These Creeps from the Middle East keep on haunting our mind, here at Radio Neverno. All the other editors have left the building, can´t stand it anymore.
Das Blut der Anderen, the latest episode now online, is not entertaining everywhere though, The Creeps team still seems to be looking for the right balance between fast and slow paced scenes. The slow scenes with the father, still too slow and slightly boring again though, combined with the tenderness and estrangement at the same time, contrasting with the scenes at the end of this episode, at The Unsafe House, made me think again.
These scenes at the end of this episode, starring Tarik Sadouma, Sina Khani and some pole dancers and running around nuts, where Sadouma exclaims his analysis of the current world, are so out-of-this-world and that all in black and white, with the shouting crazies at the end of the scene, anticlimaxing in a pole scene of mr. Sina Khani himself are maybe the best scenes I have seen till now in this ongoing sequence, and I have seen all of them.
The absolutely best scenes of Das Blut der Anderen are at the end, with an amazing Tarik Sadouma.
I know The Creeps from the Middle East demands a strong ass, I mean, you have to keep on sitting the whole episode to finally arrive at the climactic scenes in The Unsafe House. As we wrote in a former blog post, The Creeps should work more with actor Tarik Sadouma and they finally seem to have seen the light. He is the strong character needed at the side of Sina Khani, finally we have a duo, nicely to watch.
Sadouma in The Creeps is the uncle you don´t want to have, because he ends up reciting poetry while lurking at the water pipe and nervously touching his nose all the time, a bit like that wannabe philosopher Slavoj Žižek, and ending laughing like a crazy. Sadouma looks like the neighbour while you work on that car in your garage and you hear those strange sounds, cries, shouts and people with extreme laughs ending up in a smoker´s cough and you doubt whether you will pass by but are afraid it might end up badly, for you.
The camera (by Steven Bos), is handheld zooming in and out, while the lighting shimmers all around, black and white is back again in the HD era, Sadouma runs around like a combination of the Siberian Snowman and a preacher in a souk somewhere in the dark alleys of Cairo, young women, some beautiful, some weird looking like stepping out of a horror movie, these last scenes of The Creeps harbour so much richness, in sound and image, you have to see it, time after time, again and again.
This week I was thinking on hilariousness, I even know an artist with the first name Hilarius, protesting each Saturday in the center of Amsterdam against the continuous bombing of Gaza, hilariousness is what this scene is breathing and it saves another slow Creeps from The Middle East at the end, again.
The choice of music during the scene strengthens the visual parts in a way I seldom see anymore, me, as a musician, I am very sensitive to this. There are so many movies where they don´t understand, profoundly, the relation between sound and image, to my opinion, and this scene of The Creeps is an exception to the never ending slur of the bad usage of music in film.
For the first time I am looking forward to the next episode of the Creeps from The Middle East. I hope Sina Khani and his team are working partners again and don´t go to court. This episode convinced me, a bit, of the enormous potential lying beneath the surface of this creepy world, not always pleasing. The slow and fast scenes need some more finetuning though, but I have the feeling The Creeps might end up with a working combination.
RADIO Neverno is an art radio-podcast project by Hans Kuiper & Moritz Ebinger.
A.K. Bouwman, Amber-Helena Reisig en Moritz Ebinger
Hier kunt u podcasts van de Radio Neverno beluisteren. Radio Neverno is een kunstradio die op locatie uitzendt. De meest recente live sessies hebben plaats gehad in Arti et Amicitiae in AMSTERDAM .
Zodra u op deze website komt, start automatisch een van de vele podcasts.
Met bijdragen van onder meer Studio Kinematix, Maarten Schmidt, Dirk van Lieshout, 't Gaepend Gat & Amber-Helena Reisig, Elhabib Art (El Andalous liederen, begeleid op flamenco gitaar door Hans Kuiper), .
Performances en interviews.
Presentatie door Hans Kuiper en Moritz Ebinger.
////////////////
Here you can find podcasts of RADIO NEVERNO. Radio Neverno is an Art Radio. The most recent live sessions took place in Arti et Amicitiae in Amsterdam.
A variety of guests will perform and be interviewed, like Elhabib Art, Studio Kinematix, Maarten Schmidt, Dirk van Lieshout, 't Gaepend Gat & Amber-Helena Reisig.
