#peter hollo

[nofatclips]

Lilliputian by Tangents b/w Ossicles

[p-isforpoetry]

Clock (Words by William Shakespeare, Read by Neil Gaiman, Music by FourPlay StringQuartet)

Released on World Shakespeare Day 2023, this is Clock, Shakespeare’s Sonnet 12, read by Neil Gaiman and set to a haunting musical backdrop by Australia's FourPlay String Quartet. Taken from their debut album Signs of Life.

Read by Neil Gaiman Violin & vocals – Lara Goodridge Viola – Shenzo Gregorio Viola & vocals– Tim Hollo Cello & vocals – Peter Hollo

[dustedmagazine]

Listed: Tangents

Sydney-based quintet Tangents have been playing together since 2010, but 2016’s Stateless LP marked a shift in the band’s method and sound, bringing their improvisational, collaberative playing into the studio to be reconsidered and reconfigured in the moment. This year’s Stents + Arteries EP showed the continued vitality of that approach and teased their new album New Bodies, of which Dusted’s Ian Mathers said their “post-everything mode of working is embracing rather than exclusionary [...] the result creates something intoxicatingly new.” To mark the occasion, all five band members have contributed to our Listed feature, with influences and interests running from U2 to µ-Ziq and back.

SHOEB AHMAD

Tony Conrad & Faust—Outside The Dream Syndicate

Leading up to the New Bodies recording session, I started playing bass guitar at points during our live set and really enjoyed locking into Evan with a singular pulse while the other three could let loose melodically. I wanted to pursue something similar in vibe when recording so that’s what you hear from me on ‘Gone To Ground’.

This album is pretty up there for me - not as ecstatic as LaMonte Young’s “dream music” works that Conrad was part of but also not as freewheeling as the Faust albums before this and definitely darker than both.

I love the myth of Jean-Herve Peron playing the second bass note on “From The Side of Man and Womankind” against Conrad’s wishes and I’d like to say that the loose implied funk of my bass playing is in a tribute to that.

U2—”Stay (Faraway, So Close!)” from Zooropa (1993)

Tangents is pretty left field with our musical aesthetics so this selection could be seen as a complete joke but I’ll own U2’s influence on me as a musician, even if it’s a bit naff to others.

A lot of the processes in place for the making of Zooropa (the album this track is from) remind me of how we like to work in Tangents - Ollie in a pseudo Eno role with his loops and live effects, melodic/harmonic improvisations and rhythm based studio jams - but the thing that resonates most about this song in particular is The Edge’s lullaby-like guitar riff that creates and then sustains the sweet sentimentality throughout. I’d say as much as his “single note through effects” style is basically the seed from where my guitar playing grew from, his fondness to write simple twee melodies on their best songs has influenced me more. I enjoy being able to do something similar to offset the more adventurous elements of our music and I’d say it comes to the fore in New Bodies more than before too.

Oh - did I say I was a sucker for the Wim Wenders video that was intercut with scenes from Wings Of Desire? I be honest, I think U2 may have more to answer for in making me wanna pursue an Art Pop vibe...

PETER HOLLO

µ-Ziq vs The Auteurs—”Lenny Valentino 3″ from The Auteurs vs. μ-Ziq (1994)

If we talk strings in Tangents, we’ll probably be referencing somebody like Godspeed, but as contemporaries I find it hard to describe them as an influential. I love their work but never for a second think of them when I’m playing the cello. So I’m choosing this gorgeous piece of faux-classical string pads with overdriven beats from the maestro Mike Paradinas aka µ-Ziq (it’s got very little to do with the Auteurs), because mid-’90s idm is in my blood, and Mike’s (and Richard D James’) plangent layered strings are always in there when I’m layered cello lines.

Amon Tobin—”One Day In My Garden” from Bricolage (1997)

Ollie & I have many discussions about our love of jungle & drum’n’bass. Ollie’s duo Icarus of course were contemporaries of early Amon Tobin, and a track from their first album appears on his Recorded Livemix album - serious props! Obviously the insanely chopped beats of the junglist pioneers, then Photek & Source Direct et al, contribute to our modus operandi(Photek joke, sorry), as do the more avant-garde sounds from Plug, Aphex, µ-Ziq et al. But Amon Tobin drew from his love of jazz and Brazilian music to create magnificent journeys in each track - the samba gives way to snapping breaks as, presumably, the garden becomes a jungle, and calm is returned by the end. Amon Tobin once regarded himself as a collagist more than a musician, and this collage aspect, albeit drawn from the instrumentalists in the band, is a big part of Tangents’ construction of our music.

