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Über die Synästhesie des Raums.

Diese Ausgabe der Radioshow "Reset Black" hatte
"A Journey Into Another World" zum Thema und ging musikalisch der Frage nach, weshalb das Zerlegen des Moments hörbar, die Fröhlichkeit von Gelb spürbar, die Schwere von Schwarz erlebbar und Tragik zumeist nur ein nonverbaler, innerer Monolog ist.

Fröhliches resetten am Donnerstag, den 05. April 2018, ab 08:00 pm CET / 20.00 Uhr German time …
20:00 – 21:00
Hannah Epperson – 40 Numbers (Iris)
Nils Frahm – Momentum
Laurie Anderson & Kronos Quartet – Built You a Mountain
Anna von Hausswolff – Källans Återuppståndelse
Agnes Obel – Red Virgin Soil
Laurie Anderson & Kronos Quartet – Nothing Left but Their Names
Zola Jesus – Half Life
Armand Amar – Babel
Clint Mansell – Memories (Someone We'll Never Know)
Kat Frankie – Forgiveness
Laurie Anderson & Kronos Quartet – Riding Bicycles Through the Muddy Streets
Leonard Cohen – You Want It Darker
To Destroy a City – Narcotic Sea
21:00 – 22:00
Julianna Barwick – Pacing
Eluvium – Sleeper
Kirsty Thirsk – Bounds Of Love
Polyana Felbel – Run
Me And That Man – Ain't Much Loving
Tess Parks & Anton Newcombe – Cocaine Cat
King Dude – I Wanna Die at 69
Roky Erickson & The Black Angels – Roller Coaster
The Black Angels – Currency
Moon Duo – Cross the Way
This Will Destroy You – Serpent Mound
Startle the Heavens – In the Chambers of the Sea
Journey
Album der Sendung I
Laurie Anderson & Kronos Quartet –
Landfall

Laurieandersen

Laurie Anderson Official
Filmtipp der Sendung
Twin Peaks Staffel III – A Limited Event Series

Twinpeaks
Album der Sendung II
Anna von Hausswolff –
Dead Magic

Annavonhausw

Anna von Hausswolff Offical

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Von der Sinnlichkeit des erlegten Tages.

Diese Ausgabe der Radioshow "Reset Black" hatte
"Subway to Perdition" zum Thema und gingmusikalisch der Frage nach, warum das Sehnen nach dunklen Gassen eine animalische Sucht, der Schrei das Flackern der Straßenbeleuchtung, das einsame Ableben ein Wiegenlied, und die Transformation der Metastasen des Hashtags MeToo in den Hashtag MeatToo die einzige Währung im Pokerspiel der Nacht sind.

Fröhliches resetten am Donnerstag, den 08. März 2018, ab 08:00 pm CET / 20.00 Uhr German time …
20:00 – 21:00
Tina Louise – Tonight Is the Night
The Dale Cooper Quartet – Mon Tragique Chartreuse
The Kilimanjaro Darkjazz Ensemble – Solomon's Curse
Anders Brørby – The Unhappiest Places on Earth
Heroin And Your Veins – First Pain
Frédérick Rousseau – Suspense
Miles Davis – Generique
Sarah Vaughan – Whatever Lola Wants
Alain Goraguer – Déshominisation
Maurizio Bo – Club Ianwis
Messer Chups – Midnight Call
Eartha Kitt – I Want to Be Evil
The Ink Spots – It´s A Sin To Tel A Lie
Kristin Øhrn Dyrud – Coherence
21:00 – 22:00
Ensemble Economique – Gonna Get Right with God, Right After This Next Cigarette
Propergol – Gruesome (Chair Et Crochet) – excerpt I
Duane Eddy, His Twangy Guitar & The Rebels – Stalkin’
Henry Mancini and His Orchestra – Experiment In Terror
Cannibal Movie – Fame
Mario Salvucci – Piggy Freak
Messer Chups – Insomnia of the Mummies
Lamusa – Tourist Trap
Dolores Gray – Close Your Eyes
Julie London – Make Love to Me
Propergol – Gruesome (Chair Et Crochet) – excerpt II
Big Jay McNeely – Strip Tease Swing
Burlesque Queen – Nasty Naughty Boy
Smokey Robinson & The Miracles – Bad Girl
The Shadows – Man of Mystery
Champion Jack Dupree – Bad Whiskey and Bad Women
Shirley Bassey – Sex (Live)
Joséphine Baker – C'est Un Nid Charmont (There's A Small Hotel)
Maria Celeste – Cento Campane
Messer Chups – Das Boot
StP
Album der Sendung I
Messer Chups – Taste the Blood of Guitaracula

Messerchups

Messer Chups Official
Filmtipp der Sendung
Laurin


Laurin

Album der Sendung II
Cannibal Movie –
Avorio

Cannibalmovie

Cannibal Movie @ Bandcamp

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Wenn die Stunden Trauer tragen.

