Nicolas Godin studied architecture at the École nationale supérieure d'architecture de Versailles, and Jean-Benoît Dunckel studied mathematics, before forming a band in 1995. Before founding Air (erroneously considered as an acronym of Amour, Imagination, Rêve, which translates to Love, Imagination, Dream), Dunckel and Godin played together in the band Orange with others such as Alex Gopher, Xavier Jamaux and Jean de Reydellet. The former two subsequently contributed to remixes of tracks recorded by Air.
Initially Godin worked alone, recording a demo with members of Funkadelic as his backing band before releasing his first entirely solo effort, "Modular Mix", which featured production by Étienne de Crécy.
Career
After making several remixes for other acts in the first half of the 1990s, Air recorded its first EP, Premiers Symptômes, in 1995. The band released its first album, Moon Safari, in 1998. Its first single, "Sexy Boy", was heavily played on alternative radio stations. The album received universal acclaim and became an international success. In 1999, Air composed the score The Virgin Suicides to Sofia Coppola's debut film of the same name; in 2012, Air wrote its second score to Georges Méliès' Le voyage dans la lune.
Other works
Air has often collaborated with Coppola. Air drummer and former Redd Kross member Brian Reitzell put together the soundtrack to 2003's Lost in Translation, including one original contribution by Air titled "Alone in Kyoto". The soundtrack for Coppola's October 2006 film Marie Antoinette featured a track by Air ("Il Secondo Giorno"). Air wrote and played the music of the album 5:55 by Anglo-French actress and singer Charlotte Gainsbourg, which was released in August 2006. Air has recorded a DJ mix album, Late Night Tales: Air, for Azuli Records' Late Night Tales series. The release was initially scheduled for October 2005, but was delayed several times. It finally was released, complete with a new sleeve design, in September 2006. Darkel, a solo album by Dunckel, was released that same year.
City Reading (Tre Storie Western) (2003) started as an idea for a collaboration with contemporary Italian writer Alessandro Baricco, known for his unusual characterizations and lyrical, poetic style. Baricco contacted Air in summer 2002 with the idea to marry narration of texts from his book City with live original musical accompaniment. The performance premiered live in November 2002 at Rome's Teatro Valle and was deemed such a success that both parties resolved to make a full studio recording.
Influences and musical style
Air is associated with a variety of musical styles: electronica, space pop, dream pop, progressive rock, downtempo, chillout, trip hop, ambient, electronic pop and space rock. Dunckel grew up listening to both classical and electronic music, especially Kraftwerk. He later took an interest in what he called the "English dark rock" of Siouxsie and the Banshees and Joy Division, while being a fan of David Bowie, Iggy Pop and Lou Reed. Brian Eno and Cluster were two of the electronic acts who inspired him the most. He cites among his favorite artists: Maurice Ravel for classical music, François de Roubaix for music soundtracks and Siouxsie and the Banshees for pop music. Dunckel shared with Godin a special liking for the music of Michel Legrand, Philip Glass and Grace Jones. During his childhood, Godin was fascinated by the Beatles before later discovering the soul of Sly and the Family Stone. The duo were influenced by progressive rock pioneers Pink Floyd.
Air uses many of its studio instruments (like Moog synthesizers, the Korg MS-20, Wurlitzer and Vocoder) on stage, where their ability to improvise is more clearly highlighted. The band performs the well-known tracks from the albums live as extended or altered versions. Air often collaborates (both in the studio and live) with artists like Beth Hirsch (Moon Safari), Françoise Hardy ("Jeanne"), Jean-Jacques Perrey ("Cosmic Bird"), Gordon Tracks ("Playground Love" and "Easy Going Woman" – Gordon Tracks is a pseudonym of the French singer Thomas Mars from Phoenix), Beck (10 000 Hz Legend) and Jean-Michel Jarre ("Close Your Eyes" from Jarre's Electronica 1: The Time Machine). They also invited Dave Palmer on their 2004 tour and drummer Earl Harvin, Vincent Taurelle and Steve Jones on their 2007 tour.
Studio albums
Moon Safari (1998)
10 000 Hz Legend (2001)
Talkie Walkie (2004)
Pocket Symphony (2007)
Love 2 (2009)
Le voyage dans la lune (2012)
Soundtrack albums
The Virgin Suicides (2000)
Music for Museum (2014)
Extended plays
Premiers Symptômes (1997)
Collaborative albums
City Reading (Tre Storie Western) (2003)
Mix and remix albums
Everybody Hertz (2002)
Late Night Tales (2006)
Compilation albums
Twentyears (2016)
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Air is one of the many aliases of Pete Namlook. He has been releasing ambient music under this name since the release of an eponymous album in 1993.