EVAN DORRIAN

Arca—Arca

Everything Arca does has been blowing my mind for a while now. The production, rhythms, art, various (high-profile) collaborations, and on this record, his beautiful vocals, are all next level. Funnily/awkwardly enough I first heard Arca because his Soundcloud release (set/mix) Entrañas was reviewed next to our album Stateless by Pitchfork. A real honour to paired up with such a incredible modern artist, even just in web print. Looking forward to hearing more from him.

Scott Walker—Bish Bosch

This was and is a very important record for me, as is all Scott’s stuff from Tiltonwards (and Scott 4). When I first heard it I wasn’t sure how to take it all in and I’ve come to accept that I won’t. It’s a complicated and dark record that has a lot of wit and heart too.

ADRIAN LIM-KLUMPES

Tim Hecker— “I’m Transmitting Tonight” from Radio Amor (2013)

Tracks from New Bodies like ‘Immersion’ and ‘Oort Cloud’ spring from music like that of Tim Hecker. To call this music ‘drone’ or ‘noise’ is to ignore the delicacy of the rhythms of the layers, as well as the jazz-like piano chords that flutter around in his musical stratosphere. ‘I’m Transmitting Tonight’ drifts along but also has a driving momentum, depending on your perspective while listening. Our music too has different angles to approach it. When I produced ‘Immersion’, I enjoyed crafting the stretch, reverb and delay of the piano and guitar, while slamming the cello down an octave so it pensively mumbles below the stacked drum takes. This means you can hear this track almost as jazz, drone or minimal, depending on what your ear is drawn to. ‘Oort Cloud’ has similar cascading piano loops over cello and guitar drowning in sometimes noisy processing, all with an uptempo drum take layered in behind.

Bill Evans—Live in Helsinki 1970

“You use the intellect to take apart the materials, learn to understand them and learn to work with them. It takes years and years of playing so that you develop the facility so that you can forget all of that, and just relax and just play.” - interview during the filming in Helsinki, 1970.

The music of Bill Evans has inspired me for many years. His approach to harmony, melody and interplay is nuanced and emotive, and almost always a sense of calm pervades his music. Playing like Bill Evans, and thinking like him, is a lifelong pursuit. With Tangents, Bill’s philosophy of facility before play is spread across many domains. This includes pianism, a fluid approach to harmony and layering, and even the skills involved to intuit the use of effects pedals and software. The same goes for the others in Tangents - having a meta-consciousness of our band sound while improvising on stage or in the studio is necessary for all of us.

I’d love to see more live concert videos where the artist eloquently discusses musical approaches mid-set.

OLLIE BOWN

This is more of a discussion of records that I dream might be more explicitly inspirational in future Tangents records.

Alice Coltrane—Eternity

The loose funky joyousness that I associate with Coltrane is something I think we've started to explore in Tangents of late, though it is still quite latent. We don't really foreground solos too much though, which is something I like about our sound. I've been digging into her archives a bit lately and reflecting on how hard but rewarding it is to find that playful balance point where everything is poised on the verge of falling apart, as in the jammy madness and rhythmic pushing and pulling of Los Caballos. Many bands do this exquisitely and in one guise or another it's always been a strong interest for me, starting in my work with Icarus. There are moments where I think Tangents take it there, such as in the middle section of Terracotta. I look forward to exploring this more both in live improvisation and in studio post-composition. Then I love the fact that this record drops into a Rite of Spring passage (my favourite passage, seriously funky, excellently done). Also inspiration for future work: I'd love to work with Tangents to explore innovative covers and reinterpretations one day.

Pink Floyd—Wish You Were Here

You can't get more boring than to pick Pink Floyd as an influence. Is anyone still reading? But! Truth told I was having a melancholy moment the other day and I put on Wish You Were Here and for the umpteenth time in my life it just blew me away. Tangents' current work is nowhere near this carefully planned, but I hope we might engage in this kind of strict structuring in a future album. Nevertheless that kind of space and casual smoochy blueseyness is something I think we have explored our own way in tracks like Lake George and Gone To Ground, which I actually think is very Floydy. I love the pace of Shine on You Crazy Diamond, that sax solo bursting out of nowhere is stunning, verging on ironic, but completely loveable. I love how Pink Floyd do suites and guest appearances and carefully work the segues between tracks.