Diese Ausgabe der Radioshow "Reset Black" hatte
"The Remains of the Day" zum Thema und ging musikalisch der Frage nach, warum die Architektur des Lichts die Zeit verändern, die Gezeiten steuern und die Gedanken im Wechsel von Tag und Nacht sich verlieren lassen kann.

NEU: Fröhliches resetten am Donnerstag den 08. Februar 2018, ab 08:00 pm CET / 20.00 Uhr German time
20:00 – 21:00
GRICE – Change my World
Jade Jackson – Motorcycle
London Grammar – Wicked Game
Endless Melancholy – The Decay
LINGUA IGNOTA – Suffer Forever
Mai Mai Mai – Sette Note In Nero
Herbst9 – Blood Whisper
Rafael Anton Irisarri – Sky Burial
Atticus Ross – Panoramic (Eaten By Earth Remix)
Pawel Blaszczak – Runaway
Evil Twin – Heaven
Benjamin Shielden – Wounds
Saxon Shore – The Lame Shall Enter First
21:00 – 22:00
Eleni Karaindrou – The Poet
Sádon & Treha Sektori – Wolf's Day
NERATERRÆ – Rainroom [Rework]
Saåad – Eternal Grow
MARS – The Pyres
Herbst9 – Napissunu Mutumma
Anders Brørby – Black Room
LINGUA IGNOTA – Bad Boys
Eluvium – Calm of the Cast-Light Cloud
Zoät-Aon – Infra-Saturn
Phallus Dei – Zauberwald
Anna von Hausswolff – The Mysterious Vanishing of Electra
rmsoay
Album der Sendung I
Herbst9 –
Fragmentary

Herbst9

Herbst9 Official
Filmtipp der Sendung
Darling


Darling
Album der Sendung II
LINGUA IGNOTA – Let The Evil Of His Own Lips Cover Him

LINGUA

LINGUA IGNOTA @ Bandcamp

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Von der Poesie des Augenblicks.

Die erste Ausgabe der Radioshow "Reset Black" im neuen Jahr hatte
"The Return of Light" zum Thema und huldigte musikalisch jenem Licht, welches jeden Augenblick zum Leben erwecken, dunkle Momente erhellen und Poesie verströmen lassen kann. Ein musikalischer Hashtag, die Liebe nicht zu vergessen und dem Zauber selbiger zu erliegen.

Fröhliches resetten am Donnerstag den 11. Januar 2018, ab 08:00 pm CET / 20.00 Uhr German time ……
20:00 – 21:00
John Carpenter – The Fog Enters Town
Bliss – How Would You Like to Be Remembered?
Sádon – Shadow
Geneviéve Pasquier – Louche
Sádon & Treha Sektori – Elimination
Abul Mogard – The Sky Had Vanished
Saåad – Egregore
FOUDRE! – Still-Life
Kyle Bobby Dunn – Runge's Last Stand
Bersarin Quartett – Mehr als alles andere
Detritus – Valid
21:00 – 22:00
Max Richter – And know the place for the first time
Julia Kent – The Leopard
Agnes Obel – Close Watch
Zola Jesus – Witness
FÄR – Defeatist
Lioness – They Clip the Wings of Birds
Gram Rabbit – Devil's Playground
Legend – Amazon War
Thisquietarmy – Sacrifice
This Will Destroy You – Memory Loss
Thisquietarmy – Dogma
Joy Wants Eternity – Existences Rust
MONO – Dream Odyssey
returnoflight
Album der Sendung I
Sádon & Treha Sektori –
Symphony Of Dying

SadonTrehaSektori

Sádon & Treha Sektori @ Bandcamp
Filmtipp der Sendung
The Autopsy of Jane Doe


AutopsyJaneDoe
Album der Sendung II
Gram Rabbit –
Music to Start a Cult To

GramRabbit

Gram Rabbit @Bandcamp

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5 Questions to: Julia Kent.

