certainly not the case. In the old days, I deliberately avoided literature because I was terrified that literature would spoil my pure language. I would not be a sexless secretary who clapped on a typewriter. But now, I have found out that it doesn't necessarily have to end that way, and I read like an obsessed now. I read like a motherfucker. In one of the new songs, Obsessions, I refer to Bret Easton Ellis, but my favorite author is Albert Camus.

Actually, my paranoia about literature just says all about how far out I once have been. I was so afraid that my mindset would be infected by everything possible, but honestly, I must have had a hysterical tendency to pump everything up to pretentious heights. After all, both love and music are in fact very basic emotions, Brett says, who, however, admits he let out a roar when he went as far as to get his hair bleached last year ("it looked like crap, for God's sake," he sighs with one head-shaking laugh). However, it was an obvious sign that Brett felt the changes coming. And enjoyed it to the fullest drag.

Producer problems

In fact, Brett enjoyed being away from the big city so much that he persuaded the others to go to Iceland for a while and work further on the material that gradually became structured. In Iceland, the band briefly collaborated with Sigur Rós producer Ken Thomas, who, however, should turn out to be the first in a series of failed attempts to find the perfect producer.

–The magic was missing, Mat explains, but the creativity did not fail, and the band engaged in vastly different concepts around the upcoming album – "we considered making both a pure acoustic pop and an electronic folk record."

A New Morning became none of those. After leaving former Beck producer Tony Hoffer, Suede ended up slipping into the studio with Stephen Street, who is best known for his collaboration with The Smiths and Blur, and with Street behind the mixer, a renewed focus was there. The opening number Positivity took only three hours to write, and Brett describes it as "one of those magical moments in a band where everything melts together in the most beautiful way."

Those kinds of moments are, of course, the result of the fact both I and the rest of the band are dedicated to the music in a different way than before. Every single moment in music is important to me now. Every single moment in my life is important now. I have rediscovered both myself and the music, proclaims Brett, who hasn't changed in one aspect: He is still extremely talkative, well-worded and energetic – even when he explains it new album title:

–It's not so strange if A New Morning sounds as a religious quote – the last few years have truly felt as a bit of a revelation. We have chosen to see life from a new perspective. We have pretty much spent the 90s on an insanely exalted search for success, fame, money and all that sort of thing. Of course, music was the starting point, but it was all about consuming, savouring and worshipping life excessively. For me, this record is about having a completely different approach to life: Life is something small, fragile and completely unique. Something to watch out for. The new record is simply more intimate, human and much more honest.

This shouldn't be perceived as if Brett is now taking distance to his characteristic textual universe populated by the sad fates of the big city. On the contrary.

–I still have a great sympathy for people who are left in the lurch by the system and politicians, and I will continue to have that, he emphasizes, adding that "it's very much my self-understanding that has changed recently – not my worldview". Osman nods approvingly at Brett's side and adds with no hidden allusion to the title Dog Man Star, that "if you were born in a pigsty, you have so much to achieve, so much to flee from" – both Brett and Osman originally come from the unglamorous London suburb of Haywards Heath.

–Our songs have always been about ordinary people who achieve extraordinary things, and that's how we have been as a band as well, I think. You can easily be something special, even if you come from the pure nothing, and we have stuck to it, even though we have personally driven it too far into the extremes. We are still very much real people who have lived very real lives, and our songs are still about very real feelings, Brett points out.

–We will always fight for all the people who are trying to cope against all odds, and who try to maintain pride in adversity and frustration. Now we just have more surplus, passion and energy ourselves to fight the battle. Now we can really do it with an open heart.

Photo descriptions: "I HAVE RE-DISCOVERED BOTH MYSELF AND MUSIC" Brett Anderson "I HAVE BECOME A HAPPIER PERSON. I'VE EVEN GOTTEN INTO A GOOD SHAPE!" Brett Anderson

A New Morning

– according to Suede themselves

Positivity

Brett: –In many ways our programme statement: It really strikes a new, more cheerful tone. As I said, it was written in no time, and that's pretty incredible for us, because we're really perfectionists when it comes to songwriting.

Lost In TV

Brett: –Probably my favorite track on the album. The melody is based on backing vocals, and in that part, the song is more related to the Beach Boys and the Beatles than to old Suede. Why is there no one doing that kind of thing anymore?

Obsessions

Brett: –This is the last piece we wrote for the record. That's my favorite text. The fun of it is that the lyrics are in a way very personal, but at the same time guaranteed incredibly universal. I will undoubtedly receive many fan letters about that song.

