Hello, Vettel took another pole today in a wet Brazil, he was 0.5 sec faster as no 2 Rosberg, his team mate Webber is fourth and a full second back. Yes he ain't the worldchampion for nothing, most dangerous at the start tomorrow is undoubtedly Alonso who once more got the best from his Ferrari and starts on third. If Vettel gets away cleanly at the start tomorrow he should win his 9th consecutive race but who knows the Lagos circuit is known to throw up surprises..
Today's artist is an American avant-garde composer and poet. He was born May 24, 1936 (age 77) in Los Angeles, and raised in the Mojave Desert. He has developed a style of playing piano he terms "Soft Pedal.". His pieces are composed and open-ended; they have never been based on a "system," and they are usually delicate, impressionistic, and, more often than not, mysterious and melodic. Always, his elliptical piano sets the course, following various muses through a gauzy labyrinth and conveying great poetry, emotion, and spirituality -- without ever becoming excessive or overly sentimental. ..... N'Joy
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The American ambient/neo-classical composer who has most closely allied himself with the increasingly sympathetic independent rock underground -- through his collaborations with the Cocteau Twins' Robin Guthrie -- Harold Budd is also one of the very few who can very rightly be called an ambient composer. His music, a sparse and tonal wash of keyboard treatments, was inspired by a boyhood spent listening to the buzz of telephone wires near his home in the Mojave Desert town of Victorville, CA (though he was born in nearby Los Angeles). Though interested in music from an early age, Budd was 30, already married, and with children of his own by the time he graduated from the University of Southern California with a degree in musical composition in 1966. He became a respected name in the circle of minimalist and avant-garde composers based in Southern California during the late '60s, premiering his works "The Candy-Apple Revision" and "Unspecified D-Flat Major Chord and Lirio" around the area. In 1970, he began a teaching career at the California Institute of Arts, but continued to compose while there, writing "Madrigals of the Rose Angel" in 1972.
After leaving the Institute in 1976, Budd gained a recording contract with the Brian Eno-affiliated EG Records, and released his debut album, The Pavilion of Dreams, in 1978. Two years later, he collaborated with Eno on one of the landmark albums of the ambient style, Ambient 2: The Plateaux of Mirrors. After recording two albums for Cantil in 1981 (The Serpent [In Quicksilver]) and 1984 (Abandoned Cities), Budd again worked with Eno on 1984's The Pearl. A contract with Eno's Opal Records resulted in one of Budd's most glorious albums, The White Arcades, recorded in Edinburgh with Robin Guthrie of the Cocteau Twins. Budd left Opal after 1991's By the Dawn's Early Light, and recorded two albums for Gyroscope: Music for 3 Pianos (with Ruben Garcia and Daniel Lentz) and the lauded Through the Hill, a collaboration with Andy Partridge of XTC. In the mid-'90s, he recorded albums for New Albion and All Saints before signing to Atlantic for the release of The Room in mid-2000.
In 2004, Budd decided to retire, claiming he had said all he wanted to, and that he "didn't mind disappearing." His "final" outing, Avalon Sutra/As Long as I Can See My Breath, appeared on David Sylvian's Samhadi Sound imprint as a double disc. The album featured 14 new pieces, some recorded solo, some recorded with saxophonist Jon Gibson, and some with a string quartet. Budd apparently changed his mind about retirement and his collaboration with Eraldo Bernocchi, Fragments from the Inside, issued on Sub Rosa, arrived in the spring of 2005. Back to composing and recording, Budd signed to Darla in late 2007. He began working with producer Clive Wright that same year. In October 2008, a collaboration with Clive Wright entitled Song for Lost Blossoms was released by Darla Records. It includes recordings that were done live and in-studio at different locations, including both artists' homes. The album features some of their work done together between 2004 and 2006. A second collaborative effort with Wright, Candylion followed in 2009, again on Darla Records.
