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Stereolab  

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• Upcoming 2024 concerts: none

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Stereolab hit a sweet overlap between sugary pop and adventurous experimentalism, rooted in tranced-out psychedelic drone that was both wonderfully modern and bathed in stylistic trends and instrumental sounds of the sixties and seventies. Early shows were based on their touchstone sound: a pulsing simple beat, guitar chug, and bubbling vintage analog synthesizers which can feel very kindred to recordings of the "Krautrock/Motorik" style pioneered in Germany by acts like Neu! and early Kraftwerk, or any garage band which had discovered that playing one riff or even just one note repetitively and toying with texture and dynamics makes for a very different sort of musical journey.

Except on this one there is a French woman singing pop melodies and harmonies. Overlaying Tim Gane's guitar chug-a-lug with the exquisite voices of Laetitia Sadier and Mary Hansen made for an infectious brand of pop-retro-futurism that, just like Krautrock, later evolved into an electronica-flavored style of gadget-oriented sound as modern technology began allowing for more innovative sounds. Sometimes associated with more retro lounge, tropicalia, and psychedelic genres, Stereolab often references its influences quite directly but always has its own identifiable voice and is ultimately predominantly remembered and filed as an indie rock band, and live shows were always clearly just that: rock.

Collaborations with Sean O'Hagan resulted in many gorgeous lushly orchestrated records (unfortunately seen less often in their live performances), Mouse on Mars gave them a playful electronic club sound, and influential producers John McEntire and Jim O'Rourke always made their records impeccable sonic adventures. Live, the rock foundation of their catalog always leapt out and kept audiences moving. There is a reason collectors obsess over each recording this band released, as though each song is often stylistically similar to a lot of other releases in their catalog, the pop sensibility makes every melody a delectable piece of candy, and you want to gorge on more.

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Only brilliant memories from Stereolab concerts. Like when German Krautrockers FAUST opened for them, and weren't too shy to set off a smoke grenade at the end of their gig. Everybody chokingly left the venue, only to return later for an awesome Stereolab gig.

When they opened for Sonic Youth, seemingly c*r*u*s*h*i*n*g the headliner in an exhilarating 50 minutes (SY still managed to top this off, though).

First fell for them at the 2nd stage of Lollapalooza '94, their drone sound is unsurpassed and their shows are rocking hard.

Perfect concert! I even had an autograph from Laetitia after!! The house was crowded and it was a very nice atmosphere! I went back 18 years ago, when I attended their concert in Cine Iris, Rio de Janeiro/Brasil. I just have missed my favorite song, Free Design, because they already performed the night before!

An amazing show. I have wanted to see Stereolab for so long and after all that waiting I'm happy you to say that they did not disappoint me in the least. I would happily see them again!! If you have the chance to see them DO IT!! You will not be disappointed!!

They still got it! Amazing show. Great energy from the band which in turn energized the crowd. Spanned the years with a fantastic setlist. Would go see them again in a heartbeat.

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Stereolab Announce 2022 North American Tour

The post Stereolab Announce 2022 North American Tour appeared first on Consequence .

Stereolab are picking up where their COVID-19-interrupted reunion left off with a fall 2022 tour.

The London outfit went on hiatus in 2009 before returning in 2019 with a comeback tour . Stereolab extended the reunion into 2020, but the ongoing pandemic cut that trek short.

They’ll finally return to North America beginning September 6th in Nashville, Tennessee. The 22-date jaunt then swings through the southern United States and up through California — including a stop at the inaugural Primavera Sound Los Angeles — before continuing into Vancouver. From there, Stereolab zigzag across the midwest and along the east coast before wrapping in North Carolina in October.

Check out the full schedule below. Tickets go on sale Friday, March 4th, and you can book your seat here .

Stereolab 2022 North American Tour: 09/06 – Nashville, TN @ Marathon Music Works 09/07 – Atlanta, GA @ The Eastern 09/09 – Austin, TX @ Austin City Limits Live at The Moody Theater 09/10 – Houston, TX @ White Oak Music Hall 09/11 – Dallas, TX @ House Of Blues 09/13 – Denver, CO @ Ogden Theatre 09/16 – Los Angeles, CA @ Primavera Sound Los Angeles 09/17 – San Diego, CA @ The Observatory North Park 09/19 – San Francisco, CA @ The Fillmore 09/23 – Portland, OR @ Roseland Theater 09/24 – Vancouver, BC, CAN @ Commodore Ballroom 09/25 – Seattle, WA @ The Showbox 09/28 – Minneapolis, MN @ First Avenue 09/29 – Chicago, IL @ Riviera Theatre 09/30 – Detroit, MI @ Majestic Theatre 10/02 – Montreal, QC, CAN @ MTELUS 10/04 – Boston, MA @ Roadrunner 10/05 – Hudson, NY @ Basilica Hudson 10/07 – Philadelphia, PA @ Franklin Music Hall 10/08 – Washington, DC @ 9:30 Club 10/10 – Brooklyn, NY @ Brooklyn Steel 10/14 – Carrboro, NC @ Cat’s Cradle 10/15 – Asheville, NC @ The Orange Peel

Stereolab Announce 2022 North American Tour Wren Graves

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Stereolab Plan 2022 Tour Dates: Ticket Presale Code & On-Sale Info

by Francesco Marano

Published march 3, 2022.

French / English indie rockers Stereolab have announced their first batch of 2022 tour dates.

The newly planned shows are set in September and October at mid-sized venues across the USA and Canada. At this time, these are the only scheduled performances the band has. After taking about 10 years off, the band reformed in 2019 and had a busy year with 60+ concerts until COVID-19 struck in 2020 and shut down the touring industry.

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When do Stereolab 2022 tour tickets go on sale and what is the presale code?

The general public on-sale begins as early as March 4. Presales are currently underway for Citi cardholders, Live Nation, LN Mobile App, and local venues/radio. Keep in mind, each date is different and details are subject to change.

For the Citi presale, you can use the promo passcode 412800 , but you will need the card to complete your purchase. The Live Nation presale password is SHOWTIME , and the LN Mobile App code is COVERT . Click through the individual concert links for more information about the show you're interested in.

Although restrictions are easing relating to COVID-19, please make sure to get fully vaccinated and follow your local guidance about health and safety precautions to prevent the spread of the deadly virus.

We recommend following Stereolab on social media, in addition to checking your local venue’s social media and email subscription service, to get the most up-to-date information.

For more, check out Stereolab's Zumic artist page .

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Wednesday, September 28 7:00 pm

First Avenue

701 1st Ave N, Minneapolis, MN 55403

Effective immediately, all concerts and events at First Avenue and associated venues will require either proof of a full series of COVID-19 vaccination, or proof of a negative COVID-19 test taken in the prior 72 hours. More info  HERE .

Presale starts on Thursday, March 3 at 10AM | Tickets on sale Friday, March 4 at 10AM

Doors open at 7PM | Show starts at 8PM | 18+ | $35 Advance | $40 Day of Show

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Formed in London in 1990 and led by the songwriting team of Tim Gane and Laetitia Sadier, Stereolab are recognized as "one of the era's most creatively dynamic bands" (Pitchfork) and "one of the most influential groups of the 1990s" (LA Times). Throughout ten studio albums, the band developed into "a multi-limbed musical collective unafraid of the joys of pop melody but equally comfortable with wild experimentation" (FACT) whose impact on the omnivorous, genre-agnostic music of today is indisputable. The band announced an indefinite hiatus in 2009, but returned in 2019 with multiple expanded LP reissues and their first tour dates in a decade.

