#patrick dillett

[tmbgareok]

TMBG CLASSIC ALBUM THE ELSE IS FINALLY BACK ON VINYL! 

Including long-time audience favorites The Mesopotamians, Withered Hope, and Careful What You Pack, THE ELSE weighs in with 13 lucky songs, and finds They Might Be Giants collaborating on production with the Dust Bros. (Beastie Boys, Beck) and Patrick Dillett (David Byrne, St. Vincent, Mary J. Blige). Amongst a number of firsts, this album is the first in which all the songs are over two minutes long and  Marty Beller is on the drum throne for the entire album.

This new deluxe package includes photography by Marcel Dzama, and the disc is pressed on audiophile 180g vinyl in a color we have been told is called “pumpkin mystery smoke."

www.tmbgshop.com

[piasgermany]

[Album] Bebel Gilberto kündigt neues Album "Joao" an!

Bebel Gilberto wird ein neues Album am 25. August über [PIAS] Recordings veröffentlichen. Das Album trägt den Titel "Joao" und feiert die weltberühmten Lieder ihres Vaters, des großen João Gilberto, einem der Pioniere der Bossa Nova Musik, der 2019 nach einer langen, 70-jährigen Musikkarriere verstarb. Auf dem neuen Album interpretiert die Sängerin elf Songs aus der Feder ihres Vaters, die sie schon seit Kindertagen intensiv begleitet haben.

Produziert von Thomas Bartlett und abgemischt von Patrick Dillett, bietet das Album Gilbertos typisch hypnotische Vocals untermalt mit Gitarrenarrangements von Guilherme Monteiro. Die Songauswahl umfasst weniger bekannte Kompositionen von João Gilberto, die extra für seine Tochter geschrieben wurden, aber auch Klassiker wie Ela é Carioca und Desafinado bekommen von der Sängerin ein neues Gewand verpasst. "João" is a love letter to my father”, führt Bebel weiter aus. “Since my first album I've never really covered any of my Dad's music. Now it's time to present to the public the songs from João Gilberto that have influenced me since I was born- and even before”.

Die erste Single "É Preciso Perdoar" kombiniert Bebels rauchigen Gesang mit akustischen Bossa-Nova-Gitarren, subtilen elektronischen Arrangements und zarten Klaviermelodien. “While recording my version, I kept trying to understand how important it is to forgive a person, instead of leaving those feelings behind and never resolving them, especially when you still love that person and want to honor what you built together.“

Tracklist "Joao": 01. Adeus América 02. Eu Vim Da Bahia 03. É Preciso Perdoar 04. Undiú 05. Ela E Carioca 06. O Pato 07. Caminhos Cruzados 08. Desafinado 09. Valsa 10. Eclipse 11. Você e Eu

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[nofatclips]

Hurts To Be Alone by Norah Jones from the album Pick Me Up Off The Floor

[infiniitoparticulaar]

MEMÓRIAS, CRÔNICAS E DECLARAÇÕES DE AMOR (2000) - Marisa Monte

ANO 2000

FICHA TÉCNICA

Produzido por Arto Lindsay e Marisa Monte Direção Executiva // Leonardo Netto Ass. de Produção (RJ) // Suely Aguiar   Estúdios de Gravação Ilha dos Sapos (Salvador)   Técnico // Patrick Dillett   Técnico de pro-tools e Ass. de Gravação // Duda Silveira   Ass. de Produção// Alessandra Barreto Roadies Bira, Tiara, Pipinha e Bhia   Mega (RJ): Técnico // Márcio Gama   Ass. de Gravação // Marcito Vianna Roadie // Márcio Barros   Lá Em Baixo (RJ): Técnico Márcio Gama   Pro-tools e Edição Digital Florência Saravia   Ass. de Produção Alessandra Barreto Roadie Márcio Barros Magic Shop, Sear Studios e Kampo   Studio (New York): Técnico // Patrick Dillett   Ass. de Gravação Reto Peter (Magic Shop), Tom Schick (Sear) e Caleb Lambert (Kampo) Gravações adicionais New York // Tom Durak, Tim Latham, Caleb Lambert Mixado por Patrick Dillett Masterizado por Ted Jensen para Sterling Sound (New York)   Fotos capa, contracapa e encarte // Marisa Monte   Ass. de Fotografia // Marcelo Olinto   Cifras // Fernando Caneca

