M.odern A.rchive of N.asheeds wrapped

airport

incarnation milk in a cookie tin saucer

Morton Feldman

My Song 4

Artist: Jimmy V x Slum
Album: Audi Coma
Format: Digital / CS
Release: Oct 15, 2021

Jimmy V is a conceptual and multimedia artist and musician originally from upstate New York. For nearly a decade Jimmy has been creating and producing experimental hip-hop/sneakergaze music under their own name. As a visual artist Jimmy works in a myriad of mediums and genres including fashion design, graphic design, sculpture, and 3D animation. V's work explores themes surrounding the commodification of Black culture, altered/future states of consciousness and much more.

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Slum is an experimental multimedia artist and musician from San Francisco, California. Starting in 2014 Slum has taken on various musical projects including the Emo/Dream Pop influenced duo, ‘Bleak Skies’, as well as various self-titled productions. Drawing from Hip Hop, Emo, Shoegaze, IDM, Noise, and Industrial, Slum’s music forcefully pushes the norm and redefines genres. Slum’s visual art includes multimedia collage work and manipulating AI software to create intricate digital landscapes. Themes throughout his music and visual art are intensely emotional and expressive; often calling on the darker side of these ideas, what can be found has equal potential for beauty. Through the sensory chaos, Slum’s world remains conceptually meta and ever-changing, challenging the limits of digital and analogue technology.

Jimmy V x Slum - FENDI KET DIZZY

"Iskra Delta mindful practice cubicle" by @umru is the latest track from @nimasizbire 's upcoming compilation "Iskra Delta: Onboarding Soundscapes" in collaboration with the International Centre of Graphic Arts (MGLC) for the 34th Ljubljana Graphic Arts Biennale out on the 20th of October.

Artwork by Dorijan Šiško

Read More: https://soulfeederweb.com/premieres/premire-umru-iskra-delta-mindful-practice-cubicle/
Nimaš Izbire: https://www.instagram.com/nimas_izbire/
Ljubljana Graphic Arts Biennale: https://34.bienale.si/en/

[Premiere] umru – Iskra Delta mindful practice cubicle

34523 (22)

Morton Feldman, For Samuel Beckett (extrait) 
Enregistré par Radio France le 20.10.2013 à la Cité de la musique 
Ensemble intercontemporain dirigé par Peter Rundel
photo DR

Morton Feldman, For Samuel Beckett

3 .WRAP THE THING UP

ギ泳.@lei
lyrics loaded
artist located <@lei> 
Producer @ayooquis
i found my lover 
but i cant love her 
two percs ill take another 
i had to dub her
im geeked im seeing colors
they switched up on me, i thought you was my brother

i walk in wit 223's yea
i walk in wit 223's yea
im throwing up 3's and they copying me
rocking all black, undercover my jeans
shawty in luv wit my face, its my genes
she tryna get up inside my jeans
i make her sing, she hitting a G note
yea i made it go
yea he be jacking my flow
like who rocking 3 y'know?
im gon aim this red beam at yo nose
dont talk to me like you dont know
i walk out the bank wit 50k right in my hand
i am the man
swear they be jacking the drip
tryna act like the know what it is
tryna act like they dont know it
extended mag and it came wit a grip
im rocking all types of bags
i walk in wit them mags
yea we outside like some bats
i know that we get them mad
im spending racks on my clothes and im getting it back

tryna see you on my bed frame
like how's your headspace
i think i need some headspace

i found my lover 
but i cant love her 
two percs ill take another 
i had to dub her
im geeked im seeing colors
they switched up on me, i thought you was my brother

Lov3r

2k3Lifestyle's Spotify

𝐥ē𝐢 - lov3rs

dog-tired

John Tilbury and Philip Thomas playing Morton Feldman's 1957 work 'Two Pianos'. From the double CD of Feldman works for multiple pianos: 'Two Pianos and other pieces 1953-1969' on Another Timbre.

Morton Feldman - Two Pianos

Fayrouz w/ Shady

GOD 27
Morton Feldman
For Bunita Marcus

Lenio Liatsou - Piano

GOD 27 - Morton Feldman - For Bunita Marcus (Lenio Liatsou, piano), excerpt

Cut The With The Cake Knife was recorded by Rose McDowall in 1988/89 following the break up of her group Strawberry Switchblade. Produced with the aid of several musicians in several studios, the album features songs written for the fabled second Strawberry Switchblade album. More importantly perhaps it showcases the honest, direct and life-affirming songs of one of the greatest unsung songwriters of the modern pop era at a tumultuous time in her career.

Tibet opens the set and could be one of the best pop songs you’ve never heard. The innate sadness of the songs’ content – the loss of a friendship, impending sorrow – is heightened to heart-melting level by McDowall’s pop nous and melodic sensibility. Choruses and hooks are everywhere on Cake Knife, from the outsider take on stadium 80s pop in Wings Of Heaven to the spiraling, ecstatic So Vicious, a glorious anthem that highlights the human fragility in McDowall’s vocal performance, an instrument that has never lost the naïve purity it first exemplified in Strawberry Switchblade’s early 80s recordings. The centerpiece of the album, the title-track, is the greatest Switchblade pop chart hit that never was. Like the veiled melancholy of her former group’s hits, Cut With The Cake Knife hints at a darkness beneath the gloss, a darkness that saw McDowall delve into more esoteric territory with her subsequent recordings and collaborations. Cut With The Cake Knife serves as the bridge between the pop music McDowall had been making with her friends Jill Bryson, Lawrence from Felt and Primal Scream to what became a more extreme, deep sound informed by neo-folk and post industrial music.

