Labyrinth (Juno Reactor album)
Labyrinth is the sixth studio album released by the multi-genre electronic/trance group Juno Reactor. It was released on October 26, 2004 on September 29, 2004 in Japan; the album contains several pieces that hold various forms of sound ranging from orchestral and techno as well as containing Juno Reactor's trademark tribal sound. The album features two songs from Watkins' collaboration with The Matrix composer Don Davis on the films The Matrix Reloaded and The Matrix Revolutions, "Mona Lisa Overdrive" and "Navras"; the version of Mona Lisa Overdrive is different from that featured on the film's soundtrack. It is shortened from its original time of 10:08 to 4:45 and there are noticeable differences in the sound of the bass and tone of the songs. Navras is a remix of Davis' song Neodämmerung, heard on the end credits of The Matrix Revolutions. One known single of Zwara was released in Japan on November 2003 as a promo. All tracks by Ben Watkins with collaborators mentioned on the track list"Conquistador I" – 6:02 "Conquistador II" – 5:06 "Giant" – 4:00 "War Dogs" – 5:00 "Mona Lisa Overdrive" – 4:45 "Zwara" – 6:35 "Mutant Message" – 6:10 "Angels and Men" – 7:07 "Navras" – 9:06 Track "Angels and Men" used in the "Dimension Bomb" animation from Genius Party Beyond.
Track "Mona Lisa Overdrive" was produced with Don Davis, the composer for The Matrix series, was used for the highway chase scene in The Matrix: Reloaded. JunoReactor.com profile of Labyrinth ReactorLeak.com profile of Labyrinth Review of the album on about.com Review of the album on side-line.com Review of the album on allmusic.com
A rasa means "juice, essence or taste". It connotes a concept in Indian arts about the aesthetic flavour of any visual, literary or musical work that evokes an emotion or feeling in the reader or audience but cannot be described, it refers to the emotional flavors/essence crafted into the work by the writer and relished by a'sensitive spectator' or sahṛdaya or one with positive taste and mind. Rasas are created by bhavas: the state of mind; the rasa theory is mentioned in Chapter 6 of the ancient Sanskrit text Natya Shastra, attributed to Bharata Muni, but its most complete exposition in drama and other performance arts is found in the works of the Kashmiri Shaivite philosopher Abhinavagupta. According to the Rasa theory of the Natya Shastra, entertainment is a desired effect of performance arts but not the primary goal, the primary goal is to transport the individual in the audience into another parallel reality, full of wonder and bliss, where he experiences the essence of his own consciousness, reflects on spiritual and moral questions.
Although the concept of rasa is fundamental to many forms of Indian arts including dance, theatre, painting and literature, the interpretation and implementation of a particular rasa differs between different styles and schools. The Indian theory of rasa is found in the Hindu arts and Ramayana musical productions in Bali and Java, but with regional creative evolution; the word rasa appears in ancient Vedic literature. In Rigveda, it connotes an extract and flavor. In Atharvaveda, rasa in many contexts means "taste", the sense of "the sap of grain". According to Daniel Meyer-Dinkgräfe – a professor of Drama, rasa in the Upanishads refers to the "essence, self-luminous consciousness, quintessence" but "taste" in some contexts. In post-Vedic literature, the word connotes "extract, juice or tasty liquid". Rasa in an aesthetic sense is suggested in the Vedic literature, but the oldest surviving manuscripts, with the rasa theory of Hinduism, are of Natya Shastra; the Aitareya Brahmana in chapter 6, for example, states: The Sanskrit text Natya shastra presents the rasa theory in Chapter 6, a text attributed to Bharata Muni.
