#Argonauta

[herpsandbirds]

Brown Paper Nautilus aka Winged Argonaut (Argonauta hians), riding a jellyfish, family Argonautidae, Anilao Janao Bay, Philippines

photograph by Dennis Corpuz

[earsplittingtrumpet]

My SF collection - 3/?

Old portuguese Philip K. Dick translations

[sinceileftyoublog]

TORRES, My Brightest Diamond, & Aisha Burns Live Show Review: 1/18, Lincoln Hall, Chicago

TORRES' Mackenzie Scott

BY JORDAN MAINZER

Many times throughout TORRES' set Thursday night at Lincoln Hall, Mackenzie Scott remarked how polite the audience was. While we're from the Midwest and are certainly very nice, I think we were just enraptured. First and foremost, Scott is an intense songwriter whose lyrics are diaristic, who puts her whole body into her guitar playing. Live, she demands attention. You never know when she's going to scream--she chose a good moment on "Helen in the Woods"--or show vulnerability with a creaky falsetto, like on love devotional "Gracious Day". Meanwhile, her scraggly guitars followed her vocal delivery on "Skim", as she shredded, leaning towards the crowd. Her atonal laying on "Sprinter" provided a sharp contrast to J.R. Bohannon's shimmery pedal steel. Over 10 years into playing as TORRES, traversing aesthetics and soundscapes, Scott has developed the stage presence to match the ferocity of the songs themselves.

From left to right: J.R. Bohannon, Rosie Slater, Scott, & Erin Manning

But then there was another reason we wanted to remain silent and soak it all in: the new TORRES songs from What an enormous room, out this Friday via Merge. For many in the crowd, this past Thursday was the first time hearing tunes bound to become new favorites in the catalog. I watched smiles form on the faces of folks realizing the plucky "Jerk into joy" will become an anthem, as Scott sang, "What an enormous room / Look at all the dancing I can do!" As as it was the band's second night playing these songs on tour, each member relished their opportunities to stand out, from Rosie Slater's driving drums on "Forever home" to Erin Manning's fried synths on "Happy man's shoes". Towards the end of the set, someone yelled, "Play 'Honey'!," referring to the song that made many of us fall in love with TORRES' music in the first place. They never played it. Had this been the last time TORRES played Lincoln Hall, I might have walked away disappointed. But years later, 6 records in, Scott's catalog runs deep enough that the supposed enormity of "Honey" is a small hike compared to the canyon sounds of her most recent material.

My Brightest Diamond

Jake Woodruff (left) & Aisha Burns (right)

Opening for TORRES was two artists who haven't released full-length albums since 2018 but are experimenting live with new material: My Brightest Diamond, the long-running chamber folk project of singer-songwriter Shara Nova, and multi-instrumentalist/former Balmorhea member Aisha Burns. Nova played solo, using percussion backing tracks and samples, walking out to the audio clip of the late, great Sinead O'Connor saying, "Fight the real enemy" on Saturday Night Live after tearing a picture of Pope John Paul II following her a capella rendition of Bob Marley & The Wailers' "War". Many of Nova's songs, both new and old, responded to O'Connor's fearless spirit. Nova's vocals were show-stopping on "Fight the Real Terror (for Sinead)", controlled over the harmonics of the recorded drums on "Imaginary Lover". Finger-snapping new single "Black Sheep" expanded on themes of ostracization and its oft-permanence even when the court of public opinion changes its mind, pertinent to O'Connor's story. In context, All Things Will Unwind standout "Be Brave", too, acted in spirit with Nova's newer material. "Imagine all the flutes and bass clarinets," Nova quipped to old-school My Brightest Diamond fans, but she didn't need to ask us; lines like, "Shara, this is going to hurt," tugged at our emotions more than any instrumentation could.

Woodruff & Burns

Really, it was up to Aisha Burns to yield happy tears from instruments. Accompanied by guitarist Jake Woodruff, she graced us with atmospheric loops, violin, guitar, and falsetto vocals. Songs from 2018's Argonauta (Western Vinyl) hypnotized the crowd, the dual guitar sway of "I Thought I Knew You Well" and impassionedly picked and sung "We Were Worn". And yes, she performed her great cover of Chris Isaak's "Wicked Game", her vibrato and vocal harmonies with Woodruff standing tall against the sensuousness of the original. The performance got me excited for whatever comes next for Burns, whether original material or more clever covers.

Woodruff & Burns

[loslibrosdefede]

Hermann Hesse - Demian #hesse #hermannhesse #demian #literaturaalemana #argonauta #librosusados #librosantiguos #loslibrosdefede https://www.instagram.com/p/Cn-sZ_3Lxl7/?igshid=NGJjMDIxMWI=

[emvisual]

Os acordáis de los Argonautas del Señor de los Anillos. Pues en 1921 ya estaban colocados en Ohio. El puente se llama Hope Memorial Bridge. A las estatuas las llaman Los Guardianes del Tráfico.

En Usamerica, claro. Donde todo se hace a lo bestia.

