12 07 2013
#3378

Google translate LRD

Flame of ice
Love shattered did not diepain but remain for us to love each otherIn a sea of ​​blood that let's fallen again
It is not the fight to losenor is the fight to get tired
And What was the peaceIt is not the fight to lose
Such as the one I visited in first which is not Solve anythingSecret was created theeYou are living in the other side of the mirrorFlame of ice take away thee
Night, night of the assassin
I think I killed someone though very deep nightWhat satisfies the hunger of you
Somebody dream of thee, but are you not dreamed of nothing but whatNothing will satisfy the hunger of you
Word of the night flew away fell melted bird of silenceNo one wants you, that remains
You are when you drank a drop of nothingness over the river of blood in the middle of the nightNames that are first will be named to you
Black lovers reach the shore all endured deathBlack brand already was inscribed
I wound my will kill someone wihtVery deep night of friendly assassin
Word of the night flew away fell melted bird of silenceNo one wants you, that remains
Somebody dream of thee, but are you not dreamed anybodyNothing will satisfy the hunger of youI do not not wish that the hunger of you are satisfied nothing
I think I killed someone though very deep nightWhat satisfies the hunger of youWho meet thee hungerNo one can satisfy the hunger of you
The deeper night
The darker than darkness deeper than nightYou are the ones in the madness and death where you woke up
Spread the black wings under the sky go up burningAfter running up a black sun is yours Is What NozomiWould each other out Ikutabi in the flames of iceWhite horse runs through the body of the white venom midnight
Beast hungry to extinct breath in the rainShatter the mirror of you and Tobi-tate from windowAngel whisper wraps theeI send to you, the center of Aoki sigh
The darker than darkness deeper than nightYou are where you woke up againDeath I was the thing
Story of love
This story of love of beautiful bloodyWhen I blew out the flame of roseStory that began
Unconditional love is cruel loveI monkeys with you before the dawnNight monkeys with you to be open before
Romanse of black sorrow
You're going to go out alone who looking into this late at nightA shine to dazzling you are waiting at the other side of the horizonOr themselvesI had a lake of crystal no one cloudy one in the chest
You'll show me laughing When you are asked to someoneJust the wind that swept everything for youWhile taken to not be swallowed up by the wavesI grave me in the chest (?) YouBut I go and fell more (?)
I built a tower of dark to (?) LandMe and you (? Whiteness) have set up a tower of dark
I came to (protect?) For the dreamsI came in order (? Made) to your dreamI did not defiled with blood dreams
the wind that swept everythingWhile taken to not be swallowed up by the waves
You're going to go out alone who looking into this late at nightShine to dazzling it is visible over the horizonOr yourself, your own or the
Wilderness of artificial
Wind coming from blowing away much of the wilderness of artificialI force you not know that you forgiveThe Tsukuse burn the ends of the earth
Flame coming from Wakioko~tsu depths of mythology from the bottom of the earthFlame of kindness and destructionThe Tsukuse burn the ends of the earth
It seems that it is different if close more glass balls that thine eyesCan you tell me the proof bright red
The soar in shattered and shatter in front ofThe soar in fall shattered and broken in like foreverThe shatter forever like that to be reduced to ashes by soared
The Last One
The trembling in joy on the other side of the heartDo not remember even being alive
I have to walk by yourself on the waves no oneThe same day and night and the same no matter where you are anymore
Lips You are earthy aromaI'm hugging you, in the cold wind
Wilderness of artificial
Wind coming from blowing away much of the wilderness of artificialI force you not know that you forgiveThe Tsukuse burn the ends of the earthFlame coming from Wakioko~tsu depths of mythology from the bottom of the earthThe Fukitobase to the ends of the earthThe soar in shattered and shatter in front ofI shatter the like foreverThat thine eyes Glass BeadsYou look different if more closeCan you tell me the testimony Na bright redThe soar in shattered and shatter in front ofI shatter the like forever

Night, night of the assassin
I think I killed someone though very deep nightWhat satisfies the hunger of youSomebody dream of thee, but are you not dreamed anybodyWhat satisfies the hunger of youWord of the night flew away fell melted bird of silenceWhat satisfies the hunger of youBlack lovers arrive on the banks of all extinctBlack brand already was engravedWord of the night flew away fell melted bird of silenceNo one wants that you can staySomebody dream of thee, but are you not dreamed of nothing but whatWhat satisfies the hunger of youWho satisfy the hunger of youI think I killed someone though very deep nightWho satisfy the hunger of you

