What makes Music for Smalls Lighthouse so special? The album tells a story whose outlines are visible even without the accompanying text; the field recordings are location-specific, and contribute to an overall mood; the composition is tender, the playing exquisite; and there's little else to which it can be compared.
The album's source material is simple, yet ferocious. In 1800, two men named Thomas, from "the fishing port of Solva in Wales", are sent out to man the Smalls Lighthouse, "a tree-house in the middle of the ocean". But in the rapidly-beating heart of a storm, one of the Thomases slips and dies. After building a coffin for his companion, and lashing him to the lighthouse, the other Thomas begins to have some terribly distressing dreams ...
NIGHTSWIMMING : DISCOTHEQUE IN ITALY FROM THE 1960s UNTIL NOW
The project examines the history of Italian dance clubs, as asocial and anthropological phenomenon. Italy’s social, cultural and economic evolution over the last 50 years has gradually transformed the idea of fun, and with it also the spaces in which fun takes shape. Today a paradox is evident: the clubs are no longer necessarily a physical place, but are now formed of events and theme nights. The history of Italian clubs is told through interviews with architects, DJs, writers, and intellectuals, as well as period photos and a new photographic survey of what remains of today’s discotheques.
project by Giovanna Silva
music by Stra - www.radiostra.com team Alto Fragile, Chiara Carpenter, Michele Marchetti with the support of Fulvio Ferrari, Michele Lombardelli
brushing my teeth at 2 in the morning I say over my shoulder you guys you guys I’m serious what are we going to make of this mess my voice muffled with wintergreen foam what are we going to do now that it hurts when I look at those I love like you two you who have been through so much together the thick & thin the skin of it I’m proud of you both I say as the foam pinkens through my lips I’m told our blood is green but touches the world with endings my name a place where I’ve waited for collisions you guys are you listening I’m sorry for being useful only in language are you still with me I ask as I peer into the tub where I placed them gently down the two white rabbits I had found on harris st the way back from Emily’s where we watched American Dad! on her mom’s birthday her mom who would have been 56 this year we ate rocky road in bowls with blue tulips I’m too tired she said to be this happy & we laughed without moving our hands perhaps the rabbits are lovers or sisters sometimes it’s hard to tell sex from breathing earlier I had scooped them from the pavement they were crushed but only kinda one had a dented half-face the other’s back flattened like a courage sock I cradled them wetly in my sweatshirt but now the tub is a red world save for the silent island of fur flickering in my fugitive words guys just wait for me alright just wait a while longer you guys I swear I’ll take us home I’ll leave this place spotless when I’m done I say reaching back to my wisdom teeth forgetting it’s been 4 years since they were gone
Sometimes the going gets tough, it’s true. But sometimes you stumble across a melody that makes everything easy. Such is the case with the lead track off the latest EP from Finn, a Manchester DJ whose work brings together the skippy energy of UK bass music with the uptempo rush of Midwestern juke, footwork, and ghetto house.
Court métrage d'animation de Norman McLaren et de René Jodoin. Dans une sorte de jeu de mouvement, ils font virevolter des sphères blanches dans un ciel coloré en mouvance. Ces sphères s'alignent, se groupent et se multiplient, entrant parfois en collision l'une contre l'autre. Au piano, Glenn Gould exécute des extraits du « Clavecin bien tempéré » de Bach et donne au film son rythme et l'allure qui le caractérise.
On Wednesday, Jan. 3, 2018, pianist Tristan Teo — a rising star from The Juilliard School — performed pieces by Rachmaninoff and Liszt in The Greene Space at WQXR. Watch him play Rachmaninoff's Variations on a Theme by Corelli, Op. 42.
Over my head, I see the bronze butterfly, Asleep on the black trunk, Blowing like a leaf in green shadow. Down the ravine behind the empty house, The cowbells follow one another Into the distances of the afternoon. To my right, In a field of sunlight between two pines, The droppings of last year’s horses Blaze up into golden stones. I lean back, as the evening darkens and comes on. A chicken hawk floats over, looking for home. I have wasted my life.
I crawl and kneel and grub about I beg and listen for
what can go away (as easily as love)
or perish like the children running hard on oneway streets/infinity doesn't interest me
not even repetition your/my/eye- lid or the colorings of sunrise or all the sky excitement added up
is not enough
to satisfy this lusting admiration that I feel for your brown arm before it moves
MOVES CHANGES UP
the temporary sacred tales ago first bikeride round the house when you first saw a squat opossum carry babies on her back
opossum up in the persimmon tree you reeling toward that natural first absurdity with so much wonder still it shakes your voice
the temporary is the sacred takes me out
and even the stars and even the snow and even the rain do not amount to much unless these things submit to some disturbance some derangement such as when I yield myself/belonging to your unmistaken body
and let the powerful lock up the canyon/mountain peaks the hidden rivers/waterfalls the deepdown minerals/the coalfields/goldfields diamond mines close by the whoring ore hot at the center of the earth
spinning fast as numbers I cannot imagine
let the world blot obliterate remove so- called magnificence so-called almighty/fathomless and everlasting treasures/ wealth (whatever that may be)
it is this time that matters
it is this history I care about
the one we make together awkward inconsistent as a lame cat on the loose or quick as kids freed by the bell or else as strictly once as only life must mean a once upon a time
I have rejected propaganda teaching me about the beautiful the truly rare
(supposedly the soft push of the ocean at the hushpoint of the shore supposedly the soft push of the ocean at the hushpoint of the shore is beautiful for instance) but the truly rare can stay out there
I have rejected that abstraction that enormity unless I see a dog walk on the beach/ a bird seize sandflies or yourself approach me laughing out a sound to spoil the pretty picture make an uncontrolled heartbeating memory instead
I read the papers preaching on that oil and oxygen that redwoods and the evergreens that trees the waters and the atmosphere compile a final listing of the world in short supply
but all alive and all the lives persist perpetual in jeopardy persist as scarce as every one of us as difficult to find or keep as irreplaceable as frail as every one of us
and as I watch your arm/your brown arm just before it moves
Sudan Archives - Come Meh Way // Director: Eric Coleman / Asst Dir: Yusef Taiwo
Violinist and vocalist, Sudan Archives writes, plays, and produces her own music. Drawing inspiration from Sudanese fiddlers, she is self-taught on the violin, and her unique songs also fold in elements of R&B, and experimental electronic music.
Sudan Archives grew up in Cincinnati, Ohio, where she "messed around with instruments in the house" and took up violin in the fourth grade, eventually teaching herself how to play the instrument by ear. When she discovered the violin playing style of Northeast Africa, her eyes opened to the possibilities of the instrument. "The way they played it was different from classical music. I resonated with the style, and I was like, 'Maybe I can use this style with electronic music,'" she says.
This fusing of folk music and electronic production was the turning point for Sudan. "I started mixing my violin into beats,” she says, “It wasn't complicated — I'd just sing straight into the iPad." She honed her at-home style after moving to Los Angeles aged 19 to study music technology, and after a chance encounter at a Low End Theory party with Stones Throw A&R and Leaving Records owner Matthewdavid, she signed with Stones Throw. At the very start of her musical career, she's already won plaudits from the likes of the New York Times and Pitchfork, and played live at experimental festival Moogfest.
Her EP Sudan Archives is an extraordinary debut statement from a singular artist. Over six tracks, Sudan Archives layers harmonies, violin figures and ethereal vocals, grounding them all with the hip-hop beats.