Jul 16, 2017

Sundaze 1729

Hello, again a F1 this weekend this time on Silverstone (UK), it's Hamilton's home Grandprix where he's won 4x, he's on pole again, Raikonen 2nd in front of Vettel but that won't be much of an issue, Verstappen could shake things up at the start, but given his recent record of car breakdowns he'd be happy to finish 4th. Ricciardo was lucky again his Red Bull broke down at least not in the race and considering he had alreay a 5 play grid penalty, he'll start 19th but by the end of the race 6th is expected. Bottas has to show what he's made of after his  5 grid penalty for changing a gearbox. Tomorrow it's Hamilton's race to loose, just a decent start needed, but then some rain would mix things up, i guess a F1 Grand prix is the only outdoor event where the spectators want some rain.



Today's Artist is a multitalent, in addition to his prodigious careers as a director, writer, producer, sound designer, and carpenter (to name a few), David Lynch also stretched his artistic reach to music. He collaborated heavily with his go-to composer Angelo Badalamenti on the scores and soundtracks to his projects, including the music for Blue Velvet, 1990's iconic Twin Peaks soundtrack, and Mulholland Drive. He also collaborated, with and without Badalamenti, on pop albums by Julee Cruise and Crysta Bell....N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

David Keith Lynch (born January 20, 1946) is an American director, screenwriter, producer, painter, musician, and photographer. He has been described by The Guardian as "the most important director of this era".the success of his films has led to him being labelled "the first popular Surrealist".

Born to a middle-class family in Missoula, Montana, Lynch spent his childhood traveling around the United States, before going on to study painting at the Pennsylvania Academy of Fine Arts in Philadelphia, where he first made the transition to producing short films. He moved to Los Angeles, where he produced his first motion picture, the surrealist horror film Eraserhead (1977). After Eraserhead became a cult classic on the midnight movie circuit, Lynch was employed to direct a biographical film about a deformed man, Joseph Merrick, titled The Elephant Man (1980), from which he gained mainstream success. He was then employed by the De Laurentiis Entertainment Group and proceeded to make two films: the science-fiction epic Dune (1984), which proved to be a critical and commercial failure, and then a neo-noir crime film Blue Velvet (1986), which stirred controversy over its violence but grew in critical reputation later on.

Next, Lynch created his own television series with Mark Frost, the popular murder mystery Twin Peaks (1990–1991). He also created a cinematic prequel, Twin Peaks: Fire Walk with Me (1992), a road movie Wild at Heart (1990) and a family film The Straight Story (1999) in the same period. Turning further towards surrealist filmmaking, three of his subsequent films operated on "dream logic" non-linear narrative structures: the psychological thriller Lost Highway (1997), the neo-noir "love story" Mulholland Drive (2001) and the fragmented mystery film Inland Empire (2006). Meanwhile, Lynch embraced the Internet as a medium, producing several web-based shows, such as the animated DumbLand (2002) and the surreal sitcom Rabbits (2002). Lynch and Frost reunited in 2017 for the Showtime limited series Twin Peaks: The Return, with Lynch co-writing and directing.

Other endeavours of his include: his work as a musician, having released two solo albums—Crazy Clown Time (2011) and The Big Dream (2013)—and music for a variety of his films, including "Ghost of Love" for Inland Empire; the David Lynch Foundation, which he founded to fund the teaching of Transcendental Meditation in schools; painting and photography; writing two books—Images (1994) and Catching the Big Fish (2006); and directing several music videos and advertisements, including the Dior promotional film Lady Blue Shanghai (2006).

