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dustedmagazine · 3 years ago

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Dust, Volume 7, Number 11

Walt McClements

We’re winding down for another year, looking forward to time off for the holidays and seeing friends and family in a semi-normal way. Once again it’s dark at 4:30 p.m., and once again, it doesn’t matter all that much if you’ve got a fire going and some good music playing. And so, we take stock of the albums that have caught our ears lately in another Dust. Here are garage bands playing jazz standards, Dutch jazz duos evoking night skies, Berbers playing wedding music, a whole album full of ambient accordion music and the final recording from a 101-year-old Creole fiddle maestro, as well as lots of other unexpected stuff. This month’s contributors include Jennifer Kelly, Andrew Forrell, Ian Masters, Bill Meyer, Bryon Hayes, Chris Liberato, Justin Cober-Lake and Jonathan Shaw.

Aeon Station — Observatory (Sub Pop)

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You could definitely get old waiting for another Wrens album. Their second and third albums were famously separated by ten years in the wilderness, and even Meadowlands, the triumphant, long-awaited return is 16 years old now. The photo my husband took of Kevin Whelan tossing his bass in the air on that tour is yellowed and curling at the edges, and Charles Bissell has publicly stated that the Wrens will never record again as a band. But at long last we have SOMETHING from former Wren Kevin Whelan, here supported by the rest of the band, that is Greg Whelan on guitar and Jerry McDonald on drums. Aeon Station is almost the Wrens, and if Observatory is missing the wistful ironies and clever observations that made Meadowlands heartbreaking, it’s got the big pop swells and irresistible choruses that made it exhilarating. To hear the steady bass pulse of “Fade” erupting into giddy overload is to relive the heady days of 2005, when these boys were exhausted but on top of the indie pop game. When the fragile uncertainties of “Queens” surge into drum-kicking, guitar-destroying exuberance, you can hear the way “Happy” picked listeners up out of the doldrums and headed for exultation. Sure, you’d maybe like a little more lyrical introspection, and the second half of the record is better than the first, but it’ll do for now. Who knows? Maybe in another decade or two, there will be more.

Jennifer Kelly

Beach Fossils — The Other Side Of Life: Piano Ballads (Bayonet)

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Beach Fossils front man Dustin Payseur reinterprets some of his indie tracks in jazz trio settings with former drummer Tommy Gardner (piano, sax, and bass) and Henry Kwapis on drums. The results are mixed. On one hand Gardner and Kwapis provide excellent if unstretched backing for Payseur’s croon, on the other the songs remain the same and one’s response may depend on your attitude to the original material. On its own The Other Side Of Life is a pleasant side trip down an imagined memory lane. Payseur is a decent singer and occasionally acute songwriter and Gardner shines but the leap from lo-fi indie to jazz trio is neither wide enough nor narrow enough to make this more than a well-made curio. Enjoyable but inessential.

Andrew Forell

The Black Watch — Here and There (Atom)

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The Black Watch’s John Andrew Frederick steeps his tunes in the psychedelic 1960s, laying a radiant jangle across fuzz-bombed but catchy melody. This 20th album for the last of LA’s Paisley’s underground is equal parts crunch and drift, with the hard lines of guitar strumming filled in with pastel drifts of vocal harmonies. “The Real You,” matches the droning sweetness of Ride with the winding, searching guitar soliloquies found in the Bevis Frond or Teenage Fanclub. Yet there’s also a new element, the lush string arrangements of Ben Eshbach which line the contours of “Now & Then,” with velvety ease. If you like your Nuggets-y guitar racket with a fair bit of craft and melody, this one’s for you.

Jennifer Kelly

Bremer/McCoy — Natten (Luaka Bop)

Natten (The Night) by Bremer McCoy

A Danish duo of pianist Morten McCoy and bassist Jonathan Bremer makes sparkling, evocative music poised somewhere between jazz, ambient electronics and new age in this nocturnal themed outing. “Natten” means night in Danish, and its namesake cut glitters with starlight in the piano and electric keyboards, while Bremer’s bass elicits velvety dark skies. “Mit Hierte” (“My Heart”) bobs and weaves with pensive syncopation, the startling clarity of keyboards set off a bass that swaggers, but subtly. The earthiness of bass contrasts sharply with synthesized sound washes; there’s a swing in these tunes, but also a meditative aura. These compositions balance nightclub-dwelling, martini-quaffing suavity with something clear and clean and natural, so that it’s hard to tell if it’s very late at night or very early in the morning.

Jennifer Kelly

Bruno Bavota — For Apartments: Songs & Loops (Temporary Residence Ltd.)

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Italian composer Bruno Bavota is far from alone over the past couple years in finding himself staying home more often. While the notion of “accomplishing something” with our enforced extra time around the home quickly became both obnoxious and a meme, Bavota is also far from the only one to actually find himself producing work conditioned in some way by the lack of change in environs. The title of For Apartments: Songs & Loops might make it sound like a bit of a grab bag but there are actually two equally impressive but very distinct and demarcated albums here, with the six loops making for just under 40 minutes of synthesizer travelogue that feel a lot less constrained than the term “loop” might suggest, and the 13 songs sketching out slightly less than 29 minutes of calm, graceful solo piano complete with room tone. Maybe the best moment of the assembled For Apartments is the switch from the sixth loop to the first song, two totally distinct sound worlds briefly bumping up against each other, the heady excursions into (inner or outer) space of the former informing the patient space of the latter and vice versa. It’s very fine music to be stuck in an apartment with, however eager we might be to test it out in different contexts as well.

Ian Mathers

Pedro Carneiro / Pedro Melo Alves — Bad Company (Clean Feed)

Bad Company by Pedro Carneiro | Pedro Melo Alves

Put aside your rock-rooted associations. Bad Company is named after a story by Yasuoka Shotaro which depicted the seductive lure of antisocial cruelty and the corrosive outcome of such flirtations. So, who is the bad influence here? Carneiro, who plays marimba, works mainly in contemporary classical music but maintains a sideline in improvisation. Alves is a drummer whose work in new jazz is often tinged with an awareness of classical form. They would appear to be made for each other, and the recorded evidence from this totally improvised encounter adds evidence to supposition. Alves’ playing is quick and precise and Carneiro more patient, which conveys a sense of sonic depth and contrasting, complementary motion. Form derives from the differences in tone and velocity; if Portugal ever puts its cultural budget behind this duo, it would be great to witness this music being enacted in acoustically apposite spaces around the world.

Bill Meyer

Hocine Chaoui — Ouechesma (Outre National)

Ouechesma (Remastered Version) by Hocine Chaoui

Sometimes music comes at you unhindered by context. Take Ouechesma. If you don’t know the Chaoui language, you’re not going to know what Hocine Chaoui is singing, or why his surname matches the names of his ethnicity and language. Knowing that the Chaoui are a Berber community situated in mountainous eastern Algeria won’t really tell you anything about this music, and the sleeve doesn’t even tell you when the original cassette edition was issued. But here’s what you really need to know: it has a good beat, and if you can’t dance to it, you’re going to be awfully lonely if you attend one of the weddings where it gets played, because it’s very effective at motivating movement. It is pretty basic; a commanding chant of a vocal that alternates with an effects-dipped flute, and a galloping programmed beat that doesn’t waver for the whole song. Basic, and devastatingly effective.

Bill Meyer

Ted Curson — Pop Wine (Souffle Continu)

Pop Wine by Ted Curson

Souffle Continu is relentless in its mission to reissue quality Gallic-related jazz sides, and this time the theme is an American sideman in Paris. Wielding his horn on acclaimed recordings by the likes of Charles Mingus, Cecil Taylor and Archie Shepp, with Pop Wine Ted Curson takes on the lead role; he’s got a trio of talented Frenchmen by his side. George Arvanitas handles the ivories, while Charles Saudrais rides the drumkit and Jacky Samson plays bass. On this 1971 studio recording, the quartet offer up five pieces, effortlessly working their way through a handful of styles ranging from funky fusion all the way to feisty free jazz. Each player is at the top of their game, meaning there’s no true hero here. Samson goes from laying down a groove on the title track to whipping his bow out for some string sawing on the fiery “L.S.D. Takes a Holiday.” On that latter piece, Arvanitis works his way up and down the keyboard. At times he's swift and supple and at others he demolishes the keys. Curson shows that he can be lyrical, such as on ��Lonely One,” and he can frolic frantically (“Quartier Latin”). Saudrais keeps the former piece from being a maudlin affair with his jumpy rhythms, and even lets loose a rollicking solo on the speedy romp “Flip Top.” Pop Wine doesn’t necessarily have a pure varietal character, but such stylistic breadth allows for an intoxicating body and bouquet. This heady brew is the perfect tipple for many moods.

Bryon Hayes

Willie Durriseau — Creole House Dance 45 (Nouveau Electric)

Creole House Dance by Willie Durisseau

This exuberant single captures legendary fiddler Willie Durriseau as a spry centenarian, playing in a frictive, squalling, sprightly Creole style that disappeared before World War II. Louis Michot of the Lost Bayou Ramblers captures Durriseau in all his homespun glory, sawing away at zydeco dance tunes and blues rambles that haven’t been heard since most of us were born. Near the end of “Willie’s Zydeco,” here embellished with jovial accordion, Michot asks Willie about how he made his first fiddle out of a take-out box. “How’d you do it?” he says, “Because I want to make one.” “You’ll just have to watch the film,” says Durriseau, taking that and other secrets with him when he passed shortly after this record was made. Remarkable.

