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On utilise ensuite lexport pour les sauvegarder. Que prsente ce format, mais aussi comment diter un fichier PDF. Que ce soit pour dterminer un mot de passe afin de protger le.

Comment transformer un pdf en fichier word et le modifier - Duration. Comment voir si le fichier pdf est protg contre la copiePDF est devenu le format standard de visualisation, de protection et dchange des documents. Grce Conv2pdf, la cration des documents PDF na jamais. Open navigation menu. Close suggestions Search Search. User Settings. Skip carousel. Carousel Previous. Carousel Next. What is Scribd? Explore Ebooks. Bestsellers Editors' Picks All Ebooks.

Explore Audiobooks. Bestsellers Editors' Picks All audiobooks. Explore Magazines. Editors' Picks All magazines. Explore Podcasts All podcasts. I loved rocknroll. But I loved Bernard Herrmann, dimitri tiomkin and some of the lowbudget, science fiction and horror scores. Herrmann, because of his chord progressions, his use of simplicity to get across a mood, I really responded to that because simple music is all I can basically do!

When I got to usc film school, I began to score student films because none of us had money to hire somebody to score for us. In low-budget movies, we still had the same problem no money. But I was cheap and fast. From his debut Dark Star onwards, carpenters synth-driven soundtracks became a distinctive feature of his films. Its a process of discovery, he says.

Ill suddenly find Im playing something I like and Ill be like, Wow! Where did that come from? I have no idea, probably from another movie carpenter cites Hans Zimmer and trent reznor as contemporary film composers whose work he admires; though he bats away suggestions his own scores have been an inspiration to musicians.

It more than compensates, he considers, for his hiatus from movie-making. If something comes along that I love, Ill do it, he says. But Im an old man. What do you want from me? Im 67 this month! Ill continue to live my life. Its something I never dreamed would happen. Ill be the music for it. Nice version of his own Shipbuilding, too. He was like, question, Dr William Wilson, is professor you dont owe anything to anybody, lets sit down emeritus of philosophical theology and and make something we all think is beautiful.

Were all fans of different kinds of music thats but then, sons of bill James, sam and abe one thing we look to Wilco for, a band that mined Wilson, plus seth Green and Todd Wellons on bass its influences very deeply in a way thats not and drums are happy to align themselves with always apparent. The group was formed in , when James left The beatles and Pink floyd are the most college in Nevada, and visited sam in New york, frequently cited of those influences, but James where hed been playing jazz.

The three hatched a plan to form a really yet to be fully exploited. My dads not listening to classical music and back to some a big rock fan, says James. The reading literature. When you think of the creative band was the one rock band he about randy Newmans Good Old heights we could get behind. Reconstruction those are great chants, bach and Handel. Its unmistakeably southern records that were smart The record which made the sons and challenging, and not what the real thing.

Jazzy, expansive return from Rachel, Becky and co, moving ever further from old, restrictive definitions of folk. Adele henchman Paul Epworth produces. Oddly soothing, notwithstanding the hoovers and minor arguments ODwyer also records.

For regular updates, check our blogs at www. A captive audience: Cash at Folsom Prison, January 13, I shot a man in Reno, just to watch him hike. Our subject this time is Radiohead, and weve written extensive new reviews of all their albums and all their solo albums to go with many classic interviews from the vaults.

Serendipitously, it seems the band are back in the studio, if a photo of Thom Yorke and Jonny Greenwood, posted by Nigel Godrich on Twitter, is anything to go by. Theres still time to help fund a new film drama about Steve Marriott, if you head over to www. Midnight Of My Life finds Marriott playing a. Playing to inmates at Folsom Prison, a maximum-security facility just north of Sacramento, Cash recorded the album that simultaneously revived his career and cemented his own myth.

Issued four months on, At Folsom Prison established him as rebel voice of the downtrodden, a champion of the common man in purgatory. It also became a huge hit. It was, as daughter rosanne put it, the watershed moment in his life and career.

When the ambitious 2. The whole thing will serve as a monument to Cashs association with Folsom. Id been working many years with representatives from Folsom Prison to purchase land to build a bike trail and bridge over a major. We just wanted to recognise the significance he had on the Folsom community. It was all about compassion he felt sorry for anyone down on their luck cindy cash been assigned six different artworks.

These include sculptures, a granite wall, smartphone app and a ring Of Fire amphitheatre, from which live shows can be piped into the prison.

