#David Daglish

[sffinsiders]

Review: The Bladed Faith by David Dalglish — SFF Insiders

[brennacedria]

I can't find the cord for my tablet T-T it's literally a 12-13 year old tablet so it's the same type of usb as the ps3 controllers and I cant get to the cords that are actually with my ps3.

reading is literally all I use the tablet for anymore and it's great for that, but I can't read if it's dead

[kwebtv]

Secret Army - BBC One / BRT - September 7, 1977 - December 15, 1979

War Drama (43 Episodes)

Running Time: 60 minutes

Stars:

Bernard Hepton as Albert Foiret

Jan Francis as Lisa "Yvette" Colbert (series 1-2)

Christopher Neame as Flight Lt. John Curtis (series 1)

Angela Richards as Monique Duchamps

Clifford Rose as Ludwig Kessler

Michael Culver as Maj. Erwin Brandt (series 1-2)

Juliet Hammond-Hill as Natalie Chantrens

Valentine Dyall as Dr Pascal Keldermans

Ron Pember as Alain Muny

Eileen Page as Andrée Foiret (series 1)

Robin Langford as Cpl. Veit Rennert (series 1-2)

Timothy Morand as Jacques Bol (series 1)

James Bree as Gaston Colbert (series 1)

Maria Charles as Louise Colbert (series 1)

Gunnar Möller as Hans van Broecken

Marianne Stone as Lena van Broecken (series 1-2)

Henrietta Baynes as Yvonne (series 1-2)

Stephen Yardley as Max Brocard (series 2)

John D. Collins as Insp. Paul Delon (series 2-3)

Hazel McBride as Madeleine Duclos (series 2-3)

Nigel Williams as François (series 2)

Paul Shelley as Maj. Nick Bradley (series 2-3)

Neil Daglish as Wullner (series 2-3)

Trisha Clarke as Geneviève (series 2-3)

David Neilson as Jelinek (series 3)

Terrence Hardiman as Maj. Hans-Dietrich Reinhardt (series 3)

Michael Byrne (series 2) and Ralph Bates (series 3) as Paul Vercors

Stephan Chase as Capt. Stephen Durnford (series 3)

Hilary Minster as Hauptmann Müller (series 3)

[sound10gic]

Most of you will surely recognize one or more melodies. If we have already made a cover, you will find the corresponding link in the description...

Ben Daglish - Last Ninja (Inner Sanctum Loader) - Thing Bounces Back (https://youtu.be/jwwgmpq-5x8) Michael Winterberg - Yek Mata Dance (https://youtu.be/jigjdfQrHts) Matt Gray - Bangkok Nights Loader Martin Galway - Comic Bakery (https://youtu.be/n7p7ZCoZp-Q) Rob Hubbard - Skate or Die! (https://youtu.be/FgjZylsHxZI) - Master of Magic - Delta - Proteus Mark Cooksey - Bomb Jack Richard Joseph - Cauldron 2 David Whittaker - Lazy Jones Patrick Payne - Test Drive Jeroen Tel / Maniacs of Noise - Turbo Outrun Fred Gray - Legend of Kage (https://youtu.be/Gsug9j_iEe0)

[witchybooks]

TBR Tag

I haven’t done a tag in a long time. I hope you enjoy. :)

How do you keep track of your TBR pile?

I have my tbr books on a few shelves

Is your TBR mostly print or ebook?

Mostly Print

How do you determine which book from your TBR to read next?

I’m a mood reader so when i finish a book i just pick one

A Book That's Been On Your TBR List The Longest?

Hmmm...probably one of the mass market paperback fantasy books i own. Idk which one.

A Book You Recently Added To Your TBR?

Soulkeeper - David Daglish

A Book In Your TBR Strictly Because Of Its Beautiful Cover?

No i don’t have any like that any more.

A Book On Your TBR That You Never Plan on Reading?

Ummm none. I intend to read all of them eventually

An Unpublished Book On Your TBR That You’re Excited For?

Hollowpox - Jessica Townsend

A Book On Your TBR That Basically Everyone’s Read But You?

Assassins Apprentice - Robin Hobb

A Book On Your TBR That Everyone Recommends To You?

I really don’t get a lot of recommendations

A Book On Your TBR That You’re Dying To Read?