Lonely Girls

Brett: –One of the first songs we wrote. A lovely lullaby-like groove. We even use bongo drums on it. A really nice number, which probably comes from the fact that I originally wrote the melody while I was in the countryside.

Beautiful Loser

Brett: –One of those songs where I really sing in a different way than usual: Harder, raw, dirty. In many ways, it's the album's ultimate live number: The energy is fearless, and the chorus is silly.

Streetlife

Mat: –It started as krautrock: The same groove that ran and ran and ran for eight minutes – it was totally Germany in 1971 – but it changed radically when the chorus appeared purely out of nowhere.

Ashtray Girl

Mat: –Ashtray Girl and Beautiful Loser are perceived the most as “old-school Suede”, but actually, they were both written by Alex Lee, who is our brand-new keyboardist. Funny, right? Another funny thing is that the lyrics are totally meaningless.

Untitled

Mat: –My favourite along with Streetlife – right complex and yet a simple song. Originally a very folk-like song, but our producer Stephen Street made it more electric. Suddenly we began to sound like a whole band.

...Morning

Mat: –It's about getting up in the morning, and we discussed a lot how we could underpin that with sound. Several weeks later, we ended up sticking a microphone out of Brett's kitchen window. So simple. So difficult.

One Hit To The Body

Brett: –It's our attempt to make an I Will Survive. It's about me having to pull through, no matter how smashed I am. Actually an old song we rediscovered in the studio. Reminds of Bruce Springsteen, oh.

When The Rain Falls

Brett: –Believe it or not: it was originally a spoken-word number in the style of Serge Gainsbourg. I sat down and breathed heavily into the microphone. Now it has become something else after all, for I had to admit that I sounded neither French nor sexy.

Suede: A New Morning

Reviewed by Jan Opstrup Poulsen

After the very electric Head Music, Suede landed soft and comfortable in the poetic corner of A New Morning. Brett Anderson still sings about beautiful losers and self-created troubles of youth, but melodically, A New Morning is a luminous and optimistic album. As on the masterpiece Coming Up, it’s the individual songs that are in the centre, like little stars in the night sky. But Suede doesn’t have the usual tempo of melodies at all. A New Morning is distinctly an album of ballads, and in Brett Anderson's most captivating moments, the album hits sublime moments. There are more typical Suede songs on the album, like the excellent Beautiful Loser, that we have heard from them before. A ballad like When The Rain Falls doesn’t change the state of affairs either, although one has to indulge in a grumpy admiration how Suede fabulously handle these ballads. On the other hand, great things happen in the opening song Positivity, which is a proudly towering pop song. This magnificent approach to pop songs fits Suede's finely tuned melodies like a glove and is well followed up on several songs on the album like Lost In TV and Astrogirl. Brett Anderson hasn’t become less affected, and guitarist Richard Oakes balances, as always, on the edge of disruptive, to end up in a harmonious melody line. But on the more ordinary songs, Brett Anderson sings with the desperation of an angry rock singer and to that extent, he reaches beyond the edge of the stage as a performer. A New Morning therefore has all the ingredients for a good Suede album that will divide the record people between rapture and contempt for these assumed excesses, respectively. But it's just too sour to be negative when the world can be so bright and inviting.

[bongoramadk]

Vangelis er død

Af Peter Albrechtsen En af de store filmkomponister er gået bort: Vangelis er død i en alder af 79. Den græske gigant vandt Oscar for sine stærke melodier i Chariots of Fire, men for mig er hans milepæl Blade Runner, et af alle tiders ypperste soundtracks, som satte nye skelsættende standarder for elektronisk filmmusik. “I understand the world through music and I believe that music shapes the…

[biografdk]

Men

🆕 “Denne film glæder jeg mig til at se. Alex Garland er for mig en af tidens mest spændende britiske filmmagere med ørerne på rette sted, og jeg var både begejstret for Ex Machina, Annihilation og Devs. Denne nye trailer ser pænt scary ud. Og lyder scary. Elegant brug af stemmen som myrekrybende musik ❤️🔊” – Peter Albrechtsen. https://www.instagram.com/p/CbaM7bhg_AY/?utm_medium=copy_link

[ozkamal]