The text begins its discussion with a sutra called in Indian aesthetics as the rasa sutra: Rasa is produced from a combination of Determinants and Transitory States. According to the Natya shastra, the goals of theatre are to empower aesthetic experience and deliver emotional rasa; the text states. In many cases, it aims to produce repose and relief for those exhausted with labor, or distraught with grief, or laden with misery, or struck by austere times, yet entertainment is an effect, but not the primary goal of arts according to Natya shastra. The primary goal is to create rasa so as to lift and transport the spectators, unto the expression of ultimate reality and transcendent values; the Abhinavabhāratī is the most studied commentary on Natyasastra, written by Abhinavagupta, who referred to Natyasastra as the Natyaveda. Abhinavagupta's analysis of Natyasastra is notable for its extensive discussion of aesthetic and ontological questions. According to Abhinavagupta, the success of an artistic performance is measured not by the reviews, awards or recognition the production receives, but only when it is performed with skilled precision, devoted faith and pure concentration such that the artist gets the audience absorbed into the art and immerses the spectator with pure joy of rasa experience.
Although the concept of rasa is fundamental to many forms of Indian art, including dance, musical theatre and literature, the treatment, interpretation and actual performance of a particular rasa differs between different styles and schools of abhinaya, the huge regional differences within one style. A rasa is the developed relishable state of a permanent mood, called sthayi bhava; this development towards a relishable state results by the interplay on it of attendant emotional conditions which are called Vibhavas and sanchari/ vyabhichari bhavas. The production of aesthetic rasa from bhavas is analogous to the production of tastes/juices of kinds from food with condiments, curries and spices; this is explained by the quote below:'Vibhavas' means karana or cause. It is of two kinds: Alambana, the personal or human object and substratum, Uddipana, the excitants. Anubhava, as the name signifies, means the effects following the rise of the emotion. VyAbhichArI bhavas are described in this aspect.
The Rishi Praskanva insists that the sources of knowledge, some of which are open and some hidden, they are to be sought and found by the seekers after Truth, these sources are not available everywhere, anywhere and at all times. In this context Rishi Agastya stating thus – तव॒ त्ये पि॑तो॒ रसा॒ रजां॒स्यनु॒ विष्ठि॑ताः । दि॒वि वाता॑ इव श्रि॒ताः ॥ reminds the ardent seekers about the six kinds of Rasa or taste which food has but which all tastes cannot be found in one place or item, for these tastes are variously distributed throughout space. Food, in this context, means objects or thoughts, which are all produced effects; the Rasas are the unique qualities which bring about variety in things created whose source is one and one only. Bharata Muni enunciated the eight Rasas in the Nātyasāstra, an ancient Sanskrit text of dramatic theory and other performance arts, written between 200 BC and 200 AD. In the Indian performing arts, a rasa is a sentiment or emotion evoked in each member of the audience by the art.
A soundtrack written sound track, can be recorded music accompanying and synchronized to the images of a motion picture, television program, or video game. In movie industry terminology usage, a sound track is an audio recording created or used in film production or post-production; the dialogue, sound effects, music in a film each has its own separate track, these are mixed together to make what is called the composite track, heard in the film. A dubbing track is later created when films are dubbed into another language; this is known as a M & E track containing all sound elements minus dialogue, supplied by the foreign distributor in the native language of its territory. The contraction soundtrack came into public consciousness with the advent of so-called "soundtrack albums" in the late 1940s. First conceived by movie companies as a promotional gimmick for new films, these commercially available recordings were labeled and advertised as "music from the original motion picture soundtrack", or "music from and inspired by the motion picture."
These phrases were soon shortened to just "original motion picture soundtrack." More such recordings are made from a film's music track, because they consist of the isolated music from a film, not the composite track with dialogue and sound effects. The abbreviation OST is used to describe the musical soundtrack on a recorded medium, such as CD, it stands for Original Soundtrack. Types of soundtrack recordings include: Musical film soundtracks are for the film versions of musical theatre; the soundtrack to the 1937 Walt Disney animated film Snow White and the Seven Dwarfs was the first commercially issued film soundtrack. It was released by RCA Victor Records on multiple 78 RPM discs in January 1938 as Songs from Walt Disney's Snow White and the Seven Dwarfs and has since seen numerous expansions and reissues; the first live-action musical film to have a commercially issued soundtrack album was MGM’s 1946 film biography of Show Boat composer Jerome Kern, Till the Clouds Roll By. The album was issued as a set of four 10-inch 78-rpm records.
