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luís soares

Blog do escritor Luís Soares

Music For Smalls Lighthouse

From BandCamp:

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

NIGHTSWIMMING from Giovanna Silva on Vimeo.

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

www.nightswimming.it

Ocean Vuong - You Guys

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 A Little Tough

From Pitchfork:

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.

Sphères

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.

Opus 42

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.

More at: www.wqxr.org/middaymasterpieces

 

WQXR's Midday Masterpieces

Host: Elliott Forrest
Producers: Eileen Delahunty, Aaron Dalton & Christine Herskovits
Audio Engineer: Chase Culpon
Video Producer: Marika Hacking & Kim Nowacki

James Wright - Lying in a Hammock at William Duffy’s Farm in Pine Island, Minnesota

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.

Nocturne

Composer and pianist Dobrinka Tabakova performs her own compostion Nocturne.
Dobrinka Tabakova is a Bulgarian born composer living in London. She composed this piece at the age of 15 in 1998

 

Broadcast november 26th 2017 NPO1 / more music: https://www.vpro.nl/vrijegeluiden

This video was recorded in TivoliVredenburg for VPRO Vrije Geluiden: music program made by the Dutch public broadcast organization VPRO

June Jordan - On a New Year's Eve

Infinity doesn't interest me

not altogether
anymore

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 anymore

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

I know

all things are dear
that disappear

all things are dear
that disappear 

Come Meh Way

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.