Find the Sun  (2020) is not the record Angel Deradoorian sat down to make. It’s a waypoint on a spiritual journey of acceptance, the result of years of lifting veils that obscured her innermost self, and coming to the realization that in order to find peace, she might need to cede a bit of control. The result is something that could only be found by the physical act of its construction.

After years of making records alone, Deradoorian spent the last few years in New York City doing improvised collaborations with other musicians, connecting with people and creating a desire to carry that energy to the recording of her next album. That record,  Find the Sun , is a snapshot of her mental and spiritual state at the time, the result of loosely guided jams with a  band of like-minded souls with the intention of making something raw and vulnerable, with little rehearsal.

The songs started as sketches, later molded into stronger concepts during a summer spent on the beach in the Rockaways, lying in the sand and absorbing the sun’s rays, playing meditation bowls, writing lyrics, and talking about music with her friend and percussionist Samer Ghadry. Along with Ghadry’s frequent collaborator Dave Harrington, they would take those songs across the country to Marin County, California’s Panoramic House, an analog studio with a live room with wall-sized windows that gaze out upon the Pacific ocean from atop Mt. Tamalpais. The room’s energy and spaciousness serve as the band’s fourth member, its ancient beams and cavernous ceilings coloring the drum tracks with an innate sense of space.

Several songs on the record—like opener “Red Den”—eschew gauzy vocal effects for a raw and vulnerable glimpse of a voice renowned for its ethereal beauty and perfect pitch. Through astrological metaphors and brief glimpses of imagery, she weaves a tale of a person aware of past lives but struggling to put them together, using a sparse yet intentional exchange of crunchy guitar and loose drum fills to furnish the room.

Inspired by the freedom of Can and the singing style of Damo Suzuki, as well as the influence of Indian spirituality on free jazz masters like Pharoah Sanders and Sun Ra, Deradoorian gravitates to transportive, shamanic sounds on  Find the Sun , wielding bells, flutes, and gongs in service of a rock record guided by the spirits. Most of the songs were written with the drum parts first, using drone elements to ground the compositions and allow her the security to be able to take bigger risks.

Sequenced with a double vinyl disc package in mind (its only available physical format), the record is broken up into quadrants, helping guide the listener through its various twists and turns. The connecting thread is the theme of internal exploration, reaching for the best version of yourself.

“Overall, a lot of these songs are about trying to reach yourself - how to be your most brilliant self,” Deradoorian says. “...because we come from a culture that doesn't actually support this. We are so deeply programmed to obey societal boundaries that we don't even know the power we contain within.”

“Monk’s Robes” contains one such narrative, following a monk who journeys to a mountain top in hopes of being one with God. When he arrives, his God turns his worldview on its head, exposing his ignorance as he questions his understanding of the world and his desires to be free. It’s a song about accepting the futility of attempting to escape your reality, finding peace in acceptance and working with what you have to make something beautiful. “I’ve heard so many people say ‘I want to escape to the mountain and live alone because life is so fucking painful sometimes,’” she says. “And that's not really the way to do it either. You need to be isolated, you need to learn about yourself, but you can't really stay there. You also need to integrate. You need to do both.”

But connecting with humanity means surviving its temptations. “Devil's Market” imagines the world as a seductive bazaar designed to make you stray from your path. It’s a message promoting the healing power of discipline, forgiving regressions but constantly searching for a way to return to your path. Deradoorian’s own journey was dramatically guided by a 10-day Vipassana meditation retreat that helped her reground after a prolonged period of trauma, and led to an album that serves as a massive deconstruction of her own psyche—her own reality. Working through her anxieties, depressions, and fears, she reconstructs her sense of self through a gentle way of reevaluating what she believes in. These themes loom large on  Find the Sun , and are rooted in the practices from that Vipassana retreat; the relationship between the mind and body, and being able to expand the scope of how we think or listen based on our body’s state in any given moment.

In that sense,  Find the Sun  is a record intended to be felt as much as it is heard. “I think it would be cool if people lay on the floor to listen to it, and let it go through their bodies,” she says. “Being in that kind of space of awareness making it, I hope it evokes a physical reaction for people...that has so much to do with frequencies, vibrational relationships in sound.” As a Vedic astrologer, this is a focus of her readings, the way our brains and bodies work in concert, and how that is completely spiritual. We are nothing without our bodies.

If  Find the Sun  is a record of only part of Deradoorian’s spiritual journey, it is one with no discernable end. It’s an expression of the non-linear nature of time, that there is no current version of one’s Self. The capture of that moment is why the record is so raw: Whatever is in front of you is what you’re working with now, and that’s OK. Even as a listener, being in the moment physically with the music brings you back to that place where mind and body coalesce. In that sense, it’s ripe for projection of oneself onto the sounds and words, to reflect one’s physical Self with something as ethereal as the sound waves in music. “ Find the Sun  is a record to sit and listen to, and ask yourself about your Self,” she says.

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Stereolab Concert Setlists & Tour Dates

Stereolab at electric brixton, london, england.

• Come and Play in the Milky Night
• Eye of the Volcano
• Refractions in the Plastic Pulse
• Lo Boob Oscillator
• Miss Modular
• Delugeoisie
• The Flower Called Nowhere
• Pack Yr Romantic Mind
• Super-Electric
• French Disko
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Stereolab at Rescue Rooms, Nottingham, England

• Supah Jaianto

Stereolab at CONTENT, Liverpool, England

Stereolab at the marble factory, bristol, england, stereolab at le guess who 2023, stereolab at sonic city 2023.

• Simple Headphone Mind / Excursions Into “Oh, A-Oh”

Stereolab at Black Box, Hastings, England

Stereolab at earth, hackney, england.

• Neon Beanbag
• U.H.F. - MFP
• I Feel the Air (of Another Planet)
• Laisser-faire

Stereolab at SWG3 TV Studio, Glasgow, Scotland

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• French Disko ( 267 )
• Miss Modular ( 203 )
• Metronomic Underground ( 187 )
• Lo Boob Oscillator ( 186 )
• Super-Electric ( 186 )

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!!! Bibi Club Cavern of Anti‐Matter Cosines Deerhunter DIIV Editors Eggy Kante Mark Kozelek Ted Leo Live From Here with Chris Thile Madlib Maxïmo Park The Missing Season Mombojó Pavement Pearl Jam Polgar 3 The Raveonettes Lætitia Sadier Sebadoh Rogério Skylab Sloan Stereolad VIRTUA

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1,949 people have seen Stereolab live.

norathe drucom avalynkilmoon Rephlex soolijoo arp67 Bob--Trout Seamusclarke03 mis5modular Bully GlorNaMara joemar scottnichols BassTunedToRed AllanH el-psy squeekobenelli Sid_Ellis mlilley2001 slint Pretzel_Logic punksattorney stejvic SOARHEAD transientheory burythebeds lizclaaarke rohibb theidiot MikeLaing dgallagher01 ThomasOShea davyc1976 Freddykidd Glequesne MrNod kaiba Judderman rbrwr Steve23 Eggboy Stevis7 creccateal HansJolly GCassavetes TheMeatyDog frngelina stereowarren WouterP87 thierrymartens

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Pulse of the Early Brain (Switched On, Vol. 5)

By Robert Ham

Experimental

Warp / Duophonic UHF Disks

September 3, 2022

When Stereolab announced the release of Pulse of the Early Brain , the fifth installment in the avant-pop ensemble’s Switched On compilations gathering up material not found on their proper LPs, they noted that it was “possibly the final edition.” The use of “possibly” does leave the door open to the band finding more rarities tucked away on a forgotten hard drive or making new music together, but it’s hard not to see this collection as the band’s concluding statement. Pulse of the Early Brain collects every remaining leftover from Stereolab’s substantial discography—rare EPs, singles, and stray comp tracks—that had yet to be included on any previous Switched On s or as bonus tracks on their recent run of album reissues. Thirty years after the release of the first Switched On comp , their known archives appear to be empty.

