Melodica

A Hohner melodica
Keyboard instrument
Classification	Wind; free reed aerophone
Hornbostel–Sachs classification	412.132 (Free-reed aerophone)
Developed	1950s
Playing range
Usually 2 or 3 octaves
Related instruments
accordion, harmonica, reed organ, yu

The melodica, also known as the "blow-organ" or "key-flute", is a free-reed instrument similar to the melodeon and harmonica. It has a musical keyboard on top, and is played by blowing air through a mouthpiece that fits into a hole in the side of the instrument. Pressing a key opens a hole, allowing air to flow through a reed. The keyboard is usually two or three octaves long. Melodicas are small, light, and portable. They are popular in music education, especially in Asia.

The modern form of the instrument was invented by Hohner in the 1950s or^[vague] 1960s,^[1] though some^[who?] claim the Brooklyn musician Joseph Lederfine invented it to teach music fundamentals to children,^{[citation needed]} and similar instruments have been known in Italy since the 19th century.^[2]

The melodica was first used as a serious musical instrument in the 1960s by composers such as Steve Reich, in his piece titled Melodica (1966)^[3] and jazz musician Phil Moore Jr, on his 1969 Atlantic Records album Right On.^[4] It is associated with Jamaican dub and reggae musician Augustus Pablo who popularized it in the 1970s.^[5] In the 1980s, electronic rock band New Order featured the melodica prominently in songs such as "Truth," "Your Silent Face," "Love Vigilantes" and others. Melodicas have also been used in indie folk music by artists such as Paul Duncan of Warm Ghost^[6] and Emmanuel Del Real of Café Tacvba.

Types of melodicas[link]

Melodicas are classified primarily by the range of the instrument. Melodicas with different ranges have slightly different shapes.

• Soprano and alto melodicas are higher-pitched and thinner sounding than tenors. Some are designed to be played with both hands at once; the left hand plays the black keys, and the right hand plays the white keys. Others are played like the tenor melodica.
• Tenor melodicas are a lower-pitched type of melodica. The left hand holds a handle on the bottom, and the right hand plays the keyboard. Tenor melodicas can be played with two hands by inserting a tube into the mouthpiece hole and placing the melodica on a flat surface.
• Bass melodicas (lower-pitched than the tenor type) also exist, but are less common than other types.
• The Accordina uses the same mechanism, but with accordion-like buttons instead of keys.

Wooden melodicas[link]

Although the majority of melodicas are made of plastic, some are made primarily of wood. The Sound Electra corporation makes the MyLodica, a wooden melodica designed "to produce a warmer richer sound than that of its plastic relatives".^[7] The Victoria Accordion company, based in Caselfidardo, Italy, produces a range of wooden melodicas and accordinas they market under the name Vibrandoneon.

Alternate names[link]

The melodica is known by various names, often at the whim of the manufacturer. Melodion (Suzuki), Melodika (Apollo), Melodia (Diana), Pianica (Yamaha), Melodihorn (Samick) and Clavietta are just some of the variants. This can lead to some confusion, as many people will use different names as a blanket term to describe all of these instruments. Also known as "The Hooter," from which the Philadelphia band got its name.

Comparison with traditional woodwind instruments[link]

Melodicas are unusual because unlike most conventional woodwind instruments, they make use of a piano keyboard rather than a specialized fingering system using holes and/or buttons. This allows the player to use a single finger to play any one note of the instrument's range, rather than requiring several fingers to play individual notes, as is the case with most other woodwinds. The player can then play chords by using his remaining fingers to press additional keys, and thus, sound additional notes. In other words, whereas the many woodwind instruments (such as saxophones or clarinets) are monophonic, the melodica is polyphonic.

Additionally, for a beginner, a melodica can play accidentals more easily than a woodwind, which may require extra keys or cross-fingering to reach any notes outside of its key.

These two factors give the melodica an unusual degree of flexibility and contribute to its wide usage in music education.

Gallery[link]

• 

  A Suzuki melodion

• 

  Melodica being played horizontally with an air tube.

• 

  Melodica being played vertically without air tube.

See also[link]

• Couesnophone
• Melodica in music

References[link]

External links[link]

	'Clavietta' melodica Solo melodica recording Recording of a 'Clavietta' melodica playing traditional Irish music, "Rakes of Kildare", played by Troy Banarzi
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Media related to Melodicas at Wikimedia Commons

Suguru Ito (born 7 September 1975) is a former Japanese football player.