Lynch has received three Academy Award nominations for Best Director and a nomination for best
screenplay. He has won France's C├ęsar Award for Best Foreign Film twice, as well as the Palme d'Or at the Cannes Film Festival and a Golden Lion award for lifetime achievement at the Venice Film Festival. The French government awarded him the Legion of Honor, the country's top civilian honor, as a Chevalier in 2002 and then an Officier in 2007. Blue Velvet and Mulholland Drive are widely considered by critics to be among the greatest films of their respective decades.

xxxxx xxxxx xxxxx xxxxx xxxxx

This is Lynch’s first solo output, and it’s definitely quite different from the rest of those releases. Here, Lynch relies on electronics, samples, and affected vocals in an attempt to create the same emotional pull his visual work has. The EP can be easily divided into two separate spheres: the Lynch originals and the remixes. The originals come first and demand the most attention, if only for the oddball director’s specter standing singularly over them. Before the music made its first appearance, he told The Guardian that he “loves electricity, so it sort of stands to reason that I would like electronics,” which might sound sarcastic or tongue-in-cheek or what-have-you, but here it just seems to make sense, this concurrence of surreal and straightforward. “Good Day Today” embraces that combination; the more or less straightforward electronic pop music is combined with bleak lyrics and sampled gunfire. Lynch’s heavily treated, almost auto-tuned vocals can’t help but sound like FBI Bureau Chief Gordon Cole stuck in the Black Lodge, lines like “So tired of fire, so tired of smoke” and the chorus of “Send me an angel, save me” that much more dismal in their roboticized, inhuman state. That said, the bangin’ clubbiness of the beat keeps things from being a mope-fest. The other single, “I Know”, is a terrifying and yet also somehow sensual, smooth, creepy, sexy blues jam. The stomping drums, churning guitar, Rhodes licks, and synth bass all hold together traditionally under a yowling, higher-pitched vocal, everything coming together vaguely reminiscent of Tom Waits.

The remixes are all very decent, but I prefer the ones for "I Know", probably because there are more interesting sounds to play with than in GDT. The Underworld remix of "Good Day Today" is pretty much perfect, the original sounded like an Underworld song anyway, and it sounds like they contributed a straight up cover of the song to this EP, rather than a remix. It's definitely the best of the GDT tracks. Of the “I Know” remixes, the Jon Hopkins version is the best, adding expansive whoomps, a pressing bass, and vocal echoes. The Sasha remix turns the song into an eight-minute epic, the Skream one a long percussive experiment and the Ratcliffe a rave-y upswing.



David Lynch - Good Day Today I Know  (flac 390mb)

01 Good Day Today (Original) 4:40
02 I Know (Original) 4:06
03 Good Day Today (Underworld Classic Remix) 8:42
04 I Know (Sasha Remix) 8:58
05 Good Day Today (Boys Noize Remix) 6:17
06 I Know (Ratcliffe 'Hedz In Dark' Remix) 6:03
07 Good Day Today (Diskjokke Remix) 8:39
08 I Know (Skream's Not So Ravey Remix) 5:06
09 I Know (Jon Hopkins Remix) 5:00
10 Good Day Today (Sunday Best Slow Motion Waltz) 4:26
 
 David Lynch - Good Day Today I Know   (ogg   157mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Chrysta Bell Zucht, known professionally as Chrysta Bell, is an American singer, songwriter, model, and actress. She has worked professionally with filmmaker and composer David Lynch since the pair met in 1999 and together they have released two albums in the genre of dream pop. Her voice and musical style are described as “ethereal” and “sensual”. She plays an FBI Agent Tammy Preston.in the 2017 revival of Twin Peaks

"Chrysta Bell looks like a dream and she sings like a dream. And this dream is becoming a reality." (David Lynch). “Not only did David Lynch give me the gift of reassurance as a solo artist. He gave me a voice, a personality, and an album. It is the most important experience of my life and the work I have the most pride in – by far. David made me realize that I am a singer.” (Chrysta Bell)