[musicveinuk]

Sophie Hutchings: Two Flames

Sophie Hutchings: Two Flames

Pic credit: Luke Dubbelde

Australian pianist and composer Sophie Hutchings his back with a new album, since her debut back in 2010.

Newly signed to Mercury KX, ‘Two Flames’ the first single from new album ‘Scattered On The Wind’ out April, is an indelible first taste of the album’s ambition, scale, and prowess, featuring Sophie’s long-time collaborators Peter Hollo on cello and Jay Kong on…

[donkey-hyuck]

— twelve song tag

tagged by my love v @jenojam (sorry i literally just saw this????) haha took forever :( also imma name both korean and western songs!

1. a song that is your seratonin boost—

smile; johnny stimson & the song; zion.t

2. a song to which you can literally feel a heartache with—

too good at goodbyes; sam smith & fool; winner

3. your current on repeat song—

hate everything; golden (eng. ver) & and i; ost by nuest w

4. a song stuck in your head right now—

when i look at you; miley cyrus lmao

5. a song you wish you’d never forget—

thank you; suggi & don’t leave; block b & falling; harry styles & like i want you; giveon & im done.; peter ho & one of these nights; red velvet & happening, how can i love the heartbreak; akmu

6. a nostalgic song—

any neyo or usher song say my name; destiny’s child & baby don’t cry; exo

7. a song from a cd/album you have—

don’t have any :((

8. a song from your favorite favorite group/band—

always; panic! at the disco & my everything; nct u & domino; wayv & sun&moon, rollercoaster; nct 127 & puzzle piece; nct dream

9. a song from your favorite soloist—

true love; kim sungkyu & boys and girls; zico ft babylon does this count? & hollo; lee hi & riot; summer walker & like we used to; justin park

10. a song from your favorite album—

darling; taeyang (white night) & go crazy; chris brown (slime & b) & right my wrongs; bryson tiller (t r a p s o u l) & got somethin’; trey forever (2 days N) & i like you; day6 (moonrise)

11. three songs with the same name—

love; keyshia cole

give love; akmu

unfair love; monsta x

bleeding love; leona lewis

12. a song with the starting letter of your name—

elevator; nct 127 & exchange; bryson tiller

13. (an extra one) favorite artists: @yongiefilms this is for you😭

giveon, summer walker, sza, sam smith, rihanna, slchld, umi, victoria monet, daniel caesar, bryce xavier, jhene aiko

iu, sm kim, paul kim, roy kim, aillee, mckay, jukjae, george, k.will, golden, junny, biosphere

~

tagging: anyone :/

[else-self]

For anyone interested in reading some poetry or poetics. Duration press has their catalog available online and as downloadable PDFs. It's a great resource of diverse writers and writing styles and translations.

The following is a complete list of publications released on durationpress.com since 1999. The first set is composed of titles released since 2015. The second set features titles released from 1999-2009.

2015-

Anne-Marie Albiach, A Discursive Space (interviews with Jean Daive) (tr. Norma Cole)

George Albon, Transit Rock

Will Alexander, Exobiology as Goddess

Will Alexander, Vertical Rainbow Climber

Richard Anders, The Footsteps of One Who Has Not Stepped Forth (tr. Andrew Joron)

ANGLE Magazine (edited by Brian Lucas)

Roman Antopolsky, Haunted House

Apex of the M (edited by Lew Daly, Alan Gilbert, Kristin Prevallet, Pam Rehm)

Gennady Aygi, An Anthology of Chuvash Poetry

Gennadi Aygi, Degree of Stability (tr. Peter France)

Rachel Tzvia Back, The Buffalo Poems

Josely Vianna Baptista, On the Shining Screen of the Eyelids (tr. Chris Daniels)

Melissa Benham, at sea

Coral Bracho, Of Their Ornate Eyes of Crystalline Sand (tr. Forrest Gander)

Michel Bulteau, Crystals to Aden (tr. Pierre Joris)