Club career statistics[link]

References[link]

• [1]

This biographical article related to a Japanese association football midfielder born in the 1970s is a stub. You can help Wikipedia by expanding it. v t e

Koji Kondo
Koji Kondo in 2006
Background information
Born	(1960-08-13) August 13, 1960 (age 51) Nagoya, Japan
Occupations	Composer, sound designer, sound director, sound programmer
Instruments	Piano, electronic organ, keyboards, synthesizers
Years active	1983–present
Associated acts	Shigeru Miyamoto

Koji Kondo (近藤 浩治, Kondō Kōji^?, born August 13, 1960) is a Japanese video game composer and sound director who has been employed at Nintendo since 1984. He is best known for scoring numerous titles in the Mario and The Legend of Zelda series.

Biography[link]

Early life[link]

Koji Kondo was born in Osaka, Japan, on August 13, 1960. He began taking lessons in the electronic organ from the age of five. He improved his skills in the instrument in a cover band that played jazz and rock music.^[1] Kondo studied at the Art Planning Department of Osaka University of Arts,^[2] but was never classically-trained or particularly dedicated to music. However, he gained some experience in composing and arranging pieces, using both the piano and a computer to assist him. During his senior year, Nintendo sent a recruitment message to his university stating that they were interested in hiring people dedicated to composition and sound programming. An LCD and arcade gamer, Kondo successfully applied for the job in 1984 without requiring any demo tapes.^[1]

Career[link]

Kondo was the first person hired by Nintendo for the purpose of creating compositions, and was to play an integral role in making the company's games and music recognizable worldwide. The first games he scored were the arcade games Vs. Golf and Punch-Out!!. Despite creating very little music, he was able to overcome the challenges of sound design. As the Famicom had become highly popular in Japan, Kondo was assigned to compose music for the console's subsequent games at Nintendo's new development team, Nintendo Entertainment Analysis and Development (EAD). Kondo also wrote an instruction manual on how to program Japanese popular music into the Famicom using the peripheral Family BASIC. To conclude his first year at Nintendo, he created the music to Devil World alongside Akito Nakatsuka.^[1] In 1985, Nintendo started marketing the Famicom abroad under the name the Nintendo Entertainment System (NES) to capitalize on the 1983 video game crash that devastated Atari, Inc.^[1] He composed the music for the hit releases Super Mario Bros. (1985)^[3] and The Legend of Zelda (1986)^[4] which helped the system to sell 60 million copies in total and established some of the most well-known melodies in the video game industry.^[1]

Kondo at the Game Developers Conference 2007

Super Mario Bros., for many years the best-selling video game of all time, was Kondo's first major score. The game's melodies were created with the intention that short segments of music could be endlessly repeated during the same gameplay without causing boredom. Kondo's soundtrack to Super Mario Bros. gained worldwide recognition, and is to this day the most well-known video game score. The main theme is iconic in popular culture and has been featured in over 50 concerts,^[1] been a best-selling ringtone,^[5] and been remixed or sampled by various musicians.^[1] Kondo's work on The Legend of Zelda scores has also become highly recognized. He produced four main pieces of background music for the first installment of the series; the overworld theme has become comparable in popularity with the Super Mario Bros. main theme. Following the success of The Legend of Zelda, he provided the score for two Japanese-exclusive titles, Nazo no Murasame Jō (1986) and Shin Onigashima (1987). He also created the soundtrack to Yume Kōjō: Doki Doki Panic (1987),^[1] which was later rebranded outside of Japan as Super Mario Bros. 2 in 1988.^[6][7]

Kondo returned to the Super Mario series to produce the scores to Super Mario Bros. 3 (1988) and the SNES launch title Super Mario World (1990). Koichi Sugiyama directed a jazz arrangement album of Super Mario World's music and oversaw its performance at the first Orchestral Game Music Concert in 1991. After finishing the soundtrack to Super Mario World, Kondo was in charge of the sound programming for Pilotwings, and created the sound effects for Star Fox. In 1995 he composed for the sequel to Super Mario World, Super Mario World 2: Yoshi's Island.^[1] Until the Nintendo 64 era, Kondo would usually write all compositions for a game, ending with The Legend of Zelda: Ocarina of Time as the last score he worked alone on.^[8] Since then, he has been collaborating with other staff members at Nintendo EAD, supervising music created by others, as well as providing additional compositions for games such as Super Mario Galaxy, The Legend of Zelda: Spirit Tracks and The Legend of Zelda: Skyward Sword.^[9][10][11]