Julia Kent, now located in New York but born in Vancouver, is a cello player and composer from Canada. Until now she successfully collaborated with Angela McCluskey, The Angels of Light, Antony and the Johnsons, Backworld, Black Tape For A Blue Girl, Current 93, Jarboe, Norah Jones, Rasputina, Rufus Wainwright and Ryan Adams.

Her compositions are located between the poles of music for film, rock, folk, dance and theatre, as well as experimental music.
In common with her compositions her cello playing is complex and characterized by a mystic melancholy.


JuliaKent-2
Julia Kent, Photographer: Pedro Anguil


Reset Black: Up to now you have published 6 gorgeous soloalbums. Additional there are musical collaborations with Norah Jones, Rufus Wainwright, Antony and the Johnsons, Black Tape for a Blue Girl, Current 93, Jarboe – to name but a few – up to Barbara Morgenstern, in germany still dealed as an insiders’ tip. Having just a look at these range of different musical genres, provides an insight into the challenge of your complex oevre. Are these collected experiences a personal gain for your compositions? How is the impact on your creative process?

Julia Kent: I am very grateful for having had the chance to encounter so many amazing artists, and, of course, everyone I've been lucky enough to work with has had an impact on my creative process. The artistic encounters you mention are mostly from a long time ago, and, in many cases, it was just a question of someone graciously inviting me to contribute something to their work. I feel as though I've created my own path as a solo artist, but, definitely, I have learned from everyone that I've had the privilege of encountering musically. Especially Anohni, who is such a special and beautiful being. I learned so much from having the wonderful experience of playing with her over quite a few years, both musically and personally. But, definitely, everyone I have worked with has left a trace.

Reset Black: Those who listen to the music of Julia Kent are currently a sort of witness of a musically front-line report from battlefields of emotions. And the listener is certainly ambivalent: happy on one side to be "only" the audience – willing not to get lost in such an emotional battle. On the other side desiring to be consumed by such a magical fire. The track "Lac des Arcs" from your album "Asperities" is in such a way. The question arises, what makes you feel so profoundly concerned to compose songs which do not only affect, but also transport into an expanding spehre of emotions?

Julia Kent: I think that emotion, at least in the sense of trying to address the fragility and ephemerality that is innate in being human, is always something I am trying to express, musically. And, right now, it seems as though sharing the feelings and fears that we all have is the only way we can achieve commonality. We are in an awful time in the world, on many levels. I come from Canada, but I live in America, where, right now, the country seems so divided, perhaps as it always has been: we are experiencing a poisonous time of hatred, and disregard for human values, and conflict. I hope that we still can still find some points in common. I think that emotion--something that's beyond politics or ideology--can maybe bring us together as human beings? It could be the only way we can evolve--through finding our common ground as human beings on a planet that we are increasing seeing can't host us for much longer because of our greed and thoughtlessness. Ultimately, I think we all feel the same basic emotions, even if we''re on different ends of a political spectrum. And, unfortunately, I think the final emotion we will feel, as a species, might be regret: for destroying our ability to exist on this planet, and our sense of solidarity as human beings.

Reset Black: Listening to your cello playing, it comes into one’s mind that your instrument is a weapon. A weapon to crusade mainstream, pop and fleeting "Zeitgeist“. Although – or especially because of – the cello is a vintage instrument, it unfolds a momentum which is stronger than modern techniques. How did you came about electing the cello and what does it means to you? Is the cello sense of life, statement, art or more than this? Possibly even an artistic revelation?    

Julia Kent: The cello, of course, is such a classical instrument, but there always have been composers like Arthur Russell and Tom Cora who forged ahead and turned it into an expressive and individual medium. Also cellist/composers like Ernst Reijseger and Hildur Gudnadottir and Deidre Murray and Erik Friedman, who are so inspiring in the way they approach making music that is cello-based. For me, it's the instrument that I always have played and have continued to embrace because it's my voice. I don't play the cello in any conventional or technically adept way, but I love to use it as a sound source, and to exploit its expressive capabilities. It's definitely a very direct way to express emotion; the instrument is so sensitive to that. And of course it can be a weapon, as all instruments can. I'm waiting for the musicians' revolution to happen. Music has such power to unlock feeling.