SOBRE O ÁLBUM

“O amor, quando verdadeiro, quer ser proclamado aos quatro ventos, quer ser cantado com a alma e o coração. Por isso o maior elogio que se fez ao amor nas Escrituras judeu-cristãs se chama "Cântico dos Cânticos". O místico São João da Cruz que experimentou o amor radical escreveu as ‘Canções de Amor entre a Alma e Deus’. Aí canta esta verdade universal: ‘olha que a doença de amor não se cura senão pela presença e a figura’.

O amor não pode ser platônico, ele quer sentir a presença e quer tocar a figura. Ele é a exaltação a ponto de levar a ‘fazer um samba sobre o infinito’ e ser a ‘palavra que liberta’. Mas é também o singelo gesto de quem confessa ‘toda vez que saio me preparo para talvez te ver’ porque ’no peito há vazio, há falta de alguém’. É o amor que torna as pessoas importantes, quer dizer, que faz com que nos importemos com a pessoa amada, encontrada ‘no meio de tanta gente’. Mas se o amor não encontra amor, "a vida para mim terminou", mais ainda "é como se perder de Deus". Mas se o amor encontra outro amor sabe ‘isso me acalma, me acolhe a alma, isso me ajuda a viver’.”

- Leonardo Boff

Paixão eterna de minha vida

“O amor romântico é uma invenção artificial e contrária à verdadeira natureza humana. Ouvimos isto o tempo todo hoje em dia e, quanto mais velhos ficamos, mais pensamos acreditar que é assim mesmo. Olhar em torno às vezes também confirma a crença. Existirá, sim, paixão, exacerbação temporária dos sentidos e da razão, mas amor mesmo, do jeito que equivocadamente existia para as gerações de vagos tempos antigos, é ilusa, é no mínimo tentativa voluntarista e neurótica de enquadrar o mundo onde ele não pode encaixar-se. Os felizes para sempre acabaram, a entrega, a renúncia, o arrebatamento, o enlevo perene se foram para nunca mais voltar.

Ah, que coisa chata ficar filosófico ou, pior ainda, ter delírios psicanalíticos, quando se fala em amor. Vale a pena discutir a persistência do amor, não é empresa vã questionar o amor, alguém que sabe da indignação sobre a natureza humana, quando se está encegueirado de amor? Claro que não. Lembro uma história que de vez em quando conto, sobre o dia que um velho amigo meu entrou de surpresa em meu escritório e me encontrou soterrado sob resmas de papel embaralhadas e a ponto de arrepanhar tudo e socá-lo na cesta do lixo. Que diabo estava eu fazendo ali - queixei-me -, escrevendo uma história que nunca havia acontecido, povoada de gente que nunca tinha vivido, que loucura absurda era aquela? Ele respondeu que não sabia, mas que de uma coisa estava certo. Desde que o homem aprendeu a falar, mesmo bem antes de conceber a escrita, sempre houve alguém para contar histórias e outros querendo, ou até precisando, ouvir essas histórias. Portanto, disse ele, não fabrique perguntas inúteis, não adianta perguntar nada. Alguém sempre estará fazendo o que você está fazendo agora e, portanto, para alguma coisa há de servir; sente aí e escreva, cumpra sua sina sem buscar respostas que nunca vai ter.

E me lembro também de quando, apaixonado pela primeira vez e cruelmente ignorado, me via em casa, sentado na poltrona grande do gabinete de meu pai, em devaneios sonhadores entremeados de soluços, tudo na vida, tudo o que me interessava, encarnado na figura loura de sorriso claro que não me queria, que não sabia da grandeza de meu amor, jamais por impossível, sentido assim por qualquer outra criatura, não tinha vontade nem de saber como seríamos felizes juntos, como era puro o meu coração e absoluta a minha devoção. Havia uma música com o nome dela e eu punha o disco na vitrola uma vez atrás da outra e , em verdade lhes digo, nunca ninguém sofreu de amor assim.