Jennifer Kelly

Wendy Eisenberg – Bent Ring (Dear Life)

Bent Ring by wendyeisenberg

Wendy Eisenberg doesn’t want you to look while they’re writing love songs. “It’s embarrassing enough for me” they sing, strumming unassumingly along. Periodically, a percussive swipe cuts across the track like a scythe attempting to end Eisenberg’s progress. Other times, a bell tone sounds at a line’s end, reinforcing a positive thought. Several times, in the middle of the track, the two sounds clash. “Little Love Songs” is from the experimental guitarist’s latest solo record, Bent Ring, which is the result of a self-dare: “to write an album of songs that don’t use guitar at all.” Instead, they employ a salvaged tenor banjo for a meditative and disarmingly complex collection about their art’s relationship to the world and themself. “We work very well together. I believe it’s true,” they sing, almost blissfully, during one of the final verses in which the bell chimes alone.

Chris Liberato

Equipment Pointed Ankh — Without Human Permission (Astral Editions/Sophomore Lounge)

Without Human Permission by Equipment Pointed Ankh

Without Human Permission feels like a message in a bottle, only the ink’s a bit smudged, so the communication is far from clear. Is it from the past? The LP has a Ralph Records c. 1978 vibe to it, quirky yet catchy. Is it from far away? The liner notes say these guys are from Louisville, but they drove to Rhode Island to make the record…who does that? The music is instrumental, but it doesn’t fall neatly into a genre, and the line-up of multiple synths, lots of guitars and some drums generates suspicion that this crew thought about who they wanted to play with before they thought about what instruments a band needs to have. And we haven’t even gotten to the Terry Riley’s piano meets your grandma’s organ’s rhythm box jam that melts into a psychedelic clarinet puddle yet. This record was made for those moments when your head needs scratching and your leg needs pulling, and if you don’t know what we’re talking about, well, we never said that we did, either, did we?

Bill Meyer

Hard Feelings — Hard Feelings (Domino)

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On the closing track of Hard Feelings’ debut, Amy Douglas sings “I will bend time where I want it to go,” but she almost doesn’t have to; she and Hot Chip’s Joe Goddard have just spent 42 minutes doing pretty much that. Not only can the grooves and Douglas’s indelible performance at the center of Hard Feelings lead to the kind of dancefloor hypnosis where you’re not longer sure if it’s late at night, early in the morning, both, or neither, Goddard’s productions touch on many of the sounds and strengths of house, disco, techno et al, but they do so in a way that feels neither like an unnecessary ‘update’ not just a throwback for the sake of nostalgia. Those tracks alone would make Hard Feelings more than worth a listen, but Douglas’s Alison Moyet-goes-to-the-club vocals and sharp songwriting are more than just incidental to the impact of these songs — the duo has been describing the album as an “opera of sad bangers” and maybe the best testament to that is the way Hard Feelings can remind the listener that emotional intensity, even melodrama, is definitely not a bad thing when it’s also this (body)moving and this much fun.

Ian Mathers

Joëlle Léandre / Pauline Oliveros / George Lewis — Play As You Go (Trost)

Play as you go by JOELLE LEANDRE / GEORGE LEWIS / PAULINE OLIVEROS

In 2014, Joëlle Léandre, Pauline Oliveros and George Lewis convened for one night at the Vs. Interpretation Festival in Prague, Czech Republic. It wasn’t really a first encounter; Léandre has decades of working acquaintance with both other musicians, and given the diligent scholarship that Oliveros and Lewis have applied to music, they can’t have been unaware of each other. But neither is it a meeting of an ensemble with an established dynamic. Rather, they bring their shared experiences with jazz, classical and free improvisation together on a common ground cleared by a shared commitment to listening and intuitive response. Whether they contribute instruments (double bass, accordion, trombone and computer), voice (Léandre), or electronic processing of collective sounds, they do so in ways that build a cohesive sound environment. The name of the festival seems especially applicable; each musician is all in, present in the moment rather than figuring out how to react to what they just heard.

Bill Meyer

Kiran Leonard — Trespass on Foot (Self-Released)

Trespass on Foot by Kiran Leonard

Trepass on Foot is really two records, the first a sprawling meditation made by the Manchester experimental songwriter all by himself, the second a series of shorter, more song-like collaborations with friends among the UK’s avant-garde. Both are worthy but require a real listening commitment; the two discs comprise nearly two hours of music, and several tracks, especially in the solo portion, are in the ten-plus minute range. “The Ship,” for instance, swells slowly, with tidal force, beginning in scratchy sampled recordings, guitar strums and ambient hum and reaching a near orchestral climax over its 15-plus minute duration. Loosely shaped and morose, it has some lovely intervals like the off-kilter song verse with slanting guitars, which sounds like a lost bit from Loren Conors, and the blinding beautiful surge of massed guitar and voice near the end. “Sights Past” is even longer and follows a similar trajectory, building slowly, taking a variety of guises and reaching a nearly unbearable intensity. You don’t always know where you are in these compositions or what’s coming next, but if you allow yourself to wander from room to room, you’ll see some gorgeous things.

The second part of Trespass on Foot is somewhat more readily accessible, divided into songs that are more conventional in length and structure. There is solace, too, in the support of other musicians, like the lovely harmonies that Jolliff Seville supplies in “Third Day of February,” or the plaintive clarinet (Margo Munro Kerr), bass clarinet (Hannah Hever) and cello (Francesca Ter-Berg) that thread through found-sampled “Untitled.” “Castell” turns into a meaty folksong with the addition of drums and a yearning, forthright melody; the violin—that’s Dan Bridgwood-Hill—and supporting vocals Isabel Thorn give it dizzying density and resonance.

Jennifer Kelly

Mandy, Indiana — ‘…’ (Fire Talk Records)

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The debut EP from Manchester band Mandy, Indiana is a pulverizing explosion of industrial grind courtesy of Scott Fair and Liam Stewart; over this racket, Valentine Caulfield chants and hisses lyrics in her native French. “Bottle Episode” careens between Stewart’s metallic martial percussion and a defibrillated heartbeat as Caulfield chants with increasing urgency and a flanged guitar chord thrums. The sound is rough, close, full of tension with little release, before it all clanks to a halt. “Nike Of Samothrace” slows the formula and adds what maybe the death throes of a cello and a sheets of controlled feedback, while Caulfield sits to one side commenting on the maelstrom. “Alien 3” is a little more straight ahead but still sounds like SPK or Einstürzende Neubauten mugging techno in nightclub alley, so pretty damn good.

Andrew Forell

Walt McClements — A Hole in the Fence (American Dreams)

A Hole In The Fence by Walt McClements

Walt McClements is not the first musician to make ambient/drone music primarily with an accordion (and in fact he happily acknowledges the influence of Pauline Oliveros among others), but one of the catch-22s of making music with a relatively rare lead instrument is that it’s not you’re often more likely to get closely compared to others using than instrument than (say) someone focusing on guitar or piano is. By any standards though, McClements’ A Hole in the Fence is more than just another richly textured, emotionally complex, sometimes sonically overwhelming album of accordion music. These 33 minutes sometimes feels more like movements of a single composition, one that takes in McClements’ theme of the various liminal spaces and secret worlds he’s moved through in his life (various music undergrounds, gay cruising scenes, even train hopping) and creating a work that in turn can evoke the foreboding, peace, hesitance, and joy we find passing through those gateways and finding our places past the literal or metaphorical fences in our way. That combination of love and exploration courses strongly through the sounds and drones of A Hole in the Fence, and the result would be noteworthy whatever instruments McClements used to get there.

Ian Mathers

McKain / Murray / Radichel / Suarez / Weeks — The Running of the Bulls (Radical Documents)

The Running of the Bulls by McKain / Murray / Radichel / Suarez / Weeks

The cassette’s title signals the attitude if not the content. No bovines were jostled in the making of this music, but the participants do pitch themselves into this free jazz fray with abandon. This quintet convenes improvising musicians from San Francisco, New York and Philadelphia, but the vibe brings to mind certain vintages of sound made in Chicago or Wuppertal. Saxophonists James McKain and Tom Weeks apply an array of techniques, but put them together and they impart the blammo wall-of-reeds sound of Mars Williams + Ken Vandermark + (occasionally) Peter Brötzmann. Drummers Leo Suarez and Kevin Murray have a similar tendency to meld, albeit into mass of discrete textures and densities. Bassist Jared Radichel navigates the shifting masses with aplomb, working hard enough in the lengthy group pieces that one does not begrudge him the option of sitting out when the paired instruments break out for briefer improvisations. Points added for the excellent cover art.

Bill Meyer

M(h)aol — Gender Studies (TULLE)

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M(h)aol isn’t fucking around. A five-person post-punk outfit with Irish roots and members in Dublin, London and Bristol, the band thunders and rampages in gender-empowered fury. “Why don’t you study my gender/Tell me I’m no fun anymore/That I used to be quiet and pretty/And you liked the old me more,” snarls the singer in the title track before revealing, “Guess what, I like the new me more.” The lyrics are uncompromising, but not without humor (“No one ever talks to us…unless they want to fuck”), and the sound is hard and unyielding, with sawing bursts of rapid-slashed guitar and rickety architectures of snare and kick drum. In an odd bit of symmetry, the mostly female M(h)aol has connections with the all-male Girl (now Gilla) Band; Jamie Hyland is the voice on “Holding Hands with Jamie,” and the two bands share an affinity for noisy breaks and smart, unusual lyrics. However, M(h)aol draws its name not from the other gender but from the legendary Irish female warlord Gráinne Mhaol who faced off Elizabeth I with, supposedly, a dagger in her bodice. Yup, sounds about right. Good stuff.