The breadth of the material included on Vol. 5 also has the unintended effect of serving as a far-ranging career overview for Stereolab. Though it isn’t sequenced in chronological order, Pulse hits on every stage of Stereolab’s sonic evolution. The earliest tracks date from 1992, the year that founding members Lætitia Sadier and Tim Gane were joined by their longest-standing collaborators, vocalist Mary Hansen and drummer Andy Ramsay. The most recent tunes were released in 2008, right before the group announced their hiatus. Even though the 3xLP/2xCD set jumps backward and forward in Stereolab’s timeline, the result is a fairly comprehensive portrait of their development from their initial motorik nihilist assault to the pop molecules of their later work.

Representing the heady roar of the group’s earliest recordings are the four tracks from Low Fi , an EP originally released in 1992 via Too Pure. In each one, Sadier and Hansen coat their sugar-sweet harmonies with layers of chugging guitar and overdriven Farfisa and Moog. The material from the mid-to-late ’90s continues the dense, melodic height of albums like Emperor Tomato Ketchup and Cobra and Phases Group Play Voltage in the Milky Night , as Stereolab worked to get as far afield from their usual sound as possible with more elaborate arrangements and danceable rhythms. “Robot Riot,” a previously unreleased track written for a Charles Long art exhibition, has a jangly momentum, while “Symbolic Logic of Now!,” originally found on a 1998 split 7” with one-and-done post-rock group Soi-Disant, explodes the concepts of Dots and Loops into dizzying dub exotica.

Also included is a quartet of songs that came from the prolific recording sessions that produced Stereolab’s final full-lengths, 2008’s Chemical Chords and 2010’s Not Music . And like those two albums, the striding funk groove of “Spool of Collusion” and the tickling fizz of “The Nth Degrees” expands the group’s pop palette with more luminous synth tones and a digital patina.

The downside to this final sweeping up of stray tracks is that, for the first time in this series, Pulse of the Early Brain is bogged down with a good deal of inessential material. One of the likely attractions for longtime fans is the inclusion of 1997’s Simple Headphone Mind , the long out-of-print second collaboration between the group and Nurse With Wound , the long-standing experimental project led by Steven Stapleton . The two tracks are pleasant enough, with Gane’s chiming guitar clashing nicely with the more proggy tones of NWW member David Kenny over an insistent drum machine pulse. But with the absence of Sadier and Hansen’s voices or Stapleton’s noisier antics—both of which feature prominently on the artists’ previous meet-up, 1993’s Crumb Duck —the songs feel skeletal and unfinished.

The same can be said for the various short tracks scattered throughout Pulse of the Early Brain , like a demo version of “Ronco Symphony” from 1993’s The Groop Played “Space Age Batchelor Pad Music” and a pair of minor tunes previously found on short-run flexi discs. Their inclusion is necessary, in order to make the series feel comprehensive, but they don’t add much substance to the overall story of the band—a tale may be coming to an end soon. Though tour dates are scheduled through December, there has been no indication from anyone involved with Stereolab that they will continue beyond that. But if that “possibly” mentioned above presages future music from the group, Pulse of the Early Brain has emptied out the closet and left them free to pack it full with new ideas once more.

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One of the most distinctive alternative bands to emerge in the 90s, Stereolab either celebrated forms of music that were on the fringe of rock, or more...

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Past Events

Here are the most recent UK tour dates we had listed for Stereolab. Were you there?

• Nov 17 2023 London, Electric Brixton Stereolab
• Nov 16 2023 Nottingham, The Rescue Rooms Stereolab
• Nov 15 2023 Liverpool, Content Stereolab
• Nov 14 2023 Bristol, Motion & The Marble Factory Stereolab
• Nov 09 2023 Blackbox Hastings Stereolab
• Dec 03 2022 London, EartH (Hackney Arts Centre) Stereolab
• Dec 02 2022 London, EartH (Hackney Arts Centre) Stereolab
• Nov 29 2022 Glasgow, SWG3 Stereolab
• Nov 28 2022 Edinburgh, Liquid Rooms Stereolab
• Nov 27 2022 Manchester, New Century Hall Stereolab

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Scriabin Association

Founded to celebrate scriabin, scriabinism and scriabinists….

Aleksandr Nikolaevich Scriabin: A short biography by Simon Nicholls

Aleksandr Nikolaevich Scriabin was born on Christmas Day (Old Style) 1871 [1] in Moscow into a family in which the males were predominantly military men. His mother, Lyubov’ Scriabina , née Shchetinina, however, was a gifted and successful pianist who played concerts including her own compositions. Ten days after the birth she was diagnosed as having a lung infection and was sent to Italy, where she died of tuberculosis in the following year. Scriabin’s father, who had been studying law, resumed his studies, which he had broken off to get married. After graduating and studying foreign languages he joined the diplomatic service; eventually this took him to Turkey.

The child was looked after by his grandmother Elizaveta and his aunt Lyubov’ . At the age of three he was already able to pick out melodies at the piano with one finger. It was about this time that Lyubov’ asked to be allowed to renounce her own prospect of a family life and to devote herself to the care of the child, ‘ Shurin’ka ’ as he was known. By 1877 Shurin’ka was playing by ear with both hands. In 1879 he was given a toy theatre, for which he composed tragic plays and made scenery. In the same year, Anton Rubinstein , who had known Shurin’ka’s mother and admired her playing, heard the boy play. His advice was not to bother the child with demands but to let him go at his own pace, to compose and play when he wished.

In 1882 Shurin’ka joined the cadet corps, having been prepared for the entrance exams by his aunt. He was excused arms-bearing exercises but was good at gymnastics, and popular because of his musical abilities. It was in the corps that he first played to an audience, a Mendelssohn Venetian Gondola Song and a Bach gavotte, again by ear. The following year he started formal piano lessons with Georgii Konyus, who noted the child’s weak tone-production. In this year, however, Shurin’ka composed a skilful Canon in D minor  dedicated to Konyus.

In 1883 Shurin’ka also suffered from measles (or German measles) complicated by dropsy. A common description of him for most of his life was ‘pale, fragile’…  –  he was short and slight in physique.