Concerts[link]

Kondo attended the world-premiere of Play! A Video Game Symphony at the Rosemont Theater in Rosemont, Illinois in May 2006. His music from the Super Mario Bros. and The Legend of Zelda series was performed by a full symphony orchestra. This event drew nearly four thousand attendees. He also attended and performed in a series of three concerts celebrating the 25th anniversary of The Legend of Zelda series in late 2011.

Musical style and influences[link]

The "Super Mario Bros. theme" reached number one on Billboard Magazine's Hot Ringtones chart in 2009.^{[citation needed]} Kondo cites rock bands Deep Purple and Emerson, Lake & Palmer as major musical influences.^[12] He has also cited as influences the works of the Russian romantic composer Sergei Rachmaninoff, particularly his four piano concertos.^[13]

Discography[link]

References[link]

External links[link]

• Koji Kondo at the Internet Movie Database
• Game | Life Video Games Live 2007 Interview
• Advanced Media Network Video Games Live 2007 Interview
• IGN GDC 2007 Interview
• Interview with Music4Games
• Kelly, Piaras (26 March 2004). ""Inside Nintendo: Koji Kondo". Archived from the original on 2007-10-14. http://web.archive.org/web/20071014070040/http://gamerseurope.com/articles/486. . Accessed 17 February 2006.
• MacDonalad, Mark (3 May 2006). "Koji Kondo Interview, Part 1". 1UP.com. Accessed 17 February 2006.
• Van Zelfden, N. Evan (30 May 2006). "Play! kicks off world tour in Chicago. GameSpot.com. Accessed 17 June 2006.
• The Legend of Zelda: Super Best Collection interview at BerriBlue

Yann Tiersen
Background information
Birth name	Yann Pierre Tiersen
Born	(1970-06-23) 23 June 1970 (age 42)
Origin	Brest, Brittany, France
Genres	Minimalist, avant-garde
Occupations	Musician, songwriter
Instruments	Piano, violin, accordion, guitar, toy piano, voice, and various others
Years active	1995–present
Labels	Sine Terra Firma, Ici, d'ailleurs..., EMI, Virgin, Mute, ANTI-
Associated acts	Claire Pichet, Dominique A, Françoiz Breut, Natacha Régnier, Shannon Wright
Website	link

Yann Tiersen (born 23 June 1970) is a musician from France.^[1][2] His musical career is split between studio albums, collaborations and film soundtracks with a distinctive sound that is always involved. It can be recognized by its use of a large variety of instruments; primarily the guitar, synthesizer or violin together with instruments like the melodica, xylophone, toy piano, harpsichord, accordion and typewriter.

Tiersen is often mistaken as a composer of soundtracks, himself saying "I'm not a composer and I really don't have a classical background",^[3] but his real focus is on touring and studio albums which just happen to often be suitable for film. His most famous soundtrack for the film Amélie was primarily made up of tracks taken from his first two studio albums.^[4]

Biography and career[link]

The early years: 1970–1992[link]

Yann Tiersen was born in Brest in the Finistère département in Brittany in northwestern France, in 1970, into a family of Belgian and Norwegian origins.^[5] He started learning piano at the age of four, violin at the age of six, and received classical training at several musical academies, including those in Rennes, Nantes, and Boulogne.^[6] In the early 1980s when he was a teenager he was influenced by the punk subculture, and bands like The Stooges and Joy Division.^[7] In 1983, at the age of 13, he broke his violin, bought an electric guitar, and formed a rock band. Tiersen was now living in Rennes, and this turned out to be the perfect place for his musical career. In fact, Rennes is home to the three-day music festival Rencontres Trans Musicales, held annually in December, giving him the opportunity to see acts like Nirvana, Einstürzende Neubauten, Nick Cave and the Bad Seeds, The Cramps, Television, and Suicide. A few years later, when his band broke up, Tiersen bought a cheap mixing desk, an 8-track reel-to-reel audio tape recording, and started recording music solo with a synthesizer, a sampler, and a drum machine.^[8]

Debut and national acclaim: 1993–2000[link]

