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freddiemercurylegendabovelegends · 1 year ago

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Today, November 18th, 1975 - Queen Story!

Bristol, UK, Colston Hall (two night)

'A Night At The Opera Tour'

This article chronicles the second show in Bristol.

🔸Sounds, November 29, 1975

Queen triumphant

Report by Jonh Ingham, pictures by Kate Simon

QUEEN ARE the type of group that make a man want to abandon rock writing. They pose questions and never provide answers. They exist in their own space-time continuum, visible and audible but keeping their secrets to themselves.

On the surface they couldn't be a nicer bunch of people, but they carry English reticence to an epitome. It isn't, as Geoff Barton said two weeks ago, that they're boring, it's just that they're reserved. Or in writer parlance, they don't automatically provide colourful copy. All my instincts as a writer tell me that there is a great story in that band, but after two nights with them I'm hardly any the wiser.

Skin tight

That their insularity has a lot to do with them being one of the most amazing heavy-metal and/or rock bands in Britain - with all the signs that they'll end up monsters on the order of Zep - is fairly obvious, but just how much bearing it has on the matter is hard to say. The enigmas they might pose mightn't even have answers.

Is there any logical reason why they present an image and persona straight out of the Beatles school of interlocking chemistry?

John is reserved, almost nonchalant on stage, as if it's all in a small, personal joke. When asked how he saw himself within the framework of the band he replied, with a small smile, "I'm the bassist".

Roger is his opposite, the cheeky sidekick in a Clint Eastwood movie, and attracting a lot of cheesecake attention in America and Japan.

Freddie is an original - one of the most dynamic singers to tread the boards in quite a few years. His attraction is obvious.

Brian is perhaps the biggest enigma of all. What is this seemingly frail, gaunt astronomer doing on that stage, striding purposefully and blasting diamond-hard rock? They're all equally strong personalities - like the Beatles there's no one major focal point. Ask four fans who their dream Queen is and you'll get four different answers.

Queen have been busy lads these past few months. Having disassociated themselves from their former management and joined with John Reid, the fourth album was seen to. Reid decided that a tight schedule wouldn't cause them undue harm, and figured on two months to record before embarking on this current tour.

Only Queen are driven to better each previous album - which at this stage of the game is obviously producing some excellent results - and 'A Night At The Opera' turned into a saga - culminating in 36-hour mixing sessions in an effort to allow at least a few days for rehearsal. In the end they managed three and a half days at Elstree with four hours off to videotape the promotional film for 'Bohemian Rhapsody'.

Their first few dates had not been without errors and the quartet were still not feeling totally comfortable their second night in Bristol, fourth night of the tour. You'd never know it, though.

Like all other aspects of the group, the stage is sophisticated. A black scrim provides a backdrop bounded by a proscenium of lights both front and rear. At each side the p.a. rises like a mutant marriage of Mammon and Robby the Robot. Amp power is readily evident but the most extraordinary is Brian May's subtle set up: nine Vox boxes stepping back in rows of three. The only packing crate visible is holding a tray of drinks, and you may rest assured that no roadie will rush, crawl or lurk across the stage while the show is in progress unless it's to rescue Freddie's mike from the clawing crowd.

As the auditorium darkens the sound of an orchestra tuning up is heard over the p.a. The conductor taps his baton on the music stand and a slightly effete voice welcomes the audience to A Night At The Opera. The Gilbert & Sullivan portion of 'Bohemian Rhapsody' follows, a brief glimpse of Freddie is allowed, and then in a blast of flares and white smoke the blitzkrieg begins.

Roger is barely visible behind his kit, just his eyes and tousled locks. John is wearing a white suit and playing the-man-who-must-stand-still-or-it-will-all-blow-away. Brian is slightly medieval in his green and white Zandra Rhodes top, while Freddie is...

Around his ankles his satin white pants flare like wings - fleet footed Hermes. Everything north of the knee is skin tight - tighter than skin tight - with a zip-up front open to AA rating. But further south, definitely in X territory, lurks a bulge not unlike the Sunday Telegraph.

There have been sex objects and sex bombs, superstar potency and the arrogant presentation of this all-important area, but never has a man's weaponry been so flagrantly showcased. Fred could jump up on the drum stand and shake his cute arse, leap about and perform all manner of amazing acrobatics, but there it was, this rope in repose, barely leashed tumescence, the Queen's sceptre. Oh to be that hot costume, writhing across the mighty Fred!

Phallic

Freddie is not pretty in the conventional sense of the word; like Mick Jagger of '64, he is his own convention. Also like the Jagger of the time, his stage persona and action is unlike anything else. Although it borrows - like most of the group's plagiarisms - slightly from Zeppelin, in tandem with Freddie's supreme assurance and belief in himself - he always refers to himself as a star - it explodes into something that is a constant delight to watch.

He reacts to his audience almost like an over-emotional actress - Gloria Swanson, say, or perhaps Holly Woodlawn playing Bette Davis. At the climax of the second night in Bristol he paused at the top of the drum stand, looked back over the crowd and with complete, heartfelt emotion placed his delicate fingers to lips and blew a kiss. Any person who can consume themselves so completely in such a clichéd showbiz contrivance deserves to be called a star.

Freddie's real talent, though, is with his mike stand. No Rod Stewart mike stand callisthenics here, just a shortee stick that doubles as a cock, machine gun, ambiguous phallic symbol, and for a fleeting moment an imaginary guitar. He has a neat trick of standing quite still in particularly frantic moments and holding the stand vertically from his crotch up, draw a fragile finger along its length, ever closer to the taunting eyes that survey his audience.

Their show contains lots of bombs and smoke, lots of lights, lots of noise. They fulfil the function of supremely good heavy metal - i.e. you don't get a second to think about what's going on. When they do let up for a few minutes, it's only so you can focus in on the bright blue electric charge crackling between your ears.

Bulldozer

Dominating the sound is Roger's drumming, a bulldozer echo that bounces like an elastic membrane, meshing with your solar plexus so that your body pulses in synch with the thunder. Tuned into that, everything else is just supremely nice icing.

For three days rehearsal, after eight months off the road Bristol was extremely impressive. In speculative mood I quizzed people on how long they thought it would take to headline Madison Square Garden. I was thought a radical at a year and a half. John Reid smilingly assured me it would take a year.

That Queen should end up with John Reid is an entirely logical proceeding. Everything about Queen demands that the world eventually kowtows at their feet in complete acquiescence - so big that bodyguards have to accompany them at every step. Well, no - they found that an annoyance in Japan, but, you know, huge.

Such status demands a Reid or a Peter Grant, and whatever the causes for their leaving Jack Nelson and Trident, an elegant group like Queen is going to look for a man with class. Reid found the idea of managing a group interesting, and having to deal with four strong personalities a challenge. He only concerns himself with their business and ensuring that the year ahead is mapped out. In January they begin a jaunt through the Orient, Australia and America, by which time it's March and they begin preparations for the next album.

Reid's prediction of a year was proven highly credible the next evening in Cardiff. The band had still not paused from the rush up to the tour and spent most of the day relaxing and sleeping - no doubt a factor in their near recumbent profile. Also, unlike most groups, they were keeping their dissatisfaction with the show to themselves.

They stopped off at Harlech TV on the way to see a cassette of the video for 'Bohemian Rhapsody'. The general consensus was quite good for four hours, with much laughter during the operetta. Brian finds film of the group educational - the first time he saw himself was a Mike Mansfield opus for 'Keep Yourself Alive' - "It was 'All right fellows, give it everything you've got but don't move off that spot.' It was terrible." You don't like Mansfield, eh? "Oh, I hate him - we all do... I was horrified when I saw it - I couldn't believe we looked that bad. I looked very static - seeing myself has taught me a lot about stage movement. Some of the things I do are planned for effect, but it's mostly just feeling the audience and communicating that back to them."

Arriving at the motel - several miles out of town - Freddie immediately fell asleep, John held court of a sort, joined later by Brian, while Roger went jogging, a daily event when touring. Tuning in to rock via Bill Haley and Tommy Steele, he became a drummer because he was better at it than guitar. All through school he was in bands; he only went to dental school out of "middle class conditioning, and it was a good way to stay in London without having to work". His mother thought it a bit strange when he opted for a career as a rock star, but she doesn't worry too much now.

The concert starts in much the same manner as the previous night, but there are signs that tonight is work, with posing an afterthought. The endings to most of their songs are magnificent and majestic, especially 'Flick Of The Wrist' and the rapid harmonies of 'Bad Boy Leroy Brown'

➡️ keep reading on http://jonh-ingham.blogspot.com/2007/02/queen-riot-at-opera.html?m=1

#freddie mercury #queen band #london #zanzibar #legend #queen #brian may #john deacon #freddiebulsara #roger taylor #1975 #queen invite you to a night at the opera #a night at tbe opera album #a night at the opera tour #bristol

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dustedmagazine · 2 days ago

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Dust, Volume 10, Number 12

Olivia Tremor Control

Another year of Dust goes into the books with this final edition. We’ve relished the chance to work in short form, covering small label releases and chart-toppers, new music and worthy reissues, across a lot of genres but leaning heavily on jazz, folk, punk and experimental music. We hope you’ve enjoyed it, too, Here’s to continuing that, at least, in 2025.

This month’s contributors include: Bill Meyer, Patrick Masterson, Tim Clarke, Ian Mathers, Alex Johnson, Jennifer Kelly, Jonathan Shaw, Christian Carey and Bryon Hayes.