In 1885 Scriabin, whom we will now refer to by his surname, started piano lessons with Nikolai Zverev , whose reputation as a teacher was built on preparing students for the Conservatoire. Among the students in Zverev’s class was Rachmaninov. Zverev’s students often lived in, but Scriabin was a ‘day boy’. At the same time Scriabin started lessons in theory and harmony with Sergei Taneev, who noted his extraordinary aural abilities. Composition was now a constant activity for Scriabin.

Scriabin commenced study at Moscow conservatoire in 1888, studying piano with Vassily Safonov and, later, composition with Anton Arensky . Attendance at the cadet corps continued until 1889. In 1891 A. N. met and fell in love with Natalya Sekerina , to whom he wrote numerous letters from then until 1895, when she turned down his proposal of marriage. By her own account, this was despite their mutual love and because of feelings of inadequacy. Parental disapproval probably also played a major part.

1891 was also the year in which Scriabin developed a repetitive strain injury in his right arm or hand (probably both) from over-practice in the vacation, striving to emulate his brilliant classmate Joseph Lhévinne . He may well have been predisposed to this injury by an earlier accident at the age of fourteen, when he was driven into by a horse-drawn vehicle while crossing the road and fractured his right collar-bone. The injury developed again in 1893. It was also in 1891 that relations between Scriabin and Arensky broke down and that Scriabin ceased to attend composition classes. This led to Scriabin’s graduating from the Conservatoire in 1892 with what was known as the small gold medal, the great gold medal being awarded for successful study in both piano and composition. In that year, however, the first of Scriabin’s compositions to be published (without payment to the composer) appeared in the imprint of Jurgenson publishing house, and in the summer Scriabin travelled to St. Petersburg, Vyborg and Finland.

The following year, under doctors’ instructions, Scriabin spent some time in Samara, taking a cure involving the drinking of kumis, a fermented mares’ milk which was highly regarded at the time for medicinal properties, and later in Gurzuf in the Crimea. The famous Prelude and Nocturne for left hand op. 9 were composed at about this time.

1894 saw Scriabin’s debut as composer-pianist in a concert in St Petersburg attended by Mitrofan Belyayev (Belaieff is the French transliteration and the name of the publishing house, which will be given below in quotes), who became Scriabin’s publisher, mentor and patron. The first Sonata op. 6 and the twelve Etudes op. 8 were published in 1895, a year when Scriabin took a long tour in Germany, Switzerland and Italy; impressions gained on this trip went into a number of the Twenty-four Preludes op. 11. In the autumn Scriabin became acquainted with Prince Sergei Trubetskoy, who became an influence in the development of the composer’s  philosophical outlook.

Scriabin’s first concerts abroad took place in 1896: Paris, Brussels, Berlin, the Hague, Amsterdam and Cologne. In August of the following year he married the fine pianist Vera Isakovich . The Piano Concerto op. 20 received its premiere a month later, with Scriabin playing the solo part and Safonov conducting. In the following year the Twenty-four Preludes were published.

The Scriabins travelled to Paris and gave a joint concert of Aleksandr Nikolaevich’s works in the Salle Erard on Jan 19 th 1898. Their first child, Rimma, was born two months after their return from Paris, in July.

In this year the Second and Third Piano Sonatas, opp. 19 and 23, and Scriabin’s short symphonic poem, Mechty (Daydreams) op. 24 were published by ‘Belaieff’, and Rimsky-Korsakov conducted the first performance of Mechty. Scriabin took up an appointment teaching in Moscow Conservatoire, which continued until the end of 1902. His interest in philosophy began to grow at this period.

In 1900 the Scriabins’ second daughter, Elena, was born. A tour to Berlin and Paris was undertaken, and the first performance of the First Symphony op. 26 took place under Anatoly Lyadov in St. Petersburg, the choral finale being omitted. Scriabin became involved in the circle of philosophers in Moscow. An important page of notes, recounting an inner victory over despair, renouncing religious faith and affirming self-reliance, dates from about this time.

1901 saw the Moscow premiere of the First Symphony and, in November, the completion of the Second Symphony op. 29. Work also commenced on the Fourth Sonata op. 30. The Scriabins’ second daughter, Maria, was born; their son Lev followed in 1902. In January of the same year Scriabin read the libretto of a projected opera to Emilii Rozenov, and in November he made the acquaintance of Tatyana Schloezer .

The summer of 1903 was spent in the country, at Obolenskoe, where Scriabin, who owed Belaiev money, worked at piano pieces  (opp. 31–42), finished the Fourth Sonata op. 30 and started work on the Third Symphony, ‘Divine Poem’ , op. 43. Belaiev died that December.

In February 1904 Scriabin moved to Switzerland; the family joined him in Geneva in March. They moved to Vésenaz in late February or early March and Tatyana Schloezer moved to Belle-Rive, nearby, shortly afterwards. Much of the year was taken up with the orchestration of the Third Symphony , sent to the publishers in November, and with the composition of the piano pieces opp. 44-47.

In September the Second International Philosophical Congress took place in Geneva. From Scriabin’s notes in the detailed report of the conference, a large volume which shows the dominance of idealist thought at that period, we know that Scriabin took a close interest in it, and his name appears in the list of subscribers. There is no conclusive proof that he attended this conference, but it is very likely that he did. In the summer a notebook was filled by Scriabin with pencilled philosophical speculations on the nature of consciousness, and with an early prose draft of the verse for the Poem of Ecstasy. In November Scriabin travelled to Paris in order to arrange a performance of the Symphony no. 3 . Tatyana Schloezer joined him there in November. Scriabin and Vera Ivanovna agreed to separate in December, but there was never a divorce.

A second philosophical notebook, the first part of which is written in an ecstatic style sometimes suggestive of Nietzsche, but also showing the influence of the Russian poet Bal’mont , was written in 1904-5.

In 1905 the Third Symphony received its first performance, in Paris, and two letters from Scriabin to Tatyana Schloezer written on  April  22 and 25 (Old Style) recount the composer’s awakening interest in the Theosophical system of H. P. Blavatsky . Scriabin commenced work on the composition of the Poem of Ecstasy op. 54 in this year. Scriabin and Schloezer moved to Bogliasco, Italy, some time before  June 4 (Old Style), and their daughter Ariadna was born there. Scriabin’s daughter with Vera Ivanovna, Rimma, died in July. At the end of the year Scriabin and the board of the ‘Belaieff’ publishing house had a disagreement: the board wished to reduce Scriabin’s fees, and the annual prizes and awards previously given by Belyayev himself were discontinued. In 1906, however, the ‘Belaieff’ board awarded Scriabin the Glinka prize for his Third Symphony.

In this year (1906) Scriabin printed privately the final version of the verses for the Poem of Ecstasy. The four piano pieces of op. 51 were composed.

There is a further extensive notebook containing attempts to formulate theories of consciousness and its relation to physical phenomena, together with a rough version of the verses for the Poem of Ecstasy , nearly complete, dating from 1905-1906.

Scriabin and Tatyana Schloezer travelled to Brussels in 1906. Scriabin commenced an American tour in December; in March 1907 it was prematurely brought to an end because of scandal involving Scriabin’s non-marital relationship with Tatyana Schloezer, who had joined him in the States.

