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luís soares

Blog do escritor Luís Soares

La Capacidad

Taken from Lido Pimienta's album La Papessa

Direction: Jon Agua & Lido Pimienta

Editing:Trevor Blumas

Art Direction: Kyle Mowat & Lido Pimienta

Featured Artists: Ela Minus / Cindi Azuogu / Jasmine Gibson

Acapella with Katie Stelmanis (AUSTRA)

Helen In The Woods

'Helen In The Woods' by TORRES. New album 'Three Futures' is released 29th September:


Director/DP: Ashley Connor
Editor: Joe Stankus
Gaffer: Emmett Kerr-Perkinson and Albert Birney
Grips: Shepherd Lashley and Barham Lashley
Assistant Camera: Helen Cassell
Colorist: Nat Jencks

Shot on Kodak film.

Thank you to Goldcrest films, Panavision Atlanta, Anne Hubbell, Scott Paxton, and Alex O Eaton.

Yo La Tengo (Tiny Desk Concert)

It's not often that someone on the NPR Music team gets to see his or her favorite band perform a Tiny Desk Concert. After all, you can only have one favorite band, and NPR Music supports a staff of about 20; that means that, of the 250-plus Tiny Desk Concerts we've produced, fewer than 10 percent could possibly have qualified for favorite-band status.

All of which is to say that my favorite band, Yo La Tengo, actually played a Tiny Desk Concert. For those who aren't familiar with the Hoboken trio, Yo La Tengo's members — guitarist Ira Kaplan, drummer Georgia Hubley and bassist James McNew — have been doing their own thing (which, granted, can sometimes sound like The Velvet Underground) for more than 20 years. The band epitomizes, sheepishly, why so many were drawn to indie rock in the 1990s: the casual resolve to be yourself and let everything else sort itself out.

The Yo La Tengo sound has evolved quite a bit since Hubley and Kaplan first jammed together in 1984; the feedback has subsided as they've grown older, replaced by a more contemplative vibe. The release of the band's 13th album, Fade, earlier this year marked a natural time to invite Yo La Tengo behind Bob Boilen's desk for an acoustic set.



  • "Is That Enough"
  • "Tears Are In Your Eyes"
  • "Ohm"



Producer: Otis Hart; Editor: Denise DeBelius; Audio Engineer: Kevin Wait; Videographers: Lizzie Chen, Denise DeBelius, Gabriella Garcia-Pardo; photo by Marie McGrory/NPR


Justice release a new take on Pleasure from their latest album Woman, and with it, this magnificent video. It's wild, it's sexually explicit, it's beautiful. Directed by Alexandre Courtès of Division, whose CV includes The White Stripes' hypnotic video for Seven Nation Army and the design of Daft Punk's actual helmets, you know it's something special.


"Windows" is taken from Toro y Moi's album, "Boo Boo," out now on Carpark Records.


Shot in Toronto on an iPhone by Canadian photographer Kristie Muller











Rammy Narula is a Bangkok-based photographer with a deep passion for traveling and exploring the streets with his camera. His most recent work, Platform 10, a personal project shot on a single platform at Bangkok Central Train Station, has been published as a photo book by Peanut Press, New York. One of his photographs is also featured in 100 Great Street Photographs, a photo book published by Prestel Publishing in May 2017.

This is My Scary Robot Voice

Argus Quartet performs “This is My Scary Robot Voice” (Kerrith Livengood)


About Kerrith Livingston

I compose chamber music, vocal music, orchestral works, and electroacoustic music. I am also a flutist, drummer, vocalist and improviser, performing with many different new music and experimental music groups, such as Alia Musica Pittsburgh and with members of eighth blackbird at the Music09 and Music11 Festivals.

Between September 2010 and September 2011, I created a new piece of music every day, posting each piece online as an ongoing project called Clang Jingle Clang. Coming up with and executing new ideas in just a few hours each day helped me develop a better knowledge of myself as a composer – I became more interested in pattern variations and combinations of noisy and pitched sounds. You can learn more about Clang Jingle Clang on the Projects page.

My music uses timbrally complex and harmonically rich sounds to generate unexpected musical forms, often featuring patterns subverted by secondary musical events. Frequently, I write music which challenges normal relationships between individuals and groups, especially conductors and ensembles, as a means of exploring different possibilities for decision-making and rebellion among performers. Often this takes the form of text-based, graphic, and open form works, inspired by my participation in the experimental and improvisatory music community in Pittsburgh.

