Name: SWSW | Springtime of the Soul ll | Georg Trakl translation Alexander Stillmark by welbel
Duration: 2 min 37 s
Description: Springtime of the Soul ll | Georg Trakl

Friends 'The Way'.
http://luckynumber.bandcamp.com/album/the-way

Please also check the Blood Orange Mix here: https://soundcloud.com/bloodorange/friends-the-way-blood-orange

http://www.afriendszone.com
http://www.luckynumbermusic.com

another night is another dream is another day
is another choice between the 10,000 or the way
you know light shines right through that fearful wall you put in front of me
you know both sides are just the same too full if not empty
when beauty has been named as all you want to be
ugliness is born and it's in all that you see
you're gonna break if you stand so rigidly
your greatest path to strength is that of fluidity
you tried to give away your love but they didn't want it so they didn't get it
so you hardened up your heart as if toughness is what would give it (power)
if you try to give away your love and they didn't want it they just didn't get it
now if i even touched your heart i think it would start to break in a minute
shatter!
so be wise and recognize when tides arise and flow
or you'll sink like a stone filled with the weight of "no no no no no"
i wanna see you as all, as a sage-
i wanna call to you when you have no name
(chorus)
i want a supple love ooooo
be like water love flowwww
i see you as a sage, whats above and below
don't shatter

Friends - The Way

The opening of Bea McMahon’s exhibition in CCA, BOM, on 28 March 2015 was accompanied by the performance work, 'Dogs'. This song, I Am Frame, formed part of the performance.

The works in BOM have their beginnings in the artist’s recent experience of searching for wolves in the French mountains with a camera. Although wolves are not directly represented in the exhibition, both the experience of anticipating their encounter and the mythological history of these animals serve as structuring principles for the artworks. These works include a Super 8 film that repeatedly shows a reddened human ear that appears behind a veil of long hair, a sculpture that approximates a sheep, and a series of drawings that contain the letters that constitute the line ‘DOG LOVES PATRICK’.

Like the form of an ‘epistolary’ novel – similar in this sense to Bram Stoker’s Dracula, where the reader has to determine a phantom-being through a triangulation of voices, documents and correspondences – the works in BOM are held in a chorus of apprehension and fear. The wolf lurks at the edges of the exhibition, slipping between the frames of film reel and the utterances of language. It connects a range of references – from medieval folklore (the tale that if a wolf sees you first, you lose your ability to speak; if you see it first, it loses its animal power) – through to the Irish origins of the word ‘wolf’ (mac tíre) to denote ‘the son of the land’, reflecting its feral and territorial nature.

Read more about the exhibition here: http://cca-derry-londonderry.org/bea-mcmahon-bom-2/

Bea McMahon: I Am Frame - Movie Version

Late last year my mum told me about a project she'd heard about at her work — she's a family tracing co-ordinator for the British Red Cross. The Long Road is a collaboration between musicians and refugees, who have told us their stories in their own words. In each case, the artist's task was to try and capture some of the urgency, or reality of those events and histories and put it to music. I met Ayman, who is originally from Syria, in London, and we spoke for several hours about the last few years of his life, and what it's meant for him and his family, some of whom are still living in Syria, and coping with life surrounded by an ongoing daily conflict.

In short, as the first wave of pro-democracy protests were happening in Syria in 2011, Ayman and his friends believed they had an obligation to be present, and to document the uprising as it happened. In doing so, Ayman and his friends became targets for the government, and were now hiding from the police. It's telling that under certain circumstances, picking up a digital camera can be as provocative as any weapon. Ayman was providing footage on the ground to certain global news outlets, such as Al Jazeera.

His eventual escape from Damascus, and that he found himself living alone in Glasgow without his wife and two baby boys, are stories too long and nuanced to capture here, but there were a few small personal moments from his story that have really stayed with me. Ayman's freezing on the plane at Heathrow, unable to process the idea he'd made it to safety. His boys, who remember nothing of their lives in Damascus, who now speak with Glaswegian accents. His wife, unable to process the pain of seeing images of their flat, now left in disarray by the police, their wedding albums trampled underfoot...I hope that projects like these, using the strength and power of a story sourced directly from the individual, become more common. Thanks to Ayman and his family for sharing their story with me.

Buy the EP here

A Retelling

"MUZUL" extrait du EP Sarah Maison / Sortie : 2 MARS 2018

Ecrit, composé, interprété par Sarah Maison
Arrangements : Hedi Bensalem & Sarah Maison
Mixé par Philippe Mousseigne, masterisé par Mathieu Bameulle
Photographie : Raphaël Lugassy, Artwork : Yannick Le Vaillant

Muzul

From the upcoming album of the Trio

Dominik Strycharski - Blockfute
Lukasz Kacperczyk - Modular Synth
Pawel Szpura - Drums

SWSW | Springtime of the Soul ll | Georg Trakl translation Alexander Stillmark

welbel

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