Before releasing film scores under his own name, Tiersen recorded background music for a number of plays and short films. In the summer of 1993, Tiersen stayed in his apartment, recording music alone with an electric guitar, a violin, and an accordion, guided by his vision of “a musical anarchy”. By the end of that summer, Tiersen had recorded over forty tracks, which would form most of his first two albums. Tiersen's debut album, La Valse des monstres, limited to 1,000 copies only, was released in June 1995 by independent record label Sine Terra Firma, and then it was reissued by Nancy-based record label Ici d'ailleurs in 1998 as the second album of its catalogue. The 17-track album was inspired by and written for the theatrical adaptations of Tod Browning's 1932 cult classic Freaks, and Yukio Mishima's 1955 version of Noh play The Damask Drum. One year later, in April 1996, he released Rue des cascades, a collection of short pieces recorded with toy piano, harpsichord, violin, accordion, and mandolin. The title track, sung by French soloist singer Claire Pichet, will be used about one year later for the Palme d'Or nominated French drama film The Dreamlife of Angels,^[9] and several tracks will find a much larger audience five years later when they were featured on the soundtrack to Jean-Pierre Jeunet's film Amélie.^[8] Tiersen played almost all the instruments both in the studio and in concert, and this gave him a theatrical appeal as a one-man show, which allowed him to perform, among others, at the 1996 edition of the Avignon Festival, the oldest extant festival in France and one of the world's greatest.^[10]

Tiersen rose to domestic fame upon the release of his third studio album, Le Phare (English: The Light House) in 1998. The album was recorded in a self-imposed seclusion on the isle of Ushant (Breton: Enez Eusa, French: Ouessant) at the south-western end of the English Channel which marks the north-westernmost point of metropolitan France, where Tiersen spent two months living in a rented house. At night, he watched the Phare du Creach (English: Kreac'h or Créac'h lighthouse), one of the most powerful lighthouse in the world, and was fascinated by the stunning scenery repeated every night. Le Phare, which featured Claire Pichet, French singer and songwriter Dominique A, and French drummer and percussionist Sacha Toorop, went on to sell over 160,000 copies, confirming Tiersen's status as one of the most pioneering and original artists of his generation and commencing a run of successful albums.^[8] Three songs from this album, "La Dispute", "La Noyee", and "Sur le fil" were used later for the soundtrack of Amélie, while "L'Homme aux bras ballants", written and composed by Dominique A, was also the soundtrack to Laurent Gorgiard's 1997 short animation film by the same name. Its single, "Monochrome", sung by Dominique A, was a radio hit and propelled the album. Le Phare was his first album to chart climbing to number 50 in the French Albums Chart.^[11]

In that period Tiersen provided a new arrangement and played strings, vibraphone, bell, mandolin, electric guitar, and bass guitar for the song "À ton étoile" by French rock band Noir Désir on their 1998 remix album One Trip/One Noise,^[12] recorded background music for the award-winning and multi-nominated film The Dreamlife of Angels (French: La Vie rêvée des anges),^[9][13] for André Téchiné's Alice et Martin, released in 1998, and Christine Carrière's Qui plume la lune?, released in 1999, and also recorded Bästard ~ Yann Tiersen, a 3-track extended play released in 1998 in collaboration with French electronic rock band Bästard, and his first live album, Black Session: Yann Tiersen. The live album was recorded on 2 December 1998 as the opening act of the Rencontres Trans Musicales in the Salle Serreau at the Théâtre National de Bretagne in Rennes, for the C'est Lenoir show broadcasted on the French public radio station France Inter. The album, which features Northern Irish singer, songwriter, and frontman of the chamber pop group The Divine Comedy Neil Hannon, singer and songwriter Bertrand Cantat of Noir Désir, singer and illustrator Françoiz Breut, anglophone French rock band The Married Monk (Christian Quermalet, Philippe Lebruman, Etienne Jaumet, Nicolas Courret), French folk rock group Têtes Raides (Christian Olivier, Grègoire Simon, Pascal Olivier, Anne-Gaëlle Bisquay, Serge Bégout, Jean-Luc Millot, and Edith Bégou), the string quartet Quatuor à cordes, guitarist and composer Olivier Mellano, and author Mathieu Boogaerts, as well as his usual collaborators and friends, Claire Pichet and Dominique A, was recorded by France International, mastered by Radio France, and released in CD format one year later on 2 November 1999.^[14]

In 1999, Tiersen with The Married Monk, Claire Pichet, and Olivier Mellano, released his first collaboration album, Tout est calme. The 26 minutes, 10 tracks mini album peaked at number 45 on the French Albums Chart.^[11][15] The album produced one single, "Les Grandes marées", and Tiersen also featured on The Divine Comedy's single "Gin Soaked Boy" released on that same year, on three tracks for Françoiz Breut's second studio album Vingt à Trente Mille Jours (English: Twenty to Thirty Thousand Days), and on Têtes Raides' Gratte-poil, both released in 2000.

