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StandartinėParašytas: 2007-03-26, 18:16 
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Ritzis rašė:
Įdomu kaip būtų galima tą Sibiro CD įsigyt?
manau kad kreiptis tiesiogiai į lijot'ą, nes cd ne pardavimams


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StandartinėParašytas: 2007-04-09, 18:01 
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Tai d.n.s. balandžio 14 Vln?


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StandartinėParašytas: 2007-04-09, 18:34 
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Tai d.n.s. balandžio 14 Vln?


?


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StandartinėParašytas: 2007-04-09, 18:39 
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kas cia per durni klausimai? ziurekit renginiu skilti.

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...THEY switch me off, early in the morning...


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StandartinėParašytas: 2007-04-09, 18:46 
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Mc tradiciskai piktas kaip peilis ;)
Taip, 14 d. mazumele patriuksmausim.


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StandartinėParašytas: 2007-04-23, 11:37 
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keletas naujienėlių donis.lt svetainėje ir interviu su ūsuotu kaimiečiu :]http://www.stigmata.name/donis.php


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StandartinėParašytas: 2007-05-17, 09:34 
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Kadangi kelias Kaunas-Klaipėda ir atgal nėra pats trumpiausias, tai prireikė insimest ausinuką ir naudot jį pagal paskirtį. Keleivis šalimais - 7kl bebaigiantis mokinukas, tačiau senas burbena ir pirdyla. Tad prie reikalo. Pajungiau aš jam donį švietėjiškais tikslais ir ką jūs sau manot?! Pasigriebė ir nebeatidavė, sakė gūd. Paskui į jokius SOAD'us ar Ironus nė iš tolo nenorėjo žiūrėt.

Tskant ugdom naująją kartą.

Ai iš viso šito, tai reikėjo suprasti kaip pagyra Doniui. :)

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StandartinėParašytas: 2007-05-17, 15:24 
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Dėkoju už gerus žodžius.
Jaunajai kartai ugdyti turime numatę atskirą projektą/albumą, tik nežinia ar užteks ukvatos ;)


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StandartinėParašytas: 2007-05-22, 13:33 
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Donis su Rasa Velnių Malūne:

http://www.youtube.com/watch?v=P_WkARIKZ-0


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StandartinėParašytas: 2007-08-10, 19:24 
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9 Donio klipai:

http://www.last.fm/music/Donis/+videos


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StandartinėParašytas: 2007-09-02, 20:37 
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http://www.tygiel.cba.pl/wywiad_donis.html
interviu su Donisas


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StandartinėParašytas: 2007-09-03, 21:20 
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Na štai, maniakams, kurie visiems neduodavo ramybės ir teiraudavosi apie Notangos projekto ateitį, yra atsakymas - kūriama nauja medžiaga! :)

P.S. o tas bičas iš webzine'o, matyt, išties susižavėjęs Lietuva - Donis, Kūlgrinda, Š. Bartas liaupsinami ne mažiau negu Ait! ar Death In June...

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StandartinėParašytas: 2007-09-05, 20:02 

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www.bernardinai.lt apie Wejda- http://www.bernardinai.lt/index.php?url=articles/66968.
Na,trumpai, bet dziugu, kad yra parodomas demesys tikrai nuostabiam projektui.


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StandartinėParašytas: 2007-10-11, 11:22 
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http://www.nonpop.de/nonpop/index.php?t ... 889482d7a4
Nonpop magazine


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StandartinėParašytas: 2007-10-11, 12:25 
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grubus kompinis NONOP recenzijos vertimas i anglu kalba. bent jau suprasti galima apie ka sneka :)

