Name: Olivier Messiaen - 'Quartet for the End of Time' by Khymerikal
Duration: 46 min 3 s
Description: The recording from the Khymerikal's performance at the Servant Jazz Quarters on the 13th of August 2014.

definitely my fav piece of classical music

why are there so many people speaking in the backgroud?

Together- Matthew Halsall

Japanese voice artist Hatis Noit returns with explorative new single Fernweh as a precursor for an Erased Tapes compilation titled Music for kō coming out on April 1.

Fernweh is a hymn for imaginary travel, allowing the music to take you on a journey. This self-produced piece, sung in a universal wordless language, sees Hatis Noit transcend boundaries through eerie, atmospheric sound explorations. Its German title, meaning a longing for exploring faraway places, captures the artist’s headspace at the time of recording.

“During the third UK lockdown in early 2021 I finally challenged myself to self-produce a whole song, which I hadn’t done before. Before, I wanted to focus on just using my voice rather than making music sitting in front of a computer, but the situation of lockdown challenged me to go on this new journey. Whilst making the piece, I felt a sense of missing going on physical journeys, and that sense of wonder that comes with travelling. So the song turned out to be a collage of memories of journeys I had so far as well as imaginary journeys I might have in the future. The whole process of making this healed the painful feeling of Fernweh for me somehow, and I hope it might have the same effect on others.” — Hatis Noit

The track is the opening piece to an upcoming Erased Tapes compilation featuring Rival Consoles, Masayoshi Fujita and Daniel Thorne, originally commissioned by Folie À Plusieurs in partnership with the Noguchi Museum in New York.

Music for kō

Fernweh

Hatis Noit — Fernweh

Vincent Peirani & Ulf Wakenius - Tradizionale Svedese - live in Lampi

The recording from the Khymerikal's performance at the Servant Jazz Quarters on the 13th of August 2014. 

Olivier Messiaen - 'Quartet for the End of Time'

Jocelyn Pook - Forever Without End (Flood)

Solo Piano.  Created in Real-Time LIVE at St. Wenceslaus Church, St. Louis MO.

Year of Music: August 19, 2025

Download 'Amnesia' Here - http://t.opsp.in/e02b7

DEAD CAN DANCE
NEW ALBUM ‘ANASTASIS’ OUT 13th AUGUST
FIRST RECORD IN 16 YEARS
ROYAL ALBERT HALL 26th OCTOBER
SHOW SELLS-OUT IN UNDER 48 HOURS

Dead Can Dance will release their new album ‘Anastasis’ through [PIAS] Recordings on 13th August. Available on CD, double LP and download, the album is their first since 1996’s ‘Spiritchaser’. The band, who embark on a world tour in August, have confirmed a show at the Royal Albert Hall on 26th October. Tickets for the show sold-out within 48 hours of going onsale. 

‘Anastasis’ track listing
1. Children Of The Sun 
2. Anabasis 
3. Agape 
4. Amnesia 
5. Kiko 
6. Opium 
7. Return Of The She-King 
8. All In Good Time 

On the cover of ‘Anastasis’, Dead Can Dance’s first album in 16 years: a field of sunflowers, ripened, and then blackened, by the sun, standing with sad, slightly crowned heads. Less dead than dormant, the heads and stems will one day be chopped, but then via the roots, will return. For ‘Anastasis’ is the Greek word for ‘resurrection’ and the seemingly dead will dance again. 

“I thought ‘Anastasis’ was a good title given our reunion,” explains Brendan Perry, who, with Lisa Gerrard, formed the band in Melbourne, Australia in 1981, releasing seven studio albums, and one live album, before going their own ways after 1996’s ‘Spiritchaser’. “’Anastasis’ also means ‘in between two stages’,” he adds. “Regeneration comes with the next season.”

‘Anastasis’ is perfectly apt given how the album is an astonishing regeneration of the legendary beauty, power and spellbinding nature of the duo’s unique sound and vision. Age hasn’t withered DCD, not the passing of the years; if anything, the album sounds bolder, stronger, more confident in its vision.. 

