Name: Charles Bukowski reads his "Friendly Advice To A Lot Of Young Men" by brainpicker in withered and weary, (but) with eyes (most) open.
Duration: 1 min 5 s
Description: Background, poem text, and context: http://www.brainpickings.org/index.php/2013/08/09/charles-bukowski-reads-friendly-advice-to-a-lot-of-young-men/

withered and weary, (but) with eyes (most) open.

Background, poem text, and context: http://www.brainpickings.org/index.php/2013/08/09/charles-bukowski-reads-friendly-advice-to-a-lot-of-young-men/

Charles Bukowski reads his "Friendly Advice To A Lot Of Young Men"

17 songs for 17 paintings of the forest.

This is the sixth album 'The Hidden Forest' from Anoice, an instrumental music band featuring a dark and cinematic sound. Because of the effects of the spread of coronavirus, Anoice decided to cancel all upcoming tours in March last year, and after that, released new works from Anoice and the members' solo/side projects; Yuki Murata, RiLF, Films, Mizu Amane, Cru, and Tokyo Ambient Collective and took charge of soundtracks for movies and TV drama series, but have now finally completed Anoice's new album after the longest ever production period in their history.

This album 'The Hidden Forest' took inspiration from 17 paintings of the forest painted by Naoko Okada, and includes 17 songs with the same title as each of the paintings, with a total length of 72 minutes. It consists of mainly beautiful neo-classical songs played by a piano and string quartet such as the first lead single 'a perfect day for a funeral' and 'second coming', and also spectacular songs with dynamic drums like the powerful ground, such as the second lead single 'quiet wish' and 'the promised day' and sometimes quiet ambient music made of collaboration with the nature sounds such as 'into the light' and 'trickery and butterflies'. You can find similar themed melodies and patterns of the codes, with similar instrument formations through the whole album, but no two are identical, just like the leaves of trees within the forest.

In addition, one of the biggest features of this album production process is having used not only recording studios but also power of nature such as forests and rivers. You may be able to feel as though you are standing quietly in the forest via the songs with the sounds of animals such as birds, owls, insects, and flogs and the nature such as wind, water, and squeaking trees which were sometimes recorded in a foggy forest, sometimes in a dark forest in middle of the night, and sometimes in a forest where a strong wind blew.

This album with the tension in the air will be hopefully be remembered in history as one of the most beautiful dark music albums of all time.

The Hidden Forest

BandCamp

magnolia (Anoice 'The Hidden Forest')

I honestly can’t believe that summer is already over. Well, I know that technically, it ends sometime around September 22nd in the Northern Hemisphere (sorry, Australian friends), but still, today is the end of August, and somehow it feels like the last page in a chapter before we move to the next. This one felt shorter and winter is coming. Night gathers, and now my watch begins. Er… sorry, I got carried away there for a second. It’s not nearly as dark here as in the world of ice and fire, and if need a bit of daylight I can turn to Simeon Walker and his upcoming four-track EP, from which I am happy to share a track with you today, appropriately titled “Gleam”. Elegantly executed on his upright piano (recorded in his living room), this charming transitory piece says all there is to say in its brief lifespan. The EP tastefully moves on into a slightly sentimental space, where Walker intimately shares the sound of his ache perceived in silence. And in the span of all of ten minutes of its time the music’s gone, the way the summer’s gone, and all the sunshine with it. The good news here is that I can hit “repeat”. The release has been mastered by Martyn Heyne and the beautiful album artwork drawn by Gregory Euclide. This collection of pieces is the first instalment in the new series of EPs under the name Imprints, with its initial self-released volume out on October 29th, 2021.

"Imprints offered me the opportunity to return to my first love – the felted, solo piano that means so much to me […] The pieces are shorter than I have often released – quick, fleeting moments in time, yet still, I hope, intimate enough for listeners to imagine listening to me playing them in the context of my front room, where I make most of my music and where I feel most at home." — Simeon Walker

Imprints

Gleam

TRACK PREMIERE : Simeon Walker - Gleam

ترانه محلی نواحی مازندران و گیلان توسط استاد عاشورپور

Darya Toofan

Bayat Esfahan, Pt. 07_256k.mp3

Flare (2021), Yale Philharmonia under conductor Ryan Tarni Dec 9th 2021 Woolsey Hall, Yale University.

The first non-essential item I bought after arriving in New Haven for my composition studies was an anthology of poems by Mary Oliver. I had never heard of this outstanding poet before I came across her work in a bookstore in New Haven, and so I discovered her poetry in an unprejudiced and casual way. Her positive, curious, and thoughtful look at the world and life itself was like a cool mountain stream that refreshed me after this exhausting pandemic-year and the first stressful weeks in my temporary country of residence. I felt very touched by her work, and so it naturally found its way into my music, which is why I named this orchestra piece on which I was working at the time after her poem “Flare".