Cituoti:
If one thinks of music from Litauen, GIRNU GIESMES are and perhaps WEJDAS surely the in music changeable DONIS not far beside KULGRINDA. In its music the multi-instrument valleyist DONATAS connects BIELKAUSKAS traditional and modernized litauische sounds and folklore with elements of contemporary electronic music. Which comes out thereby, is most different: Thus to that Deinana with its Synthesizermelodien „,“ eingesampelten nature noises and Gloeckchenklaengen adheres to 1998 published album nevertheless quite strongly the synthetic charm of a new Ages Meditationsalbums. This character loses itself however fortunately with the progressing of the time. Together with the colleagues of KULGRINDA 2003 with Sotvaras „“ a magically seeming album with archaischem flair, which tones traditional winter sun turning singing, developed, which tells the history of the magic origin of the earth with a broad pallet of folkloristischen instruments. With „Vacuum“ one year came out later a pure Ambientalbum, which was however already taken up 1997. If one regards parallel to it „the Deinana“material, one may hardly believe that both comes from the same musical head. „Vacuum“ consists of only one, 65-minuetigen TRACK, a journey into a deeply roaring, black emptiness, of which completely black opening of CD and packing carry calculation. „Bite Lingo“ from the year 2006 strikes then again the folkloristisch electronic way – thank-worth-proves without 90's the Esoterik Touch, for it by sections nearly dancable -, before it goes with the current „album“Alexandreia, which is to employ us here more near, on completely different way.

And DONATAS puts BIELKAUSKAS geographically a considerable jump down, because these new banks lie in the antique Greece – a surprising development for volume, which verwurzelt in the past so strongly in the own national folklore was. To leave a development, from which much courage speaks, the old-familiar paths and in music to be received linguistically and conceptionally an unusual synthesis. On instrumentaler level the repertoire of traditional litauischer instruments extends such as Birbyne (a kind of flute), Duda (Baltic Dudelsack) and Zvanguliai (bells) by a Caucasian Duduki (likewise a flute). Over an electronically generated underground the different flutes lie, easily of BIELKAUSKAS and the speech singing of guest singer ALVYDA STEPAVICIUTE, which rezitiert verses of the Greek poet KONSTANTIN KAVAFI (also KONSTANTINOS PETROU KAVAFIS, – 1863 1933).

This applies beside KOSTIS PALAMAS and GIANNIS RITSOS as one of the most important Greek poets of the modern times and ranks besides among the few Greek authors, who found their place in the world literature. 1930 were located to KAVAFI in intensive contact with FILIPPO TOMMASO MARIENTTI; its verses departed from the language of the Fin de Siècle, coined/shaped the language of the modern poem and are for their part coined/shaped by the Greek people language dêmotikê, into which KAVAFI inserted courses of the older language form as archaisierendes element consciously katharevousa. Contentwise its lyric poetry turns around the Greek Antique ones, the Byzantine age and the brightistic past of the eastern Mediterranean area. Beside a philosophical and a historical there is also a pronounced sinnlich erotische component. Its poems are today transferred into different languages, lose thereby however necessarily at language beauty and klanglicher peculiarity.

ALVYDA STEPAVICIUTE rezitiert KAVAFI in „Alexandreia“, „Ionia“, „Sparta“ and „Troja“ in the source language, and if one did not know that it concerns modern lyric poetry, could one feel tried to assume in the sounds of the strangely seeming language ritual words of an antique Hohepriesterin. Who must think NYMPHE on with these Gaensehautstimme and the entire musical arrangement DAEMONIA, lies (probably not of approximate) correctly: Voice, sound and Feeling of „Alexandreia“ remind astonishing of the Greeks around SPYROS GIASAFAKIS and EVI STERGIOU, without coming however to a unity unity copy. DONIS are altogether calmer, the Percussion are more economical, and are missing the reconstructions of antique Greek instruments, which NIKOS BRASS contributes too DAEMONIA NYMPHE. The felt similarity is not to be pointed nevertheless from the hand to.

Warm, calm sounds, easy Ethno Percussion, bells, piano and flutes - and in the background the siren singing of JOANNE SPIRICHEVA, for a further musical guest, the one gegenpunkt sets to the warm however sometimes also working voice of ALVYDA, quite harsh in the speech singing. Who can be carried off from such gladly, is well advised when this publication from the house AUTARKEIA. Also who likes DAEMONIA NYMPHE, nothing makes wrongly. A pleasant, klanglich warm and round album, which surprises with an interesting new combination: The northeast of Europe meets the south, an predominantly Baltic instrumenting a Greek topic - and in this case that is a quite successful experiment, after which one cannot after-say to the project of the Litauers now finally any longer, it steps on the place.

