#victor van vugt

[rainingmusic]

Beth Orton - Stolen Car

[doyoulikethissong-poll]

Nick Cave and the Bad Seeds & Kylie Minogue - Where the Wild Roses Grow 1995

"Where the Wild Roses Grow" is a murder ballad by Australian rock band Nick Cave and the Bad Seeds and pop singer Kylie Minogue. It was the lead single from the band's ninth studio album, Murder Ballads (1996). It was written by the band's frontman, Nick Cave, and produced by Tony Cohen and Victor Van Vugt.

The song received a positive reception from music critics and became the band's most successful single worldwide, reaching No. 3 in Norway, the top five in Australia, and the top twenty in the UK, Ireland, Germany and New Zealand. It also received a limited promotional release in the United States.

"Where the Wild Roses Grow" received a total of 56,6% yes votes. Kylie has previously been featured on the polls with "Confide In Me" at #13.

[nofatclips-home]

Christian Neurosurgeon by RVG from the album Feral - Directed by Caity Moloney & Tom Mannion

[sinceileftyoublog]

Robert Forster Interview: Burning Memories

Photo by Bleddyn Butcher

BY JORDAN MAINZER

It came time again where Robert Forster felt like he had the songs. The former singer of indispensable Australian rock band The Go-Betweens hasn’t released many records, even when his main band was inactive; in almost thirty years of solo material, he’s dropped only 7 full-lengths. It’s not that Forster goes through creative bursts--rather, he writes at most a few songs a year, and sometimes, he looks at what’s in his back pocket and discovers that they have something in common. “It’s a matter of feeling that the group of songs represent a record and are cohesive in some way,” he told me over the phone earlier this year when I asked him about his then upcoming, now released latest record Inferno. 

The oldest song on Inferno, the penultimate, string-laden “I’m Gonna Tell It”, is from 2007. The second oldest, bossa nova-inspired reflection “Life Has Turned A Page”, is from 2012. Arrangement-wise, they’re different from most songs on Inferno, as they were recorded and originally meant for Forster’s previous effort Songs To Play. Moreover, the latter track is really different from much of Forster’s general output--when he played it Monday night at SPACE in Evanston, he made sure to warn the crowd that it contained his only guitar solo of the night. “I don’t know how many fans of my guitar playing there are here tonight--probably none,” he joked. “It’s there, so thank you for indulging me.” Still, all the songs on Inferno have Forster’s trademark wry observational skills that stand the test of time. “Eat only what I eat / Breathe only what I breathe / And leave,” he describes of “One Bird in the Sky”, but also of the futility of human life. The theme continues in “Inferno (Brisbane in Summer)”, whose video shows Forster mowing the lawn--bound to the same earth that’s currently trying to throw us off in it. The song was recorded, coincidentally, in Berlin during its hottest summer in decades.

Robert Forster at Evanston SPACE, 11/11/19

Inferno also generally sounds like a Forster record, aided by the fact that the new faces weren’t entirely new. Session drummer Earl Harvin was suggested by producer Victor Van Vugt, who worked on Forster’s debut album Danger in the Past. Keyboard player Michael Mühlhaus played with Forster in 2013, and Forster knew bassist Scott Bromiley from Brisbane even having never played with him. It allowed them to essentially track the album in four days, leaving time for Forster to decide on important public-facing thing like the sequencing.

Forster claims that sequencing in general for him--whether of albums or a set list--is difficult, but you wouldn’t know it listening to Inferno or seeing him live. “I could build a set off of my last three albums, and I want to play other songs from records I made in the 90′s,” Forster said. “It’s a good challenge to have.” Even so, the set on Monday consisted of over half Go-Betweens material, something that doesn’t change whether he’s playing with a band or solo and acoustic like on Monday. It was incredibly well-paced with slow jams interspersed in groups of fast, peppy ditties.