The Tea Dragon Festival - Katie O’Neil

How many books are on your TBR shelf?

45. So not too many. :)

Okay guys that was the tag. I am going to tag anyone who want to do it. If you do do it tag me. :)

[gaigy]

Heroic. Bloody Legends this week: Daglish senior firefighter David Ellis, in front of a Gidgegannup home he had just helped to save (Picture: Mick Dybac/DFES)

[leanpick]

DFES commissioner Darren Klemm acknowledges ‘noble’ effort of Perth hills firefighter David Ellis

DFES commissioner Darren Klemm acknowledges ‘noble’ effort of Perth hills firefighter David Ellis

WA’s top firefighter has commended the efforts of the “noble” firefighter seen on his knees in a gut-wrenching photograph which emerged from the Perth hills fires. Department of Fire and Emergency Services commissioner Darren Klemm described the image of Daglish senior firefighter David Ellis as “iconic” and commended the efforts of him and countless others putting their lives on the line to save…

[theamazingsallyhogan]

I’ve seen a bunch of video game music recommendations on my dash the last couple days, and I want in.

These aren’t my “top ten” or anything, just some random “these are cool” suggestions.

1. Here’s the Soundtrack to Aurion: Legacy of the Kori-Odan, by Jean Yves Bassangna.  It’s an Afrofuturist Fantasy Adventure game made entirely by a development team in Cameroon (the game is rated “highly positive” on Steam and is still on sale today). You’d better believe this is neat.

2. Wizball theme, by Martin Galway. Classic.

3. The Wastelands theme from Last Ninja, by  Ben Daglish and Anthony Lees

4. Central Park, from Last Ninja 2 by Matt Gray.

5. The title theme from Robocop (C64) by Jonathan Dunn is one of those “what’s music this good doing in a game like this?” gems.

6. Astral Alley and Goodbye, Astronomer from Night in the Woods, by Alec Holowka. The game in general had some great music, but these ones really struck a cord with me. This is Power Music.

7. Dave’s Theme from Maniac Mansion.  The composer team was  David Warhol, George Sanger, Chris Grigg, and David Lawrence. This is music that says: you’re a hero, you’ve got this covered.

8. Sound of the Gunshot from Detention, by Weifan Chang.  You don’t even need to play the (excellent) game to just know that this music is a gutpunch.  

9. Primal Eyes from Parasite Eve, by Yoko Shimomura. The best track in one of the best adventure-horror-RPGs ever made.

10. The Dark Star, Sunken Continent from Secret of Mana, by Hiroki Kikuta.  When I was young I would lay in bed with my SNES constantly looping this, just dreaming of adventure. The rest of the soundtrack is also phenomenal.

11. The Great Giana Sisters Title Theme by Chris Hülsbeck is wonderfully atmospheric.  The remake for Giana Sisters: Twisted Dreams turns that atmosphere up even further, but my favorite rendition is the light and fun version for the DS game. 

12. The Ghouls 'N Ghosts music of Tim Folin.  A good list of video game music needs some Tim Folin in it, and this is a great example of his utter mastery of the craft.  

13. Monty on the Run Title Theme, by Rob Hubbard.  RUN RUN RUN!

14. Home Sweet Home from Beyond Good and Evil, by Christophe Heral. 

15. The Road To Tomorrow Follows Behind You, by Noriyasu Agematsu.  The Wild Arms game had really great unique music, and this exemplifies that.

[letithappeneverafter]

Came across Nicks essay about living in a far-away country and what it means to be a creative human at the arse-end of the world. This comes from a past edition of Griffith Review which is a pretty impressive literary essay magazine. Full of cultural and thought-provoking stuff. Go Nick. I probably shouldn’t just copy’n’paste but I did borrow it from Brisbane library to read in the flesh. Just wanted to share with all you Tame Impala and POND fans.

Creative Darwinism by Nick Allbrook

- This is my city and I’m never gonna leave it. Channel 7 News 

WRITING ABOUT MY experience of making music in Perth is a strange thing, because as soon as a ‘scene’ is bound and gagged by the written word it is finished, petrified, swept up into the Rolling Stone archives and forever considered ‘history’. It might be revered and glorified, but it’s still long gone. This could be a very restricting view to take on a community like Perth, which is still just as inspiring and productive as it ever was. I can’t pretend to understand where ‘music scenes’ begin or end. It seems a futile and narrow-minded pursuit. So before I begin, I want to say that this is merely a reflective exercise. There was never a ‘golden age’, and if one does exist I can’t see it, because it’s floating all around, invisible and omnipresent.

