#video session

[fictionally0bsessed]

I’LL BE THERE WITH BELL’S ON!

Imma fight through mother fuckin’ demon that stands in my path, Beel don’t you damn well worry. Drooling already!! 

[goelearningtoolsposts]

Becoming a Learning Experience Designer With Nyla Spooner

Our tech industry is continuously changing, its important that we need to adapt and upgrade our tech skills based on the business needs to build our career as a professionals. Nyla Spooner (Learning Experience Designer, Instructional Designer & Developer) shared some valuable details to build our tech skills.

Click the below link to listen the episode:

https://www.dominknow.com/blog/becoming-a-learning-experience-designer-with-nyla-spooner

[dmusiqjams-blog]

[crippleddeersessions-blog]

IDA WENØE - MIDSOMMER

“I play songs for the ghosts and the people”, says Ida Wenøe. The Danish singer-songwriter grew up surrounded by birdsongs and uses her voice as the main instrument to create music that seems to reflect images of northern nature as well as old English Folk tunes. Before starting to write and play songs on her own she concentrated on Boho Dancer, a well received trio. “I needed a change, and I wanted to see what I could do on my own, and reconnect with my musical intuition“,explains Wendøe.

How does your solo project differ from Boho Dancer? Boho Dancer I would say is more indie/neo folk, my own is more alternative folk / folk noir, whatever it all means. But in the end it all comes from the same place. In Boho Dancer we spend a lot of time on arrangements, trying to make them stand out a lot. With my own, the songs are in every way the focus, the core. I want them to work even if they were being played on a log, being sung acapella, or played with a big band.

Your voice seems to be one of you major instruments. When did you find your singing voice? My voice has evolved through many different periods and still is. I think I’ve always tried to challenge it, seeking the limits of it, and trying to cross them when I found them. I was never a fan of rules, which means that I’ve found my own style by listening to singers that I found challenged the perception of a “good” classic singing voice.

Please tell us a little bit about your song “Midsommer”. It’s about longing for nature, longing for calmness, longing for the past and longing for the community we find in rituals. Especially one episode I had with my childhood friend Martin. One Midsommer when we were five years old, we dressed up like kids from the past in old clothes, we hid in the tall grass by the lake where the folks from our village would come for this old Danish ritual of lighting a grand bun fire, and then gather in community singing to let in the light for the darker days to come. Here in the tall grass we would wait for the other kids to come and try to find us, and when they did, we had a treasure of candy for them all.

Follow Ida Wenøe on facebook

[crippleddeersessions-blog]

LINDA RUM - MARY

This songwriter moved from Germany’s south far up north. Born in Nürnberg, Linda Rum knew two years ago that she had to relocate. So sails were set for Hamburg. Linda, who accompanies her singing with guitar or piano, started with music at the early age of six years. „After watching a kids’ show on TV about a girl playing the piano, I asked my dad if I could also give it a try“, she states. „Luckily he said yes.“ A little later it was classical and church music that inspired her own songwriting. „I use chords I learned in organ lessons and get new ideas for my songs when I’m playing classical works by Bach or Mendelssohn.“ For this year her plans include recording an EP, which she also hopes to release until the end of the year. „And I will be on tour again with the full band in September, which I’m stoked about!“

You have been working with various different musicians. How did you find your band’s final line-up? I met my band during Popkurs in Hamburg two years ago - though gathering a band was not my intention at all. Roughly fifty musicians in attendance are making music in different line-ups for six weeks, and for me that was a really great time! When my band and I met in a room and played together for the first time, the air was filled with some kind of magic and at that point I knew I wanted to share my music with them and spend as much time with them as possible. They have become my best friends, I’m so lucky I found them.

You recently went back to your childhood room to write some songs. How did that feel? My childhood room always makes me feel very calm and secure, which gives me the courage to experiment and write songs. As soon as I’m playing my old piano I forget everything around me and I could play for hours. For me it’s the best place to write new songs.

Currently you are based in Hamburg. What do you like about the city? I like being close to the sea – one can get there very quickly. I have the impression, Hamburg is extremely welcoming and appreciative towards artists, which makes me feel very comfortable here.