Abdou / Gouband / Warelis — Hammer, Roll and Leaf (Relative Pitch)

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When applied to improvising musicians, residency usually refers to a sequence of gigs at the same club. This session, a first-time encounter for the trio but not for its component parts, takes another tack. The hour of music on Hammer, Roll and Leaf was tracked in alto and tenor saxophonist Sakina Abdou’s home over the course of four days, two of which were taken up with gigs elsewhere. So, we should we call it a residential residency? At any rate, one supposes that the shared time in close quarters contributed to the music’s charge. It has a feeling of excitement in becoming. They’re not just improvising; they’re figuring out who they are as a trio. Each musician brings both flexibility and a strong individual presence. Martha Warelis is as comfortable inside the piano as she is at the keys, and she uses that combination of hardware rumble and high-wire line-tracing to give the music shape, motion and space. Toma Gouband’s penchant for playing with stones and branches filters the conventional spectrum-filling function of his drum kit, and his astute placement of small sounds invites one to listen for the details. Abdou thrives in their company, find a complementary stance for whatever her fellows throw at her. Great stuff.

Bill Meyer

Barker / Parker / Irabagon — Bakunawa (Out of Our Heads)

Andrew Barker is a drummer, improviser and composer based in New York whose cv includes Gold Sparkle Band, Acid Birds and a host of endeavors that blur the line between solo and collaborative. Take this one, for example. Barker put the date together, but when you call on William Parker (heard here on bass, B flat pocket tuba, and a Catalan double reed instrument called a gralla) and Jon Irabagon (tenor and sopranino saxophone), you don’t do so in order to shove music stands under their noses. Each musician adds such personality and imagination to their parts that the shared compositional credits make perfect sense. Each of the LP’s four (five on the download) tracks explores a different tributary off the free jazz stream, pushing back the mapped zone of exploration just a bit.“Fly Anew,” for example, swings with burly muscularity, while “Morgan Avenue Second Line” fractures and scrambles said line into an expression of confrontationally dancing sound, like martial arts sparring match between three choreographers.

Bill Meyer

Batu & Nick León — Yiu EP (A Long Strange Dream)

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Bristol’s Batu and Miami’s Nick León are both club vets at this point — the former via numerous late UK bass singles and ownership of both the Timedance and A Long Strange Dream imprints, the latter an adventurous remix workhorse whose 2024 highlight ended up being an Erika de Casier collaboration. Closing out the year with their first EP together, Yiu thrives on the tension between Bristolian bass weight and the lighter, faster beats of Miami’s Latin scene. The eponymous track, originally heard in León’s Dekmantel mix, is the highlight, snagging a reggaeton rhythm and marrying it to swirling, dissonant (but not unpleasant) synths. Don’t miss the bubbly “Tuvan” (yes, there is throat singing incorporated) or the dashing “Palo,” either, though. For just four tracks, a great deal of ground is covered; let’s hope this just scratches the surface of their potential together.

Patrick Masterson

“Deadly” Headley Bennett—35 Years from Alpha (On-U Sound)

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If you listen to Studio One reggae, you know Headley Bennett’s playing, even if you don’t know that you know. As part of the core session crew, his spreadably rich alto saxophone is all over the label’s discography, but as a consummate sideman he managed to make it to the age of 50 without making a solo record. When he stuck around London after a tour with Prince Far I, Adrian Sherwood recognized an opportunity to right a cosmic wrong and put him in the studio with drummer Style Scott, singer Bim Sherman and a posse of creatively named On-U Sound regulars. The combination of Bennett’s fluid melodies and Sherwood’s muscularly dubby, percussion-forward production is inspired. Every boingy syndrum, ardently crooned lyric and echoing beat has a reflective surface that points attention to the saxophonist.

Bill Meyer

Blawan — BouQ EP (Temesc)

The longer South Yorkshire producer Jamie Roberts is left to his own devices, the weirder his songs get. Using his literal voice more than ever and letting in a lot more light than his typically aggro, industrial-leaning productions account for, BouQ covers considerable post-dubstep ground for him on the big room highlight “Fires” alone. Lest it be misunderstood, Blawan isn’t going James Blake singer-songwriter mode or getting confessional instead of confrontational, but the more discernibly human touches and melodies of this four-tracker are a distinctive step to the left. It suits him; more than another Persher album or even an extended hardware-only Karenn set, BouQ is the sound of an opportunity, of fresh potential from a guy who’s lived through club trends of the last decade and a half and still has something left to give.

Patrick Masterson

Bursting — Bursting EP (No Sabes)

Bursting cites Jawbox, No Knife, Drive like Jehu and Shiner as musical reference points for its debut six-song EP, but even with that and pedigrees of bands including Coliseum, Stress Positions and Thou, the thing “Trade in Time” reminded me of most immediately was early Foo Fighters. There’s a subtle multitracked quality to Kortland Chase’s higher register that recalls Dave Grohl in his first years after Nirvana and the music never feels too heavy — but far from a negative thing, this just paints Bursting as distinct from its creators’ biggest projects. There’s no question you can hear Jehu’s most driving Yank crimes on “Play It Nice,” but taken as a whole, this is a solid slab of 1990s-indebted indie-rock skirting the perimeter of knotty post-hardcore as it was then delivered. Put another way: It’s easy to imagine a 1995 where “Dark Phase Manager” is an alt-rock radio staple (complementary).

Patrick Masterson

DJ Sabrina the Teenage DJ — Sorcery (Spells on the Telly)

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It’s unnerving how prolific DJ Sabrina the Teenage DJ is. The still-anonymous London producer properly broke through with the three-hour odyssey Destiny, a mind-bending 41-track melange of sunny, psychedelic, sample-heavy house the likes of which most people hadn’t heard since the Avalanches’ Since I Left You heyday. That was August 2023. Normally, you’d take a moment after that to make a victory lap, catch your breath and see where you’re at artistically, assess what you want to do next. But that’s you, a mortal; what Sabrina did instead was release two singles and three albums, one of which (Hex) has two companion albums unto itself. The latest (though only a fool would bet on it being the last) 2024 release is the 14-track Sorcery from early December, which fails to dip in the quality we’ve come to expect. Despite oft-straightforward 4/4 rhythms, the sheer density of these productions — which have to look like a nightmare in ProTools, incidentally — boggles the mind. What does her process look like? When does she sleep? How the fuck is this possible? The answer has to be right there in the title; nothing else seems plausible.

Patrick Masterson

The Green Child — Look Familiar (Hobbies Galore / Upset the Rhythm)

The self-titled 2018 debut by the duo of Mikey Young (Eddie Current Suppression Ring, Total Control) and Raven Mahon (Grass Widow) was an uncanny gem. Its deadpan space-pop felt like the soundtrack to an odd, dated nature documentary. On album three, Look Familiar, the duo are joined by Alex Macfarlane (The Stevens, Twerps) on guitars and synths, and Shaun Gionis (Boomgates) on drums. The resulting sound is much fuller and more propulsive, with a motorik bent and a twist of glam swagger. The title feels like a nod to the fact that several of the songs have elements that are reminders of a diverse range of other songs, such as Fleetwood Mac’s “Tusk” (“Easy Window”), Boards of Canada’s “A Beautiful Place Out In the Country” (“A Long Beautiful Flowing Cape”), and even Wang Chung’s “Dance Hall Days” (opener “Wow Factor��). The eclecticism in these reference points is a good indicator of this album’s tunefulness and likeability.

Tim Clarke

Haptic — Sensitive Dependence on Initial Conditions (Line)

One could accurately characterize the entire timeline of the Chicago-identified trio Haptic as a shift between the poles of outreach and interiority. Originally formed expressly to perform live, with guests, extended episodes of geographic separation brought out their latent tendencies towards audience-free interaction. The title tips the hand of this recording, which can be considered an experiential confrontation with destiny. For while the musicians added to, subtracted from, processed and otherwise manipulated sourced from a one-day session at Chicago’s Experimental Sound Studio, they kept coming back to the original sounds. Which is not to say that it sounds like what they played; rather, what you hear was fileted from the original sound capture, dredged through field recordings and room sounds, and then shaken until only a light dusting of influence remained. There are long stretches where it sounds like a rank of long electronic tones tucked behind a cloud bank of room sound, and this immateriality makes the choice to release it only as a digital download feel like an artistic choice to make format congruent with content.

Bill Meyer

Hirsch Swell Clouse Parker — Out on a Limb (Soul City Sounds)

To spell it out, that’s Steve Hirsch on drums, Steve Swell on trombone, William Parker on bass and Jim Clouse on soprano and tenor saxophones. All of them save Minneapolitan Hirsch are New Yorkers who spend a lot of time in Clouse’s Park West Studio, and there’s a rapport between them that contributes to this music’s apparent effortlessness. The horns glide and tangle, then stop and smear textures as one; the bass and drums have a leap-frogging dynamic that keeps the music moving even when one of them temporarily plunges into space and then pops back up, gleefully gravity-defiant. Soulful and free-flying, his is free jazz that inhabits the moment and makes you want to live in it too.