For years I suffered serious cultural guilt as a Western Australian. The orthodoxy and banality made me feel isolated, relegated to the company of eccentric long-haired ghosts singing to me from inside my Discman. Every birthday and Christmas, Dad would give me a care package of CDs. This blessed nourishment of Jethro Tull, Lou Reed, Led Zeppelin and David Bowie shone a light into the murky tunnels of my future. Playing music and generally being a flaming Christmas fruitcake became my sole purpose, and me and a few other school friends – Steve Summerlin and Richard Ingham of Mink Mussel Creek, and many other brilliant but criminally under-recognised projects – revelled in our little corner of filthy otherness. This outlook was key to our musical and creative development. We railed against the boredom of Perth not with pickets or protest, but with a head-in-the-sand hubris that made us feel invincible and unique. We found more comrades along the way – Joe Ryan, Kevin Parker, Jay Watson – and together we erected great walls of noise and hair and mouldy dishes around our Daglish share house commune citadel on Troy Terrace where we incubated, practised, recorded, talked and grew. A friend stick’n’poke tattooed a spiral shape into my arm to represent that way of life (which I’d lifted from Hermes Trismegistus and other alchemical mumbo jumbo I learned at university). Look inside and the world can be whatever you want. Look out and it’s ugly and shitty. In Perth, use of public space is regulated to the point of comedy, and Orwellian restrictions on tobacco, noise, bicycles, alcohol and public gatherings breed a festering discontent and boredom because no one likes being pre-emptively labelled a deviant. Being trusted enriches the soul – you can see it on the face of the child who leads the family trek. You can see the flipside on the faces of disenchanted detainees. On weekends, this restlessness is unleashed across clubs and pubs in Northbridge and Subiaco in an avalanche of Jägerbombs (17mL of Jägermeister dropped into a larger glass of Red Bull and then consumed with haste) and Midori and violence and cheap sex. When the Monday sun staggers over the horizon, people rub their eyes and heave a great sigh and the city reverts to its utilitarian state – the ‘bourgeois dream of unproblematic production’, as The 60s Without Apology (University of Minnesota Press, 1984) puts it, ‘of everyday life as the bureaucratic society of controlled consumption’. That this description of pre-revolutionary 1950s and ’60s America is so apt for Perth is damn scary. Or hilarious. I can’t decide. I guess it depends on the depth and colour of your nihilistic streak, or if you actually live here. Whichever way you look at it, it does not paint a picture of a city conducive to creativity. Art is the antithesis of logic and functionality – it is romance and wonder and stupid, pointless lovelies. As good old Mr Vonnegut so often said, it’s an exercise to make your soul grow. So how, in a super-functional and conservative environment whose every will is bent towards digging really, really big holes in the ground, have I seen and heard and felt some of the most brilliant, pure and original creativity in the world? I USED TO dream about living in a cultural powerhouse like Paris or Berlin or New York, but after spending time in these places I’ve realised that the emptiness and isolation of Perth – boredom to some – was a far better environment for creativity. The ‘cultural capitals’ are so rich in art and wonder that it can feel pointless to add to it. Maybe just being in those ‘cultural capitals’ fills us up with wonder? Strolling through Berlin at night, ducking into a bar with fish nailed to the roof, skipping across the cobblestones for some cheap beers in a record shop in a Russian caravan in an abandoned peanut factory…that kind of stuff fills the romantic void. Having a Ricard and a few Gitanes on the terrasse of Aux Folies; stumbling through Camden after a lock-in at the Witch’s Tit or the Cock’n’Balls or the Cancerous Bowel or whatever you call it; recollecting a possible conversation with Jah Wobble over a pint…Perth? It has no secret tunnels to romantic fulfilment. For me, music and art have always been a way to manufacture that romance lacking in upper-middle-class Western Australia. To be honest, if I had lived in New York I probably would’ve been so damn hung-over – or busy ensuring that I would be later – that a whole lot less creation would’ve gone on. Mundane and discouraging places like Perth create a vicious Darwinism for creatively inclined people, where survival of the fittest is played out with swift and unrepentant force and the flippant or unpassionate are left behind, drowning in putrid mind-clag. You have to really need it, and without the mysterious and poetic benefits of a vibrant city culture this has to come from deep inside. Amber Fresh, otherwise known as Rabbit Island, is one person who produces constant streams of music, drawings, essays, poems, calendars, videos and photos from her home. She fills her world with little pieces of homemade, lo-fi, photocopied beauty and magic. They don’t have funding or precedent or material ambition – and the result is something fresh and original. Mei Saraswati does the same thing, although completely different styles of music. She has produced, mixed, mastered and illustrated scores of albums in her bedroom and then released this other-worldly electronic R’n’B brilliance onto the internet with no fanfare, simply to turn around and start making more. These are just two examples. There are many more. SOMEHOW, BY BEING a cultural long-drop, Perth lit a fire under my arse. In more scholarly terminology this could be called a ‘spirit of negation’ – a margarine version of the same zeitgeist that has catalysed most worthwhile movements throughout history, from dadaism to punk to all the intellectual and artistic wonders of The Netherlands freshly unchained from their dastardly Spanish overlords. Being isolated spatially and culturally – us from the city, Perth from Australia and Australia from the world – arms one with an Atlas-strong sense of identity. Both actively and passively, originality seems to flourish in Perth’s artistic community. Without the wider community’s acceptance, creative pursuits lack the potential for commodification. There’s no point in preening yourself for success because it’s just not real. It’s a fairytale, so you may as well