Jennifer Kelly

Matt Mitchell & Kate Gentile — Snark Horse (Pi Recordings)

Snark Horse [Box Set] by Matt Mitchell & Kate Gentile

Drummer Gentile and pianist/synthesist Mitchell toil in a manner that transcends any of the idiomatic signposts of jazz. Their compositional style conjures up the energy of punk rock and the bleeding edge wizardry of experimental electronic music. The pair push limits and dive headlong into whatever challenge they set for themselves. For this gargantuan six-disc boxed set, the duo set up an experiment, constraining themselves to write compositions of only a single bar in length. They call the resultant body of work Snark Horse, but there’s nothing cynical about this music. To realize the project, they assembled a ten-person strong Snark Horkestra made up of some of the finest American instrumentalists. Alongside Gentile and Mitchell are Kim Cass on bass, Ben Gerstein on trombone, Jon Irabagon on reeds, Davy Lazar on horns, Mat Maneri on viola, Ava Mendoza on guitar, Matt Nelson on saxophones and Brandon Seabrook on guitar and banjo. The 70 compositions were putty in the Snark Horkestra’s hands, around which Mitchell and Gentile encouraged the crew to improvise. The two composers perform across the entire set of music, with others joining the fray in a variety of permutations across different pieces. There are moments when only one or two of the members jump in, but things get wild when the entire crew goes at it. One of the most immediately noticeable characteristics of these songs, which vary in length substantially, is the rhythmic complexity. Gentile’s drumming style is unique, as she plays around with time signatures and constructs intricate patterns of beats. Add Mitchell’s dextrous piano work and the music becomes a furious beast that just might be the jazz equivalent of math rock. When you thread in the adept contributions of the eight other players, the proceedings heat up quickly and the energy is downright enchanting. Even when the tempo slows to a crawl, the music has an infectious electricity. To add icing to this already elaborate cake, Mitchell has dispersed a series of abstract electronic works of his own devising across the set, which perhaps serve as markers for a listener to return to once their flagging stamina has been replenished. One imagines that listening to over 270 minutes of adventurous sounds in one sitting would test the mettle of even the sturdiest set of eardrums.

Bryon Hayes

Moonlove — May Never Happen (Concentric Circles)

May Never Happen by Moonlove

Moonlove isn’t the most motivated band to come out of greater Akron (see: Devo). But then, so little is known about the trio that we’re left only with what they tell us on 1985’s appropriately titled May Never Happen. On twangy jangler, “Cast Your Troubles and Dreams Away” (riyl: Bonny Doon), Jeff Curtis sings about his ambitions of sitting around and caring less. And when he finds himself behind a “Hearse On The Highway,” he doesn’t even consider taking to the passing lane. Instead, he downshifts and dwells hard on the absence of time over a charmingly degenerate blues shuffle (think: VU). Beth Erickson takes the wheel on “Blue Skies,” and continues on the same trip. “He lies in bed all day / wasting hours and hours away,” she sings with the kind of undynamic yet heartfelt lilt that makes you wonder what might’ve happened if they’d sent their tape K Records’ way instead of no one’s. Luckily, though, almost 40 years after the fact, a copy ended up in the hands of Jed Bindeman, whose Concentric Circles label has built its name on this kind of reissue (read: magical). Climb on in!

Chris Liberato

Jessica Pavone — Lull (Chaikin)

Lull by Jessica Pavone

Some composers write scores that test the physical limits of those who play them. Composer and violist Jessica Pavone does the opposite, considering what feels right to play and using that knowledge to center what’s asked of each musician. The results, however, are by no means limited; Lull is one of the most inclusive albums Pavone has ever made. It encompasses chamber music and improvisation, shifting between ultra-detailed improvisations featuring drummer Brian Chase and trumpeter Nate Wooley, and boldly colored, intricately layered string passages by an octet that includes Pavone. Ranging between spare turbulence and patiently evolving presence, the music uses changing textures to externalize nameless but palpable emotional states.

Bill Meyer

Fredrik Rasten — Svevning (Insub)

Svevning by FREDRIK RASTEN

In this CD’s liner notes, guitarist Fredrik Rasten explains that the Norwegian word “svevning” has two meanings. One applies to the sort of effortless glide that birds achieve when they’re riding air currents, and the other refers to the beating effect obtained by sounding two sustained notes. Translated into math, the formula is 1 word = cause / effect = 38:15 + 38:55 minutes of hovering tone. Rasten operates in the same sonic galaxy as Cristian Alvear and Taku Sugimoto, which is to say that he explores acoustic phenomena with unemphatic precision. These two pieces employ the same method, which is for Rasten to repeat a figure with very slowly evolving changes on a guitar tuned in just intonation. The effects of plucked notes in proximity, approaching and transforming each other, is gently hypnotic. This could be your next sound meditation.

Bill Meyer

Steph Richards With Joshua White — Zephyr (Relative Pitch)

Zephyr by Steph Richards

Zephyr packs a lot of musical exploration into a small space. The album is divided into three suites, each of which uses an environment as a cue to examine relationships between musician and musician, artist and family, and sound and space. The five-part Sacred Sea uses trumpeter Steph Richards’ technique of playing with water as a method to ponder her suppositions about her then-unborn daughter’s perception of sound as well as the limits of instrumental capacity; Joshua White uses preparations to similarly transform the sound of his piano. Sequoia and Northern Lights are a bit less literal, but in both sequences, the duo press the limits of their instruments and techniques as they evade expectation.

Bill Meyer

SiP / Prezzano — SiP / Prezzano (Moon Glyph)

SiP/Prezzano by SiP/Prezzano

The existence of this duo will validate your belief in destiny. Conversely, if Jimmy Lacy, who performs as SiP, and Pete Prezzano, who runs the Love All Day Label, had not gotten together, you might look up at the cosmos and ask, why not? They both live in Chicago, and each makes and/or distributes music that uses synthesizers to take the edge off of whatever life’s dealing with you. Their collaboration is pretty seamless, and the four tracks on this half hour long tape flow together effortlessly, which means that you’re likely to spend less time figuring out who did what than you are giving in to the temptation to let the mind drift wherever long, oscillating tones and ambling modal melodies might take you.

Bill Meyer

Snotty Nose Rez Kids — Life After (Distorted Muse / Fontana North)

Life After by Snotty Nose Rez Kids

Indigenous Canadian hip-hop duo Snotty Nose Rez Kids were on a roll when the pandemic hit. As the quarantine era wore on, they kept getting attention (the placement of “Boujee Natives” on Resident Alien was perfect) but they struggled with recent and past trauma. Out of the crisis came Life After, the title referring not just to exiting lockdown, but to getting through any sort of hardship. The group still has its warrior side, and Yung Trybez and Young D sound as angry as ever, taking on various forms of oppression while addressing the particular struggles of First Nation peoples. They haven't lost their sense of humor, though. “Uncle Rico” references Napoleon Dynamite as it looks at both personal hubris and family mythology. “Oral tradition / I can barely spell,” makes for a fun moment while capturing the attitude of the album. All of the work, though, serves to work toward something better. Chill track “After Dark” closes the album with its real thesis: “I pray we at peace and not in pieces / And that we break the cycle for my nephews and my nieces.” Right now, we're all in life after disaster; but SNRK brings hope that we're headed toward the light after dark.

Justin Cober-Lake

Mai Sugimoto — Monologue (Asian Improv Records)

monologue by Mai Sugimoto

As titles go, Monologue is an unsparing self-assessment. For what else is a solo concert? But between a pandemic that’s made it hard for bands to get together, and an upsurge in anti-Asian violence, the time’s right for Sugimoto to put some points across. Sugimoto recorded this album alone except for an engineer, accompanying her alto sax and flute with some handy percussion. This combination of woodwinds and little instruments suggests that one local legacy on Sugimoto’s mind is the AACM’s. Like Roscoe Mitchell, she gives each idea the space it deserves, neither more nor less, and she feels no need to sugar a pungent attack. The titles assigned to this CD’s 14 tracks evoke vulnerability, spirituality and playfulness. But, compared to her previous recordings with her trio and the collective Hanami, there’s also a pithy toughness.

Bill Meyer

Tigers & Flies — Among Everything Else (Violette)

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This is the stuff! Or at least at first blush it sounds a heck of a lot like it — the brassy, soul-influenced indie pop that bands like Orange Juice, The Jasmine Minks and The June Brides played, bridging the gap between post-punk and c-86. But unlike their predecessors, Tigers & Flies are only occasionally capable of playing with convincing passion, as they do, for example, on “In My Skin.” Here, drummer Arvin Johnson bashes his way into the chorus with a fist-pounding-the-table beat and the song unspools momentarily in response, via its bouncy syncopated guitar lines, before folding forward in frustration again. “Are you seeking enjoyment?/ Are you seeking a change?” wonders frontman Arthur Arnold. But his vague gripes also point to the bigger problem here: there isn’t much at stake in these songs and the music rarely makes up the difference. Lead single, “Half,” tries to twist itself into a more musically complex knot that it hopes will hold. “When you leave, half of me walks away too. / So don’t leave, because I need that half of me that is you,” Arnold sings, while trumpeter Matteo Fernades attempts to recall a leaving lover with a pair of confident bleats. Instead, all he gets is a synchronized, frolicking dance with the rhythm section. The bands they’re aping began as novices and played with a conviction that can’t be faked. On their debut, Tigers & Flies arrive in reverse: they’ve got the sound down, perhaps a little too well, but when it comes to selling the songs' emotion they’re only, as Arnold puts it, “pretty good at doing fine.”