[edit] Amélie and global recognition: 2001–2009

Tiersen remained relatively unknown outside France until the release of his score for the acclaimed film Amélie (Original French title: Le Fabuleux Destin d'Amélie Poulain, English: The Fabulous Destiny of Amélie Poulain) in 2001. French film director Jean-Pierre Jeunet had something else in mind for the film score, but one day one of his production assistants put on a CD of Tiersen, and the director found it absolutely superb. Jeunet bought all of Tiersen's albums, and then contacted him to see if the Breton composer was interested in writing the film score for Amélie. In two weeks, Tiersen composed nineteen pieces for the film and also allowed the production to take anything they wanted from his other records.^[16] Amélie received great critical acclaim and was a box-office success. The film went on to win the Best Film award at the European Film Awards, four César Awards, including Best Film and Best Director, two BAFTA Awards, including Best Original Screenplay, and was nominated for five Academy Awards. The soundtrack was a mixture of both new and previously released material, and Tiersen was also the recipient of the César Award for Best Music Written for a Film, and of the World Soundtrack Academy award. The soundtrack album charted in many countries, including the number one position on the French Albums Chart.^[17][2]

While he was writing the film score for Amélie Tiersen was also preparing his fifth studio album L'Absente.^[2] The album was characterized by several contributions including 35-member Ensemble Orchestral Synaxis conducted by Guillaume Bourgogne, viola player Bertrand Lambert, violinists Yann Bisquay and Sophie Naboulay, Natacha Régnier, and saxophonist Grégoire Simon, and long-time collaborators Dominique A, Christine Ott, Lisa Germano, Neil Hannon, Têtes Raides, Christian Quermalet, Marc Sens, and Sacha Toorop. The album, which was released on 5 June 2001 through EMI France, was preceded by two promotional singles for "A quai" and "Bagatelle" respectively. Tiersen provided strings and vibraphone to two tracks, "Roma Amor" and "Holidays", featured on The Married Monk's compilation album of the same name.

At this time he was married to Belgian actress Natacha Régnier, co-star of The Dreamlife of Angels. Régnier become a singer and Tiersen wrote three songs for her including his arrangement of Georges Brassens' "Le Parapluie", a song featured on the tribute album Les Oiseaux de passage, released in 2001. That same year they went on tour in France and abroad. They have a daughter, Lise, born in 2002, but they have since been divorced.^[18] In this period, Tiersen also took his music out around the world, playing shows with a full orchestra and an amplified string quartet.^[8] On 15, 16, and 17 February 2002, Tiersen with many of the collaborators who participated in the recording sessions for L'Absente plus Claire Pichet, violinists Nicholas Stevens and Renaud Lhoest, bassist Jean-François Assy, viola player Olivier Tilkin, and uilleann pipes, bagpipes, and low whistle player Ronan Le Bars, performed live at the Cité de la Musique (English: City of Music) in Paris. Part of these three concerts went on to form Tiersen's second live album C'était ici (English: It Was Here), which was released through EMI France on 30 September 2002.^[19]

Tiersen's skills as a composer of film scores were much in demand, and the soundtrack for Amélie was soon followed by the film score for Good Bye, Lenin!, a 2003 German tragicomedy film directed by Wolfgang Becker.^[8] The film was both a commercial and a critical success and won several awards including the César Award for Best Film from the European Union, Best Film at the European Film Awards, the German Film Awards for Outstanding Film, Best European Film at the Goya Awards, Best Foreign Language Film for the London Film Critics' Circle, and it was also listed in the Empire magazine 2010's list of "The 100 Best Films of World Cinema"^[20] Tiersen was the recipient of the German Film Awards for Outstanding Music. On 15 November 2003, Tiersen with Stuart A. Staples, the lead singer of indie band Tindersticks, actress and singer Jane Birkin, singer and vocalist for Cocteau Twins Elizabeth Fraser, singer and songwriter Christophe Miossec, and Dominique A released 3 titres inédits au profit de la FIDH (English: 3 New Tracks for the Benefit of FIDH), a 3-track CD that was part of the On Aime, On Aide benefit collection for raising funds for the International Federation for Human Rights (FIDH).^[21]

