#Henry kwapis
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thelensofyashunews · 8 months ago
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MATT CHAMPION RELEASES DEBUT SOLO ALBUM MIKA’S LAUNDRY OUT NOW VIA RCA RECORDS
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Today, Matt Champion releases his debut solo album Mika’s Laundry. The album includes previously released singles, “Aphid” featuring Dijon, “Slug,” and his recent collaboration with JENNIE, “Slow Motion,” which PAPER Magazine called a “surging, heart-on-sleeve track.” Alongside director Anna Pollack, Matt has unveiled a fully realized visual world around Mika’s Laundry that includes the newly-released video for “Dogfish,” which displays the many colors of his Arcadian utopia. 
Mika’s Laundry represents a defining shift in Matt’s sound with his return to solo music, taking his time to mold new ideas over the course of several years and craft a singular body of work that many may not have expected. At the album’s core, Matt writes thoughtfully about the complexities of his relationships and asks the existential questions that come with growing up and discovering your place amongst your peers. Matt co-produced the album alongside Henry Kwapis, Dijon, and a handful of other close collaborators, warping his voice to complement the textures of the music. 
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Equally important to the music is the world Matt crafted within which the album exists. A remote, but technologically sound community of cement-walled facilities, open plains, and greenhouse-like domes, at the center of which lies the album’s namesake club, Mika’s Laundry. On album opener “Green,” Champion ushers in this eco-brutalist dreamscape with layered, manipulated vocals that mimic the sound of laser beams as he wanders through a mundane daydream. Piece by piece Champion builds his musical sanctuary and dives deeper into themes of existentialism, forming his own conclusions on desire and affection, most notably on album track “Steel” featuring Dora Jar. With Mika’s Laundry, Matt is reintroducing himself through a free and meticulously crafted personal statement of his experiences in life and love, scored by the sounds of a future he’s envisioned. 
Listen to Mika’s Laundry and check out the “Dogfish” video and stay tuned for more from the artist.  
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youngsoulcity · 9 months ago
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Matt Champion / APHID (feat. Dijon)
Produced by Henry Kwapis & Matt Champion
2024
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theinputmagazine · 4 years ago
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3. “Under/Over” by Gracie Abrams.
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Under/Over is the shorter song in the EP, and it’s also my favorite. 
NME wrote that this is one of those songs that are easily forgotten, but I don’t think so. For me, Under/Over is a minimalistic work of art. A production that doesn’t yell “Hear me!”, but instead, it says “Listen to me carefully, and appreciate the sounds within,” which include a simple but beautiful piano progression, different percussions, a distorted 808 bass, vocal harmonies, at least two synth pads (one which rises and disappears, and another that seems to be in reverse) and ringing bells. 
This song goes straight to the point: Gracie starts singing and playing her Wurlitzer electric piano from the first phrase and until her very last one. In the first verse she tells us the story of a forgotten love, reminiscing the days when she could hardly function from a broken heart. She still remembers everything, and, like in “Friend”, she’s still able to access those feelings, even if she’s way over them. 
The chorus also starts early, with just the one verse before it. The distorted 808 bass is introduced, giving the song more depth. The vocals turn into rhythmically playful words and a falsetto that couldn’t fit better, giving the song more sense of dimension and spectrum. The piano chords change a bit, but they always come home to a sweet resolution. Here, we get Gracie doesn’t quite understand her feelings, which is normal for a teen: A wave of emotions is enough to make you do or not do certain things. We tend to overthink and make mistakes, to do things we think are right for us, just to realize they aren’t, as she so states in the second verse: “Thought that I’d be good the day I took down all your pictures in my room”. As if it were that easy; Emotions and feelings are way much more complex than that, and, at the end of the second verse, she seems to understand this. (“Maybe I’m just getting confused”) Exactly. 
The chorus repeats, with just a few production-wise variations (We now hear layers of delayed and echoed vocals, and a pad, which rises at the end and takes us towards the outro) and one BIG-LITTLE change in the lyrics. Now, instead of saying “I’m underwater, but I’m over you”, she sings “I’m underwater, am I over you?” She’s still confused, and rightfully so, as she’s been digging on past emotions, and most of us well know what happens when you do that: You might get stuck in the mud again. Unfortunately, we don’t get that answer from Gracie. 
Next and quickly enough, is the outro, which to me is just perfect. It’s what makes me want to repeat the song all over again and get to that part yet again— although I hate that it happens to be the end. There are chopped vocal samples along with the ongoing percussive sounds that are put here and there in a clever rhythmical pattern all around my head, different kind of synth pads that work together in harmony, an airy synth that I can’t really name (be it a bubbly trumpet or a sax), and a bell-ish hit that reminds me of a sound from Super Smash Bros. It’s just all too much and too good. It certainly gives me Owl City’s “Fireflies” vibes, which adds to why this song is my favorite. 
Personal Favorite Phrase: “I'm not chasing feelings that I don't understand"
Objective Findings:  
Key: E
Instruments: Wurlitzer electro piano, vocals, 808 bass, different percussions, at least two synth pads, bells, that airy/bubbly trumpet (which I think is also a virtual instrument) and I’m really thinking there’s a Super Smash Bros sample there or something lol.
Chord Progression: III - VII - I three times, then VII - I - II
Effects: Reverb, delay, echo, stereo imaging, a chain of compressors, equalizers and limiters. Panning (which is not an effect, but boy did they panned away!) 
Note: I’m sure they worked with more effects, but these are the ones that are more noticeable to me.
What do you think of “Under/Over”?
