Dua Mein Yaad Rakhna Lyrics English Translation | Aditya Narayan | Himesh Reshammiya (Surroor 2021)
Dua Mein Yaad Rakhna Lyrics English Translation | Aditya Narayan | Himesh Reshammiya (Surroor 2021)
Dua Mein Yaad Rakhna Lyrics English Translation
About the song:
Check out the latest song Dua Mein Yaad Rakhna Lyrics English Translation, sung by Aditya Narayan. It is from the latest album Surroor 2021, by Himesh Reshammiya. Dua Mein Yaad Rakhna Lyrics are written by Himesh Reshammiya.
Aditya Narayan is the son of Udit Narayan, who started his career with the movie Shaapit. He sang super…
Tere Pyaar Mein Lyrics English (Suroor 2021)
About the song:
Himesh Reshammiya is back with the Suroor 2021 Album. Check out the most heartbreaking song of the year Tere Pyaar Mein Lyrics English Translation. The song is sung, written, composed, directed, and produced by Himesh Reshammiya. It features himself and Shivangi Verma.
Also, check out Bewajah Lyrics in English with Translation, sung…
Saari Ki Saari 2 Lyrics in English with Translation | Darshan Raval and Asees Kaur
Saari Ki Saari 2 Lyrics in English with Translation | Darshan Raval and Asees Kaur
Saari Ki Saari 2 Lyrics in English
About the Song:
Check out Saari Ki Saari 2 Lyrics in English sung by Darshan Raval and Asees Kaur. Saari Ki Saari 2.0 Lyrics are written by Darshan Raval, and the music is composed by himself. While the first Saari Ki Saari Song was about the struggle of a Soldier and his family, the second version of Saari Ki Saari released in 2020 is about the struggle of…
Matt Sargent—Separation Songs (Cold Blue Music) and Matt Sargent / Zach Rowden—Tide (Marginal Frequency)
Photo by Megan Metté
MFCD I | Tide (for ten basses) by Matt Sargent | Zach Rowden
It doesn’t take much looking through Matt Sargent’s cv to see that he’s not wedded to one set of instruments, or one way of working. Ghost Music, the first album released under his own name, uses sparse percussion to articulate a space. Head to his website for a list of solo, duo and chamber works, or hand on until later in 2020 to hear his first opera, which is forthcoming on the inimitably named Irritable Hedgehog imprint. Perhaps it is mere chance that the two albums under consideration here were released a couple months apart and each employ enhanced strings, but the coincidence certainly invites that they be heard together.
Tide is conceived to be played by one instrumentalist, but it sure doesn’t sound like it. It is essentially an eleven-note chord which spans the entire range of the double bass. Each of the piece’s ten tracks was played by Zach Rowden, who was guided by sine waves to match the pitch of each track. Sargent and Rowden realized the piece twice, once in a studio and the other time in a grain silo. Tide’s method contains both similarities to and differences from the way Phill Niblock has constructed his music. Like Niblock, an instrumentalist follows a very specific prescription to create long tones; melody, rhythm and harmony just aren’t part of the package. But unlike Niblock, the tones are cut and lined up. And most significantly, while both Sargent’s composition and Niblock’s are responses to the acoustic properties of architectural spaces, Tide incorporates that response into the finished CD, whereas Niblock uses the recording to reveal the space’s dimensions to a present audience. As a listening experience, Tide has a lot in common with Niblock’s recent Music for Cello; both albums find a maelstrom of sound within apparent consonance.
By contrast with Tide’s minimal means, Separation Songs is founded upon the user-friendly conventions of 18th century devotional music. Sargent took 54 variations on four-part hymns from the New England Psalm Singer (William Billings, 1770) and arranged them for string quartet. The piece, which lasts nearly an hour and a quarter, includes two quartet performances, with selected notes migrating from one quartet to the other. The Eclipse Quartet plays both parts, which are combined by overdubbing. This may be a prescription for entropy, but the breakdown is so gradual as to be imperceptible. In fact, the music ends up confirming the indestructibility of these lovely old tunes; neither centuries passing nor contemporary pruning of their notes can lay them low.
