Tallulah Rendall - Alive - dance.mezibarkegularasida.infoinfo Music. Skip to main content. Try Prime Hello, Sign in Account & Lists Sign in Account & Lists Orders Try Prime Cart. CDs & Vinyl Go Search Today's Deals. ‘Miss Rendall’s album is an impressive collaborative feat’ iD ‘A soaring and mesmerizing vocal presence combined with theatrical prowess lying second to none is the centre piece of an incredibly special body of work.’ James Blake ‘Songs rise into soaring, expansive climaxes with Tallulah’s voice a mesmerising constant. Jul 18, · Alive by Tallulah Rendall from the album Alive Released on Peripherique records Download on iTunes: dance.mezibarkegularasida.infoinfo?uo=6&a.
Here are some of the drawings and design stages that Jelly Brain went through during the process of creating the full animated video included on the DVD. Colourblind With a week to go until recording, we went back to rehearsing the songs. Steve, the ever-patient cameraman, took himself off to meet Jonathan Bishop, who had agreed to do a painting for Colourblind. Jonathan and I had been talking for a while about this track and how he wanted to represent it.
Each artist has approached this collaboration differently. Some have totally submerged themselves in the lyrics, others in the emotion of the song.
For a few the song recalled memories of past projects or past experiences. Jonathan's decided he would rather create a portrait of me as Velvet Future - Various - Mind Technologies Vol. 6 whole, than just represent the song. Jonathan's paintings are a different take on conventional portraiture and are built up using Ci men, characters he has created.
Rather than focusing on the outside, they aim to encapsulate all of your character as suppose to your physical appearance. Responding to a series of questions, the end product is a visual diary, an amalgamation of ideograms depicting life, loves and hobbies. After sketching the painting out on canvas, the images are coloured using oil paints. When dry, the final layer of Non Stop Dance - Various - Goud Van Oud Vol.
2 acrylic is applied through a piping bag, giving a smooth continuous black outline. Steve filmed this process in 2 minutes bursts and created a stopframe animation. Using "Colourblind" as the basis of his painting, Jonathan built up the rest of his portrait by asking me the following questions:. Good meal and fine wine, see friends, lie on the grass in the sunshine. Playing boule on the sand in Sydney harbour with my dad, my brother and Colin.
Riding horses with my dad in Spain. Dancing with my mum. Dancing at a festival with my Uncle. The finished painting is my personal memories on canvas and for this reason it feels the most personal of all the art created. It's a Ci Man diary of my life. Hookend Studios With the final week's rehearsals complete it was time to record.
I arrived on a sunny June afternoon to Hookend overwhelmed by the reality that we would record in this iconic studio and spend a week living like kings in this 16th century country house. I still can't believe I pulled it off! We had a strong team, eleven Tallulah Rendall - Alive and six days to record an entire album 'live'.
But we did it. Ten songs were recorded completely "live", all guitar overdubs, cello, percussion and all lead vocals finished. Music sounds better recorded "live" - a magic is captured that otherwise is lost through the clinical and soulless approach of recording instruments one by one.
Five musicians playing in a room together, inspired by the music and the great bands that had recorded there in the past is what it is all about. We could not have been happier. We worked early into the morning, late into the night, days merged. Each song would be played through a couple of times, levels and sounds tweaked, and then we would start recording takes.
Occasionally if we got stuck, a stroll, a dip in the frog-filled pool or a viciously competitive game of ping-pong would cure the problem! The recording of this album was everything that I dreamt it could be and leaving Hookend was hard.
We'd had too much fun, music, booze and laughter with friends. It was the first time aside from rehearsals that we had played, slept, recorded and seen no-one else but the band for an extended period of time and returning to the real world with its echoes and taxman reality took a while to adjust to. Robbo even took to having cold baths in place of the frog pool.
I suddenly felt very lonely. In hindsight I think I just really needed sleep! Pledge By the second week of July, Tristan had the songs up and running in his Tallulah Rendall - Alive and I was back immersed in tracking down more artists to work with.
This was also the week that the pledge campaign ended. The prospect of not meeting our target - and consequently not having enough money to pay for this record - had been looming over me for months, however by the last week of June, a few days before the deadline we finally reached our target. Thank you so much to the following that, on the date of printing have already pledged.