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Japanese noise rock, Air is an alias of Koji Kurumatani first released album Wear Off in 1996.
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Air is a late 90s Indonesian Pop band that became popular with their "Bintang" song.
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Air was a jazz trio with its roots steeped in Chicago's Association for the Advancement of Creative Musicians (AACM), and was formed originally in 1971. The jazz trio Air formed from within the Muhal Richard Abrams Sextet, which was active on the Chicago scene contemporaneously with the birth and growth of the AACM and groups such as the Art Ensemble of Chicago. Henry Threadgill on reeds, hubcaphone, and percussion; Fred Hopkins on bass, and Steve McCall on drums formed the trio when Threadgill was commissioned by Columbia College to score and adapt Scott Joplin's work for a performance honoring Joplin's centenary (Joplin's birth has been established now as sometime in 1868) and a rebirth of interest in the noted ragtime composer. All three men were Air signs in the zodiac, and so adopted the name.
They performed first around Chicago, while maintaining residency with Muhal Abrams group, which also featured Kalaparusha Maurice McIntyre and Wallace McMillan, both reed players. The Air "brand" remained a side project until all three reunited in New York in 1975, and began recording under that name for India Navigation, Nessa, Black Saint, and Novus. The trio broke up when Steve McCall left in the early 1980s, and when Pheroan Aklaff joined in 1982, they recorded as New Air, and recorded several albums under that name, including Air Show No. 1 in 1986, which featured Cassandra Wilson on vocals. Andrew Cyrille ultimately replaced akLaff before the band eventually was superceded by the burgeoning careers of its members: Threadgill with his groups Sextett and Very Very Circus, and Hopkins as the go-to bassist for Threadgill, David Murray, and Hamiet Bluiett. McCall's health forced his retirement from touring around 1980, and the dynamic drummer and effusive and gracious man who was a cofounder of the AACM with Muhal Abrams and Fred Anderson, died of a stroke in 1989.
This Air is listed as Air (4) on Discogs and is also been identified on last.fm as Air (Fred Hopkins, Steve McCall, Henry Threadgill) and Air with Fred Hopkins, Steve Mccall, Henry Threadgill (sic: McCall's name misspelt), and possibly also other alternative spellings of the group's name exist.
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Air was a psychedelic folk rock band featuring Googie and Tom Coppola, John Siegler and Mark Rosengarden. They released their first self titled album in 1971.
Don't be light (Neptune Remix
Air Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Don't be light
Don't be light
Maybe like me
Don't be light
Don't be light
Don't be light
Maybe like me
Don't
Don't
Don't be light
Don't
Maybe like me
Don't be light
Don't be light
Don't be light
Maybe like me
Don't be light
(Don't be light
Don't be light, a ha)
Wild life
The gray surprises of our days
Singing in caves
Fabricating a new abandon
We don't see the master's hand
We bang on gold tambourines
In the cross hairs of some transient gun
Trading desires on the banquet line
La, la, la, la, la, la,
La, la, la, la, la, la,
La, la, la, la, la, la,
La, la, la, la, la, la,
Don't
Don't be light
Don't
Maybe like me
Don't be be light
Don't be light
Don't be light
Maybe like me
Don't be light
The song Don't Be Light by Air (Pop) appears to be a call for introspection and a reminder to stay grounded. The chorus repeats the phrase "Don't be light" multiple times, possibly referring to a lack of substance, superficiality or a tendency to float away or be carried away by external factors. The singer calls for the listener to be like them, implying a sense of stability, rootedness, and depth. The repetition of the phrase "Don't be light," may also suggest an anxious desire to hold onto something substantial in a world that is constantly changing and where things can quickly become unmoored.
The following verses build on this theme, describing a world that is unpredictable and often chaotic. The singer refers to "The gray surprises of our days" and "Trading desires on the banquet line," which may be a commentary on consumerism and the endless pursuit of material goods that can feel empty and pointless. The verse "We bang on gold tambourines In the crosshairs of some transient gun," could be interpreted as the precariousness of life and the constant threat of violence. Thus, the song may be seen as an exhortation to stay grounded, to avoid being swept away by external forces, and to seek meaning in a world where the odds seem to be stacked against us.