There was a real danger of making it a Disney-type experiment, romo says. Its a sensitive subject as youve got the prison, the music, Johnny Cashs legacy and various needs of the city. Thats what drew him to the prison. He went through this dark period and it seemed like his visit to Folsom was as much about his own redemption as it was for the inmates. Its the idea of discovering himself by reaching out to people who were deemed untouchable. Perhaps the most striking of romos works is a series of 17ft steel-andaluminium towers, arranged to look like jail-cell bars.

The entire process has been overseen by Cindy Cash, one of Johnnys four daughters from his marriage to first wife Vivian Liberto. Pulling up to the prison for the first time brought back a lot of memories, she recalls. I was nine or ten when dad went to Folsom and I wanted him to take me with him. He just said: One day youll understand, honey. I was so hurt, but I grew up and realised it wasnt quite the place to bring four little girls.

Dad had never been in prison as an inmate, but that concert made half the world believe he had been. It changed his life and gave him the bad boy image. But at the same time he kept that respect and dignity. It was all about compassion, he felt sorry for anyone who was down on their luck. It went from prisons to battered-womens shelters to anything where people were hurting. Putney pub in on the night of Live Aid, and is set to be directed by the fine actor Phil Davis, who first came to prominence in Quadrophenia Talking of mods, Paul Weller heads off on a tour of lesser-visited UK towns, starting at Plymouth Pavilions March 5 and ending up at Edinburgh Playhouse Optimists may hope for a new PJ Harvey album in , but she has at least confirmed a poetry book for autumn.

Oh, and please keep an especially close watch on www. Ultimate mUsic GUides Essential guides to the most inspirational artists of our time. Available to order online at uncut. As you may have worked out by now, the tracklisting printed on the sleeve of our CD this month is incorrect.

Apologies for any confusion this may have caused. As The Wrong Year proves, their Oregon folk-rock grows more dappled and reflective with each release; note, too, a guitar line that could easily pass as the work of another sometime Portland resident, Johnny Marr.

Brawny country-soul predominates, not least on the grooving Round The Bend, a swift channelling of vintage Muscle Shoals vibes. Destinies Entwined Some unexpected shared territory between Earle and Mike Scotts latest caper, thanks in no small part to veteran Swamper David Hood playing bass in the latest Waterboys lineup.

From the upcoming Modern Blues, Destinies Entwined sees Scott fetch up in Nashville, adding local soul and a renewed Dylan kick to his usual epic brew. But while his approach to trad pieces like Raggy Levy is hardly iconoclastic, hes clearly too spirited and imaginative to treat these resilient old tunes with kid gloves.

The uncanny background guitar is provided by an old friend of Uncut, William Tyler. Something of a baroque-pop Alasdair Roberts auteur for the past 20 years fronting Plush, Hayes has often been seen as an underground Burt Bacharach to complement his old collaborator Will Oldhams Dylan. Here, though, Hayes is revitalised as a punchy, Beatlesy power-pop merchant. Unexpected, but mighty effective. Its our album of the month, thanks to ravishing work like Why Dont You Believe In Me, all about breaking up romantically with the songs co-writer.

The San Franciscans debut album, a couple of years back, was one of the most intimate, beguiling psychedelic folk records to come out of the United States in years, so its a relief to point out that Pratts follow-up, On Your Own Love Again, is just as low-key and effective. Fans of the first Joanna Newsom album, and Karen Dalton, may be especially intrigued. Terry Rileys In C Mali [Edit] Just under five minutes of ecstatic jamming lifted from Africa Express minute new version of the minimalist masterpiece, cut in a Bamako youth club by a lively mix of Western and Malian talent.

A fine and radical idea thats turned out better than anyone might have reasonably expected. The Scottish folk singers new self-titled album is a real beauty, though, full of work like Artless One that showcases both a homespun simplicity and a certain courtly elegance.

Compellingly bleak atmospherics hide, too, a surprisingly catchy tune. The gravel-voiced singer recalls his career as a repo man, pheasantntrotter pies, and Screaming Trees punch-ups: There wont be a reunion any time soon! Im at home, he explains. Hows my day going so far?

Its too early to tell, but I think its going OK. Evidently, these days, mornings are a good time for Lanegan: over the next hour, he chats at length about his pre-music career as a repo man, collaborations with Kurt Cobain and Josh Homme, a brief, best-forgotten flirtation with acting, and the best restaurants hes eaten at in Britain. Lanegan has a busy schedule for the coming months, as he prepares to take his latest album, Phantom Radio, out on the road.