Lynch wrote and produced Bell’s 11-song debut, This Train, released in 2011 on La Rose Noire. The album was created in David Lynch’s own sound studio in Hollywood in the course of one whole decade (!). Evocative of Lynch’s film and television productions—as well as his own recent solo debut, Crazy Clown Time—the album’s dark and airy musical soundscapes conjure a dramatic atmosphere that allows Bell’s breathy inflections and soulful melodies to take flight. Infusing a dark & airy soundscape with breathy inflections & soulful melodies, this otherworldly femme fatale is lyrically spellbinding, With exquisite & tortured vocals & an onstage persona in the tradition of Rita Hayworth, Texan beauty Chrysta Bell smoulders in this collaboration with Lynch. The album production & lyrics are by Lynch with music by Chrysta Bell & members of her band. Chrysta Bell incorporates dynamic theatrical and multimedia elements into unforgettable performance experiences. David Lynch’s expresses his feelings thus: “Chrysta Bell looks like a dream and Chrysta Bell sings like a dream. She’s not only a killer performer, she also has a great intuitive ability to catch a mood and find a melody, that’s really spectacular.” He has been working with the San Francisco-based singer-songwriter since 2000. The closing moments of his surreal epic Inland Empire featured the duo’s song “Polish Poem,” a classically Lynchian ballad.

Raised in San Antonio by her mother, a professional vocalist, and her stepfather, who owned a local recording studio, Bell was singing jingles by the time she was 11 and doing musical theater at 13. She first caught Lynch’s attention years later when she was the lead vocalist of RCA Victor gypsy swing act 8 ½ Souvenirs. ” Lynch came across Chrysta Bell, “when I was no more than a teenager. We were introduced and he seemed to be affected by me in a special way. So he invited me into his studio.” On their first meeting there they wrote a song together which carries the prophetic title “Right Down to You“ and is now to be found on Chrysta Bell’s debut album. “It was truly magical,” she recalls. “David and I have an almost transcendental understanding when it comes to music. We hardly talk about what is emerging – it just happens. Something clicks whenever we are in a studio together. David comes up with a sound collage, adds a few lines, and right afterwards I think of the melodies to fit.“ Melodies which the grand master himself praises as “out of this world.”



Chrysta Bell & David Lynch - This Train (flac  385mb)
 
01 This Train 7:02
02 Right Down To You 5:02
03 I Die 5:26
04 Swing With Me 5:01
05 Angel Star 4:27
06 Friday Night Fly 4:10
07 Down By Babylon 6:42
08 Real Love 4:41
09 Bird Of Flames 4:35
10 Polish Poem 5:55
11 The Truth Is 4:43

Chrysta Bell & David Lynch - This Train  ( 129mb  ogg)

xxxxx xxxxx xxxxx xxxxx xxxxx

The blues have been a part of David Lynch's art for years: pieces from Angelo Badalamenti's scores, like Fire Walk with Me's "The Pink Room," are dominated by time-tested chord progressions and moody atmospheres, while projects like Blue Bob demonstrated Lynch's formidable guitar skills. All of which is to say that his second album, The Big Dream, should sound familiar to his fans, even as it pushes the blues' boundaries. These songs are as far removed from many other artists' bluesy dabblings as they are from Lynch's solo debut Crazy Clown Time. That album, which spanned industrial-tinged dance music and wild spoken word pieces, was the musical equivalent of his meat sculptures, a bold showcase for the extremes of his surrealism. Fittingly, The Big Dream is blurred around the edges and wrapped in a melancholy fog; the closing track "Are You Sure" is the kind of hazily wistful song Julee Cruise would have sung at one point in Lynch's career. However, he makes the most of his midwestern twang, using its earthiness to contrast and highlight the dream logic of songs like "Last Call," a strange but successful blend of quirk and heartache. Lynch also imbues his cover of Bob Dylan's "The Ballad of Hollis Brown" with creeping decay and despair that pays tribute to both artists' work (and it's interesting to note that there's a similarly pinched quality to both of their voices). While he spends most of The Big Dream in this somber territory, he also remembers that the blues can be fun with "Say It"'s roadhouse feel and the sexy, rollicking "Star Dream Girl." The album often works best when Lynch uses elements of the genre as a jumping-off point for his experiments, as on "The Wishin' Well"'s shimmery electro mirage or "The Line It Curves," which features some of his most sophisticated songwriting yet. Even if his take on the blues is far from straightforward, this might be the most accessible set of songs associated with Lynch to date. In its own hypnotic way, The Big Dream honors the blues' lust for life and its lonely heart.