Bleddyn Butcher’s Inferno album art

Still, it’s nice to hear that Forster likes Inferno as much as I and other fans do. When I asked him what his favorite song on the record is, he mentioned the final song he wrote for it, “The Morning”. “It has a classic feel to me,” he said. “It’ll probably never happen, but I have a feeling people might cover that song. I’d like to hear other people sing it. My songs are kind of picky and idiosyncratic.” Which person, dead or alive, would he like to hear sing it? “Otis Redding,” he answered without hesitation. “I think it could have a soul feel, and the lyric would fit. Adele could sing that song. But Otis would be the first person I’d think of.”

The Go-Betweens remain, undoubtedly, what Forster is known for. Their Vol 2 follow up to 2015′s G Stands For Go-Betweens box set comes out next month, this time covering their three albums from 1985-1989: Liberty Belle and the Black Diamond Express, Tallulah, and 16 Lovers Lane, the first and third of which occupied a great deal of Monday’s set list. The interest for the band, too, still sticks. When I asked Forster about groups coming out of Australia making it big overseas, he recognized The Go-Betweens’ influence. “There are a lot of bands that are well-known in Australia and a lot better known than us, but they only really played in Australia and their success was confined...We had to go elsewhere to get signed and not play Australia endlessly. These bands now saw what we did. It’s inspirational.”

As for me, I’m just glad I was able to see Forster, period. Initially, he was skeptical about coming over to the States. Apart from the cost of a visa, he said, “I’m not all that popular in America. There are people that like me and what I do, but they’re scattered over such a large country.” Well, Forster was able to make a tour out of this large country, and he was thankful Monday night for a captivated audience cheering for Go-Betweens and solo classics alike, from “I’m All Right” and “Part Company” to “Baby Stones”. The crowd willfully sang along, even a capella, on comeback album The Friends of Rachel Worth’s “Surfing Magazines”. When he ended his set, he shook hands with various crowd members. “I don’t have anything to sell,” he clarified, “But I’ll be out in 5-10 minutes if you have questions, suggestions to make this better, records for me to sign--they don’t even have to be by me.” His usual self-deprecation aside, his last words likely stuck with everybody in the audience: “Thank you for making this memorable.” May Forster continue to tour and experience fodder for 30 more years of songs.

Album score: 7.7/10

[musicaemdx]

Robert Forster – Inferno, a entrevista do ex The Go-Betweens a propósito do seu novo disco Foi numa ensolarada tarde de Inverno em Lisboa que falámos com Robert Forster, fundador dos The Go-Betweens e dono de uma aclamada carreira a solo. 2,054 more words

[daggerzine]

Peter Milton Walsh of The Apartments offers a pocketful of sunshine...

Peter Milton Walsh started his, band, The Apartments, in Brisbane, Australia in 1978. He didn’t release his debut LP until 1985 (The Evening Visits...and Stays For Years). I didn’t hear the band until 1995 when Restless Records here in the U.S. released the terrific A Life Full of Farewells (in between was 1992′s Drift). The releases have been sporadic throughout the years (and there were several years in between when Walsh did create any music at all) but each one glistens with a special kind of magic that only Walsh seems to possess. Though 2020 has been a difficult year, to say the least, one of the bright spots was the release of a new Apartments’ record In And Out of The Light released on Talitres Records (through Riley Records). The record is classic Walsh, spare, gorgeous songs written as the sun goes down (or comes up) with love or loss as its main theme (in most cases). I sent Mr. Walsh some questions and he was more than happy to open up about the record and what’s next. 

Peter Milton Walsh photo by Belddyn Butcher, 2020

When did the songs start coming together for the new record?

 The plan was to record the album in a couple of weeks in September 2019 in Tours, which is about 2 hours South of Paris. Antoine has a studio there. Natasha would come down from Lille, Nick from London. Then I was moving over to Berlin to mix them with Victor Van Vugt, who now has a studio there. Vic produced the evening visits… back in 1985. (He went on to work with P J Harvey, Nick Cave and the Bad Seeds etc.)  

 But the band wanted to hear the songs before September. So I started by making a couple of demos with a guy who lives just around the corner, Darren Cross. A great musician.