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dustedmagazine · 3 years ago
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Dust, Volume 7, Number 11
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Walt McClements
We’re winding down for another year, looking forward to time off for the holidays and seeing friends and family in a semi-normal way.  Once again it’s dark at 4:30 p.m., and once again, it doesn’t matter all that much if you’ve got a fire going and some good music playing.  And so, we take stock of the albums that have caught our ears lately in another Dust.  Here are garage bands playing jazz standards, Dutch jazz duos evoking night skies, Berbers playing wedding music, a whole album full of ambient accordion music and the final recording from a 101-year-old Creole fiddle maestro, as well as lots of other unexpected stuff.  This month’s contributors include Jennifer Kelly, Andrew Forrell, Ian Masters, Bill Meyer, Bryon Hayes, Chris Liberato, Justin Cober-Lake and Jonathan Shaw.
Aeon Station — Observatory (Sub Pop)
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You could definitely get old waiting for another Wrens album. Their second and third albums were famously separated by ten years in the wilderness, and even Meadowlands, the triumphant, long-awaited return is 16 years old now. The photo my husband took of Kevin Whelan tossing his bass in the air on that tour is yellowed and curling at the edges, and Charles Bissell has publicly stated that the Wrens will never record again as a band.  But at long last we have SOMETHING from former Wren Kevin Whelan, here supported by the rest of the band, that is Greg Whelan on guitar and Jerry McDonald on drums. Aeon Station is almost the Wrens, and if Observatory is missing the wistful ironies and clever observations that made Meadowlands heartbreaking, it’s got the big pop swells and irresistible choruses that made it exhilarating. To hear the steady bass pulse of “Fade” erupting into giddy overload is to relive the heady days of 2005, when these boys were exhausted but on top of the indie pop game. When the fragile uncertainties of “Queens” surge into drum-kicking, guitar-destroying exuberance, you can hear the way “Happy” picked listeners up out of the doldrums and headed for exultation. Sure, you’d maybe like a little more lyrical introspection, and the second half of the record is better than the first, but it’ll do for now.  Who knows? Maybe in another decade or two, there will be more.
Jennifer Kelly
Beach Fossils — The Other Side Of Life: Piano Ballads (Bayonet)
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Beach Fossils front man Dustin Payseur reinterprets some of his indie tracks in jazz trio settings with former drummer Tommy Gardner (piano, sax, and bass) and Henry Kwapis on drums. The results are mixed. On one hand Gardner and Kwapis provide excellent if unstretched backing for Payseur’s croon, on the other the songs remain the same and one’s response may depend on your attitude to the original material. On its own The Other Side Of Life is a pleasant side trip down an imagined memory lane. Payseur is a decent singer and occasionally acute songwriter and Gardner shines but the leap from lo-fi indie to jazz trio is neither wide enough nor narrow enough to make this more than a well-made curio. Enjoyable but inessential.
Andrew Forell  
The Black Watch — Here and There (Atom)
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The Black Watch’s John Andrew Frederick steeps his tunes in the psychedelic 1960s, laying a radiant jangle across fuzz-bombed but catchy melody. This 20th album for the last of LA’s Paisley’s underground is equal parts crunch and drift, with the hard lines of guitar strumming filled in with pastel drifts of vocal harmonies. “The Real You,” matches the droning sweetness of Ride with the winding, searching guitar soliloquies found in the Bevis Frond or Teenage Fanclub. Yet there’s also a new element, the lush string arrangements of Ben Eshbach which line the contours of “Now & Then,” with velvety ease. If you like your Nuggets-y guitar racket with a fair bit of craft and melody, this one’s for you.
Jennifer Kelly
Bremer/McCoy — Natten (Luaka Bop)
Natten (The Night) by Bremer McCoy
A Danish duo of pianist Morten McCoy and bassist Jonathan Bremer makes sparkling, evocative music poised somewhere between jazz, ambient electronics and new age in this nocturnal themed outing. “Natten” means night in Danish, and its namesake cut glitters with starlight in the piano and electric keyboards, while Bremer’s bass elicits velvety dark skies. “Mit Hierte” (“My Heart”) bobs and weaves with pensive syncopation, the startling clarity of keyboards set off a bass that swaggers, but subtly. The earthiness of bass contrasts sharply with synthesized sound washes; there’s a swing in these tunes, but also a meditative aura. These compositions balance nightclub-dwelling, martini-quaffing suavity with something clear and clean and natural, so that it’s hard to tell if it’s very late at night or very early in the morning.
Jennifer Kelly
Bruno Bavota — For Apartments: Songs & Loops (Temporary Residence Ltd.)
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Italian composer Bruno Bavota is far from alone over the past couple years in finding himself staying home more often. While the notion of “accomplishing something” with our enforced extra time around the home quickly became both obnoxious and a meme, Bavota is also far from the only one to actually find himself producing work conditioned in some way by the lack of change in environs. The title of For Apartments: Songs & Loops might make it sound like a bit of a grab bag but there are actually two equally impressive but very distinct and demarcated albums here, with the six loops making for just under 40 minutes of synthesizer travelogue that feel a lot less constrained than the term “loop” might suggest, and the 13 songs sketching out slightly less than 29 minutes of calm, graceful solo piano complete with room tone. Maybe the best moment of the assembled For Apartments is the switch from the sixth loop to the first song, two totally distinct sound worlds briefly bumping up against each other, the heady excursions into (inner or outer) space of the former informing the patient space of the latter and vice versa. It’s very fine music to be stuck in an apartment with, however eager we might be to test it out in different contexts as well.