just do it in whatever way you like, good or bad, in your room or on the top of the Telstra building, which – as anyone with any common sense will attest – was built for that one potential badass to drop in on a skateboard and parachute off. Growing up in the Kimberley and then Fremantle, the true machinery of the music business evaded me. It was about as real as the Power Rangers and twice as awesome. Led Zeppelin and U2, all the way down to whatever was on Rage that morning, was just a pretty dream. But if I grew up in a city where success in music was common and highly visible, I reckon it would have been far more alluring. I would’ve understood how to go about it, probably before I actually realised how deep my love of music was. With the template for success laid out so precisely – gigs to be got, managers to be found, reviews to be had and the ultimate dream of ‘making it’ tangibly within reach – Perth would find itself producing far less original art. Because as it stands, it doesn’t really matter if you’re crap or silly or unbearably offensive, you wouldn’t get much further doing something different anyway. This helps to preserve a magical purity because it’s executed with love – with necessity. And what’s more, when these artists keep going and practising and advancing – which they must – somehow their crassness coagulates into something brilliantly individual and accomplished, and you can see it performed in an arena that makes the audience feel truly blessed. I saw Rabbit Island and Peter Bibby and Cam Avery play in backyards. I saw cease play in a tattoo parlour in Maylands. Me and Joe Ryan were plastered against the wall by their sound, gawking up at Andrew, the guitarist, precariously standing on his enormous amp wearing high heels and full fishnet bodystocking, slowly trying to drive his guitar through the top of his cabinet like some pagan-burlesque reimagining of King Arthur. After hours they slowed to a halt, and the crowd cheered from the stairs and bathroom door and kitchen and I remembered where we were: in a tiny share-house in Maylands, in the flaming cauldron of hell or the halls of Valhalla. Mink Mussel Creek played there a few times and once, in a flash of drunken inspiration, someone turned the only light in the room off mid-performance. I saw the fourteen guitarists of Electric Toad destroy a warehouse art gallery wearing ’90s WA football jerseys. Tame Impala and Pond played in Tanya’s garage and every time I cried and danced and felt like the breath of God was being embarrassingly saucy all over my skin. We played our very first show in that garage and I can still see Jay demolishing the tiny drum kit – kick, snare, ride, tom – as sparks floated from the forty-gallon drum and lit the faces of the people looking in from the dark. None of us had ever seen anyone play like it in real life, let alone in a garage, sitting on milk crates. As far as genres go, our music ‘scene’ in Perth was an anomaly. A mad mosaic of groups and artists only held together by gallant separation from conventional Perth society. Nick Odell, the drummer of CEASE and Sonny Roofs, still has a poster for a gig at Amplifier Bar that I remember as a kind of microcosmic Woodstock – a tactile realisation of all the beauty and communion we cherished. The line-up included us (Mink Mussel Creek), CEASE (aforementioned stoner/doom/drone lords), Sex Panther (punk-party queens), Oki Oki (Nintendo synth pop) and Chris Cobilis (experimental laptop noise music). I think most members of the bands ended up on stage at more than one time, wrapped in Cobilis’ wires or yelling into a madly effected microphone in front of CEASE. I certainly did. Nowhere else would such a ridiculously mismatched line-up consider themselves a tight community. We all partied together, played together and are still friends. I think this spirit is lacking in a lot of the more culturally enlightened parts of the world. Maybe in these vibrant communities the countercultural idea is so entrenched it becomes capitalist orthodoxy and loses its edge. It is subjected to the rationality it once challenged. In the cultural capitals – Paris, Berlin, New York – creativity and original thinking are accepted and valued parts of mainstream life. In Perth they are not. Paris has over four hundred streets named after artists and writers, and this honour is not restricted to the most unobtrusive or patriotic. Rue Albert Camus, Rue Marcel Duchamp and the recently proposed Place Jean-Michel Basquiat, for example, show the state glorifying revolutionaries, absurdists, libertines and a gay, heroin-using, Haitian–American graffiti artist. Today we can stroll along the verdant Boulevard Auguste-Blanqui, named after the man who led the uprising of the Paris Commune. A revolutionary, a prisoner, an anarchist. In modern terms: a terrorist. There, art is a basic fact of everyday life, while in Perth it is an anomaly hidden in garages and living rooms – deep beneath a conservative fishbowl of productivity. So, all things considered, ‘cultural capitals’ should be havens for art and music, and Perth should not. The romance just seeps into the pores, ja? I always thought this before I left Western Australia, but have since found it to be otherwise. I asked a young photographer and artist in Amsterdam about the music scene there and her reply was wholly negative. A lot of Parisians seem to feel the same way. I look back on my time in Perth and think about the huge number of brilliant musicians and artists who I saw and knew, often not in official venues but in backyards or sheds or the abandoned entertainment centre (yes, CEASE). Perhaps with the freedom – almost expectation – to create, revel and throw it all around the streets, it all just gets a bit boring. Like much good art, it doesn’t really ‘mean’ anything, so writing an essay about it is an odd activity. The experience of a city or community varies so much that it can never be defined while it is still occurring. When it’s actually happening, a ‘scene’ is not really a ‘scene’ – it’s completely intangible and only coagulates into a definitive and convenient ball when history puts it in a cage, when someone from the outside looks in and decides there’s something shared between a bunch of vaguely artistic fools. I guess that’s what I’m doing now, which is pretty ridiculous seeing as nothing is finished and the Perth artistic community is so ethereal that it couldn’t and shouldn’t be labelled at all.