Mary Burger, Nature’s Maw Gives and Gives

Norma Cole, Coleman Hawkins Ornette Coleman

Norma Cole, Metamorphopsia

Norma Cole, My Bird Book

Pura López Colomé, Aurora (tr. Forrest Gander)

Stacy Doris, Paramour

Jean-Michel Espitallier, Butchers Fantasy (tr. Sherry Brennan & Jean-Michel Espitallier)

Factorial Magazine (edited by Sawako Nakayasu)

The Germ: A Journal of Poetic Research

John High, The Desire Notebooks

Emmanuel Hocquard, Late Additions (tr. Connell McGrath and Rosmarie Waldrop)

Emmanuel Hocquard and Ray DiPalma, Personæ and Thoughts on Personæ (tr. Ray DiPalma)

Pierre Joris, Permanent Diaspora

Rachel Levitsky, Dearly 3 4 6

Andrei Molotiu, The Kingdom

Pascalle Monnier, Bayart: Spring (tr. Cole Swensen)

Laura Moriarty, Nude Memoir

Gale Nelson, Spectral Angel

Aldon Lynn Nielsen, Black Chant

Mary Oppen, Poems & Transformations

Lauri Otonkoski, 20 Poems (tr. Anselm Hollo)

Roberto Piva, Manifestoes (tr. Chris Daniels)

Roberto Piva, open your eyes and say ah! (tr. Chris Daniels)

Roberto Piva, Paranoia (tr. Chris Daniels)

Pam Rehm, To Give it Up

Sebastian Reichmann, Sweeper at His Door (tr. James Brook)

Claude Royet-Journoud, The Right Wall of the Heart Effaced (tr. Keith Waldrop)

Lutz Seiler, Poems (tr. Andrew Duncan)

Ryoko Sekiguchi, Tracing (tr. Stacy Doris)

Aaron Shurin, Reverie: A Requiem

Gustaf Sobin, Telegrams

Juliana Spahr, LIVE

Brian Strang, Dark Adapt

Hiroya Takagai, Rush Mats (tr. Eric Selland)

Habib Tengour, Empedocles’s Sandal (tr. Pierre Joris)

Lourdes Vazquez, Park Slope

The Violence of the White Page: Contemporary French Poetry (edited by Stacy Doris, Charles Bernstein, and Phillip Foss)

Keith Waldrop, The Silhouette of the Bridge (Memory Stand-Ins)

Keith Waldrop, Spit-Curls

Peter Waterhouse, Where Are We Now? (tr. Rosmarie Waldrop)

Tyrone Williams, c.c.

Xue Di, Circumstances (tr. Keith Waldrop, with Hil Anderson and Xue Di)

Heriberto Yepez, Babellebab

1999-2009

Heather Akerberg, Dwelling

George Albon, Momentary Songs

Michael Basinski, Mooon Bok: petition, invocation & homage

Claire Becker, Get You

Guy Bennett, Retinal Echo

Taylor Brady, Production Notes for Occupation: Location Scouting

Brandon Brown, Kidnapped

Mary Burger, The Boy Who Could Fly

Norma Cole, Mace Hill Remap

Catherine Daly, The Last Canto

Rachel Blau DuPlessis, Wells

Marcella Durand, The Body, Light, and Solar Poems

Patrick Durgin, And so on

Patrick Durgin, Sorter

Peter Ganick, …As Convenience

Susan Gevirtz, Domino: point of entry

Jesse Glass, Man’s Wows

Noah Eli Gordon, notes toward the spectacle

E. Tracy Grinnell, Of the Frame

Pierre Joris, The Fifth Season

Amy King, The Citizen’s Dilemma

Rachel Levitsky, Realism (a work in progress)

Bill Marsh, A Tomb for Anatole

Pattie McCarthy, alibi (that is : elsewhere)

Mark McMorris, Figures for a Hypothesis

Jorge Melícias, Disruption (translated by Brian Strang & Elisa Brasil)

K. Silem Mohammad, Hanging Out with Pablo and Jennifer

Sawako Nakayasu, Balconic

kathryn l. pringle, The Stills

Francis Raven, Economic Belief Structure

Pam Rehm, Pollux

Elena Rivera, Wale; or The Corse

Cynthia Sailers, A New Season

John Sakkis, Rude Girl

Eleni Sikelianos, poetics of the exclamation point

Eleni Sikelianos, To Speak While Dreaming

Rick Snyder, Forecast Memorial

Juliana Spahr, Nuclear

Suzanne Stein, Untitled (Poetry Event: June 2, 2007, Pegasus Books Downtown, Berkeley)—Audio of event

