My Special Tunes

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In A Time Lapse is the representation of the bringing together all of life's experience and emotions into a single moment of time. Recorded in a remote monastery near Verona and written over a period of 2 years it is as epic and emotional as Divenire and as experimental and adventurous as Nightbook.

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In A Time Lapse

Waterways

"Let's live in an enormous world of sound we can use randomly, with no rules at all. Let's play with sound, forget all knowledge and instrumental skills, and just use instinct – the same way punk did." Yann TIersen

Dust Lane

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Islands: Essential Einaudi is the first time that all of Einaudi's best known music appears in a single collection. It’s available as both a single disc and special double disc version. Islands also includes new tracks The Earth Prelude and High Heels as well as two new remixes of Lady Labyrinth and Eros.

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Divenire

Monday

Debut album ADVENTURE :
http://smarturl.it/AdventureDeluxe

PAY NO MIND FEAT. PASSION PIT //

Pay No Mind

Madeon - Pay No Mind (ft. Passion Pit)

غريبي الاطوار هيحبوا الاغنية. حبتها؟

Free Download

Ghoraba2 Atwar

The second single taken from the new album Skyline.  Release in Europe 10/10/2011

I'm Gonna Live Anyhow

Melody gardot - because

Innovativeleisure.net

12" Available Early 2012.

Woman

Open

My cover of 'Summer 78' by Yann Tiersen from the movie Good Bye Lenin.
Played with the Nord Piano.

Yann Tiersen - Summer 78 - Cover

Talking In My Sleep

I Would Die For You

Yann Tiersen - Monochrome

Everything Is Connected: Explore the music of CLOUD ATLAS - In Theaters October 26 
http://bit.ly/Tyd7BS

From:  Cloud Atlas: Original Motion Picture Soundtrack

http://smarturl.it/Clo

The Cloud Atlas Sextet For Orchestra

Lyrics :
Ghatess bil naoum    diving into sleep
Ahlam ghami2a           deep dreams
Mannak chamem        u don t smell
Ri7t el 7ari2a                the scent of fire 
ichta3ala nar                the fire erupted
3ed el jiran                   At the neighbourghs
Ma hadan fa2              No one woke
Mahadan htam           no one cares

Hayde mich Jazira     this is not an Island
3aychin 3a safine      We re living on a boat
3am btighra2             that is sinkink

Balak fadi                    u have othing on your mind
ghafi bil fay                 sleeping under the shades
Mannak same3        U re not hearing 
Srkhet el khei            the scream of the brother

Saf2it Slah                      a load of weapons
mallet bawakher            filled ships
mar2et ghamzeh          a wink passed 
3a wej el tajer                 on the face  of the dealer

chorus 

hayda el za3im             this lord 
Ibn Za3im                      is a son of lord
3ayan wazir                   he assigned a minister
Ibn wazir                        son of a minister
twechwoch zghir          a little whisper     
A sofat harir                   on a velvet sofa
Hakem a cha3b           rules on the people
bala damir                    without conscience
ma bi sir                       it s not right


chorus

Jazira final

For more information visit: http://www.klassikakzente.de/recomposed/home 

Some works are so familiar that it is almost impossible to hear them afresh, but that is what Max Richter has achieved with Vivaldi “Recomposed”. This is no mere arrangement; instead Richter has absorbed Vivaldi’s The Four Seasons into his own musical bloodstream. At first Richter followed the example of other works in the “Recomposed” series, which re-mix existing recordings, but, he says, “I wanted to open up the score on a note-by-note level, and working with an existing recording was like digging a mineshaft through an incredibly rich seam, discovering diamonds and not being able to pull them out. That became frustrating. I wanted to get inside the score at the level of the notes and in essence re-write it, re-composing it in a literal way.”Richter calculates that, in the process, he has discarded around three-quarters of Vivaldi’s original. He opens with what he describes as “a dubby cloud which I’ve called Spring 0. It functions as a sort of prelude, setting up an electronic, ambient space for the first Spring movement to step into. I’ve used electronics in several movements, subtle, almost inaudible things to do withthe bass, but I wanted certain moments to connect to the whole electronic universe that is so much part of our musical language today.” Other resonances are no less unexpected: Richter describes part of the first movement of his Summer as “heavy music for the orchestra. It’s relentless pulsed music, which is a quality that contemporary dance music has; and perhaps I was also thinking about John Bonham’s drumming. Then, in the second movement of Autumn I asked the harpsichordist Raphael Alpermann to play in what is a rather old-fashioned way, very regularly, rather like a ticking clock. That was partly because I didn’t want the harpsichord part to be attention-seeking, but also because that style connects to various pop records from the 1970s where the harpsichord or Clavinet was featured, including various Beach Boys albums and the Beatles’ Abbey Road.” Clearly, Richter has brought his own frame of reference to the project. As he says, “Vivaldi’s music is made of regular patterns, and that connects with post-minimalism, which is one strand in the music that I write. That felt like a natural link, but even so it was surprisingly difficult to navigate my way through it. At every point I had to work out how much is Vivaldi and how much is me. It was difficult but also rewarding because the raw material is so fascinating.”Just as Richter’s Seasons plays tricks with the way we hear Vivaldi’s original, so it also asks questions of the soloist, Daniel Hope. “Violinists have Vivaldi’s The Four Seasons hardwired in their brain. Daniel is likely to play the original I don’t know how many times in a year, and for him to have my parallel text going on in another part of his brain is a challenge. I think he did a wonderful job. He brought to it a deep engagement with the original, but he was fully prepared to cut this new swathe through the text.”


Eine Klassik für Sich 2012

Summer 3 (2012)

Download

Recomposed By Max Richter: Vivaldi, The Four Seasons

Winter 1 (2012)

Official Music Video - http://youtu.be/OdZsAtDuPfQ

From the EP 'Bloodworks' - out now.

UK - https://itunes.apple.com/gb/album/blo... http://www.amazon.co.uk/Bloodworks/dp...

Rest of the world - https://itunes.apple.com/album/bloodw... http://www.amazon.com/Bloodworks/dp/B...

www.phoriamusic.com
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Music by Phoria
Produced and Mastered* by Trewin Howard
Released by Akira Records

Artwork by Jessica Truscott & Daniel Finnerty
Design by Drew Lorimer

Eskimo Music Management

*Except Red - Mastered by Alan Witts


Lyrics - 

If you hadn't asked 
Leave my answer the same 
Leo's mine 
If you hadn't asked her 
Staining my whole tongue red 

It's you I ask now 
Stirring my indulgent sentiment 
Don't, don't, fall, 
You so might as well 
Be un-done 
Lay low 
You're staining my whole tongue red 

Dying all my colours red 
How'd you get this out, she said you won't 
Fallen far a clear mile 
Bound for all the sun to spoil 

If you hadn't asked 
Made the stuff 
Made it so fine 
Leo's mine 
If you hadn't asked her 
Staining my whole tongue red 

It's you I ask now 
Stirring my indulgent sentiment 
Don't, don't, stare
You so might as well 
Be un-done 
Lay low 
You're staining my whole tongue red 

Dying all my colours red 
How'd you get this out, she said you won't 
Fallen far a clear mile 
Bound for all the sun to spoil

My Special Tunes

Nisan Ahmado