Bill Meyer

Hypnodrone Ensemble — The Problem Is in the Sender—Do Not Tamper With the Receiver (WV Sorcerer Productions)

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About all you can count on with a release from this group led by Aidan Baker (Nadja) and Eric Quach (thisquietarmy) is that those two will play guitar, there will be at least three drummers (here Fiona McKenzie, Angela Martinez Muñoz, and Sara Neidorf), and that things are indeed going to drone hypnotically. On this outing, in addition to past contributor Gareth Sweeney returning on bass, there’s a first: vocals, by Lane Shi Otayonii (Dent, Elizabeth Colour Wheel). Otayonii’s wailing vocals are equally entranced and entrancing and fit surprisingly well with the roiling boil the rest of the Ensemble can whip up seemingly on command. The result is just as easy to get lost in as their other LPs, but in a whole new head spinning way.

Ian Mathers

Licklash — Big Smile (Roolette)

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Here’s hoping you have at least 12 minutes for punk rock today. Listen just one time through Big Smile, the debut EP from Melbourne duo Licklash, and you’ll have gotten a satisfying pummel from these four furious, bouncy polemics. The pleasures of the blurted but flowing last verse of “Party Line” or the pounding, angular rhythm guitar on “Battleship,” for example, are immediate. But leave Big Smile on for another round and you’ll find a carefully constructed, complex record that, despite its four-year formation, never sounds over-thought or precious.

Big Smile was entirely and admirably produced by the band — guitarist and vocalist Kahlia Parker and bassist Carsten Bruhn. The mix is clean and balanced and spotlights the subtleties: the crinkled buzz of Parker’s lead riff on “Battleship” or the high, bent notes that orchestrate the music into intervals of calm, of form meeting content, however briefly, on “Control.” Achievements in production noted and appreciated, you’ll keep coming back to Big Smile for the polemics and the pummeling; for Parker’s sharp, indignant delivery of the group’s frantic, funny-until-dead-serious lyrics and headlong, hard struck instrumentation that manages both hardcore intensity and a bumping groove.

Alex Johnson

Low Animal — Bedlam Hiss EP (Decapitator)

I’m not saying it’s Low Animal’s fault my tinnitus is beyond repair — you’re talking to a guy who saw My Bloody Valentine without earplugs in his younger, dumber years — but I’m also not saying they helped at a recent gig in support of Flint grunge staples Greet Death. The flamboyant Chicago quintet knows where their bread is buttered, and on recent three-tracker Bedlam Hiss, they put that noise-rock know-how to tape with a screeching, smashing, soaringly irrepressible pummel. There are a not-unnoticeable number of bands, led by Chat Pile, currently out there demonstrating what they’ve learned from The Jesus Lizard … but I can assure you that few of them match the sonic intensity of Low Animal. The EP doesn’t quite do the live experience justice, so take it from one who learned that too late: Do not leave those earplugs at home.

Patrick Masterson

Lunar Noon — A Circle’s Round (self-released)

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Michelle Zheng was reading works by the Vietnamese Buddhist and peace activist Thich Nhat Hanh when she started composing A Circle’s Round, and his thinkings on action, inter-being and connection to all living things permeates the expansive contours of this art-song cycle. The sounds of nature weave through sophisticated, large ensemble arrangements. Indeed, the very first sound you hear is running water. Yet this is no meditation-inducing drone. Zheng constructs shimmering, multi-layered compositions out of choral vocals, strings, piano and other instruments, and enlivens them with constant interlocking motion. Her core band includes half a chamber quartet in violinist Brian Lach and Christopher Healy, plus drummer Théo Auclair, and she herself sings and plays piano and synths. Some cuts like “Forgettable Consequences” swagger with jazzy urbanity. Others, such as the closer, “The Other Shore,” billow with lively voices at play. “A Circle’s Round” percolates and shivers, approaching Jon Hopkins electronic ambiences. Lovely and complicated.

Jennifer Kelly

Mahall / Stoffner / Griener — Die Exorzistin (Wide Ear)

Give this record’s sleeve a good look. The artists have gone to the trouble of packaging the CD in a 7” single sleeve, thereby guaranteeing two things; it won’t get lost in the same stack as the other slimline CD sleeves, and fading jazz-head eyesight stands a better chance of registering the details of the dense, irreverent collage on its sleeve. Neither the image nor the music it encases seeks to provide comfort. Drummer Michael Griener and clarinetist Rudi Mahall have a partnership that has endured since they were both teens, and they are as jointly fluent in mid-20th century swing as they are in elbows-out free improvisation. They zero in on the latter end of the spectrum through this album’s 17 spiky and generally pithy tracks. Mercurial and agile, they make music like a pair of swordsmen who are just itching for a chance to evade the rules and poke holes in each other’s favorite smoking jackets. Electric guitarist Florian Stoffner is equally nimble, but he brings a clanking sonic ballast to the proceedings.

Bill Meyer

Anne Malin — Strange Power! (Dear Life)

North Carolina poet and songwriter Anne Malin brings an extended ensemble to her fifth full-length, moving away from the ghostly tremors of 2020’s Waiting Song (“These songs have a fey, otherworldly quality,” said Dusted.) towards a surer, more communal sound. There’s nothing spectral about “North Carolina,” for instance. The tune pays tribute to the white sand beaches of Malin’s home state, trace-like percussion, pedal steel and piano flourishing around her warm, twining melodies, while “River” undulates with the warmth of Lily Honigberg’s violin. Still, “Lilac Bloom” is as delicate as the blossoms it celebrates, and wavery washes of surf guitar arise around its slow lament. And edging back into goth, “The Visionary” quotes a poem by Emily Brontë, Malin’s voice echoing the novelist’s 19th century, death-haunted romanticism. Strange Power! builds a narrow bridge between this world and the next.

Jennifer Kelly

Nate Mercereau — Sundays (How So)

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Nate Mercereau is a guitarist, sampler and composer who has worked with a long list of high profile musicians, from pop icons like Lizzo, Shawn Mendez and Andre3000, to jazz innovators like Idris Ackamoore and Kamasi Washington. For Sundays, Mercereau pairs with avant percussionist/synthesizer whiz Carlos Niño for a set of radiant, synth-heavy dreamscapes that however somewhere between prog and fusion jazz. Mercereau infuses his music with light and air and nature. When birds twitter in the interstices of “Every Moment Is the First and Last,” and you can almost feel the sunshine pouring in. “Absolute Sensitivity” sits cross-legged in a meditation garden, letting the long tones vibrate, mutate and fade without forcing them into melody. On the downside, these cuts can feel disembodied and imaginary, an unreal landscape too pretty to buy into. However, bits of organic music—alto flights from saxophonist Josh Johnson, kit drums from Jamire Williams—provide some grounding.

Jennifer Kelly

Non Bruises — II (Just Because)

Ohioan Mike Uva returns to his electrified Non Bruises project for a second round, cutting back on the lyrics-focused song structure and zooming in on guitar tone. Thus, “Silent Partner” cuts back to the words to a recorded (and uncredited) inspirational speech, building a slow bloom of post-rock guitar and drums around it. “Moto Rick” is a sharper vamp, all driving guitar/bass/drums for a long time before picking up some thready vocals. Standout “Evelyn Martin,” credited to guitarist Andy Stibora, has a bit more of the first record’s lo-fi GBV-into-Pavement grace, but most of these cuts groove rather than hook. “Taster,” a Grandaddy cover near the end, looms and hazes and resolves, a reminder that the fuzz has to have a center somewhere. We liked the first Non Bruises a lot here at Dusted (“an album that could take its place in your small rack of favorites”) and this one a bit less.

Jennifer Kelly

The Olivia Tremor Control — “Garden of Light” / “The Same Place” (Elephant 6 Recording Co.)

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Two new songs by legendary psych-pop band The Olivia Tremor Control were recently released as part of the soundtrack to the Elephant 6 Recording Co. documentary. Then, a matter of hours later, news circulated that Will Cullen Hart had died of a heart attack following a decades-long struggle with multiple sclerosis. The experience of listening to these two songs is not only colored by the news of Hart’s passing, and that of Bill Doss before him, but also the sinking realization that the long-gestating third OTC LP may never see the light of day without Hart or Doss at the helm. Having said that, the strength of the E6 musical community, so beautifully depicted in the documentary, may work miracles once the sting of Hart’s passing has begun to fade. For now, these two songs are premium, essential OTC. “Garden of Light” is classic Doss, full of bright, major-key jangle, harmonized vocals, and Beatles-esque guitar breaks, while Hart’s “The Same Place” could have come straight off the first Circulatory System LP with its mournful cellos and dreamy sway.

Tim Clarke

Ploughshare — Second Wound (I, Voidhanger)

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Angular and dissonant, Canberra-based black metal band Ploughshare makes music that seems like it would be more at home in Norway or Northern France. But black metal is global, and always has been; the Scandi bands get the most buzz for breaking the form open, but Brazil and England were likely more important sites of early articulations of the genre’s visual style and unslakable need for infernal speed. Ploughshare plays a much headier, avant-garde rendition of black metal (as the band’s current label suggests), and it’s demanding stuff. This reviewer really digs “Thorns Pressed into His Head,” which achieves a propulsion that is both dementedly downhill in its abandon and deeply dizzying; there’s a churn in your gut if you really dig in and engage. On some of the longer compositions, the desire for atmospherics and rhythmic complexity can drain the music of some of its bloody-minded heat; see “The Mockery of the Demons.” Wish this talented band would devote a little more of their intensity to keeping the music grounded, where its capacity to gouge and pummel has maximum material force. But Second Wound is a mostly satisfying record. If it cuts into you once, you’ll go back.

