#Aural Sects

[valyrra]

"You will join me after your death." - Quan Chi

mods used: ermaccer | nvidia ansel

[apolloandthealiens]

❄️ Espectro de Hielo ❄️

[bankruptcy-fraud-lawyer]

Federal Crimes Lawyer

A federal crime lawyer or fraud defense lawyer is essential if you're facing federal charges related to fraud, embezzlement, or other white-collar crimes. Perlman Defense Federal Criminal Lawyers is the legal professionals who have the expertise to navigate the complex federal laws and regulations. With their help, they can build strong defenses, challenge evidence, and negotiate favorable plea deals. Given the serious nature of these charges, which may include significant fines and imprisonment, seeking legal counsel is indeed crucial. Seek help from Perlman Defense Federal Criminal Lawyers, the best federal crime lawyer or fraud defense lawyer. They specialize in various areas. Let them help you, call (866) 839 4497.

Los Angeles, CA - A Hollywood Land

Los Angeles, CA, originally known as the Hollywood land is a melting pot of the diverse population of Americans, Asians, Hispanics, and other young people ethnicities. With almost 20% under 18, it's a popular destination for families. The city also boasts one of the most diverse Buddhist sects in the world, with 184 Buddhist centers. The Pacific Wheel in Santa Monica is the only solar-powered Ferris wheel in the world. Most famous palm trees in Los Angeles originated in Mexico, imported in the early 1930s. In the coming 2028, the city will host the Summer Olympics, marking the third time it has hosted the event.

Walt Disney Concert Hall

This Walt Disney Concert Hall was designed by Frank Gehry. It's the latest addition to the Music Center's four venues. It was built after Lillian B. Disney donated $50 million to build additional performance space to honor her late husband, Walt Disney. The concert hall is a sophisticated concert hall in the world that offers both visual and aural intimacy. The exterior features over 6,000 panels, creating a curving stainless steel skin that plays off the Dorothy Chandler Pavilion's bowed cornice. The interior uses natural materials and skylights, with massive columns clad in vertical grain Douglas fir. The 2,265-seat auditorium is a concrete box with walls made of Douglas fir and red oak floors.

Goldfish, Changed of Brand

I read from the news that Goldfish, a popular cracker brand, is changing its name to "Chilean Sea Bass" to appeal to adults. The change is a playful nod to the snack's appeal to grown-up tastes. Fans can purchase two bags of Chilean Sea Bass daily from 9 a.m. to 10 p.m. on ChileanSeaBassCrackers.com for $7.38. Traditional Goldfish can still be purchased at most retailers. According to the company, this temporary name change follows other brands like The Campbell Soup Company, Mountain Dew, Kraft Foods, and IHOP, which have tried to change their branding to reach new audiences.

Link to Map Driving Direction

Walt Disney Concert Hall 111 S Grand Ave, Los Angeles, CA 90012, United States

Head northeast on S Grand Ave toward W 1st St 0.4 mi

Turn left onto the US-101 N ramp 138 ft

Use the left 2 lanes to turn slightly left to merge onto US-101 N 5.5 mi

Take exit 8C for Gower St 0.1 mi

Turn left onto N Gower St 0.3 mi

Turn right onto Selma Ave  Destination will be on the right 0.3 mi

2 min (0.3 mi) Perlman Defense Federal Criminal Lawyers 1601 Vine St Suite 747, Los Angeles, CA 90028, United States

[floral-hex]

Psychic Rites // Singularity

Where does my flesh end/And where does ours begin/And how ought we to know/When to stop

[etrangersvoyageant]

It's been forever since I heard this track and it got stuck in my head, thank you @shisasan. I remember it being released on Aural Sects, a now-defunct label. Anyway, that CharliXCX sample goes hard; Set Me Free indeed. Visit the Bandcamp page to grab it for free.

BLVCK CEILING - set Me free

[hithdra]

BLVCK CEILING - setMefree by AURAL SECTS An exclusive single for Aural Sects from BLVCK CEILING, a remix of Charli XCX's "Set Me Free". Free download below: https://ift.tt/2bDcfgW maxbeta.bandcamp.com https://ift.tt/2bmwrGb

[4chanmusic]

https://soundcloud.com/astrosuka/astrosuka-aural-sects

[mist-spectra]

LIST OF WITCH HOUSE / POST-WITCH HOUSE LABELS AND NETLABELS.

