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Everywhere at the End of Time is the eleventh recording by the Caretaker, an alias of English electronic musician Leyland Kirby. Released between 2016 and 2019, its six studio albums use degrading loops of sampled ballroom music to portray the progression of Alzheimer's disease. Inspired by the success of An Empty Bliss Beyond This World (2011), Kirby produced Everywhere as his final major work under the alias. The albums were produced in Krakow and released over six-month periods to "give a sense of time passing", with abstract album covers by his friend Ivan Seal. The series drew comparisons to the works of composer William Basinski and electronic musician Burial, while the later stages were influenced by avant-gardist composer John Cage.

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  • Everywhere at the End of Time (en)
  • Everywhere at the End of Time (es)
  • Everywhere at the End of Time (it)
  • Everywhere at the End of Time (pt)
  • Everywhere at the End of Time (ru)
  • 时间尽头的每一角落 (zh)
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  • Everywhere at the End of Time is the eleventh recording by the Caretaker, an alias of English electronic musician Leyland Kirby. Released between 2016 and 2019, its six studio albums use degrading loops of sampled ballroom music to portray the progression of Alzheimer's disease. Inspired by the success of An Empty Bliss Beyond This World (2011), Kirby produced Everywhere as his final major work under the alias. The albums were produced in Krakow and released over six-month periods to "give a sense of time passing", with abstract album covers by his friend Ivan Seal. The series drew comparisons to the works of composer William Basinski and electronic musician Burial, while the later stages were influenced by avant-gardist composer John Cage. (en)
  • Everywhere at the End of Time —en Español: En todas partes, al final de los tiempos— es una serie de álbumes musicales, desde el undécimo hasta el decimoséptimo álbum de estudio escrito por The Caretaker, el pseudónimo del músico inglés . Lanzada desde el año 2016 hasta el año 2019 por su propio sello discográfico History Always Favors The Winners, el proyecto nació a partir de la necesidad que sentía Kirby para expandir los temas sobre el Alzheimer presentados en su álbum . La serie consiste principalmente en grabaciones de jazz de big band que se van paulatinamente deteriorando, en coherencia melódica, conforme avanza cada álbum, con el objetivo de crear una representación musical de la demencia. Finalmente, la serie culmina en sus últimos cinco minutos con la presentación de una canción (es)
  • Everywhere at the End of Time é a décima-primeira gravação do the Caretaker, um pseudônimo do músico eletrônico inglês Leyland Kirby. Lançado de 2016 a 2019, seus seis álbuns de estúdio retratam os estágios do mal de Alzheimer ao degradar loops de jazz dos anos 20. Inspirado pelo sucesso de An Empty Bliss Beyond This World (2011), Kirby decidiu criar Everywhere como seu último trabalho sob o projeto. Ele produziu os álbuns em Cracóvia por períodos de seis meses para "dar uma sensanção do tempo passar", usando arte abstrata do seu amigo Ivan Seal. O estilo da série atraiu comparações ao compositor William Basinski e ao músico Burial, com os estágios finais sendo influenciados pelo vanguardista John Cage. (pt)
  • Everywhere at the End of Time (с англ. — «Повсюду к концу времён») — одиннадцатая по счёту запись британского музыканта в стиле электронной музыки Лейланда Кирби под псевдонимом The Caretaker. Выпущенные с 2016 по 2019 годов, его шесть студийных альбомов изображают прогрессию деменции, используя лупы бальной музыки. Вдохновлённый успехом своего альбома (2011 г.), Кирби решил создать Everywhere… в качестве своей последней работы под псевдонимом. Он выпускал альбомы в Кракове в течение шести месяцев, чтобы «дать ощущение проходящего времени», используя абстрактные картины своего друга . Стиль серии сравнивался с композитором Уильямом Басински и музыкантом Burial, причём на более поздние этапы повлиял авангардист Джон Кейдж. (ru)
  • 《时间尽头的每一角落》(英語:Everywhere at the End of Time) 是英国電子音樂人(本名利蘭·柯比(Leyland Kirby))的第十一部錄音作品,內容涵括六張依階段劃分和命名,於2016年至2019年間陸續發行的錄音室專輯。受到2011年專輯《》的成功激發,柯比製作《Everywhere》作為其化名的最後一部主要作品,來摹擬阿茲海默症病患從發病步入死亡的過程。專輯在波兰克拉科夫用了六個月的時間製作及發行,以「給人一種時間流逝的感覺」。專輯封面由柯比友人繪製,屬於抽象畫派。 專輯完整版長達六個多小時,呈現出形形色色的情緒並以不間斷的雜訊為特徵。前三個階段的風格類似於《超越這個世界》,但到後三個階段逐漸脫離柯比早期的氣氛音樂作品。這一系列專輯反映出患者記憶的衰退、身心的紊亂,以及彌留之際迴光返照的現象。起初,他擔心會被外界扣上自命不凡的罵名,想打消創作本作的念頭,然而最終柯比對之投入的時間遠超以往。為了推廣系列作,柯比與匿名視覺藝術家Weirdcore合作製作音樂錄影帶。專輯封面曾獲得一家法國藝術展的關注,該展後來以他2019年蒐羅之歷年未公開作品的合輯《》命名。 (zh)
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  • Everywhere at the End of Time (en)
  • Everywhere at the End of Time – Stages 1–3 (en)
  • Everywhere at the End of Time – Stages 4–6 (en)
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  • http://commons.wikimedia.org/wiki/Special:FilePath/Bowlly_small.jpg
  • http://commons.wikimedia.org/wiki/Special:FilePath/Barbakan_Krakow_z_ulicy_Basztowej.jpg
  • http://commons.wikimedia.org/wiki/Special:FilePath/Leyland_Kirby_on_the_FRAC_Auvergne.jpg
  • http://commons.wikimedia.org/wiki/Special:FilePath/Ivan_Seal_on_the_FRAC_Auvergne.png
  • http://commons.wikimedia.org/wiki/Special:FilePath/Memories_Overlooked_-_A_Tribute_to_The_Caretaker.jpg
  • http://commons.wikimedia.org/wiki/Special:FilePath/The_Caretaker_-_Everywhere_at_the_End_of_Time_-_Stage_1_cover.jpg
  • http://commons.wikimedia.org/wiki/Special:FilePath/The_Caretaker_-_Everywhere_at_the_End_of_Time_-_Stages_1-3.jpg
  • http://commons.wikimedia.org/wiki/Special:FilePath/The_Caretaker_-_Everywhere_at_the_End_of_Time_-_Stages_4-6.jpg
  • http://commons.wikimedia.org/wiki/Special:FilePath/The_Darkest_Album_I_Have_Ever_Heard_(Everywhere_at_the_End_of_Time).jpg
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