Until my next report of the concert at the Botanique Patrick Wolf:
Sunday, October 11, 2009
Car Collection Letter
Link of the Day "The boy is doing fine" Klaus Schulze & Lisa
Until my next report of the concert at the Botanique Patrick Wolf:
Until my next report of the concert at the Botanique Patrick Wolf:
Monday, October 5, 2009
Watery Cervical Mucus And Cramping
Gerrard, AB, 25 septembre 2009 (II)
(this is the sequel to this post )
I have rarely seen the Ancienne Belgique present an average age as high. A rigorous sociological study of the spectators are visible from my seat teach me that the average viewer was paunchy, wearing glasses and her hair looked with despair bleaching and / or disappear (straw, hollow, toussah).
The managers of the Ancienne Belgique familiar with their work, the room is configured for "music old "(as Lambchop, Sigur Ros, etc..), which means that two-thirds back from the pit are lined with bench seats. So much the better, the program announces first solo part for and Klaus Schulze the prospect of me lulled by its enveloping layers, prostrate snugly in a soft armchair, tempts me enough. There will always be time to prostrate myself at the feet of Queen Lisa during the second half.
When the curtain opens at 20:30, the scene has five enormous diffuser amps arranged in an arc of a circle and covered buttons to push, pull sliders, dials to turn and small lights flashing. Given the space thus defined are left and right in the middle of synthesizers and a Moog and a Mac. Amidst all this, a leather seat and sat on it, a guy with glasses, wearing ill, in jacket and shirt, thanked the public for its reception by a small wave of his hand ... (Same as what the legends can also look like sellers of household appliances.)
The large size of the whole machinery evokes a curious modern feel cheesy. Almost as if, with full consciousness of being a product of the 70s and quite confident in her status does not feel obliged to pretend to adapt technologies current, Klaus Schulze had bravely refused to replace most of his stuff at the time (except Mac). This refusal to participate in the race towards miniaturization in electronics rather nice to me.
Musically, it starts rather badly by a few voice samples that Klaus Schulze seems stacking member in common sense with the synth on its right, alternating it is unclear why the very acute and very serious. And I think an anxious that this is not because we invented a style and make records that worship is able to improvise and live
maybe an hour and a half concert would be composed of bits and pieces assembled with a trowel. Fortunately, this introduction failed only lasts a few minutes and Klaus Schulze takes place at the other end of the bunker. Immediately, it is clear that further consultation will be built and soon the music is close to what I expected: the flat sheet which follow one another like waves on a foam float which consisted of beats mid-light tempo and some lovely arpeggios. It's very nice, although one can not help thinking that compose and / or interpret these things should no longer require much effort, Klaus friend that does this only apply the techniques he introduced in the past and might as well stay at home (Klaus?) and ask a roadie to press Start at the beginning of the concert . Moreover, anecdotes, this is exactly what happened during a date in Essen in Germany a few days earlier
. KS, suffering, had been forced to stay in bed and Lisa Gerrard had assured the concert alone on stage without any problem seems to be logistical.
After a quarter of an hour, a long decrescendo in which the different layers of sound disappear one after the other seems to herald another phase of the concert, and indeed in contradiction with the official schedule, Lisa appears in a red evening gown, and took the microphone to the left of the stage.
See Lisa Gerrard singing is always an experience for me as strange: his eyes closed or turn abnormally bulging, his eyes fixed and hallucinating, his placement slight angle relative to the axis of the microphone, this surprising tic who regularly put his hand on the base of his microphone, perhaps to make sure it is always at the right distance, the slow swing from left to right her head when she wants to create a vibrato effect. Only by seeing her sing live that you understand how his art is also the result of an ongoing effort, the result of long years of work and development. Vocally speaking, Lisa appears here in full possession of his means. She found even at times some form of emergency in the voice that reminds Dead Can Dance ( Yulunga example), but those moments when she seems about to go into trance are never pushed to completion, even at the end of the song, despite accelerating tempo somewhat and increased interaction between voice and machinery. Anyway, overall I'm quite reassured ... except that once the curtain closes to the intermission, an anxiety grips me suddenly deaf. And if the official schedule (Part I: KS solo, part two, both) was simply reversed? And if Lisa never returned?