 Butterfly Kiss was one, Pocketful too. I sent Butterfly Kiss off to Natasha when she was in Lisbon, and she wrote back to say she’d listened to it over and over, ten times or more, walking at night by the Tagus river and that she fell in love with the song in Lisbon. I thought that was a good sign!

 I found that those two songs came alive in the process of recording the demos, so then I thought I don’t want to do any more demos, I just want to make an album. Now! The process made me impatient to begin the album.

So rather than wait till September, I found a place near where I live in Sydney, and approached the producer, Tim Kevin, telling him I had a couple of songs to start the album off with but that I wanted to try to write the rest of the songs as we went along.

 The earliest we could start was July, early days of Winter here, as Tim’s studio was very heavily booked.

 I have been writing songs since I was 15, and I’ve never really gotten any better at it. I still don’t know what’s happening exactly. But I thought, this will make the whole set of songs very fresh, very in the moment.

 This album will not be me trying to recapture the past, it will be me in the present moment, in the Winter of 2019.

 I had recorded the title track of No Song, No Spell, No Madrigal like that. All we had for NSNSNM was my piano part, Eliot’s bass and Gene’s drums. The rest of it I made up in the studio. Wayne kept asking me when we would finish the vocal part, because we were running out of time, and even though I didn’t have any idea what the finished lyrics would be I kept telling him it was OK—the song would start in the rain and end in the rain and across the course of the song the guy would be changed.

 I thought of the lyric like a voiceover in film noir—the guy reaches the end of the song and just knows he must change his life.

 And that’s how we went with In and Out of the Light. Each time I’d finish a new song, I’d think—I’ll never write another song again. But some time would pass—we were recording very sporadically—and something else would come up. We went on like that until we hit the magic number 8, and I thought—OK, that’s 8 songs that sit together well, don’t tempt fate. Stop now, start mixing the album.

 What was the recording process like, I’d read other musicians recorded parts in their own country?

 I would record some guitar or piano, a vocal, arrange the song, then upload it. Natasha, Antoine and Nick would then record things they thought might work and upload them for us, then Tim and I would select what we wanted and add it. It was very easy. In many ways, we were recording in the perfect way for the COVID era—though the COVID era had not yet begun. Sometimes I’d record 1 day in a week, sometimes more. Very short days. Usually home by six. All very unusual, but that was the situation because Tim was so heavily booked.

 The new record

 Had you worked with produce Tim Kevin before? What did he bring to the sessions?

 No. He’s got a fabulous ear, is a sensational guitar player and singer and has an epic, really impressive concentration span. Also, he was very open to the way I wanted to work—we’d had that discussion before committing to recording. So I could turn up, play him something, and ask if he saw some promise in what I had. And mostly he did.

 Did you have any hesitation about releasing a record in 2020?

 We finished mixing the day before lockdown hit Sydney, so that part of the timing was beautiful. Playing music, being in a band, touring, releasing records—this is a casino life anyway. If you can’t accept that things often don’t go to plan, you’re in the wrong line of work.

 We had a tour planned for September/October 2020, when the album was due for release. That had to be cancelled. We then had a bigger tour planned for February/March 2021—clubs, festivals, some big shows—and had to cancel that as well. I have no idea when we’ll be able to leave Australia—yesterday, the Australian Tourism minister announced that rising COVID cases in Europe and the US mean that Australians won’t be able to visit either of these places next year, unless a vaccine was invented.

  Where did the title come from, In and Out of the Light?

 Possibly two things occurred to me. Firstly, that on the days that I was recording, I would disappear from the high, bright Winter daylight into the lamplit darkness of the studio and that this too—moving in and out of the light—is the pattern of existence. We are constantly changing, and the conditions of our lives do as well. No feeling is final.

 For those of us who wish there were more Apartments records, why do the records come out so infrequently?

 The Apartments once had a good 4 year run—drift, A Life Full Of Farewells, fête foraine and apart then, for personal reasons, I turned away from the music world, and any kind of public life that goes with it.