David Lynch - The Big Dream (flac 298mb)

01 The Big Dream 4:07
02 Star Dream Girl 3:27
03 Last Call 3:48
04 Cold Wind Blowin' 3:49
05 The Ballad Of Hollis Brown 5:12
06 Wishin' Well 3:39
07 Say It 3:58
08 We Rolled Together 4:00
09 Sun Can't Be Seen No More 4:40
10 I Want You 3:47
11 The Line It Curves 6:02
12 Are You Sure 3:46

David Lynch - The Big Dream  (ogg   110mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

If any act is suited to reinterpret the sounds of David Lynch's most enduring cultural artifact, it's Xiu Xiu. Many artists inspired by the director's surreal imagery and music are satisfied with creating a hazy atmosphere that only reflects the prettiest parts of his work, but Jamie Stewart and company are unafraid to be as terrifying, ugly, and just plain weird as Lynch can be. And, as previous covers like their reworking of "Under Pressure" have shown, they're not scared of tampering with a classic, either. On Plays the Music of Twin Peaks, they remake artfully chosen tracks from Twin Peaks and Fire Walk with Me in their own raw, unpredictable fashion. As they remove these songs from their original gauzy perfection, the band remains just faithful enough to what made Lynch and Angelo Badalamenti's music so iconic. On "Laura Palmer's Theme," Xiu Xiu makes the descent implied by its famous piano motif steeper and deeper with jarring crash cymbals, while a vibraphone sets the air in motion like a breeze through the pines. On "Falling," they tap into the song's flickering hope and vulnerability so ably that the indelible refrain "don't let yourself be hurt this time" could have been penned by Stewart himself. There's also a sense of fun on the album that many Lynch devotees lack; with a few wild synths and noisy beats, Xiu Xiu turns "Audrey's Dance" into industrial lounge music. Instrumentals like these allow the band the widest berth for reinvention, whether they transform "Dance of the Dream Man" into slow-burning noise jazz or render "Nightsea Wind" -- a song that was composed for Fire Walk with Me but released years later -- in weightless drones. The layers of fuzz and static coating the album suggest Xiu Xiu recorded it on the set of Eraserhead, but these rough textures only make tracks such as "Harold's Theme" more haunting. When the band adds vocals to the mix, however, the results aren't always successful; Stewart brings the right amount of theatrical flair to "Sycamore Tree," and sounds like he's duetting with himself on "Into the Night," but his bellowing and the sing-song delivery of Laura Palmer's diary entries on "Josie's Past" are reminders of how difficult it is to out-weird Lynch. Nevertheless, Xiu Xiu Plays the Music of Twin Peaks is an inspired showcase for the band's range, as well as an homage that's true to both artists' muses.



Xiu Xiu - Plays the Music of Twin Peaks (flac 387mb)

01 Laura Palmer's Theme 5:03
02 Into the Night 5:12
03 Audrey's Dance 4:26
04 Packard's Vibration 3:48
05 Nightsea Wind 7:06
06 Blue Frank/Pink Room 5:51
07 Sycamore Tree 6:47
08 Harold's Theme 3:56
09 Dance of the Dream Man 5:10
10 Falling 6:56
11 Love Theme Farewell 6:24
12 Josie's Past 7:50

Xiu Xiu - Plays the Music of Twin Peaks  (ogg  164mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

1 comment:

Anonymous said...

Rho - Thank you very much for these. Funnily enough I was playing Crazy Clown Time on my headphones when I made this morning's visit to your site. The Chrysta Bell collaboration and remix albums are new to me and much appreciated. Both you and David Lynch are geniuses. Cheers.