Rope Mojo_part2

A cover/remake of one of my favorite songs of all time. I made this as an inquiry into themes associated with my root chakra. I envisioned an empty desert at night, with me under a tree with bare branches. This image has accompanied me throughout my adolescence quite a lot, always as some sort of imaginary save haven, even though it feels like a place of great solitude. I hold a certain sense of melancholy and solitude very close to my heart, even though I can't quite put my finger on what it is exactly, there is something in those states that is incredibly dear to me. Maybe it is because in this image - alone under a tree in a desert, endless horizons, the sky always waxing and waning between twighlight and night - there is a quality of peace, and absence of hostility and danger, that enables a part of me to be and unfold itself.
At the same time - this is where the double-edged-sword-likeness of the situation lies - I'm alone. I'm by myself. There is no one around. I - the part of myself in that imagination - perceive other people as a threat. Still I long for company.
But I need to be here - this is heaven, even though it hurts.
This song is that place, that feeling, that part of me, made audible. This is what helps me connect to silence when I'm in the need of solitude. This helps me to accept that part of me, so it too may find true peace and love one day. This is what aids me in transforming the loneliness and sadness I hold. Or in relating differently to the loneliness and sadness I hold.
I sincerely hope and wish, for those of you who can relate, that this song can offer something of similar importance.
Maybe we are together in solitude. 

Hiatus [Stone in Focus Cover]

ChordJam playing Decent Sampler Felt & Fog.
Piano Motifs playing DS Flute + Violin, Poseidon’s Pull (*2) and Korg Prototype 8 (*2).
Effects TB Reverb and FAC Alteza.

#333 All at sea

Sleep

Path 17 (Before the Ending of Daylight) (Pt. 7)

Space 26 (epicardium) (Pt. 2)

Patterns (Lux) (Pt. 1)

Patterns (Lux) (Pt. 8)

Space 26 (epicardium) (Pt. 1)

Patterns (Lux) (Pt. 2)

Max Richter trained in composition and piano at Edinburgh University, at the Royal Academy of Music, and with Luciano Berio in Florence.

On completing his studies, Max co-founded the iconoclastic classical ensemble Piano Circus, where he stayed for ten years, commissioning and performing works by Arvo Pärt, Brian Eno, Philip Glass, Julia Wolfe and Steve Reich.

In the late 90s he worked with a number of electronic artists, notably Future Sound of London on their album 'Dead Cities". He subsequently collaborated with FSOL over a period of two years, also contributing to the albums "The Isness" and "The Peppermint Tree and Seeds of Superconsciousness". Max also collaborated with Mercury Prize winner Roni Size, on "In the Mode".

In June 2002, Max released his debut solo album, "memoryhouse", recorded with The BBC Philharmonic Orchestra. This was followed in March 2004 by FatCat's release of "The Blue Notebooks", with featured readings by Tilda Swinton.

In 2005 Max produced Vashti Bunyan's outstanding comeback album "Lookaftering".

2006 saw the release of "Songs From Before" based on Haruki Murakami texts read by Robert Wyatt. That same year, Max began performing "from The Art of Mirrors", an evolving score to previously unseen Super 8mm films of Derek Jarman.

Max's more recent work continues to stretch the notions of what Classical music is.  ‘24 Postcards In Full Colour’, released in August 2008, is an experimental work made up of 24 composed ringtones.

Max works widely in film music, installation and the theatre, most recently on INFRA, made with Wayne MacGregor and Julian Opie for The Royal Ballet, London. The Ballet was the subject of a BBC 'making of' documentary.

Max was named 2008 European Composer Of The Year for his score to Ari Folman's Waltz With Bashir, for which he was also nominated for the Prix France Musique.

Patterns (Lux) (Pt. 8)

max richter

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