Com exceção de todo mundo, é claro. Pois quem não passou por isso? Quem não perdeu o fôlego, não sentiu o corpo inteiro latejar, a cabeça flutuar desgovernada, a paisagem se iluminar e tudo mais perder a importância, às vezes somente por causa de um olhar, uma palavra, um sorriso, um toque leve de mão? Quem não sentiu as pernas desfalecendo e a alma tresvariada, no instante de um primeiro beijo? E quem não se julgou o mais infeliz dos seres, transmutado em raiva, despeito, lágrimas e tristeza inextinguível, por causa de um aceno indiferente, um dito condescendente, uma traição sem remédio, uma despedida sem retorno?

Todos já se sentiram assim, nenhum compreendeu. Se alguém tivesse realmente compreendido, aí, de fato, não haveria mais amor romântico. Mas há. Imperfeito como a condição humana, passageiro como a vida, mas há. O que meu amigo disse sobre contar histórias pode ser dito do amor. Não adianta fazer perguntas, procurar qualificá-lo, tentar desvelar seus segredos, acusá-lo de falso e enganador. Ele apenas é. E por isso, não só entre os gregos, mas em toda parte, sempre houve, há e haverá um Orfeu descendo ao inferno para buscar sua Eurídice. 

         MÚSICAS 

Amor I Love You

Não Vá Emboratocou há 2hRadio 54

O Que Me Importa

Não é Fácil

Perdão Você

Tema de Amor

Abololô

Para Ver as Meninas

Cinco MinutosPLAY

Gentileza

Água Também é Mar

Gotas de Luar

Encontrado no site :  http://www.marisamonte.com.br/pt#1

[joneswilliam72]

A conversation with Henry Jamison: "everything is personal and political depending on how you’re looking at it."

Today sees the release of Gloria Duplex, Henry Jamison’s followup to his excellent debut, The Wilds. While The Wilds acted as a captivating collection of short stories set to audio, Jamison’s sophomore effort is more focused, dealing largely with the topic of toxic masculinity. We talked to Jamison about this divisive issue, what he’s learned since recording his debut, and more.

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How did tour go? Because I understand that you did quite a few dates between The Wilds and the new album.

It’s almost like asking me how my life is going, because it’s such a huge part of everything now. Most touring went very well and was easy and great. Some of it got hard, especially at the end of the two months that I did April and May. And then, more recently, it’s been pretty easy. I’ve gone to full band, which actually was in May as well. It’s very different at least, you could say, and it’s fun and good.

What have you learned since the release of The Wilds?

I’ve learned that certain things that everyone knew from biopics and stuff about how much life changes when you become a touring musician, that those are true. I’ve learned that however hard it is, I’m going to keep going, which I wasn’t totally sure about, to be honest. Well, for one thing, I wasn’t sure it was how hard it would be. Then, I imagined that if it were officially hard, that I’d take a step back or in a different way and it just seems like right now I need to take every opportunity I can get still. I’m kind of like waiting, maybe, for the moment where I can make more decisions with myself, but I’m happy where I’m at.

Your new album Gloria Duplex is largely based on the topic of toxic masculinity, how did you decide to give that as the focus of the album?

It was more that I basically had half of the album written and it was about that, and I think the only reason I was wrestling with that at all is because it’s a very important topic in my personal life and a very nice intersection of the personal and political. I think sort of everything is personal and political depending on how you’re looking at it, but it all starts with other stuff too. I wouldn’t even call the record especially political.

Is this something that you want to reach people who are affected by toxic masculinity or those who might be complicit in it?

Well, I would say that people who are complicit in it, namely men, are affected by it adversely. I think there’s a myth, and not in a good way, if it’s just the perpetrator is a man and the victim isn’t a man, when in fact, the perpetrator is also a victim, in a way.

How did you first become aware of toxic masculinity?