Line by Line Meaning
Don't be light
Do not be frivolous or superficial
Don't be light
Do not take things lightly or for granted
Don't be light
Do not underestimate the importance of things
Maybe like me
Perhaps you could be like me
Don't be light
Do not be frivolous or superficial
Don't be light
Do not take things lightly or for granted
Don't be light
Do not underestimate the importance of things
Maybe like me
Perhaps you could be like me
Don't be light
Do not be frivolous or superficial
Don't
Do not
Don't
Do not
Don't be light
Do not be frivolous or superficial
Don't
Do not
Maybe like me
Perhaps you could be like me
Don't be light
Do not be frivolous or superficial
Don't be light
Do not take things lightly or for granted
Don't be light
Do not underestimate the importance of things
Maybe like me
Perhaps you could be like me
Don't be light
Do not be frivolous or superficial
Don't be light
Do not take things lightly or for granted
Don't be light
Do not underestimate the importance of things
Maybe like me
Perhaps you could be like me
Don't be light
Do not be frivolous or superficial
Don't be light
Do not be frivolous or superficial
Wild life
The untamed and unpredictable aspects of existence
The gray surprises of our days
The unexpected and uncertain events of our everyday lives
Singing in caves
Expressing oneself in the hidden and obscure recesses of the world
Fabricating a new abandon
Creating a new sense of freedom and detachment from societal norms
We don't see the master's hand
We are not aware of the divine force that guides us
We bang on gold tambourines
We celebrate and make music with material possessions and wealth
In the cross hairs of some transient gun
In the sights of a temporary and fleeting danger
Trading desires on the banquet line
Exchanging wishes for material goods and pleasures
La, la, la, la, la, la,
Repeated musical refrain
La, la, la, la, la, la,
Repeated musical refrain
La, la, la, la, la, la,
Repeated musical refrain
La, la, la, la, la, la,
Repeated musical refrain
Don't
Do not
Don't be light
Do not be frivolous or superficial
Don't
Do not
Maybe like me
Perhaps you could be like me
Don't be be light
Do not be frivolous or superficial
Don't be light
Do not take things lightly or for granted
Don't be light
Do not underestimate the importance of things
Maybe like me
Perhaps you could be like me
Don't be light
Do not be frivolous or superficial
Lyrics © SHAPIRO BERNSTEIN & CO. INC.
Written by: JEAN BENOIT DUNCKEL, NICOLAS GODIN
Lyrics Licensed & Provided by LyricFind
@FirstnameLastname-yc2mt
@@jamesthompson5287 battle rap is competition.
You can't make a claim about being the greatest artist. That's just American capitalism, the music industry, business.
Have you heard every song ever released? No. So you can't reasonably say if you like one song better than another. Also, what if someone doesn't like rap and thus doesn't consider kanye great?
To compare, it would be as if your favorite ice cream is cookies and cream and someone else says the best ice cream is butter pecan because that's their favorite.
Art is subjective. There is no such thing as "the greatest" in a subjective sense.
@-BigTMoney-
@@LedgerLiner your comment is off topic, your groove and the Transient is not going to make the mix muddy in club environments.
in small environments low end carries where high end will dissipate. Keeping a longer 30Hz signal and the harmonics that it introduces, along with the reverb and the delay effect that the club venue all add will make the mix muddy.
Shorting is about the sonics and the loudness, you can create something feeling laud by other parts becoming softer. like over 30 sec you drop the volume of the mix by 5 DB when you come to the build up and drop you add the DB back in and it will sound more powerful.
When you shorten the kick to less then 500 MS it makes space and will make your kicks sound like they hit harder and louder but they are not.
headphone mastering trick, most headphones don't have low end so if you take a sine wave of the first 2 harmonics of the the low end and add them in your brain will add in the root note, so you can make the headphones seam like they have low end even when they don't.
But again the reason the mix sounded muddy was the there was not enough decay on low end and it lingered to long in the club making the mix sound muddy, the fix is to shorten the kicks to 500ms or less
@Podcast_Shorts
Thank you all for the love and support! Please check out my other shorts and subscribe love you all ♥
@rosk.wilburn5847
Haha and then he cheated
@BobBobOnYouTube
I'll subscribe but only if you keep uploading stolen content. I mean it, put absolutely zero effort into it yourself.
@antwainhunt4227
He wasnt lying
@Podcast_Shorts
@@BobBobOnYouTube thanks for the support, if you want to see the unedited version its on Lex Friedman podcast.
@rapinstrumentals
Who you ? What you do ?
@futurereflections4097
Props to Ye for not letting his ego get in the way of openly giving credit where it’s due.
@-BigTMoney-
Did the same with Nikki when she murdered tha track
@frz_-
@@-BigTMoney- Kanye always gives Credit where its Due thats why he’s the Greatest🐐🐐🐐🐐🐐🐐
@cristobalbalenciaga7295
No producer does that.