Tiersen's list of collaborators continues to grow album after album and in October 2004 released Yann Tiersen & Shannon Wright, a collaboration album with American singer-songwriter Shannon Wright, was released in October 2004, and in the same year he is featured on The Divine Comedy's album Absent Friends. In 2005, Tiersen released his fifth studio album Les Retrouvailles. The album features several collaborators including the Orchestre National de Paris, singers Elizabeth Fraser, Jane Birkin, Stuart A. Staples, Dominique A, and Miossec, strings players Jean-François Assy, Frederic Dessus, Guillaume Fontanarosa, Bertrand Causse, Anne Causse Biragnet, Armelle Legoff, Frédéric Haffner, flute player Elliott, drummer Ludovic Morillon, and ondes Martenot player Christine Ott. Les Retrouvailles also includes a DVD short film entitled La Traversée, directed by Aurélie du Boys, which documents the making of the album in Ushant, and incorporates an animated video for the non-album track, "Le Train", and also live versions of a handful of songs. The album produced a single, "Kala", sung by Elizabeth Fraser, and Tiersen also played piano on Staples' solo debut album, Lucky Dog Recordings 03-04. The subsequent world tour of 2006 replaced the multi-instrumental ensemble with electric guitars and an ondes Martenot, and produced his third live album, On Tour, which was released together with a DVD, directed by Aurélie du Boys, about the tour, in November 2006. In 2006, he also released two singles, "La Mancha" and "La Rade", and he was featured on The Endless Rise of the Sun, third studio album by electronic group Smooth, Raides à la ville extended play by Katel, and 13m² by David Delabrosse.

2008 saw his return after a five years absence as a composer of film scores when he provided the background music for Tabarly, a Pierre Marcel's documentary film about the French sailor, two-time champion of the Single-Handed Trans-Atlantic Race, and father of French yachting Éric Tabarly. The documentary was released on June 2008 exactly ten years after his death. Éric Tabarly was lost at Irish Sea when struck by a gaff of his Pen Duick during heavy swell and knocked overboard from his yacht near Wales while on his way to the Fife Regatta in Scotland. His body was recovered five weeks later off the coast of Ireland by a French fishing trawler. The documentary, narrated by Tabarly himself, traces his sporting career until his last meal in Ushant.^[8] Before the end of the decade, Tiersen also contributed to Christine Ott's debut solo album Solitude Nomade, and to Miossec's seventh studio album Finistériens.

[edit] Dust Lane and Skyline: 2010–present

October 2010 saw the release of Tiersen’s sixth studio album titled Dust Lane. The album was two years in the making and was largely recorded in Ushant, France. Further parts were recorded in the Philippines. The album is preoccupied with mortality; during the recording sessions Tiersen lost his mother and a close friend. The recordings started out as simple song based tracks with Tiersen playing acoustic guitar, mandolin and bouzouki. New layers were added to the recordings creating a more complex sound. Then an array of vintage synthesisers and electric guitars were added to create further textures.^[22][23] The album was released by Mute Records in Europe and ANTI- Records in the US.^[24][25] The record was promoted in a tour beginning in October 2010, starting in New York. Dust Lane was preceded by the release of the vinyl EP PALESTINE and by the single for "Ashes". In 2010, Tiersen also contributed to the tribute album to cross-genre, experimental music group Coil The Dark Age of Love by This Immortal Coil, a one-off tribute formation, and to Li(f)e, the fourth solo studio album by hip-hop artist Sage Francis.