Chris Liberato

Unda Fluxit — Stone Ringing Sorrow (Ever/Never)

Stone Ringing Sorrows by Unda Fluxit

Unda Fluxit makes no attempt to find ease in its jangling, discordant melodies, which reverberate with haunted chaos in the space between experimental folk and noise music. The main creative force behind the band is Huma Aatifi, an Afghan native relocated to Boise, Idaho as a child, and her compositions bristle with jarring dislocation. “Chance of the Towel” clatters noisily with assaultive percussion as Aatifi croons lost lyrics about snow and circumstance, guitar notes crowding behind her like a migraine gathering for attack. “(sunset rain)” is more muted but still full of suffering, a yodeling vocal melody floating uneasily over thunks of hand drums and detuned strums of acoustic guitar. You could make a connection to Christine Carter’s abstracted guitar melodies or even to Karen Dalton’s blasted, desolate folk. Like them Aatifi doesn’t care about conventional prettiness. Like them, she achieves a strident kind of beauty in the clash of notes.

Jennifer Kelly

Uranium — Wormboiler (Sentient Ruin Laboratories)

Wormboiler by Uranium

For a power electronics project, Uranium delivers some fairly formed songs on Wormboiler: see “We Deserve Death,” which sort of has verses and what feels like a refrain. “Sort of” and “feels like” are necessary qualifiers; the music on Wormboiler, provisionally legible as it may be, is fully tapped into the volatility and ugliness that have always been baselines for power electronics — just check out that record title. Still, interesting as the intermittent suggestions of song form are, Uranium is at its most effective when its chaos and appalling deformity are most grotesque. “Hate Thyself for the Callous World Cares Not” slithers and vibrates and jolts with bad feeling. Like some of the best power electronics, the music feels its way along, flowing and climaxing with weirdly livid energy. Which, as the project’s name implies, is toxic stuff. It’s all pretty nihilistic, building toward a final track called “The Glorious Void” that contains samples of symphonic music interpolated with an impossibly distorted horror-movie-Satan voice. The track flirts with goofiness for a bit, but soon it achieves an apotheosis of hostility, obliterating any trace of levity. Schopenhauer would dance to it.

Jonathan Shaw

Vaulted — Left in Despair (Self-released)

Left In Despair by Vaulted

The songs on Vaulted’s new LP Left in Despair sound like a bad day in Boston: damp, cold and full of ornery ill intent. That makes some sense: Melville says Americans learned to “say ‘No!’ in thunder” up in Massachusetts. But instead of any gloomy New England-style austerity, Vaulted pour on the aggro hostility with a sort of excessive glee. The Boston band makes chugging, crunching hardcore, redolent with the burly filth of the death metal that sprouted from the trail of slime left in the wake of Suffocation’s Pierced from Within (1995). See especially tracks like “Lacerated” and “No Place to Mourn.” But make no mistake: Left in Despair is a hardcore record, at its best when it hits hardest. “Mote It Be” mostly moves with a mid-tempo truculence, doling out overdriven riffs that want to bruise. The downshift that occurs around the song’s third minute has a palpable threat attached to it — it’s that slight pause you make when you approach a dark corner at 3 am in Southie. Hunch your shoulders a little tighter, squint your eyes with a sharper “don’t-fuck-with-me” look, because who knows what’s coming. If you’re listening to Vaulted, it’ll probably be another thumping, thundering, three-minute hardcore tune. And heads-up, all you freaks for obsolete formats: you can cop a cassette version of Left in Despair from War Fever Recordings, the label run by Vaulted’s bass player Nicholas Wolf.

Jonathan Shaw

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itsybitsyparker · 3 years ago

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Peter wanted to go home. He’d been homesick before, he’d been scared before, but never had he been so sure that he was never going to see his home again. This May was nice, and her little apartment was cozy, Peter could easily imagine growing up here, cramped but happy.

But the fact was, he didn’t. He grew up in a narrow little two story in Forest Hills. His Aunt May was a small, sad eyed woman with grey in her hair but a hug for those who needed it. His Aunt had just gotten her nursing degree and was working night shifts in the hospital. His Aunt was the best Gardner in Queens, loved baking shows and hated cop procedurals because they reminded her of Ben.

This wasn’t his May. This wasn’t his Queens. He wanted to go HOME.

Still, he didn’t want to be rude, especially when this May had so graciously opened her home to him after he’d gotten stuck. So he smiled instead of sobbing and brought his plate to the sink, nudging May with his hip.

“Is there anything I can do to help May? I’ve been told I’m good at doing dishes.”

@webbedaunt

#peter parker: scared stressed and sad #peter 3.5 // post nwh verse #kinda sorta maybe #webbedaunt

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fairytales-of-yesterday · 5 years ago

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A Pirate, Two Hundred Years Too Late

Pairing: Gardner Langway x reader

Word Count: 4.2k

Warnings: idk it’s really soft, if you’re rowan you’ll probably cry, there’s like.. one? swear word? and references to sex

A/N: Happy birthday, Rowan!!! You’re the love of my life, and I’m the luckiest girl in the world to have a best friend and soulmate like you :’)

The title is from a Jimmy Buffett song (A Pirate Looks at Forty), I know it’s super long. I’m just really soft and I love Rowan that’s all, here we go, lads.

•

You awoke to the sound of silence. Something you definitely weren’t used to anymore. Soft morning light peeked through your curtains as you yawned quietly. Stretching, you rubbed your eyes and looked out the window and squinted at the dim sky, realizing it was still extremely early.

Much too early to be awake.

If the sun wasn’t even up yet, why on earth should you be? You squeezed your eyes shut once more, trying to hold on to those last few moments of sleep, and rolled over to cuddle up with your husband. At least, you tried to.

Your brow furrowed, eyes still shut, as you tentatively stuck your arm out and felt around the other side of the bed, as if Gardner was somehow hiding under the sheets. Whining quietly, you gave up and opened your eyes. Sure enough, you were alone.

With a small frown, you rolled over again to glance at the clock.

Five thirty. Christ, what could he be up to?

You moved onto your back, staring at the ceiling and letting yourself wake up. It was when you finally sat up that you realized you knew exactly where he was.

Throwing your covers off, you yawned once more and clambered out of bed. You stood for a moment, eyes closed, just listening to the sound of a quiet house. Your kids had been visiting your parents the past few days for a summer visit, and while you were very happy to have a little time to rest, you still found yourself missing them. It had been so long since the house was quiet, empty. You missed their hugs, the way they’d snuggle up next to you on the couch, and even their shrieks as they played pretend in the backyard. Penny, your five-year-old, had a tendency to rope Ben, who was three, into countless make-believe games that left them both in hysterics. They climbed all over Gardner like he was their personal jungle gym, and you were often roped into a piggyback ride as well. Still, as much as you loved the peace, you certainly loved them more.

You couldn’t complain about the alone time you were getting with Gardner though. You loved your quiet morning cuddles, not worrying about figuring out lunch for everyone, and being able to make as much noise as you wanted whenever you wanted (he always did have a hard time keeping quiet).

You played with the hem of your shirt (well, Gardner’s shirt, but that was beside the point), as you made your way into the bathroom, and smiled at your tired reflection. Your hair stuck up in every direction, reminding you of your time with Gardner last night, and you waggled your eyebrows at yourself playfully. You did your best to tame your mane before finishing getting ready for the day. After slipping on some shorts, you headed downstairs.

You made your way to the kitchen, grabbing a peach from the fridge and going to wash it. As you ran the fruit under the cool water, you felt a slight pressure against your leg and looked down to find your cat, Tybalt, purring at your feet. You smiled down at him and greeted him sweetly, receiving a happy “mrrap!” in return. He weaved between your legs a few times, his usual morning greeting, and then hopped up on the counter to watch you cut up your breakfast.

As you placed the peach slices in a bowl and subsequently gently pushed Tybalt’s face away from them, you looked out the window above the sink and your suspicions were confirmed. Out in the backyard stood your husband and his brother. They’d been at this for days, and while they’d done a fantastic job, you definitely thought five thirty was a bit much.

Still, you had to smile. Sure, the man never ceased to amaze you, but his devotion to his children was no surprise at all.

You stepped out the back door, breakfast in hand, and breathed in the morning air. The sun was fully up now, the only trace of the sunrise the pink smudges in the clouds. You popped a slice of peach into your mouth as you watched your husband fondly.

Before you stood a pirate ship. Or at least, a large model of one. You and Gardner had wanted to do this for a while now, you certainly had the backyard for it, but you’d been putting it off. You’d known it was going to be difficult, and you had no idea what the kids would want. You had considered asking them directly, but you could never find the right time. That is, until last week when you were looking online for some new Fourth of July decorations. Somehow, the two of you got very sidetracked, and wound up looking at playsets. You hadn’t planned on actually buying one until you saw Gardner’s face as he pointed to the pirate ship.

Their own boat!!! Like our family one but just for them!!!

You had laughed at his excitement, but his words struck a chord. His boat was his home for so long. Penny and Ben knew that, and they loved going out on the river with their dad, playing pirates and helping him navigate, so you could only imagine how ecstatic they’d be to have one for themselves. You just knew you had to.

It wasn’t an easy task. Gardner and Calvin had spent the past four days working on it. They’d just gotten all the materials and a complicated set of instructions in the mail, so it was basically built from scratch. Also, it wasn’t his fault, but your husband wasn’t too skilled in the DIY department (putting together the ikea furniture for your first apartment with him was a nightmare), so the first day or so was spent teaching him how to use a power drill. However, after you made it over that hurdle, it was relatively smooth sailing.

You looked on now with a grin as Gardner and Calvin painted their prized creation. The red paint shone bright in the morning sun, and it looked truly gorgeous. Royal and fierce at the same time. The perfect pirate ship.

“A bit early isn’t it?”

The boys looked up at your shout, Gardner almost dropping his paintbrush in surprise, and you waved. Both waved back, and you began making your way over with a smile. Gardner tossed his brush in the bucket on the patio table he’d dragged to the “construction site” as you walked over, wiping his hands on his pants to get some of the paint off.