Ian Mathers 
Pedro Carneiro / Pedro Melo Alves — Bad Company (Clean Feed)
Bad Company by Pedro Carneiro | Pedro Melo Alves
Put aside your rock-rooted associations. Bad Company is named after a story by Yasuoka Shotaro which depicted the seductive lure of antisocial cruelty and the corrosive outcome of such flirtations. So, who is the bad influence here? Carneiro, who plays marimba, works mainly in contemporary classical music but maintains a sideline in improvisation. Alves is a drummer whose work in new jazz is often tinged with an awareness of classical form. They would appear to be made for each other, and the recorded evidence from this totally improvised encounter adds evidence to supposition. Alves’ playing is quick and precise and Carneiro more patient, which conveys a sense of sonic depth and contrasting, complementary motion. Form derives from the differences in tone and velocity; if Portugal ever puts its cultural budget behind this duo, it would be great to witness this music being enacted in acoustically apposite spaces around the world.
Bill Meyer  
Hocine Chaoui — Ouechesma (Outre National)
Ouechesma (Remastered Version) by Hocine Chaoui
Sometimes music comes at you unhindered by context. Take Ouechesma. If you don’t know the Chaoui language, you’re not going to know what Hocine Chaoui is singing, or why his surname matches the names of his ethnicity and language. Knowing that the Chaoui are a Berber community situated in mountainous eastern Algeria won’t really tell you anything about this music, and the sleeve doesn’t even tell you when the original cassette edition was issued. But here’s what you really need to know: it has a good beat, and if you can’t dance to it, you’re going to be awfully lonely if you attend one of the weddings where it gets played, because it’s very effective at motivating movement. It is pretty basic; a commanding chant of a vocal that alternates with an effects-dipped flute, and a galloping programmed beat that doesn’t waver for the whole song. Basic, and devastatingly effective.
Bill Meyer
Ted Curson — Pop Wine (Souffle Continu)
Pop Wine by Ted Curson
Souffle Continu is relentless in its mission to reissue quality Gallic-related jazz sides, and this time the theme is an American sideman in Paris. Wielding his horn on acclaimed recordings by the likes of Charles Mingus, Cecil Taylor and Archie Shepp, with Pop Wine Ted Curson takes on the lead role; he’s got a trio of talented Frenchmen by his side. George Arvanitas handles the ivories, while Charles Saudrais rides the drumkit and Jacky Samson plays bass. On this 1971 studio recording, the quartet offer up five pieces, effortlessly working their way through a handful of styles ranging from funky fusion all the way to feisty free jazz. Each player is at the top of their game, meaning there’s no true hero here. Samson goes from laying down a groove on the title track to whipping his bow out for some string sawing on the fiery “L.S.D. Takes a Holiday.” On that latter piece, Arvanitis works his way up and down the keyboard. At times he's swift and supple and at others he demolishes the keys. Curson shows that he can be lyrical, such as on “Lonely One,” and he can frolic frantically (“Quartier Latin”). Saudrais keeps the former piece from being a maudlin affair with his jumpy rhythms, and even lets loose a rollicking solo on the speedy romp “Flip Top.” Pop Wine doesn’t necessarily have a pure varietal character, but such stylistic breadth allows for an intoxicating body and bouquet. This heady brew is the perfect tipple for many moods.
Bryon Hayes
Willie Durriseau — Creole House Dance 45 (Nouveau Electric)
Creole House Dance by Willie Durisseau
This exuberant single captures legendary fiddler Willie Durriseau as a spry centenarian, playing in a frictive, squalling, sprightly Creole style that disappeared before World War II. Louis Michot of the Lost Bayou Ramblers captures Durriseau in all his homespun glory, sawing away at zydeco dance tunes and blues rambles that haven’t been heard since most of us were born. Near the end of “Willie’s Zydeco,” here embellished with jovial accordion, Michot asks Willie about how he made his first fiddle out of a take-out box. “How’d you do it?” he says, “Because I want to make one.” “You’ll just have to watch the film,” says Durriseau, taking that and other secrets with him when he passed shortly after this record was made. Remarkable.
Jennifer Kelly
Wendy Eisenberg – Bent Ring (Dear Life)
Bent Ring by wendyeisenberg
Wendy Eisenberg doesn’t want you to look while they’re writing love songs. “It’s embarrassing enough for me” they sing, strumming unassumingly along. Periodically, a percussive swipe cuts across the track like a scythe attempting to end Eisenberg’s progress. Other times, a bell tone sounds at a line’s end, reinforcing a positive thought. Several times, in the middle of the track, the two sounds clash. “Little Love Songs” is from the experimental guitarist’s latest solo record, Bent Ring, which is the result of a self-dare: “to write an album of songs that don’t use guitar at all.” Instead, they employ a salvaged tenor banjo for a meditative and disarmingly complex collection about their art’s relationship to the world and themself. “We work very well together. I believe it’s true,” they sing, almost blissfully, during one of the final verses in which the bell chimes alone.
Chris Liberato
Equipment Pointed Ankh — Without Human Permission (Astral Editions/Sophomore Lounge)
Without Human Permission by Equipment Pointed Ankh
Without Human Permission feels like a message in a bottle, only the ink’s a bit smudged, so the communication is far from clear. Is it from the past? The LP has a Ralph Records c. 1978 vibe to it, quirky yet catchy. Is it from far away? The liner notes say these guys are from Louisville, but they drove to Rhode Island to make the record…who does that? The music is instrumental, but it doesn’t fall neatly into a genre, and the line-up of multiple synths, lots of guitars and some drums generates suspicion that this crew thought about who they wanted to play with before they thought about what instruments a band needs to have. And we haven’t even gotten to the Terry Riley’s piano meets your grandma’s organ’s rhythm box jam that melts into a psychedelic clarinet puddle yet. This record was made for those moments when your head needs scratching and your leg needs pulling, and if you don’t know what we’re talking about, well, we never said that we did, either, did we?
