30 11 2013
#3497

Web Eye Candy Week 48


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22 11 2013
#3496

RIP Bernard Parmegiani (1927-2013)


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Sad news today from the friends at GRM, Paris. Mr. Parmegiani passed away last night. RIP.

INA GRM TRIBUTE PAGE

Raised amidst two pianos, Bernard Parmegiani grew up under the Sign of Sound, listening to the everyday scales practised by his mother, a teacher, and to the virtuoso repertoire of his step-father.
 
He was taken on as a sound man first on the radio and later on TV, which is where he conducted his first experiments with " bit twiddling" on tape. During this time he was also studying mime with Marcel Decroux and later at Jacques Lecoq's theatre school, which gave him an awareness of the plasticity of space, a lesson that he would draw on in his later compositions and in the architecture of his sound universe. 
 
Then he met Pierre Schaeffer who encouraged him to attend a training course in electro-acoustic music ( 1959) and shortly after he joined the Groupe de Recherches Musicales ( 1960), of which he was to remain a full member right up until 1992.
 
Pierre Schaeffer put Bernard Parmegiani in charge of the Music/Image unit of the ORTF's Resear'ch Departement, where he went on the compose the music for both full-length and short films made by the likes of Robert Lapoujade, Peter Foldés, Piotr Kamler, Valerian Borowczyck, Pierre Kast, 1acques Baratier et Peter Kassovitz amongst others. The proved to be a first class training ground for learning how to deal with the problems of musical form as these relate to time, and how to overcome the constraints imposed by the medium of the cinema. It was here that he learned to exercise his freedom of creation, albeit within the framework of having to respect the time for which an image was displayed on the screen and having to reflect the contents of films of which he was not the author. He also wrote the music for several jingles ( for France Inter and Roissy Airport and so ...) and others advertisements, as well as songs and music written for television, the ballet.or the theater All of this was good practice, and it later encouraged him to create pieces of music that, when the sound was heard within the context of the stage setting would become the occasion for the humorous or dramatic game.
 
In 1964, he composed Violostries , his first work for the concert hall ( music for tape and violin), first performed at the Royan Festival by the violonist Devy Erlih. 
There then followed 40 years of uninterrumpted research and musical creations built out of an ongoing fight that led him to regard bodies of sound as living bodies. He took a keen interest in those areas in which the improvisation techniques used by jazz musicians mett with electro-acoustic music, working with Jean- Louis Chautemps and Bernad Vitet along the way: Jazze; xtoday, Parmegiani's own output, primarily made up of sounds recordes on tape, includes moore than 70 pieces of concert.. 
 
His long association and familiarity with the moving image led to his developing a keen interest in video art and he made three music videos : L'œil Ecoute ( 1973), l'Ecran transparent et Jeux d'artifice ( 1979).
 
Except some mixed pièces, his work as a whole take the form of music for « fixed sound », coming within the scope of the large repertoire of electro-acoustic music.
 
Among the catalogue of works by Bernard Parmegiani works for concert) , some of the titles testify more particularly to his musical path : Violostries (1965), Capture éphémère (1968), l'Enfer,  after  The Divine Comedy from Dante (1972), Pour en finir avec le pouvoir  d'Orphée (1971-1972), De natura sonorum (1974-1975), La création du monde (1982-1984) , cycle Plain temps ( 1991-1993), Sonare (1996), La Mémoire des sons (2000-2001), Espèces d'espace (2002-2003) Au gré du souffle s'envole le son ( 2006)
 
::::
 
En 1960 Bernard Parmegiani, alors Ingénieur du son à la Télévision française, rencontre Pierre Schaeffer qui peu de temps après lui propose la même fonction au Groupe de Recherches Musicales.  Il y assiste alors Y. Xenakis, L. Ferrari, F.B. Mâche. 

P. Schaeffer l’incite alors à suivre le stage durant trois années à la suite desquelles il sera accepté comme « Chargé de Recherches ».
Par ailleurs, P. Schaeffer lui confie la réalisation d’une musique de film, ce qui lui permettra d’expérimenter certains procédés de composition.
Il devient alors responsable du secteur des Musiques d’Application.

En 1962, il participe au «Concert collectif qui allait ainsi réunir 11 Compositeurs du GRM. Ce concert eut lieu en Mars 1962. Devy Erlih, violoniste, ayant assisté à ce concert lui propose la composition d’une pièce dite « mixte » : violon   bande. Ce fût «Violostries » créée en 1964.

Ce fut aussi le réel point de départ de sa carrière qui réunit 78 opus auxquels s’ajouteront 27 musiques de films, 14 musiques pour chorégraphies, 12 musiques de scène, 12 Indicatifs Radio, 33 musiques pour la Télévision films/émissions dramatiques/documentaires, Sonal: Aéroport-Roissy, Musée Grévin : Palais des mirages, Mimes : « La cage de verre » film de Delouche avec M.Marceau, Gilles Ségal, Jacques Lecoq dont B.P. fût l’élève durant 3 ans (1957-60).