Flare (excerpt)
Did you know that the ant has a tongue with which to gather in all that it can
of sweetness
Did you know that?

Flare

دهه‌ی ۱۳۳۰: برنامه‌ی گل‌ها و موسیقی کوچه‌بازاری

پادکست «موسیقی ایران از گل‌ها تا انقلاب ۵۷» وقایع مهم و تأثیرگذار موسیقی ایران در سه دهه‌ی آخر دوران پهلوی را روایت و تحلیل می‌کند.

در بخش نخستِ این پادکست شکل‌گیری برنامه‌ی رادیوییِ «گل‌ها» در اوایل دهه‌ی ۱۳۳۰ خورشیدی مرور می‌شود؛ و اینکه چه کسانی در آغاز این برنامه را به راه انداختند و چهره‌های شاخص آن چه کسانی بودند و... بررسی می‌شود. و هم‌چنین موسیقی «کوچه بازاری» به عنوان یکی از پر‌مخاطب‌ترین جریانات موسیقی عامه‌پسند ایرانی را مرور می‌کنیم. جریانی که از اواخر دهه‌ی بیست شروع شد و تا زمان انقلاب محبوبیت خود را حفظ کرد.

موسیقی ایران از «گُل‌ها» تا انقلاب ۵۷ ــ  بخش اول

This is the 23rd track and a gentle and warm piano solo song featuring a nostalgic sound, included in '24 Piano Sketches' that is a new solo album from Yuki Murata, the Tokyo-based pianist/composer and member of the cinematic instrumental music band, Anoice, and its side projects, RiLF and Films.

As the name suggests, '24 Piano Sketches' includes 24 piano songs which Yuki Murata plays improvisations on her own grand and upright pianos. This long project is going to add 2 songs every month and ultimately 24 songs in one year, allowing the listeners to feel the changing of the season in real-time via the beautiful, warm, and sometimes melancholic piano sounds.

This time, she purposely selected a cassette tape recorder, a MiniDisc player, and an early generation of iPhone as the recording equipments for each song, unlike studio albums from her own bands such as Anoice. These retro and simplistic recording devices were able to capture not only a creaking noise coming from the piano and the environmental sounds outside the window, but also a noise occurred by cheap microphones, which make this album so impressive. Its nostalgic soundscape may remind her listeners of her first solo album 'Films' and second solo album 'Home'.

The photos taken by her bandmate of Anoice, Takahiro Kido, on his Polaroid camera every season, are adopted as the cover images of each single, and they will added together with the songs to the following BandCamp page every time a single is released.
https://riccolabel.bandcamp.com/album/24-piano-sketches

You should feel the changing of the seasons with the beautiful piano melodies.

24 Piano Sketches

reunion (Anoice / Yuki Murata '24 Piano Sketches')

Winter Forest.mp3

High Tide version of Not Going Back To The Harbour. Recorded exclusively for Rough Trade as part of the hand-packaged EP given away with each copy of the album that they sold.

Not Going Back To The Harbour (High Tide Version)

You Are Why I Am Invisible

Daniel Johnston - Don't Let The Sun Go Down On Your Grievances

بی بی عاروس
[بازخوانی ترانه‌ای فولکلور و قدیمی بندرعباس]

تنظیم و اجرا: گروه دینگو
شعر: بی‌بی شهری مرادی
نوازنده عود و همخوان: نوشین یوسف‌زاده
نوازنده ساز کوبه‌ای و همخوان: ملیحه شاهین‌زاده
نوازنده ساز کوبه‌ای و همخوان: فائزه محسنی

فضاسازی: بامداد امینی
نوازنده گیتار: آرش رییسی

دینگو - بی بی عاروس

Lana Del Rey - Summertime Sadness (Ryan Hemsworth Remix)

Philip Glass kreeg ik niet opgenomen met de midi, omdat het pedaalgebruik weggefilterd werd. Hier een live-opname met ouderwetse microfoons en daarmee niet het vervelende mechanische midi-geluid. 'Nadeel' is wel dat er achteraf niet meer mee te knoeien (lees: corrigeren) valt en de opname in één keer goed (genoeg) moet zijn.

I couldn't record Philip Glass with midi, because the pedal work was filtered. That's why this is a live-recording with old-fashioned microphones and with that not that annoying midi-sound. Only disadvantage is that I can't correct any disturbance; the record must be good (enough) in one take.

Charles Bukowski reads his "Friendly Advice To A Lot Of Young Men"

brainpicker

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