LABELS & NETLABELS (2005-2020)

List with labels & netlabels who released most of their catalogue in witch house & post-witch music. (written by Sábila Orbe, Witch Spectra netlabel founder) 

▲2005-2013: PENDU SOUND (US): 

https://en.wikipedia.org/wiki/Pendu_Sound_Recordings // https://pendusound.com/

▲2007-2013: Disaro (US): https://www.discogs.com/es/label/179188-Disaro (Only Registry)

▲2010---active: Phantasma Disques (Germany): https://phantasmadisques.bandcamp.com/ 

▲2010: Witch Trial (US):  https://www.discogs.com/es/label/283234-Witch-Trial  (Only Registry)

▲2010 – 2011: Haunted Cassette Tapes (US): https://www.discogs.com/es/label/229396-Haunted-Cassette-Tapes (Only Registry)

▲2010 – 2012: Cov3n ov Darkn3ss (Australia) /// [probably unofficial releases]: https://archive.org/details/@cov3n_ov_darkn3ss_witch_house_netlabel_

▲2010-2015: Robot Elephant Records (UK):https://robotelephantrecords.bandcamp.com/

▲2011--Active: Genetic Trance (Ukraine): https://archive.org/details/01_20220719_20220719_2300

▲2011-2011: ▲WI╪CHBØØK▲ (US): https://witchbook.bandcamp.com

▲2011-2013: Tundra Dubs (US): https://www.discogs.com/es/label/220139-Tundra-Dubs (Only Registry)

▲2011-2014: Black Bvs Records (Germany):  https://blackbvsrecords.bandcamp.com/ (full catalogue registry: https://www.discogs.com/es/label/233876-Black-Bus-Records )

▲2011-2014: ODDOT (Russia): Partial Catalogue: https://oddot.bandcamp.com/

// mirror: https://archive.org/details/@oddot

registry: https://www.discogs.com/es/label/441630-ODDOT

▲2011-2016: Aural Sects (US): https://auralsects.bandcamp.com  

▲2011--active: Witch-House (UK): 

https://witch-house.bandcamp.com/

▲2011 – 2016: Pale Noir (US): https://www.discogs.com/es/label/238479-Pale-Noir  (Only Registry)

▲2011 – 2014: ЩIZΛЯD ӨF DΛЯKПΣƧƧ (Alaska)[partially unofficial releases]: 

https://wizardofdarkness.bandcamp.com/ // mirror: https://archive.org/details/vapor-vault?&and[]=subject%3A%22fairbanks%22

▲2011-2012: Baku Shad-do (US) 

https://archive.org/details/baku-shad-do (Partial Catalogue)

https://www.discogs.com/es/label/385048-Baku-Shad-do (Only Registry)

▲2011-2016: ANIMA FARM AURAL (Sweden): https://gzmusic1.bandcamp.com/

▲2012-2023: 💀▼💀 (Japan/Chile): 

https://skulltriangleskull.bandcamp.com/ // 

https://archive.org/details/fav-kawaii_witch

▲2012-2015: Post Religion (UK): https://post-religion.bandcamp.com/

▲2012-2015: Wood & Wire (Australia): https://woodwire.bandcamp.com/

▲2012-2012: I-IALSTEDS (?): https://halsteds.bandcamp.com/

▲2012-2016: Cult Shit Media Blackout (Phillipines): 

https://cultshitmediablackout.bandcamp.com/

▲ 2012-2017: MALIGNA (Mexico): https://maligna.bandcamp.com/

▲2012-2013: Owlcave Records (US): https://owlcave.bandcamp.com/

▲2012-2015: Teapression Waves Record Label (Russia): https://teapressionwaves.bandcamp.com/

▲2013-2015: Diabetic Koala (US): https://archive.org/details/diabetickoala

▲2013-2016: МYТАНТФАНK (Russia): 

https://mutantfunklabel.bandcamp.com

▲2013-2016: Equilateral Records (Chile): https://www.discogs.com/es/label/643471-Equilateral-Records-2 (only Registry) // partial catalogue only for personal usage: https://archive.org/details/equilateral-records

▲2013-2018: TATUANA PRODUCCIONES (Guatemala): 

https://tatuanaproducciones.bandcamp.com/

https://archive.org/details/tatuana-producciones-discography/

https://archive.org/search.php?query=subject%3A%22villa+nueva%22&and%5B%5D=mediatype%3A%22audio%22&and%5B%5D=collection%3A%22vapor-vault%22&sort=-date