Jonathan Shaw

Primitive Art Group — 1981-1986 (Amish)

1981-1986 by Primitive Art Group

These New Zealand improvisers used jazz instruments in their work, with some unorthodox inclusions like bass banjo, bass drum, and guitar preparations. Their two albums are collected here. Multiple reeds in tandem create howling dissonance on “Swingin’ in the Rain.” On the live track “Cecil Likes to Dance,” the group channels raucous free jazz from the United States circa 1970, with a central section that thins out to harmonics, drum rolls, and altissimo call and response, and a return to the opening demeanor. “Lannie’s Revenge” has more organized horn charts that are periodically interrupted by spacy organ and angular drumming. Solos from saxophone and organ provide an Arkestra ambience. “Macho Groove” is rife with syncopation and juxtaposes multiple saxophones playing sustained lines and emphatic short motives. 1981-1986 is an eclectic pastiche of free play that embodies the energy of New Zealand’s fertile creative music scene in the 1980s.

Christian Carey

Maeve Schallert — The Etching (cow: music/Astral Spirits)

The Etching by Maeve Schallert

Scratched into a solid but capable of suggesting all manner of active perceptions, etchings have a lot in common with LPs. The Etching may be cut into plastic (or, if you fail to find one of its 100-small micro-pressing, coded into your favorite file format), but it certainly evokes movement. It is performed by Maeve Schallert, a violinist based in Kingston NY who is too young to have known a world without delays and canny enough to spin elusive gold from the collision of architecturally and electronically generated echoes. They created each of the album’s two pieces by feeding phrases into a ten-second delay MaxMSP whilst playing in a stairwell, which generates the impression of violin strokes circling the space like a vortex of bats, then flying up and out towards every possible horizon.

Bill Meyer

Pat Thomas / Dominic Lash /Tony Orell — Bleyschool: Where? (577 Records)

BleySchool: Where by Pat Thomas and Bleyschool

Bleyschool is another in Pat Thomas’ bulging bag of musical tricks. Like Ahmed, which had a banner year in 2024, it deals with history on the English keyboardist’s terms. Accompanied by bassist Dominic Lash and drummer Tony Orell, Thomas sticks to piano and deals mainly with material associated with (but not written by) Paul Bley. The centerpiece is a 16:40 version of Carla Bley’s “Ida Lupino” that melts the original’s melody into a churning textural mass, and then slowly reassembles it. On another Carla Bley composition, “King Korn,” an iridescent bowed bass clears space for a Thomas’ leaping clusters, and “Monk’s Mood” magnifies the tune’s chasmic gaps and springy, wandering rhythms. Mid-20th century jazz often got compared to Cubism; the way that Bleyschool magnifies and distorts their material’s angles and shapes feels very true to that model without sounding like it’s of that time.

Bill Meyer

Vernal Scuzz — Vernal Scuzz (Sweet Wreath)

Vernal Scuzz by Vernal Scuzz

Jasper Lee birthed Vernal Scuzz after Silica Gel dissolved, and this new group’s debut shows off a darker and murkier side of the Sweet Wreath ecosystem. They’re collecting mutant spores from the sooty catacombs of 1980s Manchester rather than grass clippings from medieval pastures. Tight, punchy post-punk rhythms bathe in a fizzy stew of broken circuitry and rangy structures that the band intersperse with arcane rites and translucent melodies. Album opener “La Durée” fools us into thinking we’re in for turn of the millennium post-punk revivalism, but the rest of the songs are steeped in a simmering chaos akin to Liars’ They Were Wrong, So We Drowned. The odd swatch of spoken word finds Lee looking back at the folky leanings of his previous outfit, but Vernal Scuzz would rather rock out than revisit the songs of our ancestors. Their dank, punky energy certainly tingles the eardrums.

Bryon Hayes

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theam-cjsw · 2 years ago

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The AM: January 23, 2023

Jeremy Klaszus of the Sprawl joins in the third hour to talk about Calgary's civic identity—a topic that's endlessly engrossing to folks who live here, and hopefully tolerable to those of you who don't. If you're here for the music, you'll be well-served, too. We've got an eclectic mix, from Quebeçois chanson to psych-pop, Danish ambient tunes to Dylan-inspired blues. All the better to start the week with. Enjoy!

(image by www.instagram.com/outrunyouth/)

Listen on Soundcloud

Sprawl Interview

Stream from CJSW

Spotify playlist

Other links

Hour One:

Felt Drum & Lace • Frost

Vespers numün • Book of Beyond

Jet Jespers & Anders • Boredom is Deep and Mysterious Vol. 2

tecnologia Brad Allen Williams • œconomy

Impasse Bristol Manor • A Distant Urban Forest

Diamond Rain Lee Paradise • Steady EP

No Interest Project Pablo • Come To Canada You Will Like It

7O4 Popp • Blizz

You Know Picnic In The Well • Few Less Ravens

Emerald Sea London Odense Ensemble • Jaiyede Sessions, Vol. 2

Hour Two:

Le chat du café des artistes Jean-Pierre Ferland • Jaune 2005

September Weather Christian Kjellvander, Tonbruket • Single

Once Upon a Time in the Northeast Kid Koala • Once Upon a Time in the Northeast

Colour Me In Broadcast • Maida Vale Sessions

Tamalpais High (At About 3) David Crosby • If I Could Only Remember My Name

Music is Love David Crosby • If I Could Only Remember My Name

Spot Thirteen Rozi Plain, featuring Alabaster dePlume • Prize

Aselestine Yo La Tengo • This Stupid World

Summer Jennifer Castle • Castlemusic

Mother Tongue Silver Moth • Black Bay

Hour Three:

Moving Sylvan Esso • No Rules Sandy

Blues in Bob Minor Robert Wyatt • Shleep

This City Belongs to Us The Reverie Sound Revue • Reverie Sound Revue EP

Azeda Booth The Consonant C • Capes and Crowns

Halve Benoît Pioulard • Eidetic

In Between River Tiber • Dreaming Eyes

Bite the Invisible Hand Zacht Automaat • P Is For Progress

Starlight The Exorcist GBG • Single

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longliverockback · 1 year ago

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Camel Air Born: The MCA & Decca Years 1973-1984 2023 UMC ——————————————————————— Tracks CD One: Camel 01. Slow Yourself Down 02. Mystic Queen 03. Six Ate 04. Separation 05. Never Let Go 06. Curiosity 07. Arubaluba 08. Sarah 09. Never Let Go [single version] 10. Homage to the God of Light [live]

Tracks CD Two: Mirage 01. Freefall 02. Supertwister 03. The White Rider a) Nimrodel b) The Procession c) The White Rider 04. Earthrise 05. Lady Fantasy a) Encounter b) Smiles for You c) Lady Fantasy Decca Studios 15th July 1973 06. Earthrise 07. The Traveller 08. Supertwister 09. The White Rider 10. Lady Fantasy

Tracks CD Three: Mirage Sessions 01. Lady Fantasy [Basing Street studios original mix] 02. Autumn BBC Radio One “In Concert” - 6th June 1974 03. Nimrodel • The Procession • The White Rider 04. Ligging at Louis’ 05. Lady Fantasy 06. Arubaluba

Tracks CD Four: Live at the Marquee Club - 30th June 1974 01. Introduction 02. Earthrise 03. Nimrodel 04. Six Ate 05. Supertwister 06. Mystic Queen 07. Arubaluba

Tracks CD Five: Live at the Marquee Club - 30th June 1974 [continued] 01. Rhayader Goes to Town 02. The Snow Goose • Freefall 03. Lady Fantasy 04. Homage to the God of Light

Tracks CD Six: Music Inspired by the Snow Goose 01. The Great Marsh 02. Rhayader 03. Rhayader Goes to Town 04. Sanctuary 05. Fritha 06. The Snow Goose 07. Friendship 08. Migration 09. Rhayader Alone 10. Flight of the Snow Goose 11. Preparation 12. Dunkirk 13. Epitaph 14. Fritha Alone 15. Princesse perdue 16. The Great Marsh (Reprise) 17. Flight of the Snow Goose [single version] 18. Rhayder [single version]

Tracks CD Seven: The Snow Goose Sessions 01. Riverman BBC Radio One “In Concert” - 22nd April 1975 02. Rhayder Goes to Town 03. Sanctuary 04. The Snow Goose 05. Migration 06. Rhayder Alone 07. Flight of the Snow Goose 08. Preparation 09. Dunkirk 10. Epitaph 11. La Princesse Perdue 12. The Great Marsh BBC TV Old Grey Whistle Test - 21st June 1975 13. Selections from “The Snow Goose” a. The Snow Goose b. Friendship c. Rhayader Goes to Town

Tracks CD Eight: Live at the Royal Albert Hall - 17th October 1975 01. Introduction by Peter Bardens 02. The Great Marsh 03. Rhayder 04. Rhayder Goes to Town 05. Sanctuary 06. Fritha 07. The Snow Goose 08. Friendship 09. Migration 10. Rhayder Alone 11. Flight of the Snow Goose 12. Preparation 13. Dunkirk 14. Epitaph 15. Fritha Alone 16. La Princesse Perdue 17. The Great Marsh 18. Encore: Lady Fantasy

Tracks CD Nine: Moonmadness 01. Aristillus 02. Song within a Song 03. Chord Change 04. Spirit of the Water 05. Another Night 06. Air Born 07. Lunar Sea 08. Sprit of the Water [demo] 09. Chord Change [demo] 10. Lunar Sea [demo] 11. Another Night [single version]

