Name: Jason Corbett Interview by KMags
Duration: 1 h 17 min 39 s
Description: Sounds and Shadows podcast featuring special Guest Jason Corbett of the band Actors and Jackknife Studios

I absolutely love ACTORS!! As a band and humans I was honored to meet. There is not one song that isn't perfect! Every element is on point! Lyrics, music, mood! They are a daily listen for me 💜

Co Produced  by John Pennington (New Order, Happy Mondays)
Mastered by Simon Scott (Slowdive)

Cave in the Hills

Felt like I should share this one. So...
Also made a cheap video for my small channel. Subs are nice tho. 

https://www.youtube.com/watch?v=8vGRP2Eqd3M&t=66s

All That Conspires

Pour Heart, Pour Soul

Bandcamp Apparently???

This is the unmastered version......but it's done.

.....after nearly 20 years......it's finally done......

FALL Full Album Version

Reprodestruxión
 38 seguidores38
 19 pistas19
beats, treatments, faux guitars, loops: Reprodestruxion
vox: René Moncayo
Tema original: By This River, Brian Eno
from the album Before and After Science

Beats al lado del río

Sounds and Shadows podcast featuring special Guest Jason Corbett of the band Actors and Jackknife Studios

Podcast

Jason Corbett Interview

#GrimesArtKit

Remix by BARA HARI (Samantha Franco)
Final mix and master by Ian Flux.

I do not own the rights to this song.
All rights property of Grimes and 4AD

https://www.grimesmusic.com/

Grimes - You'll Miss Me When I'm Not Around (BARA HARI Remix)

https://www.penguinrandomhouseaudio.com/book/108335/a-feast-for-crows/

Written by George R. R. Martin, narrated by Roy Dotrice

Few books have captivated the imagination and won the devotion and praise of readers and critics everywhere as has George R. R. Martin’s monumental epic cycle of high fantasy that began with A Game of Thrones. Now, in A Feast for Crows, Martin delivers the long-awaited fourth book of his landmark series, as a kingdom torn asunder finds itself at last on the brink of peace . . . only to be launched on an even more terrifying course of destruction.

A Feast for Crows

It seems too good to be true. After centuries of bitter strife and fatal treachery, the seven powers dividing the land have decimated one another into an uneasy truce. Or so it appears. . . . With the death of the monstrous King Joffrey, Cersei is ruling as regent in King’s Landing. Robb Stark’s demise has broken the back of the Northern rebels, and his siblings are scattered throughout the kingdom like seeds on barren soil. Few legitimate claims to the once desperately sought Iron Throne still exist—or they are held in hands too weak or too distant to wield them effectively. The war, which raged out of control for so long, has burned itself out.

But as in the aftermath of any climactic struggle, it is not long before the survivors, outlaws, renegades, and carrion eaters start to gather, picking over the bones of the dead and fighting for the spoils of the soon-to-be dead. Now in the Seven Kingdoms, as the human crows assemble over a banquet of ashes, daring new plots and dangerous new alliances are formed, while surprising faces—some familiar, others only just appearing—are seen emerging from an ominous twilight of past struggles and chaos to take up the challenges ahead.

It is a time when the wise and the ambitious, the deceitful and the strong will acquire the skills, the power, and the magic to survive the stark and terrible times that lie before them. It is a time for nobles and commoners, soldiers and sorcerers, assassins and sages to come together and stake their fortunes . . . and their lives. For at a feast for crows, many are the guests—but only a few are the survivors.

Audiobook Excerpt: The Fate of Riverrun from 'A Feast For Crows'

Podcast Interview with Jean-Marc Ledderman about his new album "Letters to Gods and Fallen Angels". This is an amazing concept album packed with talent. We discuss his incredible career in music and his artistic adventures.

Jean Marc Lederman Interview

This stereo sound collage is a tribute to the spirit of late 70s/early 80s independent music, a period latterly referred to as post-punk. It sews together edits made from the albums of about 30 different bands. It is an entirely personal selection and not in any way representative of the time, just my experience of it, and some of my favourite moments. 

It should be listened to via a decent amp and speaker set up or good headphones - not computer speakers or smartphone, as much detail and subtlety will be lost. The piece is freely downloadable to transfer to suitable listening media.

Many of the fragments are merely a second or two long, but the identity that runs through the music, like the colour through a stick of Brighton Rock, is indelibly strong and is an immediate memory trigger, re-firing those synaptic leaps, bringing you back to the original context. The time travel element is strong, but great strength of this music is that it travels so well across time - it is both of its time and beyond it; still sounding fresh and vital. 

This was a time, in the wake of punk’s short-lived initial burst and eventual burn out, when bands were being more exploratory within conventional musical forms, breaking the format down and re-assembling it, often healthily cross-fertilizing genres such as funk, jazz, dub reggae, disco, krautrock, improvisation and non-Western musics. Forty years on, I continue to draw considerable satisfaction from it. Its currency remains strong.

It was music untethered to conventional musical skills, where only the most rudimentary understanding of musical structures was sufficient to make music. Now it was approached laterally, with intelligence and imagination in place of ‘chops’. That said, certain musicians from this time had considerable chops, but the spirit of the time was about stretching the form. Even if you didn’t have traditional instruments, you could find sonically rich material in scrapyards and docklands in the death throes of their associated industries. And you didn’t need a state-of-the-art recording studio.

This music was both a response to prevailing conditions as well as something facilitated by them, in the sense that, unlike now, people had more time on their hands by subsisting on the dole, living in squats and being in receipt of local authority third level grants. The conditions, though difficult on many levels, were ripe for experimentation.

I was a teenager at this time and this music made a huge and lasting impression on me. The DIY ethos was incredibly refreshing and the sense of possibility felt wide open. The music was rich and atmospheric, often like film soundtracks. Whole worlds opened up that you could lose yourself in. It created a fertile head space for making art. Some of the lyric writing drew from other parts of the culture: literature, film, art, and formed a gateway to further exploration. 

Unlike now, access to information was scarce - there were music weeklies such as the NME, Melody Maker, Sounds and (in Ireland) Hot Press. Then there was the proliferation of cheap home made fanzines thanks to the photocopier - Vox being a particularly good Irish example. John Peel’s radio programme was a complete anomaly for the BBC at the time, and a vital conduit into the scene which Peel was hugely supportive of. 

The tribute title, taken from the Gang Of Four’s song Ether, was chosen for its critique of consumerism’s empty promises at a time when the future it proposed was slowly being dismantled and we were being sold short. Now there is the hauntological dimension of this disinterring of musical history, and the idea of ‘cancelled futures’ - a lively area of study in recent years thanks to the work of Mark Fisher and others, drawing from the original ideas of Jacques Derrida.

Dirt Behind The Daydream

In this first episode of REEL TALK, co-hosts Ilker Yucel and John Galope watch the influential science fiction cult classic, Blade Runner.
Originally released in 1982, the movie stars Harrison Ford, Rutger Hauer, and Sean Young; director Ridley Scott oversaw the assembly of "The Final Cut" of the movie, released in 2007.
As Ilker's favorite movie of all time, we felt it an appropriate choice to begin the first season of our show. Recorded on September 11, 2020. We hope you enjoy it!

Jason Corbett Interview

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