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Search Result for Label BEDROOM COMMUNITY
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2DVD
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HVALUR 014DVD
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Pierre-Alain Giraud's documentary film Everything Everywhere All the Time follows Sam Amidon, Ben Frost, Nico Muhly, and Valgeir Sigurðsson on their collective tour, showcasing the music they've collaborated on and released individually under the Bedroom Community umbrella. We witness Giraud's fly-on-the-wall perspective through rare footage of recordings at Greenhouse Studios in Iceland, backstage and tour-bus activity, volcanic disruption and interviews with the artists. In 60 minutes Everything Everywhere All the Time explores the dynamic between these four highly individual artists. It provides a fantastic insight into the inner workings of a small artist-run label and a collective that has been hailed as "the best record label in the whole of Iceland and maybe even the entire world" (Drowned in Sound). The Whale Watching Tour is a 115-minute concert film focused around the grand finale of their 2010 tour, as they are joined on stage by violist Nadia Sirota, violinist Una Sveinbjarnardóttir, bassist Borgar Magnason, and trombonist/singer Helgi Hrafn Jónsson. The concert was filmed at the National Theatre of Iceland and features performances from many Bedroom Community classics. A concert by Daníel Bjarnason and his ensemble is the exclusive bonus feature on this double DVD disc. DVD1: 61 minutes. DVD2: 115 minutes. Language: English. Double-sided NTSC/PAL format DVDs for worldwide use, region free.
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HVALUR 016CD
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"I started writing the Drones pieces as a method of developing harmonic ideas over a static structure. The idea is something not unlike singing along with one's vacuum cleaner, or with the subtle but constant humming found in most dwelling places. We surround ourselves with constant noise, and the Drones pieces are an attempt to honor these drones and stylize them." --Nico Muhly; Drones consists of Nico Muhly's three EPs Drones & Piano, Drones & Viola, and Drones & Violin, with a special bonus composition. Performing the pieces are Bruce Brubaker, Nadia Sirota, and Pekka Kuusisto, along with Muhly himself. Drones was recorded and produced by Valgeir Sigurðsson in the Greenhouse studios in Iceland.
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HVALUR 015CD
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Disquiet is the debut album from American composer, sound recordist and engineer Paul Corley. Disquiet is music that never settles. Music that makes the listener fiercely attentive to the present, to the very idea of listening. It takes some doing, and some patience, to produce an atmosphere so unearthly and yet so radiant, to organize fragmented -- sometimes found -- sounds into such sparse, sustained and spiritual coherence. Although Disquiet is Paul Corley's first album on Bedroom Community, he is no stranger to this infamously enigmatic label. Having collaborated extensively with the Bedroom Community collective since 2007, the label is proud to add Corley to the intimate roster that now comprises of seven highly original artists. Disquiet is a welcome addition to the catalog; at the same time an album of delicate, primal (prepared) piano variations, a sequence of exquisitely reflective slow songs, and a metaphysical field recording where resonances are set off by real and imaginary geographical features. The album seems to be the recording of a dream, not necessarily Corley's own, as if he slipped into the mind of someone asleep and calmly set up his equipment. Disquiet suggests a walk through an icy wasteland under a darkening sky, with unspecified creatures lurking at the edge of vision, a drifting walk that ends in the shadows of a vaguely familiar deserted city. Some might discern in the distance the footsteps of Morton Feldman who had once passed nearby or is about to, or might spot some wires discarded by Chris Watson and a question or two written into the sand by Anton Webern.
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HVALUR 013CD
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The parameters of musical possibility are vast on Valgeir Sigurðsson's third LP; Architecture of Loss. The music flows from no "notes" at all to lyrical, folk-like melody, from spare, acoustic sound to dense digital intervention. Originally composed for the ballet of the same name by Stephen Petronio, Architecture of Loss is a powerful work in its own right in which Valgeir works from a broad palette of absences. The performers were handpicked from trusted Bedroom Community regulars: in addition to Valgeir himself and composer/keyboardist Nico Muhly, the album features classical violist Nadia Sirota -- her sound is as deeply individual and immediately recognizable as the sound of her speaking voice and takes full possession of the notes on the page -- and multi-instrumentalist Shahzad Ismaily -- a secret weapon of a sideman who excels at exactly the things you can't put down on paper, from solid grooves to scribbles of noise. The resulting piece maintains a structural unity surpassing either of Valgeir's previous, more formally-open LPs. While his solo debut Ekvílibríum (HVALUR 003CD/LP) boasted singers like Bonnie "Prince" Billy and Dawn McCarthy, the voice of that record was unmistakably Valgeir's own. On his second solo disc -- the soundtrack to the film Draumalandið (HVALUR 008CD) -- the suite of movements released on disc enjoyed an aesthetic life of its own independent of the finished film. Draumalandið and Ekvílibríum were allowed to develop freely as recording projects whereas Architecure of Loss had to be realized with physical performance in mind, by its players and dancers. This album represents the piece as conceived and reconceived for the stage, and then reconceived again as pure music (the movement "Gone, Not Forgotten," for instance, is exclusive to this recording). Created, pored over and developed: the result is a meticulously-designed structure, a sound architecture of musical and physical gestures and stillnesses.
