白鶴飛翔時 / 12000英里 – 繁體中文譯文 T

從字母謎案(自A)專輯中免費下載曲目

白鶴飛翔時 / 12000英里

“非同凡響的自由創作作品集” Radio Indy
“如同‘Thermal Riders’一樣,Dixon的長笛配上零落的電子斷音、吉他,音調婉轉清冽,堪比范吉利斯(Vangelis)大師傑作,現在——神奇的銀翼殺手管弦樂曲” MuzikReviews.com

《12000英里》是drongomala和Boofa異想天開的產物。 2005年網上接觸之後,兩人立即決定一起完成一個項目,就這樣《12000英里》誕生了。
12000英里是Drongomala(英國曼徹斯特)到Boofa(新西蘭惠靈頓)的距離。 此外,發行時特約了國際知名的英國曼徹斯特笛手Iain Dixon。

《白鶴飛翔時》是三年間歷經寒暑幾易其稿之作。

Drongomala和Boofa於2005年在Myspace上偶然相遇。 其時,Drongomala已出4張專輯並組建了六個樂隊,已初步開拓出試驗音樂之路,而Boofa正披荊斬棘製作純樸但卻能激發感情的下拍電子音樂。 連鎖反應是自然的,他們決定共同趕制曲目,不久開花結果出了一張專輯。

為了讓示範檔的開頭“低重量”,兩人在網路上來來回回無數次交換看法,最後確定了全部修改內容。 曲目形成以後,接著就是音訊和MIDI檔的大小,最終兩人利用《Reason》和通用聲庫直至Ableton Live音序器和音訊。

“我們確實互相挑戰聲學極限,最終到達個人無法期冀的高點。通過實驗和做單獨無法奢望之事,總的聲音效果已趨極致。每次對話都是通過網路交換檔且是開放式的,材料完全揉碎從而使我們無法仰賴任何材料或者固執任何觀點”Boofa

隨著檔交換週期漸長,兩人歷經分裂和兩次中斷合作,最終樂隊倖存下來。期間,兩人又發行了三張唱片,草創了一家T恤公司,拿下 了一個音樂學位,搬家4次,但是他們在這兩年裡彼此勉力“如影隨行”創制樣本唱片。 Boofa飛抵倫敦原籍探望朋友和家人,然後折往曼徹斯特,在此地Drongomala和Boofa僅用短短六天就將大約20多張樣本唱片搬上舞臺,屆時 於格拉斯頓伯裡音樂節第五天在曼徹斯特演員休息室裡由Drongomala演奏。

此次演出雖未經訓練但卻獲得好評,實際生活中的合作密切了原有關係。 Boofa離開英國之後,兩人開始錘煉材料製作專輯,但是最初計畫最多六個月完成的專輯最終卻拖延了兩年。

Drongomala特邀性格管樂演員Iain Dixon加入演奏長笛,進一步融合專輯去除支離破碎之感。 這是Drongomala與他灌制的第二張唱片,他曾對Iain說過:

我如何評價都不為過——他是管樂大師。他既是馬克白又是一個頑童,經常只需優雅地點點頭就行雲流水般地彈奏起來。我說鶴在海灘上進攻小矮人,喇叭/長笛/單簧管就應聲而起。真正的音樂家就像魔術師一樣。此外還有一件有趣的事,臨到他與我們灌錄唱片之時,Iain縮短了Van Morrison行程 Drongomala.

此後,D&B重新遠端加工原始材料——音樂融為一體,聲音得到淋漓盡致地發揮。 仙鶴正在起舞。

此專輯完全獨樹一幟。 某些曲目的衝擊力可比歌劇,定音鼓區域的聲音如同電纜鐵塔傾頹而下,而其它音域卻波瀾不驚。 此專輯已超過一加一等於二的簡單相加——魔力無法破除。

曲目
1. 字母謎案(自A)
2. 暖流騎士
3. 瀕危物種
4. 二賢慧心
5. V字隊形
6. 鶴與小矮人
7. 巨石滾落之前
8. 潛特
9. 鶴
10. 字母謎案(至Z)

誠心推薦

    • (艾福克斯)/ Aphex Twin
    • 加拿大滑板 / Boards of Canada
    • 邁爾斯·大衛斯(Miles Davis)
    • 流派
    • 電子
    • 智能舞曲(IDM)
    • 鼓與貝斯
    • 配樂