Fortunately, it is not, and if we except the fact that Lisa's dress changed from red to blue and a solo virtuoso Moog's friend Klaus in the first few minutes (which reminds those who 'Klaus Schulze have forgotten that comes when even progressive rock), the second part resembles much to the first better.
By way of summary, I would say that for the full hour and a half concert, Klaus Schulze and Lisa Gerrard sometimes give the impression that they seek, which is inevitable if, as I felt and as specialists seem to confirm, Lisa Gerrard sings really improvising and being guided by the impetus given by the music of Klaus Schulze. That said, when they are, they are good. When, during the last five to ten minutes of the second part (from here), best of any concert, Klaus and Lisa manage to marry their two sounds, blending them into one another, while taking a sense and new opportunities offered by this strange collaboration appear.
After such a moment of grace, the recall is at best anecdotal. I have also held that the sentence pronounced by Klaus Schulze fun going up on stage: "I'm going to start alone. She'll come back in a moment. She's getting air .... She's not a synthesizer you know. She's like. "which is I think it the best possible conclusion for this too long post.
For those who want a different story, you will find here chronicles the Paris concert by a friend who is above all a fan of Klaus Schulze.
(Image source here ) 
(this is the sequel to this post )
I have rarely seen the Ancienne Belgique present an average age as high. A rigorous sociological study of the spectators are visible from my seat teach me that the average viewer was paunchy, wearing glasses and her hair looked with despair bleaching and / or disappear (straw, hollow, toussah).
The managers of the Ancienne Belgique familiar with their work, the room is configured for "music old "(as Lambchop, Sigur Ros, etc..), which means that two-thirds back from the pit are lined with bench seats. So much the better, the program announces first solo part for and Klaus Schulze the prospect of me lulled by its enveloping layers, prostrate snugly in a soft armchair, tempts me enough. There will always be time to prostrate myself at the feet of Queen Lisa during the second half.
When the curtain opens at 20:30, the scene has five enormous diffuser amps arranged in an arc of a circle and covered buttons to push, pull sliders, dials to turn and small lights flashing. Given the space thus defined are left and right in the middle of synthesizers and a Moog and a Mac. Amidst all this, a leather seat and sat on it, a guy with glasses, wearing ill, in jacket and shirt, thanked the public for its reception by a small wave of his hand ... (Same as what the legends can also look like sellers of household appliances.)
The large size of the whole machinery evokes a curious modern feel cheesy. Almost as if, with full consciousness of being a product of the 70s and quite confident in her status does not feel obliged to pretend to adapt technologies current, Klaus Schulze had bravely refused to replace most of his stuff at the time (except Mac). This refusal to participate in the race towards miniaturization in electronics rather nice to me.
Musically, it starts rather badly by a few voice samples that Klaus Schulze seems stacking member in common sense with the synth on its right, alternating it is unclear why the very acute and very serious. And I think an anxious that this is not because we invented a style and make records that worship is able to improvise and live
maybe an hour and a half concert would be composed of bits and pieces assembled with a trowel. Fortunately, this introduction failed only lasts a few minutes and Klaus Schulze takes place at the other end of the bunker. Immediately, it is clear that further consultation will be built and soon the music is close to what I expected: the flat sheet which follow one another like waves on a foam float which consisted of beats mid-light tempo and some lovely arpeggios. It's very nice, although one can not help thinking that compose and / or interpret these things should no longer require much effort, Klaus friend that does this only apply the techniques he introduced in the past and might as well stay at home (Klaus?) and ask a roadie to press Start at the beginning of the concert . Moreover, anecdotes, this is exactly what happened during a date in Essen in Germany a few days earlier
. KS, suffering, had been forced to stay in bed and Lisa Gerrard had assured the concert alone on stage without any problem seems to be logistical.
After a quarter of an hour, a long decrescendo in which the different layers of sound disappear one after the other seems to herald another phase of the concert, and indeed in contradiction with the official schedule, Lisa appears in a red evening gown, and took the microphone to the left of the stage.