This album exists because of your kindness and generosity:. Lost On The Way With the album ready to mix, Tristan took a couple of days off he'd been working on very little sleep for weeks. I took advantage of the lull and went to meet Joanna Czajka. As part of the pledge campaign I added the option "pledge to be an artist". Izabella Iti Milvanon - Naomi Zuri - Songs Of Songs an artist in her own right chose this and asked me to include Joanna as part of my album.
I had no idea what to expect and was a nervous about meeting her. I soon discovered I had nothing to worry about. Joanna was passionate about both the song and the project. She spoke intensely about her interpretation and led us through the drawings in her sketchbook. In fact she became so passionate that she ended up creating a full music video animation.
Joanna had interpreted the lyrics as the story of a woman turning away from a weak man who had fallen in love with another woman. She had decided there was no bitterness on the part of the protagonist and consequently created an image to reflect this. When we spoke about how she would animate her drawing, she put it very eloquently, saying she would simply allow the main character to breathe, whilst the hands of the second woman would be grabbing at her dress distracting the eye of the man.
She had delved far deeper than I had anticipated. With the outline of her image drawn she then began building up her picture using Izabella's textures from her project "Passionate Curiosity About Blue". I feel very honoured that both Izabella and Joanna chose to be a part of "Alive". Their involvement shows off the beauty of artistic collaboration and reflects strongly what I set out to achieve with this album.
Nilu and I have known each other since we were small. The first time I ever posed for a photographer, aged fourteen, was for Nilu. She made me jump into a pool thirty six times!
Years later and Nilu's fascination with light and image has not waned. She is an artist whose passion for experimentation, discovering possibilities in the unknown, and stumbling upon hidden gems is contagious. Her world is one of light and lenses, of the camera obscura and the pinhole camera.
She has travelled all around the world building camera obscuras: out of a tent in the Western Sahara, an army bunker in Mallorca, a silo tank in Wales and most recently in Beirut, where she built one using a sniper's nest and a bullet hole.
Direct lines of vision, colours and images which simply reflect. She lives in London in an apothecary of light, filled with lenses of varying sizes, handmade cameras and wooden boxes. Having spent the previous day in Joanna's world of digital technology it was a dramatic contrast to be suddenly plunged into Nilu's analog world; and no less impressive.
I spent the afternoon learning how to position pieces of glass, so that the light would reflect images onto her bedroom wall. The pictures conjured were ghost like, surreal and in some cases reminiscent of soft watercolour paintings. Songs are always open to interpretation; people's responses depend on their own experiences. Nilu felt "Back To You" was fuelled by anger and blame, whereas in my mind it was a song of courage, reflection and self-empowerment.
This difference of interpretation is why I wanted each artist to have free reign over his or her creation. However, even with our own ideas in mind Nilu and I got lost in colours and experimenting and ended up creating images that neither of us anticipated but both felt reflected the song well.
In her own words:. Commissioned in by the Barakat family, the picturesque set of grand apartments, affords views onto the street from every room in the building through windows, verandahs, doorways into windows beyond and onto the city. When the war started inthe Yellow House found itself positioned exactly on the demarcation line, which divided East and West.
Due to its strategic positioning, facing their enemy to the West, the Christian militia reappropriated the interior spaces and views through to build bunkers and snipers nests. Representing a valuable step in Beirut's architectural heritage, this building took on a very different value during the war. The worlds of the architect and sniper were intertwined, the latter taking the building's exceptional layered vistas as a source for voyeurism, protection and mass murder.
The gunmen could nest in the bunker's dark recesses while commanding the street corner from virtual obscurity. The remaining scars Destroyer - Twisted Sister - Rock N Roll Saviors (The Early Years) war left by the billions of bullet marks on the walls are a chilling reminder of the terror of conflict.
The same aperture, which was caused as a result of war, is now turning itself back on itself. People walk across the mass bullet ridden Untitled-A1 - Various - DFR Compilation Vol. 1, clouds move silently over the rubble and devastation left by war, images are turned back onto themselves, the outside now looking in.
As I mentioned in the introduction, Beshlie's paintings were used for my previous album "Libellus" and were part of the inspiration for opening up this project to multimedia collaboration.
I have known Beshlie since We met on a woodland dance floor amid wide-eyed dancers and rumbling bass lines. She is a true kindred spirit and someone for whom I have the greatest respect. She creates not only vibrant paintings but also designs fabrics and jewelry to be made in far away lands. She travels on her own and has a strength that I truly admire.
