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2018 8 Sep

Aus den 1970er Jahren (3)

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MITTELMEER

 

Der alte Dichter war da

Er erzählte vom Thunfischfang wenn

Die übermanngroßen Tiere

Ins Netz getrieben werden wie sie toben

Der Leitfisch bringt alle und die Schuppen

Glänzen wie rostfreier Stahl

Er aß Kirschkucken

Hatte die Welt im Blick

Sicher erinnert er sich

Wie die Nacht da schmeckte

Seine Augen warn blauer als sonst

Und ich hörte die Fischer singen

Die dem Thun Haken in die Köpfe schlagen

Eine Handbreit vom Auge

Einmal sagte er haben die großen Tiere

Einen Mann fast aus dem Boot gehoben

Die Boote waren tiefschwarz

Und acht Meter lang

 

(Sarah Kirsch)

 

2018 8 Sep

This Precious Time

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This precious time

This passing time

This joyful time

This desperate time

This crucial, lonely, hopeful, helpless, impossible, precious time

 

We play it, mislay it, we bend it, upend it.

We try to taste it, don’t waste it but savour it.

Till we’re battered and trodden, stained and sodden,

Both ancient and modern

 

This precious time

 

Where paid work and art-work and work-outs are patch-worked

With many dropped stitches and last-minute switches

Till we’re frayed at the edges and clinging on ledges and backwards through hedges.

 

This precious time

 

It trickles through fingers like dry sand and lingers

We try to hold it, to mould it, to shape it

With multi-task fumbles and furious mumbles,

Always it crumbles

 

This precious time

This passing time

This joyful time

This desperate time

This crucial, lonely, hopeful, helpless, impossible, precious time

 

Don’t wish it away, push on through

Don’t wish it away, push on through

Hold on, slow down

Take a breath, look around

A stitch in time saves nine

Hold your horses, take your time

Treasure the moment, pleasure in torment

Killing time, everything’s fine

Don’t wish it away, push on through

Don’t wish it away, push on through

 

This time has passed.

 

2018 6 Sep

Harry Dean Stanton

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„It’s the humblest deep movie of recent years, a work in the same vein as American marginalia like “Stranger Than Paradise” and “Trees Lounge,” but with its own rhythm and color, its own emotional temperature, its own reasons for revealing and concealing things. There’s a long scene of Lucky smoking cigarettes at night and thinking. The soundtrack plays Johnny Cash’s “I See a Darkness,“ one of many late-career classics in which the singer faced the certainty of his own death. The sandblasted terrain of Harry Dean Stanton’s face in this scene constitutes a movie within a movie, a life revealed in contemplation. It’s one of the most powerful things I’ve ever seen. I felt that way before Stanton left us. I feel it even more keenly now.“

(Matt Zoller Seitz)

„My first encounter with the actor Harry Dean Stanton was the week Wim Wenders‘ „Paris, Texas“ appeared in German cinemas. Did I know that guy from old Western films, or did I read that Stanton was a well known face in those movies without ever taking center stage? Anyway. That movie had an enormous emotional impact on me at the time, I don‘t know if the film was that good, or if I took it all personal. So I saw the movie three times in three days. Never use handkerchiefs in cinema, let tears roll and dry on the skin, it has a cooling effect! Now I got my hands on the bluray edition of „Lucky“. I’m a bit older now. What a movie!“

(Michael Engelbrecht)

 

 
 

 
 

 
 

Marianne Faithfull: Negative Capability

Aby Vulliamy: Spin Cycle

Julia Holter: Aviary 

Cat Power: Wanderer

 
 

 

Michael: What a beautiful, intricate, deceptively naive, profound, heartbreaking, elevating album. It won‘t storm the indie charts, but it touches me similarly deep like, in days long gone, Julie Tippetts‘ „Sunset Glow“.

 

Aby: What a very lovely bunch of words to describe it, thank you so much Michael! Luckily I’m not interested in storming the indie charts – I measure my success in teardrops shed! 

 

 

„Although Glenn Jones’s recording processes are very technically simple, with single microphones best capturing the required sound from either his guitar or banjo, the location has always been very important to him, and for The Giant, he decided to revisit a spot last used six years back for My Garden State. “We decided the best of our options was to head back to Forest Hill Farm, where that one was recorded,” he tells us. “So it was a bit of a homecoming in a way because I love that spot, it’s about a quarter mile off the main road down a gravel track. It’s super quiet too, you can hear airplanes way off in the distance; in fact, on ‘River in the Sky’, the field recordings of the airplanes and the insects buzzing and all that stuff was recorded by Laura [Baird] at Forest Hill Farm, probably a couple of years ago. It’s a remote spot where you can relax and forget about the world for the week or so that you’re making the record.”

(From FOLKRADIO)

 


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