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HVALUR 013LP
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HVALUR 012LP
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LP version. Ben Frost and Daníel Bjarnason are two composers used to shrugging off the distinction between experimental sound art and deeply-felt melodies. Frost's vast, blackened post-industrial works often crystallize in moments of quiet beauty before disintegrating in pure visceral noise; Bjarnason's orchestral music marries brutal modernism to classical aesthetics one moment and soaring ethereal harmonies the next. And yet here, on the tail of two widely-acclaimed releases; Bjarnason's Processions (HVALUR 007CD) and Frost's By The Throat (HVALUR 006/LP), we are given something altogether new. A unique collaboration, Sólaris is a quiet, stilled and all-consuming symphonic suite at once as affecting and uncanny as the science-fiction classic that inspired it. The power of Andrei Tarkovsky's Solaris is not in its futuristic sets, or in the hypnotic shots of the alien planet's weird, fluid surface, it's in the way the auteur juxtaposes his alien, futuristic elements against the intimately familiar. This is a future not just of flashing lights and video screens, but of wood and wool and leather, of dogs and horses, books and photographs. In Frost & Bjarnason's Sólaris, we do find the futuristic, gaseous atmospheres and pulses one might expect from a sci-fi soundtrack. Here they are carved instead from the warm, fragile sonorities of Sinfonietta Cracovia; one of Europe's leading orchestras, a gently prepared piano whose harmonies warp and melt before transforming again -- and waves upon waves of guitar. Created through a unique series of processes, Frost & Bjarnason's initial sketches -- improvised to the film -- were fed through software designed to correct music which tried to turn their dense and distorted sonic input into a digital sequence of raw musical data. Working from data riddled with error and misunderstanding, a human score was orchestrated; the whole process deftly mirroring the very core of the film's own narrative of memory and loss, alien doppelgängers and emotional feedback loops. Brian Eno -- who consulted closely in the creation of Sólaris -- also used the same film to create a video accompaniment to this music in another strange loop of computer-generated distortion. But here the score stands on its own. Sólaris is a journey into an internal world; into the self; a flux of wonder, horror, sorrow and tenderness; and a ravishing sensory experience.
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CD
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HVALUR 012CD
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Ben Frost and Daníel Bjarnason are two composers used to shrugging off the distinction between experimental sound art and deeply-felt melodies. Frost's vast, blackened post-industrial works often crystallize in moments of quiet beauty before disintegrating in pure visceral noise; Bjarnason's orchestral music marries brutal modernism to classical aesthetics one moment and soaring ethereal harmonies the next. And yet here, on the tail of two widely-acclaimed releases; Bjarnason's Processions (HVALUR 007CD) and Frost's By The Throat (HVALUR 006/LP), we are given something altogether new. A unique collaboration, Sólaris is a quiet, stilled and all-consuming symphonic suite at once as affecting and uncanny as the science-fiction classic that inspired it. The power of Andrei Tarkovsky's Solaris is not in its futuristic sets, or in the hypnotic shots of the alien planet's weird, fluid surface, it's in the way the auteur juxtaposes his alien, futuristic elements against the intimately familiar. This is a future not just of flashing lights and video screens, but of wood and wool and leather, of dogs and horses, books and photographs. In Frost & Bjarnason's Sólaris, we do find the futuristic, gaseous atmospheres and pulses one might expect from a sci-fi soundtrack. Here they are carved instead from the warm, fragile sonorities of Sinfonietta Cracovia; one of Europe's leading orchestras, a gently prepared piano whose harmonies warp and melt before transforming again -- and waves upon waves of guitar. Created through a unique series of processes, Frost & Bjarnason's initial sketches -- improvised to the film -- were fed through software designed to correct music which tried to turn their dense and distorted sonic input into a digital sequence of raw musical data. Working from data riddled with error and misunderstanding, a human score was orchestrated; the whole process deftly mirroring the very core of the film's own narrative of memory and loss, alien doppelgängers and emotional feedback loops. Brian Eno -- who consulted closely in the creation of Sólaris -- also used the same film to create a video accompaniment to this music in another strange loop of computer-generated distortion. But here the score stands on its own. Sólaris is a journey into an internal world; into the self; a flux of wonder, horror, sorrow and tenderness; and a ravishing sensory experience.
