Latest news with #Echoes'
Time of India
a day ago
- Entertainment
- Time of India
Echoes of Experience: Anurag Anand on crafting meaning through mediums
Visual artist Anurag Anand will showcase his solo exhibition 'Echoes' by Gallery Silver Scapes, at Bikaner House, Delhi. The exhibition will run from August 13th to 18th, 2025. Sixty pieces, ranging from acrylic on canvas to watercolor and charcoal, will be displayed. Anand blends abstraction and realism to convey his musings on nature, humanity and man-made structures. Anurag Anand, a renowned visual artist, bestselling author, and accomplished corporate professional known for his masterful blend of color, emotion, and narrative, is coming up with his solo exhibition, 'Echoes,' by Gallery Silver Scapes, from 13th–18th August 2025, at LTC, Bikaner House, Delhi, where he will be showcasing 60 pieces crafted in mediums ranging from acrylic on canvas to watercolor, charcoal, and oil on paper. In an exclusive conversation with ETimes Lifestyle, he talks about his exhibition and how he stays authentic in such diverse creative and professional spaces. "Echoes" brings together abstraction and realism in such a powerful way. What was the emotional or conceptual spark behind this new series? The exhibition, Echoes, comprises artworks that rely on manmade structures and their interplay with nature and humanity to convey my musings, ideas and emotions. The grey space between realism and abstraction allows me the freedom to convey what I wish to and keep the potential interpretations within bounds. So, while the abstraction lets a viewer's experiences and persona determine what the artworks say to them, the realism acts as a guardrail to prevent complete distortion of the intended message. As someone who moves seamlessly between words and visuals, how does your writing influence your painting—and vice versa? I have always viewed writing and art as significant mediums of expression. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Villas Prices In Dubai Might Be More Affordable Than You Think Villas In Dubai | Search Ads Get Quote Undo When I am crafting a story, as part of my characterization process, I visualize my principal characters in their natural habitat. Their dwellings, the neighborhoods they come from, intuitively tells me how they think, behave and are likely to respond to a particular situation. This practice helped me discover a unique language, and it is this language of structures that you can see in this series of artworks as well. Many of your works feel deeply personal yet universally relatable. How do you channel personal experiences into such accessible narratives on canvas? As individuals, our world view is a compendium of our personal experiences. When an artist approaches their practice with honesty and sincerity, shades of this world view, and by extension their experiences, inadvertently show up in their creations. And it is this very honesty of approach that lends a universal appeal to the works. The absence of superficiality and guise makes such creations more real for those who engage with them. The artist in me feels truly humbled by your observation that my works feel personal and yet are relatable. This is a balance that I shall continue to strive for in every creation of mine. With "Echoes" spanning mediums from acrylic and oil to watercolor and charcoal, how do you choose which medium best conveys a particular emotion or theme? The message chooses the composition, and the composition chooses the medium. My process starts with what I wish to convey, and I spend a considerable amount of time mulling over the numerous ways in which the intended message can be visually depicted. Once the image of the end output has formed in my head, the choice of medium becomes a lot easier. For mediums like oil and acrylic which can deliver similar outputs, the choice is more pragmatic. Since oil colours take a lot longer to dry, I use acrylics when working with stringent deadlines. From writing novels to art exhibitions and corporate boardrooms—how do you stay authentic in such diverse creative and professional spaces? Authenticity is natural, deception is not. Presenting a different face during each appearance depending on what the audience expects might be a shortcut to garnering louder applause, but it doesn't come naturally to me. I find it a lot easier to take my one true self along wherever I go. Be it my creative engagements or my workplace, I let my value system be the guide for my actions. This might not make me the most popular person in the room, but it is deeply satisfying, nevertheless. Images Courtesy: Anurag Anand
Korea Herald
02-07-2025
- Entertainment
- Korea Herald
Enhypen to unveil Japanese prerelease track
Enhypen is set to drop the lead track from its upcoming Japanese physical single in advance of the full release, agency Belift Lab said Wednesday. The group will put out 'Shine On Me' on July 4, giving fans a taste of its fourth physical single in Japan, 'Yoi,' due out on July 29. The ballad number portraying feelings of falling in love in summer was chosen as the ending song for the Japanese drama 'Even Shrimp Wants to Catch Sea Bream,' which starts airing Thursday. It will front the album that also includes the pop tune 'Echoes' and the Japanese-language version of 'Bad Desire (With or Without You).' The latter is the main track from its sixth Korean EP 'Desire: Unleash' that came out last month and sold over 2 million copies in the first week. Meanwhile, the band will mark its Japanese stadium debut, hitting one in Tokyo this coming weekend and in Osaka next month, for its 'Walk the Line' tour.