Il quitte le GRM en 1992 et crée son propre studio « Fabriquasons » 

Récompenses reçues

Grand Prix du disque 1979
Grand Prix des Compositeurs de la SACEM 1981 — 5ème Victoires de la musique 1989
Prix Magisterium Concours International de Bourges 1991
Chevalier de l’ordre du mérite 1991
Prix « Golden Nica » de Ars Electronica de LINZ 1993
« Coup de Coeur» Académie Charles Cros pour Portrait Polychrome CDMC/INA GRM 2003
Prix du Président de la République de l’Académie Charles Cros pour le coffret CD comportant une grande partie de son oeuvre 2008.
 
 
video: Bernard Parmegiani "L'Ecran transparent/The Transparent Screen" (1973)
 
 
 
20 11 2013
#3494

Sewer Savages

hahahahah!

18 11 2013
#3493

Velvet SUNN O))) sighting


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RIP LOU

18 11 2013
#3492

Intervista a Stephen O’Malley: ossessionato dal suono

 

from: http://carnagenews.com/intervista-a-stephen-omalley-ossessionato-dal-suono/ 

 

Tra fusi orari, problemi di linea e segreterie telefoniche stregate, Carnage News incontra Stephen O'Malley per un'intervista telefonica poco ortodossa, ma ricca di spunti, per parlare del progetto ÄÄNIPÄÄ e del suo disco Through a Pre-Memory.

Ciao Stephen. E' un piacere sentirti, finalmente. Come stai?
Ciao Riccardo. Molto Bene. E tu? Ma cosa ti è successo al telefono?

Mi da' il blocco delle chiamate estere. Problemi di roaming. Devo andare da dei tecnici. Che ne so!? Ma insomma, cominciamo?
Certo. 

Allora, ti chiedo subito come è iniziata la tua collaborazione con Mika Vainio per questo progetto Through a Pre-Memory?
Col gruppo Sunn O))) suonavamo al festival What Is Music? in Australia e lì abbiamo conosciuto iPan Sonic, in cui Mika suonava. Successivamente, nel 2008, collaborammo per una cover dei Suicide insieme. Ci siamo tenuti in contatto e abbiamo deciso di iniziare questo progetto assieme. È stato complesso da portare avanti. Non volevamo che fosse una sorta di improvvisazione, e quindi per due anni ci siamo dedicati alla composizione del disco. Lo abbiamo registrato a Berlino e poi remixato a Seattle dal bravissimo sound engineer Randall Dunn, che conosce la mia estetica e i suoni a cui voglio arrivare.

Ecco, proprio collegato a questo, avete registrato a Berlino nello studio degliEinstürzende Neubauten remixato a Seattle. Due continenti, due culture, due scene musicali diverse. Il risultato? È stato difficile unire due atmosfere diverse?
Guarda, non credo che Berlino possa essere considerata come una "monocultura". Ci trovi molte culture, molte scene e molte differenze. Per esempio, a Berlino ci siamo trovati a registrare più in un laboratorio: le dimensioni sono piccole, ma l'attrezzatura è veramente vasta, frutto della continua ricerca degli Einstürzende Neubauten, un gruppo che ha continuamente accumulato materiali. L'esperienza di Seattle è stata qualcosa di diverso. Lo studio ha difatti un banco analogico e Mika non ne aveva mai utilizzato uno. Ha sempre lavorato su attrezzatura digitale. Quindi è stata anche lì una nuova esperienza. Le nostre differenze si sono si sono scontrate e siamo stati molto tempo a cercare il suono giusto per questo lavoro. 

Avevo letto un'intervista a Mika in cui affermava che il ruolo del musicista non è tanto quella di scrivere musica, melodie, quanto piuttosto di generare un suono. Ti trovi d'accordo? Ti senti un musicista secondo la definizione di Mika? Ti sei trovato bene a lavorare con lui?
Certo. Trovo che sia proprio così. Collaborare ad un disco è anche incontrarsi, cercare un determinato suono, come la ricerca della sorgente, dell'essenza, capisci? È assolutamente così, ed è proprio questo che permette di avvicinare i musicisti: una ricerca sonora ed interiore, che non è tanto personale, quanto estetica. Mika è una persona molto seria ed intelligente. Con lui mi sono trovato motlto bene a lavorare con lui.

Ecco, la scelta di un ensemble all'interno del disco è stata pianificata prima delle registrazioni o è stata un'idea durante la composizione del disco?
È stata una scelta fatta durante le sessioni. Avevamo il bisogno di cercare un determinato tipo di suono e quindi ecco come si spiega questo tipo di collaborazione. 