Darla Records released a CD album by Robin Guthrie and Harold Budd in February 2011 entitled Bordeaux, recorded in the summer of 2010 in Bordeaux, France and mixed in Guthrie's studio, in Rennes, France. Rare Noise Records released a CD album by Eraldo Bernocchi, Harold Budd, Robin Guthrie in November 2011 entitled Winter Garden, recorded in the summer of 2010 in Tuscany, Italy and mixed in Guthrie's studio, in Rennes, France. It was announced that Harold Budd will appear as one of the featured composer/performers at San Francisco's Other Minds festival in March, 2012. Bandits of Stature was released that same year, in 2013 Budd came through with Jane 1-11 both released on Darla Records
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Budd's first solo release since 1991, this is proof that Budd's talent remains consistent: always maintaining that delicate balance between pretty ambient music and something darker in mood that seeps into the corners of his melodies. Divided into four sections, Luxa features six piano-led pieces, a trio of miniatures, five more ambient drones, and a duo of covers from Marion Brown and Steven Brown respectively. The titles suggest homages to some of Budd's favorite 20th century artists though you'd be hard pressed to hear much of Chet Baker, Serge Poliakoff, and Agnes Martin in these works unless you stretched your brain. Relaxing, warm music, like sun on a red tile floor.
Harold Budd - Luxa (flac 264mb)
Butterflies With Tits
01 Niki D. 6:33
02 A Sidelong Glance From My Round Nefertiti 3:12
03 Agnes Martin 3:47
04 Anish Kapoor 2:55
05 Paul McCarthy 7:07
06 Serge Poliakoff 3:03
Inexact Shadows
07 Djinn 0:49
08 Porphyry 0:45
09 How Dark The Response To Our Slipping Away 0:42
Smoke Trees
10 Nove Alberi 5:56
11 Chet 7:09
12 Mandan 3:55
13 Feral 4:07
14 Grace 5:14
Laughing Innuendos
15 Sweet Earth Flying 2:46
16 Pleasure 3:56
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With The Room, Harold Budd makes his major-label debut. Expanding on a track from The White Arcades, he crafts 13 pieces with a simple, childlike innocence that also contain rich textures beneath, inducing a calm, meditative state -- perfect for relaxation therapy or cloud watching. As he has been a longtime master of ambient atmospherics, Budd is able to create a benign, peaceful aural gallery as each piece slowly, quietly unfolds into a different "room," heard in the shimmering bells of "The Room Alight," the chanted voices of "The Candied Room," and the somber "Room of Forgotten Children" (note the wonderfully evocative titles). Though some of the synthesizer textures verge on a little too much new age sweetness, his piano is always a thing of tranquil beauty, veiled in layers of eerie echo, evoking a half-remembered dream. After many interesting collaborative records, this is an impressive return to form to Budd's early to mid-'80s heyday.
Harold Budd - The Room (flac 213mb)
01 The Room Of Ancillary Dreams 6:04
02 The Room Of Oracles 4:43
03 The Room Of Stairs 5:19
04 The Room Of Corners 5:03
05 The Room Alight 4:37
06 The Candied Room 3:37
07 The Room Of Mirrors 7:03
08 The Room Obscured 0:59
09 The Room Of Forgotten Children 2:12
10 The Room Of Accidental Geometry 3:21
11 The Room Of Secondary Light 4:35
12 The Flowered Room 4:24
13 The Room 2:15
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After nearly three decades of recording, pianist and composer Harold Budd is calling it quits, explaining he has said all he wants to and does not mind disappearing. If this indeed turns out to be the case, Avalon Sutra proves that Budd has saved the very best for last. Budd has walked the no man's land ground between minimalism and ambient music and forged his own territory. The 14 tracks on Avalon Sutra are elegant, contemplative (not speculative), and poignant; the grace and tenderness that they impart so readily are tempered with emotional depth and dimension by notions of memory, loss, and even grief.