對鶴的瞭解會影響理解這些歌曲。

  • 鶴群遷徙時常排成人字形一起飛行,因此領頭鳥之後的鳥群可無需拍打氣流節省體能。
  • 據說,阿波羅曾數次變作野鶴巡訪塵世。
  • 荷馬曾講過小人國的故事,每年春季在海神俄刻阿諾斯的岸邊,小矮人都要騎鶴征戰。
  • 據說赫爾墨斯在觀察鶴及其身體形態之後,受到啟發創造了羅馬字母。
  • 一群鶴睡覺時會指定一隻鶴爪握石塊站崗,因此如若睡著石塊會掉下來,這樣鶴群知道他們無法再受到保護了。

白鹤飞翔时 /12000英里 – 简体中文译文 S


从字母谜案(自A)专辑中免费下载曲目

白鹤飞翔时 /12000英里

“非同凡响的自由创作作品集” Radio Indy
“如同‘Thermal Riders’一样,Dixon的长笛配上零落的电子断音、吉他,音调婉转清冽,堪比范吉利斯(Vangelis)大师杰作,现在——神奇的银翼杀手管弦乐曲” MuzikReviews.com

《12000英里》是drongomala和Boofa异想天开的产物。 2005年网上接触之后,两人立即决定一起完成一个项目,就这样《12000英里》诞生了。
12000英里是Drongomala(英国曼彻斯特)到Boofa(新西兰惠灵顿)的距离。 此外,发行时特约了国际知名的英国曼彻斯特笛手Iain Dixon。

《白鹤飞翔时》是三年间历经寒暑几易其稿之作。

Drongomala和Boofa于2005年在Myspace上偶然相遇。 其时,Drongomala已出4张专辑并组建了六个乐队,已初步开拓出试验音乐之路,而Boofa正披荆斩棘制作纯朴但却能激发感情的下拍电子音乐。 连锁反应是自然的,他们决定共同赶制曲目,不久开花结果出了一张专辑。

为了让示范文件的开头“低重量”,两人在网络上来来回回无数次交换看法,最后确定了全部修改内容。 曲目形成以后,接着就是音频和MIDI文件的大小,最终两人利用《Reason》和通用声库直至Ableton Live音序器和音频。

我们确实互相挑战声学极限,最终到达个人无法期冀的高点。通过实验和做单独无法奢望之事,总的声音效果已趋极致。每次对话都是通过网络交换文件且是开放式的,材料完全揉碎从而使我们无法仰赖任何材料或者固执任何观点”Boofa

随着文件交换周期渐长,两人历经分裂和两次中断合作,最终乐队幸存下来。期间,两人又发行了三张唱片,草创了一家T恤公司,拿 下了一个音乐学位,搬家4次,但是他们在这两年里彼此勉力“如影随行”创制样本唱片。 Boofa飞抵伦敦原籍探望朋友和家人,然后折往曼彻斯特,在此地Drongomala和Boofa仅用短短六天就将大约20多张样本唱片搬上舞台,届时 于格拉斯顿伯里音乐节第五天在曼彻斯特演员休息室里由Drongomala演奏。

此次演出虽未经训练但却获得好评,实际生活中的合作密切了原有关系。 Boofa离开英国之后,两人开始锤炼材料制作专辑,但是最初计划最多六个月完成的专辑最终却拖延了两年。

Drongomala特邀性格管乐演员Iain Dixon加入演奏长笛,进一步融合专辑去除支离破碎之感。 这是Drongomala与他灌制的第二张唱片,他曾对Iain说过:

我如何评价都不为过——他是管乐大师。他既是麦克白又是一个顽童,经常只需优雅地点点头就行云流水般地弹奏起来。我说鹤在海滩上进攻小矮人,喇叭/长笛/单簧管就应声而起。真正的音乐家就像魔术师一样。此外还有一件有趣的事,临到他与我们灌录唱片之时,Iain缩短了Van Morrison行程 Drongomala.