You greeted him with a sweet kiss when you reached him, murmuring a good morning against his lips and asking how he was.

He broke the kiss and licked his lips, grinning.

“Mm, peachy.”

You laughed loudly at that, swatting his chest before offering him a slice that he gladly accepted.

You set your bowl down on the table and snaked your arms around him. He grinned and pulled you closer as you squeezed him tight, having missed your regular morning cuddle. He tucked his face into your neck, breathing you in. You stayed like that for a few minutes, just enjoying being together, but eventually your hands began traveling south and slipped into the back pockets of his paint splattered overalls. Gardner chuckled softly as he realized what was going on but still yelped as you gave him a good squeeze.

“Mm… you are quite peachy, aren’t you?”

He giggled breathily at that, but you could hear the blush adorning his face. He nestled further into your shoulder, hiding his pink cheeks, and you shook with a laugh.

“You better watch those hands,” he mumbled against your skin, “I’m a married man, you know.”

“At least I know you’re faithful.”

You playfully pulled his hair as you said it, and he pulled back to give you a look that said ‘don’t start something you can’t finish.’ You were about to suggest you go inside and continue when a head peeked over the side of the boat.

You and gardner immediately sprung apart like kids caught getting a bit too handsy, giggling sheepishly. Calvin shook his head with a smile.

“So did you come out here to distract my brother, or are you gonna help us paint?”

You laughed, still bright red, and shrugged.

“I can multitask.”

Gardner fondly rolled his eyes as you donned an apron and picked up a paintbrush. You gave him a quick peck on the cheek, making Calvin scoff good naturedly and retreat back to the upper deck. You opened your mouth to ask if you should paint anywhere specific when Calvin shouted from above.

“You’ve been married for like a decade now and you still act like teenagers!”

Gardner’s head fell into his hands, embarrassed, as yours fell back in a loud laugh.

“We didn’t meet until we were in our twenties! We’re just making up for lost time!”

You heard a yeah, yeah from above and stifled a giggle before pulling Gardner close with a smirk, knowing Calvin couldn’t see.

“And it’s not my fault you’re so damn delicious,” you whispered, capturing his lips once more. He whined quietly, both out of desperation and out of protest, not wanting to be caught again. Before he could say anything though, you pulled away and smiled brightly. “So where do you want me, sweet boy?”

You saw a flash in Gardner’s eyes at the implications behind your words, but he quickly regained his composure with an exasperated grin and directed you to an unpainted section. He explained which brushes to use and how many coats to put on with his perfect little focused frown that made your heart do somersaults.

“The painting is basically all we have left,” he phrased it as a question, like he was just hoping he was correct. “We’ll definitely finish by the time the kids get home tomorrow.” Ever punctual, your husband. And you had to admit, it drove you wild.

“Aye aye, Cap’n,” you saluted jokingly before getting to work.

•

The time passed quickly, the three of you making fantastic progress together. By the time lunch rolled around, you were nearly finished. All you had left to do was finish painting the upper deck and then decorate the inside. After a quick break for sandwiches and a few drinks, you set back to work, determined to finish.

The detail work of the cabin took a lot longer than the painting of the hull, as it called for more precision. You knew that it would be easy to paint it all one color, like the outside, but you just couldn’t. It had to be perfect. Once you were satisfied, the three of you called it a night. All that was left was putting in some chairs and cushions along with some knickknacks once the paint had dried. Calvin stayed for dinner as well, insisting he had to help you finish the playhouse.

“You two can’t take ALL the credit! I’m the one who had to teach Gardner how to use a drill! Plus, I need all the ‘Cool Uncle Points’ I can get!”

Gardner choked on his takeout at that exclamation and stared at his brother, genuinely dumbfounded.

“Cal, you know they think you’re the coolest guy in the world, right? They love you!”

You watched happily as a blush spread across Calvin’s face at your husband’s words. He tried to play it cool, but no one could deny the fact that he was glowing.

“Ohhh…” he smiled softly to himself, waving off the compliment slightly, “you know what I mean. Anyone can be the coolest guy in the world. I’m gonna be the coolest uncle.”

He paused briefly as you laughed, endeared, and his smile widened before he added softly,

“And I love them too.”

After the three of you finished your meals, you checked on the playhouse. You’d planned on getting it all done tonight, but the paint hadn’t fully dried everywhere, so you decided to wait and “furnish” the ship tomorrow morning before your parents brought the kids home. Calvin made you promise to call him over help, to which you readily agreed, and he headed home.

You leaned back against your husband as you watched Calvin’s car pull out of your driveway and he instinctively wrapped his arms around you, giving you a gentle squeeze.

“Feeling okay, honey?”

You smiled softly, trying not to let your favorite term of endearment affect you too much, and nodded. Turning around in his arms, you hugged him properly.

“Mm, just tired,” you hummed, leaning up to press a sweet kiss to his lips. “And paint-stained.”

He chuckled softly at that and pulled you closer again, tucking his face into your neck.

“Yeah, I could definitely go for a nice shower.”

A sly smile spread across your face.

“Oh me too… but I don’t know… our water bill was a bit high last month,” you said with a fake frown, “maybe it would be smart to… y‘know, conserve. Shower together.”

You pulled away to get a good look at the blush you knew had blossomed over your husband’s face, but the second you made eye contact, you both burst out laughing. Though you were nearly doubled over, you couldn’t help but marvel at the way his eyes crinkled at the edges and the way his perfect nose scrunched up in his joy, still awestruck by your love after all these years. You raised up on your tiptoes to press a giggly peck to his nose before quirking an eyebrow as if to say well?

He turned a deeper shade of red, somehow only now realizing that you were completely serious, but nodded quickly.

“That sounds like a uh… that’s a… sounds good.”

You nearly burst out laughing once more at your husband’s terrible attempt at concealing his excitement, but you settled on grabbing his hand and pulling him to the bathroom.

•

You laid together for a while after your shower (and what it led to), heat still radiating off your bodies. You were on top of him, your face buried in the crook of his neck, having simply collapsed after you both reached your highs. Neither of you spoke, though you knew he wasn’t asleep. You could feel his heart in sync with your own from where your chest pressed against his, their beating the only sound in your quiet house.

Lifting your head up, you looked at your husband beneath you. His freckled shoulders, his red hair, sticking out in every direction, his soft cheeks. His eyes fluttered open at your movement, and you smiled gently. Bringing a hand up, you gently moved the still damp hair out of his face, and he sighed at the touch. You brushed your thumb across his cheek and watched him lean into your hand. He nearly melted as you continued your exploration of his features, running the tip of your finger down his lovely nose before pressing a kiss to it. You could feel his soft tummy shaking with laughter under you, and it made your smile widen. He scrunched his nose up before you swiped your thumb across his lower lip and his giggle cut off abruptly. You were about to playfully tug on one of his sweet ears, but your previous touch had struck a chord with him and, before you knew it, his hand was laced in your hair and his lips were on yours.

You groaned softly into his mouth, your hands cradling his face as he smiled against you.

“God, you’re insatiable today, aren’t you?”

He giggled softly, pecking your lips once more.

“Can’t help it, just love you too much.”

At his words, you giggled softly, just so full of love, as you kissed him again. Your mouths moved in sync, quiet moans escaping you both.

Eventually pulling away for air, you leaned your forehead against his.

“And I love you too.”

With one more quick, sweet kiss, you rolled off of him with a small grunt, and he whined at the loss of contact. A laugh escaped you as you pulled on another one of his shirts.

“I’ll be right back, sweetheart, I’ve just gotta set the alarm and make sure all the lights are out, okay?”

You heard a soft groan from the bed, but when you turned to face him, he was smiling sleepily.

“Okay, but be fast please, I already miss you.”

Giggling, you made your way back to the bed and kissed right between his eyebrows, murmuring a promise that you’d be back before he knew it, and set off downstairs.

He waited patiently for you as you moved about downstairs, listening to you sing to yourself. He couldn’t help but smile as he heard you have a small conversation with Tybalt. A small giggle escaped him as he heard you reminding your cat to come up to bed when he feels like it, just reminding him to make sure he’s quiet.

After a little while, you made your way back to your husband, turning the lights off in the hallway and slipping into bed behind him. Immediately, he cuddled into you, sighing sweetly at the feeling of being back in your arms. A soft smile graced your features as you pulled him even closer. You kissed the back of his neck, murmuring a soft goodnight, and he pulled one of your hands up to his lips, whispering a goodnight back.

You had worried that you wouldn’t be able to sleep, too excited to see your kids the next day, but holding your husband and feeling his deep breaths against your chest quickly calmed your nerves, and you were out like a light.

•

Thankfully, you were allowed to sleep in the next morning. You both began to stir at about nine thirty, and you thanked your lucky stars that he hadn’t woken you before sunrise again.

You laid in bed for a few extra minutes, gazing at each other and talking quietly, but before long, you were up and at ’em. You got ready for the day quickly, taking another joint shower, and making breakfast. After a bowl of cereal each, you called Calvin.

You and Gardner were standing in the backyard, simply looking at your creation, when a clap sounded from behind you.

“Alright! Let’s DO this!”

You turned to see Calvin walking over, rubbing his hands together excitedly. Gardner nodded, his endearing look of concentration appearing once more as he followed his brother on deck. You weren’t far behind, and as soon as you were up, the work began.

You moved quickly, knowing your parents would be there with the kids around lunchtime. Chairs were placed in the cabin, maps were hung up, and you even set up a little bookshelf like the ones on the Dear Sidewalk that they had commandeered for their picture books in recent years. They had their own little working compasses and a rope that rang a bell up above. A pirate’s paradise.