Only eight selections from the film were included in this first edition of the album. In order to fit the songs onto the record sides the musical material needed editing and manipulation; this was before tape existed, so the record producer needed to copy segments from the playback discs used on set copy and re-copy them from one disc to another adding transitions and cross-fades until the final master was created. Needless to say, it was several generations removed from the original and the sound quality suffered for it; the playback recordings were purposely recorded "dry". This made these albums boxy. MGM Records called these "original cast albums" in the style of Decca Broadway show cast albums because the material on the discs would not lock to picture, thereby creating the largest distinction between `Original Motion Picture Soundtrack' which, in its strictest sense would contain music that would lock to picture if the home user would play one alongside the other and `Original Cast Soundtrack' which in its strictest sense would refer to studio recordings of film music by the original film cast, but, edited or rearranged for time and content and would not lock to picture.
In reality, soundtrack producers remain ambiguous about this distinction, titles in which the music on the album does lock to picture may be labeled as OCS and music from an album that does not lock to picture may be referred to as OMPS. The phrase "recorded directly from the soundtrack" was used for a while in the 1970s, 1980s and 1990s to differentiate material that would lock to picture from that which would not, but again, in part because many'film takes' consisted of several different attempts at the song and edited together to form the master, that term as well became nebulous and vague over time when, in cases where the master take used in the film could not be found in its isolated form, the aforementioned alternate masters and alternate vocal and solo performances which could be located were included in their place; as a result of all this nebulo
Simona Peycheva is an Individual Bulgarian Rhythmic Gymnast. Peycheva started Rhythmic Gymnastics in 1991 at the Academic Club in Sofia, under head coach Marietta Dukova; as a junior, she had victories at several international tournaments. In 2001, Alina Kabaeva and her teammate Irina Tchachina, who won gold and silver medal in all-around tested positive for a banned diuretic and were stripped of their medals, Ukraine's Tamara Yerofeeva, who won bronze, was awarded the gold. With the disqualification of the Russian Team results at the 2001 World Championships, Peycheva took three golds as well as two silver and one bronze. Peycheva won the ball and clubs at the 2002 World Cup Final in Stuttgart, she missed the early months of 2004 due to a foot operation. She did compete in the 2004 European Championships and the 2004 Athens Olympics, qualifying in 7th and placing 6th in the final with a total of 101.050. At the 2005 Corbeil-Essonnes Tournament she placed 2nd in Ball, she competed in her last Olympics cycle at the 2008 Beijing Olympics, where she finished 10th at the finals.
After four years, she resumed her career and she returned to the sport and she has just competed at the national Championship of Bulgaria finishing 6th. "My Return is not my whim! Trained by one month. If I am not part of the national team, my return is futile!" She is married to Goran and they have a boy named Aleksey. Simona Peycheva at the International Federation of Gymnastics Simona Peycheva on Magical Action Simona Peycheva on Instagram
The Brihadaranyaka Upanishad is one of the Principal Upanishads and one of the oldest Upanishadic scriptures of Hinduism. A key scripture to various schools of Hinduism, the Brihadaranyaka Upanisad is tenth in the Muktikā or "canon of 108 Upanishads"; the Brihadaranyaka Upanishad is estimated to have been composed about 700 BCE, excluding some parts estimated to have been composed after the Chandogya Upanishad. The Sanskrit language text is contained within the Shatapatha Brahmana, itself a part of the Shukla Yajur Veda; the Brihadaranyaka Upanishad is a treatise on Ātman, includes passages on metaphysics, ethics and a yearning for knowledge that influenced various Indian religions and medieval scholars, attracted secondary works such as those by Madhvacharya and Adi Shankara. The chronology of Brihadaranyaka Upanishad, like other Upanishads, is uncertain and contested; the chronology is difficult to resolve because all opinions rest on scanty evidence, an analysis of archaism and repetitions across texts, driven by assumptions about evolution of ideas, on presumptions about which philosophy might have influenced which other Indian philosophies.