Brian Strang, machinations

Cole Swensen, It’s Alive She Says

Elizabeth Treadwell, LILYFOIL (or Boy & Girl Tramps of America)

Kevin Varrone, g-point almanac (9.22-10.19)

Keith Waldrop, The Garden of Effort

Rosmarie Waldrop, Lawn of Exlcuded Middle

Dana Ward, The Imaginary Lives of My Neighbors

Alli Warren, No Can Do

Code of Signals

Alcheringa

Towards a Foreign Likeness Bent: translation

[irvinenewshq]

IPAN Convention rally and report launch

The Unbiased and Peaceable Australia Community (IPAN) declares an upcoming convention to develop voices in opposition to Australia’s assist of wars. IPAN Convention 2022 Charting our personal course: Subsequent steps in direction of an Unbiased and Peaceable Australia. Register now: ipan.org.au/ipan-national-conference-canberra-2022/. Venue 22-23 November: The Australian Centre for Christianity and Tradition, Barton, Canberra. Opening public assembly, Tuesday 22 November, 5 PM for a 5:30 PM begin. Launch of latest David Bradbury doco — Nuclear Submarines & AUKUS. Audio system embody Emma Shortis, David Brophy, Margaret Reynolds and Richard Broinowski. Full day convention, Wednesday 23 November, 8:30 AM – 5:00 PM. Audio system embody the above plus Alison Broinowski, Vince Scappatura, Mary Kostakidis, Michelle Fahy, Tim Hollo, Peter Cronau and Kellie Tranter. Some billeting out there — examine the convention web site. Convention panels embody: AUKUS and the specter of warfare in opposition to China; IPAN Inquiry Report Findings and Suggestions; Various Defence Insurance policies; and The best way to win: Collaborative activism for peace and local weather. Twilight lantern parade with the Canberra Refrain of Ladies. Launch of Folks’s Inquiry Report Parliament Home, Thursday 24 November, 11 AM. What are the prices and penalties of Australia’s involvement in U.S.-led wars and the U.S. alliance? What are the alternate options? No Battle, No AUKUS rally on the Parliament lawns, 10 AM, Thursday 24 November. Help the findings and proposals of the Inquiry Report and be part of collectively to point out our opposition to AUKUS. Assist construct the motion for peace and independence. Together with Battle Profiteers Path Stroll round military-industrial complicated places of work. Particulars later. For extra info, convention and public assembly registration, billets and updates, go to ipan.org.au/ipan-national-conference-canberra-2022/. IPAN is a community of organisations round Australia aiming to construct public dialogue and stress for change to a really unbiased international coverage for Australia — one through which our authorities performs a optimistic position in fixing worldwide conflicts peacefully. Associated Articles Help unbiased journalism Subscribe to IA.   Originally published at Irvine News HQ

[nofatclips]

Vessel by Tangents from the album Timeslips

[nwdsc]

(▶︎ Right To The City | Dominic Vozから)