Currently I am setting four poems by contemporary poet Jennifer L. Knox for mezzo-soprano, flute, and piano. Each song has its own harmonic language, ranging from diatonic to harshly dissonant, and each features noisy nontraditional sounds that contradict or comment upon the poem’s apparent meaning.

You can find my CV here.


About the Argus Quartet

The Argus Quartet is quickly gaining a reputation as one of today's most dynamic and versatile young ensembles. Praised for their "supreme melodic control and total authority," (Calgary Herald), some of their recent and upcoming performances include appearances at Carnegie Hall's Weill Recital Hall and Zankel Hall, Roulette, the Albany Symphony's American Music Festival, Bang on a Can at the Noguchi Museum and the Hear Now Music Festival.

Argus is dedicated to reinvigorating the audience-performer relationship through innovative concerts and diverse repertoire. The quartet also believes that today’s ensembles can honor the storied chamber music traditions of our past while forging a new path forward. In that spirit, their repertoire includes not just staples of the chamber music canon but also a large number of pieces by living composers.

In the fall of 2017, the Argus Quartet will begin an appointment as the Graduate Quartet in Residence at the Juilliard School, where they will work closely with the Juilliard String Quartet - Argus will make their Lincoln Center recital debut with a performance at Alice Tully Hall in May of 2018.

An Isle Full Of Noises

An Isle Full Of Noises is a modern reimagining of Caliban's "Be not afeard" speech from The Tempest, shot with a hand-built drone lighting system designed to paint the nighttime landscape with light.

David Oyelowo (Selma, A United Kingdom) is an award-winning stage and screen actor and narrates Caliban’s speech for the film.

Jamie Whitby is a commercial filmmaker based in London whose work earned in the Best Cinematography prize at the Film London Awards.

Bicep | Vale

Taking their inspiration and distinct imagery from the iconic 1977 docudrama Pumping Iron (featuring a very young and pumped Arnold Schwarzenegger), Bicep is the musical brainchild of Belfast-raised duo Andy Ferguson and Matt McBriar. DJ'ing and collecting vinyl since their late teens, the pair's love of disco, Chicago house, Detroit techno, Italo-disco, and everything analog in between inspired them to create a music-based blog titled Feel My Bicep. Acting as an outlet for the duo's eclectic and esoteric dance music tastes, as well as showcasing personal mixes and re-edits, they moved to London and began DJ'ing around the capital. As the website grew in stature and reputation (it featured guest mixes from Simian Mobile Disco, Ben Sun, and Ooft, among many others), they began to hone their own production skills, resulting in their first 12" release on Citizen Kane's Ghost Town label (a re-edit called "Strawberry," issued in 2009).

It was their 2010 12", "Darwin," on the Rapture's co-owned label Throne of Blood that got them wider recognition. With the early support of Beats in Space host and DFA cohort Tim Sweeney, it topped the Boomkat chart and became XLR8R's most downloaded track of 2010. Bicep also released 313 on Traveller Records. This led to worldwide DJ gigs, another release on Throne of Blood -- the Silk EP -- and more remix opportunities in 2011, with the likes of Blood Orange, Tal M. Klein, Medlar, and Cosmic Kids all getting the Bicep treatment. During this same year, they started a monthly residency at Plastic People in East London. In 2012, the pair focused their affection for '90s-produced New Jersey house music on their vinyl-only 12" "$tripper" on Love Fever Records and provided well-received remixes for Blondes and Chamboche.

During the latter part of 2012, Bicep collaborated with Ejeca and Omar Odyssey for the You/Don't EP on Will Saul and Fink's Aus Records, and formed their own label, which shared the name of their blog, Feel My Bicep. The label's first release, the duo's "Vision of Love," became a club hit, and was remixed by Detroit legend Carl Craig and released as a 12" by Kevin Saunderson's KMS label. The duo also collaborated with Simian Mobile Disco for 2013's "Sacrifice," released by SMD's Delicacies imprint.

Bicep continued releasing club smashes, including "Satisfy," "D-Mil" (with Midland), and especially "Just," which was named 2015's track of the year by Mixmag and DJ Mag. They took their Feel My Bicep parties to clubs and festivals across the globe, and began performing live concerts in addition to DJ gigs, attracting huge crowds for both. In 2017, Bicep signed to Ninja Tune and geared up for the release of their long-awaited debut full-length. Simply titled Bicep, it was preceded by the singles "Glue" and "Aura," and arrived in September. ~ Aneet Nijjar