Reset Black: It took me a long tome to come to an idea how to entitle your music. There is nothing comparable, no drawer to put into. It’s not because your music is a mixture of styles or crossover but rather unique in its compexity. I would love to designate your music as "Soundtrack for Inner Space and Sense" – definitely not intended in an esoterically manner. In addition to that, you are doing compositions for film and theatre. Is this pointing your way ahead? Or do you continue as a musician without limitations and still feeling comfortable in many artistically and musically fields?

Julia Kent: That is such a beautiful way to characterize my music--thank you! I definitely think that I am trying to create music that comes from an inner space and expresses some very personal emotions. But I also love making music for film and dance and theatre; it's always inspiring to make music that is reacting to someone else's creative vision. Images or choreography or text have their own requirements in terms of accompanying them and I'm always excited to explore that. It's such an interesting way to collaborate as, in a way, you're using a different language, but working toward the same artistic end. And the idea of soundtracking can be applied in so many different contexts. In a way, we're always soundtracking our own lives.

Reset Black: Having a look at the release history since your debut "Delay“, it strikes me that a new release should come very soon. Are you currently planning something new? If so, what are the themes and is there any publication date? My very special whish: a collaboration of your gorgeous cello playing and the mystic voice of David Tibet – that would be simply delightful …   

Julia Kent: Yes! I have a new record ready to go, which I think will come out early next year, on the Leaf label. It consists of music created for dance and theatre, along with some new pieces that seemed to fit into the same sound-world. I feel as though it's more external than some of my previous records, in terms of being inspired by text- and movement-based concepts, but it also evolved quite a lot in the process of turning it into a cohesive work. There are some collaborations that I'm working on as well, including something for Gregory Euclide's amazing Thesis Project, with Sophie Hutchings. And I have a couple of film and dance projects that should be emerging over the next few months.


JuliaKent-1
Julia Kent, Photographer: PEPE fotografia


For more informations visit:
Julia Kent
Official
Julia Kent @
Facebook
Julia Kent @
Bandcamp



"Flag of No Country" from Julia Kents "Asperities" @
The Leaf Label 2015

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Von der Angst vor der Entscheidung.

Diese Ausgabe der Radioshow "Reset Black" hatte
"It’s Time to Leave Now" zum Thema und ging musikalisch der Frage nach, weshalb die Gabelung eines Weges eine Herausforderung darstellt, das Verändern der Richtung eine Konfrontation verlangt und warum die falsche Entscheidung dann eben doch die Richtige sein kann.

Fröhliches resetten am Dienstag, den 28. November 2017, ab 08:00 pm CET / 20.00 Uhr German time …
20:00 – 21:00
Brian Eno – The Plateaux of Mirror
Loscil – Drained Lake
Hans Zimmer & Benjamin Wallfisch – Wallace
Post Scriptvm – Bell Glass Dome
Zoät-Aon – Exo
Ensemble Economique – Melt into Me
Hans Zimmer & Benjamin Wallfisch – Sea Wall
Post Scriptvm – White Shamans
Desiderii Marginis – Procession
Halgrath – Genom of God
21:00 – 22:00
Zola Jesus – Ash To Bone
Cristobal Tapia De Veer – Beneath the Remains
Mary Ocher feat. Your Government – My Executioner
Wumpscut – Rise Again (Haus Arafna Remix)
Trepaneringsritualen – Maðr Malformed
Cristobal Tapia De Veer – Abyss
Bad Sector – Gifts
Cristobal Tapia De Veer – She Who Brings Gifts
Lamia Vox – At the Crossroads of the Worlds
Kreuzweg Ost – Geh mit Gott
Trepaneringsritualen – Feral Me
Genocide Organ – Denard
The Grey Wolves – A Crime to Hate
Timetoleave
Album der Sendung I
Post Scriptvm –
Grey Eminence

Postscriptvm

Post Scriptvm Official
Filmtipp der Sendung
The Girl with All the Gifts


girlwithallthgifts
Album der Sendung II
Trepaneringsritualen –
Kainskult

Trepanen

Trepaneringsritualen Official
The Girl with All the Gifts.

Melanie, hochintelligent, ist 10 Jahre alt und sitzt mit dem ganzen Körper fixiert in einem Rollstuhl. Gemeinsam mit anderen fixierten Kindern bekommt sie Unterricht. Eine Lehrerin erzählt die Geschichte der Pandora. Irgendwo im Bunker einer Militärbasis in England. Und Melanie hat Hunger, genau wie ihre Mitschüler. Hunger auf menschliches Fleisch.

