Tastaturmusik

Jeg har lavet en playlist til Laugesen-digt Tastatur med lutter musik/sange med tastaturly . som ligger på Spotifys Kronstork-side (eller Kronstorks Spotify-side)

link HER !

Et par af sangene (meget skønt at både Brian Eno og Bryan Ferry har lavet tastatur-sange):

Byrne & nonsens & Ball & Eno

 Fra interview med David Byrne i Rolling Stone (og hvornår, hvordan kan man se hans Spike Lee-instruerede koncertfilm? helt ærligt!)

The lyrics to one of your Talking Heads songs, “I Zimbra,” borrow from a nonsense poem by Dadaist poet Hugo Ball. How do you know when it’s time to stop making sense?
Never. My daughter has a young child, and I’m proud that I’ve shown him how to work a salad spinner with his head.

It was Brian Eno who suggested you adapt a Dada poem, leading you to write “I Zimbra.” What are the biggest lessons you’ve learned from working with him over the years?
We tended to work in a different way each time we worked together. There was the stuff we did with Talking Heads, that’s one thing, but when we worked together on this My Life in the Bush of Ghosts record, it was like a round robin, where one person makes a move, and then the other person makes a move that reacts to that one, and you go back and forth like that until you’ve built some kind of edifice based on all your little reactions to things you’ve done. With some of the other projects, there would be much more division of labor. With one album, Everything That Happens Will Happen Today, he had done all this music that he didn’t know what to do with, so I just said, “I’m not going to touch the music, but I’ll write words and melodies over top of it, but I won’t do any music myself.” By making that kind of tacit agreement, and saying, “I’m not going to mess with your stuff, but I’m going to just add on top of it,” that worked out really well. We discovered different ways of collaborating each time.

3 x Eno til Brian

Lars Bukdahl Kom til at tænke på, jeres små fælles Eno-bind, One, Zebra, High (1980, 1982, 1983), har I foræret dem til Eno, dengang eller senere (ligesom Bowie omsider fik Bowie Bowie, og Dylan vel skal have den nye Dylan Forever)?

Asger Schnack Jeg overrakte Brian Eno de tre bøger – sammen med en oversættelse til engelsk, som Klaus Høeck og jeg havde lavet i fællesskab – i Huset i Magstræde i januar 1986. Brian Eno var i København for at deltage i en udstilling med videoværker (Husets Udstillinger).

 

 

 

The Duke Of Ear

15:37

Brian Eno: 'I realise now he was saying goodbye'

Brian Eno has revealed that he received an email from David Bowie recently in which "he was saying goodbye".
In a statement, Eno said: "David's death came as a complete surprise, as did nearly everything else about him. I feel a huge gap now. We knew each other for over 40 years, in a friendship that was always tinged by echoes of [comic characters] Pete and Dud.
"Over the last few years – with him living in New York and me in London – our connection was by email. We signed off with invented names: some of his were 'mr showbiz', 'milton keynes', 'rhoda borrocks' and 'the duke of ear'.
"I received an email from him seven days ago. It was as funny as always, and as surreal, looping through word games and allusions and all the usual stuff we did. It ended with this sentence: 'Thank you for our good times, brian. they will never rot'. And it was signed 'Dawn'. I realise now he was saying goodbye."
Eno also revealed that the pair had considered working together again. "About a year ago we started talking about Outside, the last album we worked on together. We both liked that album a lot and felt that it had fallen through the cracks. We talked about revisiting it, taking it somewhere new. I was looking forward to that."

David Byrne er ugens konspiration

David Byrne er overalt i mit liv disse dage; han optræder hvidhåret i den åndddsvagt fine og fint åndssvage  film This Must Be The Place og synger titelsangen, der jo er en gammel Takling Heads-klassiker, der igen og igen popper op i filmen i forskellige udgaver, lidt ligesom titelsangen i Robert Altmans The Long Goodbye (min yndlingsfilm som bekendt):

og i dag faldt jeg over bog-formateringen af hans egen fornøjelige film True Stories fra 1986, der foruden manus og stills indeholder kuriøse avisklip (Sande Historier) og pokerfjæsede mini-essays apropos filmens motiver, og bl.a. dette:

Conspiracies

It's not what you know, it's who you know. Everybody believes in some conspiracy or other.  The ones you believe in seem perfectly plausible. The ones you don't believe in seem like they were thought up by a bunch of nuts and kooks. Can one person be a conspiracy? was supermarket barcoding prophesied in the Bible?
  Is it true that a very large percentage of government leaders went to a very small number of prep schools in the East. Sure, they hire each other. Sure, they appoint each other to official posts. So it's true. The world is run by the student council in high school. But those guys didn't go to your high school or mine. It's the high school acsorss town that runs verything. Shakespeare was heavily into conspiracy. Everybody would like to conspire against everybody else ... if we could get away with it, if we could get the chance.



- men jeg stadig lystlæser mig gennem How Music Works; jeg er kommet til side 191 i kapitlet "in the Recording Studio", det handler om Talking Heads i studiet med Brian Eno producing:

Eno was the one who encourarged us to mess with the sounds after they were recorded. He'd done a little of that on our previous record, but now the gloves were off. The furthest we went was on the song "drugs". We had initially recorded a fairly straightforward backing track that seemed a bit conventional, so w began to mute some of the instruments, sometimes just silencing specific notes. This made some parts open up; there were more gaps, more air. I had a recording of koalas that I'd made while we were on tour in Australia (they mainly grunt and snort, in contrast to their cutesey appearance), and that got addded in here and there. The grunts worked like indertiminate animal answers and echoes to my singing. More sounds went on - an arc-like melody created using an echo machine, and then a guitar solo at the end that was made by selecting fragments from a number of improvised solos. Finally, I sang the song after jogging in the studio, because for some reason I wanted to be out of breath. Of course, I was singing the same words and melody as I had been on the earlier, straighter version of the song, but now to a vastly alterede musical track - a fact that also affected how I sang. The song, as it was released, was an arrangement of sounds that one would never have come up with in rehersal or sitting writing with a guitar. It could only have been created in the studio. As Eno observed at the time, the recording studio was now a compositional tool.

Torsdag er en vandpyt på højkant

Det regner 100 % regnagtig regn, og jeg skriver dobbeltløbet pristale og spiser Petit Ecolier-chokoladekiks, de eneste, der duer, og hører Brian Enos fint enerverende Here Come the Warm Jets (begge dele, kiks og Eno, købt på samme lille, hurtige ekspedition ud i regnen for tyve minutter siden) og drikker mælk og overspringer konstant ud på nettet og tilbagespringer straks igen, og Jens står på Vejen Gymnasium og underholder (og jeg kan lige så tydeligt høre ekkoet af de hårde latterkaskader), men vi skal mødes senere ude i regnen, der bliver værre og værre i sin regnagtighed, og så har jeg bare at være færdig med dobbelttalen, og jeg synes, alt, jeg skriver, lyder som et falsk genfærds dårlige parodi, og det skal lige passe, at jeg om 12 minutter IKKE får Nobelprisen i litteratur, og hvor er du lige nu?