[ciaomilhouse]

O barco, meu coração não aguenta Tanta tormenta, alegria Meu coração não contenta O dia, o marco, meu coração, o porto, não

Navegar é preciso, viver não é preciso Navegar é preciso, viver não é preciso

O barco, noite no céu tão bonito Sorriso solto perdido Horizonte, madrugada O riso, o arco, da madrugada O porto, nada

Navegar é preciso, viver não é preciso

[charring58]

Argonauta argo, also known as the greater argonaut, is a species of pelagic octopus belonging to the genus Argonauta. The Chinese name for this species translates as "white sea-horse's nest".[2]

[aticketplz]

タコブネー！！！！！！！！！！！！！！！！！！！！！！！

ずっと見てみたかった！めちゃくちゃ嬉しい！

予想の8億倍かわいかった

真価はこの動きにあると思うので絶対に動画もみて

@幼魚水族館

I was finally able to see the organism called 'Takobune' (E: Winged Argonaut) that I've always wanted to see. It was 800 million times cuter than I expected. Please take a look at her adorable movements.

@Yo-gyo Aquarium

[lesdeuxmuses]

Godzilla In The Kitchen - Exodus (Argonauta Records, 2022)

[thetoxicvault]

Columbarium is a heavy Doom combo from Zwevegem / Belgium - as our good friend William Nijhof from funeral doomband FAAL stated: 'A great combi between brutal and miserable!' ...

'The Morbidious One' is the bands debut full album. It includes two guest vocalists: Michelle Nocon (Of Blood And Mercury, ex-Bathsheba, ex-Death Penalty, ex-Serpentcult) has written and performed the chant on 'Barefoot On The Moon' and Tabasco Esmee (Tyrant's Kall) has contributed to 'Eyes Bleed Black'

Credits: Releases September 29, 2023 on ARGONAUTA RECORDS

Written, performed & recorded by Columbarium Mixed & Produced by Lander Cluyse at Hearse Studio, Heule, BE Cover design by Vladimir Chebakov Logo design by Bram Bruyneel The first single "Rivers Of Blood" was released as an cassette single by "Dust and Bones", an underground DIY label from Belgium, dedicated to help and release local bands no matter what genre. They previously released bands such as; Grotto, Splendidula, Moa, Tephrosis, Left Eye Perspective, Low Mad, The Curse Of Millhaven, Sleepwulf, Panphobia, Mark My Way, Crowsview...

COLUMBARIUM

The Morbidious One (2023)

Argonauta Records

Zwevegem / Belgium 🇧🇪

#columbarium #the morbidious one #doom death metal #doomed #doomed & stoned #metal #doom #doom metal #Zwevegem #Belgium #Dust and Bones #Argonauta Records #2023

@1000deleting @grungenoisestoneraddicted @gloria-glitter @metalgreg @goblinkleaver

[doomedandstoned]

Enchanted Paris Doom Trio WITCHORIOUS Premieres Astounding Full-Length

~Doomed & Stoned Debuts~

By Billy Goate

This debut LP by WITCHORIOUS is without doubt one of the finest doom metal offerings the year has given us. Antoine Auclair (guitar/vocals), Lucie Gaget (bass/vocals), and Paul Gaget (drums) have assembled a thoughtful collection of 10 tracks that draw upon the themes of classic horror and traditional doom metal, with prolific drumming, sinister guitar, and surreal atmosphere.

We begin with the ominous "Monster," which is surely the musical equivalent to a brooding stormfront. Each instrument brings its unique powers to the whole, generating a menacing sound that got me slow headbanging immediately. Vocals have the same Medieval gruff as classic Morgoth, full of prophetic dread.

The roars of "Catharsis" approach Domkraft levels of fierceness. With male and female vocals in the chorus, the effect is mesmerizing. The track following this is deeply atmospheric, with its fuzz-filled intro and repeated arpeggios forming a thick haze that bedazzles the listener into a strange, trancelike state. Appropriate considering this is "The Witch."

"Blood" is deliriously good. Again the riffs are on point! You'd have to go back to BelzebonG's Sonic Scapes & Weedy Grooves to find riffs this pure. The beat never lets up; it's a steady driver all the way through, keeping the narrative moving forward. Verses feature another lusty vocal performance and the chorus has tons of heart. I was happy there was room for a guitar solo.

"Eternal Night" has an unsettling vibe akin to the band Demon Lung. When the solo erupts towards the end, it sounds like something between a siren and a sax, but it could be a guitar effect or synthesizer. Whatever it is, it's effective in bringing a chilling climax to the moment.

Once again, it's the vocals that make a song like "Sanctuaire" so convincing -- and this is to say nothing of the incredible drumming, subtle basswork, and atmospheric guitar play. Even the sequence of "heys" at 4:31 were dripping with the angst of instability, making me think of Kurt Cobain and Mark Arm.

After a brief interlude ("Amnesia") we're ushered into the album's final three songs. The vocal attack on "Watch Me Die" is just savage, utterly convincing, and the doomy guitar chords match the mood. "To The Grave" is chill by contrast, with acoustic strumming that allow Antoine and Lucy to vary their vocal delivery and range, as they're not competing with loud instruments.