The three "Arabesque" pieces here -- in reverse numerical order -- feature Budd's piano, whispering softly and purposefully over a delicate wash of electronics, contrasted sharply by Jon Gibson's nearly insistent soprano saxophone lines (sopranino on "Arabesque 3") through the center. Elsewhere, Budd employs strings and electronic drones on four titles, including the ever-so-brief "It's Steeper Near the Roses," written for David Sylvian. There are also four solo titles that are layered in a very stark painterly way with other gauzy sonic elements. "As Long As I Can Hold My Breath," the set's final cut, is given a 70-plus minute remix treatment by electronic composer Akira Rabelais on disc two with additional production from Sylvian. Here, the theme from the original track is cut into a compelling, artfully rendered whole, with string loops, meandering piano that drifts in and out of the mix -- yet appears at all the right moments to add poignancy and dimension -- and a gentle wash of noise. It is utterly hypnotic and engaging throughout its long duration. Budd may not have been the most prolific composer or recording artist, but his consistency was remarkable and his economy of musical language always pointed to more just beyond the veil of sound. He will be missed.
Harold Budd - Avalon Sutra (flac 496mb)
01 Arabesque III 2:40
02 It's Steeper Near The Roses (For David Sylvian) 1:02
03 L'Enfant Perdu 2:14
04 Chrysalis Nu (To Barney's Memory) 1:59
05 Three Faces West (Billy Al Bengston's) 2:49
06 Arabesque II 3:02
07 Little Heart 7:40
08 How Vacantly You Stare At Me 4:01
09 A Walk In The Park With Nancy (In Memory) 5:55
10 Rue Casimir Delavigne (For Daniel Lentz) 5:28
11 Arabesque I 1:56
12 Porcelain Ginger 2:01
13 Faraon 1:23
14 As Long As I Can Hold My Breath 3:47
15 As Long As I Can Hold My Breath 69:28
Harold Budd - Avalon Sutra (ogg 209mb)
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Today's artist is an American avant-garde composer and poet. He was born May 24, 1936 (age 77) in Los Angeles, and raised in the Mojave Desert. He has developed a style of playing piano he terms "Soft Pedal.". His pieces are composed and open-ended; they have never been based on a "system," and they are usually delicate, impressionistic, and, more often than not, mysterious and melodic. Always, his elliptical piano sets the course, following various muses through a gauzy labyrinth and conveying great poetry, emotion, and spirituality -- without ever becoming excessive or overly sentimental. ..... N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
The American ambient/neo-classical composer who has most closely allied himself with the increasingly sympathetic independent rock underground -- through his collaborations with the Cocteau Twins' Robin Guthrie -- Harold Budd is also one of the very few who can very rightly be called an ambient composer. His music, a sparse and tonal wash of keyboard treatments, was inspired by a boyhood spent listening to the buzz of telephone wires near his home in the Mojave Desert town of Victorville, CA (though he was born in nearby Los Angeles). Though interested in music from an early age, Budd was 30, already married, and with children of his own by the time he graduated from the University of Southern California with a degree in musical composition in 1966. He became a respected name in the circle of minimalist and avant-garde composers based in Southern California during the late '60s, premiering his works "The Candy-Apple Revision" and "Unspecified D-Flat Major Chord and Lirio" around the area. In 1970, he began a teaching career at the California Institute of Arts, but continued to compose while there, writing "Madrigals of the Rose Angel" in 1972.
After leaving the Institute in 1976, Budd gained a recording contract with the Brian Eno-affiliated EG Records, and released his debut album, The Pavilion of Dreams, in 1978. Two years later, he collaborated with Eno on one of the landmark albums of the ambient style, Ambient 2: The Plateaux of Mirrors. After recording two albums for Cantil in 1981 (The Serpent [In Quicksilver]) and 1984 (Abandoned Cities), Budd again worked with Eno on 1984's The Pearl. A contract with Eno's Opal Records resulted in one of Budd's most glorious albums, The White Arcades, recorded in Edinburgh with Robin Guthrie of the Cocteau Twins. Budd left Opal after 1991's By the Dawn's Early Light, and recorded two albums for Gyroscope: Music for 3 Pianos (with Ruben Garcia and Daniel Lentz) and the lauded Through the Hill, a collaboration with Andy Partridge of XTC. In the mid-'90s, he recorded albums for New Albion and All Saints before signing to Atlantic for the release of The Room in mid-2000.