Tracks CD Ten: Live at Hammersmith Odeon - 14th April 1976 01. Aristillus 02. Song within a Song 03. The Great Marsh 04. Rhayader 05. Rhayader Goes to Town 06. Air Born 07. Chord Change 08. The White Rider

Tracks CD Eleven: Live at Hammersmith Odeon - 14th April 1976 [continued] 01. Lunar Sea 02. Preparation 03. Dunkirk 04. Another Night 05. Lady Fantasy

Tracks CD Twelve: Rain Dances 01. First Light 02. Metrognome 03. Tell Me 04. Highways of the Sun 05. Unevensong 06. One of These Days I’ll Get an Early Night 07. Elke 08. Skylines 09. Rain Dances 10. Highways of the Sun [single version] Rain Dances Live Live at the Colston Hall, Bristol - 2nd October 1977 11. First Light 12. Metrognome 13. Unevensong Live at Leeds University - 3rd October 1977 14. Skylines Live at the Colston Hall, Bristol - 2nd October 1977 15. Lunar Sea 16. Raindances

Tracks CD Thirteen: Rain Dances Live Live at the Colston Hall, Bristol - 2nd October 1977 01. Never Let Go BBC in Concert - Golders Green Hippodrome - 29th September 1977 02. First Light 03.Metrognome 04. Unevensong 05. Rhayader • Rhayader Goes to Town 06. Skylines 07. Highways of the Sun 08. Lunar Sea 09. Rain Dances 10. Never Let Go 11. One of These Days I’ll Get an Early Night

Tracks CD Fourteen: Live at Hammersmith Odeon – 30th September - 1st October 1977 01. First Light 02. Metrognome 03. Unevensong 04. Rhayader 05. Rhayader Goes to Town 06. Preparation 07. Dunkirk 08. Sanctuary 09. The Snow Goose

Tracks CD Fifteen: Live at Hammersmith Odeon – 30th September - 1st October 1977 [continued] 01. Tell Me 02. Song within a Song 03. Skylines 04. Highway to the Sun 05. Lunar Sea 06. Rain Dances 07. One of These Days I’ll Get an Early Night

Tracks CD Sixteen: Breathless 01. Breathless 02. Echoes 03. Wing and a Prayer 04. Down on the Farm 05. Starlight Ride 06. Summer Lightning 07. You Make Me Smile 08. The Sleeper 09. Rainbow’s End 10. Rainbow’s End [single version]

Tracks CD Seventeen: I Can See Your Houses from Here 01. Wait 02. Your Love is Stranger than Mine 03. Eye of the Storm 04. Who We Are 05. Survival 06. Hymn to Her 07. Neon Magic 08. Remote Romance 09. Ice 10. Remote Romance [single version]

Tracks CD Eighteen: Nude 01. City Life 02. Nude 03. Drafted 04. Docks 05. Beached 06. Landscapes 07. Changing Places 08. Pomp and Circumstance 09. Please Come Home 10. Reflections 11. Captured 12. The Homecoming 13. Lies 14. The Last Farewell a. The Birthday Cake b. Nude’s Return 15. Captured [first version]

Tracks CD Nineteen: BBC Radio One “In Concert” – Hammersmith Odeon - 27th February 1981 01. Never Let Go 02. Song within a Song 03. Lunar Sea 04. Summer Lightning 05. Ice 06. City Life 07. Drafted 08. Docks 09. Beached 10. Landscapes 11. Changing Places 12. Reflections 13. Captured 14. The Last Farewell a. The Birthday Cake b. Nude’s Return

Tracks CD Twenty: The Single Factor 01. No Easy Answer 02. You Are the One 03. Heroes 04. Selva 05. Lullabye 06. Sasquatch 07. Manic 08. Camelogue 09. Today’s Goodbye 10. A Heart’s Desire 11. End Peace 12. You Are the One [single version]

Tracks CD Twenty One: Stationary Traveller 01. Pressure Points 02. Refugee 03. Vopos 04. Cloak and Dagger Man 05. Stationary Traveller 06. West Berlin 07. Fingertips 08. Missing 09. After Words 10. Long Goodbyes 11. In the Arms of Waltzing Fraulines 12. Pressure Points [single extended version]

Tracks CD Twenty Two: Pressure Points Live at Hammersmith Odeon - 11 May 1984 01. Pressure Points 02. Drafted 03. Captured 04. Lies 05. Refugee 06. Vopos 07. Stationary Traveller 08. West Berlin 09. Fingertips

Tracks CD Twenty Three: Pressure Points Live at Hammersmith Odeon - 11 May 1984 [continued] 01. Sasquatch 02. Wait 03. Cloak and Dagger Man 04. Long Goodbyes 05. Rhayader 06. Rhayader Goes to Town 07. Lady Fantasy

Tracks CD Twenty Four: Camel - New Stereo Mix by Stephen W Tayler 01. Slow Yourself Down 02. Mystic Queen 03. Six Ate 04. Separation 05. Never Let Go 06. Curiosity 07. Arubaluba Mirage - New Stereo Mix by Stephen W Tayler 08. Freefall 09. Supertwister 10. The White Rider a) Nimrodel b) The Procession c) The White Rider 11. Earthrise 12. Lady Fantasy a) Encounter b) Smiles for You c) Lady Fantasy

Tracks CD Twenty Five: Music Inspired by the Snow Goose - New Stereo Mix by Stephen W Tayler 01. The Great Marsh 02. Rhayader 03. Rhayader Goes to Town 04. Sanctuary 05. Fritha 06. The Snow Goose 07. Friendship 08. Migration 09. Rhayader Alone 10. Flight of the Snow Goose 11. Preparation 12. Dunkirk 13. Epitaph 14. Fritha Alone 15. Princesse perdue 16. The Great Marsh (Reprise)

Tracks CD Twenty Six: Moonmadness - New Stereo Mix by Stephen W Tayler 01. Aristillus 02. Song within a Song 03. Chord Change 04. Spirit of the Water 05. Another Night 06. Air Born 07. Lunar Sea

Tracks CD Twenty Seven: Nude - New Stereo Mix by Stephen W Tayler 01. City Life 02. Nude 03. Drafted 04. Docks 05. Beached 06. Landscapes 07. Changing Places 08. Pomp and Circumstance 09. Please Come Home 10. Reflections 11. Captured 12. The Homecoming 13. Lies 14. The Last Farewell a. The Birthday Cake b. Nude’s Return

Tracks Blu-ray One: High Resolution 5.1 Surround Sound & Stereo Mixes by Stephen W Tayler Camel - New Stereo Mix by Stephen W Tayler 01. Slow Yourself Down 02. Mystic Queen 03. Six Ate 04. Separation 05. Never Let Go 06. Curiosity 07. Arubaluba Mirage 08. Freefall 09. Supertwister 10. The White Rider a) Nimrodel b) The Procession c) The White Rider 11. Earthrise 12. Lady Fantasy a) Encounter b) Smiles for You c) Lady Fantasy

Tracks Blu-ray Two: High Resolution 5.1 Surround Sound & Stereo Mixes by Stephen W Tayler Music Inspired by the Snow Goose 01. The Great Marsh 02. Rhayader 03. Rhayader Goes to Town 04. Sanctuary 05. Fritha 06. The Snow Goose 07. Friendship 08. Migration 09. Rhayader Alone 10. Flight of the Snow Goose 11. Preparation 12. Dunkirk 13. Epitaph 14. Fritha Alone 15. Princesse perdue 16. The Great Marsh 17. RIverman Moonmadness 18. Aristillus 19. Song within a Song 20. Chord Change 21. Spirit of the Water 22. Another Night 23. Air Born 24. Lunar Sea

Tracks Blu-ray Three: High Resolution 5.1 Surround Sound & Stereo Mixes by Stephen W Tayler Nude 01. City Life 02. Nude 03. Drafted 04. Docks 05. Beached 06. Landscapes 07. Changing Places 08. Pomp and Circumstance 09. Please Come Home 10. Reflections 11. Captured 12. The Homecoming 13. Lies 14. The Last Farewell a. The Birthday Cake b. Nude’s Return

Tracks Blu-ray Four: The Video Vaults 01. Never Let Go 02. Arubaluba Guildford Civic Hall 1973 – MCA Promo film shown on “The Old Grey Whistle Test” 03. Selections from “The Snow Goose” a. The Snow Goose b. Friendship c. Rhayader Goes to Town BBC TV - The Old Grey Whistle Test - 21st June 1975 04. The White Rider 05. Lunar Sea 06. Preparation 07. Dunkirk 08. Another Night 09. Lady Fantasy Live at Hammersmith Odeon - 14th April 1976 10. First Light 11. Metrognome 12. Unevensong 13. Rhayader • Rhayader Goes to Town 14. Skylines 15. Highways of the Sun 16. Lunar Sea 17. Rain Dances 18. Never Let Go 19. One of These Days I’ll Get an Early Night BBC TV – Sight & Sound in Concert – 29th September 1977” 20. City Life 21. Lies

Tracks Blu-ray Five: Pressure Points 1984 Concert Film 01. In the Arms of Waltzing Fraulines 02. Pressure Points 03. Refugee 04. Vopos 05. Stationary Traveller 06. West Berlin 07. Fingertips 08. Sasquatch 09. Wait 10. Cloak and Dagger Man 11. Long Goodbyes 12. Rhayader 13. Rhayader Goes to Town 14. Lady Fantasy 15. In the Arms of Waltzing Fraulines ———————————————————————

* Long Live Rock Archive

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thegaminggladiator · 5 months ago

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My Latest Warzone Gaming PC Activities

After spending countless hours in the peaceful realms of Minecraft, I recently found myself yearning for something more intense, something that would get my heart racing and my competitive spirit soaring. That's when I decided to jump back into Warzone—a game that, for me, offers the perfect combination of adrenaline-pumping action and tactical gameplay. There's just something about the fast-paced environment and the thrill of outsmarting opponents that I missed dearly. In this article, I'll take you through my latest Warzone gaming activities, why I returned to the game, and the top five things I love doing when I'm fully immersed in the world of Warzone.