RTÉ News
13-06-2025
- Entertainment
- RTÉ News
Louth Contemporary Music Society Festival to take place in Dundalk
The Louth Contemporary Music Society Festival takes place this weekend with a number of major composers making the journey from overseas to Dundalk. Organisers have said that the two-day festival promises to be an "adventurous programme of contemporary music from some of the most exciting names on the international stage". The festival, founded in 2006 by Eamonn Quinn and Gemma Murray, aims to make contemporary music more accessible and inviting new audiences. This year's festival entitled 'Echoes' kicks off tonight with the Irish premiere of 'The Cold Trip Part 1' by acclaimed Austrian composer Bernhard Lang at An Táin Arts Centre. The reimagining of Franz Schubert's 'Winterreise' will be performed by the Aleph Guitar Quartet and vocalist Daisy Press. The highlights tomorrow will include a live reinterpretation of 'The Marble Index' by Apartment House with Francesca Fargion at The Spirit Store. Meanwhile, Chamber Choir Ireland, led by Nils Schweckendiek, closes the festival at St Nicholas' Church of Ireland tomorrow night with 'Songs of the Soul,' featuring a world premiere by Canadian composer Sarah Davachi, alongside works by renowned Irish composer Kevin Volans. The festival continues to pique more people's interest each year and has brought major contemporary composers such as Philip Glass, Kaija Saariaho, and Arvo Pärt to Co Louth since its inception. Co-founder Quinn, a winner of the Belmont Prize for Contemporary Music in 2018, has said this year's festival is about more than just the music. He said: "Echoes is about how repetition can draw us in, unsettle us, and ultimately transform how we listen. "This year's festival invites audiences into that space of deep attention, with remarkable musicians making their Dundalk debut and performances that promise to challenge, captivate, and resonate long after the final note." The full programme for the weekend can be found on the Louth Contemporary Music Society Festival website.
Yahoo
07-05-2025
- Entertainment
- Yahoo
'Pink Floyd at Pompeii MCMLXXII' album offers "sublime" remix
Pink Floyd Pink Floyd at Pompeii MCMLXXII Sony Music (LP) By Bill Kopp A legendary Pink Floyd live performance finally gets a standalone release, with a striking new mix by Steven Wilson. Pink Floyd at Pompeii MCMLXXII, released May 2. Debuting in theaters in 1972, Pink Floyd at Pompeii represented a radical departure from typical concert films. Where films like Woodstock, Monterey Pop and The Rolling Stones' Gimme Shelter focused on artist, spectacle and audience in nearly equal measure, Pompeii would be a nearly meditative experience. Outside of the extra studio footage director Adrian Maben shot in London to expand the film's runtime to theatrical length, not a word is spoken during the entire film. With their gear set up in the ancient ruins of Pompeii, Italy, the four members of Pink Floyd – joined only by a small sound crew and Maben's film team – get about the business of playing five songs. No audience is present. The songs played in Pompeii during the four-day shoot would be a mix of new pieces and older ones, some dating back four years to a time when the group was reeling from the loss of its founder and original leader, Syd Barrett. But by '72, Pink Floyd – bassist roger Waters, drummer Nick Mason, keyboardist Rick Wright, and Barrett's replacement David Gilmour on guitar – was well on the creative path that culminated in the 1973 epic work The Dark Side of the Moon. Pompeii captured the group at a critical juncture: its journey from deeply experimental music to cohesive, album-long pieces nearly completed, the foursome found itself in a position to showcase its musical strengths. Arguably, an audience would have only got in the way. The core of Maben's film would be the five set-pieces of music, a sampling from their second album (and first with Gilmour), 1968's experimental and often abstract A Saucerful of Secrets. The title track featured bracing and anti-melodic elements: Waters playing gong and cymbals, Wright hitting the keys of a grand piano with tightly clenched fists, Gilmour conjuring otherworldly sounds from his Stratocaster, and Mason laying down some brutal yet mesmerizing percussive work. In contrast to that avant-garde cacophony, 'Set the Controls for the Heart of the Sun' is a contemplative, hypnotic piece of music. A third 'old' piece, alongside that pair of older works, is a live reading of the band's 1968 B-side 'Careful With That Axe, Eugene.' The atmospheric and moody meditation is barely contained malevolence, with Waters' blood-curdling