“The bloodmoon is watching over young bird-woman Crane who is preparing for a lust-harvesting ritual in the bar of Bird’s Nest. Father, ruler and lover Hawker puts pressure on her. If she fails, she must die. Crane is lost in a seductive neon-dance when a mysterious stranger enters and disturbs the ritual. So begins the story of FJER initiating a poetic and freaky urban fantasy web series about emancipation and discovery of own sexuality.” Director : Jeanette Nørgaard | Producer: Lorène Lescanne | Countries of production: Denmark | Year of production : 2017 | Production : Sønc Aps With the support of: New Danish Screen, Den Vestdanske Filmpulje, ANIS FB facebook.com/Equinoxnoir/ Instagram instagram.com/equinoxnoir/ Full credit list: Director: Jeanette Nørgaard | Producer: Lorène Lescanne | Music: Jenny Rossander | Screenplay: Jeanette Nørgaard, Camilla Hübbe | Storyboard: Jeanette Nørgaard, Mads Juul | Voices: Jenny Rossander, Jonas Bjerre, Danica Curci, Lars Halvorsen | Background: Marie Jørgensen | Characters & Effects design: Jeanette Nørgaard | Project manager: Lorène Lescanne | Lead animator: Laura Büchert Schjødt | Animation: Pernille Kjær, Julie Baltzer, Julie Astrup, Jeanette Nørgaard | Color: Lorène Lescanne, Julie Baltzer | Compositing & Editing: Jeanette Nørgaard | Sound design & mix: Peter Albrechtsen | Dialogue editor: Lars Halvorsen | Assistent sound design: Mikkel Nielsen | Foley artist: Heikki Kossi | Foley mixer: Kari Vähäkuopus | Sound studio: Offscreen | Foley studio H5 film sound LTD | Production Company : Sønc Aps

[evoldir]

Fwd: Course: CopenhagenU.NGSdataAnalyses.Aug3-7

Begin forwarded message: > From: evoldir@evol.biology.mcmaster.ca > Subject: Course: CopenhagenU.NGSdataAnalyses.Aug3-7 > Date: 25 February 2020 at 08:07:46 GMT > To: rdmpage@gmail.com > > > Dear all, > > We are happy to inform you that we are now accepting applications for the > “Summer course in NGS data analyses for medical and population genetics > 2020” > > When: August 3rd – August 7th 2020 > > Where: Copenhagen, Denmark > > Organized by: Fernando Racimo, Anders Albrechtsen, and Ida Moltke at the > Department of Biology, University of Copenhagen > > Instructors: Lucy van Dorp, Tyler Linderoth, Benjamin Peter, Fernando > Racimo, Anders Albrechtsen, and Ida Moltke > > The course is a comprehensive introduction to a number of topics and common > research tools used in analyses of next-generation sequencing (NGS) data. > Topics include: genetic drift, natural selection, population structure, > association mapping, GWAS, spatial genetics, f-statistics and demographic > inference. The main focus will be on humans, but the methods we will cover > are applicable to many other species as well. Lectures will be combined > with hands-on computer exercises, mostly using R and command-line based > programs. > > The number of spots is limited and participants will be selected based on > their application and potential to benefit from the course. All applicants > will be notified with a decision on April 1st. In case of extra spots > becoming available after April 1st, there will be a second round of email > notifications on May 1st. > > Please sign up at popgen.dk/signup by March 30th. > > More information can be found at the course website: popgen.dk/popgen20 > > Questions can be directed to: cphsummercourse@gmail.com > > With kind regards, > > Patrícia Chrzanová Pečnerová > > Postdoc, University of Copenhagen > > cphsummercourse > via IFTTT

[grandteatret]

Vi citerer lige Peter Albrechtsen fra FB ( i går): I dag er der omsider dansk biografpremiere på en af årets allerbedste film: #Parasite. En fuldstændig overvældende tour de force, der brillerer på alle niveauer. På én gang skamløst underholdende og samtidig dybt tankevækkende. Familiedrama, komedie, gyser, thriller, ætsende politisk kommentar og følelsesmæssig rutsjebane på én gang. I mine ører samtidig en blændende musikalsk film med et forrygende samspil mellem et vildt veloplagt score og et enormt detaljemættet lyddesign. Alene den måde lyden af vind og vejr integreres i fortællingen er en afhandling værdigt. Den bedste julegave, en filmelsker kan ønske sig. (her: Grand Teatret) https://www.instagram.com/p/B6h3ysnhKKF/?igshid=1ah9zj3eblz3

[seeksstaronmewni]

Skywalker Sound’s Nia Hansen gives some important advice for creative outlets in sound post-production.

This reminds me that Nia worked on Big Hero 6, a Skywalker Sound project. Since, instead of Skywalker Sound, Advantage Audio does the sound currently for Big Hero 6: The Series, this advice of Nia means a lot to me:

“If you can’t find opportunities to cut and design sound, find a video online and redo the sound for practice.”