▲2014-2016: Grace Promotion (Germany): https://gracepromotion.bandcamp.com/

▲2014--active: Dagger Forest (UK): https://daggerforest.bandcamp.com/

▲2014-2015: UNHOLY TRIANGLE (Russia): https://unholytriangle.bandcamp.com

▲2014-2016: YOUTH1984 (Russia): https://youth1984.bandcamp.com/

▲2015--2020: Hexx 9 Records (USA): https://hexx9records.bandcamp.com

▲2015---active: 93.93 (Serbia): https://9393.bandcamp.com/

▲2015---active: ۩U+06E9۩ (France): https://u06e9.bandcamp.com/

▲2016-2017: Haunted Mansion Netlabel (France):

https://witch-house-netlabel.neocities.org/

https://archive.org/details/haunted-mansion-netlabel-2016-2017

▲2016-2020: Trash Tears (Finland): https://trashtears.bandcamp.com/

▲2016---active: EK4T3 Collective (Italy): https://ek4t3.bandcamp.com/

▲2011---active: Monumental Netlabel (Russia):

https://archive.org/details/mnmnrecords?∧[]=subject%3A%22Witch%20House%22∧[]=subject%3A%22Witch%20Rave%22∧[]=subject%3A%22Cloudtrap%22∧[]=subject%3A%22Darkwave%22∧[]=subject%3A%22Cloudd%20Rap%22∧[]=subject%3A%22Post-WItch%22∧[]=subject%3A%22Wave%22 (partial catalogue with witch & similar genre releases)

▲2017---2020: Unnatural Vibes (Chile): https://unnaturalvibes.bandcamp.com/

▲2017-2019: Witch Dragons/Witchcore (Russia): https://witchcore.bandcamp.com/ 

https://vk.com/witchdragons

▲2018----Active: Lambent Indications (US): https://lambentindications.bandcamp.com/

▲2017-2021: Witch Spectra (Chile): https://witchspectra.bandcamp.com/ 

https://archive.org/details/fav-witch_spectra

▲2017-2023: POST-WITCH MUSIC (Chile): 

https://new-age-vapor-witch.bandcamp.com/

▲2018---active: NƎCЯʘMΛNCIΛ (Brazil):  

https://necromancia-darkmusic.bandcamp.com/

▲2020---active: Civic Duty Records (US): https://civicdutyhandshake.bandcamp.com/

LIST CLOSED!

[stillness-in-green]

Idk if anyone told you but the MVA OST leaked, with themes for both the League and the MLA. If you haven't listened to it yet, please do! And if you have, what are your thoughts? I think Mine Woman and RE-DESTRO slap for 2 characters that got shafted hard by canon so I appreciate them a lot.

I have listened to them, and I like several of them! I feel like I need to lead with that, because I'm about to add some criticism about my previous responses to BNHA's score for context, so it's important to know that I genuinely do enjoy quite a few of these.

So, I haven't listened to a lot of Yuki Hayashi's scores, but he's definitely done work I've liked! He composed the music for several of the more recent PreCure shows, including their movies; I particularly loved his finale for the 15th anniversary film, which prominently featured a truly delightful medley of every team's opening theme. I'm also very fond of some of his pieces for Kiznaiver and Welcome to the Ballroom.

His BNHA work, though, I feel like suffers from two main problems: the tracks are too short to work up a good head, and yet, despite that short length, they sometimes feel exhaustingly over the top. (Did Shigaraki's theme really need crying children to get across the point that he's bad news?) I've long felt that the BNHA anime wants me to feel like everything is way more Epic and Stirring and Dramatic than I actually find the material to be, so curiously, the music winds up having a distancing effect rather than drawing me in. This is frequently compounded by placement choices that feel so staggeringly poor that I'm often left wondering whether the staff chose the music out of a hat! (Seriously, why does a fairly rote test of character in Nighteye's office warrant doom choirs?)

As to the MVA tracks specifically, I wish there could have been tracks that sounded a bit more fun or heroic, given that the League in MVA really are the heroes for the arc, complete with Shigaraki suddenly having access to Shonen Nakama Tropes and getting all these little comedic reaction takes. It'd be nice if the music could cue in and let the League have some aural triumph without being all doom all the time ("Oh, no! The villains are winning!" Yes, they are; let them have this for one arc, would you?)

But that said, I do rather like most of these! There are some that I do suspect will fall prey to the This Is Too Much Drama, Would You Please Ratchet Back? problem, but there are also some that I can imagine playing better in the context of the show than they do in isolation, and some that feel like they could even be exactly what I was dreaming about, if they go where I hope they will. For some individual thoughts, see below:

The Mission of the Stealth Hawks: A reasonable enough little tense atmospheric piece. Doesn't jump out at me.