A Greek word to represent the album is equally derived from the music’s origins. While Perry can hear echoes of DCD past, “from right across our catalogue,” he reckons the core of Anastasis can be found, “slap bang” in the near-Eastern Mediterranean, from Greece and Turkey across to North Africa. “The music I listen to and research becomes both unconsciously and consciously part of a new project, and for this album, I’ve been fascinated by the classic immutable elements of Greek culture, the depth of their music and their love for song that you don’t get as much in the west; the way they combine philosophy and love songs, and throw a bit of science in there too. I love the eastern influence that comes from being a crossroads between east and west, the kaleidoscopic mosaic of those fused cultures, while the further west you go, the more it’s a mono-cultural society.

Perry says the duo have been talking about another album since Dead Can Dance’s world tour of 2005. But that extensive tour was exhausting, and the incentive was lacking, so it was put on the backburner until calendars could again be synchronised – not so easy since Perry lives in the centre of Ireland (the land of his ancestors), where ‘Anastasis’ was recorded (at Perry’s converted church studio Quivvy) and Gerrard lives in Southern Australia. Once upon a time, they left Melbourne for London, settling many floors up in a council block on the Isle of Dogs, putting whatever pittance they had into their music. 

Signed by 4AD and releasing their first album in 1984, the duo drew rapturous reviews for albums that spanned neo-classical and folk across time and geography, each album selling to a progressively larger audience, the emotional drama of their coming to the attention of the San Francisco ballet, Hermes Perfume and a documentary on Hitler and Stalin; likewise motion pictures such as Heat, The Crossing Guard and Baraka. Gerrard developed her own solo film soundtracks - The Gladiator and The Insider, for example – while Perry worked on solo albums such as 1999’s ‘Eye Of the Hunter’ and 2008’s ‘Ark’. The pair dissolved their physical relationship in the early ‘ 90s but something keeps them together – a bond of deep friendship and musical compatibility and understanding, and so Anastasis is born, and Dead Can Dance regenerated. 


Anastasis

Dead Can Dance - Amnesia (Radio Edit)

Arvo part - Fratres for cello and piano

Nils Petter Molvær - Exhumation (remix)

thesisproject.bandcamp.com/album/thesi…artyn-heyne

Ben Lukas Boysen - editing, zen garden.
Martyn Heyne - guitar, organ.

Composed, mixed, and mastered by Martyn Heyne + Ben Lukas Boysen at Lichte Studio Berlin.
Additional engineering by Matthias H. Franz Hahn. Vinyl cut by Mike Grinser.

Thank You!
Gregory Euclide, Matthias H. Franz Hahn, everyone at Manners McDade, Erased Tapes Records & Publishing, Claudia Gödke, and Karolina Zenobia Heyne.

Dedicated to Frieda and Frau Bellmann.

Thesis 16

& Martyn Heyne - June

It’s the 88th day of the year and it’s piano day!!! 

The piano is such a dynamic and deep instrument. On one hand there seems to be no end to how far a virtuoso pianist can deepen the relationship with the instrument and on the other hand a one year old can have the most meaningful session of his or her life. We have a piano in the middle of our home and almost every day someone in the family get lost in some kind of improvisation with the instrument. Sitting by a piano and just play a few notes and feel the vibrations run thru the instrument and yourself is such a blessing, such a healing moment. I recommend everyone to spend some time with this instrument if you can, everyone can play and feel it.

This track is a special piano improvisation version of my new single "Moonwaker"  I made together with musicians from Tonhalle Orchester Zürich to honour the 88’s day of the year. 

Hope you enjoy! 
Sebastian Mullaert

"Moonwaker" (Original Mix) https://nm.lnk.to/natthall
Taken from Natthall LP - Sept 18th 2020 - Neue Meister

Olivier Messiaen - 'Quartet for the End of Time'

Khymerikal

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