This album would feel incomplete without her. Beshlie's studio lies in the heart of a verdant valley in the depths of Devon; it is a wilderness of colour and life where every breath oozes creativity. I love it here. She has converted a barn into a studio where amidst oils, watercolours and wax crayons she paints and designs. Over the past few weeks she had created not one but thirteen paintings for "Underground", she had also just received a shipment of new designs.
I decided the best way to capture the essence of Beshlie on film would be to wear one of her colourfully designed dresses, grab one of Lilly, her mum's, handmade embroidered hobby horses, an umbrella, pop the paintings in a bag and head off down the river. Along the way we found dragonflies, bridges, an old metal birdcage, finally settling by a small bench by the riverbank near a lovely old swing. I sung as Beshlie tied a small piece of string between the trees and slowly began to hang up the paintings, creating a washing line of painted colour.
Finally we sat quietly and watched the river and the trees around us. It was a unforgettable moment and a very special day to spend with a very dear and wonderful friend. I love the subtly of mixing records. Finessing bass drum sounds I leave to Tristan, but the process of creating colour and feeling by Ive Just Seen A Face - The Beatles - Help! and placing sounds is a wonderful part of making an album and one I love being involved in.
I believe songs can really live and die depending on how they are mixed. Everything was sounding fantastic except for, "Older Than The Hills". I loved the demo, as did Tristan and the band, but my guitar was out of tune and the vocal, weakened by a chest infection, was only supposed to be a rough guide. I had recorded my vocal in the control room, Gueule De Bis - Gribouille - Gribouille a drum mic with the track blaring in the background; I had always intended to re-record it but simply never got around to it.
At Hookend we decided not to re-record the whole song, but just the main vocal and guitar. That done, we felt this new recording just lacked something.
The vocal was too clean, too strong; it lacked the fragility and vibe of the original. This faced Tristan with an enormous task as the original guide vocal had a huge amount of background noise all over it. To make it usable, Tristan would have to spend hours painstakingly removing these noises; somehow he managed it. He encouraged me to write poems and in return I like to think I inspired him to write songs. When he moved to Berlin some years ago I wrote this song as a little gesture of our friendship.
When I was thinking of an artist to collaborate with I had in my mind a black and white photo, and decided my friend and photographer Charles Moriarty would be perfect. I first met Charlie in on a shoot in London's East End.
It was freezing and as day fell to night our noses became redder and redder as we scampered about in near zero temperatures. I had just chopped off my hair and was feeling self-conscious, but Charlie's gentle way completely relaxed me and gave me confidence. We have continued to collaborate over the years; you can find two of his photos in "Libellus".
We share a passion for foraging through books, music and images, becoming fixated on a theme until it is absorbed, distilled and spat out, for me as songs, for Charlie as images. I knew that if I gave him a song, the pages of his mind would flicker and some bizarre and wonderful ideas would emerge.
And they did. Charlie decided to delve Various - The White Disc Volume 172 the world of medieval, time and illusion creating a really intriguing and Tallulah Rendall - Alive image. We had planned to meet early on Hampstead Heath, but I had been ill in the night. I think the enormity of this album; the pledge campaign and the aftermath of excitement from Hookend had got the better of me.
So I arrived late wishing I were curled in bed. Charlie's passion is contagious and not put off by my tardiness he had set about creating a set around an enormous dead tree.
I was dressed in a black cloak, given an enormous old dagger and marched into position. A little confused, I did as instructed. I was then quickly removed from the set and place behind the camera. I love photography, but I am not a gifted photographer. Nevertheless, I was handed the reigns as Charlie, with the help of Steve's assistant Evgeny Sinelnikov, spent the next hour or so leaping about this scorched naked tree. Meet Me In St.
Louis, Louie - Various - 35 Piano Favorites find out more about the world of Charlie and why he has an Chia - Four Tet - Rounds, two pheasant feathers, a silver skull up a tree we have included a little interview on the DVD. Nothing Is Over With Charlie down from his tree we had one artist left to film. So you briefly mentioned the artwork for Alive. With Libellus the debut album I had one artist for all 10 songs.