Different Ability Liberation Army: I always approach the MLA as styling themselves as an army, but in reality being more of a sect--far more cult than militia-- I appreciate that if they can't have a good dramatic march despite having Army, like, right there in the title, I'm glad I could get church bells instead. On the whole, though, this is a good example of the first problem I mentioned having with Hayashi's work for BNHA--his pieces tend to be pretty short, and it takes them so long to land on a melody that by the time they find one, there's hardly any time to develop it before the song ends. Even a lot of the hero pieces are like that, and the villain songs, even more so. That said, I do like the horror strings that creep in around the 1.25 mark, blossom at 1.45, and float on through 2.10. I just wish they went on longer. Admittedly, "erratic church bells and horror strings" is still not the choice I would have made for the MLA's main theme. I really would have preferred something with a more militant air; as it is, this sort of feels like it scores a creepy prologue that plays before the opening credits kick in and then the episode proper starts. Which isn't a bad description for the way the dinner scene played in the manga, but thanks to the anime's decision to reshuffle everything, I don't think that dinner scene's going to maintain that feeling of "prologue" when we finally get to it.

My Villain Academia: Better on the melodic front; I enjoy the drama at .43, the dancing tension at 1.05, and particularly the minor strings from 1.25 that just keep climbing until everything else drops out around 2.10. I do wish it found a better place to end rather than noodling on for a further thirty seconds, but the melody will get a more central, and more bombastic, treatment in the final track, so it's probably okay for it to trail off here. (It's also apparently a reprise of a villain theme from the very first season's OST, which is rad. More on that in the Track 11 blurb.)

Second Coming: This is a bizarre one because, while I complained that Hayashi's BNHA tracks are usually short, this one is a full six and a half minutes--except that it falls clearly into movements of about a minute each, with clear lulls in between. I wish it was twelve minutes and everything was twice as long! As it is, I'm highly doubtful that we're going to hear this one played in its entirety anywhere, since I can't imagine what scenes would require this specific sequence of musical passages at this length. 0.00 - 1.01: I love that the song kicks in comparatively quickly; the first minute's passage has a great, thrumming drive that very nearly hits major key towards the end. 1.02 - 1.53: The drive picks up pace in the second minute before the chorus arrives, and for once, I am very prepared to love a BNHA choir piece. I hope this is what plays when Deika's going up in ash. 1.54 - 3.01: I love the melodic line being carried by the intentionally hard to distinguish violin and whatever brass instrument the violin's trading off with in the third minute. It's bit out of place with the rest of the track, but I like it quite a bit on its own, and it does have a similar sound as some of the "dirty" brass in RE-DESTRO and Mine Woman. It's probably too long for RD's childhood flashback, but I wonder if it'll play for an MLA character somewhere? 3.02 - 4.07: The fourth minute has some very fun drums, but otherwise doesn't jump out at me as much of the rest of the track. I'm very curious to know when this will play, though. 4.08 - 5.32: The fifth minute, god bless, has some proper march drums--I like this passage a lot, particularly when it come back in the sixth minute accompanied by the choir. I like this because the key is minor but it's not "oooo scaaaary" minor; it's more dramatic, a bit tragic, but triumphant too--pretty much perfect for Re-Destro, Spinner and Machia's moment of revelation in the crater. I wish it were longer. 5.33 - 6.36: And here for the end we're back to the driving guitar and some fun low-thrum strings and percussive chain sounds. Like the fourth passage, it's fun, but jumps out at me less, particularly as the song's finale.

Gigantomachia: This is an extremely boss kaiju song. Seriously, that brass in the opening could come right out of a Toho flick. Extremely good walking calamity number, love that distorted synth stuff towards the end. It's going to sound great when (if) it plays over Machia leaving the villa, the hand rising up through the floor behind Toga, Momo and the other students surveying the desolation left in his wake, and so on. (I know that's all Season Six material, shhhh. I hope they use this piece there.)

Mine Woman: This is so fun. And so extremely superior that that awful Christmas insert song! I'm glad Curious got this at least, and I love the moment the beat drops at the one-minute mark, and that interwoven sax. So good. It's hard to imagine the fight between Toga and Curious being paced to this song, mind, but it's real good, anyway.

TOGA's Nature: This one showcases the other problem I have with Hayashi's BNHA work, especially his stuff for the villains: it feels very on the nose in a way that tips over into being Too Much. The birdsong, I think, is on the nose but in an effective, playful way, with the natural beauty of the birds undercut by the lovely but ominous piano/synth melody. I am considerably less kindly disposed to the creepy child laughter, which just feels on the nose in a thuddingly obvious way--though I do like the way it slides in when the birdsong fades. I like, too, the sort of cloudy roaring reprise of the melodic line that kicks in around the 1.10 mark. It feels like an effective echo of Toga--cute but creepy as a young girl, and then, after she snaps, creepy in the same way but now you can't ignore it.