In the aftermath of this disaster Scriabin and Schloezer travelled to Paris. At a meeting with the board of the ‘Belaieff’ publishing house it was agreed that ‘Belaieff’ should publish the Poem of Ecstasy, but Scriabin did not this year receive the prize for it that he had come to expect. Scriabin tried self-publishing; the three piano pieces of op. 52 were privately printed in Leipzig at his expense. Scriabin and Schloezer travelled to Beatenberg, Switzerland, where work continued on the Poem of Ecstasy, which was finished in November in Lausanne, to where they had moved in September. A few days after the completion of the Poem , the Piano sonata no. 5   op. 53 was begun, and finished in seven days (November 25 – December 1, Old Style).

Scriabin’s first piano roll recordings, for the firm of Hupfeld, were made in January 1908. In February a son was born, Yulian. At the beginning of June the conductor and virtuoso bass-player Sergei (Serge) Kussevitsky (Koussevitzky) visited Lausanne with his wealthy wife, offering Scriabin concerts in Moscow and St Petersburg. Kussevitsky’s ‘Russian Music Publishing company’ took over the publishing of the Three pieces op. 52, the Fifth Sonata op. 53 and opp. 58-64. In November the Sonata no.5 and the Poem of Ecstasy received their first performances, the sonata played by Mark Meichik in Moscow, the orchestral work by the Russian Symphony Orchestra Society of New York conducted by Modest Altschuler. The Glinka Prize for 1908 was awarded to the Poem of Ecstasy.

1909 saw the return of Scriabin and Schloezer to Moscow. Concerts of Scriabin’s compositions took place in St Petersburg ( Poem of Ecstasy , and later a recital by Scriabin), and Moscow (Scriabin played the Waltz op. 38, pieces from opp. 52 and 57, two preludes and the Fifth Sonata in January, and in a February concert in the Great Hall of Moscow Conservatoire he repeated the Sonata in a ‘Scriabin evening’ which also included performances of the Divine Poem and the Poem of Ecstasy conducted by Emil Cooper.) A short piece of great significance for Scriabin’s musical language, the Feuillet d’album op.58, was composed in this year, and work was started on Prometheus.  Scriabin met Vyacheslav Ivanov , the philosopher and poet, at an evening arranged for the composer by the magazine Apollon. This friendship was to have a significant influence on Scriabin’s aesthetic and outlook.

On a personal level this was a time of difficulties with old friends who were not able to accept Scriabin’s ménage with Tatyana Schloezer, and Scriabin, Schloezer and their children moved to Brussels in March, staying until January 1910, when they returned finally to Moscow. Here, according to a letter from Tatyana Schloezer to the pianist Mariya Nemenova-Lunts, Scriabin composed “a great deal, again new, again infinitely beautiful! He is feeling elation and a flood of creative energy…” This must refer to work on Prometheus. In Brussels Scriabin met a number of Theosophists, among them being Jean Delville, who designed the symbolic cover for the score of Prometheus.

A tragic note was sounded by the death of Scriabin’s son with Vera Ivanovna, Lev, in 1910. In the same year Scriabin recorded a few pieces on piano rolls for the firm of Welte.

Life continued with the birth of another daughter, Marina, in 1911, with successful concert performances, including the première of Prometheus in St Petersburg, conducted by Kussevitsky, in March 1911 and intensive compositional work: the Piano sonatas nos. 6 and 7 opp. 62 and 64 were composed in 1911-12; the Sonatas no. 8 op. 66, no.9 op. 68 and no. 10 op. 70 were finished by June 7 1913 (Old Style), the Eighth being the last to be composed. After a dispute with Kussevitzky, Scriabin reverted to his first publisher Jurgenson, and the Three Etudes op. 65 and all subsequent works were published by that firm.

Scriabin was obliged to give concert tours in provincial towns and cities to support his family. It was perhaps in these years that Scriabin really established his reputation as a unique interpreter of his own music, though controversy continued over the characteristic qualities of his playing.

At this time Scriabin was increasingly concerned with being able to turn to his long-cherished project, the Mystery , whose origins can be seen in the choral finale to the Symphony no. 1 and in the unfinished opera project, and which ‘became more minutely crystallized’, Alfred Swan states, in the time spent in Brussels. It had now assumed such gigantic proportions that Scriabin had recourse to a projected work for voices and orchestra which he named Preliminary Action . The music of some of the 5 Preludes op. 74 and of the Flammes sombres in op. 73 (both composed in 1914) relates to the sketches which remain of this work, which Scriabin had in his head, stating that he only needed to write it down – he played long stretches of it to friends at that time. The libretto was written in Summer 1914, after Scriabin’s highly successful visit to London, during which he performed his Piano concerto and Prometheus in the Queen’s Hall with Henry Wood and gave two recitals in the Wigmore Hall (then the Bechstein Hall). But it was during that visit that an infected boil on Scriabin’s upper lip gave him great pain. The infection returned in April 1915 after Scriabin had given concerts in Moscow, Petrograd (the new non-Germanic name for St Petersburg), Kharkov, Kiev and what turned out to be the final concert, again in Petrograd.  In the course of an agonising few days, and despite desperate attempts at treatment, septicaemia set in; Scriabin died in great agony and delirium.

The funeral was such a huge affair that tickets had to be issued. There are two postludes to this tale, one tragic, the other heartwarming. In 1919, while Tatyana Schloezer was staying with her children in Kiev, her son Yulian Scriabin , who showed extraordinary talent and musical ability, accidentally drowned. Tatyana, it may be said, never fully recovered from this second blow. But the heartwarming episode had happened earlier. Scriabin died without being able to leave his family enough money to pay for the funeral or to live on; and the lease on the flat in Bolshoi Nikolopeskovskii pereulok (now the Scriabin Museum in Moscow) ran out on the same day that he died. Many efforts were made to raise money for the widow and her family. Sergei Rachmaninov , who had long considered Scriabin to have gone off on a ‘wrong path’ compositionally, went on a concert tour playing only works of Scriabin – all profits to go to the Scriabin family. Humanity and altruism took precedence over aesthetic differences between two great artists.

Note: In compiling these notes I have made use principally of the chronology in Skryabin by Sergei Fedyakin (Moscow 2004). But I have also made reference to the following:

Myzykalnyi Sovremennik (Musical Contemporary) 4-5, Dec. 1915-Jan. 1916. Handbook to the Piano Works of A. Scriabin , M. Montagu-Nathan, London and Brighton, 1916. Scriabin , Alfred J. Swan, London 1923. A. N. Skryabin. Sbornik k 25-letiyu so dnya smerti (Anthology for the 25th anniversary of his death) Moscow/Leningrad, 1940. Letopis’ zhizni i tvorchestva A. N. Skryabina (Chronicle of the life and work of Skryabin), M. P. Pryashnikova and O. M. Tompakova, Moscow, 1983. A. N. Skryabin , Valentina Rubtsova, Moscow 1989.

[1] Until January 1st 1918 Russia followed the Julian calendar (“Old Style”). At the period under discussion, this varied from the Gregorian calendar used in the West (“New Style”)  by twelve  days up to Feb 16 1900 Old Style and thirteen days thereafter.

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For the first time Rosatom Fuel Division supplied fresh nuclear fuel to the world’s only floating nuclear cogeneration plant in the Arctic

The fuel was supplied to the northernmost town of Russia along the Northern Sea Route.