 Will you be playing any shows (I know here some folks are beginning to do occasional backyard shows and others in other unique venues…drive in theatres, etc).

 That’s a great idea.

His previous record from 2015

 Who are some of your favorite current musicians/bands?

 If a song has fingerpicking, a certain kind of smoke or melancholy in the voice and maybe a major 7th, I’m a fool for it and always have been, always will be. With new music, I can be as fickle as the next person and I’m not a particularly organized person—so there’s no purpose or method in how songs get to me.

 It’s random, they seem to just float in. But here are some of the tracks that have seduced me recently, from my Soundcloud/Bandcamp/Spotify lists. I’m drawn to singles; if I love the album as well, that’s really magic.

 Lonny—Incandescente

https://soundcloud.com/lonny-sc/incandescente

 Mason Lindahl—Outside Laughing

https://tompkinssquare.bandcamp.com/track/outside-laughing

 Arlo Parks—Black Dog

https://open.spotify.com/track/1NGPZKzplieiPc5g6lAJ49?si=KYK_7EZLRkCK5PUjW0DeUA

 Ruby Haunt—Avalon

https://open.spotify.com/track/5rwKSB1WtNDWOBmwxZMWrg?si=uNxxyWjGRRuvYZrk5500oA

 Endless Winter—Angus Roy

https://angusroy.bandcamp.com/track/endless-winter

 Harkin—Decade

https://handmirror.bandcamp.com/track/decade

  www.theapartments-music.com 

www.talitres.com 

[dustedmagazine]

Robert Forster — Inferno (Tapete)

Inferno by Robert Forster

In his video for “Inferno,” the one-time Go-Between drives a lawn mower through a jungly back yard, his lean frame vibrating with energy as he alternates between manic swipes at the greenery and short, sharp, deadpan observations. The song itself is a mad thing, beneath its discretion. Peek under the façade of Forster’s uninflected verse, and pianos bang and guitars take crazy, careening curves. The song sounds minimal and terse and quiet, yet it boils with rhythmic tension. It’s a good point of entry for this, Forster’s seventh solo album which masters the art of soft little songs that rattle cages, of slippery melodies wrapped around spikes.

Forster recorded Inferno in Berlin during a heatwave with producer Victor Van Vugt, who is best known for his work with Nick Cave. Scott Bromley and Karen Baumler, who were on 2015’s Songs to Play, make a return appearance; Earl Havin plays drums and Michael Mulhaus keyboards. As on Songs to Play, the sound is very clean and full of space. Last time, I wrote in my Dusted review, “The songs can sound like sketches if you don’t listen hard enough, but they are actually deftly, beautifully augmented,” and this is still patently true.

The songs seem a bit more melancholic this time around, as Forster surveys love, family and work over a very long time line. “Crazy Jane on the Day of Judgment,” the disc’s first cut, rejects the certainties of romantic pop, considering the idea that love may not conquer after all. “Love is all,” it starts, conventionally enough, before adding a laconic, “unsatisfied,” which upends the sentiment. “It cannot take the whole/body and soul,” it continues, sending a lifetime’s worth of Valentine’s Day cards down the recycle bin. The song has a gentle, caressing quality, nonetheless, Forster’s voice rising from cracked monotone into lilting flights of melody. That’s too bad about love, it seems to say. It was a good story, anyway.

These songs take sturdy pleasure in everyday life, from the ordinary parents hanging wash and working at jobs in “No Fame” to the beach breezy sway of the multigenerational saga, “Life Has Turned a Page.” People have plans but relinquish them easily. The dream deferred in this world isn’t so bad, if it leaves you with a nice bunch of kids and a house near the ocean. Even work—creative meaningful work like making films and (presumably) music—gets the side eye in “Remain.” “I did my good work, while knowing it wasn’t my time,” says the narrator, against a pulse of guitar, a swooping embellishment of strings, and the tone is one of acceptance, not frustration.