Finally, comes "Why" (the longest track after "Sanctuaire" at 7:20). This one has a grooving bassline, bittersweet riffmaking, slappin' drums, and clear, sincere singing with a certain Ozzyesque mystique. The guitar solo is soulful and grungy with plenty of stoner sway.

Witchorious drops Friday, February 16th on vinyl, CD, and digital via Argonauta Records (get it here). Don't pass this one by! Stick it on a playlist with Amen-Ra, Beastmaker, Lord Vicar, Famyne, and Purple Hill Witch.

Give ear...

SOME BUZZ

Witchorious is a doom metal band from Paris, France. Founded in 2019, the trio is composed of Antoine Auclair (guitar/vocals), and brother and sister Paul (drums) and Lucie (bass/vocals) Gaget. Their first two singles “3 AM” and “Evil Creature” came out of darkness in 2020.

Their music blends bluesy riffs inherited from Black Sabbath, aggressive sounds supported by fuzzy bass lines in the likes of Electric Wizard, and intense atmospheres inspired by bands like Amenra and Mastodon. All this led by adventurous and solid drums, spawning modern chaotic doom metal songs with enraged vocals. Between screams and whispers, Antoine and Lucie’s voices have us travel from incantations to outpouring of despair. Each track will immerse you in the darkness of your mind, where you will keep looking for answers.

Dying to meet their audience, Witchorious played more and more gigs and opened for The Wytches in Paris and Westill Fest in November 2023. Witchorious’s debut album will be released in February 2024 through Italian label Argonauta Records. The album was recorded in Paris at Studio Sainte-Marthe by Francis Caste and contains 10 tracks that address psychic duality, human vice, and the inevitable fate of the world along with hellish fuzzy riffs.

Says the band:

"Initially, after the release of our double single, we were thinking of releasing a first 5-track EP. However, the health crisis dragged on and writing, like most bands, became our main activity. The writing of the album took around two years, with numerous arrangements on the tracks. The initiative for a track usually comes from a guitar riff and the vocals, and then we get together and each of us adds its own touch. We transform the song, the rhythm, its structure, until it sounds ‘Witchorious’. We wanted to create more modern sound and structures to avoid doing doom that we’ve all heard before.

"In the lyrics, we express our frustrations and self-awareness. The album deals with mental conflicts and psychological distress, the influence of human beings on their environment and on others... We were also keen to develop the character of the witch, who for us is a figure that represents oppressed minorities, whatever they may be. The witch frightens, disturbs and revolts, but at the same time fascinates and survives through the ages. We’ve had a lot of fun with the clichés of the genre, particularly around everything religious and satanic, because it creates an occult atmosphere that we love.

"This album is a concentration of our influences, a first step towards showing who we are, what our sound identity is, and what we have to say. By the time the album was recorded, the songs had really matured, and we fully focused on sound and ambiance. Francis helped us emphasize the evil aspect of the compositions, to make the whole thing sound really haunted."

Follow The Band

Get Their Music

[earsplittingtrumpet]

My SF collection - 2/?

Colecção Argonauta - very old ones

[thefreaklovesmusic]

Favna Abisal - Argonautas

[hadalzonee]

they said "draw your favorite invertebrate" i said "say no more"

[visionescontemporaneas]

El libro Visiones Contemporáneas: Últimas tendencias del cine y el vídeo en España (2013-2022) compila diez años del proyecto expositivo con el mismo título que tiene lugar en el DA2 Centro de Arte Domus Artium 2002 de la ciudad de Salamanca, convertido en referente de estas prácticas artísticas. Ofrece un análisis exhaustivo de las treinta exposiciones y artistas que han pasado por el proyecto desde el año 2013: Félix Fernández, Alex Reynolds, Chus Domínguez, Albert Alcoz, Arrieta / Vázquez, Laida Lertxundi, Left Hand Rotation, Eli Cortiñas, Víctor Iriarte, Regina de Miguel, Lois Patiño, Momu & No es, Eloy Domínguez Serén, Las chicas de Pasaik, María Ruido, Rosana Antolí, Diana Toucedo, Dora García, Elena López Riera, David Domingo, Núria Güell, Lúa Coderch, María Cañas, Carles Congost, Maddi Barber, Tuixén Benet, Cristina Lucas, Greta Alfaro, Ana Esteve Reig y Andrés Duque, realizado por los autores y comisarios del proyecto, Enrique Piñuel y Natalia Piñuel (Playtime Audiovisuales)

Sin duda este libro sirve como guía y testimonio para conocer la producción audiovisual contemporánea en nuestro país más allá del cine comercial. La publicación cuenta además con las firmas invitadas de Tate Díez (responsable de exposiciones de Fundación Salamanca Ciudad de Cultura y Saberes) y Pablo Martínez (investigador en el CSIC y exdirector de los programas y actividades culturales de los museos MACBA de Barcelona y CA2M en Madrid).

Disponible a la venta en La librería El Argonauta de Madrid y en la tienda del DA2 Salamanca.

También online aquí - https://www.elargonauta.com/libros/visiones-contemporaneas-ultimas-tendencias-del-cine-y-el-video-en-espana-2013-2022/978-84-09-47135-5/