Symbol of Fear: The beginning doesn't do much for me, but I enjoy the howl that gives way to the organs at 1.15; while it's too action-heavy to be Tenko, the transition does still put me in mind of Tenko wandering the streets, internally crying for anyone to help him, and the person who finally does is--well. I like that the organ nurtures that howl into something considerably more dire, though you still get a return to that guttural cry periodically. While it is, again, difficult to imagine this scoring the scenes between AFO and Tenko's first meeting and Tenko being formally named Tomura--it's much too bombastic--it does still feel like an excellent representation of AFO sculpting Tomura's formless, aimless rage into something that really could tear down the world.

I Don't Kill My Friends: It would have been really nice if they'd let the most significant, unadulterated personal triumph of the arc sound actually fun. Why does the Sad Man's Parade song sound so upset?? @aysall predicts that it'll play over Twice's confrontation with Hawks and death scene, and I can see it working extremely well there, but it's a pretty weird call for the Dead Man's Parade bit, if that is indeed what this is intended to evoke. Quibbling about the title aside, I do like the way this pulses and throbs, something like an exposed wound, which is not a bad description of poor Jin's mentality. I still hope this isn't what scores his breakthrough, though. As I said previously, the villains are the heroes for just this one arc, and it'd be nice if the score could reflect that at least a little.

RE-DESTRO: I like this one a lot. I love the interwoven layers of that dirty sax and the Big and Dramatic orchestral strings + brass, but both of them undercut with that regular, machine beeping that could almost be a heart monitor, but mostly isn't--right up until the long beep at 1.52/1.53. It feels like a strong illustration of the titular character's different personas--his attempts at casual, friendly villainy (like menacing Giran or chatting with Shigaraki on the phone), him when he's thundering full-volume about the weight of his legacy at people (THE BLOOD OF DESTRO FLOWS THROUGH THESE VEINS I AM RE-DESTRO), and, beneath it all, the constant little thread of stress that Rikiya can never escape (right up until Shigaraki). I probably wouldn't love it so much in isolation, but I'm easy to win over with the right character association. XD

Paranormal Liberation Front: Very fun grubby guitar intro. It also has much the clearest melodic throughline, which inclines me towards it. What inclines me to it even more is the knowledge (per @aysall again) that it's the same main melody as the track Villains Theme from the very first season's OST. That track already having used its allotted Doom Choir quotient, this track makes do with less synth and a lot more orchestra and chunky bass backing, which is much to its benefit, I feel. I do wish it had any of the MLA's theme in it, to represent the merger, but admittedly, it'd be hard to make that very audible when the MLA theme has…next to no central melody, percussive rhythm, etc. Still, as an evolution of the League to something bigger, classier, and far more dangerous, it's real good--just long enough to develop into itself and explore its central leitmotif. Probably my favorite track simply on its own merits.

Thanks for the ask, anon! I'd listened to the tracks once driving around for work, but sitting down with them properly gave me a greater appreciation for them, and now I'll definitely have an ear out for them when we get to this material in the anime…

….whenever that winds up being. *sob*

[whythinktoomuch]

everywhere that Kara likes to eat Lena out

A Rondelet of Aural Sects from the Perspective of One (1) Kara Danvers

No boundaries

exist between my mouth and you.

No boundaries,

however long as you may please.

From our bed to CatCo's roof,

my love for you has turned into

no boundaries.

[thethrillofvril]

(∆AIMON)

[blaze8403]