October 2011 saw the European release of his seventh studio album, Skyline. The nine-track album, a follow on from his Dark Lane, was once again recorded at Tiersen's home on the island of Ushant in the south-western end of the English Channel, with further parts recorded in Paris, San Francisco, Berlin, and Nashville. It was subsequently mixed by producer Ken Thomas in Leeds, and mastered by Ray Staff in London.^[8] The album produced the singles for "Monuments" and "I'm Gonna Live Anyhow". On 18 February 2012, Tiersen with Lionel Laquerriere, and Thomas Poli, presented his side project, Elektronische Staubband, at La Route du Rock music festival in Saint-Malo. It was about an hour of krautrock, electronic, and experimental music involving a dozen of synthesizers and analog keyboards with the first three pieces of the set list taken from Dust Lane and the remaining five from Skyline.^[26] Tiersen was also chosen by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival on March 2012 in Minehead, England.^[27] Skyline was released in North America via ANTI- Records on 17 April 2012, and it was followed by the Skyline Tour with dates in the United States, Canada, Iceland, Spain, Portugal, France, Slovak Republic, Austria, Finland, and the United Kingdom.

Discography[link]

Studio albums[link]

Soundtracks[link]

Live albums[link]

Singles and EPs[link]

• Rue des cascades (7" vinyl EP) (1996)
• Black Session (EP promo) (1998)
• "La Vie rêvée des anges" (CD single) (1998)
• "Les Grandes marées" (1999)
• "Comptine d'un autre été : L'après-midi" (2001)
• "À quai" (CD single promo) (2001)
• "Bagatelle" (CD maxi promo) (2001)
• 3 titres inédits au profit de la FIDH (part of the On Aime, On Aide collection, composed to raise funds for the FIDH, sold exclusively at Fnac) (2003)
• "Kala" (2005)
• "La Mancha" (2006)
• "La Rade" (2006)
• PALESTINE (vinyl EP) (2010)
• "Ashes" (2010)
• "Monuments" (2011)
• "I'm Gonna Live Anyhow" (2011)

Collaborations[link]

Contributions[link]

• One Trip/One Noise (by Noir Désir) (1998)
  • "À ton étoile" (arrangements, strings, vibraphone, bell, mandolin, electric guitar and bass)
• "Gin Soaked Boy" (by The Divine Comedy) (1999)
• Vingt à Trente Mille Jours (by Françoiz Breut) (2000)
  • "Porsmouth" (vibraphone), "Vingt à trente mille jours" (vibraphone), "L'heure bleue" (violin), "Le verre pilé" (vibraphone); arrangements
• Gratte-poil (by Têtes Raides) (2000)
  • "Cabaret des nues" (violin)
• The Married Monk (by The Married Monk) (2001)
  • "Roma Amor" (strings, vibraphone), "Holidays" (strings) and "Cyro's Request" (vibraphone)
• Les oiseaux de passage (tribute to Georges Brassens) (2001)
  • cover of "Le parapluie" with Natacha Régnier
• Absent Friends (by The Divine Comedy) (2004)
  • "Sticks & Stones" (accordion); "Anthem for Bored Youth" (accordion), a track appearing only on the French limited edition
• Lucky Dog Recordings 03-04 (by Stuart A. Staples) (2005)
  • "She Don't Have to Be Good to Me" (piano)
• The Endless Rise of the Sun (by Smooth) (2006)
  • "The Endless Rise of the Sun" (keyboards)
• Raides à la ville (by Katel) (2006)
  • "La Vielle" (violin)
• 13m² (by David Delabrosse) (2006)
  • production and arrangements
• Solitude Nomade (by Christine Ott) (2009)
  • "Pensées sauvages" (violin)
• Finistériens (by Miossec) (2009)
  • music and arrangements
• Li(f)e (by Sage Francis) (2010)
  • production and arrangements on "The Best of Times"

DVDs[link]

See also[link]

• Tiersen

Notes[link]

References[link]

External links[link]

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Horace Swaby (June 21, 1954 – May 18, 1999), known as Augustus Pablo, was a Jamaican roots reggae and dub record producer, melodica player and keyboardist, active from the 1970s onwards. He popularized the use of the melodica (an instrument at that time primarily used to teach children music in the Jamaican public schools) in reggae music. He was a committed Rastafarian.

Biography[link]

He was born in St. Andrew, Jamaica, and learned to play the organ at the Kingston College School. It was at that point an unnamed girl lent him the melodica. Fascinated by the instrument, Pablo rarely put it down. He also met Herman Chin Loy, who after working at his cousin Leslie Kong's Beverley's record shop, had set up his own Aquarius store in Half Way Tree. Swaby recorded early tracks including "Higgi Higgi", "East of the River Nile", "Song of the East" and "The Red Sea" between 1971 and 1973 for Chin-Loy's Aquarius Records.^[1] Chin Loy had previously used the name Augustus Pablo generically for keyboard instrumentals recorded by Lloyd Charmers and Glen Adams,^[2][3] and Swaby took the name for this recording.