I witnessed the culture around college. I think it was there before, I just didn’t have any input. I didn’t even know books and what was problematic about it. I had a pretty wholesome sheltered childhood, and I was playing Army men and boys playing around pretending to kill people which is, in a certain essence, totally natural to us. At its root, it is natural, just not in the way that it happens.

Do you think that this is an issue that is going to be continued to be discussed and developed in our understanding or do you think it is going to become like a buzzword and lose its impact?

I don’t know. I keep thinking that we achieved this stop and in a lot of ways, it did, but...the 24-hour news cycle is people just jumping on stuff, and then they jump off it and onto something else. But I think this is too big an issue. I already am not super into the term “toxic masculinity” because it was helpful for a little while, and it is a good term, like, toxicity is a very good metaphor for what it is. As soon as it loses its metaphorical meaning and it just becomes a buzz term, you’re not really sure what you’re talking about anymore.

I’ve noticed a sort of reoccurring motif in your lyrics. You bring up video games a few times in a way that’s very nostalgic, talking about being at the arcade or playing Grand Theft Auto. With video games, with things like the whole “Gamergate” controversy, there’s a lot of talk about video games and the effects they have on masculine minds, is that something you intended or something you were interested in?

In a certain way, I think that was like low-hanging fruit. Like that might be one of the first things you could think of in terms of conditioning, and maybe because it was an easy thing, it was a very good way into singing about it. Because what you need in a song is not like a theory or anything that is worked out intellectually. It needs to be in images like poetry. So, like a video game, it was perfect with Grand Theft Auto in particular, because I did play that game growing up, and a lot of it actually was very beautiful. Because it was like a beautiful scene, but then what you’re doing in it, it’s like prescribed action; you almost can’t do anything but kill people. So, you can just walk around, but even if you bump into someone, someone’s probably gonna punch you. So, it’s this very kind of strange combination of looking at the haze of San Andreas and then also being in a complete warzone.

A lot of this album, like your previous one, is autobiographical in some regards, correct?

Yeah, mostly.

So, are these events ones that just stuck with you since the moment they happened, or are they ones where you look back and you realize how significant they were?

I’d say it’s more like slightly-fictionalized versions of eras of my life. In my song ‘True North,’ there was a moment where I pulled over, and I was driving down the 101 and I looked up on the ocean and the moon was shining down and all that. And then one time in London in Trafalgar Square, I had not any kind of truly worrisome crisis, but just like a feeling of being very high and dry. So, there are definitely moments that are on the record that are particular, and they’re also kind of poeticized and thrown into a bigger narrative that also exists but is not something that I can trace in any literal way.

You are in pretty good company with other folk musicians of incorporating events into lyrics; I think of Mark Kozelek, I think of Phil Elverum. How do you think this sort of trend of specificity helps with songwriting?

I think Mark Kozelek has taken it a little far [laughs]. Even though I really love him;I love him very much. I always think that it is a very kind of quintessentially American thing, because I have a very inaccurate of what Tom Petty and also an inaccurate idea of what Bruce Springsteen is. I thought that what they did was sing story songs over “chugaluga” beats and add guitar chords and stuff. And then it’s always different than that. Mark Kozelek is extremely specific, and I thought those guys were and that it was an American thing, and there’s the other side, the more archetypal. My friends in Darlingside are always talking about Proverbs or the son. And I’m trying to hit this middle point, where it’s very specific, but also there are sort of grander ideas behind those specific things happening.

Your music, like on The Wilds, is so beautifully presented in terms of the performance and the singing. Do you ever worry about people missing your message, getting too caught up in the beauty that they might not realize what you’re really saying?

No, I would be in some kind of state of hypertension if I felt like I was proselytizing in a way like I had to say this and I had to be heard. To me, I want to make music, so there’s still a lot of ego in it. I just basically pat myself on the back that I have a message that’s important for me and for other people maybe, but there are many facets to it. If I were trying to say something very clearly, I might’ve not made the record [laughs].

You collaborated with some pretty significant names for this album, Thomas Barlett, Patrick Dillett, Rob Moose. How did it feel to have them on board and what sort of effect did they have on the finished product?