Rose McDowall’s role in the canon has always been one of an outsider. Beginning in Glasgow’s East End in the avant proto-noise group The Poems, achieving fame briefly in the 80s and then disappearing into counter-cultural folklore, the emphasis in the internet-age has been skewed towards her image and cultural significance. Unseen to many, her solo work, her groups Sorrow and Spell and her collaborations with a whole host of underground luminaries have still touched lives. As McDowall elucidates: “They're real sad songs, about real life. I've had people come up to me to say I'd connected with them and helped them. I remember a gig in America when we made a whole room cry. It was bizarre. A couple at the front of the stage started crying and then these two boys beside and  suddenly everyone was crying. And I thought, "that's power."

Night School’s issue of Cut With The Cake Knife includes unpublished photographs, extensive sleeve notes from Rose McDowall and 2 bonus tracks culled from the bootleg 7” “Don’t Fear The Reaper.”


ROSE MCDOWALL - Tibet (from Cut With The Cake Knife LSSN027)

Photo:
William Klein
New York 67th Street

Morton Feldman Only (1948)-NYC alternative version-

yalla habibi

Het Ives Ensemble speelt dit stuk op 15 november aanstaande in Felix Meritis. Meld je aan op Facebook en betaal 15 ipv 25 euro:
<a href="http://www.facebook.com/event.php?eid=175869865828822">http://www.facebook.com/event.php?eid=175869865828822</a>

Morton Feldman (1926-1987)
Piano, Violin, Viola, Cello (1987) *

Cello – Job Ter Haar
Piano – John Snijders
Viola – Ruben Sanderse
Violin – Josje Ter Haar

Opname 3 &amp; 4 februari, 1994 in Sendesaal, HR, Frankfurt, Duitsland by Udo Wüstendörfer, Hessischer Rundfunk
Hat Hut Records - hatART CD 6158

Uitverkocht 

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Morton Feldman / Piano, violin, viola, cello

L.A. to Miami

Miami, My Amy

Morton Feldman werd op 12 januari 1926 in New York City geboren. Op twaalfjarige leeftijd studeerde hij piano bij Madame Maurina-Press, zelf een leerlinge van Busoni. In 1950 vond Feldmans tot dan toe belangrijkste ontmoeting plaats, die met John Cage. Daarmee begon een artistieke vriendschap die van enorme betekenis zou zijn voor de Amerikaanse muziek in de jaren ’50. Vooral onder invloed van schilders als Mark Rothko, Philip Guston, Franz Kline, Jackson Pollock en Robert Rauschenberg kwam Feldman ertoe zijn eigen klankwereld te zoeken, een directer, lichamelijker klankwereld dan er tot dusverre bestond; maar ook een taal die betrekking heeft op het non-figuratieve, ‘naamloze’ aspect van de abstract-expressionistische beeldende kunst. Vanaf het eind van de jaren ’70 begonnen zijn composities sterk in lengte toe te nemen, zozeer dat een uitvoering van het Tweede Strijkkwartet wel vijf uur in beslag neemt. Op 3 september 1987 overleed hij, 61 jaar oud, in zijn huis in Buffalo.

Tussen 1974 en 1978 schreef Feldman een viertal werken met de even eenvoudige als  doeltreffende titel Instruments. Instruments 1 voor 5 spelers is een van de eerste werken waar de componist begint te experimenteren met fragmenten muziek die wel gecoördineerd zijn maar niet recht onder elkaar staan: op een paar plekken in de partituur hebben alle spelers verschillende maatsoorten maar komen de partijen na verloop van tijd weer recht onder elkaar te staan. Dit procedé werd later in werken als Why Patterns? (met als ondertitel Instruments 4) en Crippled Symmetry tot in het extreme uitgewerkt.Een ander kenmerk van dit werk is het gebruik van extreem hoge en lage liggingen, met name in de hobo en de trombonepartijen.

Morton Feldman / Instruments 1

Feldman’s 75-minute work dedicated to his friend John Cage was written in 1982. In this new version, Aisha Orazbayeva (violin) and Mark Knoop (piano) set out to draw the listener into the charged space between the performers.

For John Cage

Morton Feldman: For John Cage (excerpt)

[p*dis] distribution sampler for August 2012

Morton Feldman - Crippled Symmetry at June in Buffalo (frozen reeds)

Quarteto Em Cy

Zanga, Zangada

@ezekiel40

voices in my head jumpin up ^ n v down like sea saw

ezekiel - no meals

Extract from Morton Feldman's 'For Bunita Marcus' played by Philip Thomas. From a forthcoming 5-CD box set of Feldman's piano music to be released in September 2019.

extract from Morton Feldman's 'For Bunita Marcus' played by Philip Thomas

The second movement of Morton Feldman's music for the film ‘Sculpture by Lipton’ , a documentary from 1954 about the work of the sculptor Seymour Lipton to which Feldman wrote the music. The original score has not survived, but the piece was transcribed from the soundtrack by Philip Thomas, who performs it on his 5-CD box set of Feldman's piano music, which will be released in September 2019.

Morton Feldman - Lipton Piece #2, played by Philip Thomas

Morton Feldman,  "Viola in my life I" [For solo alto and five instruments]

Interlude (prod. Wifi)

Label focusing on experimental music, composed and improvised, and all shades between.

extract from Morton Feldman's 'For Bunita Marcus' played by Philip Thomas

anothertimbre