Now, @rwinger24​ does that for adding to Advantage’s (not to criticize) fairly lacking sound design on Star vs. the Forces of Evil (i.e. “Marco Jr.”) Usually not downloading videos online for copyright’s sake among other reasons, I sometimes record stuff from TV (cable box, VCR, LD, etc.) with my Toshiba D-R410 DVD recorder and rip that from a DVD-RW with AOA DVD Ripper, then put the clips in Windows Movie Maker (Windows XP) and/or Sony Vegas. Since I currently don’t have professional CD libraries, I often source the sound effects of Sound Ideas, Hollywood Edge, Joel Valentine / Twenty First-Century Entertainment, Jeff Hutchins, Skywalker Sound, and others from the videos themselves; in WMM I can drag the clipped SFX in a video down and use it as audio only. In the past (2005-2008), I sourced sound effects by recording them with my Olympus VN-120PC voice recorder.

[whileiamdying]

“The bloodmoon is watching over young bird-woman Crane who is preparing for a lust-harvesting ritual in the bar of Bird’s Nest. Father, ruler and lover Hawker puts pressure on her. If she fails, she must die. Crane is lost in a seductive neon-dance when a mysterious stranger enters and disturbs the ritual. So begins the story of FJER initiating a poetic and freaky urban fantasy web series about emancipation and discovery of own sexuality.” Director : Jeanette Nørgaard | Producer: Lorène Lescanne | Countries of production: Denmark | Year of production : 2017 | Production : Sønc Aps With the support of: New Danish Screen, Den Vestdanske Filmpulje, ANIS FB facebook.com/Equinoxnoir/ Instagram instagram.com/equinoxnoir/ Full credit list: Director: Jeanette Nørgaard | Producer: Lorène Lescanne | Music: Jenny Rossander | Screenplay: Jeanette Nørgaard, Camilla Hübbe | Storyboard: Jeanette Nørgaard, Mads Juul | Voices: Jenny Rossander, Jonas Bjerre, Danica Curci, Lars Halvorsen | Background: Marie Jørgensen | Characters & Effects design: Jeanette Nørgaard | Project manager: Lorène Lescanne | Lead animator: Laura Büchert Schjødt | Animation: Pernille Kjær, Julie Baltzer, Julie Astrup, Jeanette Nørgaard | Color: Lorène Lescanne, Julie Baltzer | Compositing & Editing: Jeanette Nørgaard | Sound design & mix: Peter Albrechtsen | Dialogue editor: Lars Halvorsen | Assistent sound design: Mikkel Nielsen | Foley artist: Heikki Kossi | Foley mixer: Kari Vähäkuopus | Sound studio: Offscreen | Foley studio H5 film sound LTD | Production Company : Sønc Aps

[artwalktv]

“The bloodmoon is watching over young bird-woman Crane who is preparing for a lust-harvesting ritual in the bar of Bird’s Nest. Father, ruler and lover Hawker puts pressure on her. If she fails, she must die. Crane is lost in a seductive neon-dance when a mysterious stranger enters and disturbs the ritual. So begins the story of FJER initiating a poetic and freaky urban fantasy web series about emancipation and discovery of own sexuality.” Director : Jeanette Nørgaard | Producer: Lorène Lescanne | Countries of production: Denmark | Year of production : 2017 | Production : Sønc Aps With the support of: New Danish Screen, Den Vestdanske Filmpulje, ANIS FB facebook.com/Equinoxnoir/ Instagram instagram.com/equinoxnoir/ Full credit list: Director: Jeanette Nørgaard | Producer: Lorène Lescanne | Music: Jenny Rossander | Screenplay: Jeanette Nørgaard, Camilla Hübbe | Storyboard: Jeanette Nørgaard, Mads Juul | Voices: Jenny Rossander, Jonas Bjerre, Danica Curci, Lars Halvorsen | Background: Marie Jørgensen | Characters & Effects design: Jeanette Nørgaard | Project manager: Lorène Lescanne | Lead animator: Laura Büchert Schjødt | Animation: Pernille Kjær, Julie Baltzer, Julie Astrup, Jeanette Nørgaard | Color: Lorène Lescanne, Julie Baltzer | Compositing & Editing: Jeanette Nørgaard | Sound design & mix: Peter Albrechtsen | Dialogue editor: Lars Halvorsen | Assistent sound design: Mikkel Nielsen | Foley artist: Heikki Kossi | Foley mixer: Kari Vähäkuopus | Sound studio: Offscreen | Foley studio H5 film sound LTD | Production Company : Sønc Aps

[robotsfightingmonkeys]

INTERVIEW: Sound Designer Peter Albrechtsen Talks Generation Wealth And The Titans Of Sound Design

http://dlvr.it/Qdbzs5