Well, Pat mixed it, and I think he did a very good job and has a very particular mixing style. I would say Rob is on five songs and he did a very good job, but Thomas is on so many instruments on every track, and his production style is very specific and beautiful and I think he taught me a lot. The only difference that I did not like as much was that we were on a much tighter schedule than I had before. Which, in a certain way, was really good, because what everyone knows about deadlines, it made us work really hard and maybe made things a little raggedy, in a good way. But it also meant that my stress levels were higher, especially going at the end of it, because we had to do it. But it was an awesome thing that happened.

How tight was the schedule?

We made in two weeks.

What do you see as being the big difference between this album and The Wilds?

For starters, more of this record, though not all of it, was written specifically for this record. Whereas The Wilds is more like a collection of songs. The idea of The Wilds is such a broad one that it could be called a concept, but it’s just more like “We’re in various wildernesses, and these songs are about life so they’re kind of tied together by that.” Gloria Duplex is more specific, more sophisticated in a lot of ways in its structure; I guess just in its focus.

What sort of hopes do you have for your next album, if you have any?

I’m writing songs and I have some thoughts about maybe some over-arching ideas, but I don’t know that I will record it until the fall at the earliest. So, I feel like I have a good chunk of time in which I have enough songs now that have thematic throughlines that maybe I can start writing a little more specifically along those lines. But I think that I’ll probably do more, at least two-thirds of it would be a live-tracked band. So far, it’s more audio decisions, but it’s also the deadline thing that really gets me to finish songs and flesh out the ideas and stuff.

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Henry Jamison’s new album Gloria Duplex is out now on Akira Records.

from The 405 http://bit.ly/2TCL63t

[odorchaie]

Feature Artist- Dan Dillett

Feature Artist- Dan Dillett

Hi and thanks for joining me this week. I’d like to introduce you to a phenomenal artist we were lucky enough to actually meet through my kids music producer, Patrick. A couple of weeks ago while my kids were in studio working on their first album, Dan stopped by early (before his recording session with Patrick)to meet with us and get a listen to our kids music. Dan was named as one of the top…

[planetaryradio]

The Arts Desk Review: They Might Be Giants' Nanobot

Nanobots is their 16th album and, quite consciously, looks back over their 21 years in pop.

Impressively, it does so – for the most part, at least - without becoming irritating. The New Yorkers have produced 45 minutes of quirky pop, much of which transports the listener to a world of childlike delight. The album was produced by Partrick Dillett who has worked with David Byrne, and a Byrne-like sense naïvety combined with intelligence frequently rises to the surface. 

Read the rest of The Arts Desk's review here.

[tmbgareok]

Charleston, St. Pete, Orlando, Birmingham, Nashville--

THEY MIGHT BE GIANTS PRESENT THE FLOOD SHOW!

We are celebrating Flood's 33rd anniversary by performing the album, in its entirety, on stages across the US. The show is "an evening with" (that means no opener, folks) and TMBG will play two full sets with their barn-storming live band including a 3-piece horn section. How will it be presented? In sequence, in reverse sequence, alphabetical, or mixed into additional repertoire? It will be evolving every night. In addition to Flood, the song selection will span our entire career including new songs from their Grammy-nominated album BOOK all the way back to chestnuts from even before Flood.

SOME WORDS ABOUT FLOOD

Before Alternative Rock, when rock dinosaurs still roamed the earth, They Might Be Giants crawled out of the primordial performance art scene of the Lower East Side and on to the college rock scene with a series of breakthrough songs and best-selling albums. Vaulted into the national scene by a series of highly creative videos, the band ultimately garnered the attention of the powerhouse major label Elektra Entertainment. Collaborating with British hitmakers Clive Langer and Alan Winstanley, as well as emerging indie producers Roger Moutenot and Patrick Dillett, the band embarked on an album that would leave their lo-fi roots behind in exchange for a sonic adventure to be called Flood. Embraced by critics and audiences alike, the 19-song album would go on to go platinum and garner a clutch of timeless favorites for the band including Birdhouse in Your Soul, Istanbul (Not Constantinople), Twisting, Particle Man, Dead, and many others.

3/12 Charleston https://bit.ly/TMBG031223 <150 tickets left!