Romanse of black sorrow
Go away alone to you this late at nightIt is visible over the horizonthe dazzling brightness or themselvesWhile taken to not drunk to wave in the wind that swept everythingI'm watching the sea sobs Omae night air with starsGo away alone to you this late at night who chasingI soul the clear one in you forever foreverI had a lake with no one cloudy one in the chestGo away alone to you this late at night what chasingIt is visible over the horizonthe dazzling brightness or themselvesOr you own a

I knew you
A dark shine gentle saw the night in your eyesillusion someone keep up with a vision is calling someone

The Last One
The trembling in joy on the other side of the heartDo not remember even being aliveI have to walk by yourself on the waves no oneThe same day and night and the same no matter where you are anymoreLips You're earthy aromaI'm hugging you in the cold windYours, fell in hellBecause too much love too

07 07 2013
#3375

NAZORANAI backstage at Roskilde this evening, post concert


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photo: Yoshiko Mitsuhashi  

03 07 2013
#3372

BATTLE OF THE EYES (Chris Long & Edwin Pouncey) July concert & Open Studio


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Dear All,

Please excuse this mass mail out, but this is to invite you to two Battle Of The Eyes events that are happening next week.

The first ( a live performance) will take place on Thursday July 11 at Streatham's Beacon Bingo Hall.

The second is our annual Open Studio gallery show where we will be exhibiting some of our latest paintings.
The Private View is on Friday July 12, and the Open Studio runs until Sunday 14 July. It would be great if you could make to either (or both) of these.

See the attached flyers for full details.

Hope to see you there.

Best wishes,
Edwin

MORE: http://battleoftheeyes.com

02 07 2013
#3371

Dylan Carlson live at Monkeygrind Cafe, Greenwood, Seattle 30th June 2013 video

filmed by Balis Coates

It was a rare opportunity to see Dylan perform in a small, intimate setting. An early evening performance in a café called Monkey Grind in Seattle's Greenwood neighborhood. Only about 20 to 30 people in attendance!

01 07 2013
#3370

SOMA016 / Ákos Rózmann "Images of the Dream and Death" 3LP/download released 26/08/13


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I am proud to be able to release a second album set by the late Hungarian/Swedish electronics composer Ákos Rózmann on Ideologic Organ. The 4th version of his opus "Images of the Dream and Death" will be available on triple LP and download. 

This is available for preorder now at http://editionsmego.com/release/SOMA016-2 to be released 26th of August.

...an excerpt of Part I here https://soundcloud.com/editionsmego/kos-r-zmann-images-of-the

 

Ákos Rózmann

Images of the Dream and Death
SOMA016
A: Part I & Part II (attacca) 21:35
B: Part II 20:53

C: Part II (conclusion) & Part III 19:04
D: Part III 19:44

E: Part III 20:19
F: Part III (conclusion) 21:18


This recording is the 4th version of Images of the Dream and Death; revised at EMS/Elektronmusikstudion, 
Stockholm 2001 for a performance in Essen (see Mr. Lindström’s notes, above).

The 1st version was realized with Buchla synthesizer at the State Academy of Music, EMS/Elektronmusikstudion, Stockholm 
1974-77 (released on Phono Suecia as PS 27, 1986); the 3rd version in April 1990 (released on Phono Suecia as PSCD 27, 1991). 

Composed & produced by Ákos Rózmann
Vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin April 2013.

Cover painting by Ferenc Füzeskuti. Rózmann’s portrait by Per B. Adolphson.

Ideologic Organ curation and art direction by Stephen O’Malley

:::::



The first version of Bilder inför Drömmen och Döden was realized in the studios of the Royal College of Music, Stockholm and EMS (Elektronmusikstudion) 1974-77 and was premiered on 9 March 1978 at Cirkus in Stockholm. The second version was made for the first LP release in 1986 and the third version for a CD release in 1991. This edition presents Ákos Rózmann’s fourth and final version from 2001, unabridged. In 2001 he received an invitation from a festival in Essen, Germany, for a nocturnal performance of the piece in a church. He was himself in charge at the mixer at the premiere, but was very unhappy with the result. Rózmann refused to be present at his own concerts as a rule, and would rely on me to take care of the performance. 

During the 1990s, the collaboration between Ákos Rózmann and myself developed to such a degree that I was trusted with the sound diffusion of his music during performances. Whenever possible, we would work together on the loudspeaker system prior to the performance of a piece. I went to the performance in Essen in his stead and before I left, we went through the piece in detail in the studio. 