past times and Letters A to Z team Zero and yes if so honest to say to all War W white and write not Wright or Right but wrong and right and raw right and wrong to well be A grown adult one must grow have grown to say I have grew in strength character Morals and Morality Maturity the well how adults tend to act think but yes I have though adult like beyond my own age through the entirety of my life not found in file as to say yes in my early adult years I would have experimented in simulation with music through Virtual And Videogame simulations go honestly with music without musick magick making it happen how music effect your performance in many of my favorite video game titled that I find interest in much like a professional instrument in the house and videogames a professional choice of option like it was home work since yes I did rate my over all game play with music as more focused and more successful rates and higher scores at the age more rap or Rhap music the rock or classical house hold environment but Iike music and music can move you but the place move you make is natural as response the music may increase focus and manifest pure automated responds noted after Blade Theory and Blade Trinity if be an Abby Gail Whistler with an Arrow and head phones and the increasing in strength power focus accuracy forced me to realize the relation of my childhood experiment in an adult setting not splatter heads and vampire breakfast platters instead like latter day in a letter be it may like vibration and things I more sensible may not able to explain but one who experienced the same would find such a problem also to say when you feel vibration in your body your Aural energy what ever it be like energy peaks and to say how such speak be it so then yes so mote it be like magick to any sect selected you and me yes I have since in my more top level works in my early 30s maybe six years or so in the last my Noting my Military work and career before becoming a veteran or all things that could not prevent me from being A USA311 March 11th President like Who ever you are spell Pisces not pussies or Pussy like up ssy seriously serious yes and Japanese Imperial Armed Forces and Navy JAIN AI love no after my works in Corrections and Prison dealing with JAIL and sell Li my Ninja ways and sway of every night and day like lime to make lemonade and making the Grade like A not eggs milk or making the Band on A Bad Boy Day like why was it an S on it a movie title Bad Boys maybe 1A or 2B I don't maybe a one to write on later if it be like the oys and yos of Boys or Toys and Boy or Toy like Y.O.B and year of Birth maybe Year of Tournament not the Tournament I see more Theories to come fro this one to set a tone on the note of an on that note of hope or not be it Hopkins Wyman Kauffman Hawkins morning of educational literature to start my day into night like hello to my KNight's like A Fresh Pair of British Knight and spell Day and Knight and Knowingness and literature title of God and Goddess in address to spelling and in Dog fight in the Siri can spell God on the ground and love how it seemed to sound and have sounded to A sound off might upward safe fired rounds to let off like Super Bowl Kick off and Commercials on Super Bowl Sunday and Knowledge bowl returns to Television Adults & College maybe past A Debate and yes if so A Class act theory coming soon if so but yes you won't need glasses or classes and or contacts lenses to see this coming be it yes my experimenting After Prison Association my Work with Royal and Imperial Family my being King God Warlord Emperor and Imperial Majesty yes my experimenting crossed into Military and Armed forces up to ISS International Space Services and NSS National Space Services with so International and National Space Navy Ships from jet craft to space craft and carrying sound waves in your ears to sear the Galaxy with Head phones and sound systems to well get you focus and if it be recorded date to my finding and Hawkins Military Experiment

Lesson plan B Bravo Two

[stephaniemarlowftw]

ELIZABETH COLOR WHEEL REVEALS RIPPING DEBUT ALBUM OPENER “PINK PALM”

The song appears on Nocebo which will be released on March 15 via The Flenser.

"...elements of goth, punk, black metal, doom, slowcore, noise, and more, and singer Lane Shi’s voice is soaring and unique and sounds like it could front a ’90s alt-rock band but never sounds like any one band in particular (though maybe Portishead would be a close comparison)." - BrooklynVegan

Already one of the year’s most anticipated releases, Elizabeth Colour Wheel's debut album Nocebo is a masterclass in both aggression and reflection. Backed by San Fransisco-based label The Flenser, the experimental five-piece is poised to dominate 2019 with its thunderous blend of shoegaze, metal, and noise rock. After listening to album opener “Pink Palm,” that prediction becomes clear.

Stream “Pink Palm,” the blistering opener to Elizabeth Colour Wheel's debut album, alongside a new interview via The405.

Named after “a detrimental effect on health produced by psychological or psychosomatic factors such as negative expectations of treatment or prognosis,” Nocebo is inspired by modern-day anxieties and tensities that plague us all. Mixed and mastered by Seth Manchester at Machines With Magnets (The Body, Street Sects), Nocebo is an aural house of horrors, granting shelter to frequencies of spectral anger, echo and resound.

Formed in 2014, Elizabeth Colour Wheel united as a vehicle for the members to explore new volumes and depths of their craft. Since their inception, Elizabeth Colour Wheel have shared the stage with numerous bands including Have A Nice Life, Planning For Burial, True Widow and Cloakroom. 

Elizabeth Colour Wheel will be hitting the road this March in support of Nocebo. Album preorders are available now via The Flenser.  More news coming soon.

ELIZABETH COLOUR WHEEL, NOCEBO — TRACK LISTING: 

1. Pink Palm

2. Somnambulist

3. 23

4. Life of a Flower

5. Hide Behind (Emmett’s Song)

6. Bedrest

7. 34th

8. Head Home 

ELIZABETH COLOUR WHEEL — ON TOUR:

03.16.19 Brooklyn, NY @ Bazar

03.17.19 Philadelphia, PA @ Kung Fu Necktie

03.18.19 Montclair, NJ @ Meat Locker

03.19.19 Falls Church, VA @ VFW 9278

03.20.19 Baltimore, MD @ Sidebar

03.21.19 Pittsburgh, PA @ Mr. Roboto Project

03.22.19 Boston,MA @ O'Brien's

03.23.19 Portland Maine @ Geno's

03.24.19 Rollinsford, NH @ Sue's 

03.25.19 New Haven, CT @ Cafe Nine

[ellysnapps]

(spf5Ø (oldest))

[musicoccurred]

Kamasi Washington

Who: Kamasi Washington Where: Saturn Birmingham When: December 5, 2017

*Note* This is a guest post by MO friend and frequent contributor Brett Lass.