3/14 St. Petersburg https://bit.ly/TMBG031423 <150 tickets left!

3/17 Orlando https://bit.ly/TMBG031723 <200 tickets left!

3/21 Birmingham https://bit.ly/TMBG032123

3/22 Nashville https://bit.ly/TMBG032223

3/23 Nashville https://bit.ly/TMBG032323

MOST UPCOMING SHOWS ARE ALREADY SOLD OUT:Austin, Houston, Dallas, Tulsa, Kansas City, Lincoln NE, Fort Collins, Boulder, Denver, Salt Lake City, Vancouver, Seattle x2, Portland x2, Los Angeles, San Diego x2, San Francisco, Indianapolis, Cincinnati, Columbus, Ponte Vedra, Fort Lauderdale, Atlanta, Asheville, Raleigh, Richmond

[tmbgareok]

Charleston, St. Pete, Orlando, Birmingham, Nashville--

THEY MIGHT BE GIANTS PRESENT THE FLOOD SHOW!

We are celebrating Flood's 33rd anniversary by performing the album, in its entirety, on stages across the US. The show is "an evening with" (that means no opener, folks) and TMBG will play two full sets with their barn-storming live band including a 3-piece horn section. How will it be presented? In sequence, in reverse sequence, alphabetical, or mixed into additional repertoire? It will be evolving every night. In addition to Flood, the song selection will span our entire career including new songs from their Grammy-nominated album BOOK all the way back to chestnuts from even before Flood.

SOME WORDS ABOUT FLOOD

Before Alternative Rock, when rock dinosaurs still roamed the earth, They Might Be Giants crawled out of the primordial performance art scene of the Lower East Side and on to the college rock scene with a series of breakthrough songs and best-selling albums. Vaulted into the national scene by a series of highly creative videos, the band ultimately garnered the attention of the powerhouse major label Elektra Entertainment. Collaborating with British hitmakers Clive Langer and Alan Winstanley, as well as emerging indie producers Roger Moutenot and Patrick Dillett, the band embarked on an album that would leave their lo-fi roots behind in exchange for a sonic adventure to be called Flood. Embraced by critics and audiences alike, the 19-song album would go on to go platinum and garner a clutch of timeless favorites for the band including Birdhouse in Your Soul, Istanbul (Not Constantinople), Twisting, Particle Man, Dead, and many others.

3/12 Charleston https://bit.ly/TMBG031223 <150 tickets left!

3/14 St. Petersburg https://bit.ly/TMBG031423 <150 tickets left!

3/17 Orlando https://bit.ly/TMBG031723 <200 tickets left!

3/21 Birmingham https://bit.ly/TMBG032123

3/22 Nashville https://bit.ly/TMBG032223

3/23 Nashville https://bit.ly/TMBG032323

MOST UPCOMING SHOWS ARE ALREADY SOLD OUT:Austin, Houston, Dallas, Tulsa, Kansas City, Lincoln NE, Fort Collins, Boulder, Denver, Salt Lake City, Vancouver, Seattle x2, Portland x2, Los Angeles, San Diego x2, San Francisco, Indianapolis, Cincinnati, Columbus, Ponte Vedra, Fort Lauderdale, Atlanta, Asheville, Raleigh, Richmond

[nofatclips]

Piano version of Young Lover by St. Vincent from the album Mass Education

[nofatclips]

Her Mercy by Glen Hansard from the album Didn’t He Ramble - Filmed and edited by Myles O'Reilly

[nofatclips]

Piano version of Pills by St. Vincent from the album Mass Education

[nofatclips]

The Greatest by They Might Be Giants from the bonus disc of My Murdered Remains, originally from Dial-A-Song Week 5 - Directed by Alex Italics

[nofatclips]

Tractor by They Might Be Giants from the album My Murdered Remains - Video by Todd Goldstein.

[nofatclips]

Alchemy by Joe Jackson from the album Fool

[nofatclips]

Strange Weather (Keren Ann cover) by Anna Calvi (featuring David Byrne) from the Strange Weather EP - Director: Alan Del Rio Ortiz