The first in the history of the power plant refueling, that is, the replacement of spent nuclear fuel with fresh one, is planned to begin before 2024. The manufacturer of nuclear fuel for all Russian nuclear icebreakers, as well as the Akademik Lomonosov FNPP, is Machinery Manufacturing Plant, Joint-Stock Company (MSZ JSC), a company of Rosatom Fuel Company TVEL that is based in Elektrostal, Moscow Region.

The FNPP includes two KLT-40S reactors of the icebreaking type. Unlike convenient ground-based large reactors (that require partial replacement of fuel rods once every 12-18 months), in the case of these reactors, the refueling takes place once every few years and includes unloading of the entire reactor core and loading of fresh fuel into the reactor.

The cores of KLT-40 reactors of the Akademik Lomonosov floating power unit have a number of advantages compared to the reference ones: a cassette core was used for the first time in the history of the unit, which made it possible to increase the fuel energy resource to 3-3.5 years between refuelings, and also reduce the fuel component of the electricity cost by one and a half times. The FNPP operating experience formed the basis for the designs of reactors for nuclear icebreakers of the newest series 22220. Three such icebreakers have been launched by now.

For the first time the power units of the Akademik Lomonosov floating nuclear power plant were connected to the grid in December 2019, and put into commercial operation in May 2020. The supply of nuclear fuel from Elektrostal to Pevek and its loading into the second reactor is planned for 2024. The total power of the Akademik Lomonosov FNPP, supplied to the coastal grid of Pevek without thermal energy consumption on shore, is about 76 MW, being about 44 MW in the maximum thermal power supply mode. The FNPP generated 194 million kWh according to the results of 2023. The population of Pevek is just a little more than 4 thousand, while the FNPP has a potential for supplying electricity to a city with a population of up to 100 thousand people. After the FNPP commissioning two goals were achieved. These include first of all the replacement of the retiring capacities of the Bilibino NPP, which has been operating since 1974, as well as the Chaunskaya TPP, which has already been operating for more than 70 years. Secondly, energy is supplied to the main mining companies in western Chukotka in the Chaun-Bilibino energy hub a large ore and metal cluster, including gold mining companies and projects related to the development of the Baimsk ore zone. In September 2023, a 110 kilovolt power transmission line with a length of 490 kilometers was put into operation, connecting the towns of Pevek and Bilibino. The line increased the reliability of energy supply from the FNPP to both Bilibino consumers and mining companies, the largest of which is the Baimsky GOK. The comprehensive development of the Russian Arctic is a national strategic priority. To increase the NSR traffic is of paramount importance for accomplishment of the tasks set in the field of cargo shipping. This logistics corridor is being developed due regular freight voyages, construction of new nuclear-powered icebreakers and modernization of the relevant infrastructure. Rosatom companies are actively involved in this work. Rosatom Fuel Company TVEL (Rosatom Fuel Division) includes companies fabricating nuclear fuel, converting and enriching uranium, manufacturing gas centrifuges, conducting researches and producing designs. As the only nuclear fuel supplier to Russian NPPs, TVEL supplies fuel for a total of 75 power reactors in 15 countries, for research reactors in nine countries, as well as for propulsion reactors of the Russian nuclear fleet. Every sixth power reactor in the world runs on TVEL fuel. Rosatom Fuel Division is the world’s largest producer of enriched uranium and the leader on the global stable isotope market. The Fuel Division is actively developing new businesses in chemistry, metallurgy, energy storage technologies, 3D printing, digital products, and decommissioning of nuclear facilities. TVEL also includes Rosatom integrators for additive technologies and electricity storage systems. Rosenergoatom, Joint-Stock Company is part of Rosatom Electric Power Division and one of the largest companies in the industry acting as an operator of nuclear power plants. It includes, as its branches, 11 operating NPPs, including the FNPP, the Scientific and Technical Center for Emergency Operations at NPPs, Design and Engineering as well as Technological companies. In total, 37 power units with a total installed capacity of over 29.5 GW are in operation at 11 nuclear power plants in Russia. Machinery Manufacturing Plant, Joint-Stock Company (MSZ JSC, Elektrostal) is one of the world’s largest manufacturers of fuel for nuclear power plants. The company produces fuel assemblies for VVER-440, VVER-1000, RBMK-1000, BN-600,800, VK-50, EGP-6; powders and fuel pellets intended for supply to foreign customers. It also produces nuclear fuel for research reactors. The plant belongs to the TVEL Fuel Company of Rosatom.

Rosatom obtained a license for the first land-based SMR in Russia

On April 21, Rosenergoatom obtained a license issued by Rostekhnadzor to construct the Yakutsk land-based SMR in the Ust-Yansky District of the Republic of Sakha (Yakutia).

ROSATOM and FEDC agree to cooperate in the construction of Russia's first onshore SNPP

ROSATOM and FEDC have signed a cooperation agreement to build Russia's first onshore SNPP in Yakutia.

Rosatom develops nuclear fuel for modernized floating power units

Rosatom has completed the development of nuclear fuel for the RITM-200S small modular reactor designed for the upgraded floating power units.

SZA announces SOS Tour dates dates for Australia and New Zealand with SiR

SZA announces SOS Tour dates dates for Australia & New Zealand

Over the past year, SZA has been dominating the industry. 2023 was headlined by the massive success of her releasing her highly anticipated sophomore album, “ SOS , in December 2022. 23 songs were released, which contained hit such as “ Shirt ,” “ Snooze ,” as well as the Billboard Hot 100 chart-topping “ Kill Bill .” Moreover, SZA collaborated with Travis Scott, Don Toliver, Phoebe Bridgers, and the late Ol’ Dirty Bastard. Therefore, SOS went on to debut atop the Billboard 200, and became SZA’s first number one album.

Furthermore, SOS resulted in SZA earning three more Grammys , in February. Those were in the categories of Best Contemporary R&B Album (SOS), Best R&B Song (Snooze), and Best Pop Duo/Group Performance (Ghost In The Machine featuring Phoebe Bridgers.”

Meanwhile, SZA is continuing her SOS Tour, which she initially ventured on, in 2023. This time, she is performing throughout Australia and New Zealand. This is set to officially kick off on April 15, in Auckland, NZA. Auckland will host the first three shows of this tour. The final date of the tour will conclude on April 30, in Melbourne, Australia.

SiR will also be a special guest performer, as he’s SZA’s Top Dawg Entertainment label mate. His own Bad Karma Tour with TDE’s Zacari is also coming, this summer.

Check out the New Zealand Australian dates for SZA’s SOS Tour, below.

The post SZA announces SOS Tour dates dates for Australia and New Zealand with SiR appeared first on Hip Hop Vibe .

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Masters 2024 Leaderboard: Latest updates on golf leaders as Friday wraps at Augusta

Editor's note: Follow live coverage of the Masters, leaderboard, highlights and more.

The second round of The 2024 Masters begins with Bryson DeChambeau at the top of the leaderboard as Friday's action begins.

Round 1 of the Masters tournament got off to a rough start due to heavy rain and thunderstorms, which caused a delay of two and a half hours. The day's first tee-off time was at 10:30 a.m. ET when Erik van Rooyen and Jake Knapp began the tournament.