It was just as you put down the last cushion that you heard a car door. Your heads snapped up at the noise, and you and Gardner immediately rushed out to the front. Your kids jumped out of the car, running at you full speed the second they saw you, and you and Gardner immediately gathered them up in a huge hug. Their little voices rang out, a jumble of excited shouts, telling you how much they missed you and what they had done with their grandparents. You and Gardner listened intently, nearly tearing up just at having them home again.

After a little, you broke off from the little group hug and made your way to your parents as your kids continued to excitedly cling to their father.

“Well, it certainly sounds like you had a good time,” you chuckled as you hugged each of them. They laughed, saying yes they absolutely did, and you knew they, as well as Penny and Ben, would be sleeping soundly that night.

“You had a nice time too I hope,” your mom smiled, “I’m assuming you enjoyed the quiet?”

You couldn’t help the blush that rose to your cheeks at the thought of all that you and Gardner had gotten up to in the last few days, but you still smiled.

“Oh definitely, it was nice not to worry too much about them for a while, but I’m certainly still glad they’re home.”

You watched with a wide smile as your kids ran circles around their dad, climbing all over him and giggling loudly. He was chuckling as well, lumbering around with them on each of his legs as they screamed in excitement. They certainly took after their father, the sunlight glinting off of their auburn hair and their precious laughter ringing out. He hoisted both of them up, one on each shoulder, and turned to you with bright eyes.

“Should we tell them?”

“Tell us what?” Penny asked from Gardner’s right shoulder before you could answer. Her eyes were wide, excited at the prospect of a surprise.

“Tell us what! Tell us what!” Ben bounced on his dad’s left, always following his older sister.

“Why don’t we just show them instead?”

With a grin, you took your husband’s hand and began leading them to the backyard, your parents close behind, and stopped just before they could see the playhouse.

“Well, your dad and I-”

“And Uncle Calvin!”

You laughed at both the shout that came from around the corner and at the children’s expressions as they realized their uncle was waiting to see them.

“-and Uncle Calvin, yes, worked really hard while you were on your big kids’ trip,” you paused, smiling at their wide eyes, “and we know how much you love going out on the boat, so…”

At that moment, you gently pulled them around the corner and revealed the pirate ship in all its glory. You didn’t really know how they were going to react, but it was better than anything you could’ve hoped for. Aside from when Gardner almost dropped them because of how loud they screamed, but even that was funny after the initial shock.

Penny sprinted over to the ship as soon as she was on the ground, shouting our own pirate ship! over and over as Ben just stood and looked on in awe. Gardner knelt down next to him.

“You alright, bud?”

Ben nodded slightly, mouth hanging open.

“Daddy?”

“Yeah, love?”

He looked up at his dad.

“Do we get to keep it?”

Gardner stifled his laugh, not wanting to embarrass him at all, and nodded excitedly.

“Of course you do! We built it for you!”

Ben looked at him, shocked, for one second more before running off after his sister.

Gardner stood, grunting softly, and made his way back over to you. You leaned against him with a smile.

“Dad noises.”

He chuckled, pressing a kiss to the top of your head.

“Fitting.”

You laughed, taking his hand, and watched as your kids dragged their uncle and both grandparents aboard, showing them around. You noticed they had started calling Calvin ‘first mate,’ instructing him to raise the sails and mop the deck, and all sorts of pirate-y things. He was very quick to accept his new title, playing along and doing his ‘chores,’ looking back at the two of you with a huge smile.

As they began their game, you turned around, putting your hands on Gardner’s hips, and pulled him into a kiss. His hands immediately moved up to cradle your face, and you smiled against him. You leaned your forehead against his and squeezed his hips gently.

“I think we did good.”

You felt his good-natured scoff rather than heard it as he kissed you again, murmuring “Yeah, I think you’re right.”

His arms wrapped around you, and he moved to deepen the kiss, but a shout broke you apart.

“Pirates don’t kiss!”

You looked up, startled, to find Penny leaning over the ship’s railing, looking both embarrassed and slightly grossed out.

Her expression paired with her words and distressed tone made you double over in laughter, you just couldn’t help it. She put her little hands on her hips and stared at you, brow furrowed, as you leaned in and kissed Gardner again, yelling back, “These pirates sure do!”

You heard her sigh exaggeratedly, followed by her telling you that she needed you on deck immediately, they were about to shove off, her favorite phrase of her dad’s.

You looked at your husband, smiling softly, glad to have your little family back together. He kissed your nose, and you laughed before motioning toward the ship.

“What say we weigh anchor and hoist the mizzen?”

He sighed sweetly, looking at you in lovestruck awe, like he was seeing you for the first time all over again.

“Y’know, I’d marry you again if I could.”

You kissed his cheek once more, a pleased grin on your face, and pulled him toward the ship.

“Come on, dork.”

He took your hand, smiling.

“Aye aye, Mrs. Langway.”

#holy shit i'm nervous about this #rowan im sorry this took so long i love you #you're an angel #gardner langway x reader #dear sidewalk #joe mazzello #My writing #gardner langway imagine #gardner langway #joe mazzello x reader #joe mazzello imagine #here's hoping this is good

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architectnews · 4 years ago

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Ten student architecture projects from the University of Westminster

A project that examines restoring damaged peatlands in Scotland and another that addresses the housing needs of income poor young people in Beijing are included in Dezeen's latest school show by students at the University of Westminster.

It also includes a mycelium product factory where a repurposed prison provides ideal conditions for growing sustainable products and a redesigned climbing wall highlighting the connection between sport and the natural world.

University of Westminster

School: University of Westminster, School of Architecture + Cities Course: Architecture BA (Hons), Architecture and Environmental Design BSc (Hons), Interior Architecture BA (Hons), Architectural Technology BSc (Hons), Designing Cities BA (Hons), Master of Architecture (MArch) (RIBA pt II) Tutors: Constance Lau, Stephen Harty John Zhang, David Porter, Paolo Cascone, Panagiota Adileniduo, Ro Spankie, Diony Kypraiou, Allan Sylvester, Ana Araujo, Tabatha Mills, Adam Thwaites, David Mathewson, Elisa Engel, Kester Rattenbury, Sean Griffiths, Anthony Boulanger, Stuart Piercy, Callum Perry John Cook, Laura Nica and Ben Pollock

School statement:

"The School of Architecture and Cities offers a wide range of undergraduate and postgraduate courses as well as research degrees a few moments from Baker Street. Here, students can enjoy state-of-the-art facilities, including the extensive Fabrication Laboratory and dedicated open-plan design studios.

"Open 2021 is a rolling programme of events being created by the school's staff and students, which reflect the varied design approaches of the School of Architecture and Cities and their place at the heart of London.

"It will feature 750 student projects, drawing on the vast body of developmental and finished work imagined and realised over the course of the last academic year. The show will transform student work into digital assets, creating an extraordinary display of new architecture and a compelling visitor experience. The show opens on 17 June until 30 September."

The Bioengineering Experimental School of Architecture: Designing for the Prevention of Fires by Momchil Petrinski

"In this project, the notion of 'fire' from the laboratory experiments serves multiple purposes, from the 'gallery' for public knowledge, heat distribution to the surrounding buildings and the cultivation of the green spaces.

"The dense urban site of Little Britain and proposed Tower is approached as a Borgesian labyrinth where the ever-green public gardens extend across the horizontal and vertical landscapes, and resting places for the homeless community are embedded within the public realm."

Student: Momchil Petrinski Course: Architecture BA (Hons) Tutors: Constance Lau and Stephen Harty Email: [email protected]

Ideal Landscape from Luo Shen Fu Tu by Yunuo Zheng

"The proposal is a spatial narrative telling the ancient Chinese story of the painting Luo Shen Fu Tu created by the famous Eastern Jin painter Gu Kaizhi based on the plot of Cao Chi's work Luo Shen Fu.

"This is not just a love story – it is a story of frustration and anger caused by feudalism when people could only express thoughts and feelings through landscapes and myths. It is these landscapes and myths that give the form to an immersive exhibition situated in London."

Student: Yunuo Zheng Course: Interior Architecture BA (Hons) Tutors: Ro Spankie, Diony Kypraiou, Allan Sylvester, Ana Araujo Email: [email protected]

Intercultural communal living as a catalyst for refugee integration by Anne-Flore Smits

"Nature avoids monocultures and lives in diversity to feed its system. The harmonious living between living forms is known as symbiosis. Through intercultural communal living, symbiosis is regenerated, where the forgotten lives of refugees can integrate back into society.

"With local and foreign amalgamation, the most vulnerable group in society can write their futures. The design of social-communal connectivity incorporates multi-use courtyards, creating a unique spatial arrangement within the male and female quarter and central community compound.

"A common roof with various environmental qualities ensures the proposed and established buildings receive minimal solar radiation, that is experienced in its extreme within Cameroon's Far North capital of Maroua."

Student: Anne-Flore Smits Course: Architecture and Environmental Design BSc (Hons) Tutors: Paolo Cascone and Panagiota Adileniduo Email: [email protected]

Ark for an Ant Tribe by Yuen-Wah Williams

"This project addresses the acute housing needs of well educated but income poor young people who come to Beijing to seek their future – affectionately known as the 'Ant Tribe' in China.

"The project is a co-living mega-block with floating courtyards, rooftop running tracks, and community programmes open to the broader neighbourhood at the ground level. The novel tectonics draws inspiration from traditional low-rises, high-density Hutong courtyards and local experiments in soviet-era social condensers.

"The generous and intensely social outdoor spaces become rooms in themselves, responds to the changing patterns of life in a pandemic."