Il nome ÅÅNIPÅÅ cosa significa? 
Beh, Mika mi ha detto che significa la registrazione e il feedback del nastro (Tape Machine), ma l'altro significato vernacolare, di cui lui non mi aveva parlato, significa "ossessionato dal suono", ossessionato dalla ricerca del suono.

Beh, calza proprio! Che dire? Ti ringrazio molto per la tua disponibilità.
Grazie a voi. Apprezzo molto questo tipo di collaborazioni. 

A presto. Ciao
Ciao

Riccardo Gorone

 

 

18 11 2013
#3491

ULVER with MG_INC Orchestra - Messe I.X-VI.X (Part 3)

Live@Teatro Regio, Parma, Italy 16-11-2013

18 11 2013
#3490

SUNN O))) & ULVER "Terrestrials" press release


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SUNN O))) & ULVER JOIN FORCES IN A NEW COLLABORATIVE WORK ENTITLED TERRESTRIALS,  DUE FOR RELEASE ON SOUTHERN LORD IN FEBRUARY 2014
 
SUNN O)))'s most recent studio album, 2009's Monoliths and Dimensions, and ULVER's 2013 album, Messe I.X-VI.X, found both evolving and longstanding groups venturing into the world of acoustic arrangement and contemporary orchestration. Besides arriving at this seeming parallel in vision, the pair's long standing camaraderie was initiated during SUNN O)))'s 2003's White1 sessions with the track "CutWOODED" which was produced by ULVER, in tribute to the deceased film director Ed Wood.
 
ULVER's decision to emerge from the shadows into live performance, in 2009, unveiled a new facet of showmanship, presentation and the grandiose which took their audiences to an unforeseen level. SUNN O)))'s presence has always been felt, whether in the prospect of their hundreds of legendary live concerts, the reissue of out of print albums in devotion to their loyal fanbase, or the recent unveiling of their new website - and the anticipation of something new was heightened beyond belief recently when the label posted online the words, "SUNN O))) & ULVER 2014".
 
Yes. At long last they have come together for a more developed collaborative work.
 
Today it comes with great pleasure to confirm that these words, SUNN O))) and Ulver, together, represent an astonishing yet somehow totally tenable matrimony of these two earthshakingly powerful forces, coming together like tectonic plates.
 
The result of this union is a three-track recording entitled Terrestrials; three movements which are fluid like the flow of magma beneath the Earth's crust, sonically uninhibited, unpredictably cosmic, haunting and stirring yet simultaneously ceremonious and beautiful.
 
Southern Lord shall release Terrestrials in February 2014.
 
Over the course of the next month we shall be revealing the story of how this alliance and recording came to be, revealing the insight of the musicians involved, attempting to answer some of the burning questions which we have, for now, left hanging in the air.
 
18 11 2013
#3489

Alain Robbe-Grillet DVD boxed set released this month on Carotta films


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http://www.carlottavod.com/film-768-coffret-alain-robbe-grillet.html

9 œuvres réalisées par Alain Robbe-Grillet, le pape du Nouveau Roman. À la fois auteur et cinéaste, Alain Robbe-Grillet réinterprète la grammaire cinématographique et met en scène un univers sadomasochiste, hanté par le mystère et les faux-semblants. Proche de l’onirisme de Jean Cocteau ou de David Lynch, ces huit récits cinématographiques réunissent certains des plus grands acteurs français (Jean-Louis Trintignant, Marie-France Pisier, Philippe Noiret ou encore Arielle Dombasle). Disponible pour la première fois en Coffret Collector 9 DVD, redécouvrez une œuvre fantasmatique et sulfureuse, aussi fascinante que troublante, toute entière livrée aux puissances du cinéma.

Voir les fiches des films :

L'IMMORTELLE
TRANS-EUROP-EXPRESS
L’HOMME QUI MENT 
L’ÉDEN ET APRÈS N. A PRIS LES DÉS…
GLISSEMENTS PROGRESSIFS DU PLAISIR 
LE JEU AVEC LE FEU
LA BELLE CAPTIVE
C’EST GRADIVA QUI VOUS APPELLE

Considéré comme le pape du Nouveau roman, mouvement fondateur dont il fut à l’origine, Alain Robbe-Grillet est l’un des plus brillants esprits littéraires du XXe siècle. Son oeuvre avant-gardiste et provocante fait encore référence dans le monde entier. En 1961, Robbe-Grillet devient auteur de cinéma en signant le scénario du chef-d’oeuvre d’Alain Resnais, L’Année dernière à Marienbad (Lion d’or). S’ensuit une carrière cinématographique iconoclaste où Robbe- Grillet, à la fois auteur et cinéaste, livre des films novateurs et sulfureux mettant en scène un univers sadomasochiste, fantasmatique, hanté par le mystère et les faux-semblants. Plastiquement somptueux, proches de l’onirisme d’un Cocteau ou d’un Lynch, ces « récits cinématographiques » sont autant de questionnements sur les zones obscures de l’esprit et les pulsions de l’âme humaine. Réunissant certains des plus grands acteurs français (Jean-Louis Trintignant, Arielle Dombasle, Marie-France Pisier, Philippe Noiret), ces oeuvres rares composent une somme aussi fascinante que troublante, toute entière livrée aux puissances du cinéma.