Und Melanie ist besonders. Weitaus intelligenter als ihre Mitschüler. Doch noch versteht sie nicht wer und wo sie ist. Sie weiß nur das sie anders ist.

Das ist der Beginn von "The Girl with All the Gifts". Der Film spielt in einer post-apokalyptischen Zeit, in der die wenigen, übrig gebliebenen, nicht infizierten Menschen in geschützten Militärbasen um ihr Überleben kämpfen. Die Suche nach einem Impfstoff gegen Pilzsporen, welche die Menschheit in zombieneske Kreaturen, in sogenannte "Hungries", verwandelt, hat nun höchste Priorität.

Melanie und ihre Mitschüler sind die direkten Nachkommen der "Hungries" – doch sind sie zugänglicher für soziale Strukturen und emphatischer als ihre "Eltern". Sie könnten dazu beitragen, den benötigten Impfstoff herzustellen und sind daher Teil eines mörderischen Forschungsprogramms.

Die Lehrerin Helen Justineau sieht nicht nur die Gabe der Empathie bei den Kindern. Sie sieht auch nicht die Monster in ihnen. Sie sieht Kinder, die unschuldig so geboren wurden. Doch für diese Gedanken ist in der militärisch strukturierten Forschungsstation kein Platz. Dr. Caroline Caldwell, die medizinische Leiterin der Basis, ist von der Herstellung des notwendigen Impfstoffes besessen und seziert einen Probanden nach dem anderen. Bis Melanie an der Reihe ist.

Das ist der Moment in dem "The Girl with All the Gifts" vom Kammerspiel zum Roadmovie wird. Just in dem Moment, als sie nämlich zur "Behandlung" gebracht wird, wird die Basis von Heerscharen von "Hungries" überrannt. Melanie, Helen, Dr. Caldwell und weniger als eine Handvoll Elitesoldaten können fliehen. Das Ziel der Gruppe ist London. Voller Hoffnung machen sie sich auf den langen Weg.

Dezimiert kommt die Gruppe im menschenleeren London an. Alle Hoffnung ist verloren – kein "normaler" Mensch und keine Hilfe sind in Sicht. Nur eine mobile Sanitätsstation bietet die einzige Rückzugsmöglichkeit die ihnen bleibt. Und dann entdeckt die Gruppe einen gigantischen Turm, bestehend aus tausenden von "Hungries", übersät mit Abermillionen von Kapseln voller tödlichen Sporen …

Regisseur Colm McCarthy verfilmt mit "The Girl with All the Gifts" den gleichnamigen Roman von Mike Carey. Carey selbst zeichnet sich auch für das Drehbuch verantwortlich und konnte die emotionale Tiefe dieser außergewöhnlichen Geschichte noch feiner ausarbeiten. Das gesamte Schauspielerensemble – Gemma Arterton als Helen Justineau, Glenn Close als Dr. Caroline Caldwell und vor allem aber Sennia Nanua als Melanie – ist einfach nur großartig. Fein skizzierte Charaktere und eine atemberaubende Kulisse, in der die Natur sich ihren Lebensraum zurückerobert, machen "The Girl with All the Gifts" zu etwas Besonderem und Einzigartigem. Zudem ist der dazugehörige Soundtrack von Cristobal Tapia de Veer derart gut gelungen, das man gerne konstatieren darf: Diese Musik ist wie der Film, nicht von dieser Welt. Alles von "The Girl with All the Gifts" hebt sich wohltuend und überdurchschnittlich vom Einheitsbrei amerikanischer Endzeit-Blockbuster ab.

"The Girl with All the Gifts" ist also ein sehr besonderer Film. Hoch komplex, sehr poetisch, aber auch blutig, melancholisch, dystopisch und radikal. Gerade das Ende des Films, der Höhepunkt, ist eine tiefgreifende philosophische Betrachtung und eine Transformation von Schatten in Licht. Das Wechseln des Blickwinkels am Schluß ist brachial, intensiv, verstörend und doch unendlich schön. /fjs/

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THO-SO-AA – Lost In Experimental Garbage.

Unser neues Video zum Song "Lost In Experimental Garbage" von THO-SO-AA ist fertig. Wie immer: viel Spaß beim anschauen/hören.

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Termin April 2018

– 05.04.2018 –
Termin II Mai 2018

– 31.05.2018 –
Termin I Mai 2018

– 03.05.2018 –

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© by Reset Black. "Reset Black" is a Radioshow for those who enjoy sounds on the periphery of silence.