btocher on … a certain slant of l… on r.i.p.MICK KARN ～メモリーを闊歩する天賦の芸… ヨシYoshi Maeyama (@yo… on 黒海諸国のポリフォニー－鳥、川、故郷 チェルノブイリの荒廃 ヨシYoshi Maeyama (@yo… on 黒海諸国のポリフォニー－鳥、川、故郷 チェルノブイリの荒廃 Kelly on 黒海諸国のポリフォニー－鳥、川、故郷 チェルノブイリの荒廃
You may feed these vague fishes painted in black-and-white.
True story: Les Scott (a.k.a. Neu Gestalt) and I live in the same city, and worked in the same organisation, and yet we’ve never met. “Altered Carbon”, his début release, was an astonishing tour de force. Indeed, it’s one of my five favourite electronica albums ever. “Weightless Hours” has been three years in the making. That’s a long time by any standards. Given how much I love his first album, I hoped so much that I wouldn’t be disappointed. Thankfully, I had nothing to fear.
“Toxicology” begins with lapping water and breathy shakuhachi over band-passed crackles and phased synths. A glitchy pattern breaks out, underpinned by an immense bass. Simple piano notes are then draped over all of this, creating a fabulous contrast of acoustic and electronic instruments. It’s a cracker of an opener, signalling in advance how the album might develop. “Abandoned Cities” has a cinematic oriental feel, with melted shakuhachi notes warping themselves…
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the photos are very impressive, but too artificial.
Amateur photographer Lee Jeffries was in London four years ago to run the annual marathon. While walking around Leicester Square the day before the race, he snapped a photo of a homeless girl across the street.
She noticed him taking her picture and yelled at him for being intrusive.
“I could have just left and walked away, but I actually went and talked to her and heard her story,” Jeffries says. She was an 18-year-old drug addict and both of her parents had died. “That changed my focus on photography, and that’s where it all started.”
Since then, he has captured intimate portraits of dozens of homeless people around Europe and the United States. What started as a hobby for the Manchester-based accountant has turned into a “personal crusade.”
“Obviously I don’t photograph every homeless person I see,” Jeffries says. “I have to recognize something in the subject. I can’t…
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ご存じ、デビッド・シルビアンがミック・カーンを悼んだ鎮魂歌。 ビデオのヴァージョンは、Died in the Woolに、A Certain Slant of Light (for M.K.) のタイトルで収められている。 歌の後のインストは、Brilliant Treesを想い起させるかのように、霊性の音が漂う。
エミリ・ディキンソン（1830－86）のこの詩には、様々な和訳があるが（坂本龍一氏も訳しているらしい）、 アルバムの中でやや異色のこの曲を傾聴すると、D.S.の声が想念を伝えてくるかのような錯覚に襲われ、 僭越だが、曲調に合うかのように訳してみた。
詩の和訳は初めての挑戦（ただ先達訳を参考にさせて戴いた…）だが、 詩とは； 文学～音楽の狭間、または「言葉以前」のものが蠢く音楽のような気がする。
As fans know, David Sylvian sings “A Certain Slant of Light” for Mick Karn as a requiem. This Emily Dickinson’s poem has often been translated into Japanese, but I dare to try making another Japanese version which could be tune with the song.
There’s a certain slant of light 一筋の斜光が差す
On winter afternoons, 冬の午後に
That oppresses, like the heft 聖堂の重々しい調べのように
Of cathedral tunes. 心にのし掛かる
Heavenly hurt it gives us; 与えられた 妙（たえ）なる痛み
We can find no scar, なんら傷跡はない
But internal difference ただ胸のうちは違う
Where the meanings are. 多くの想いが蠢く
None may teach it anything, なにも教えてはくれない
’tis the seal, despair, それは封印、そして絶望
An imperial affliction 厳かな苦悩
Sent us of the air. 彼方から我々へと
When it comes, the landscape listens, それが来るとき、景色は耳をそばだて Shadows hold their breath; 影も息をひそめる
When it goes, ’tis like the distance それが去るときは
Everything and Nothing = 無一物
ヒッグス粒子 Higgs boson = 質量の発生