And yet, beneath the meditative calm, abrupt rhythms clatter, tangled dissonances clash and snarl. The long view is serene, but it boils with nattering subtext. Robert Forster makes lean, minimal, elliptical songs about the struggle against time and self. He makes it look easy, but buried contradictions suggest that it’s not.

Jennifer Kelly

[soundjunglefan]

Elisabeth veröffentlicht Album „Melancholic Milkshake“ und Video zu Cavalra

Emma Elisabeth veröffentlicht mit „Cavalry“ von ihrem Debütalbum „Melancholic Milkshake“ einen üppigen, sanft ausladenden Folk- und Country-Rock-Track, der mühelos fesselt und verborgene Kräfte offenbart. Fließende Melodien treffen auf verträumte Arrangements und Neil Young inspirierte E-Gitarren-Linien. Der Song hat ein 70er Jahre Pop-Flair á la Fleetwood Mac und könnte dich auf die bestmögliche Weise an Jenny Lewis, The War On Drugs und Dawsons Creek denken lassen. „Cavalry“ wurde in Zusammenarbeit mit Petter Ericson Stakee (Alberta Cross) geschrieben und aufgenommen, Earl Harvin (AIR, Tindersticks) sitzt am Schlagzeug und Victor Van Vugt (Nick Cave, PJ Harvey) war für den Mix zuständig.

https://emmaelisabeth.lnk.to/MelancholicMilkshakeYo „Cavalry ist ein Lied über Sehnsucht, Unruhe und den Mut, Dinge zu versuchen. Es geht darum, dem nachzugeben, was man fühlt, weil man jemanden ohnehin nicht aus seinen Gedanken zwingen kann. Es geht um das Gefühl, dass nichts und niemand mich abschrecken kann, selbst wenn sie es versuchen. Schick die Kavallerie rein und zeige mit dem Finger auf mich – das wird mich trotzdem nicht davon abhalten, an dich zu denken. Klanglich ist der Song wie der Rest des Albums sehr organisch bestehend aus einem klassischen Band-Setup. Schlagzeug, Bass, Keyboards, E-Gitarren und Akustikgitarren, abgestimmt auf meine liebsten Synthesizer der 80er Jahre, das sind die Schlüsselinstrumente, plus dazu dann noch die Gesangsarrangements, die ich gerne ausnutze.“ Links: https://www.emma-elisabeth.com https://www.facebook.com/emmaelisabethmusic https://www.instagram.com/emmaelisabethmusic/ https://www.youtube.com/channel/UCBhqg-QyLLXaATg7_0xu-JQ Read the full article

[rollingstonemag]

Un nouvel article a été publié sur https://www.rollingstone.fr/craig-walker-the-hurt-extrait/

Craig Walker (ex-Archive) dévoile un premier extrait de son nouvel album solo

L’ancien leader d’Archive et de Power of Dreams, et plus récemment collaborateur de Book Shade et de Them There, Craig Walker, revient sur le devant de la scène avec un nouvel EP solo, le premier depuis 10 ans, composé et enregistré à Berlin.

Artiste aux multiples talents, Craig Walker a touché durant sa carrière à un large éventail de styles musicaux. C’est à Dublin, encore adolescent, qu’il développe son talent d’auteur-compositeur-interprète, au sein du groupe Power of Dreams, dont le premier album, Immigrants, Emigrants and Me, est considéré par beaucoup de critiques comme l’un des meilleurs premiers albums irlandais de tous les temps. Sa carrière prend son envol entre 2002 en 2005 lorsqu’il rejoint le groupe Archive en tant que chanteur principal sur trois des albums-phares du groupe (qui fête cette année ses 25 ans !). Il se lance en solo en 2009 tout en explorant de nouveaux horizons en touchant à la musique de film, notamment avec Nathaniel Mechaly.

Son style très personnel se retrouve également sur l’album réalisé avec le groupe Mineral, mais aussi plus récemment sur la chanson co-écrite avec Phoebe Killdeer au sein de Them There, « Fade Out Lines », qui s’est hissée dans les tops charts de 22 pays dont la France et l’Allemagne – chanson qui a été remixée par le DJ niçois The Avener.

