#balmorhea

[kahvedebiyat]

[fanaticforlife]

Victoria & Melbourne - I shall never forget

"No man would give you up Drina, unless he knew that it was his duty."

[soundrooms]

B A L M O R H E A | Austin, TX

➜ In the studio with Balmorhea (via Headphone Commute)

[standardquip]

The Apple Doesn't Fall Far

Contains color-coded subtitles. Made in 2021.

cw spoilers, death

It's about the very strained paternal relationship between Jason and Batman and (probably) mental illness.

Also on ao3.

Video + Audio: Batman: Assault on Arkham, Bad Blood, Death in the Family (interactive), Hush, The Killing Joke, Under the Red Hood, Batman Beyond: Return of the Joker, Batman vs Robin, Young Justice Audio only: Batman: Arkham Knight (PS4), Supernatural (TV) Music: Balmorhea – Remembrance Work time: ~27 hours Edited with Adobe Premiere Pro CS6

I used https://audiostrip.co.uk/ to help isolate the vocals for the spoken parts.

I was watching a ton of Jason Todd AMVs and one of the things I disliked was the inconsistency between the voices used. So for this video, I decided to use only Jensen Ackles’ voice, who voiced Jason in the original Red Hood movie as well as played Dean Winchester in the “Supernatural” show.

[musicollage]

Balmorhea – The Wind. 2021 : Deutsche Grammophon.

[ support the artist ★ buy me a coffee ]

[dustedmagazine]

Michael A. Muller — Mirror Music (Deutsche Grammophon)

Ten independent artists — largely from the improvised, jazz-adjacent ambient side of things — venture into Michael A. Muller’s glowing, swirling soundscapes, each finding and bringing different textures there. Muller, a founder of the Texas minimalist music collective Balmorhea, sticks to long-toned, keyboard-based instruments: a Mellotron, an Oberheim Two-Voice Synthesizer and a Rhodes organ, creating luminous auras of tone. His collaborators play a variety of instruments — guitar, percussion, voice and cello — populating these edgeless, serene sonic spaces with melody and rhythm.

Muller himself plays the guitar, and he seems to have a particular affinity for its devotees. Bay Area finger-picker Danny Paul Grody scatters sparkly chords and meditative runs across synthesizer washes that surge and swell and ebb. Without the guitar, these tones might be too unreal, too grand, too beautiful to catch, but with these slow-blooming, organic figures, the music makes sense on a human scale. Chuck Johnson is a different case. His silvery sustained pedal steel music contains its own uncanny valleys, and so he slides like a ghost between shimmering, vibrating curtains, carving aching arcs of longing into a chilled, cerebral landscape. Douglas McCombs, of Tortoise, Brokeback and Black Duck, picks a clean, reverberating, almost surf-toned melody across an oscillating, shifting, reverential backdrop; he cuts right through it, emphatic and sure.

Women artists make a mark, though mostly with their voices. Vestals float eerie, altered sighs and caresses over the clear tones of Rhodes, a piercing descant one of this disc’s most gorgeous sounds. The Polish composer and pianist Hania Rani also sings, in a whisper amid shivering ambiences, in a way that reminds me a little of Mia Doi Todd. But Clarice Jensen, who sometimes plays with Balmorhea, brings her instrument along, threading rich throbs of cello through a landscape of widely spaced piano chords.

In the mirror game, budding actors stand face to face, copying each other’s expressions and gestures in real time, in a sort of synchronized dance. Here, the interaction is more oblique, with each artist staring into a foggy reflection and finding some element of themselves there. The music that arises is hardly synchronized, but the players find a way to react and build on what the other is doing. Oh, and it’s lovely. That’s important, too.

Jennifer Kelly

[olubirinsaninatankalbi]

[defneylehayatadogru]

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