Bill Meyer
Hard Feelings — Hard Feelings (Domino)
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On the closing track of Hard Feelings’ debut, Amy Douglas sings “I will bend time where I want it to go,” but she almost doesn’t have to; she and Hot Chip’s Joe Goddard have just spent 42 minutes doing pretty much that. Not only can the grooves and Douglas’s indelible performance at the center of Hard Feelings lead to the kind of dancefloor hypnosis where you’re not longer sure if it’s late at night, early in the morning, both, or neither, Goddard’s productions touch on many of the sounds and strengths of house, disco, techno et al, but they do so in a way that feels neither like an unnecessary ‘update’ not just a throwback for the sake of nostalgia. Those tracks alone would make Hard Feelings more than worth a listen, but Douglas’s Alison Moyet-goes-to-the-club vocals and sharp songwriting are more than just incidental to the impact of these songs — the duo has been describing the album as an “opera of sad bangers” and maybe the best testament to that is the way Hard Feelings can remind the listener that emotional intensity, even melodrama, is definitely not a bad thing when it’s also this (body)moving and this much fun.
Ian Mathers 
Joëlle Léandre / Pauline Oliveros / George Lewis — Play As You Go (Trost)
Play as you go by JOELLE LEANDRE / GEORGE LEWIS / PAULINE OLIVEROS
In 2014, Joëlle Léandre, Pauline Oliveros and George Lewis convened for one night at the Vs. Interpretation Festival in Prague, Czech Republic. It wasn’t really a first encounter; Léandre has decades of working acquaintance with both other musicians, and given the diligent scholarship that Oliveros and Lewis have applied to music, they can’t have been unaware of each other. But neither is it a meeting of an ensemble with an established dynamic. Rather, they bring their shared experiences with jazz, classical and free improvisation together on a common ground cleared by a shared commitment to listening and intuitive response. Whether they contribute instruments (double bass, accordion, trombone and computer), voice (Léandre), or electronic processing of collective sounds, they do so in ways that build a cohesive sound environment. The name of the festival seems especially applicable; each musician is all in, present in the moment rather than figuring out how to react to what they just heard.
Bill Meyer
Kiran Leonard — Trespass on Foot (Self-Released)
Trespass on Foot by Kiran Leonard
Trepass on Foot is really two records, the first a sprawling meditation made by the Manchester experimental songwriter all by himself, the second a series of shorter, more song-like collaborations with friends among the UK’s avant-garde. Both are worthy but require a real listening commitment; the two discs comprise nearly two hours of music, and several tracks, especially in the solo portion, are in the ten-plus minute range. “The Ship,” for instance, swells slowly, with tidal force, beginning in scratchy sampled recordings, guitar strums and ambient hum and reaching a near orchestral climax over its 15-plus minute duration. Loosely shaped and morose, it has some lovely intervals like the off-kilter song verse with slanting guitars, which sounds like a lost bit from Loren Conors, and the blinding beautiful surge of massed guitar and voice near the end. “Sights Past” is even longer and follows a similar trajectory, building slowly, taking a variety of guises and reaching a nearly unbearable intensity. You don’t always know where you are in these compositions or what’s coming next, but if you allow yourself to wander from room to room, you’ll see some gorgeous things.
The second part of Trespass on Foot is somewhat more readily accessible, divided into songs that are more conventional in length and structure. There is solace, too, in the support of other musicians, like the lovely harmonies that Jolliff Seville supplies in “Third Day of February,” or the plaintive clarinet (Margo Munro Kerr), bass clarinet (Hannah Hever) and cello (Francesca Ter-Berg) that thread through found-sampled “Untitled.” “Castell” turns into a meaty folksong with the addition of drums and a yearning, forthright melody; the violin—that’s Dan Bridgwood-Hill—and supporting vocals Isabel Thorn give it dizzying density and resonance.
Jennifer Kelly
Mandy, Indiana — ‘…’ (Fire Talk Records)
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The debut EP from Manchester band Mandy, Indiana is a pulverizing explosion of industrial grind courtesy of Scott Fair and Liam Stewart; over this racket, Valentine Caulfield chants and hisses lyrics in her native French. “Bottle Episode” careens between Stewart’s metallic martial percussion and a defibrillated heartbeat as Caulfield chants with increasing urgency and a flanged guitar chord thrums. The sound is rough, close, full of tension with little release, before it all clanks to a halt. “Nike Of Samothrace” slows the formula and adds what maybe the death throes of a cello and a sheets of controlled feedback, while Caulfield sits to one side commenting on the maelstrom. “Alien 3” is a little more straight ahead but still sounds like SPK or Einstürzende Neubauten mugging techno in nightclub alley, so pretty damn good. 
Andrew Forell
Walt McClements — A Hole in the Fence (American Dreams)
A Hole In The Fence by Walt McClements
Walt McClements is not the first musician to make ambient/drone music primarily with an accordion (and in fact he happily acknowledges the influence of Pauline Oliveros among others), but one of the catch-22s of making music with a relatively rare lead instrument is that it’s not you’re often more likely to get closely compared to others using than instrument than (say) someone focusing on guitar or piano is. By any standards though, McClements’ A Hole in the Fence is more than just another richly textured, emotionally complex, sometimes sonically overwhelming album of accordion music. These 33 minutes sometimes feels more like movements of a single composition, one that takes in McClements’ theme of the various liminal spaces and secret worlds he’s moved through in his life (various music undergrounds, gay cruising scenes, even train hopping) and creating a work that in turn can evoke the foreboding, peace, hesitance, and joy we find passing through those gateways and finding our places past the literal or metaphorical fences in our way. That combination of love and exploration courses strongly through the sounds and drones of A Hole in the Fence, and the result would be noteworthy whatever instruments McClements used to get there.
