It was a song that always had a crescendo but never felt like it reached the peak. I remember I had the title of the song before I had the beat. I’m glad Ariel, Eric, and I all got together to make that epic song. the idea of R&B having dark edges was what I wanted to bring to one of my favorite voices of all time. The production on Climax lends itself to House of Balloons era when I heard those early records they blew my mind – soulful in their silences, and a spacey iconic voice that felt uniquely internet.
Thomas Wesley “Diplo” Pentz had a different recollection of the track’s creation than Ariel Rechtshaid and Sean “Elijah Blake/Red Stylz” Fenton. Now several producers and songwriters involved in the making of “Climax” have taken to social media to share their opinions on the subject. The Weeknd said, “I heard ‘Climax,’ that Usher song, and was like, ‘Holy f*ck, that’s a Weeknd song.’” It all began when Abel “The Weeknd” Tesfaye did an interview with Variety where he claimed Usher’s “Climax” was inspired by the 2011 project House of Balloons. However, that is exactly what has happened over the last few days.
Riotous and sustained applause confirmed the place of this orchestra and conductor right at the heart of the Edinburgh Festival in 2023.(AllHipHop News) It is highly doubtful anyone would have predicted at the beginning of the week a huge debate would be taking place on social media about an 8-year-old Usher Raymond IV song. A bold decision, but one that could have been better communicated to those many audience members who wasted much time trying to find one… Whether this was for eco or cultural reasons, the most noticeable benefit was that rather than trying to unpick the four big themes and follow the descriptions of the ten movements (“Is this “Jardin du sommeil d’amour”?” “No it’s “Joie du sang des étoiles””), the audience could be enveloped by the work as a whole, and be swept along its emotional rollercoaster without the distraction of the printed word. An interesting decision was taken not to have a printed programme. For his part, Donohoe flew into his role with enthusiasm, at times producing such an impressive crescendo on one note that it seemed the soundboard might crack. We’re used to the fragile purity of its soaring glissandi, swooping up to giddy heights before plunging to electronic depths, but for the first time I also heard gentle popping noises, slightly comic, as if someone were opening tuned bottles of champagne, and some rather more sinister petulant squeaks. Lovely playing from the clarinets too, and as for the brass: what a range of colours from piercing light to abyssal darkness.Īs for the principals, Cynthia Millar on Ondes Martenot ( pictured below by Mark Allan in an LSO concert at the Barbican earlier this year) and pianist Peter Donohoe are such old hands at Turangalîla they can probably do it in their sleep, but I could have sworn that Millar produced some new sounds from this most eccentric of instruments. I was particularly transfixed by the cymbalist, holding his shimmering, gleaming discs aloft with such enthusiasm that he nearly lost his footing on the Usher Hall stage. This is a symphony of almost unlimited imagination, and a corresponding welter of notes, that keeps the players extremely busy – if they were tired to be playing so hard in their second concert of the evening, they did not show it. From the outset, the LSO players produced a sound of dazzling depth and immediacy, taking in their stride Messiaen’s myriad changes of tempo, mood, and style, all guided by an unerringly clear beat from Sir Simon. For while this symphony is famous for its quasi-concerto roles for the piano and Ondes Martenot, it is so much more than that – more of a concerto for the whole orchestra, a point reinforced by placing not only the piano and Ondes Martenot but all of the tuned percussion at the edge of the stage in front of the strings. Having duly placed Turangalîla on a pedestal, it was a chance for the LSO under Sir Simon Rattle to shine, and shine they did. As festival director Nicola Benedetti put it in a podcast sent out to all ticket holders, it’s programming that reaches into the extremities of human experience ( pictured below by Andrew Perry: Rattle and the LSO at the end of the earlier concert). These included a separate concert, earlier in the evening, which juxtaposed Debussy’s La Mer and Milhaud’s La création du monde in a programme described as The Road to Turangalîla, and the previous day a performance of Messiaen’s Quartet for the End of Time.
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