Im gonna be touring a lot, he confirms. Then South america, australia, back to Europe. Theres gonna be a lot of touring. Then, presumably, another record..? God willing! Whos your favourite Gutter Twin? Greg Dulli Theres only two to choose from! I guess that would be Greg. We first met in , at a show we did in Boston.

Its a long working relationship, yeah. Hes a great songwriter, great singer and whatever makes people friends shared sense of humour, shared likes, dislikes. I enjoy working with him because, first of all, Im a big fan of what he does. Theres a touch of Ishtar, but Im referring to the amount of times we spent making up joke lyrics and joke scenarios when we were supposed to be writing 90 per cent of it is just fuckin around, 10 per cent of it was actually doing something good.

Were planning to make another Gutter Twins record. Not sure when. Youve got amazing tattoos on your fingers. What are they about? Sally Robinson, Sussex Youthful over-enthusiasm. I had a. I picked up the trend and never stopped until my hands were totally done. I dont anticipate getting more tattoos in my old age I might. I like having them fine; Im just over getting them. What are your memories of growing up in Ellensberg? Peter Bumphrey, Cambridge Its in Washington, between the. When I went back as an adult, it had some charms, but it wasnt a place I enjoyed being when younger.

For one thing I didnt meet anybody til I was 18 who was listening to the same kind of music, including punk rock, classic rock, any kind of good rock. Nobody even listened to Hendrix, for instance. So I guess I felt a bit like an island. The most edgy radio show we got there was Casey Kasems American Top 40, once a week. My family were music fans.

My sister played piano, still does. The Trees tried to make me the drummer, as I had half a kit. I had a floor tom, snare and ride cymbal. It got traded in for weed. You started Screaming Trees with the Conner brothers when you worked for their parents as a repo man.

What do you think qualified you for that position? I went round peoples houses, local trailer parks. But, yeah, it was a bummer taking back stuff people wanted to have but didnt have the money for in the first place. How did I get into it? I was friends with. They thought I was imposing enough for people to want to give stuff back [laughs].

Did it feel strange to you that a band like Screaming Trees was on a major label for a long time? Rose Breton, via email We were on a major for quite a time but only made three records in maybe the eight years we were there. I think it was a matter of trying to eventually get something out of us that might take off, but of course, ultimately it never did. But I was always shocked anyone would want us to make records for them.

I remember we signed before Nirvana happened. Wed made records for an indie and I wasnt really interested in going further. But then a chance came along to make records for a major. We signed in 89 to Epic; Nirvana happened in 91, maybe. So of course, we jumped the gun, signed a terrible contract with no money! You made your first solo albums while still in Screaming Trees.

How did you manage to juggle both careers? We cut a couple of songs and then sort of lost interest. He said, Whats going on with this blues EP? I said, I dont think were. If Brian Eno wanted to make a record, Id clear some time in my calendar. John Cale, too He said, Why dont you make a solo record? I told him I wasnt interested. Then he came back with a formal offer that was 10 times the amount of money Id ever been paid to make anything before.

So it was like, Im going to have to write some songs! It was the only incentive I had at the time. Those sessions with Kurt? We took one day in the studio and recorded three songs, four maybe. A couple of them ended up with vocals or instruments that have ended up on a Nirvana boxset. It was just friends messing around. Did you have a lot of fights in the Screaming Trees? Emma, Southampton There was definitely an amount of inter-band violence. It was pretty heavy dysfunction from start to finish 15 years of dysfunction!

I made a covers record last year or the year before and Barrett Martin and Mark Pickerel both played on that, so were all still friends. But there wont be a Screaming Trees reunion any time soon. I think were all happy with what we do now and are happy to have done that.

But also happy to leave it in the past. Whats your favourite place to eat and the best thing youve had there? I believe me and Rich shared a pheasant and trotter pie that was outstanding.

Theres a lot of good places to eat in the States, but per capita theres probably a larger percentage of British places that totally kick ass. Rich and I once took a trip down from Edinburgh, four days of driving down the UK, eating at places on the way gastro pubs. Yeah, Ive seen The Trip. There was a touch of that to it. Who does the best Al Pacino impression? That would be Rich. Given how many people youve collaborated with, is there anyone else youd like to record with?

John Cale, too. Those guys consistently make great records, always doing their own. Who wants a fight, then? What do I look for in a collaborator?

Pretty much anyone who asks me to do something [laughs]. If its something Im into already, and I can see my part in it, Ill say yes. In fact, if I dont, its usually because I dont have time, but I rarely get asked to do stuff I dont think is cool. Give me a fuckin break. Its something Steve Fisk, a guy who produced the early Screaming Trees records, was involved with.