Ian Mathers
McKain / Murray / Radichel / Suarez / Weeks — The Running of the Bulls (Radical Documents)
The Running of the Bulls by McKain / Murray / Radichel / Suarez / Weeks
The cassette’s title signals the attitude if not the content. No bovines were jostled in the making of this music, but the participants do pitch themselves into this free jazz fray with abandon. This quintet convenes improvising musicians from San Francisco, New York and Philadelphia, but the vibe brings to mind certain vintages of sound made in Chicago or Wuppertal. Saxophonists James McKain and Tom Weeks apply an array of techniques, but put them together and they impart the blammo wall-of-reeds sound of Mars Williams + Ken Vandermark + (occasionally) Peter Brötzmann. Drummers Leo Suarez and Kevin Murray have a similar tendency to meld, albeit into mass of discrete textures and densities. Bassist Jared Radichel navigates the shifting masses with aplomb, working hard enough in the lengthy group pieces that one does not begrudge him the option of sitting out when the paired instruments break out for briefer improvisations. Points added for the excellent cover art.
Bill Meyer
M(h)aol — Gender Studies (TULLE)
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M(h)aol isn’t fucking around. A five-person post-punk outfit with Irish roots and members in Dublin, London and Bristol, the band thunders and rampages in gender-empowered fury. “Why don’t you study my gender/Tell me I’m no fun anymore/That I used to be quiet and pretty/And you liked the old me more,” snarls the singer in the title track before revealing, “Guess what, I like the new me more.” The lyrics are uncompromising, but not without humor (“No one ever talks to us…unless they want to fuck”), and the sound is hard and unyielding, with sawing bursts of rapid-slashed guitar and rickety architectures of snare and kick drum. In an odd bit of symmetry, the mostly female M(h)aol has connections with the all-male Girl (now Gilla) Band; Jamie Hyland is the voice on “Holding Hands with Jamie,” and the two bands share an affinity for noisy breaks and smart, unusual lyrics. However, M(h)aol draws its name not from the other gender but from the legendary Irish female warlord Gráinne Mhaol who faced off Elizabeth I with, supposedly, a dagger in her bodice. Yup, sounds about right. Good stuff.
Jennifer Kelly
Matt Mitchell & Kate Gentile — Snark Horse (Pi Recordings)
Snark Horse [Box Set] by Matt Mitchell & Kate Gentile
Drummer Gentile and pianist/synthesist Mitchell toil in a manner that transcends any of the idiomatic signposts of jazz. Their compositional style conjures up the energy of punk rock and the bleeding edge wizardry of experimental electronic music. The pair push limits and dive headlong into whatever challenge they set for themselves. For this gargantuan six-disc boxed set, the duo set up an experiment, constraining themselves to write compositions of only a single bar in length. They call the resultant body of work Snark Horse, but there’s nothing cynical about this music. To realize the project, they assembled a ten-person strong Snark Horkestra made up of some of the finest American instrumentalists. Alongside Gentile and Mitchell are Kim Cass on bass, Ben Gerstein on trombone, Jon Irabagon on reeds, Davy Lazar on horns, Mat Maneri on viola, Ava Mendoza on guitar, Matt Nelson on saxophones and Brandon Seabrook on guitar and banjo. The 70 compositions were putty in the Snark Horkestra’s hands, around which Mitchell and Gentile encouraged the crew to improvise. The two composers perform across the entire set of music, with others joining the fray in a variety of permutations across different pieces. There are moments when only one or two of the members jump in, but things get wild when the entire crew goes at it. One of the most immediately noticeable characteristics of these songs, which vary in length substantially, is the rhythmic complexity. Gentile’s drumming style is unique, as she plays around with time signatures and constructs intricate patterns of beats. Add Mitchell’s dextrous piano work and the music becomes a furious beast that just might be the jazz equivalent of math rock. When you thread in the adept contributions of the eight other players, the proceedings heat up quickly and the energy is downright enchanting. Even when the tempo slows to a crawl, the music has an infectious electricity. To add icing to this already elaborate cake, Mitchell has dispersed a series of abstract electronic works of his own devising across the set, which perhaps serve as markers for a listener to return to once their flagging stamina has been replenished. One imagines that listening to over 270 minutes of adventurous sounds in one sitting would test the mettle of even the sturdiest set of eardrums.
Bryon Hayes
Moonlove — May Never Happen (Concentric Circles)
May Never Happen by Moonlove
Moonlove isn’t the most motivated band to come out of greater Akron (see: Devo). But then, so little is known about the trio that we’re left only with what they tell us on 1985’s appropriately titled May Never Happen. On twangy jangler, “Cast Your Troubles and Dreams Away” (riyl: Bonny Doon), Jeff Curtis sings about his ambitions of sitting around and caring less. And when he finds himself behind a “Hearse On The Highway,” he doesn’t even consider taking to the passing lane. Instead, he downshifts and dwells hard on the absence of time over a charmingly degenerate blues shuffle (think: VU). Beth Erickson takes the wheel on “Blue Skies,” and continues on the same trip. “He lies in bed all day / wasting hours and hours away,” she sings with the kind of undynamic yet heartfelt lilt that makes you wonder what might’ve happened if they’d sent their tape K Records’ way instead of no one’s. Luckily, though, almost 40 years after the fact, a copy ended up in the hands of Jed Bindeman, whose Concentric Circles label has built its name on this kind of reissue (read: magical). Climb on in!