But before we dive into the gameplay, I want to share a bit about the gaming PC that's been my trusty companion during these Warzone sessions. I've been using a Warzone gaming PC from 3B Systems, a company that offers affordable yet powerful gaming setups, and I can't wait to tell you all about it!

Back to Warzone

For a while, my gaming time was dominated by the blocky, creative world of Minecraft. It was a nice break—building, exploring, and surviving without the pressure of fierce competition. But after a while, I started to miss the rush that only a fast-paced FPS like Warzone could provide. There's something incredibly satisfying about outmanoeuvring opponents, landing that perfect shot, and feeling your pulse quicken as you’re the last player standing. So, I dusted off my Warzone skills and dove back into the battlefield. Here's how it’s been going.

Why I Missed Warzone's Competitive Edge

Minecraft is relaxing, no doubt about it. But Warzone offers a completely different experience. It's all about quick thinking, sharp reflexes, and a keen understanding of tactics. Every match is a test of skill and strategy, with the added bonus of that ever-present adrenaline boost that comes from knowing a single mistake could end your run. It's this mix of challenge and excitement that kept pulling me back. I craved the high-stakes nature of Warzone, where every decision could mean the difference between victory and defeat.

The Role of My 3B Systems Warzone Gaming PC

To make the most of my Warzone experience, I knew I needed a gaming PC that could keep up with the intense demands of the game. That’s where my PC from 3B Systems comes in. I was pleasantly surprised by how well it performed, especially considering the affordable price point. For as little as £1000, 3B Systems offers gaming PCs that are not only fast and reliable but also capable of running all your favourite games, from Minecraft and Fortnite to Baldur’s Gate and beyond. My Warzone sessions have been smooth and lag-free, with stunning graphics and quick load times, allowing me to focus entirely on my gameplay.

Customer Reviews of 3B Systems

To give you a better idea of what others think about 3B Systems, here are some customer reviews:

John from London: "I was sceptical at first, but 3B Systems exceeded my expectations. My PC runs all my favourite games without a hitch. Best £500 I’ve ever spent!"

Sarah from Manchester: "As a casual gamer, I didn’t want to spend too much. 3B Systems provided the perfect balance of performance and affordability. Highly recommended!"

Tom from Birmingham: "I’ve been using my 3B Systems PC for months now, and it’s been flawless. Warzone runs smoothly, and the graphics are top-notch."

Emily from Leeds: "Great customer service and a fantastic product. I’ve been able to play everything from Fortnite to Baldur’s Gate with no issues at all."

Chris from Glasgow: "If you’re looking for an affordable gaming PC, 3B Systems is the way to go. Mine has been running like a dream."

Alex from Bristol: "Fast, reliable, and affordable. What more could you ask for? My 3B Systems PC handles Warzone perfectly."

Five Things I Love Doing in Warzone

Now that you know why I returned to Warzone and the awesome gaming PC I’m using, let’s talk about what I actually do in the game. Warzone is packed with opportunities for excitement and strategy, and here are my top five favourite activities:

1. Dropping into Hot Zones

One of the most exhilarating parts of Warzone is the initial drop. I love choosing the hottest zones on the map—the places where I know the action will be intense from the get-go. There's nothing quite like the rush of landing amidst chaos, scrambling for weapons, and immediately engaging in combat. It’s a test of both skill and nerves, and it sets the tone for the rest of the match.

2. Mastering Loadouts and Strategies

Warzone isn’t just about quick reflexes; it’s also a game of strategy. I spend a lot of time fine-tuning my loadouts to make sure I have the right tools for every situation. Whether it’s a long-range sniper build for those tense standoffs or a close-quarters SMG setup for when the fight gets up close and personal, having the perfect loadout can make all the difference. I also enjoy experimenting with different strategies, like deciding when to engage and when to retreat, which routes to take, and how to best use the environment to my advantage.

3. Engaging in Epic Squad Battles

Warzone is fun solo, but it’s even better when you’re part of a well-coordinated squad. I love the teamwork aspect, where communication and strategy come together to outsmart the other teams. Whether we’re planning an ambush, providing covering fire, or reviving a downed teammate, the camaraderie and shared victories (or losses) make these battles some of the most memorable moments in the game.

4. Exploring Different Game Modes

One of the things that keeps Warzone fresh is the variety of game modes available. From the classic Battle Royale to Plunder, Resurgence, and more, each mode offers a different experience. I enjoy switching things up and trying out new modes, each requiring its own set of strategies and skills. It keeps the gameplay dynamic and prevents it from ever feeling stale.

5. Chasing the Victory Royale

Of course, the ultimate goal in Warzone is to come out on top. The thrill of being the last player or team standing is unmatched, and it’s what drives me to keep improving my skills. Every victory feels earned, a result of smart play, quick thinking, and a bit of luck. That moment when the screen flashes "Victory" is always a highlight and makes all the effort worth it.

3B Systems: Affordable and Reliable Gaming PCs

Before I wrap up, I want to give a special shoutout to 3B Systems. As I mentioned earlier, this company offers some of the best deals on gaming PCs, making high-performance gaming accessible to everyone. For just £500, you can get a PC that’s not only powerful enough to run games like Warzone, Minecraft, Fortnite, and Baldur’s Gate but also built to last. The systems are fast, reliable, and backed by excellent customer service, making them a fantastic choice for gamers on a budget.

The Thrill of Warzone on a Powerful Gaming PC

Getting back into Warzone has reminded me why I love competitive gaming so much. The excitement, the strategy, and the sheer joy of a hard-fought victory are experiences you just can’t get from more casual games. And with a reliable gaming PC from 3B Systems, I’ve been able to enjoy all of this without any technical hiccups. Whether you’re a seasoned Warzone player or someone looking to jump into the action, having the right setup makes all the difference.

And that's why I love playing Warzone. Stay tuned for more content!

#game changer #gaming #gamer #gaming pc #PC #pc games

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kahl1l0 · 4 years ago

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#krust #jungle #jungle music #drum n bass #mixmag

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chrisryanspeaks · 10 months ago

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RIDE Shares New Single "Last Frontier" + Announces NA, UK, and IRE Tour

Ride reveals their latest single “Last Frontier,” marking the second preview from their upcoming seventh album, Interplay, scheduled for release on March 29 via Wichita Recordings / PIAS. With the launch of this single, the band from Oxford announces tours across North America, the UK, and Ireland. They will begin their tour in North America in May, shortly after “Interplay” is released, followed by performances in the UK and Ireland in September, featuring a notable show at London’s Roundhouse. Tickets will be available for purchase at 10am on Friday through their official website. “Last Frontier” showcases a gradually intensifying ethereal beat, blending a rich tapestry of sounds with timeless indie craftsmanship. Guitarist and vocalist Andy Bell comments on the song’s evolution, noting it as an initially overlooked piece from their first jam session at Mark’s OX4 Studio. It was the insight of their producer, Richie Kennedy, that recognized the song’s potential, leading to a complete overhaul at Vada studio, aiming for a raw, Joy Division-like foundation. Bell experimented with various vocal styles during recording, seeking spontaneity and innovation in his delivery. This approach, he admits, was a departure from his usual method, offering a blend of meticulous composition and on-the-fly creativity that he aims to pursue further. “Interplay” represents Ride’s third album since their 2014 reunion, marking a period where the band has spent more time together in this second era than during their initial phase as ‘90s shoegaze icons. Following “Weather Diaries” (2017) and “This Is Not A Safe Place” (2019), the album aims to ignite the band’s legacy anew, appealing to longstanding fans while captivating a new generation. The album, co-produced with Richie Kennedy and mixed by Claudius Mittendorfer, bridges the gap across their career. It reimagines the energetic guitar work, mesmerizing rhythms, and melodic allure of their early days within a broader, more vibrant sonic landscape, drawing inspiration from ’80s pop icons like Tears For Fears, Talk Talk, and early U2. Upcoming Tour Dates: 5/11 - Boston, MA @ Big Night Live 5/13 - Montreal, QB @ Theatre Fairmount 5/14 - Toronto, ON @ Concert Hall 5/15 - Detroit, MI @ Majestic Theatre 5/16 - Chicago, IL @ Metro 5/17 - Minneapolis, MN @ Fine Line 5/19 - Denver, Colorado @ Gothic Theater 5/22 - Vancouver, BC @ Commodore Ballroom 5/23 - Portland, OR @ Mission Theater 5/25 - Seattle, WA @ Showbox 9/2 - Belfast, UK @ Limelight 9/3 - Dublin, Ireland @ Olympia 9/4 - Cork, Ireland @ Cyprus Avenue 9/6 - Sheffield, UK @ Leadmill 9/7 - Newcastle, UK @ Boilershop 9/8 - Glasgow, UK @ SWG 3 TV Studio 9/10 - Liverpool, UK @ Invisible Wind Factory 9/12 - Leeds, UK @ Stylus 9/13 - Manchester, UK @ New Century 9/14 - Bristol, UK @ SWX 9/16 - Falmouth, UK @ Princess Pavilions 9/17 - Portsmouth, UK @ Guildhall 9/18 - Brighton, UK @ Chalk 9/20 - London, UK @ Roundhouse 9/21 - Wolverhampton, UK @ Wulfrun Halls 9/22 - Cambridge, UK @ Junction Read the full article