I shot a couple of scenes Im pretty sure never came out. What do I remember about it? I just remember Id rather not remember. Thanks Jack. Yeah, Jacks responsible for a number of very great records in his time. But a number of crappy questions also.

At least one I can count. What was he like? Amina Jindani, Tooting I remember him showing me videos. Screaming Trees was 15 years of pretty heavy dysfunction! He was like: Man, I cant believe I did that. I was a fan before we became good friends. Probably my favourite singer of all time.

Through knowing him, I really learnt how to write. Hed show me nuts and bolts. Play the bass part of Hot Buttered Soul backward to start a song, things like that. Pretty much all the stuff I ever loved was never popular in its day. The Gun Club had one brief period of semi-popularity after Mother Juno. I think most people who were into them ended up having bands of their own. What was it like living with Dylan Carlson? Peter Brenx, Paris We shared a house in the late 80s and also the late 90s.

Dylans got the biggest heart Ive ever known. Hes one of a kind and a great. Those guys were in Earth with Dylan. We lived in a three-storey house, my bedroom was at the top and they rehearsed in the basement.

Theyd vibrate my entire room. It was two basses and Dylans guitar playing the lowest, slowest grumble. I even learned to sleep with it. Yeah, good times! I finally got to sing on an Earth record this year. How did your collaborations with Josh Homme evolve?

Harry Sharpe, Luton He was in the Trees from until we ended in It just started out with that, becoming friends. He asked me to sing on the first Queens record, but I was unable to. When the second one came round, he was doing that in LA where I live, so I was able to take part. Then one thing led to another. I did one Desert Session, too, just for a day. How has your writing process changed over the years? At the end of every day Id come up with a vocal melody in my head then go home and try to find chords to go along with it, which of course always ended up being the same two or three chords in every song.

That was a backwards way of doing it. If Im at home I use a guitar, a keyboard or something. Then usually I record it into my phone and send it to my laptop. I use GarageBand. I guess the plan is that you come out with music, more music and then the voice and not the other way round. Which I think is a lot easier to do this way. Another was recorded after its maker had designed a sports car.

The LA-based singer-songwriter goes electric sort of on her Jodorowsky-inspired fifth. I think a lot of this record is about feeling not consciously, but in retrospect desperately lost in translation. I had an old mentor, an American chap, who kept saying to me, Its a short movie, man, which I thought was quite funny, so there are lots of Americanisms like that in it.

Theres one track called A Small Poke. Its about the terminology Ive begun to use while living here, those little things you have to rearrange like downtown or trash or cell phone. I wrote A Small Poke a long time ago, but seem to have forgotten about it. The horror of being in an enormous metropolis with no power, the apocalyptic nature of that, must be horrible for everyone involved but theres a general feeling of fear in America.

Well, America induces this fear in me. Its so vast and so complicated. I feel like Im here as a weird voyeur, watching it in a really strange way to make sense of it.

Like the landscape of the desert, then you go four hours further north and. You feel dwarfed by the country, which I dont think I felt in England. So quite a lot of the record is about that.

I wrote the album in America at the beginning of , but we recorded it in London. Its absolutely teenytiny. There was me, Matt also engineering and Nick Pini, who plays bass in my band.

Hes quite in demand. Hes definitely too highbrow for my band, hes really good! I wrote the record on electric guitar, but I play electric like I do acoustic.

Its not gonna be groundbreaking. Ive managed to resist the EDM! I think we did 14 songs and theres 11 on the record. So yeah, only three didnt make the cut. Whats the criteria for making the cut? This is the first record that Ive done without a producer; its more of a three-way effort between me, Matt and Dan [Cox; Urchin].

So we sat down and put a lot of care into ordering the record once wed done it all. There were things that clearly didnt fit into the narrative or didnt jump out as being relevant to the record, so that was it, really. I always get into things quickly and then I get over them and I dont pursue them.

So last year while I was making the record, I decided that if I was going to get into a certain writer, I was going to read everything theyd done, so I can just really understand what theyre about.

So I did all of Jodorowskys films and books. A lot of the ideas on the album are filtered through him, and then I also read Rilke and Walt Whitman and a couple of female poets. The opening track is called Warrior. Its a story about a horse throwing off his warrior or her warrior and the horse deciding that the warrior is not noble enough.