Chris Liberato
Jessica Pavone — Lull (Chaikin)
Lull by Jessica Pavone
Some composers write scores that test the physical limits of those who play them. Composer and violist Jessica Pavone does the opposite, considering what feels right to play and using that knowledge to center what’s asked of each musician. The results, however, are by no means limited; Lull is one of the most inclusive albums Pavone has ever made. It encompasses chamber music and improvisation, shifting between ultra-detailed improvisations featuring drummer Brian Chase and trumpeter Nate Wooley, and boldly colored, intricately layered string passages by an octet that includes Pavone. Ranging between spare turbulence and patiently evolving presence, the music uses changing textures to externalize nameless but palpable emotional states.
Bill Meyer   
Fredrik Rasten — Svevning (Insub)
Svevning by FREDRIK RASTEN
In this CD’s liner notes, guitarist Fredrik Rasten explains that the Norwegian word “svevning” has two meanings. One applies to the sort of effortless glide that birds achieve when they’re riding air currents, and the other refers to the beating effect obtained by sounding two sustained notes. Translated into math, the formula is 1 word = cause / effect = 38:15 + 38:55 minutes of hovering tone. Rasten operates in the same sonic galaxy as Cristian Alvear and Taku Sugimoto, which is to say that he explores acoustic phenomena with unemphatic precision. These two pieces employ the same method, which is for Rasten to repeat a figure with very slowly evolving changes on a guitar tuned in just intonation. The effects of plucked notes in proximity, approaching and transforming each other, is gently hypnotic. This could be your next sound meditation.
Bill Meyer
Steph Richards With Joshua White — Zephyr (Relative Pitch)
Zephyr by Steph Richards
Zephyr packs a lot of musical exploration into a small space. The album is divided into three suites, each of which uses an environment as a cue to examine relationships between musician and musician, artist and family, and sound and space. The five-part Sacred Sea uses trumpeter Steph Richards’ technique of playing with water as a method to ponder her suppositions about her then-unborn daughter’s perception of sound as well as the limits of instrumental capacity; Joshua White uses preparations to similarly transform the sound of his piano. Sequoia and Northern Lights are a bit less literal, but in both sequences, the duo press the limits of their instruments and techniques as they evade expectation.
Bill Meyer   
SiP / Prezzano — SiP / Prezzano (Moon Glyph)
SiP/Prezzano by SiP/Prezzano
The existence of this duo will validate your belief in destiny. Conversely, if Jimmy Lacy, who performs as SiP, and Pete Prezzano, who runs the Love All Day Label, had not gotten together, you might look up at the cosmos and ask, why not? They both live in Chicago, and each makes and/or distributes music that uses synthesizers to take the edge off of whatever life’s dealing with you. Their collaboration is pretty seamless, and the four tracks on this half hour long tape flow together effortlessly, which means that you’re likely to spend less time figuring out who did what than you are giving in to the temptation to let the mind drift wherever long, oscillating tones and ambling modal melodies might take you.
Bill Meyer
 Snotty Nose Rez Kids — Life After (Distorted Muse / Fontana North)
Life After by Snotty Nose Rez Kids
Indigenous Canadian hip-hop duo Snotty Nose Rez Kids were on a roll when the pandemic hit. As the quarantine era wore on, they kept getting attention (the placement of “Boujee Natives” on Resident Alien was perfect) but they struggled with recent and past trauma. Out of the crisis came Life After, the title referring not just to exiting lockdown, but to getting through any sort of hardship. The group still has its warrior side, and Yung Trybez and Young D sound as angry as ever, taking on various forms of oppression while addressing the particular struggles of First Nation peoples. They haven't lost their sense of humor, though. “Uncle Rico” references Napoleon Dynamite as it looks at both personal hubris and family mythology. “Oral tradition / I can barely spell,” makes for a fun moment while capturing the attitude of the album. All of the work, though, serves to work toward something better. Chill track “After Dark” closes the album with its real thesis: “I pray we at peace and not in pieces / And that we break the cycle for my nephews and my nieces.” Right now, we're all in life after disaster; but SNRK brings hope that we're headed toward the light after dark.
Justin Cober-Lake
Mai Sugimoto — Monologue (Asian Improv Records)
monologue by Mai Sugimoto
As titles go, Monologue is an unsparing self-assessment. For what else is a solo concert? But between a pandemic that’s made it hard for bands to get together, and an upsurge in anti-Asian violence, the time’s right for Sugimoto to put some points across. Sugimoto recorded this album alone except for an engineer, accompanying her alto sax and flute with some handy percussion. This combination of woodwinds and little instruments suggests that one local legacy on Sugimoto’s mind is the AACM’s. Like Roscoe Mitchell, she gives each idea the space it deserves, neither more nor less, and she feels no need to sugar a pungent attack. The titles assigned to this CD’s 14 tracks evoke vulnerability, spirituality and playfulness. But, compared to her previous recordings with her trio and the collective Hanami, there’s also a pithy toughness.