En 2015, Craig a des envies d’ailleurs et s’installe à Berlin pour s’ouvrir à de nouvelles collaborations musicales et s’immerger dans des territoires inexplorés. Il devient résident au Riverside Studios aux côtés de Victor Van Vugt, David August, Gheist, Richie Hawtin, Tobi Neuman et autres.

Le « Berlin’s touch » l’ayant profondément inspiré, Craig se recentre depuis quelques mois sur un nouvel album solo qui sera précédé d’un EP, à paraître au mois de juin sur le label Fabrique Records. Baptisé The Hurt, il est précédé d’un clip et d’un single éponyme.

Un premier extrait très prometteur que Rolling Stone vous fait découvrir ci-dessous :

The Hurt, le prochain EP de Craig Walker, sortira le 21 juin prochain chez Fabrique Records. Tracklist à découvrir ci-dessous :

The Hurt

Ego Drivel

Broken

Fever

[detund]

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DU™️ @byrkelou - Home Released by x and Detroit Underground x https://byrkelou.bandcamp.com/releases www.byrkelou.com Detroit Underground https://detund.bandcamp.com/album/bayes http://detroitunderground.net/ The music is live coded music and the glitchy part of the vocal is synthesized through neural networks (AI). She is living in a partly virtual future on xix. bayes is a collection of algorithmic beings. It tells the story of a partly virtual girl travelling to an alien planet and trying to figure out her quest. {Video} Concept, direction, artistic direction, production, camera, light, cut, edit, post-production, hair & makeup, styling, color grading by Byrke Lou Virtual Landscape production, filming and original cut by dlareme [dlareme makes these amazing landscapes, and I wanted one with red and pink light and glitches, we didn’t like the existing glitches so dlareme made these fires happen and it looked amazing.] {Music} Lyrics: Byrke Lou and Saint Luxe Music: Byrke Lou Produced by Byrke Lou AI (=NN) trained for synthesizing instrumentals by Byrke Lou Mixed by Victor Van Vugt Mastered by Sandro Dreßler {Thank you guys for being awesome!} Lyrics{ I found a place pastel and electric Sherbert skies over cold hard edges It’s not perfect but it feels like heaven Paradise lost back when we were together I’ll be there before you know it Close your eyes and dream of me I’ll be there when you wake up There's only an ocean in between At night we live loud sipping drinks on the beach With the dolphins and sirens singing to the seas When the sun goes down it's so majestic All the pretty lights look like stars reflected I’m not myself when you’re not with me We're racing our cars down electric streets You’re my holy grail, my only fantasy I’ll be there before you know it Close your eyes and dream of me I’ll be there when you wake up There's only an ocean in between I’ve been sleeping in a different city Where nothing sparkles, there’s nothing pretty My heart can’t walk on these narrow roads #idm #glitch #ai #detund #detroitunderground #neuralnetworks #byrkelou #livecodingmusic experimentalmusic #ambient https://www.instagram.com/p/CDvEp9LlPt-/?igshid=1fyrsknvtpmif

[osanecif]

Rita Redshoes apresenta "Her" no Theatro Circo

Rita Redshoes está de volta a Braga esta quinta, dia 22, mas desta vez com o seu quarto álbum de estúdio na bagagem. O novo trabalho “Her”, foi produzido por Victor Van Vugt, produtor do disco de Nick Cave, “Murder Ballads” e...