On the opening podcast: after a introduction by Moritz Ebinger & Hans Kuiper, Elhabib Art sings El Andalous songs. Hans Kuiper accompanies him on (flamenco) guitar.
Radio Neverno's Hans Kuiper interviewed Michael Edward Edgerton, composer and performer, currently composition professor at the Guangxi Arts University in China.
On this page you can listen to the interview and to compositions of Michael Edward Edgerton.
The interview is on his view on composition, mastering instruments and the voice in particular. The interview is in English.
Michael Edward Edgerton performing in Amsterdam (May 2016, photo Hans Kuiper)
For more information on Edgerton, see the WEBSITE LINK Michael Edward Edgerton here.
Below the 'Composition Catalogue' of Michael Edward Edgerton.
Michael Edward Edgerton - Composition Catalogue
Bio MICHAEL EDWARD EDGERTON Currently Associate Professor at the Guangxi Arts University, Michael is a composer whose work elides the boundaries of complexity with practical applications of physical and perceptual models. Since the mid-90’s he has been pioneering work with Multidimensionality and Nonlinear Phenomenon applied to sound production and composition. Michael’s compositions have received prizes and/or recognition from: 2016 fifth China-ASEAN Music Week musical composition competition, for solo piano (1st Excellent Award, Thrush, #91, 2015); der Landeshauptstadt Stuttgart, 2007 (First Prize, Tempo Mental Rap, #72, 2005); Composition Contest of the Netherlands Radio Choir, 2007 (Semifinalist, Kalevi Matus, #58, 2000); 5th Dutilleux International Composition Compétition, 2003 (Sélection, 1 sonata, #70, 2004); 31st Festival Synthese Bourges, 2001 (Sélection, The Elements of Risk in Creation, #59, 2001); MacDowell Club, 1996 (First prize, Unspoken Crime #09, 1988); Friends and Enemies of New Music, 1993 (Selection,Net/Byrinth:Rec.Study I, #15, 1991); Midwest Composers Symposium, 1989 (Selection, A Penny for the Young Guy #3, 1986); National Federation of Music Clubs, 1987 (Third Prize, Ai #5, 1987); National Federation of Music Clubs, 1987 (Honorable Mention, Dwellers of the Southwest, #2, 1986); Michigan State Univ-Orchestral Composition Contest, 1986 (First prize, The Final Diary of a Branch, #1, 1985). Michael has also been recognized in the Marquis Who’s Who in the World 2015 & 2016. His music has been performed by 441 Hz Chamber Choir, AuditivVokal Dresden, China-Asean Youth Orchestra, Ekmeles Ensemble, Ensemble Ars Nova, Guangxi Symphony Orchestra, Kairos String Quartet, Stockholm Saxophone Quartet, Quartet New Generation, Works-in-Progress Ensemble and soloists Almut Kühne, Andreas Fröhling, Angela Rademacher-Wingerath, Chatschatur Kanajan, Gary Verkade, Jan Heinke, Jeffrey Burns, Joshua Hyde, Mats Möller, Matthias Bauer, Philippe Arnaudet, Rebekka Uhlig, Stefan Östersjö, Timo Kinnunen, among others. His work has been recorded on Modern Choral Masterpieces (441 Hz Chamber Choir, Dux Records, 2015); raven, le corbeau (Escargot ma non troppo: Paris, 2012); Alles – Auβer – gewöhnlich (Auditivvokal Dresden, MusikForum Dresden 2012); ELECTRONIC VOICES (Galerie SPHN, Berlin, 2001); and has been documented in a film by Lena Giovanazzi titled, Stimmig – 10 Vokalexkursionen (Mainz: University of Applied Sciences Mainz, 2012). Michael’s work has been discussed in the following publications: Modern Accordion Perspectives #2 “Critical selection of accordion works composed between 1990 and 2010” Ed. Jacomucci (2014, Edizioni Tecnostampa, Loreto); The Techniques of Guitar Playing, by Josel and Tsao (2014, Bärenreiter); Network Science by Barabasi (2013); Pocci Catalog: the Guide to the Guitarist’s Modern and Contemporary Repertoire. Catalog of the repertoire since 1900 for guitar solo, guitar in chamber music and guitar with orchestra, by Pocci (2013, VP Music Media); Stimmig – 10 Vokalexkursionen by Giovanazzi (2012, University of Applied Sciences Mainz); When Words Are Not Enough: Tracing the Development of Extended Vocal Techniques in Twentieth-Century America, by Crump (2008, The University of North