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StandartinėParašytas: 2007-11-19, 21:10 
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po kino ir muzikos renginio „Irradiation: Film & The Nuclear Sublime“ viens iš kuratorių:
David Ellis rašė:
The Sirens having been activated and heard throughout Kaunas all day prior to my arrival had, had it's effect. Apparently. So? Had it been choreographed , was this nothing more than a fancy bit of advance promotion on my part to 'egg up' the event known as ' Irradiation: Film and the Nuclear Sublime ' ? I was tempted, for a minute or so, to say yes,to take credit for a creative coup that would have been operatic in scale had it been true. After all it wasn't so improbable , however I didn't. It was , as is said, merely syncronicity - Something errie had been switched on in the collective mental grid. Syncronicity?? a word normally excluded from my vocabulary but, one I used none the less to describe that point at which events / intentions/disperate things seem to converge - For these specific footnotes/observation's on my working with Donatas BIEKAUSKAS i'll excavate a bit of speech detritus / slang of 1950's beatnik jazz culture instead. Syncronicity or not , Donis and I were unmistakably " in the groove ". But which groove? OK some etymology. ' Being in the groove ' dating back to early 1930's jazz denoted that feeling that things were going ' according to plan ' ,of following a pre-determined 'groove '. When' in the groove(it's suggested) there's is afterall only one logical way to go , suggesting , perhap's, though inaccurately, the absence of free-will, no option's etc. But it's more than that , much more, for ' being in the groove ' signals the moment when the performer' know's ' , without uncertainty, that the sudden convergence between the self and another is occuring - Everything ' feels ' right,every syncopated note /electronic glitch is uniquely expressive of that specific moment. Nothing else would do. Effortless. A kind of Zen. Metaphorically ,it's possible to compare improvisation with the free-falling parachute jump ,in that the assorted cables ,metal clips , nylon harness's etc that comprises the safety equipment permits us to indulge in the adranaline-rush of risking everything , allowing us to extemporize in the knowledge that the ' inner workings ' (or the structure) although concealed,remain intact. With the 'structure ' firmly positioned it's then possible to set to work at subverting it , knocking it(in other words) on the head.
How do we ' boil things down' ? We dont , and WE didnt. With neither score or script and without an adequate expression of spoken language(I spoke no Lithuanian , Donis spoke no English)it was nessacary, essential, that we practice a kind of ' musical Esperantoism ' (Kaunas being historically associated with this auxiliary language also interests me) which consisted of coded hand gestures , finger asanas etc to signal to each other impromtu decisions that sometimes resembled the kind used to illustrate some of the more obscure occult aspects of Kundalini Yoga. The Yoga of improvisation?? Perhap's for just as yoga is a pyscho-physical discipline of assumed control AND it's being ' given up ',of abandoning things, abandoning structure and of of adopting a playful indifference. Before my arrival , I 'd been asked to forward from London themetic strands etc from which Donis might work - Attempts were made. A few referances both historical and personal re the Nuclear Sublime as I interpreted were forwarded. Fragments. These were nothing more than shards of memory drawn from the perspective of someone born in 1955 , someone whose experience of the ' The Bomb ' was nothing less than ' physcalized memory ' - I'd sent various key words , trigger switich words/sentances etc like ' Three Minute Warnings '(i.e the estimated time an incoming missile from Moscow would have hit London). Did these thematic doodles became part of Donis's invisble score? It wasn't discussed.Who knows/who cares? Without a score / script etc the film material and the musical /spoken lecture merged - As if , Donis was camped out , imbedded , off-camera in the Nevada desert himself(where the Atomic Bomb Tests were detonated and filmed)in a meticulous accompaniemt to the appaling imagery of the films themselves.

Recent experiments in Brain imaging have prooven that segments of the convoluted , fibrous grooves of the Brain literally light up in hues of technicolour when the subject experieces ' empathy ' , ' curiosity ' ' agitation ' etc - I speculate on the colour associated with ' being in the groove ' .

Whatever? We were in it.


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