Student: Yuen-Wah Williams Course: Architecture BA (Hons) Tutors: John Zhang and David Porter Email: [email protected]

Climb Air Theatre by Zhiqing He

"The conditions of isolation and lack of physical interaction due to the pandemic gave birth to this project with the aim of evoking memories of intimate communication stemming from the past. Inspired by The Phantom of the Opera, London's historic musical production (forced to close during the lockdown), the proposal suggests an open interactive theatre, situated at St Dustan park in London.

"The audience gets invited to follow actors through the theatre's three main theatre stages and participate in distinct moments of the play while re-connecting them to each other through this musical, theatrical and spatial journey."

Student: Zhiqing He Course: Interior Architecture BA (Hons) Tutors: Ro Spankie, Diony Kypraiou, Allan Sylvester, Ana Araujo Email: [email protected]

The Arch Climbing Wall by Tom McGinnity

"The Arch Climbing Wall is located in Bermondsey, London. The redeveloped climbing centre uses all the existing building while also developing a new building adjacent to the existing one. The design aims to highlight the connection between climbing and nature.

"New climbing walls were positioned in the existing building to create an environment of valleys and mountains. The new building acts as the final challenge, with climbers able to scale the exterior of the building and the tall structure within. The new building is open-air with large use of open mesh, allowing climbers to connect with nature."

Student: Tom McGinnity Course: Architectural Technology BSc (Hons) Tutors: Tabatha Mills and Adam Thwaites Email: [email protected]

Old Kent Road: A New Precedent for Mixing Leisure, Manufacturing and Housing by Daniel Sefton

"By combining industrial, residential, and leisure spaces using innovative changes of level, land-use pressures in the inner city could be significantly alleviated.

"An undulating raised park set against the side of an existing recycling centre creates a pocket of urban rurality. Pavilions break through the park's surface for exhibition and retail space, with micro-manufacturing occurring on the submerged ground floor.

"HGV access to ground floors occurs through a road network beneath the park. The park removes both social and physical barriers that industrial land creates through controlled, increased public proximity to manufacturing and community-connecting active transport routes."

Student: Daniel Sefton Course: Designing Cities BA (Hons) Tutors: David Mathewson and Elisa Engel Email: [email protected]

The Mycology Institute by Gemma Mohajer

"The Mycology Institute re-purposes existing buildings at Wormwood Scrubs Prison. Former cells provide ideal conditions for growing mushrooms, used to make sustainable products. The project extends one of the cell blocks creating a mycelium product factory.

"It forms a route to the scrubs and a public square created by demolishing the prison wall. The building is constructed using sustainable products, including rope elements, developed from chance operations. These are used as part of the roof structure and as a screen that shades the building and takes rainwater off the roof. Columns and floors reuse the 916,000 prison wall bricks."

Student: Gemma Mohajer Course: Master of Architecture (MArch) (RIBA pt II) Tutors: Kester Rattenbury and Sean Griffiths Email: [email protected]

The Rotherhithe Cooperative Press by Rebecca Gardner

"Newspapers are dying, and with them, an integral part of London's civic life and tacit skillset is at risk of extinction. The Rotherhithe Cooperative Press reinvents newspaper production, turning away from mass media favouring temporal print that focuses on specific events and protests.

"Through exploiting the natural diurnal cycle of the printing industry and the Thames, the scheme acts as a production framework and distribution network for marginalised media outlets at night whilst a community print-work mobilises the community to engage in protest during the day."

Student: Rebecca Gardner Course: Master of Architecture (MArch) (RIBA pt II) Tutors: Anthony Boulanger, Stuart Piercy and Callum Perry Email: [email protected]

Peat Observation: Carbon Cycles through Plant Matter by Seni Agunpopo

"The project looks at preserving and accelerating the restoration of damaged peatlands in Scotland – one of the world's most effective carbon store/sinks.

"This project uses a wider parametric masterplan strategy of landscape probes and responsive blanket systems to alter and control the conditions of soil moisture, temperature and humidity, as well as the deployable modular research units that support the ongoing scheme."

Student: Seni Agunpopo Course: Master of Architecture (MArch) (RIBA pt II) Tutors: John Cook, Laura Nica and Ben Pollock Email: [email protected]

Partnership content

This school show is a partnership between Dezeen and the University of Westminster. Find out more about Dezeen partnership content here.

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bjkdsiuiu45 · 4 years ago

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Lelki ismeretek (2020) teljes film magyarul videa