Right To The City by Dominic Voz

"What the press release describes as 'a process of fractured storytelling' feels entirely accurate, for it is an album that embraces the dichotomous energy of its city-subject, alluring and formidable alike. And, much like the modern city, it is a work of astonishing synthesis, pulling together a broad range of well-rendered textures to produce a surprisingly complex journey to a beautiful, if occasionally overwhelming, future." – Daniel Hignell, The Quietus "Chicago’s Dominic Voz twists countless disparate sonic threads into something unique and beguiling...Right to the City is an intoxicating blend of ambient, spoken word, classical, and deconstructed electronic music alive in a world of glitches and gorgeous landscapes." – Brad Rose, Foxy Digitalis "Sound-art and social justice are at the heart of the work of Chicago-via Portland artist Dominic Voz. His Portland origins connect him with the adventurous Beacon Sound, who are co-releasing his new album Right To The City with Matthew Herbert's Accidental Records...It's a beautiful combination of early-'00s style folktronic acoustic manipulation, '90s early jazz-fusion postrock and contemporary sound-art ambient. You're gonna love it." – Peter Hollo, Utility Fog FBi radio Sidney "Forest Brook’s cover art paints an urban picture without words, in the same manner as Voz composes a sonic snapshot, also (for the most part) without words. One can glean the message in the titles, including “Oxycodone” (which refers to the opioid crisis) and “Las Cuentas” (“The Bills”). But the largest statement is made at the very end, in the stunning 'Home'...We hope our listeners do not try to fall asleep to this record." – Richard Allen, A Closer Listen Chicago-by-way-of-Portland musician Dominic Voz fuses ambient, classical, spoken word, and deconstructed dance music into an album of visceral beauty and heady ideas. Grappling with themes of urban contestation and dispossession, 'Right to the City' celebrates our communal fabric in the face of contemporary capitalism’s social stratification and endemic violence. The album is the first co-release between Accidental Records, and Portland’s Beacon Sound, a stalwart of gorgeous and innovative music from the Pacific Northwest and beyond. The album features several collaborators, including Patricia Wolf (Balmat) and Jonathan Sielaff of Golden Retriever (Thrill Jockey). クレジット2022年9月30日リリース All music composed, recorded, and mixed by Dominic Voz in Chicago, 2020-2021. Mastered by Simon Davey at The Exchange. Paintings by Forest Brook. Layout by ACN. All instrumentation by Dominic Voz except: 'Oxycodone' features voice by Éléonore Rimbault 'Las Cuentas' features bass clarinet by Jonathan Sielaff, and voice by Éléonore Rimbault 'Dan Ryan' features voice by Francisco Botello 'Jackson Park' features modular synthesizer by Edgar Medina 'City Currach' features bass clarinet by Jonathan Sielaff and voice by Chelsea Sue. 'Home' features voice by Patricia Wolf BNSD068 / AC171

[444names]

american surnames + theological demons + roman emperor forenames

Agaleon Agiels Aguila Aguilard Alaborner Alez Allarsh Alstor Alvargate Amael Amallo Amdus Anas Andez Anth Antiago Apoll Armara Asbell Aurelison Austus Avidson Ayalal Azie Balberge Balls Banklin Bans Bard Barnolds Baroth Barrin Barris Barro Bart Bathius Bauerrin Beardina Bearson Belis Beller Belps Bent Berian Berithius Bertinez Berush Bifrong Blac Blaird Blang Bles Bott Bradowns Bradya Bran Brang Brewers Brews Brider Bridge Brius Broces Bryang Buchurley Buckett Bulline Burry Burtin Burtis Caac Caacrince Cabrado Cabrenex Calhouse Camahony Campus Cant Cardiaz Carrow Cart Carthist Cartin Carvey Castane Castanson Cham Chanedy Charris Chavres Chulch Cimes Clemerry Cobs Coffer Collocell Colomalph Coloman Comb Common Compson Connon Connorman Cons Contgomez Cookes Coole Coper Corman Craie Craii Cran Crank Crawfores Cros Crosa Crosario Cullerius Cunning Curra Danield Daugh Davespar Dejes Delandry Delech Demius Dennan Devila Dian Dick Dicks Diocleon Dods Donado Doyler Dreal Dudleth Dudleton Durhamb Eatos Elanch Englis Evancis Evantian Ewin Field Figuerra Fincubus Fish Fitzpatt Flaudius Flavres Flemius Fleton Flynch Fordian Fostina Freders Furcastan Gaine Gakios Galina Gall Galls Gamberian Ghouston Gilberg Giley Gillowell Gilmory Glas Glassya Glove Golds Gomerrel Goodson Goodwares Gory Greese Greever Gright Griguero Grosarin Grosby Gusian Gusios Guson Gustianus Haage Hamb Hard Hards Harmstri Harpe Harthim Hatfields Haura Hauranio Haydennon Hayers Heatos Hebers Hend Henders Heritt Hews Hine Hobbins Hodes Hollian Hollo Hols Hoove Hornian Houng Howan Howay Huffy Hulliotts Hulton Huntes Irencha Jeffer Jenson Jinner Joan Jose Juarey Kabhandle Kabhanson Kell Kins Klina Kokabhaka Kramele Krams Kramsey Lancock Landa Landoza Lanks Lard Larker Legord Leman Levinguy Lichael Licho Llock Lone Loper Lotts Lowansen Luciferry Magner Maliott Malius Malphen Mammond Maraclius Marcia Marison Mart Marta Mastanley Math Maxentios Maxenton Mayers Maymond Mccard Mccarthym Mccartis Mccorton Mccranch Mccubus Mcgoway Mcintes Mcinton Mckenning Mcleo Mcmilesit Mcphendez Medim Meleon Mene Mentos Merius Mill Molins Morand More Mores Morias Morinus Morphy Morrince Morsey Mory Mosh Muller Mullo Naber Nabezeth Namael Navage Newmanus Nich Nichapman Nikos Norias Nune Oconley Odosian Onorman Orcado Orincubus Oses Owellison Paceves Paimolock Palmes Pard Pates Patthews Peleton Peter Peterry Pett Phills Philos Phocase Pitt Poconrad Pontosh Popez Potton Prin Prinus Puck Puckee Raker Rakios Raverson Reeman Reer Reil Reillo Reillong Richartis Rick Ricker Riverush Robernard Robins Robinus Roblevian Robus Rogera Sala Sales Saliotton Sampus Satann Schenshee Schrison Schu Scoten Scotton Seards Shalendez Shase Shepark Sheppark Shepparks Ship Sili Simoline Singhan Smalds Snyde Snyderell Snydero Spearsh Spent Staney Stans Steman Stephis Sterson Steves Stheod Ston Strick Stus Succulsu Tacitif Taney Tannedy Tantice Taylorema Taylori Theod Theopheus Thews Thomerson Thompton Thorong Thorton Towns Toya Traney Tuchannon Turn Tyle Valennon Valexios Vanch Vansen Vantes Vauguson Velas Vepard Vines Wader Wadero Wagnus Watt Weavenson Well Weller Whitel Whitle Wiggs Wilcombs Wiles Wilker Willien Wittman Woodman Wooth Yeter Zamoss