此后,D&B重新远程加工原始材料——音乐融为一体,声音得到淋漓尽致地发挥。 仙鹤正在起舞。

此专辑完全独树一帜。 某些曲目的冲击力可比歌剧,定音鼓区域的声音如同电缆铁塔倾颓而下,而其它音域却波澜不惊。 此专辑已超过一加一等于二的简单相加——魔力无法破除。

曲目
1. 字母谜案(自A)
2. 暖流骑士
3. 濒危物种
4. 二贤慧心
5. V字队形
6. 鹤与小矮人
7. 巨石滚落之前
8. 潜特
9. 鹤

10. 字母谜案(至Z)

诚心推荐

  • Aphex Twin(艾福克斯)
  • Boards of Canada
  • 迈尔斯·戴维斯(Miles Davis)
    1. 流派

    2. 电子
    3. 智能舞曲(IDM)
    4. 鼓与贝斯
    5. 配乐

对鹤的了解会影响理解这些歌曲。

  • 鹤群迁徙时常排成人字形一起飞行,因此领头鸟之后的鸟群可无需拍打气流节省体能。
  • 据说,阿波罗曾数次变作野鹤巡访尘世。
  • 荷马曾讲过小人国的故事,每年春季在海神俄刻阿诺斯的岸边,小矮人都要骑鹤征战。
  • 据说赫尔墨斯在观察鹤及其身体形态之后,受到启发创造了罗马字母。
  • 一群鹤睡觉时会指定一只鹤爪握石块站岗,因此如若睡着石块会掉下来,这样鹤群知道他们无法再受到保护了。

Close My Eyes and Let it Go (free track)

ey up…

Here is a free English language version of ‘Cierro los Ojos y Despierto’ from my recent Spanish language record ‘Almas Buenas’. Click on arrow pointing downwards to download it.

I’m shooting a stop-motion video for it now 🙂

Almas Buenas – Drongomala -Lanzamiento 20th Oct 2010 (Español)

Edinburgh, Magrite and how the cover of ‘Garden With You’ came to be

As a teenager I mostly grew up in Cowdenbeath and Dunfermline and would always be excited when I could somehow get across the Forth Rail Bridge to see Edinburgh the capital of Scotland.
Over the years I developed regular haunts and one of them I indulged regularly was a visit to the Modern Art Gallery in Edinburgh. The collections didn’t change a huge amount but I just liked the building, the setting and the mood it put me in when I was there. I
was/am big on the surrealists and they had plenty of good content in that direction.

Time passed since then and in May of this year (2010) I was experimenting with different ideas for imagery for a single I was completing. I was in Argentina recording another album and was completing the artwork and remixes for this other single – ‘(When You Go You Take The) Garden With You’.

As the single was a dance single I thought that I could try a geometric idea and keep it simple in the way the imagery of electronic dance music often translates the music maths of sine waves and frequencies to their artwork.
I thought of a green triangle simply communicating the pubis of a woman but it was boring when mocked up and the idea had been done before. Then I thought of cutting out grass in the shape of a triangle and slowly the idea developed and crystalli
sed when I remembered a wonderful painting by Magrite (Belgian surrealist with a penchant for bowler hats) that used to hang in the back room of the Edinburgh Modern Art Museum. Using the painting as a launchpad I had the specification below for the artist that was going to work on bringing the idea to life.
Here is the mail I sent to the artist….
Specification for ‘Garden With You’ Cover Art

The song title is a reference to a womans body as a garden – specifically her vagina/pubis. The idea for the cover is to have a picture frame shaped like a womans hips and the picture frame to contain green grass with one triangle cut out (like a womans pubic hair shape) showing the brown soil underneath.

There is famous painting by a surrealist
Magritte called La Représentation (1937) that used a picture frame shaped like a womans hips and it would be good to use this shape (not the actual frame) for the picture frame.

I have done a very rough mockup in photoshop to give you an idea but I do not consider it to be anywhere close to a finished piece because :


  • The picture frame is not shown squarely i.e. I used the photo which shows the frame at an angle. I have not taken the frame shape and created a new frame. A new frame shape is needed not a photograph using wood or branches for the frame
  • The grass is not attractive enough (I used quick stock footage photo) and is in much too low a resolution. The grass should be rich, green, natural and shown from an aerial view.
  • The soil is not rich and warm or complementary to the colour of the grass. The triangle should look like it has been cut out of the grass.- the pubis triangle shape could look more like a womans pubic hair
  • Proportions are not correct and the elements do not look like they belong in the same composition
  • It doesn’t look sexual or erotic

It should be immediately clear to viewers that the picture is a representation of a womans hips and pubis using grass/soil and natural elements.



And this is what Santiago Carosella managed to come back with exceeding my expectations by some margin.

Single is available now directly from drongomala.com and also available from iTunes and other online shops around July/Aug 2010.
More exciting artwork coming for Almas Buenas, a record recently finished in Buenos Aires due out later in the UK summer.