Bill Meyer
Tigers & Flies — Among Everything Else (Violette)
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This is the stuff! Or at least at first blush it sounds a heck of a lot like it — the brassy, soul-influenced indie pop that bands like Orange Juice, The Jasmine Minks and The June Brides played, bridging the gap between post-punk and c-86. But unlike their predecessors, Tigers & Flies are only occasionally capable of playing with convincing passion, as they do, for example, on “In My Skin.” Here, drummer Arvin Johnson bashes his way into the chorus with a fist-pounding-the-table beat and the song unspools momentarily in response, via its bouncy syncopated guitar lines, before folding forward in frustration again. “Are you seeking enjoyment?/ Are you seeking a change?” wonders frontman Arthur Arnold. But his vague gripes also point to the bigger problem here: there isn’t much at stake in these songs and the music rarely makes up the difference. Lead single, “Half,” tries to twist itself into a more musically complex knot that it hopes will hold. “When you leave, half of me walks away too. / So don’t leave, because I need that half of me that is you,” Arnold sings, while trumpeter Matteo Fernades attempts to recall a leaving lover with a pair of confident bleats. Instead, all he gets is a synchronized, frolicking dance with the rhythm section. The bands they’re aping began as novices and played with a conviction that can’t be faked. On their debut, Tigers & Flies arrive in reverse: they’ve got the sound down, perhaps a little too well, but when it comes to selling the songs' emotion they’re only, as Arnold puts it, “pretty good at doing fine.”
Chris Liberato  
Unda Fluxit — Stone Ringing Sorrow (Ever/Never)
Stone Ringing Sorrows by Unda Fluxit
Unda Fluxit makes no attempt to find ease in its jangling, discordant melodies, which reverberate with haunted chaos in the space between experimental folk and noise music. The main creative force behind the band is Huma Aatifi, an Afghan native relocated to Boise, Idaho as a child, and her compositions bristle with jarring dislocation. “Chance of the Towel” clatters noisily with assaultive percussion as Aatifi croons lost lyrics about snow and circumstance, guitar notes crowding behind her like a migraine gathering for attack. “(sunset rain)” is more muted but still full of suffering, a yodeling vocal melody floating uneasily over thunks of hand drums and detuned strums of acoustic guitar. You could make a connection to Christine Carter’s abstracted guitar melodies or even to Karen Dalton’s blasted, desolate folk. Like them Aatifi doesn’t care about conventional prettiness. Like them, she achieves a strident kind of beauty in the clash of notes.
Jennifer Kelly
Uranium — Wormboiler (Sentient Ruin Laboratories)
Wormboiler by Uranium
For a power electronics project, Uranium delivers some fairly formed songs on Wormboiler: see “We Deserve Death,” which sort of has verses and what feels like a refrain. “Sort of” and “feels like” are necessary qualifiers; the music on Wormboiler, provisionally legible as it may be, is fully tapped into the volatility and ugliness that have always been baselines for power electronics — just check out that record title. Still, interesting as the intermittent suggestions of song form are, Uranium is at its most effective when its chaos and appalling deformity are most grotesque. “Hate Thyself for the Callous World Cares Not” slithers and vibrates and jolts with bad feeling. Like some of the best power electronics, the music feels its way along, flowing and climaxing with weirdly livid energy. Which, as the project’s name implies, is toxic stuff. It’s all pretty nihilistic, building toward a final track called “The Glorious Void” that contains samples of symphonic music interpolated with an impossibly distorted horror-movie-Satan voice. The track flirts with goofiness for a bit, but soon it achieves an apotheosis of hostility, obliterating any trace of levity. Schopenhauer would dance to it.
Jonathan Shaw  
Vaulted — Left in Despair (Self-released)
Left In Despair by Vaulted
The songs on Vaulted’s new LP Left in Despair sound like a bad day in Boston: damp, cold and full of ornery ill intent. That makes some sense: Melville says Americans learned to “say ‘No!’ in thunder” up in Massachusetts. But instead of any gloomy New England-style austerity, Vaulted pour on the aggro hostility with a sort of excessive glee. The Boston band makes chugging, crunching hardcore, redolent with the burly filth of the death metal that sprouted from the trail of slime left in the wake of Suffocation’s Pierced from Within (1995). See especially tracks like “Lacerated” and “No Place to Mourn.” But make no mistake: Left in Despair is a hardcore record, at its best when it hits hardest. “Mote It Be” mostly moves with a mid-tempo truculence, doling out overdriven riffs that want to bruise. The downshift that occurs around the song’s third minute has a palpable threat attached to it — it’s that slight pause you make when you approach a dark corner at 3 am in Southie. Hunch your shoulders a little tighter, squint your eyes with a sharper “don’t-fuck-with-me” look, because who knows what’s coming. If you’re listening to Vaulted, it’ll probably be another thumping, thundering, three-minute hardcore tune. And heads-up, all you freaks for obsolete formats: you can cop a cassette version of Left in Despair from War Fever Recordings, the label run by Vaulted’s bass player Nicholas Wolf.
Jonathan Shaw
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deadlinecom · 3 years ago
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deadcactuswalking · 4 years ago
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REVIEWING THE CHARTS: 12/12/2020
For the first time ever after being released in 1994, Mariah Carey’s “All I Want for Christmas is You” has hit #1 on the UK Singles Chart, like it did on the US Billboard Hot 100 last year and will probably do so this year. This is a really short week full of nothing so that might be the biggest story here, and the song deserves it. It’s a great song and it’s genuinely massive. I wonder how newer songs like Kelly Clarkson’s “Underneath the Tree” will be able to enter themselves into the Christmas canon after Mariah Carey proved that it can be done with modern pop. Well, that’s not for us to find out today, because this is REVIEWING THE CHARTS.