Rita Redshoes apresenta "Her" no Theatro Circo

[jorgenbare]

victor van vugt oslo 042014

[soundjunglefan]

Retro-Style-Video mit Emma Elisabeth und ihrer neuen Single „Pilot“

Nach ihrer intimen Gitarren-Ballade "Into the Blue" und dem entspannten Rock’n’Roll Track „What a Waste“ veröffentlicht Emma Elisabeth nun „Pilot“. „Pilot“ ist eine verträumte Indie-Pop-Hymne, die schamlos mit der wunderbaren Melancholie des Country und Folk flirtet. Klassisches Songwriting wird in einen organischen Sound aus flirrenden Gitarren, typischen 80er Synthesizern und verworrenen 70er Jahre Gesangsharmonien gehüllt. Eine bittersüße und trotzdem würdevolle Verneigung vor Klassikern wie Fleetwood Mac und Tom Petty, sowie modernen Künstlern wie Jenny Lewis und Sharon van Etten. Alles mit einer mühelosen Größe, die als alternativer Soundtrack zur Neuverfilmung von Top Gun dienen könnte. „In dem Song geht es um Transformation und Kontrolle, um den Umgang mit sich selbst und um die Zeit dafür. Darum, dass wir es alle tun müssen, früher oder später. Weil das Leben passiert eben, und was dich nicht umbringt, macht dich stärker. Ich schätze, der Song sagt einfach ‘Es ist dein verdammtes Flugzeug/Leben, jetzt fliegst du verdammt nochmal selbst‘.“ Produziert wurde der Song von Emma Elisabeth, geschrieben zusammen mit Samuel Deschamps (LA Shark) und Jan Blumentrath. Earl Harvin (AIR, Tindersticks) spielte Schlagzeug, während Victor Van Vugt (Nick Cave, PJ Harvey) den Track gemischt hat.

https://emmaelisabeth.lnk.to/PilotYo Emma Elisabeth Live supporting PICTURES 28.03. -Hannover, Lux 29.03. -Hamburg, Molotow 30.03. -Düsseldorf, The Tube 31.03. -Köln, MTC 03.04. -Leipzig, Täubchental 04.04. -Wiesbaden, Schlachthof 05.04. -Stuttgart, ClubCANN 06.04. -München, Strom Links: https://www.facebook.com/emmaelisabethmusic/?ref=br_rs https://www.instagram.com/emmaelisabethmusic/?hl=de https://www.emma-elisabeth.com/ Read the full article

[daggerzine]

Robert Forster- INFERNO (TAPETE RECORDS)

The cover shot of former Go-Between Forster laying lazily on a bed  gives a slight hint to the relaxedness of this record. This is his third record since (and counting) 2008’s brilliant comeback record The Evangelist and since then (and including 2015’s Songs To Play) he’s been in a real low-key mood. Some might be melancholy of losing his best friend and former bandmate Grant McLennan (gone since 2006) and who can blame him.  Inferno was recorded in 2018 during “the hottest German summer in decades’ and he recorded it with Victor Van Vugt who he hadn’t recorded with since his solo debut, 1990’s superb Danger in the Past. Opening cut “Crazy Jane on the Day of Judgment” unfolds slowly and then slides right into the next song, the dreamy “No Fame” which soars like a bird in flight. The off-kilter title track, that reminded someone of Pulp and I do have to agree, is a beautiful, schizo pop tune that could’ve been written in 1977 in either NYC, Brisbane, Leeds and beyond. Later on “Life Has Turned a Page” Forster seems to be remembering his early Aussie days  (or perhaps what he wishes he were doing as a lad in Brisbane….“They left Noosa in ’72…….” And on to “….they got to Byron Bay now wouldn’t that be so nice”) and “I’m Gonna Tell It” squeaks and soars like only a Forster song can do. This is only his 7th solo record in nearly 30 years (ok, so there were some records from the reformed Go-Betweens in there, too) so Foster isn’t the most prolific chap on the planet but when he does deliver you know it’s coming straight from his heart and gut. Just like Inferno. Class is over, Dr. Forster has delivered once again (side note: if you haven’t read Forster’s book from last year Grant & I: Inside and Outside the Go-Betweens by all means do so, a terrific read!) www.tapeterecords.com

[detund]