[dustedmagazine]

Tangents — Timeslips & Chimeras (Temporary Residence Ltd.)

With a band name that evokes the digressive and, here, an album title that conjures up dislocations and comminglings both chronological and biological, maybe the most miraculous-seeming part of Tangents’ music is that despite manifestly being the work of many creative individuals working with different tools and métiers the whole thing can feel seamless and organic. Timeslips & Chimeras is an album assembled from improvised work and intensive and inventive post-production, one that sees over the course of its composition the band move from a quintet to a quartet, one released partially and digitally last year only to attain arguably its true form (and presence on physical media) in this one. Despite the wondrousness of the songs here, it and Tangents could be forgiven if the result was also a beautifully awkward patchwork, one that didn’t quite hold together. Instead, it often feels more like the stream of consciousness from some sort of supernatural, unitary musical mind, like one voice speaking to you in a beautiful but not fully comprehended language. Some records are a journey; this one might be more of an environment.

The more quotidian facts of its creation are worth noting; the first six tracks/almost 40 minutes here were indeed put out in 2020 as just Timeslips, and do work perfectly fine on their own. Recorded as the same quintet that made 2018’s fabulous New Bodies, mostly over one day in a studio in Sydney, those tracks flow from the ringing, exultant opening swells and pulses of “Exaptation” (an evolutionary term, the classic example of which is birds evolving feathers for warmth, and then developing mating displays and flight using them) to the shuddering ascents of “Old Organs” to the stutter-step burn of “Debris”. That session was shortly before guitarist Sia Ahmed left Tangents (she’s credited with performances on all of the first half and the first new track here, and arranged “Debris”), and while that raw material still informs and is used in the Chimeras tracks there’s an even heavier focus there on fracturing and mutating that material in the studio, whether it’s the dark, shifting blurs of “Ossicle,” the flutteringly jazzy “Lost Track” or the gently accumulating beat of the closing “Wonder”. When you know what to listen for, one can pick apart the slightly different compositional and sonic strains on the two halves, but played as a whole all 76 minutes feels like the same restlessly protean whole, locking into and out of grooves, sifting through sounds for pockets of beauty but being unafraid to cut those spells short and move on, somehow staying loose (in a searching sense) and tight (in a finding the pocket sense) in the same moments. 