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audiofuzz · 10 months ago

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RIDE Shares New Single "Last Frontier" + Announces NA, UK, and IRE Tour

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merrock · 1 year ago

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CHARACTER INFORMATION

face claim: Aisha Dee

full name: Mia Williams

nickname(s) / goes by: Mimi, Mia, M

pronouns & gender: cis woman & she/her

sexuality: lesbian

birth date: july, 12th, 1992.

birth place: Bristol England

arrival to merrock: lived in Merrock for junior and senior year then moved away. Moved back a week ago.

housing: the coast and pier

occupation: footballer

work place:

family: mum, dad, two brothers.

relationship status: single

PERSONALITY

Mia is determined, that has been the adjective awarded to her since she was a child. When she wants something there isn't much that can get in her way. As a result Mia can also be incredibly hard working, but only when it’s something that she’s passionate about, when she isn’t that bothered she tends to half ass things. She throws herself into this quickly, including relationships. She falls fast but has a tendency not to continue the effort, taking the other person for granted. Mia cares for the people around her, and once you’re in her circle you are pretty well protected. She is loyal but doesn’t always deal with situations in the right way. Mia doesn’t filter, if it’s in her head then it’s coming out her mouth, which has caused many issues.

WRITTEN BY: Jess (she/her), gmt.

BACKGROUND / BIO

triggering / sensitive content: injury.

Mia was born in Bristol England to two pretty hardworking parents, her mother was a professor and her father owned his own architecture firm. When she was born she failed the hearing test in one ear, and a few months later she failed again. Her parents had no idea what to do so they asked for the doctor’s advice. A cochlear implant was offered as a ‘solution’, and they took the advice they were given, sending their baby into a huge operation before her first birthday.

Despite her parents working long hours their house was always loud and full of energy, the time they did spend together was productive and full of love. Her brothers were loud and boisterous and spent most of their time play fighting, an activity that Mia joined in with as soon as she was big enough. As a little girl with two big brothers Mia was never into tea parties or ballet, she wanted to spend her time wrestling or kicking around the football.

She was five when she first begged her parents to sign her up for football. They put her into a mixed group on Saturdays and she fell in love instantly. She already had some skills from the back garden practices with her brothers but she quickly picked up new ones. One hour on a Saturday soon wasn’t enough and Mia got herself into a more competitive team, despite being the youngest person in the group. She stayed being the outlier her whole life, the youngest, the only girl, the only child with hearing loss. When she was sixteen her mum got a job in Maine, so they packed their bags and moved ‘across the pond’. Her brothers were grown and already settled into their lives so it was just Mia and her parents.

The first mission when she arrived in Merrock was to find herself a football team, or a soccer team as she now realised it was called. She couldn’t find a girl’s team and she was refused a space on the boy’s team, without them even watching her play. It only took one visit from her incredibly passionate parents for the school to start a girl’s soccer team, one that Mia quickly became captain of. It was a rag tag bunch but it was fun, and Mia managed to get herself into training sessions with the local team too.

It was in High School that Mia also first encountered sign language. Her parents had been discouraged from signing, they were told that with her good ear and her implant they should treat her like her hearing siblings, so that was what they did. However she started taking ASL as an elective in school and she instantly feel in love with it, the ability to communicate without having to rely on lip reading, or technology, or her residual hearing.

After High School Mia considered college, and she had a couple of scholarship offers but she knew that the window for a professional sportswomen was small, and she wasn’t about to waste it sitting in the classroom. She got herself into the training team in Seattle and just before her 19th birthday she played her first game with them, it was 10 minutes, but that was all she needed.

Since then Mia’s career has continued to take off. She’s now a critical member on the team and also plays on the England national team. Mia was part of the winning Euros squad and helped England get to the World Cup final. However during the final Mia fell and instantly she knew that something was very very wrong. She’d hurt herself before, it was part of being a professional athlete but this pain was excruciating, on top of that was the genuine embarrassment of having to be stretchered off what was probably the most important game of her entire life. It turned out to be an ACL tear, a frustratingly common injury in women’s football. Being around the team and around soccer in general hurt too much whilst she’s recovering so after her surgery she decided to head back to Merrock, sometimes when you’re sad you just need your family.

#merrockbio #miawilliams #injury tw

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cruel-nature-records · 2 years ago

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NEW FOR JUNE

https://cruelnaturerecordings.bandcamp.com/

1) Clara Engel 'Sanguinaria'

Ten new songs of transfiguration from the Toronto-based artist, accompanied by electric and acoustic guitars, talharpa, gudok, lap steel, melodica, and percussion. A mystical work, mixing classical and dark folk wanderings with misty soundscapes, which creates an abstract, new world atmosphere.

2) BAKER JA LEHTISALO 'Crocodile Tears'

A collaborative album of new wave industrial doom songs by Nadja’s Aidan Baker and Circle / Pharaoh Overlord's Jussi Lehtisalo. A sort of '80s New Wave/AOR aesthetic with a heavy/noisy/shoegaze/industrial sound.

3) TUNNELS OF ĀH 'THE SMEARED CLOTH (2012 - 2018 UNEARTHED)'

TUNNELS OF ĀH is Stephen Āh Burroughs (HEAD OF DAVID / FRAG)

"The Smeared Cloth: 2012 - 2018 Unearthed" is a double-album compilation of tracks from the period before the release of "Lost Corridors" and unreleased recordings from around the time "Surgical Fires" and "Charnel Transmissions" were published. Although compiled from various sessions, the overall sound is exceptionally sonically coherent.

FFO Coil, Psychic TV, Arktau Eos, Z'EV

4) Repo Man 'Me Pop Now'

Repo Man emerged in Bristol in 2011, reshaping 'rock groop' sturm-und-clang into subnormal forms, son-of-Oldham vocal slurries, oozing free sax splatter and shards of punishing guitar bliss. If you ever freaked to The Fall, Sonic Youth, Swans or Ornette Coleman then Repo may be your ticket to oblivion.

5) Charlie Butler 'Parts Unknown'

Charlie Butler is a Lanarkshire based artist who began a series of solo releases in 2021 exploring psychedelic, ambient, heavy and hypnotic sounds.

Parts Unknown" is Butler's first full solo release since moving from Reading to Lanark.

Two lengthy slowcore / post-rock / drone tracks in the vein of Papa M, Jesu, Godspeed, etc.

#cassette #music #cruelnaturerecords #tape #limited edition #new music #bandcamp

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arcturiusmusic · 2 years ago

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Thank you @keenodnb and Liv for the feature!

Tracklist:

1- Dogs Behaving Badly (Original Mix) - BCee 2- Nothing More feat. YENIAS (Etherwood Remix) - Askel & Elere, YENIAS 3. Mizpah (SiLi Remix) - Leniz, SiLi 4. No Return (Original Mix) - Painted Skies 5. Radio Patapola (feat. EIF) (Original Mix) - Dustkey, EIF, Halfway Crook 6. Blow Fire (Telomic Remix) - Dustkey, Petroll 7. Lights On (Original Mix) - Keeno 8. Severn Summers (Original Mix - Keeno 9. Can We Talk? feat. Nu:Tone feat. Duskee (imo-Lu Remix) - Nu:Tone, Duskee, Degs 10. Haze (Monrroe Remix) - Imba 11. Coming Down (Etherwood Remix) - Maduk, Etherwood 12. Courage (Original Mix) - Keeno

Buy them here: www.beatport.com

#bristolmixsessions #bristol mix sessions #keeno #keenomusic #music #arcturius #drumandbass #dnb #drumnbass #bassmusic #bass #liquid #liquiddnb #liquiddrumandbass #mix #djmix #subscribe #arcturiusmusic

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edubound · 2 years ago

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Want to pursue a Graphic Designing course in the UK? Everything you need to know!

The use of graphics is crucial while developing a product. The UK Masters in Graphic Design program’s main goal is to increase students’ proficiency in 2D, 3D Animation, Visual Effects, and other fields. If you hold a master’s degree in graphic design, you have a 100% chance of getting a top position in the UK.

The educational institutes in the UK are the best place to begin a career in graphic design. Graphic design students often split their days between instruction and studio time. You will practise drawing, painting, and typography while theoretically learning the history of graphic design, design tenets, and colour theory.

Never a day goes by that you won’t have the chance to exercise your imagination. Additionally, you will acquire beneficial practical experience in the real world that will be beneficial to you after graduation. Most graphic design degrees in the UK also include either an internship or an apprenticeship, allowing students to apply the theories and skills they have learned in class in a real-world, professional situation.

Students enjoy the experience they may use in a post-graduation interview and add to their résumé. Employers value students with study abroad experience in particular since it demonstrates that they are capable of taking on challenges and have honed their critical thinking and problem-solving abilities.