See Lisa Gerrard singing is always an experience for me as strange: his eyes closed or turn abnormally bulging, his eyes fixed and hallucinating, his placement slight angle relative to the axis of the microphone, this surprising tic who regularly put his hand on the base of his microphone, perhaps to make sure it is always at the right distance, the slow swing from left to right her head when she wants to create a vibrato effect. Only by seeing her sing live that you understand how his art is also the result of an ongoing effort, the result of long years of work and development. Vocally speaking, Lisa appears here in full possession of his means. She found even at times some form of emergency in the voice that reminds Dead Can Dance ( Yulunga example), but those moments when she seems about to go into trance are never pushed to completion, even at the end of the song, despite accelerating tempo somewhat and increased interaction between voice and machinery. Anyway, overall I'm quite reassured ... except that once the curtain closes to the intermission, an anxiety grips me suddenly deaf. And if the official schedule (Part I: KS solo, part two, both) was simply reversed? And if Lisa never returned?
Fortunately, it is not, and if we except the fact that Lisa's dress changed from red to blue and a solo virtuoso Moog's friend Klaus in the first few minutes (which reminds those who 'Klaus Schulze have forgotten that comes when even progressive rock), the second part resembles much to the first better.
By way of summary, I would say that for the full hour and a half concert, Klaus Schulze and Lisa Gerrard sometimes give the impression that they seek, which is inevitable if, as I felt and as specialists seem to confirm, Lisa Gerrard sings really improvising and being guided by the impetus given by the music of Klaus Schulze. That said, when they are, they are good. When, during the last five to ten minutes of the second part (from here), best of any concert, Klaus and Lisa manage to marry their two sounds, blending them into one another, while taking a sense and new opportunities offered by this strange collaboration appear.
After such a moment of grace, the recall is at best anecdotal. I have also held that the sentence pronounced by Klaus Schulze fun going up on stage: "I'm going to start alone. She'll come back in a moment. She's getting air .... She's not a synthesizer you know. She's like. "which is I think it the best possible conclusion for this too long post.
For those who want a different story, you will find here chronicles the Paris concert by a friend who is above all a fan of Klaus Schulze.
(Image source here )
Sunday, September 27, 2009
10 Mm Phosphate Buffer Calculator
Klaus Schulze & Lisa Gerrard, AB, 25 septembre 2009 (I)
In many respects this is a collaoration against nature. Synths of all Germanic coldness Klaus Schulze (I allow myself to use a cliché as trite as I know almost nothing of his works and it must be that I do illusion, especially in a paragraph of introduction) and vocalizations supra-terrestrial overflowing emotion of Lisa Gerrard should never have to meet, let alone to melt into a long-term collaboration. And yet ...
When their first album together Farscape was published in 2008, I was not sure at first what to think. After have been disappointed repeatedly during the 2000s by the artistic choices of Lisa Gerrard, I felt that sinking slowly in the anecdotal, refusing to be stuck with other than their own temperaments and no longer work with collaborators of the background which were careful not to push it to put themselves in danger, I ended up not expect much from it. Too often, Lisa chose to accompany her voice just tablecloths planouillantes without personality (of the Whale Rider Soundtrack particular) and the result was disappointing, because these webs were designed simply as a funnel that directs attention the listener to a voice, only to be well connected to anything, managed the feat of appearing trite sad. Even Lisa Gerrard has no right to proceed to freewheel and hope that I find it awesome by default (even if for the effectiveness of my argument, I pass over in silence here The Silver Tree (2006), an album who had already somewhat reconciled with his recent productions).
Knowing the reputation of Klaus Schulze as pope German synth hovering, so I was told initially that the new leadership would at least force it to adapt to abandon his strings usual to find a new way of singing, to put her voice to another artistic personality, possibly as strong and determined as his.
Listening to Farscape made me a little disillusioned. Like everyone else, Klaus Schulze has probably found initially paralyzed by the voice of Lisa Gerrard and did not dare endanger it, merely in the first five tables in a small carpet weaving arpeggios and dropping the reins to Lisa, who was probably only too happy to find his little habits. Things are just starting to become interesting in the last two tables at the end of CD2 where an early dialogue is established between the voice of Lisa Gerrard and Klaus Schulze accompaniment.