The suit feels heavier today than it did when I was in training. I am watching with abstracted vision the pre launch software flicker and display code on the many tiny monitors of the cockpit as I bring the visor down over my face. An aural vibration fills the cabin and remains constant underneath the other automated clicking and whirring noises. The computer does everything nowadays, I just sit here like an “L” lying on its back suspended in air and strapped into a metal phallus with wings and thrusters and a body full of foam and circuitry pointing towards the clear blue sky, ready to penetrate the atmosphere. The hiss of ignition beginning followed by multiple ascending, high-frequency pitches. The comms crackle, a countdown through the static. We leave the ground with rattling speed. I close my eyes and grip the armrests and say a little wordless prayer in my head. Tense with excitement and anxiety as the boosters roar, it is as if there are hands on me, pulling the skin of my face back and pushing down onto my stomach. Through one meekly lifted eyelid, I watch the blue sky slowly fade to black. Once again, we endeavor towards the stars, we are supersonic, and I swear to God, I hear the sound of a tenor saxophone warming up.

An intriguing, oft echoed remark about the sax man from Los Angeles is that he is not here to save jazz or bring back jazz, but rather that he exists as a musical anomaly, or to put it another way, he is a spiritual and melodic force all his own. Take a look at any photograph of Kamasi Washington away from the stage lights and there is a certain kind of reverence that hangs over him that I assume he must be at least slightly aware of. Case in point: his meditative posture, the ceremonial dashiki, and the way he seems to hold his saxophone the same way one would hold, say, a ritualistic cane; resting it against the body and slightly over the shoulder. His Coltrane-influenced sound has drawn comparisons to “A Love Supreme,” an album considered John Coltrane's masterpiece that merged spirituality with jazz. Whilst the themes of spirituality as it pertains to religion is not as much on display in Mr. Washington's work as they are in “A Love Supreme,” it still can be easy to link his music to more spiritual themes as he spent parts of his childhood playing saxophone in a gospel band, so one still gets the impression that there is a lot of soul and deep meaning behind works like “The Epic” and “Harmony of Difference.” I personally discovered Kamasi Washington when I heard the beautifully smooth arrangements underneath Kendrick Lamar's lyrics on “To Pimp a Butterfly.” I'm not sure I've ever felt as emotionally conflicted about a song as I did when I first heard the fifth track on “T.P.a.B.” called “u.” In it, Kendrick is shouting and repeating the words “loving you is complicated” over a gorgeous, subtle saxophone sweetly crooning in the background before the song shifts and then Kendrick performs as a person in a drunken, bitter state condemning someone and running down a list of all of the disappointments and unforgivable betrayals that that person has committed, again with Kamasi's sax underneath. It is a serious, deeply cutting song, yet also absolutely beautiful. That album really opened up a new world to me in many ways, and one of those avenues introduced me to artists like Flying Lotus, Thundercat, Vince Staples, Frank Ocean, and, of course, Kamasi Washington. In May of 2015, Mr. Washington released his first album, “The Epic.” If you'll indulge your humble writer for second, let me ask you a rhetorical question. If you were going to release your first album to the world, would you ever in a million years think it should be a dense, 3-hour long, triple disc album? Because that's exactly what “The Epic” is, and it is a genius piece of work. The fact that I'm a neurotic fop aside, I don't think I would ever have the chutzpah to put together something so long form and bold for my first album, even if I was already well steeped in jazz music, raised in a large, musical family, and had the honor of working with artists like Wayne Shorter and Herbie Hancock, and the experience of arranging music for a multitude of other artists like Mr. Washington had done at the point that he recorded and released “The Epic.” It is an exquisite, lengthy album that should definitely pass through your ears at some point in your life. With his next full length album expected to drop in 2018, he released the “Harmony of Difference” EP back in September of this year and it is a promising listen of things to come.

The packed house at Saturn was a wonderful sight to see. I was uncertain what kind of draw a jazz band would pull in Birmingham, especially one taking place in the Avondale neighborhood. Kudos to the Saturn and Seasick Records marketing departments for doing a really good job advertising this show. I recall seeing videos and posts on social media for months in advance so clearly they were just as hyped for the show as the throng of people who came out this evening were. The audience itself was impressively diverse, normally I don't really care about the demographic an artist draws, but it was hard to ignore the fact that there was an interesting mingling of people who attended the show who were either young or college aged or older folks in the 40+, 50+ range.