Autumn, Ephedrine and Rolling Tape

Recording is complete for Almas Buenas. I know I am a lucky man to have had the idea grow over 5 months and for it to flower like this.

The idea for the record was simple: take songs from my back catalogue that lend themselves to different styles of Latin Arrangements, sing them in Spanish and record acoustic musicians live.

I wanted the recording for Almas Buenas to be completely live with a whole group playing in unison as it is a romantic and dangerous thing to do and if done right then this magic translates into what is recorded. Unless you have top quality musicians this approach can end in chaos and the truth is that most records are made using a sucession of overdubs because it is simply easier to do and runs less risk.

The studio, Moebio, is a mythical place not listed on many maps or findable on the internet due to the slightly eccentric nature of the owner but is a hidden home for acoustic recordings for those in the know. It is one of the finest studio rooms in Argentina specially designed by Carlos Piriz – an acoustic engineer recognized throughout Latin America as one of the best.

Some of the greatest artists of recent times have recorded in this room, including Mercedes Sosa, the guitarist and composer Juan Falu, the guitarist Luis Salinas, the violinist, composer and conductor Antonio Agri, Soda Stereo, Fito Paez, Luis Alberto Spinetta, Charly García, La Camerata Bariloche. The historic album “200 Years of Argentina Music” by the Salta Symphony Orchestra, was also undertaken in Moebio.

The change to Autumn in Buenos Aires caught me by surprise and three days before the recording and I foolishly left a window open at night in my bedroom which saw me waking up with a cold and lots of nose gunk. Thankfully Jorge had a special remedy including Ephedrine which instantly cleared my head but it was strong stuff.

Oscar Magariños, came recommeded as a recording sound engineer for the project, by Jorge, and it was Oscar that suggested Moebio Studios to record. Oscar had prepped the room before with layouts and microphones so when we arrived things were smooth and enginnering effort invisible to the performers which is the way it should be.

The musicians arrived and gelled very quickly. The double bass player had been changed at the last minute and was replaced by the legendary Juan Pablo Navarro who, until the sessions, hadn´t worked with any of the other musicians on the songs. Juan´s calibre was such that this didn´t matter and he anchored the rhythm and the music perfectly. Carlos Corrales on bandoneon proved to be a focal point for the group due to his outstanding musicality and charisma.

Jorge Soldera conducted the arrangements in the centre of the room and for separation I sang from the control booth.

Monday
We only had the bandoneon and piano player for one day but we managed to get all six songs they featured on recorded.

As some songs had many mid frequencies to deal with from bandoneon, guitar, piano, voice and percussion it was useful that the piano in the studio had been chosen especially to have a dark tonal quality allowing it so sit alongside some of the brighter instruments. It was a ´tango piano´. Matias Chapiro, a young pianist and composer, played extremely sensitively and framed the songs with an inspired touch.

The day was finished off with an eyeball to eyeball tango performance by Carlos and myself. Jorge and I had reworked the song Blowin´ Up Tryin´ 2B Somebody (Exploto Mientras Trato Ser Alguien) into a completely new tango variant and Carlos had written a new arrangement for it. It was a great honour for me to have Carlos undertake this arrangement as he is one of the most famous bandoneon players working in the world today with performances and credits across the world. The first time I heard the new arrangement was at the session and after a trial run we managed to get synchronicity with an explosive take. One of the tricks of tango is that it is not in strict time and the performers are expected to push and pull the timing to suit the mood. One final thing about Carlos – he used to box in the same club I have been going to in Almagro. Perfecto.

Sergio Carrera the graphic artist also came down to the session to do photo studies of the musicians for his album artwork composition.


Tuesday
Focus was on the guitar led tracks and with only two remaining we manged to get through them fine along with one or two percussion overdubs. The track Don´t Get All Stuck (No Te Dejes Atrapar) was electrifying. There are tonnes of words for this track and during preproduction we had to move the tempo down from 115bpm to 112bpm so I could blurt them all out successfully. However during the recording the flamenco style had the musicians excited and we did a version even higher than 115bpm. Victor Piseta, on spanish guitar, dazzled with his virtuoso playing inspired by Paco de Lucia and Astor Piazzolla. Victor´s current direction is primarily folklorico with Duo Matices although he has also toured with the trio, Guitarras de Fuego, and recorded as a solo guitar artist. There are big things to come for Victor.

http://www.youtube.com/v/d-EDYgiu3TQ&hl=en_US&fs=1&rel=0&border=1

Wednesday
Vocals. Ephedrine. Honey. Lemon. Spanish language Gods were looking down on me on this day.