From Griffith Review Edition 47: Looking West © Copyright Griffith University & the author.

[juwgzkd]

Shadowborn Free Audiobooks For Download

Get now >> Shadowborn Free Audiobooks For Download

Shadowborn Free Audiobooks For Download

The epic conclusion to USA Today bestseller David Dalglish's Seraphim Series. What started as a small rebellion has grown to all-out war, with the four minor islands uniting under the call for independence. But Kael Skyborn no longer trusts the mysterious leader of their rebellion, nor his disciples. Neither side seems willing to reveal the truth of the elemental prisms the Seraphim wield in battle, or the blood that keeps the islands from crashing down to the ocean below. Bree Skyborn is the Phoenix of Weshern and the face of the rebellion. But when Kael is captured and brought to Center for execution, Bree no longer cares about the war or the call for independence. All that matters is rescuing her brother and putting a stop to the violence for once and for all. Both sides hold secrets that could be their undoing. Seraphim Skyborn Fireborn Shadowborn For more from David Daglish, check out: Shadowdance A Dance of Cloaks A Dance of Blades A Dance of Mirrors A Dance of Shadows A Dance of Ghosts A Dance of Chaos Shadowborn Free Audiobooks For Download

[ribiorip]

The Dream Syndicate - "The Regulator"

Psichedelia, Jazz, Rock, musica e immagini di un pianeta che non sa che cazzo vuole. Opera d'arte. Video di David Daglish, musica dei Dream Syndacate

[bitpop-music]

Star Wars Cantina Band [ Bitpop Chiptune ] - Tribute to John Williams from Gavin Graham on Vimeo.