Patrick Olivelle states, "in spite of claims made by some, in reality, any dating of these documents that attempts a precision closer than a few centuries is as stable as a house of cards". The chronology and authorship of Brihadaranyaka Upanishad, along with Chandogya and Kaushitaki Upanishads, is further complicated because they are compiled anthologies of literature that must have existed as independent texts before they became part of these Upanishads; the exact year, the century of the Upanishad composition is unknown. Scholars have offered different estimates ranging from 900 BCE to 600 BCE. Brihadaranyaka is one of the oldest Upanishads, along with that of Jaiminiya Upanishad and Chandogya Upanishads; the Brihadaranyaka Upanishad was in all likelihood composed in the earlier part of 1st millennium BCE, around 700 BCE, give or take a century or so, according to Patrick Olivelle. It is that the text was a living document and some verses were edited over a period of time before the 6th century BCE.
The title Brihadaranyaka Upanishad means "great wilderness or forest Upaniṣhad". It is credited to ancient sage Yajnavalkya, but refined by a number of ancient Vedic scholars; the Upanishad forms the last part, the fourteenth kānda of Śatapatha Brāhmana of "Śhukla Yajurveda". The Brihadaranyaka Upanishad has six adhyayas in total. There are two major recensions for the text - the Kanva recensions, it includes three sections: Muni kānda and Khila kānda. The first and second chapters of the Upanishad's Madhu kānda consists of six brahmanams each, with varying number of hymns per brahmanam; the first chapter of the Upanishad's Yajnavalkya kānda consists of nine brahmanams, while the second has six brahmanams. The Khila kānda of the Upanishad has fifteen brahmanams in its first chapter, five brahmanams in the second chapter; the Brihadaranyaka Upanishad starts by stating one of many Vedic theories of creation of the universe. It asserts that there was nothing before the universe started Prajapati created from this nothing the universe as a sacrifice to himself, imbued it with Prana to preserve it in the form of cosmic inert matter and individual psychic energy.
The world is more than matter and energy, asserts Brihadaranyaka, it is constituted of Atman or Brahman as well as Knowledge. The Brahmana 4 in the first chapter, announces the Upanishad's non-dual, monistic metaphysical premise that Atman and Brahman are identical Oneness, with the assertion that because the universe came out of nothingness when the only principle existent was "I am he", the universe after it came into existence continues as Aham brahma asmi. In the last brahmana of the first chapter, the Upanishad explains that the Atman inspires by being self-evident, through empowering forms, through action; the Soul, states Brihadaranyaka, is the imperishable one, invisible and concealed pervading all reality. The Brihadaranyaka Upanishad starts the second chapter as a conversation between Ajatashatru and Balaki Gargya on theory of dreams, positing that human beings see dreams unto themselves because mind draws, in itself, the powers of sensory organs, which it releases in the waking state.