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DU™️ @byrkelou - Home Released by x and Detroit Underground x https://byrkelou.bandcamp.com/releases www.byrkelou.com Detroit Underground https://detund.bandcamp.com/album/bayes http://detroitunderground.net/ The music is live coded music and the glitchy part of the vocal is synthesized through neural networks (AI). She is living in a partly virtual future on xix. bayes is a collection of algorithmic beings. It tells the story of a partly virtual girl travelling to an alien planet and trying to figure out her quest. {Video} Concept, direction, artistic direction, production, camera, light, cut, edit, post-production, hair & makeup, styling, color grading by Byrke Lou Virtual Landscape production, filming and original cut by dlareme [dlareme makes these amazing landscapes, and I wanted one with red and pink light and glitches, we didn’t like the existing glitches so dlareme made these fires happen and it looked amazing.] {Music} Lyrics: Byrke Lou and Saint Luxe Music: Byrke Lou Produced by Byrke Lou AI (=NN) trained for synthesizing instrumentals by Byrke Lou Mixed by Victor Van Vugt Mastered by Sandro Dreßler {Thank you guys for being awesome!} Lyrics{ I found a place pastel and electric Sherbert skies over cold hard edges It’s not perfect but it feels like heaven Paradise lost back when we were together I’ll be there before you know it Close your eyes and dream of me I’ll be there when you wake up There's only an ocean in between At night we live loud sipping drinks on the beach With the dolphins and sirens singing to the seas When the sun goes down it's so majestic All the pretty lights look like stars reflected I’m not myself when you’re not with me We're racing our cars down electric streets You’re my holy grail, my only fantasy I’ll be there before you know it Close your eyes and dream of me I’ll be there when you wake up There's only an ocean in between I’ve been sleeping in a different city Where nothing sparkles, there’s nothing pretty My heart can’t walk on these narrow roads #idm #glitch #ai #detund #detroitunderground #neuralnetworks #byrkelou #livecodingmusic experimentalmusic #ambient https://www.instagram.com/p/CDu_uUpFu4o/?igshid=uttcs5j3h268

[detund]

View this post on Instagram

A post shared by Detroit Underground™ (@detroitunderground)

DU™️ @byrkelou - Home Released by x and Detroit Underground x https://byrkelou.bandcamp.com/releases www.byrkelou.com Detroit Underground https://detund.bandcamp.com/album/bayes http://detroitunderground.net/ The music is live coded music and the glitchy part of the vocal is synthesized through neural networks (AI). She is living in a partly virtual future on xix. bayes is a collection of algorithmic beings. It tells the story of a partly virtual girl travelling to an alien planet and trying to figure out her quest. {Video} Concept, direction, artistic direction, production, camera, light, cut, edit, post-production, hair & makeup, styling, color grading by Byrke Lou Virtual Landscape production, filming and original cut by dlareme [dlareme makes these amazing landscapes, and I wanted one with red and pink light and glitches, we didn’t like the existing glitches so dlareme made these fires happen and it looked amazing.] {Music} Lyrics: Byrke Lou and Saint Luxe Music: Byrke Lou Produced by Byrke Lou AI (=NN) trained for synthesizing instrumentals by Byrke Lou Mixed by Victor Van Vugt Mastered by Sandro Dreßler {Thank you guys for being awesome!} Lyrics{ I found a place pastel and electric Sherbert skies over cold hard edges It’s not perfect but it feels like heaven Paradise lost back when we were together I’ll be there before you know it Close your eyes and dream of me I’ll be there when you wake up There's only an ocean in between At night we live loud sipping drinks on the beach With the dolphins and sirens singing to the seas When the sun goes down it's so majestic All the pretty lights look like stars reflected I’m not myself when you’re not with me We're racing our cars down electric streets You’re my holy grail, my only fantasy I’ll be there before you know it Close your eyes and dream of me I’ll be there when you wake up There's only an ocean in between I’ve been sleeping in a different city Where nothing sparkles, there’s nothing pretty My heart can’t walk on these narrow roads #idm #glitch #ai #detund #detroitunderground #neuralnetworks #byrkelou #livecodingmusic experimentalmusic #ambient https://www.instagram.com/p/CDuuvh6Frwg/?igshid=9jawie4zct94