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Joe Gardner középiskolai tanár, aki szereti a jazz zenét. Egy balesetben a lelke elszakad a testétől és egy olyan központba kerül, ahol a lelkek fejlődnek és szenvedélyeket szereznek, mielőtt újjászületnek. Joe-nak segítséget kell szereznie a többi képzésben részt vevő lélektől, például 22-től, egy lélektől, aki örök időket töltött a Te szemináriumon, hogy visszatérjen a Földre. felszabadított: 2020–12–25 Runtime: 102 percek Műfaj: Animációs, Vígjáték, Kaland, Családi, Zenei, Fantasy Csillag: Jamie Foxx, Tina Fey, Ahmir-Khalib Thompson, Phylicia Rashād, Daveed Diggs Rendező: Trent Reznor, Bobby Podesta, Steve Pilcher, Pete Docter, Pete Docter Kulcsszavak : Lelki ismeretek előzetes magyarul, Lelki ismeretek ingyen letöltés, Lelki ismeretek netmozi, Lelki ismeretek magyar premier, Lelki ismeretek film online, Lelki ismeretek teljes film, Lelki ismeretek teljes film videa, Lelki ismeretek indavideo, Lelki ismeretek magyarul online, Lelki ismeretek teljes film magyarul indavideo, Lelki ismeretek online filmek ingyen Lelki ismeretek online 2020 filmek magyarul Lelki ismeretek filmek magyarul Lelki ismeretek online videa 720p 1080p Lelki ismeretek film letöltés Lelki ismeretek 2020 teljes filmek magyarul videa Lelki ismeretek online sorozatok Lelki ismeretek ingyen filmek Lelki ismeretek 2020 film letöltés ingyen Lelki ismeretek filmek online magyarul Lelki ismeretek magyar filmek online Image for post Its somewhat ironic that a movie about time travel can’t be reviewed properly until your future self rewatches the movie. It’s bold of Nolan to make such a thoroughly dense blockbuster. He assumes people will actually want to see ~Lelki ismeretek more than once so they can understand it properly, which some may not. This movie makes the chronology of Inception look as simplistic as tic-tac-toe. Ergo, it’s hard for me to give an accurate rating, without having seen it twice, as I’m still trying to figure out whether everything does indeed make sense. If it does, this movie is easily a 9 or 10. If it doesn’t, it’s a 6. It’s further not helped by the fact that the dialogue in the first 15 minutes of the movie is painfully hard to understand / hear. Either they were behind masks; they were practically mumbling; the sound effects were too loud; or all of the above. The exposition scenes are also waayyy too brief for something this complex — a problem also shared with Interstellar actually. (Interstellar had this minimalist exposition problem explaining Blight, where if you weren’t careful, you’d miss this one sentence / scene in the entire movie explaining that Blight was a viral bacteria: “Earth’s atmosphere is 80% nitrogen, we don’t even breathe nitrogen. Blight does, and as it thrives, our air gets less and less oxygen”). I guess it’s a Nolan quirk. Hopefully, a revision of the film audio sorts the sound mixing out. I do like the soundtrack, but it’s too loud initially. I liked all the actors. You think John Washington can’t act at first, but he can, and he grows on you as the film progresses. And Pattinson is his usual charming self. Elizabeth is a surprise treat. And so on. Its worth a watch either way. See it with subtitles if you can. And definitely don’t expect to fully understand whats going on the first time around. Its one hell of a complicated film. It will be very hard for an average viewer to gather all the information provided by this movie at the first watch. But the more you watch it, more hidden elements will come to light. And when you are able to put these hidden elements together. You will realize that this movie is just a “masterpiece” which takes the legacy of Christopher Nolan Forward If I talk about acting, Then I have to say that Robert Pattinson has really proved himself as a very good actor in these recent years. And I am sure his acting skills will increase with time. His performance is charming and very smooth. Whenever he is on the camera, he steals the focus John David Washington is also fantastic in this movie. His performance is electrifying, I hope to see more from him in the future. Other characters such as Kenneth Branagh, Elizabeth, Himesh Patel, Dimple Kapadia, Clémence Poésy have also done quite well. And I dont think there is a need to talk about Michael Caine Talking about Music, its awesome. I dont think you will miss Hans Zimmer’s score. Ludwig has done a sufficient job. There is no lack of good score in the movie Gotta love the editing and post production which has been put into this movie. I think its fair to say this Nolan film has focused more in its post production. The main problem in the movie is the sound mixing. Plot is already complex and some dialogues are very soft due to the high music score. It makes it harder to realize what is going on in the movie. Other Nolan movies had loud BGM too. But Audio and dialogues weren’t a problem My humble request to everyone is to please let the movie sink in your thoughts. Let your mind grasp all the elements of this movie. I am sure more people will find it better. Even those who think they got the plot. I can bet they are wrong. ~Lelki ismeretek is the long awaited new movie from Christopher Nolan. The movie that’s set to reboot the multiplexes post-Covid. It’s a manic, extremely loud, extremely baffling sci-fi cum spy rollercoaster that will please a lot of Nolan fan-boys but which left me with very mixed views. John David Washington (Denzel’s lad) plays “The Protagonist” — a crack-CIA field operative who is an unstoppable one-man army in the style of Hobbs or Shaw. Recruited into an even more shadowy organisation, he’s on the trail of an international arms dealer, Andrei Sator (Kenneth Branagh in full villain mode). Sator is bullying his estranged wife Kat (Elizabeth Debicki) over custody of their son (and the film unusually has a BBFC warning about “Domestic Abuse”). Our hero jets the world to try to prevent a very particular kind of Armageddon while also keeping the vulnerable and attractive Kat alive. This is cinema at its biggest and boldest. Nolan has taken a cinema ‘splurge’ gun, filled it with money, set it on rapid fire, removed the safety and let rip at the screen. Given that Nolan is famous for doing all of his ‘effects’ for real and ‘in camera’, some of what you see performed is almost unbelievable. You thought crashing a train through rush-hour traffic in “Inception” was crazy? You ain’t seen nothing yet with the airport scene! And for lovers of Chinooks (I must admit I am one and rush out of the house to see one if I hear it coming!) there is positively Chinook-p*rn on offer in the film’s ridiculously huge finale. The ‘inversion’ aspects of the story also lends itself to some fight scenes — one in particular in an airport ‘freeport’ — which are both bizarre to watch and, I imagine, technically extremely challenging to pull off. In this regard John David Washington is an acrobatic and talented stunt performer in his own right, and must have trained for months for this role. Nolan’s crew also certainly racked up their air miles pre-lockdown, since the locations range far and wide across the world. The locations encompassed Denmark, Estonia, India, Italy, Norway, the United Kingdom, and United States. Hoyte Van Hoytema’s cinematography is lush in introducing these, especially the beautiful Italian coast scenes. Although I did miss the David Arnold strings that would typically introduce these in a Bond movie: it felt like that was missing. The ‘timey-wimey’ aspects of the plot are also intriguing and very cleverly done. There are numerous points at which you think “Oh, that’s a sloppy continuity error” or “Shame the production design team missed that cracked wing mirror”. Then later in the movie, you get at least a dozen “Aha!” moments. Some of them (no spoilers) are jaw-droppingly spectacular. Perhaps the best twist is hidden in the final line of the movie. I only processed it on the way home. And so to the first of my significant gripes with ~Lelki ismeretek. The sound mix in the movie is all over the place. I’d go stronger than that… it’s truly awful (expletive deleted)! Nolan often implements Shakespeare’s trick of having characters in the play provide exposition of the plot to aid comprehension. But unfortunately, all of this exposition dialogue was largely incomprehensible. This was due to: the ear-splitting volume of the sound: 2020 movie audiences are going to be suffering from ‘~Lelki ismeretekis’! (LOL); the dialogue is poorly mixed with the thumping music by Ludwig Göransson (Wot? No Hans Zimmer?); a large proportion of the dialogue was through masks of varying description (#covid-appropriate). Aaron Taylor-Johnson was particularly unintelligible to my ears. Overall, watching this with subtitles at a special showing might be advisable! OK, so I only have a PhD in Physics… but at times I was completely lost as to the intricacies of the plot. It made “Inception” look like “The Tiger Who Came to Tea”. There was an obvious ‘McGuffin’ in “Inception” — — (“These ‘dream levels’… how exactly are they architected??”…. “Don’t worry… they’ll never notice”. And we didn’t!) In “~Lelki ismeretek” there are McGuffins nested in McGuffins. So much of this is casually waved away as “future stuff… you’re not qualified” that it feels vaguely condescending to the audience. At one point Sator says to Kat “You don’t know what’s going on, do you?” and she shakes her head blankly. We’re right with you there luv! There are also gaps in the storyline that jar. The word “~Lelki ismeretek”? What does it mean. Is it just a password? I’m none the wiser. The manic pace of ~Lelki ismeretek and the constant din means that the movie gallops along like a series of disconnected (albeit brilliant) action set pieces. For me, it has none of the emotional heart of the Cobb’s marriage problems from “Inception” or the father/daughter separation of “Interstellar”. In fact, you barely care for anyone in the movie, perhaps with the exception of Kat. It’s a talented cast. As mentioned above, John David Washington is muscular and athletic in the role. It’s a big load for the actor to carry in such a tent-pole movie, given his only significant starring role before was in the excellent BlacKkKlansman. But he carries it off well. A worthy successor to Gerard Butler and Jason Statham for action roles in the next 10 years. This is also a great performance by Robert Pattinson, in his most high-profile film in a long time, playing the vaguely alcoholic and Carré-esque support guy. Pattinson’s Potter co-star Clemence Poésy also pops up — rather more un-glam that usual — as the scientist plot-expositor early in the movie. Nolan’s regular Michael Caine also pops up. although the 87-year old legend is starting to show his age: His speech was obviously affected at the time of filming (though nice try Mr Nolan in trying to disguise that with a mouth full of food!). But in my book, any amount of Caine in a movie is a plus. He also gets to deliver the best killer line in the film about snobbery! However, it’s Kenneth Branagh and Elizabeth Debicki that really stand out. They were both fabulous, especially when they were bouncing off each other in their marital battle royale. So, given this was my most anticipated movie of the year, it’s a bit of a curate’s egg for me. A mixture of being awe-struck at times and slightly disappointed at others. It’s a movie which needs a second watch, so I’m heading back today to give my ear drums another bashing! And this is one where I reserve the right to revisit my rating after that second watch… it’s not likely to go down… but it might go up. (For the full graphical review, check out One Mann’s Movies on t’interweb and Facebook. Thanks.) As this will be non-spoiler, I can’t say too much about the story. However, what I can is this: ~Lelki ismeretek’s story is quite dynamic in the sense that you won’t understand it till it wants you to. So, for the first half, your brain is fighting for hints and pieces to puzzle together the story. It isn’t until halfway through the movie that ~Lelki ismeretek invites you to the fantastic storytelling by Christopher Nolan. Acting is beyond phenomenal, and I’d be genuinely surprised if neither Robert Pattinson nor John David Washington doesn’t receive an Oscar nomination for best actor. It’s also hard not to mention how good Elizabeth Debicki and Aaron Johnson both are. All around, great acting, and the dialogue amps up the quality of the movie. The idea of this movie is damn fascinating, and while there are films that explore time-travelling, there’s never been anything quite like this. It has such a beautiful charm and for the most part, explains everything thoroughly. It feels so much more complex than any form of time-travelling we’ve seen, and no less could’ve been expected from Nolan. Oh my lord, the score for this film fits so perfectly. Every scene that’s meant to feel intense was amped by a hundred because of how good the score was. Let me just say though, none of them will be found iconic, but they fit the story and scenes so well. In the end, I walked out, feeling very satisfied. Nevertheless, I do have issues with the film that I cannot really express without spoiling bits of the story. There are definitely little inconsistencies that I found myself uncovering as the story progressed. However, I only had one issue that I found impacted my enjoyment. That issue was understanding some of the dialogue. No, not in the sense that the movie is too complicated, but more that it was hard to make out was being said at times. It felt like the movie required subtitles, but that probably was because, at a time in the film, there was far too much exposition. Nevertheless, I loved this film, I’ll be watching it at least two more times, and I think most of you in this group will enjoy it. I definitely suggest watching it in theatres if possible, just so you can get that excitement. (4/5) & (8.5/10) for those that care about number scores. At first, I want to ask Christopher Nolan one question, HOW THE HELL YOU DID THIS? Seriously I want to have an answer, How did he write such as this masterpiece! How did he get this complicated, fabulous and creative idea? What is going on in his mind? The story is written and directed perfectly, the narration style was absolutely unique. I have no idea how can anyone direct such as this story, that was a huge challenge, and as usual Nolan gave us a masterpiece that we’ll put beside (Memento), (Inception) and (Interstellar) The movie is so fast-paced in a good way, there was no boring moment. The chemistry between John David Washington and Robert Pattinson was great and funny and both of their performance was really good. Elizabeth Debicki performance was the best in the movie because she had the chance to show her acting abilities and she cached up that chance and showed us an A level acting. The music wasn’t unique and distinct as the music of Interstellar for example and I think this movie needed the touch of Hans Zimmer, I’m not saying that Ludwig Göransson failed but Hans Zimmer in another level. If there was something I’d say that I didn’t like it in the movie would it be that Nolan discarded any set up or characters backgrounds except Elizabeth Debicki dramatic story but it wasn’t that bad for me, I didn’t care about that, the exciting story didn’t give me the chance to focus on it. But the actual problem was the third act, it was really complicated and I got lost and I convinced myself to discard the questions that were in my head and enjoy the well-made action sequences and Elizabeth Debicki performance. I think this kind of movie that gets better with a second and third watch. I honestly don’t quite know where to begin with ~Lelki ismeretek. I love Christopher Nolan’s work but I have never seen a more complicated film (and I understood Memento). ~After nearly three hours, I came away from ~Lelki ismeretek not knowing myself, my mind reduced to nothing more than piles of ash. Was there time travel involved? Hmm, there was definitely something about time inversion. I mean, does Nolan even understand what he wrote? Look, I give credit to the director because he’s one of the few directors left who knows how to create a compelling and intelligent blockbuster. ~Lelki ismeretek is full of Nolan trademarks — the gratuitous Michael Caine cameo, a loud, really loud score, complete with stunning cinematography and slickly inventive action set-pieces. This time around however, Nolan has finally managed to ‘out-Nolan’ himself: the palindromic plot, whilst creatively ambitious, is simply far too complicated for its own good. ~Lelki ismeretek is overlong, overstuffed, pretentious and too exhausting to comprehend in its entirety — it makes Inception and Interstellar look like Peppa Pig by comparison. I’m aware of the technical wizardry and creative mastery in this film and lord knows I’ll have to watch this again. For those who want a puzzle, ~Lelki ismeretek at least provides a unique cinematic experience. But to actually enjoy solving it Nolan wants you to work very very hard.

#Lelki ismeretek (2020)

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dsferkj34 · 4 years ago

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Lelki ismeretek (2020) Online Filmek és teljes filmek magyarul

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#Lelki ismeretek (2020)

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