The final group of the first day, which included Dustin Johnson, Collin Morikawa, and Tommy Fleetwood, didn't tee-off until 4:30 p.m. ET. Golfers, including Tiger Woods, were up bright and early to finish the first round that was suspended for the evening.

After Friday's Round 2 action's results, the top 50 players on the leaderboard will advance from a field of 89.

Join us for live coverage of Day 2 of the 2024 Masters Tournament.

The 2024 Masters Leaderboard 2024:

• T-1. Scottie Scheffler (-6)
• T-1. Bryson DeChambeau (-6)
• T-1. Max Homa (-6)
• 4. Nicolai Højgaard (-4)
• T-5. Cameron Davis (-3)
• T-5. Collin Morikawa (-3)
• 7. Ludvig Åberg (-2)
• T-8. Matthieu Pavon (-1)
• T-8. Cameron Young (-1)
• T-8. Tommy Fleetwood (-1)
• T-8. Danny Willett (-1)
• T-8. Ryan Fox (-1)
• T-8. Byeong Hun An (-1)
• T-8. Cameron Smith (-1)

Masters Leaderboard: Full updated scores for Augusta leaders

The 2024 Masters Tournament morning tee times: Day 2 Friday

Group 1 tees-off at 8 a.m. ET: Lee Hodges, Adrian Meronk, Grayson Murray

Group 2 tees-off at 8:12 a.m. ET: Camilo Villegas, Denny McCarthy, Cameron Davis

Group 3 tees-off at 8:24 a.m. ET: Mike Weir, Ryo Hissatsune, Neal Shipley (A)

Group 4 tees-off at 8:36 a.m. ET: Vijay Singh, Si Woo Kim, Emiliano Grillo

Group 5 tees-off at 8:48 a.m. ET: Fred Couples, Adam Hadwin, Stewart Hagestad (A)

Group 6 tees-off at 9 a.m. ET: Justin Rose, Eric Cole, Peter Malnati

Group 7 tees-off at 9:12 a.m. ET: Akshay Bhatia, J.T. Poston, Shane Lowry

Group 8 tees-off at 9:24 a.m. ET: Bubba Watson, Nicolai Højgaard, Adam Schenk

Group 9 tees-off at 9:36 a.m. ET: Patrick Reed, Sungjae Im, Kurt Kitayama

Group 10 tees-off at 9:48 a.m. ET: Keegan Bradley, Matthieu Pavon, Tyrrell Hatton

Group 11 tees-off at 10:06 a.m. ET: Adam Scott, Sam Burns, Cameron Young

Group 12 tees-off at 10:18 a.m. ET: Tiger Woods, Jason Day, Max Homa

Group 13 tees-off at 10:30 a.m. ET: Brian Harman, Brooks Koepka, Tom Kim

Group 14 tees-off at 10:42 a.m. ET: Jordan Spieth, Ludvig Åberg, Sahith Theegala

Group 15 tees-off at 10:54 a.m. ET: Dustin Johnson, Collin Morikawa, Tommy Fleetwood

Group 16 tees-off at 11:06 a.m. ET: Erik Van Rooyen, Jake Knapp

Group 17 tees-off at 11:06 a.m. ET: José María Olazábal, Taylor Moore, Santiago de la Fuente (A)

Group 18 tees-off at 11:30 a.m. ET: Danny Willett, Austin Eckroat, Stephan Jaeger

Group 19 tees-off at 11:42 a.m. ET: Charl Schwartzel, Luke List, Christo Lamprecht (A)

Group 20 tees-off at 11:54 a.m. ET: Gary Woodland, Thorbjørn Olesen, Bryson DeChambeau

Group 21 tees-off at 12:12 p.m. ET: Zach Johnson, Corey Conners, Jasper Stubbs (A)

Group 22 tees-off at 12:24 p.m. ET: Sergio Garcia, Chris Kirk, Ryan Fox

Group 23 tees-off at 12:36 p.m. ET: Lucas Glover, Byeong Hun An, Harris English

Group 24 tees-off at 12:48 p.m. ET: Phil Mickleson, Sepp Straka, Tony Finau

Group 25 tees-off at 1 p.m. ET: Nick Taylor, Joaquín Niemann, Russell Henley

Group 26 tees-off at 1:12 p.m. ET: Patrick Cantlay, Min Woo Lee, Rickie Fowler

Group 27 tees-off at 1:24 p.m. ET: Hideki Matsuyama, Will Zalatoris, Justin Thomas

Group 28 tees-off at 1:36 p.m. ET: Jon Rahm, Matt Fitzpatrick, Nick Dunlap

Group 29 tees-off at 1:48 p.m. ET: Scottie Scheffler, Rory McIlroy, Xander Schauffele

Group 30 tees-off at 2 p.m. ET: Wyndham Clark, Viktor Hovland, Cameron Smith

The 2024 Masters Tournament schedule and how to watch

The Masters begins Thursday, April 11 and run through Sunday, April 14.

Round 2: Friday, April 12

• Starting at 8:30 a.m. ET
• TV coverage: 3-7 p.m. ET
• Channel: ESPN
• Streaming: Masters.com (simulcast), CBSSports.com (desktop and mobile), CBS Sports App (desktop and mobile), ESPN+, Paramount+

How to watch: Catch Masters action with an ESPN+ subscription

Round 3: Saturday, April 13

• Starting at 10 a.m. ET
• Channel: CBS
• Streaming: CBSSports.com (simulcast), Paramount+ (simulcast), CBS Sports app (simulcast)

Round 4: Sunday, April 14

• TV coverage: 2-7 p.m. ET

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2024 Masters leaderboard: Max Homa stars, Bryson DeChambeau holds alongside Scottie Scheffler after Round 2

It may -- or may not -- be a three-horse race to the finish at augusta national with scheffler, dechambeau and homa out in front of the field.

He wasn't the headliner coming into the week, hell, he wasn't even the headliner in his own grouping, but Max Homa finds himself center stage heading into the weekend at the 2024 Masters. Playing alongside Tiger Woods the first two days, the Californian put together a sensational effort and finds himself in a share of the lead at 6 under alongside Scottie Scheffler and Bryson DeChambeau.

Homa is naturally the underdog of the three Americans atop the leaderboard. Scheffler has the form, DeChambeau has the power, but that won't render Homa without advantages of his own over the weekend as a new secret weapon of his has emerged at Augusta National.

"I'd like to maintain this outlook I have on how I'm playing golf," Homa said. "Good shot, bad shot, doesn't really matter. Did I go through my process; did I commit to my shot? And once it takes off, I might as well close my eyes. I'd like to see if I can continue to do that this weekend. I think that's something I would like to take with me going forward.

"... Just having a bit of moxie, I guess. I feel like I showed it the last couple days, especially [Thursday] the first few holes playing with Tiger in front of a lot of people at the Masters and played some great golf. So, I know I have that one in me. I'd like to see if I have the mental discipline for a whole week. I'm going to hope for that one."

The 33-year-old was brilliant next to his childhood hero across the first 36 holes, thanks in large part to this discipline. Putting the finishing touches on a first-round 67 Friday morning, Homa experienced a quick turnaround for his second round and found red figures once again in the form of a 71.

He got a front row seat to Tiger's 24th consecutive made cut , but Woods also got a front row seat to Homa's major coming out party.