"East of the River Nile", a unique blend of East Asian and Jamaican sounds, became a moderate hit. He soon joined Now Generation (Mikey Chung's band) and played the keyboard with them while his friend Clive Chin began his own career as a record producer. Pablo and Chin recorded "Java" (1972) together,^[1] as soon as Pablo quit Now Generation and Clive was able to get the studio time. This instrumental was a massive hit and launched Pablo's solo career. He recorded with Chin and various others, including Leonard Chin, his uncle, and Lee Perry. He scored another smash hit with "My Desire" (John Holt).

Pablo formed the labels Hot Stuff, Message and Rockers (named after his brother's soundsystem, Rockers), and released a steady stream of well-received instrumentals, mostly versions of older hits from Studio One. In spite of his success with Rockers, Pablo's 1974 album, This Is Augustus Pablo was recorded with Clive and Pat Chin. This was followed by a collaboration with the legendary reggae engineer King Tubby, 1975's Ital Dub.

In the later 1970s, Pablo produced a steady stream of hits, including the hit "Black Star Liner" (Fred Locks). He also worked with Dillinger, Norris Reid, I-Roy, Jacob Miller, Te -Track, The Immortals, Paul Blackman, Earl Sixteen, Roman Stewart, Lacksley Castell, The Heptones, Bob Marley, Ricky Grant, Delroy Wilson, Junior Delgado, Horace Andy and Freddy McKay. This period was eventually commemorated with critically acclaimed LPs including King Tubby Meets Rockers Uptown (1976) and Hugh Mundell's classic Africa Must be Free by 1983. This was followed by East of the River Nile (1978), Original Rockers (1979) and Rockers Meets King Tubby in a Firehouse, another acclaimed hit album.

In the 1980s, Pablo's career slowed significantly. In 1980, he appeared on the soundtrack of the documentary D.O.A. He had begun to establish an American audience and released Rising Sun in 1986 to good reviews and sales. Pablo also produced memorable hits, including "Ragamuffin Year" (Junior Delgado), "Humble Yourself" (Asher & Tremble) and "Far Far Away" (Ricky Grant). In addition, he toured extensively throughout the world, making a memorable live album in Tokyo in 1987. That same year, Rockers Come East re-established his career and he began to release a series of critically acclaimed though somewhat inaccessible albums in the 1990s, including Blowing With the Wind and also producing several, such as "Night & Day" (single) (Dawn Penn) and "Jah Made Them All" (Yami Bolo).

Augustus Pablo died as a result of a collapsed lung on 18 May 1999.^[4] He had been suffering for some time from the nerve disorder myasthenia gravis.^[5]

Selected discography[link]

• This Is...Augustus Pablo (1974)
• Thriller (1974)
• Ital Dub (1975)
• King Tubby Meets Rockers Uptown (1976)
• East of the River Nile (1977)
• Original Rockers (1979)
• Africa Must Be Free by... 1983 Dub (1979)
• Rockers Meets King Tubby in a Firehouse (1980)
• Authentic Golden Melodies (1980)
• Earth's Rightful Ruler (1982)
• King David's Melody (1983)
• Rising Sun (1986)
• Rebel Rock Reggae (1986)
• Rockers Come East (1987)
• Eastman Dub (1988)
• Presents Rockers Story (1989)
• Blowing with the Wind (1990)
• Presents Rockers International Showcase (1991)
• Meets King Tubby at the Control in Roots Vibes (1996)
• Red Sea (1998)
• Valley of Jehosaphat (1999)
• El Rocker's (2000)
• The Great Pablo (2000)
• Dubbing with the Don (2001)
• Jah Inspiration (2001)
• Skanking with Pablo: Melodica for Hire 1971–77 (2002)
• In Fine Style: 7" & 12" Selection 1973–79 (2003)
• The Essential Augustus Pablo (2005)
• Augustus Pablo Meets Lee Perry & the Wailers Band (Rare Dubs 1970–1971) (2006)
• The Mystic World of Augustus Pablo: The Rockers Story (2008)

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