Giorgio Armani Privé | Haute Couture Fall Winter 2019/2020 by Giorgio Armani | Full Fashion Show in High Definition. (Widescreen — Exclusive Video/1080p — Haute Couture Fashion Week — Paris/FR)
Bruce Maginnis — Anything That You Want/Groove Merchant
Alan Glen — On A Blue Note
Tim Garland — Never Give Up
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00:00 Blues Delight — Slightly Hung Over
04:46 Gene Deer — Midnight Healing
12:30 Chris Bell — Cold-Hearted Woman
17:50 Scott Holt — Ive Got A Mind To Give Up
24:00 Bernard Allison — Help Me Through The Day
28:50 Luther Johnson — Lonesome in My Bedroom (Live)
35:24 Gary B.B. Coleman — One Eyed Woman
39:45 Aynsley Lister — Need Her So Bad
46:46 Bronk
1. Max Cooper — Untitled 1
2. Max Cooper — Qualia (Traum)
3. Max Cooper — i (Traum)
4. Max Cooper — Darkroom — John Tejada Remix (Traum)
5. Max Cooper — i — Pele Remix (Traum)
6. Agoria — Panta Rei — Max Cooper Remix (Infine)
7. Pig
A study in deliberately soothing textures designed to give the listener space to find stillness and collapse into rest — late night lullabies.
How To Disappear Completely presents Mer de Revs II, second installment of our experimental sleep music project. Almost eighty minutes of new music composed and recorded over twelve month period (a song per month), 2016/2017. Recording this album we wanted to keep the same aesthetics — simple as possible, minimal amount of gear as possible. We genuinely appreciate your support, and hope you enjoy the new music. As always, thanks for listening.
More volumes of Mer de Revs are likely to appear in the future.
credits
released July 28, 2017
Recorded live to 2 inch tape.
Composed with Yamaha DX7, tape loops, processed/reprocessed guitars, voice and loads of old VHS tapes.
Filmed at the debut Yearning for the Infinite show at the Barbican in London on 28 September. Warning: this video contains flashing images!
Max Cooper:
«It was exciting to build this show for the Barbican. It’s one of my favourite venues in the world and they encouraged me to go big. So I turned the whole space into a multi layered canvas and set out to audio visualise the infinite. I collaborated with many visual artists and academics, each chapter using a different form of infinite visual structure on which I also based the music as a score. The result was an intense live show, somewhere between classical, techno, theatre and cinema. We couldn’t capture the true 3D effect of the semi transparent screen layers on film, but Tegid [Cartwright, the director] has done a great job showing the vibe of the evening, which was pretty special. Big thanks again to the Barbican, all of the visual and musical collaborators and team who helped put it all together, and everyone who came along to make it what it was.»
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