Warrior is a Jodorowsky reference. Theres a song called Gurdjieffs. I was reading Jodorowskys biography, and theres this absolutely brilliant moment where he meets Gurdjieffs daughter. Gurdjieff is like a spiritual teacher, a philosophical cult leader, and his daughter tracked Jodorowsky down at a premiere of El Topo in Mexico City to tell him he needed to brush up on his metaphysical skills because he was going to be a really important part of humanity.

She said, Ive been sent to teach you all these things. They ended up in a hotel room together, and she reeled off this list of his sayings, his rules for living, of how to be a moral human being. I pretty much turned that verbatim into a song. Like one of them is Dont share orders for the pleasure of being obeyed and another is Dont be impressed by big personalities.

One interesting thing in the way we recorded the album was me and Matt did all of the takes, all in a row, then we got the strings in and we did two blind takes with them. We told them the key and where the chords were going. Then we panned the strings left and right, so they sounded like strange background noise.

Then theres a melodic take where they were more accustomed to the songs. My idea was to have a metallic, urban sound. Living where Ive been living, theres always a fucking helicopter, theres always the sound of a city behind you.

So I wanted to have that weird background disturbance all the way through the record. I think we spent a couple of years. Steve and I are always working somewhere else, but every month or two wed come down here and do a couple a day and knock off a couple of tracks Nearly every record Ive made is Youve got another five days, but this one were taking our time. It would be churlish to accuse him of tardiness, after all, his day job not to say the occasional literary endeavour have otherwise kept him busy.

We know for certain that he first broached this latest album in , when he revealed to American chat show host Jimmy Fallon that work with X-Pensive Winos conspirator Steve Jordan was starting to blossom. Fast forward to September , and Richards was in a position to talk more about the record. He told Associated Press that the album, recorded at New Yorks Germano Studios, was finished; he intended to wait for the Stones to wind up their latest batch of touring commitments.

We had courtney Barnett in head Gap Studios, Melbourne. When I was a kid, there was this poster at my grandmas house. We used to fly down or drive to Melbourne from Sydney to have Christmas with my grandma and grandpa and I always liked it.

I was visiting her last year and I saw it again and wrote it down. Its pretty much a collection of songs from the last year, since I released the second EP.

Some of the songs are a tiny bit older, but I was never able to finish them, frustratingly. The band is a lot more solid. The album was recorded in 10 days, as opposed to the first two EPs which were all different musicians and a lot of different time and place. This feels a bit more cohesive. I only showed the boys the songs a week or so before we. I like to keep it fresh and interesting.

The songs are a pretty good mix; some are happy and positive and some of its pretty dark. There is a song about having a crush at the swimming pool, called Aqua Profunda. Theres another song called Pedestrian At Best, which is about expectation and perceptions.

The chorus is, Put me on a pedestal and I will only disappoint you. During the CSN tour last year, I started to write a lot of lyrics. I would send him lyrics at two in the morning, and by ten oclock in the morning hed write back with a melody.

We wrote nine songs in two weeks. Songs haunt me inside my head until theyre out there, and then it leaves a lot of room for more.

Shane and I have got a great band together. Im very happy with it, its a very funky sound for me. Several of the songs are the very first take we did. Weve been in the studio for four and a half days so far and weve already cut 14 tracks. Stephen Morris: I live in the studio.

In the good old days, you had to spend money to go to the place with a mixing desk. They gave you sandwiches and stuff. Now you have to provide your own bloody crisps. I get up at 6 oclock. I come in and record some drums. I finish at Then the guitars down from 12 til 6, then Ill probably have a cup of tea and watch Emmerdale. Bernard [Sumner]s written some synth songs and Tom [Chapman] and Phil [Cunningham] have written some guitar songs.

Theres one called The Game, but it might not be called that anymore. It started off as a folk song but then it turned into a jazz song. Thats the ones where you can see where theyre going. Tutti Frutti is a kind of Chic-y one, but thats just a working title. Why did we sign with Mute? Everybody felt like it would be good to go back with an indie label.

Weve known Daniel Miller for ages. Hes done all right. He never opened a club, which was probably a good idea. So we just tried different sections Title Saturns Pattern Label Parlophone Released Spring then inserted them into the song, just built the arrangement up and then put a melody on it and the lyrics.

Theres three or four really lovely love songs on the album, too. Its Lyrically, a lot of it is quite abstract of the best things Ive done. I started seeing different meanings it. Theres been no headaches. Theres one song called Im Where in some of the songs over the course Theres nine tracks, but its still 45 I Should Be.

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