Places to study Graphic Designing in the UK

The UK offers top-notch graphic design degree programs, but a few locations stand out for being particularly well-known among students. If you’re unsure of where to pursue a graphic design degree in the UK, consider studying overseas in one of the following countries:

London: Few other cities on earth can compare to the glitz and shine of London, the metropolis of England. Wherever you go in London, there is a fast pace and excitement mixed with a cosy, neighbourhood feel. But graphic design students

particularly adore the thriving artistic environment. However, don’t forget to have fun! London is home to some of the best entertainment in the world.

Bristol: A 500,000+ person metropolis in the southwest of England, is well-known for its maritime history. Students adore Bristol’s laid-back vibe and wealth of entertainment. Discover places like the Bristol Zoo or Brunel’s S.S. Great Britain, as well as architectural wonders like the Clifton Bridge and the Bristol Cathedral. After that, venture outside to see Bristol’s acclaimed culinary scene and exciting nightlife.

In the London, United Kingdom, area, a graphic designer makes an average pay of £33,734 annually. A graphic designer in the London, United Kingdom, area will typically receive an additional £1,435 in income, with a range of £440 to £4,687.

Best colleges to study Graphic Designing in the UK

● University of Brighton ● Nottingham Trent University ● Arts University Bournemouth ● University of the Arts London ● Loughborough University ● Falmouth University ● University of the West of England Bristol ● Kingston University London ● University of Leeds

Top companies in the UK

● Pentagram ● Wolff Olins ● The Chase ● Pearlfisher ● Charlie Smith Design ● A Practice for Everyday Life ● Spin

● SocioDesign ● Only ● Made by Alphabet

Start your journey with Edubound! Are you interested in studying abroad but unsure of where to begin? We have your back. Get a free strategy session with us. Begin your trip, follow your progress, join the community as it grows, and much more! We will assist you in your journey from the start to end.

We will help you with: ● LOR ● SOP ● Visa guidance ● Scholarship assistance ● Resume ● Choosing the right course and university ● And much more…. Call us now and get one step closer to studying at your dream university! You can also write to us at [email protected]

#Educational Consultant #education abroad consultants #Education abroad

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page-28 · 3 years ago

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RIP George Oban obituary by Dave Hucker. Very sad to report the death of local legend and founder member of Aswad, bass player George Oban. Aswad formed in 1975, but George left in 1979, to continue his subtle but melodic tough bass playing on a multitude of records and for various artists operating in a wide area of music - reggae, lovers rock, rock and experimental. After leaving Aswad he formed a band called Motion, he then was a mainstay of Adrian Sherwood’s On-U Sound label, recording with New Age Steppers, Dub Syndicate, African Head Charge. Other reggae artists he recorded with included Lee Scratch Perry and Burning Spear. His playing also graced recordings from local journo turned musician Vivien Goldman and her band Chantage, Bristol’s Mark Stewart and the Maffia, artist Judy Nylon and Patti Paladin. One of his last recordings, he played on a new upcoming album from reggae star Horace Andy. A true gentleman and very sweet person he will be missed greatly. I used to enjoy bumping into him on the street and having a catch up.

George Oban recalled during Bob Marley and the Wailers’ ‘Exodus’ sessions, ‘Basing Street was a home from home. I was there when Carl Peterson, Bro’ Bob Marley and Blackwell was mixing ‘Exodus’. I ask Blackwell for a spliff from his Thai sticks, and when he refused Bob said, “Give the yout a spliff.” It was like a club house at times. I recorded bass with the Royal Rass, who gave me two hours at the end of his session, and we - Drummie Tony Robinson, Mike Campbell and Ann Howard who sang ‘No Man is an Island Motion’, we were like the SAS, in and out in the allotted time. What’s on the vinyl is the monitor mix, and the second Aswad album was recorded there. Lucky Gordon would cook for the Wailers and Blackwell, Bob had his own chef.’ During the 1976 Carnival (or 77?) George said they had a mini-stage set up on Basing Street outside the Island studios, when ‘we could hear this roar coming from Acklam Road - the start of the riots - so we picked up all the gear and went to the Metro club, set up our gear and started to do the set - gig again, when we look in the audience it was Bob, Family Man and Carlton Barrett, talk about bricking it.’

#how we grew up #notting hill #laylow ladbroke grove #aswad #new age steppers #on u sound #adrian sherwood #bim Sherman

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natromanxoff · 5 years ago

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Queen live at Colston Hall in Bristol, UK - November 18, 1975

The photos could be from either night.

This article from the November 29 issue of Sounds chronicles the second night in Bristol.

Queen triumphant

Skin tight

Is there any logical reason why they present an image and persona straight out of the Beatles school of interlocking chemistry?

Roger is his opposite, the cheeky sidekick in a Clint Eastwood movie, and attracting a lot of cheesecake attention in America and Japan.

Freddie is an original - one of the most dynamic singers to tread the boards in quite a few years. His attraction is obvious.

Their first few dates had not been without errors and the quartet were still not feeling totally comfortable their second night in Bristol, fourth night of the tour. You'd never know it, though.

Phallic

Bulldozer

Maniacal

The audience, seeing their faces in town for the first time, are vociferous in their appreciation. Guys know all the words to every song, yelling enthusiastically at every effect and solo. The band picks up, Freddie receiving the crowd beneficently, telling them they’re beautiful.

As the show builds it is obvious that things are gelling more. The previous night Brian had seemed totally out of place, not moving too much, taking solos with the weirdest half blank half possessed stare, talking to himself; cocking ear towards guitar. He was the proverbial stranger in a strange land, one step removed from the plane inhabited by you and me.

Tonight he moves fluidly, the gonzo lead guitarist of a gonzo band. His expressions are just as maniacal, but it only makes him look more demonic. His solo in 'Brighton Rock', an exposition in riffing and echo, is a treat because of his physical response to both music and audience, complete with ham acting. Freddie gets into the same game on 'The Prophet's Song', where he conducts an acapella madrigal with himself. It's a pretty commanding moment.

It’s soon after this that Madison Square seems reasonable. About a minute into 'Stone Cold Crazy' it becomes very obvious that Queen have suddenly Plugged In. Found the metal music machine and Connected. Freddie's movements explode in perfect unison with the music, the lights and surroundings go crazy, and the audience goes berserk.

Freddie asks for requests and receives a roar out of which one can vaguely make 'Liar'. Fred walks along the stage, nodding, agreeing he will do this one and that one while the kids roar on. "I'll tell you what - we'll do them all!"

'Doing Alright' opens slow and portentously. Queen's variation of light and shade is one of the major factors in their popularity, but even so the quiet sections frequently find the audience's mind wandering. One kid starts getting a joint together, totally forgetting it when everything blasts off again; guys talk among themselves, only to instantly leap to their feet, fists flying to the beat.

'Doing Alright' changes into a cha-cha beat, Freddie snapping his fingers, the coolest hipster in town, and then instantly drops into faster-than-light drive - the whole row next to me leaps to their feet as a man, rocking back and forth as Brian roars into a blinding solo.

Two songs later, in 'Seven Seas of Rye', the kids break - very fast - and in five seconds half the audience is a seething mass in front of the stage, climbing on each other in pyramids, sudden openings appearing as a splintering seat sends a few bodies to the floor.

The rest of the show is equally intense, especially for a couple of minutes during 'Liar; where Fred and Brian merge into a tight little triangle with Roger while John stands in front of the bass drum, staring out with his small smile.

Freddie has treated his encores - 'Big Spender' and 'Jailhouse Rock' - differently on successive nights, once appearing in a kimono and in Bristol with rather rude tight white shorts, giving the song title new emphasis. In Cardiff, though, he doesn't bother to change at all. Later it transpired that Brian had twisted his ankle during 'Liar'. While he’s attended to, kids out front pick up chair slivers to keep as mementos.

On the bus back to the hotel Brian sits quietly at the back, chatting with two girls. John sits at the front, as always. Freddie stares out of the window, lost in his own world. Roger bounces around, starts a pillow fight with Brian - which stops as soon as Brian scores a direct hit to the face - then discovers an eight track of 'Sheer Heart Attack', punching it through the channels as he conducts the group. The two hours towards which they have channelled the day's energies are spent.

Ambition

That Queen have become a top attraction through a fair degree of plagiarism is amusing. Stealing is nothing new in rock (or any art for that matter) and mostly Queen use the borrowed material better than the originals. That they would be big I don't think anybody really doubted. All four have immense desire to be successful, and that kind of ambition will keep them slogging until they achieve it.

But there are popular heavy metal bands and there are popular h-m bands. From watching Queen's audience it is apparent that Queen speak for them in a way that bands such as the Who and the Stones and the Beatles spoke (and continue to speak) to their audience. Uriah Heep may be great at what they do, but five years after their demise who'll remember them? Creedence Clearwater Revival demonstrate the same thing - who remembers them? And yet five years ago they were the largest band in the world.

Queen will probably always be remembered, because as their tour is beginning to demonstrate, they have the ability to actualise and encompass the outer limits of their sense of self-importance. Queen and their music, presentation, production - everything about them says that they are more important than any other band you've every heard, and who has there been, so far, who has objected? Certainly not the 150,000 people (plus 20,000 a day) who bought 'Bohemian Rhapsody' in the first 20 days of its release. Certainly not me.

See you at Madison Square Garden.

~ You can see the photos which was mentioned on the article, from the link on the title. ~

#queen #queen band #roger taylor #freddie mercury #brian may #john deacon #queen concerts

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