Follow Linda Rum on facebook

[crippleddeersessions-blog]

IAN FISHER - CHELSEA HOTEL #2 (LEONARD COHEN)

Ian Fisher is so much more than just a small man with a big voice. Born in Missouri the young man travelled Europe over the last years, writing about 1000 songs, performing in a critically acclaimed play in Munich and collaborating with Tim Neuhaus, Honig, Town Of Saints, just to name a few. After living on the road or between Vienna and Berlin Fisher now has an artist-in-residency in Dachau. Finally time to settle down? „I doubt I will ever find a place to settle down“, says Fisher who plans to do a workshop at the local music school. „When I was first invited to Dachau to play a concert several years ago, I had to think of what happened there in the 30’s and 40’s. I was happy to quickly discover though that the way it was then is much different than the way it is now. It’s actually quite a nice small town with some very friendly people.“

Please tell us why you chose „Chelsea Hotel No. 2“. What do you like about Leonard Cohen and his song? I grew up in a small conservative town where the reality created by TV, the internet, and advertising fills a teenage boy’s mind with materialistic perceptions of love, sex, and oneself, while being surrounded by the seemingly opposite day-to-day reality of Catholic American puritanical “family values” and work ethics. That tension between keeping up the facade of a moral life while thinking that what you want is immoral was hard to accept. Art was the first think to break those walls that surrounded me. I was inspired by writers who had the courage to be honest. Who had the power to be individuals. To say “fuck your morals and fuck what you told me to want for myself”. It was liberating. The song “Chelsea Hotel” was not the one thing that did that to me, but it is a good example of one of them. When I first heard words like “giving me head on an unmade bed”, I blushed and wondered to myself, “Can he say that?”. It was a shock unlike the shock I was used to in other forms of media. I had seen artists making extreme works of objectified sexuality and/or fantastical violence as a means of getting attention, but the shock that I felt when hearing words so human and unapologetic in a song like “Chelsea Hotel” was the shock of truth. I was used to people either hiding their true desires or acting them out in such an extreme way that they seemed absurd, as if their extremity was truly only a testament to the fact that those artists were only vainly trying to rebel against a deep-seeded conservatism themselves. They were either a part of that “TV reality” or “puritan reality”. There wasn’t any space to be yourself in between. In the naked honesty of the words of artists like Leonard Cohen I found a bravery to stare into myself and start trying to find me and not the “me” that society had made me think I was.

The song describes a sexual encounter which he had with Janis Joplin. Us knowing this means that it was not kept a secret. He seems to have felt sorry about his „indiscretion“ later. As a songwriter you are in a way supposed to draw inspiration from life – and as an aspect of life, also from sexual encounters. How do you think about including actual persons from your life in songs? And in which way do you include them? There are many ways up the mountain and a songwriter isn’t really “supposed” to do anything. I’ve heard some pretty damned good space-themed David Bowie songs and I don’t think he ever left the atmosphere. That being said, in the field of songwriting that I put Leonard Cohen and I see myself drawn to, inspiration comes almost exclusively from personal experiences or at least the projection of yourself onto others and their experiences that you try at length to empathize with and understand. Ok, maybe Bowie could relate to being lost in space… Anyway, unapologetic honesty with yourself is at the core of a good song. I’m going to get a little philosophical here. If you try to do away with the concept of self for a moment, viewing everyone as a collective self, and you fight to find truth, while knowing that truth is just a perception and will never be attained, then what you find and your fight itself, if waged for truth’s sake and not for your own, might help you and this entire idea of the collective self find internal and collective unity. In other words, if you’re truly honest, then someone else might be able to relate and you might both feel less alone for a moment. To answer your question, actual people appear in almost all of my songs, though I very rarely use their real names. When I close my eyes and sing them, I see their faces. Sometimes it’s hard. Sometimes it’s beautiful. Sometimes someone’s face turns into someone else’s face in my mind. In the end, my experiences with those people are the roots of the songs. Those experiences root the songs in reality. Without them, the songs would have just come from thin air. They wouldn’t be honest. They wouldn’t be true. They wouldn’t be worth a damn.

Follow Ian Fisher on facebook

[spacecrimecollective]

Bobby Vu came and filmed one of the recording sessions for our album back in August! Check out this live video to see Galactacat in action! Filmed August 12th, 2015 at the Tririlla Bunker in Orange, CA.

[superfluousrealisticpifjt]

What Makes SIP Special

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