In 2004, Budd decided to retire, claiming he had said all he wanted to, and that he "didn't mind disappearing." His "final" outing, Avalon Sutra/As Long as I Can See My Breath, appeared on David Sylvian's Samhadi Sound imprint as a double disc. The album featured 14 new pieces, some recorded solo, some recorded with saxophonist Jon Gibson, and some with a string quartet. Budd apparently changed his mind about retirement and his collaboration with Eraldo Bernocchi, Fragments from the Inside, issued on Sub Rosa, arrived in the spring of 2005. Back to composing and recording, Budd signed to Darla in late 2007. He began working with producer Clive Wright that same year. In October 2008, a collaboration with Clive Wright entitled Song for Lost Blossoms was released by Darla Records. It includes recordings that were done live and in-studio at different locations, including both artists' homes. The album features some of their work done together between 2004 and 2006. A second collaborative effort with Wright, Candylion followed in 2009, again on Darla Records.
Darla Records released a CD album by Robin Guthrie and Harold Budd in February 2011 entitled Bordeaux, recorded in the summer of 2010 in Bordeaux, France and mixed in Guthrie's studio, in Rennes, France. Rare Noise Records released a CD album by Eraldo Bernocchi, Harold Budd, Robin Guthrie in November 2011 entitled Winter Garden, recorded in the summer of 2010 in Tuscany, Italy and mixed in Guthrie's studio, in Rennes, France. It was announced that Harold Budd will appear as one of the featured composer/performers at San Francisco's Other Minds festival in March, 2012. Bandits of Stature was released that same year, in 2013 Budd came through with Jane 1-11 both released on Darla Records
xxxxx xxxxx xxxxx xxxxx xxxxx
Budd's first solo release since 1991, this is proof that Budd's talent remains consistent: always maintaining that delicate balance between pretty ambient music and something darker in mood that seeps into the corners of his melodies. Divided into four sections, Luxa features six piano-led pieces, a trio of miniatures, five more ambient drones, and a duo of covers from Marion Brown and Steven Brown respectively. The titles suggest homages to some of Budd's favorite 20th century artists though you'd be hard pressed to hear much of Chet Baker, Serge Poliakoff, and Agnes Martin in these works unless you stretched your brain. Relaxing, warm music, like sun on a red tile floor.
Harold Budd - Luxa (flac 264mb)
Butterflies With Tits
01 Niki D. 6:33
02 A Sidelong Glance From My Round Nefertiti 3:12
03 Agnes Martin 3:47
04 Anish Kapoor 2:55
05 Paul McCarthy 7:07
06 Serge Poliakoff 3:03
Inexact Shadows
07 Djinn 0:49
08 Porphyry 0:45
09 How Dark The Response To Our Slipping Away 0:42
Smoke Trees
10 Nove Alberi 5:56
11 Chet 7:09
12 Mandan 3:55
13 Feral 4:07
14 Grace 5:14
Laughing Innuendos
15 Sweet Earth Flying 2:46
16 Pleasure 3:56
xxxxx xxxxx xxxxx xxxxx xxxxx
With The Room, Harold Budd makes his major-label debut. Expanding on a track from The White Arcades, he crafts 13 pieces with a simple, childlike innocence that also contain rich textures beneath, inducing a calm, meditative state -- perfect for relaxation therapy or cloud watching. As he has been a longtime master of ambient atmospherics, Budd is able to create a benign, peaceful aural gallery as each piece slowly, quietly unfolds into a different "room," heard in the shimmering bells of "The Room Alight," the chanted voices of "The Candied Room," and the somber "Room of Forgotten Children" (note the wonderfully evocative titles). Though some of the synthesizer textures verge on a little too much new age sweetness, his piano is always a thing of tranquil beauty, veiled in layers of eerie echo, evoking a half-remembered dream. After many interesting collaborative records, this is an impressive return to form to Budd's early to mid-'80s heyday.
