So many interesting visuals, wish I could understand it.
Fun music, with killer bass & guitar solos.
“Grammy and Academy award winning composer, A. R. Rahman performed with, and was paid tribute to, by Berklee College of Music at Symphony Hall, Boston, on October 24, 2014. The repertoire for the concert spanned Mr. Rahman’s illustrious discography of over 25 years. We are delighted to release all 16 pieces presented at the concert featuring 109 performers from 32 countries representing The Berklee Indian Ensemble, The Berklee World String Ensemble, and Boston University’s Indian dance troupe, BU Bhangra.”
Love the mood here.
“Like their previous work, Bohren & der Club of Gore’s eighth album folds in lounge jazz, dark ambience, the languorous adagios of classical-music requiem, and the saturated romance of Italian film soundtracks. But while the German band’s earliest recordings were chilly and even brittle, Piano Nights is luxurious in its warmth.”
New work by one of my favorites. More info here.
“The underground has historically been a place where artists and musicians hone their craft before emerging onto the mainstream, however in today’s age, where the term Hip-Hop can mean a variety of things to a variety of people, it has become a subgenre of its own, a place some artists choose not to leave… But rather remain, perfecting their craft forever.
Yugen Blakrok has been on the South African Hip-Hop scene for the last decade or so. Originally hailing from the Eastern Cape, and after featuring on various projects throughout SA, she began rocking mics in Johannesburg in 2007 in a crew called Recess Poetry, which quickly gained a strong following throughout JHB…”
Splendor & Misery is an Afrofuturist, dystopian concept album that follows the sole survivor of a slave uprising on an interstellar cargo ship, and the onboard computer that falls in love with him. Thinking he is alone and lost in space, the character discovers music in the ship’s shuddering hull and chirping instrument panels. William and Jonathan’s tracks draw an imaginary sonic map of the ship’s decks, hallways, and quarters, while Daveed’s lyrics ride the rhythms produced by its engines and machinery. In a reversal of H.P. Lovecraft’s concept of cosmic insignificance, the character finds relief in learning that humanity is of no consequence to the vast, uncaring universe. It turns out, pulling the rug out from under anthropocentrism is only horrifying to those who thought they were the center of everything to begin with. Ultimately, the character decides to pilot his ship into the unknown—and possibly into oblivion—instead of continuing on to worlds whose systems of governance and economy have violently oppressed him.