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7"
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SELUR 001EP
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This is the first single from Puzzle Muteson's debut album En Garde (HVALUR 011CD/LP). The music was arranged and produced by Nico Muhly and Valgeir Sigurðsson and recorded in the Greenhouse Studios in Iceland. The title track pits Puzzle's longing against waves of dense strings and jagged rhythm. With it comes the bonus track "Brittle Beak." En Garde takes an unexpected and unique voice and elevates it out of any easily discernible pocket.
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HVALUR 011CD
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Bedroom Community broadens the scope with En Garde by Puzzle Muteson, a mysterious, intimate record by a fearless songwriter and lyricist from the windswept Isle of Wight. Arranged and produced by collaborators and label mates Nico Muhly and Valgeir Sigurðsson, En Garde is a strange, comforting and alarmingly personal record. Driven, spare lyrics are hoisted high by vocals of steady, sturdy tremble. Each tune swells with plush guitar pluck in a sea of orchestration and electronics. Recorded in the Greenhouse Studios in Iceland, the album collects Puzzle Muteson's odd and beautiful stories about love and horses, rust and polar bears, heartbreak and birds. Puzzle's songs are curious sounds from a troubled heart and his lyrics are urgent and open, striking a note with their vulnerable memories. "I Was Once A Horse" is an unforgettable song about nostalgia. The title track pits Puzzle's longing against waves of dense strings and jagged rhythm, while "Perspex Disguise" sets his naked, translucent vocals against shimmering piano that refracts off epic chords. In "Flamingo Head" he sings; "I left your house. You let me. I left you ugly," buffeted by guitar and distant murmurs. "Not a single thing could take this magical sight. I'll find you still," he sings on "Medusa," the story of a man tracking down a lost love. Like many Bedroom Community recordings, En Garde takes an unexpected and unique voice and elevates it out of any easily discernible pocket. Puzzle Muteson could be "folk" or something completely different -- instead he's an intense stranger from the Isle of Wight -- at once both familiar and unfamiliar. En Garde heralds a haunting and essential new voice, beautiful, earned and yearning.
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LP
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HVALUR 011LP
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LP version. Bedroom Community broadens the scope with En Garde by Puzzle Muteson, a mysterious, intimate record by a fearless songwriter and lyricist from the windswept Isle of Wight. Arranged and produced by collaborators and label mates Nico Muhly and Valgeir Sigurðsson, En Garde is a strange, comforting and alarmingly personal record. Driven, spare lyrics are hoisted high by vocals of steady, sturdy tremble. Each tune swells with plush guitar pluck in a sea of orchestration and electronics. Recorded in the Greenhouse Studios in Iceland, the album collects Puzzle Muteson's odd and beautiful stories about love and horses, rust and polar bears, heartbreak and birds. Puzzle's songs are curious sounds from a troubled heart and his lyrics are urgent and open, striking a note with their vulnerable memories. "I Was Once A Horse" is an unforgettable song about nostalgia. The title track pits Puzzle's longing against waves of dense strings and jagged rhythm, while "Perspex Disguise" sets his naked, translucent vocals against shimmering piano that refracts off epic chords. In "Flamingo Head" he sings; "I left your house. You let me. I left you ugly," buffeted by guitar and distant murmurs. "Not a single thing could take this magical sight. I'll find you still," he sings on "Medusa," the story of a man tracking down a lost love. Like many Bedroom Community recordings, En Garde takes an unexpected and unique voice and elevates it out of any easily discernible pocket. Puzzle Muteson could be "folk" or something completely different -- instead he's an intense stranger from the Isle of Wight -- at once both familiar and unfamiliar. En Garde heralds a haunting and essential new voice, beautiful, earned and yearning.
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viewing 1 To 10 of 23 items
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