“Today is the day”

so happy and delighted to be part of this collaboration album. out now

if you pronounce CEEYS the right way and remember our album HIDDENSEE you know why this dedication to the MEDITERRANEAN SEE is more than music.
its to be part of sth above.

“Mediterraneo is a tribute to a sea that suffers, that is now the scene of profound human and ecological drama. For this reason, all proceeds from the project will be donated to two Italian NGOs involved in the Mediterranean Sea, both on the environmental side (MareVivo Onlus) and the humanitarian side (Mediterranea, Saving Humans).

Support music, save human lives, help the sea.” Lady Blunt Records

The Collection includes music by: Philip G Anderson, Laura Masotto, Christine Ott, Jim Perkins, Fiona Brice – Music, CEEYS, Snowdrops, Lorenzo Masotto, Daniela Savoldi, Anna Yarbrough, Eleuteria, Cabeki, Glowworm, Luca Longobardi.

photo by Ute Friederike Schernau

Six years ago, the first Piano Day was declared to celebrate the virtues of the keyboard instrument. Four years ago, with the event gaining popularity around the world, Hungary also joined in. This piano festival takes place on the 88th day of each year – the number of keys on the keyboard (although in leap years like 2020 it takes place on the 89th day). This will be MĂĽpa Budapest’s second time hosting the events held in the Hungarian capital. At this year’s concerts being presented from early afternoon to late evening in various spaces around the building, the sound of the piano will be supplemented by the music of the human voice and other instruments. In addition, all of the performances of the compositions in the programme will be Hungarian premières, and all of the international guest artists will be making their Hungarian dĂ©buts.

The concerts making up Budapest’s celebration of Piano Day 2020, which was established at the initiative of Nils Frahm, one of the contemporary fixed stars of meditative electroacoustic music based on classical and minimalist foundations, and the artists performing them, will all be firsts in one sense or another, and most of the events will feature duos. The Hungarian performers opening the programme will be coordinating their openness in an improvised fashion: the pianist vaghy already associates the vibrations produced by the 88 keys of the piano with electronic music. Adding to this will be the cellist Endre KertĂ©sz, a musician familiar from a number of line-ups. Representing Sweden will be Jakob Lindhagen and Vargkvint: when they join forces, these two artists from different career paths – the former is also known for his film music, while the latter’s album from last year was inspired by the ocean – prove to be inventive instrumentalists, even introducing a singing saw into their music. What makes the piano/ambient/electronic chamber pop of Tom Adams memorable is his falsetto voice, while the German piano/cello duo CEEYS stand out with productions embellished with vintage socialist-era instruments from the two brothers’ youths in East Germany. The closing concert will be performed by Italy’s Luca D’Alberto, who can only rarely be tempted to stray from his homeland. With two guest artists joining him, his electroacoustic programme promises to be a grand and complex experience.

Presented by: Müpa Budapest

listen

The Other Cinema Presents ‘Dachaigh’

Tracklist:
12 Ensemble – Honey Siren_ I. (Like thick air)
CEEYS – Waende
Julia Gjertsen – The Fountain
Caroline Shaw & Attacca Quartet – Plan & Elevation- II. The Cutting Garden
Johann Johannsson – Melodia (III)
12 Ensemble – Honey Siren_ II. (Full like drips)
Mark Pritchard – Sad Alron
Hildur GuĂ°nadĂłttir – Heima
Calibre – Five Minute Flame
Vanessa Wagner – Elf Dance (Suzanne Ciani version)
Anne MĂĽller – Solo? Repeat!
FĂ©licia Atkinson – Lush
Kelpe – All The Way Round
Jon Hassell – Last Night The Moon Came
Squarepusher – Detroit People Mover
Shigeto – Divine Family
12 Ensemble – FljĂłtavĂ­k

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February 17

Week 510: “Waende” by CEEYS

Toronto went through a major building boom in the 1960s and 1970s, and this means that a fairly large chunk of the architecture that I grew up around was of the concrete brutalist variety. Hulking, monolithic structures, often with windowless exteriors that seemed to tell you that whatever goes on inside is none of your business. There’s so much concrete here, it’s inspired a book.

The last ten years have brought another building boom to the city, but the most common material this time around, at least for cladding, is glass. Toronto’s 21st-Century buildings are generally sleek, translucent, and blinding if the sun is at the right angle. The glass walls mean that whatever goes on inside is your business, whether you like it or not.

The combination of these two styles can make for an interesting walk. You can feel as if you’re walking through a Soviet university campus one moment, and the Google headquarters the next. It doesn’t do much for consistency, but I like the feeling of being able to see the growth rings of the city through its architectural trends.

The only other city where I’ve seen such an obvious contrast is Berlin.

Despite being much older than Toronto, many of Berlin’s buildings are mid-century or later, because so much of the city was destroyed in the war. Germany’s modern wealth is evident in its architecture, but its divided past is still there too. Berlin has been unified for a generation, but the architectural difference between east and west still shows.

The music of Berlin-brother duo Ceeys reflects, by design, the stark apartment blocks of the part of East Berlin where they grew up:

At least in the beginning, this building project was full of good intentions. But the 80s were the last decade of the communist-driven GDR and the endless grey blocks of cold concrete and steel now merely communicate an atmosphere of anonymity and oppression. Then again, this is where we had our daily lives with friends, school and holidays.

http://ceeys.de/works/waende/

In other words, they have warm childhood memories of a cold place. Those feelings are wonderfully communicated on their 2018 album, Waende.

What makes this a beautiful song:

1. The cello is played harshly and mic’d at a distance. This makes it sound like a brisk February wind whipping around the corner of an apartment building.

2. The piano is played gently and mic’d so closely you can almost hear the dust bouncing off the felt of the hammers.

3. At about 3.16, the cello takes flight (I think he’s playing harmonics, but I’m not sure) and the piano shifts keys too. It’s a surprisingly uplifting, Google-headquarters kind of ending.

Recommended listening activity:

Using chalk to draw a window on the exterior wall of your house.

Buy it here.