Carolina at Greensboro); New Complete Method for Clarinet: Clarinet Repertoire by Campagnolo,. (2008, Edizione C.D.B, Italy); The Encyclopedia of the World of Another Music (Svìt jiné hudby 2), by Slaby + Slaby (2007, Volvox Globator Publishing House); Weber-Lucks, Theda (2003). KörperStimmen. Eine Untersuchung zur Ästhetik Vokaler Performance Kunst mit einer gendervergleichenden Perspektive, by Weber-Lucks (2003, Technische Universität Berlin); Manuales Auditivo-Vocales; vol. 5 La Voz y el Canto & vol. 9 Manual de Psicoacústica by LaFarga (2003, Cullera); Information Arts, Intersections of Art, Science, Technology, by Wilson (2002, The MIT Press), and; On the construction of the passing of time in music, by Chandra (1989, University of Illinois at Urbana-Champaign). Michael is engaged with research into voice, acoustics and perception. This work has been supported by numerous grants, including a Postdoctoral Fellowship with the National Center for Voice and Speech. The results have been published in diverse scholarly journals, as well as book chapters in Perspectives on Teaching Singing: a celebration of Vocal Pedagogy in the 21 Century (ed. Scott Harrison and Jessica O’Bryan; Springer Publishing), and The Oxford Handbook of Singing (ed. John Nix; Oxford University Press). Edgerton has two books available: The 21st Century Voice (New Instrumentation Series, Rowman & Littlefield, 2nd ed. 2015) and Music within the Continuum (Lambert Academic Publishing, 2015).
Michael’s compositions are published by BabelScores, C. Allen Publications, Componistenwerk, Conners Publications/C.P. Press Publications; Forum Zeitgenössischer Musik Leipzig, PRB Production, T.U.B.A Press and Uetz Verlag.
In the serie 'Highlights' special attention for sound artists. In this edition the spotlight is on Fernando Fadigas. Fernando Fadigas is a sound artist living and working in Lisbon,Portugal. In this interview we explore the role of sound in contemporary art, the balance between his teaching profession and his artistic projects and the current situation of the arts in Portugal. Fernando shortly discusses the role of institutions like Gulbenkian & Culturgest and independent art spaces like Plataforma Revolver.
Interview takes about 30 minutes.
Language : English
RADIO Neverno is an art radio-podcast project by Hans Kuiper & Moritz Ebinger.
A.K. Bouwman, Amber-Helena Reisig en Moritz Ebinger
Hier kunt u podcasts van de Radio Neverno beluisteren. Radio Neverno is een kunstradio die op locatie uitzendt. De meest recente live sessies hebben plaats gehad in Arti et Amicitiae in AMSTERDAM .
Zodra u op deze website komt, start automatisch een van de vele podcasts.
Met bijdragen van onder meer Studio Kinematix, Maarten Schmidt, Dirk van Lieshout, 't Gaepend Gat & Amber-Helena Reisig, Elhabib Art (El Andalous liederen, begeleid op flamenco gitaar door Hans Kuiper), .
Performances en interviews.
Presentatie door Hans Kuiper en Moritz Ebinger.
////////////////
Here you can find podcasts of RADIO NEVERNO. Radio Neverno is an Art Radio. The most recent live sessions took place in Arti et Amicitiae in Amsterdam.
A variety of guests will perform and be interviewed, like Elhabib Art, Studio Kinematix, Maarten Schmidt, Dirk van Lieshout, 't Gaepend Gat & Amber-Helena Reisig.
On the opening podcast: after a introduction by Moritz Ebinger & Hans Kuiper, Elhabib Art sings El Andalous songs. Hans Kuiper accompanies him on (flamenco) guitar.
Fernando Faidgas is a sound artist living and working in Lisbon,Portugal. In this interview we explore the role of sound in contemporary art, the balance between his teaching profession and his artistic projects and the current situation of the arts in Portugal. Fernando shortly discusses the role of institutions like Gulbenkian & Culturgest and independent art spaces like Plataforma Revolver.
Interview takes about 30 minutes.
Language : English
You have sound files on 'the future', you want the world to hear? Send them to RADIO NEVERNO. Online from June 5th-July 5th! Please send (links) to radioneverno@gmail.com