Star Wars Cantina Band [ Bitpop Chiptune ] - Tribute to John Williams - Made with C64 Driver/Samples & DAW (6 Channels)

My cover of the Star Wars Cantina Band song has been influenced with a combination of the styles of Rob Hubbard, Fred Gray and Ben Daglish. They're Some of my favourite Commodore 64 Maestro's.

It's all the usual people you think of when asked which C64 musicians are your favourite. Add Martin Galway and David Whittaker to the list, also.

This time I'm using multiple sound channels for layered trills and arpeggios, filters and some quirky wavetable modulations to try to make an alien sounding set of Cantina Band instruments.

Made with ♥ Gavin ---- Buy Bitpop 1 to 15 and support me, please. You can name your own price as a form of donation. Bandcamp: gavingraham.bandcamp.com/ ---- Homepage: gavingraham.com

Youtube: youtube.com/c/GavinGrahamBitpop8BitMusic Google Play: https://goo.gl/QCQT3o Spotify: open.spotify.com/artist/1Ap6PPAcMUnBZtpJ52ntui ITunes: itunes.apple.com/au/artist/gavin-graham/1251158291 Soundcloud: soundcloud.com/gavindi Twitter: twitter.com/gavindi HeartThis.at: hearthis.at/zer0page Soundclick: soundclick.com/bands3/?bandID=1435575 Renoise Artists: renoise.com/artists/gavin-graham Commodore Scene Database (CSdb): csdb.dk/scener/?id=8611 Amiga Music Preservation: amp.dascene.net/detail.php?view=2973

[sixofdloc-blog]

(via https://www.youtube.com/watch?v=639KeIzW1Pg)

Year: 1988 Type: Demo (multi-page) Platform: Commodore 64 Group: The Survivors Code: Satan Music: Ben Daglish, David Whittaker, Jason Brooke, Paul Clansey, Red, Wally Beben Graphics: Satan, Bob Hawker, Torben Bakager CSDB Link: http://csdb.dk/release/?id=8649 Captured by: Six/DLoC (Oliver VieBrooks)

This is an early one from The Survivors - or at least it's in an early style.  Music-selectors were all the rage at one point, but in 1988, demos were starting to really take shape. More a set of linked intros than a modern demo - it could be said that this helped cement that flavor of demo as an NTSC standard.

Keep it Oldschool!

[fallendaemon-angel-blog]

Favorite Stuff

Tagged by @elu-delouche

Favorite anime/Manga - Naruto, Eyeshield 21, Shingeki no Kyojin, Fate/Stay Night, Fate/Grand Order, Sousei no Onmyoji, Psycho Pass, Hajime no Ippo, and Boku no Hero Academia 

Favorite Video Games - World of Warcraft, Overwatch, Doom, God of War Series, Assassin’s Creed series, Diablo series, Starcraft series, Marvel vs. Capcom,Hitman series, and Need for Speed series

Favorite books - Dark Series by Christine Feehan, Ghostwalker series by Christine Feehan, Wheel of Time series by Robert Jordan, the Fitz and the Fool series by Robin Hobb, Harry Dresden series by Jim Butcher, Shadowdance series by David Daglish...I can keep going but it could take all day.

Favorite Tv Shows -  Arrow, Flash, Grimm, Charmed, Walking Dead...but only until season 5 this latest season killed it for me when a favorite of mine died, Supernatural, and NCIS

Last song I listened to - Boom by P.O.D.

First Language - English

Tagging anyone who wants to do this.

[adribbleofink]

Cover Art for Skyborn by David Daglish

Cover Art for Skyborn by David Daglish

I adore this cover. For being bold, and putting focus on what makes the character interesting (his wings), rather than trying to create a clear image of the character himself. Lovely, simple typography (including the stylized R), and Arnold’s soft, impressionistic style are perfect for bringing together a cover you just can’t ignore. “Skyborn is about the Seraphim, an elite military force…

[wtfbadfantasycovers]

That is some ridiculous dude armour right there. It looks badass but probably not practical or functional.