It asserts that this empirical fact about dreams suggests that human mind has the power to perceive the world as it is, as well as fabricate the world as it wants to perceive it. Mind is a means, prone to flaws; the struggle man faces, asserts Brihadaranyaka in brahmana 3, is in his attempt to realize the "true reality behind perceived reality". That is Atman-Brahman and blissfully existent, yet unknowable because it has no qualities, no characteristics, it is "neti, neti". In fourth brahmana, the Upanishad presents a dialogue between a husband and wife, as Yajnavalkya and Maitreyi, on nature of love and spirituality and how is Atman related to deep connection and bonds between human beings. Yajnavalkya states that one doesn't connect with and love forms, nor does one connect or love mind, rather one connects with the Self, the Soul of one's own and one's beloved. All love is for the sake of one's Self, the Oneness one rea
Azam Ali is an Iranian singer and musician. As of 2013, Ali has released eight full-length albums with the bands VAS and Niyaz, as well as four full-length solo albums. Born in Tehran on 3 October 1970, Ali spent most of her childhood in India. Ali and her mother moved to Los Angeles, California, in 1985, after which Ali discovered the santour. Ali studied the santour under Persian master Manoochehr Sadeghi, which led to the rediscovery of her voice. In 1996, Ali formed "alternative world" group VAS with percussionist Greg Ellis after meeting the year prior at a concert at UCLA, she and her husband, Loga Ramin Torkian, are part of another group, Niyaz, an Iranian acoustic electronic group. In 2005, Azam Ali was featured in Enter the Chicken, a 2005 Buckethead album, singing the song "Coma" with Serj Tankian. In 2002, Ali released Portals of Grace; this was followed up with 2006's Elysium for the Brave, which reached #10 on Billboard's World Albums chart on 23 September 2006. Ali's third album, From Night to the Edge of Day, is a collection of lullabies inspired by her son.
Lamentation of Swans - A Journey Towards Silence, Ali's fourth album, is a joint effort with her husband Loga Ramin Torkian that began in 2009 and explores the intimate spaces they had to carve out for themselves to escape the demands of touring. In 2003 she sang Inama Nushif in the fictional Fremen language for the soundtrack to the 2003 Sci Fi Channel mini-series Frank Herbert's Children of Dune, written by Brian Tyler. In 2006 she was featured vocals in the movie 300. In 2012, she was the vocalist for Square Enix's Final Fantasy video game tech demo Agni's Philosophy, she helped American composer Jack Wall on the soundtrack for Call of Duty: Black Ops 2 by being vocalist on the track "Pakistan Run". In September 2013, Ali announced that she would provide vocals for the soundtrack of the film Thor: The Dark World. Solo albums Portals of Grace Elysium for the Brave Green Memories From Night to the Edge of Day Lamentation of Swans - A Journey Towards Silence With VAS Sunyata Offerings In the Garden of Souls Feast of Silence Greg Ellis Kala Rupa Explorations in Rhythm With Niyaz Niyaz Nine Heavens Sumud Sumud Acoustic EP The Fourth Light With VGM Syphon Filter: Logan's Shadow Uncharted 3: Drake's Deception With Buckethead Enter the Chicken With Roseland Roseland Solo Where's Neil When You Need Him?
Official website Niyaz website
The Matrix Revolutions: Music from the Motion Picture
The Matrix Revolutions: Music from the Motion Picture is a 2003 soundtrack album from the film, The Matrix Revolutions. "The Matrix Revolutions Main Title" by Don Davis – 1:21 "The Trainman Cometh" by Juno Reactor/Don Davis – 2:43 "Tetsujin" by Juno Reactor/Don Davis – 3:21 "In My Head" by Pale 3 – 3:46 "The Road to Sourceville" by Don Davis – 1:25 "Men in Metal" by Don Davis – 2:18 "Niobe's Run" by Don Davis – 2:48 "Woman Can Drive" by Don Davis – 2:41 "Moribund Mifune" by Don Davis – 3:47 "Kidfried" by Don Davis – 4:49 "Saw Bitch Workhorse" by Don Davis – 3:59 "Trinity Definitely" by Don Davis – 4:15 "Neodämmerung" by Don Davis – 5:59 "Why, Mr. Anderson?" by Don Davis – 6:10 "Spirit of the Universe" by Don Davis – 4:51 "Navras" by Juno Reactor vs. Don Davis – 9:08The track "Navras" was used by rhythmic gymnasts Simona Peycheva of Bulgaria and Penelope Blackmore of Australia in their respective ribbon routines at the 2004 Athens Olympic Games; the Matrix Revolutions OST: Don Davis - Neodammerung on YouTube