"He's got all the talent in the world," Woods said of Homa. "I got a chance to play with him at the Open Championship at St. Andrews, and his ball flight, as solid as he hits it, it's just a matter of time before he starts winning in bunches. I saw it up front; he doesn't really mishit shots. That's something you just have to do around this golf course."

Homa has certainly done that and as a reward will enter the weekend in a major championship not only with a chance to win but with his name atop the leaderboard. Just recently cashing his first major top 10 at the 2023 Open, where he entered through the backdoor, Homa has never been one to take the direct route.

He found his footing on the professional level later than his peers. It took him time to figure things out. But once he got the experience, there was no denying him. He has been a gamer on the U.S. Presidents Cup team and a lone bright spot on the U.S. Ryder Cup team. Homa has won big-time tournaments at major championship venues like Riviera and Quail Hollow. 

He has done just about everything there is to do in the game except contend in major championships. Homa will check that box off this weekend, that is for sure, and if this mental discipline and moxie of his persists, he may well check off another.

Watch the final two rounds of the 2024 Masters continuing Saturday as Round 3 will air live from 3-7 p.m. on CBS. You can also stream the entire round with  Masters Live  as we follow the best golfers in the world through Augusta National with  Featured Groups , check in at the famed  Amen Corner  and see leaders round the turn on  holes 15 & 16 . Watch live on  CBSSports.com , the  CBS Sports app  and  Paramount+ .

2024 Masters leaderboard, Round 2

T1. Max Homa, Bryson DeChambeau, Scottie Scheffler (-6): What an immense group. There's a little bit of everything for everyone among the leaders. Scheffler is going to über steady, DeChambeau is going to be a show, and Homa is going to be a bit of an unknown. What we do know is these three guys are certainly playing the best golf as Scheffler ranks first from tee to green, DeChambeau ranks first in ball striking and Homa ranks first in greens in regulation. 

T4. Nicolai Højgaard (-4): The young Dane is holding tough thanks to some serious scoring upside. Højgaard has carded 11 birdies along with seven bogeys and 18 pars to get himself in the mix in his Masters debut. He had gotten as low as 6 under on Friday, but a pair of dropped shots over his last two means that he will feature in the chasing pack and not the leading.

T6. Collin Morikawa, Cameron Davis (-3): Morikawa has been average in 2024, largey because his iron play has been lackluster. It has been much improved this week -- fifth in strokes gained approach -- but a new putter in the bag has been the true difference-maker. The two-time major champion gained nearly three strokes putting while posting his second-round 70.

"This is exactly where I'd want to be," Morikawa said. "Obviously, I'd rather be a little lower and closer to the lead, but for right now, after I've been playing the past kind of month, I'm very, very happy. It feels like I have control of the golf ball, and that's the biggest thing. My irons have been holding me back, and normally that's not the case. It's kind of nice to just hit some quality golf shots."

7. Ludvig Åberg (-2): The only man to break 70 on Friday was the man who is making his major championship debut. Åberg had everything rolling in his second round as he ranked first in ball striking and seventh in strokes gained putting en route to a 3-under 69. Making six birdies, the young Swede filled it up on a day few did. He now finds himself inside the top 10 and in with a chance to become the first debutant to win the Masters in 45 years.

"Me and Joe [Skovron] talked about [hitting away from pins] quite a lot today and just tried to give ourselves chances," Åberg said. "You would prefer to putt from 40 feet than chip from 12. I think a lot of those times we're not necessarily trying to go for the pin, we're just giving ourselves chances, especially when the conditions are tough."

T8. Cameron Young, Tommy Fleetwood, Cameron Smith and four others (-1): Thirty-six of the last 37 Masters champions were inside the top 10 at the halfway point, meaning this group is still very much alive. Only five strokes off the pace, a number of major championship stalwarts find themselves with a conceivable path to Butler Cabin. Fleetwood has gone 72-71 across the first two days and is well-suited for the weekend test. He's got a couple major championship scoring records, but those performances have come too late in the competition.  

T15. Xander Schauffele, Patrick Reed, Matt Fitzpatrick and four others (E): Consider Schauffele lurking. The world No. 5 hasn't been all world the first two days, but he has been good enough to give himself a chance heading into the weekend. He's got four birdies and four bogeys to go along with a whole lot of pars which are never a bad thing in major championships. The bad news is he will not have the luxury to par Augusta National to death given the deficit. 

T22. Tiger Woods and Eric Cole (+1): Woods put on a short-game clinic the first two days. Getting up-and-down from just about everywhere throughout Augusta National, the five-time champion not only made the cut for a record 24th consecutive time, he gave himself a chance to post a really quality result. Woods has hit 22 fairways through 36 holes, his best mark at the Masters since 1999 (!), but the iron play has not been vintage Tiger-like; it's has been holding him back from going under par.

"I have a chance going into the weekend," Woods said. "I'm here. I have a chance to win the golf tournament. ... I got my two rounds in. Just need some food and some caffeine, and I'll be good to go."

T24. Brooks Koepka, Tyrrell Hatton, Patrick Cantlay and three others (+2): Koepka will need a big one tomorrow, but it's not out of the realm of possibility. He looks very close after two rounds of 73 and will just need to piece the entirety of his game together for a memorable Moving Day. After struggling most of the season on the greens, the five-time major champion took a big step with the putter on Friday.

Rahm rolls in another

The defending champion gets another one when it matters the most. Making birdie from down below on No. 16, Rahm should make his way into the weekend. 

Rahm rolls one in

That's a big one from the defending champion. Jon Rahm makes birdie on the par-5 15th to get back inside the cut number at 5 over. He stands there alongside the likes of Viktor Hovland and Joaquin Niemann as well. There is no room for error.

Rahm now outside the cut line

Welp, the defending champion is in danger of missing his first cut at the Masters. A 3-putt double bogey has Jon Rahm at 6 over and one outside the cutline with four holes to play. The good news is he now steps to a par 5, but the bad news is it is still windy as hell.

Scheffler doesn't get lucky this time on 13

After somehow not finding Rae's Creek on Thursday, Scottie Scheffler finds it on Friday. Our leader is wet on the par-5 13th and will be scrambling for par to remain one clear of Bryson DeChambeau and Max Homa who are in the house. Not many low scores out there, but Matt Fitzpatrick is one of them hanging tough at 2 under.

Bryson gets in at 6 under

The first-round leader shoots 1-over 73 in Round 2 and finds himself in a share of the clubhouse lead with Max Homa. Where he stands heading into the weekend is very dependent on what Scottie Scheffler does who is 7 under through 11. Bryson was great again, but he missed a number of putts that were holed yesterday — the main difference.

Rory wet on 11

The par 4 is nearly playing to an average of 5 and it's because of shots like that from Rory McIlroy. From the middle of the fairway, McIlroy hits a wall of wind and his ball gets pushed into the pond lining the front left of the green. He hopes to save bogey which would put him at 2 over for the tournament. Looks like the cutline is settling at +5 so he should be safe of that. Should.

Scheffler jumps into a share

Two birdies in his last three holes have Scottie Scheffler in a tie for the lead at 7 under. The world No. 1 bombed a drive down the 10th setting up a wedge approach from a flat lie. He took advantage with a sensational approach and another birdie to tie Bryson DeChambeau who is in some trouble on 16.

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