Throughout the qualities of the individual performances and creative sensibilities are clear, Ahmed’s guitar but also Evan Dorrian’s drums, Peter Hollo’s cello, Adrian Lim-Klumpes’ piano and Ollie Bown’s software (as well as the various other instrumental and studio roles played by all five, and then all four). Tangents are still a band who appear equally and admirably untempted by the false rewards of either treating their initial interplay as unimprovable or of needing to fuss with absolutely everything so no trace of that original interplay remains. The outcome is something that feels as improvised as it is composed, as live and spontaneous as it is shaped and processed, as inevitable as it is unpredictable. Timeslips & Chimeras ultimately feels simultaneously like something that had to have been crafted in a lab and something that could only be encountered in the untamed wilds; there’s truly very little else like it. 

Ian Mathers

[itsthebreakdown]

Soloist: Taeyeon 

Song: Curtain Call 

Album:  My Voice 

Release Date: April 5, 2017 

Lyrics: Jang Yoon-Ji  

Composers: Peter Wallevik, Daniel Davidsen, Tebey Ottoh, Noel Salmon  

Label: SM 

Age: 28 

Numbers 

Total Number of Words: 170  

158 (92.9%) in Korean vs. 12 (7.1%) in English 

My Favorite Lyrics

Taeyeon

멋진 대사 같이 마지막 인사를 나누고 (넌 뒤를 돌아서) 이미 비어버린 무대 위��� 나 홀로 뻔한 비극 끝이 났지 허무하게도 (정말 허무하게도) 안타까운 순간 순간 (전부) 돌아보게 돼 또 시간 가면 잊혀 어떻게든 견뎌 끝이 나면 다시 시작이니까 다만 두려운 건 끝이 없는 엔딩일까봐 meotjin daesa gachi majimak insareul nanugo (neon dwireul doraseo) imi bieobeorin mudae wien na hollo ppeonhan bigeuk kkeuchi natji heomuhagedo (jeongmal heomuhagedo) antakkaun sungan sungan (jeonbu) doraboge dwae tto shigan gamyeon ichyeo eotteokedeun gyeondyeo kkeuchi namyeon dashi shijaginikka daman duryeoun geon kkeuchi eopneun endingilkkabwa Like famous movie lines We exchanged our last goodbyes (you turned around) I’m alone on this empty stage The typical tragedy has ended Feels empty (so empty) It’s a sad moment (everything) I’m looking back again When time passes, I’ll forget I’ll endure somehow Because when the end comes, it will be another beginning The only thing I’m afraid of Is an endless ending

Notes 

**If the lyrics are marked as Member & All, it simply goes to all.  Everyone is singing, but one person’s voice is just a little bit more noticeable than the others.  **

*When two singers sang together, I added it twice for each - but for the percentage and Number of words overall I took it out for the final count.  So It goes towards the personal members records and not the overall for the song.** 

IF YOU WOULD LIKE A SONG PLEASE LET ME KNOW (CURRENTLY JUST DOING SONGS I LIKE OR WANT TO KNOW MORE ABOUT) 

Links 

Lyrics: https://colorcodedlyrics.com/2017/04/taeyeon-taeyeon-curtain-call 

Info: https://en.wikipedia.org/wiki/My_Voice_(album)#Sales 

Youtube: https://www.youtube.com/watch?v=qPdACUfm3s0 

Masterlist

[seims]

TRANSLUCENCE ARRANGED FOR TWO BASSES

This was an exciting exploration into what SEIMS would sound like acoustically. Being a bassist, and with Translucence being written on the Bass VI, I wanted to stay true to the medium. Bringing in our friend Peter Hollo (Tangents, FourPlay, raven) on cello added a whole new vulnerability and romantic touch to the arrangement. Watch the video here via Pretty In Noise. Big thanks to Darkroom Pictures for filming this, and Tim Carr at One Flight Up for recording the session. No doubt we’ll do more like this in the future!

[antikorpersession]

SEIMS​ - The Antikörper Sessions​ Official Premiere: now exklusively on  prettyinnoise.de​ ''Peter Hollo plays in a band called TANGENTS and also recorded cello on the new SEIMS record ''3+3.1''. Both of our bands supported TORTOISE on their Aussie tour in 2016. I thought it’d be fun to do an acoustic version of ''Translucence''. Live, this song gets really heavy, but playing it at home on my own, it becomes quite pretty and beautiful. As a bassist, I thought let’s keep it non-traditional (much like the rest of our music) and rearrange the song for my Bass VI, and a cello for The Antikörper Sessions.'' Simeon 'Sim' Bartholomew / SEIMS www.seims.net