Sortie le 6 novembre 2013

9 DVD – NOUVEAUX MASTERS RESTAURÉS
Versions Françaises
Formats 1.33, 1.66, 1.85 et 2.35 respectés
4/3 et 16/9 compatible 4/3 – Noir & Blanc et Couleurs
Durée des Films : 97 mn – 91 mn – 93 mn – 94 mn – 76 mn – 102 mn – 108 mn – 85 mn – 114 mn

DVD 1 : L'IMMORTELLE

. PRÉFACE DE CATHERINE ROBBE-GRILLET
. ENTRETIEN AVEC ALAIN ROBBE-GRILLET PAR FRÉDÉRIC 
  TADDEÏ (33 mn)
. BANDE-ANNONCE

DVD 2 : TRANS-EUROP-EXPRESS

. PRÉFACE DE CATHERINE ROBBE-GRILLET
. ENTRETIEN AVEC ALAIN ROBBE-GRILLET PAR FRÉDÉRIC 
  TADDEÏ (31 mn)
. BANDE-ANNONCE

DVD 3 : L'HOMME QUI MENT

. PRÉFACE DE CATHERINE ROBBE-GRILLET
. ENTRETIEN AVEC ALAIN ROBBE-GRILLET PAR FRÉDÉRIC 
  TADDEÏ (34 mn)
. BANDE-ANNONCE

DVD 4+5 : L'EDEN ET APRÈS

. PRÉFACE DE CATHERINE ROBBE-GRILLET
. ENTRETIEN AVEC ALAIN ROBBE-GRILLET PAR FRÉDÉRIC 
  TADDEÏ (31 mn)
. BANDE-ANNONCE
. N. A PRIS LES DÉS… (1972 – Couleurs – 76 mn)

DVD 6 : GLISSEMENTS PROGRESSIFS DU PLAISIR

. PRÉFACE DE CATHERINE ROBBE-GRILLET
. ENTRETIEN AVEC ALAIN ROBBE-GRILLET PAR FRÉDÉRIC 
  TADDEÏ (31 mn)

DVD 7 : LE JEU AVEC LE FEU

. PRÉFACE DE CATHERINE ROBBE-GRILLET
. ENTRETIEN AVEC ALAIN ROBBE-GRILLET PAR FRÉDÉRIC 
  TADDEÏ (34 mn)

DVD 8 : LA BELLE CAPTIVE

. PRÉFACE DE CATHERINE ROBBE-GRILLET
. ENTRETIEN AVEC ALAIN ROBBE-GRILLET PAR FRÉDÉRIC 
  TADDEÏ (31 mn)

DVD 9 : C'EST GRADIVA QUI VOUS APPELLE

. PRÉFACE DE CATHERINE ROBBE-GRILLET
. BANDE-ANNONCE

INCLUS

. UN LIVRE SOMME DE 132 PAGES « ALAIN ROBBE-GRILLET, LE 
  VOYAGEUR DU NOUVEAU ROMAN » (CHRONOLOGIE 
  ILLUSTRÉE 1922-2008) 
. LA REPRODUCTION DU LIVRET « TRANSES » ISSU DU FILM 
  "TRANS-EUROP-EXPRESS"

17 11 2013
#3488

RIP Marianne Séjourné aka LSK


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Sad news learned today.

Our friend Marianne Séjourné (aka LSK,Hellsukkubus) passed away October 23 2013 at the age of 36.

Marianne was an inspired and relentless musician, and served as the bassist for several French black metal bands (HELL MILITIA, ANTAEUS, SECRETS OF THE MOON and VORKREIST among them) during her time on this plane of existence.

Marianne Séjourné was a prominent female musician in the French and European black and extreme metal scene. An incredible and heartbreaking loss, Marianne was a inspiration for all metal musicians, male and female alike. On a personal level, we had an adventure driving back to Paris in the middle of the night from 2010 Roadburn festival, escaping the hundreds of bearded, longhaired Eyjafjallajökull refugees in Tilburg. She was a brilliant and talented woman with an unpredictable, unhinged and severe edge.

Rest in peace, you were far too young to pass.
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