That said, the disc was already germinating a sign of a possible renewal. Indeed, the length of the pieces, twenty minutes on average, gave the singer a new freedom that it seemed not quite knowing what to do but probably had unconsciously to open new perspectives. After all, many world music (Nusrat Fateh Ali Khan for example) work on the mode of repetition until exhaustion. But it is a direction which, until now, the origins of pop-rock band Dead Can Dance had kept away. Perhaps this notion of time it would take her to rethink how she sees her singing, to find the desire to build songs and the unique ability to create and resolve tensions, a capacity that was the secret of manufacturing its production of the 80 and 90 and found in its purest form in songs like The Host of Seraphim or Cantara example.
That was my state of mind this Friday evening when, ensconced in a seat of the AB, I see the lights go out of the room (height): joy of seeing Lisa Gerrard in a room-sized, curious to see what is capable Klaus Schulze, but small hope of actually finding the exceptional intensity of my concerts by Dead Can Dance and Lisa Gerrard in the 90s. What was it? Find out by following the next episode the fabulous adventures of "Little Peter the country synths magical fairy godmother and Lisa" (tentative title). 
In many respects this is a collaoration against nature. Synths of all Germanic coldness Klaus Schulze (I allow myself to use a cliché as trite as I know almost nothing of his works and it must be that I do illusion, especially in a paragraph of introduction) and vocalizations supra-terrestrial overflowing emotion of Lisa Gerrard should never have to meet, let alone to melt into a long-term collaboration. And yet ...
When their first album together Farscape was published in 2008, I was not sure at first what to think. After have been disappointed repeatedly during the 2000s by the artistic choices of Lisa Gerrard, I felt that sinking slowly in the anecdotal, refusing to be stuck with other than their own temperaments and no longer work with collaborators of the background which were careful not to push it to put themselves in danger, I ended up not expect much from it. Too often, Lisa chose to accompany her voice just tablecloths planouillantes without personality (of the Whale Rider Soundtrack particular) and the result was disappointing, because these webs were designed simply as a funnel that directs attention the listener to a voice, only to be well connected to anything, managed the feat of appearing trite sad. Even Lisa Gerrard has no right to proceed to freewheel and hope that I find it awesome by default (even if for the effectiveness of my argument, I pass over in silence here The Silver Tree (2006), an album who had already somewhat reconciled with his recent productions).
Knowing the reputation of Klaus Schulze as pope German synth hovering, so I was told initially that the new leadership would at least force it to adapt to abandon his strings usual to find a new way of singing, to put her voice to another artistic personality, possibly as strong and determined as his.
Listening to Farscape made me a little disillusioned. Like everyone else, Klaus Schulze has probably found initially paralyzed by the voice of Lisa Gerrard and did not dare endanger it, merely in the first five tables in a small carpet weaving arpeggios and dropping the reins to Lisa, who was probably only too happy to find his little habits. Things are just starting to become interesting in the last two tables at the end of CD2 where an early dialogue is established between the voice of Lisa Gerrard and Klaus Schulze accompaniment.
That said, the disc was already germinating a sign of a possible renewal. Indeed, the length of the pieces, twenty minutes on average, gave the singer a new freedom that it seemed not quite knowing what to do but probably had unconsciously to open new perspectives. After all, many world music (Nusrat Fateh Ali Khan for example) work on the mode of repetition until exhaustion. But it is a direction which, until now, the origins of pop-rock band Dead Can Dance had kept away. Perhaps this notion of time it would take her to rethink how she sees her singing, to find the desire to build songs and the unique ability to create and resolve tensions, a capacity that was the secret of manufacturing its production of the 80 and 90 and found in its purest form in songs like The Host of Seraphim or Cantara example.
That was my state of mind this Friday evening when, ensconced in a seat of the AB, I see the lights go out of the room (height): joy of seeing Lisa Gerrard in a room-sized, curious to see what is capable Klaus Schulze, but small hope of actually finding the exceptional intensity of my concerts by Dead Can Dance and Lisa Gerrard in the 90s. What was it? Find out by following the next episode the fabulous adventures of "Little Peter the country synths magical fairy godmother and Lisa" (tentative title).
Monday, May 4, 2009
Tempat Pre Wedding Di Jakarta
Maybe I cut myself all the pleasures of life to have not to miss them ......... Not
Not perhaps
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