Harold Budd - The Room (flac 213mb)
01 The Room Of Ancillary Dreams 6:04
02 The Room Of Oracles 4:43
03 The Room Of Stairs 5:19
04 The Room Of Corners 5:03
05 The Room Alight 4:37
06 The Candied Room 3:37
07 The Room Of Mirrors 7:03
08 The Room Obscured 0:59
09 The Room Of Forgotten Children 2:12
10 The Room Of Accidental Geometry 3:21
11 The Room Of Secondary Light 4:35
12 The Flowered Room 4:24
13 The Room 2:15
xxxxx xxxxx xxxxx
After nearly three decades of recording, pianist and composer Harold Budd is calling it quits, explaining he has said all he wants to and does not mind disappearing. If this indeed turns out to be the case, Avalon Sutra proves that Budd has saved the very best for last. Budd has walked the no man's land ground between minimalism and ambient music and forged his own territory. The 14 tracks on Avalon Sutra are elegant, contemplative (not speculative), and poignant; the grace and tenderness that they impart so readily are tempered with emotional depth and dimension by notions of memory, loss, and even grief.
The three "Arabesque" pieces here -- in reverse numerical order -- feature Budd's piano, whispering softly and purposefully over a delicate wash of electronics, contrasted sharply by Jon Gibson's nearly insistent soprano saxophone lines (sopranino on "Arabesque 3") through the center. Elsewhere, Budd employs strings and electronic drones on four titles, including the ever-so-brief "It's Steeper Near the Roses," written for David Sylvian. There are also four solo titles that are layered in a very stark painterly way with other gauzy sonic elements. "As Long As I Can Hold My Breath," the set's final cut, is given a 70-plus minute remix treatment by electronic composer Akira Rabelais on disc two with additional production from Sylvian. Here, the theme from the original track is cut into a compelling, artfully rendered whole, with string loops, meandering piano that drifts in and out of the mix -- yet appears at all the right moments to add poignancy and dimension -- and a gentle wash of noise. It is utterly hypnotic and engaging throughout its long duration. Budd may not have been the most prolific composer or recording artist, but his consistency was remarkable and his economy of musical language always pointed to more just beyond the veil of sound. He will be missed.
Harold Budd - Avalon Sutra (flac 496mb)
01 Arabesque III 2:40
02 It's Steeper Near The Roses (For David Sylvian) 1:02
03 L'Enfant Perdu 2:14
04 Chrysalis Nu (To Barney's Memory) 1:59
05 Three Faces West (Billy Al Bengston's) 2:49
06 Arabesque II 3:02
07 Little Heart 7:40
08 How Vacantly You Stare At Me 4:01
09 A Walk In The Park With Nancy (In Memory) 5:55
10 Rue Casimir Delavigne (For Daniel Lentz) 5:28
11 Arabesque I 1:56
12 Porcelain Ginger 2:01
13 Faraon 1:23
14 As Long As I Can Hold My Breath 3:47
15 As Long As I Can Hold My Breath 69:28
Harold Budd - Avalon Sutra (ogg 209mb)
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7 comments:
Hello rho,
Any chance of adding Harold Budd's Avalon Sutra to the re-up list?
Many thanks and i look forward to hearing the album.
Hello
Can you please re-up Harold Budd?
Thanks
Yes, please!... Re-up these Harold Budd materials...
Thanks
Hi Rho, Could you please reup "Harold Budd - The Room"? That would be awesome.
Thank you for the reupload, Rho.
Rho
Could you please re-up Avalon Sutra?
Thank you
Can you please re-up album LUXA by harold budd
Many thanks by advance,
ivano B.
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