As with all Rózmann’s church concerts, bell-ringing is statutory before the start. The object is to “clean the air” in a spiritual sense before the performance. The piece would start straight after the last chime. The interval between part II and part III should be sufficiently long to provide the audience some respite from listening. The lighting should be soft and sacral throughout the piece. About three minutes from the end there is a shrill part where the instruction states that the audience should be blinded by a strong, white, frontal light. Where possible, the intensity of light should grow with the sound-volume. Both sound and light should become rather painful. The light should also be very suddenly cut off at the abrupt end. 

—Mats Lindström, Stockholm 2013 
(translation: Isabel Thomson)

:::::


The lingering feeling after hearing the works of Ákos Rózmann is the intangibility of naming what that lingering feeling is. Anyone who hears his music is moved, in as many ways possible, but why they have been moved and where to, is as difficult to put a finger on as to catch a small fleck in a bowl of water, always in sight, but forever slipping from our grasp. There is an undefinable “otherness” to his music, some might call it a strangeness, an alienness, but whatever label one chooses to apply, the actual listening to his music and the afterburn  in our memory flit between each other and clouding just what his music “is”. In many ways, i personally am reminded of a church organist i knew many years ago. I was struck by how although his work was for a great number of people, he was always alone, separate from the congregants, separated in his own world surrounded by what was in many ways the control panel of some giant airship, not unlike the image Roger Daltrey at the controls of a organ pipe powered spaceship in Lisztomania, a comparison i still am unable to shake. He worked alone, prepared alone, his concentration fully on the organization and control of the pipes which he, like the wizard behind the curtain, shook into life from the keys, stops and pedals before him. A giant sound, a small hissing, air pressure and the lack of it all under his fingertips. Despite all this power before him, his work was of a small contained world, one that despite a roar that could be heard all around him existed deeply inside him, as if what we heard was just the outer layer of what was going on inside him. This has been an abiding reference for me in listening to Rozmann’s music. That Ákos Rózmann himself dedicated his life to the church organ is not an influence that can easily be ignored. In many ways, his electronic music can be seen as his way to become even more centered in his own world view, untouched by others, even farther displaced from the ears that are blessed by his sounds. His music can be analyzed, it can be categorized, it may even be canonized, but we can never really know what goes on in the mind and soul of the organist in the balcony.

—Jim O’Rourke, Tokyo 2013

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Images of the Dream and Death / Bilder inför Drömmen och Döden

My intention in composing this work was, with the aid of sound, EMS and the studio of the State Academy of Music in Stockholm between August 1974 and June 1977, to portray Good and Evil.

I failed, however, to depict Good “idealistically”. The figures which I use here are always characteristic of deserted, anxious, weeping humanity. When I conjure forth the Good in the introduction to a piece, other “forces” soon make themselves felt. The beginning of the third movement, for example, reminds one of the sound of distant bells. These approaching impulses inspire peace and serenity, but all the alien elements which then reveal themselves stand in the way of “development”; their impact is devastating. The sound of the bells becomes muddied, it is transferred beyond recognition and finally ceases.

With my composition I seek to describe a process. The main emphasis is on the two contrary elements declaring themselves simultaneously, and on a scrutiny of the changes which occur when they interact.

First movement: “sounds” characterizing various “types” (Good and Evil) — cries, weeping, shrieks, grows, etc. — occur at random and are linked together by noise, movements, beats, etc.

Second movement: this portrays various forms of matter and various phenomena connected with our existence:

       a. Earth
       b. Water
       c. Movement-energy

The structure of movements 2 and 3 is characterized by the different blocks accompanying one another. Each block is a fully worked-out unit, the meaning of which depends on the position it occupies in the development of the composition.

Third movement: the “sound types” from movement I now constitute different groups. Among them we find blocks denoting the Good (e.g. the sound of bells) or Evil (e.g. metallic rattling, violent blows, the knocking of wood-like objects). The antitheses discernible between the musical units are a new element.

– Ákos Rózmann
(from Nutida Musik nr. 3 1977/78)

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Ákos Rózmann was born in Hungary in 1939. He studied composition and took his organist’s and composer’s diploma at the Liszt Academy in Budapest. Between 1971 and 1974 he studied composition with Ingvar Lidholm at the State Academy of Music in Stockholm. He became organist of the Catholic Cathedral in Stockholm in 1978. 
01 07 2013
#3369

Gisèle Vienne season 2013-2014 performance schedule


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