Thursday
Trumpet track for Let the Credits Roll (Que Pasen los Créditos). This track needed a muted trumpet to give it a New Orleans funeral procession inkeeping with the sentiment of the song. I wrote this song a few years ago after my band The Good Hurt broke up.

Patricia Zania, a BsAs fashionista, took photos and video footage leading up to and during the recording. I hope to get some of it edited and translated back in London.

Thursday night was strange. My whole calendar had been focussed around this record and it was only after finishing at the studio that I realised I would be leaving in a week. The mixing will be done over the next few days and before I know it I´ll be back in London.

At least my girl and the sun will be there 🙂

Round 2 – Buenas Almas

Round 2 of pre-production for the record Almas Buenas (Good Souls) begins this week. All songs have been demo´d with new arrangements and given to the musicians. Jorge Soldera is the producer and co-arranger for this record and I couldn´t have been luckier in choosing him to mentor me through the project and music scene here. Jorge has extensive experience in most forms of Latin music and has worked with some of the big names in Argentina. Importantly, he has a big heart and great ear not to mention his list of contacts which he used to put together a great bunch of musicians which we will begin rehearsing with today. The record will be recorded live which makes the project more difficult but I hope it will give it the edge of drama I am looking for. We record on the 17th-20th of this month. Jorge is also coaching me on my singing in Spanish and his patience is the kind that people attribute to Saints. His lovely wife and family also look after me and feed me as I am never out of their place.

The artwork for Almas Buenas will be done by the rising comics star Sergio Martín Carrera who is most known for his graphic novel The Eternal City which is set in Buenos Aires. It is available on iTunes/Android and will soon be put out in a compendium print in Spanish. It is a story of a reluctant agent of Death who escorts expired Porteños (Buenos Aires folks) to the afterlife. For me Eternal City is a love story to Buenos Aires by Sergio and throws light on not only the characters of the grand city but provides the city with a face too showing the different districts, landmarks and buildings. I went out for drinks with him and his friends the other night and it was great fun and before I knew it I found myself p*ssed at 6am staggering into a cab in San Telmo. They were a smart bunch and gave me great insights and anecdotes about life in the city. The lead character in The Eternal City was based on one of Sergio´s friends who was also out drinking with us and it was odd to have a sense of accelearted familiarity with him as he talked, stood or sat in positions echoing the scenes in the novel – almost like meeting Peter Parker or Wolverine.

My boxing continues and after some rounds of anti-inflammatories my back has settled down meaning I can get through the sessions without agony in the last hour. I will miss the club when I go. Sparring exercises with people who don´t speak English always have the extra element of danger and I can see the look in their eyes saying ´Does he know what we are meant to do and is there is going to be an accident?´.

My house-disco song (When You Go You Take The) Garden With You will be complete by the end of this week and I am really happy with it. All final mixes for Garden With You have been done. There are two main mixes and two remixes. Track listing is :

  1. Main Mix by UK´s Glen Nicholls who has worked with Prodigy, Bee Gees, Depeche Mode and a host of others.
  2. Alternate Mix by Arimaka aka Manuel Jiminez from Los Angeles who has worked with the likes of Madonna.
  3. Dub Mix by Emiliano Gomez from Argentina at the DubSalon – a rising star of dub.
  4. Sleeping on the Couch Mix by Boofa. A dark electro mix by this NZ multi-media artist who is the other half of the 12000 Miles album.

The artwork is also underway which promises to be something special and hopefully a little risqué .

http://www.youtube.com/v/UnHYumtz6o0&hl=en_US&fs=1&rel=0&border=1
One singer that Jorge has inroduced me to is the legendary Argentinian singer Mercedes Sosa. Unfortunately she died last year but left a massive legacy behind. Some say that if the soil of Latin America could sing that it would have her voice and I tend to believe it. Her last album was a series of duets with some of the most famous musicians in Latin America and the record was called Cantora (a double album also featuring a documentary). The position she holds in Argentina is a little like the position that Nusrat Fateh Ali Khan holds in Pakistan which is of a statesman that helped give the country a musical, philosophical and cultural cornerstone. She was much feared by the repressive government in Argentina and many times had to flee for her life. I reccomend you check her out.