Los Angeles based trio (plus touring drummer) Moonchild opened the show, they had a pretty nice sub sect of fans in the crowd who were familiar with their songs. I had actually never heard their work prior to tonight. They reminded me a lot of bands like Hooverphonic and Morcheeba, but with an additionally jazzy twist. In my research I found that their influences contained acts such as J Dilla and Flying Lotus, which when I think back to their set I could hear a little bit of Dilla and Fly Lo in their music. Amber Navran was very expressive on stage as she sang and danced between two keyboard players (Max Bryk and Andris Mattson). One of the cooler parts of their set would be when the trio switched away from the synthesizers and vocals over to the brass section, Amber and Max on saxophones, Andris on the trumpet. As if that were not enough, they also showcased their talents in the woodwind section on a song with Amber on the flute and Max on the clarinet. Their sound was smooth and soulful, easy listening to bob your head along to. Moonchild were definitely up to the task of bringing the chill vibes, so now that we were all nice and relaxed, it was time for us to put our tray tables up, stow away our carry ons, leave our problems at the door, and prepare for our epic journey.

“You guys ready to blast off?”

Out stepped Kamasi Washington and his band, which included two drummers, Tony Austin and another person I will cover in just a moment, the sweet harmonies of Ms. Patrice Quinn, Brandon Coleman on keys and wearing a gigantic cat head that I presume he found on the costume rack located in the Saturn backstage area, trombone player Ryan Porter, and Mr. Washington's father, THE Mr. Washington (a.k.a. Rickey Washington) on soprano sax and who was also decked out in some very colorful ceremonial garb alongside his son who sported a half black, half one quarter green and white polka-dotted and one quarter black and yellow striped dashiki. I couldn't tell if it was him because he came out wearing a mask at first, but Ronald-freaking-Bruner Jr. was at the helm of one of the drum kits on stage. I could easily devote a good page or so to how much I love his drumming on “The Epic,” and his work with his brother Stephen Bruner (a.k.a. Thundercat), and his debut album that dropped in early 2017, “Triumph.” (Forgetful writer's note: I cannot recall the bass player's name who was filling in for Miles Mosely and for some weird reason I did not make note of it. Googled my butt off, but alas could not track down his name. Apologies.) As we took off from Terra, the band opened their set with the aptly titled “Change of the Guard” showcasing the band's talents one by one in a steady build up before Kamasi Washington approached his spot at the center of the stage and unleashed the fury with his tenor sax. A little later in the set we were treated to a jazz rendition of “Little Boy Blue,” which was a cover of sorts off of an album titled “Spangle-Lang Lane” and whose tracks are comprised of jazz-ified compositions of old lullabies that was released this year by trombone player, Ryan Porter. At the midway point of the set, Mr. Washington tells us a story about how himself and Ronald Bruner Jr. met way back when he was 3 and the future drum virtuoso was just a 1 year old and was already killing it on the drums, upstaging a young Kamasi at his own birthday party. As a kind of intermission, Tony Austin and Ronald Bruner decided to have a conversation with each other, using only their drum kits as a means of speaking. It was a gorgeous improvisation between the two drummers with their respective styles weaving in and out of each other for a good 5 minute “conversation” before breaking off into dueling drum solos. If you couldn't catch this live at the show, definitely check out some of the uploads on YouTube, well worth the time. Sadly, our journey above the atmosphere could not last forever. The set clocked in somewhere around two hours and change, and it really did not feel like that long of a show, and this was a weeknight after a long day at work plus I was suffering from a bad sinus cold, I don't know where I got the energy from (for argument's sake, let's just say it was the power of music). I seriously cannot recall a show that I have been to where I did not stop moving my feet and bobbing my head along to the music on display. This was easily one of the best shows I've ever seen. It ticked all of the boxes as far as what I would consider something near perfect in a live performance; a tight as hell set, a star studded lineup, good interactions with the crowd, and, especially, bringing it even though you're not in a bigger city. Also, I must reiterate how great it was to see such a large crowd show up for Kamasi Washington. Birmingham needs to bring more artists like this to town so they can gain further exposure and raise the profile of the city as a place that welcomes more than just the 44th coming out of retirement tour of Garth Brooks, not to mention to also expose a city on the rise like Birmingham to a more eclectic mix of talents. For the time being though, it was great to have a chance to see the stars with Kamasi and his band but I suppose it is now time for me to touchback down to earth. It's lonely out in space, anyway.