Whereas with this one, I actually had 12 artists. I had a sculptor — Andrew Logan. There was Killford who is a painter, a jeweler called Bex Rox as well as cartoonists and animators. With each one I gave them a song and then they just created whatever they wanted to create using the track as inspiration. So the album comes out with a book and much bigger than the last one, more coffee table sized! The project seems really unique.
I just think you have Tallulah Rendall - Alive have a value to music. I think it being an independent artist is a very different thing to being a singed artist or an X factor or Pop Idol thing. Anyone can learn to play Wildflowers - Tom Petty - Wildflowers guitar too.
I guess I just feel very strongly about the importance of the of the actual artwork rather than the celebrity status. The whole album was made possible by pledgemusic. Basically we gave Tallulah Rendall - Alive like hiring us for gigs, buying the album in advance or even getting pole dancing lessons!
So we raised the money to do it through that. This whole thing is possible because of people who come across the project and supported it. My brain is still scattered between here and Sydney. There's a good deal of impressionistic painting, some elaborate jewellery, a short experimental play featuring Patti Smith 'Patti: 'Seize the sea of possibilities'. Man: 'Surf it'. Patti: 'Surfeit of what? She danced en pointe, from her lyra hoopon the pole, suspended in silks that hung from the ceiling, and finally by a lake'.
All of this is tremendously absurd, and rather admirable Aizlidoja Kļavas - Ingus Baušķenieks - Burvju Pusdienas of it: face it, if Radiohead had commissioned something similar we'd be falling over ourselves to praise their reinvention of the album format.
While the album's packaging is extravagant and creative, the music itself is disappointingly conventional. It's grandiose, maximalist rock and roll, full of attempted Big Emotional Moments. There's nothing inherently wrong with that, but the no-expense-spared multimedia collaborations led me to expect something more daring, or at least something which failed in an interesting way: in a sense, it's an album which has set itself up for a fall. The most impressive aspect of the music is Randall's voice, which is powerful, charismatic, and, at its best 'Go Bathe In The Light' strong without being overwhelming; there are hints of Jeff Buckley.
She occasionally over-emotes, but mostly avoids any lapses into Evanesence territory; she can do subtlety, too, although she generally only bothers with it when the subtle bit makes the imminent OTT bit sound even more impressive.
The band are all competent musicians, and whip up blustery musical storms on cue, all crashing cymbals and dramatic riffs. Less impressive is the songwriting: there are flashes of quality here, most notably the slow-building 'Colourblind' and the surprising change of pace 'Blind Like A Fool', a relaxed strummer.
Too many of the other songs rely on the same set of ideas, and too few of them are memorable. If you're going to utilise the same musical pallette throughout, at least ensure that you use interesting colours.
Find album reviews, stream songs, credits and award information for Alive - Tallulah Rendall on AllMusic. Listen free to Tallulah Rendall – Alive (Alive, Go Bathe In the Light and more). 11 tracks (). Discover more music, concerts, videos, and pictures with the largest catalogue online at dance.mezibarkegularasida.infoinfo Check out Alive by Tallulah Rendall on Amazon Music. Stream ad-free or purchase CD's and MP3s now on dance.mezibarkegularasida.infoinfo
Listen to Blind Like A Fool by Tallulah Rendall - Alive E.P. Deezer: free music streaming. Discover more than 56 million tracks, create your own playlists, and share your favourite tracks with your friends.
Mar 23, · The artists and the music from the launch party for Tallulah Rendall's new album 'Alive'. Available to pre-order on iTunes now dance.mezibarkegularasida.infoinfo View credits, reviews, tracks and shop for the CD release of Alive on Discogs.5/5(2).
Tallulah Rendall. Alive. Alive. Alive Go Bathe In The Light Underground Under The Wire Nothing Is Over Colourblind Ghost On The Water Back To You Older Than The Hills.
"Alive is a great album" Jools Holland "One To Watch" Evening Standard "Rendall could be very interesting. In fact, she already is' CMU "Ferociously talented. Tallulah Rendall. Alive. Alive. Alive Go Bathe In The Light Underground Under The Wire Nothing Is Over Colourblind Ghost On The Water Back To You Older Than The Hills. Lost On The Way.
Listen to Ghost On The Water by Tallulah Rendall - Alive E.P. Deezer: free music streaming. Discover more than 56 million tracks, create your own playlists, and share your favourite tracks with your friends.
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