scream guaranteed to tingle spines. The third in a series of epic-length Pink Floyd works, 'Echoes' – from the band's 1971 Meddle LP – exemplified everything that the foursome had learned along the way. With peerless gentle vocal harmonies from Gilmour and Wright plus a clearly defined progressive character (complete with distinct musical movements), 'Echoes' encapsulated the Pink Floyd musical ethos in a single, 23-minute track. For Pompeii, the song was split into two pieces, the first ended by what sounded like the weight of the band crashing in on itself. As presented onscreen, 'One of These Days I'm Going to Cut You Into Little Pieces' is effectively a duet between Gilmour and Mason; the other two members of the band are barely seen. But the audio component of the song places Waters' throbbing bass front and center. Wilson's mix leverages The power and fury of the instrumental work. A lighthearted acoustic blues, 'Mademoiselle Nobs' is a loose variation on the Meddle track 'Seamus,' featuring Gilmour on harmonica, Waters on electric guitar and Wright holding a mic in front of a wailing dog. (Mason nowhere to be seen nor heard.) The tune's inclusion lightens the vibe a bit, neither enhancing the overall experience nor doing any harm. Its inclusion – if only for completists' sake – is nice enough. For listeners who appreciate the years of reinvention that the group explored between [Syd] Barrett's departure and the creation of The Dark Side of the Moon, Pink Floyd at Pompeii MCMLXXII is an essential artifact documenting the band's astounding progress of that period. The same is true for the abstract 'Pompeii Intro.' In the film, the studio track plays while static scenes of the desolate Pompeii landscape are shown. Establishing a mood for the audience-less concert to come, the piece consists of insistent percussion and spacey sonics, both courtesy of the revolutionary VCS3 synthesizer, a key tool in the creation of The Dark Side of the Moon. The soundtrack to Pink Floyd at Pompeii would not be released on record alongside the film's 1972 premiere. While the music from Pompeii would be bootlegged – sourced first from VHS or Beta video tapes and later from a 1982 laserdisc – no official release of the music would come until the massive 2016 boxed set The Early Years. Titled Live at Pompeii, it would be included as part of that collection's 1972: Obfusc/ation volume in a new stereo mix. That release, however, would not include 'Pompeii Intro' and 'Mademoiselle Nobs.' Ace remixer Steven Wilson – an artist with his own massive body of work, and a longtime fan of Pink Floyd's music – is the man responsible for the new and vastly improved mix of the audio portion of the Pompeii material. His treatment of the recordings could be heard on the recent two-days-only screenings of a restored print of the film and is receiving release as a two-record set. Wilson's work is sublime. Beginning with a well-recorded performance made under controlled conditions, one might wonder what could be done to improve upon what already existed. But subtle and judicious choices in terms of stereo placement and in the relative volume of instruments and voices has resulted in a definitive aural experience of the Pompeii tracks. Wilson applies a light touch, avoiding radical changes yet tweaking the mix in a way that highlights the most remarkable ingredients in the performance without giving short shrift to supporting elements. Wilson's stereo mix (on double vinyl) is nothing short of glorious. The close vocal harmonies on 'Echoes' are brighter than on the 2016 CD (or in earlier prints of the film). And the stereo panning on parts of 'A Saucerful of Secrets' heightens the interstellar sonic overdrive of the work. The version of 'A Saucerful of Secrets' as seen and heard in the film is edited down to 10 minutes; the new 2-LP release includes that edit as well as a recording of the full piece, both with Wilson's new mix. An alternate take of 'Careful With That Axe, Eugene' is included as well; the performance differs little from the take shown in the film. It too was part of the 2016 CD release; here it receives the Wilson treatment. For listeners who appreciate the years of reinvention that the group explored between Barrett's departure and the creation of The Dark Side of the Moon, Pink Floyd at Pompeii MCMLXXII is an essential artifact documenting the band's astounding progress of that period. For those whose knowledge and appreciation of Pink Floyd begins with Dark Side, this new archival release helps answer the how-did-they-get there question. Either way, it's an important piece of the puzzle. Related items in the Goldmine Shop