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Rundown
Like I said in the introduction, this is far from a busy week, which almost surprises me. Sure, nothing important was released – except that Shawn Mendes album which flopped remarkably and debuted at #12 on the Albums Chart this week – but I did expect another festive flood of holiday tunes. To my surprise, this didn’t happen or at least not to the extent that I assumed it would. Sure, we still have a lot of Christmas songs replacing newer pop songs that had already been in the charts, ‘tis the season, but this week only had five notable drop-outs from the UK Top 75, and none of those are that notable. I guess “Ain’t it Different” by Headie One featuring AJ Tracey and Stormzy, one of the biggest hip-hop hits of the year, dropping out is a pretty big deal, but otherwise we just have “Diamonds” by Sam Smith, “UFO” by D-Block Europe and Aitch, “Come Over” by Jorja Smith and Popcaan, and I guess “Chingy (It’s Whatever)” by Digga D. All of these songs are recent and might have a rebound after the Christmas season is over, but I do have my concerns about the longevity of these songs, particularly because of how, you know, none of them are actually good. I guess now we could discuss some of our biggest fallers, which are of some quantity considering the season, so I’ll run these off quickly: “Midnight Sky” by Miley Cyrus at #15, “Therefore I Am” by Billie Eilish at #18, “Levitating” by Dua Lipa at #20, “you broke me first” by Tate McRae at #21 (these last four songs were all in the top 10 last week, by the way), “Prisoner” by Miley Cyrus featuring Dua Lipa at #22, “Really Love” by KSI featuring Craig David and Digital Farm Animals at #31, “Monster” by Shawn Mendes and Justin Bieber continuing to free-fall to #33, “Train Wreck” by James Arthur at #35, “Get Out My Head” by Shane Codd at #37, “Mood” by 24kGoldn and iann dior at #38, “Head & Heart” by Joel Corry and MNEK at #40, “Lemonade” by Internet Money and Gunna featuring NAV and Don Toliver at #45, “Dynamite” by BTS at #46, “Lonely” by Justin Bieber and benny blanco at #52, “See Nobody” by Wes Nelson and Hardy Caprio at #54, “i miss u” by Jax Jones and Au/Ra at #56, “What You Know Bout Love” by the late Pop Smoke at #57, “Sunflower (Spider-Man: Into the Spider-Verse)” by Post Malone and Swae Lee at #61, “All You’re Dreaming Of” by Liam Gallagher off the debut at #62 (our biggest fall this week), same goes for “No Time for Tears” by Nathan Dawe and Little Mix at #71 and some long-lasting hits right at the tail end of the chart: “Princess Cuts” by Headie One featuring Young T & Bugsey at #72, “WAP” by Cardi B and Megan Thee Stallion at #73, and “Looking for Me” by Diplo, Paul Woodford and Kareen Lomax at #74. We do have a lot of Christmas gains and returning entries, so before we get to anything non-Christmas, let’s round off those real quick. Returning to the chart are “Santa’s Coming for Us” by Sia at #69, “Let it Snow! Let it Snow! Let it Snow!” by Frank Sinatra at #66 and “White Christmas” by Bing Crosby at #63. There are a lot more of our notable gains though: “Have Yourself a Merry Little Christmas” by Sam Smith at #65, “Cozy Little Christmas” by Katy Perry at #58, “Love is a Compass” by Griff at #53, “Feliz Navidad” by José Feliciano at #51, “Christmas Lights” by Coldplay at #49 (the biggest gain and deservedly so), “Santa Baby” by Kylie Minogue at #44, “Let it Snow! Let it Snow! Let it Snow!” by Dean Martin at #43, “Sleigh Ride” by the Ronettes at #41, “Mistletoe” by Justin Bieber at #36, “Wonderful Christmastime” by Paul McCartney at #32, “Holly Jolly Christmas” by Michael Bublé at #30, “Happy Xmas (War is Over)” by John Lennon and Yoko Ono with the Plastic Ono Band featuring the Harlem Community Choir at #29, “It’s the Most Wonderful Time of the Year” by Andy Williams at #28, “Merry Xmas Everybody” by Slade at #26, “One More Sleep” by Leona Lewis at #25, “Driving Home for Christmas” by Chris Rea at #17, “This Christmas” by Jess Glynne at #13, “Santa Tell Me” by Ariana Grande at #11, “Step into Christmas” by Elton John at #10, “Do They Know it’s Christmas?” by Band Aid at #8, “It’s Beginning to Look a Lot Like Christmas” by Michael Bublé at #7 and finally, “Merry Christmas Everyone” by Shakin’ Stevens at #6. That’s not all of our gains and returning entries though, as we do have some peculiar events outside of the Christmas singles. First of all, “Blinding Lights” by The Weeknd is up to #39 thanks to a remix with ROSALIA, and secondly, “WITHOUT YOU” by The Kid LAROI returns to the chart at #23. I have no idea why or how this happened but I want it gone as quickly as possible. Anyway, we have three new arrivals to talk about, none of which are particularly interesting, so let’s get on with those.
NEW ARRIVALS
#75 – “Real Stuff” – Juice WRLD and benny blanco
Produced by Dylan Brady, Jack Karaszewski, Henry Kwapis, Cashmere Cat and benny blanco
The song’s not called “Real Stuff”, but come on, this is a family show. About a year ago, Jarad Higgins, or Juice WRLD, died tragically at age 21 of a substance abuse-related seizure. Naturally, since it’s Juice and his label we’re talking about, they’re still pumping out unreleased content. Two songs of this nature were released around this time, one with Kid LAROI and Kim Petras we’ll probably see next week and even higher on the chart, but first of all, an emo rap anthem produced by benny blanco and Dylan Brady of 100 gecs. I mean, okay, sure, it is 2020 after all. Blanco posted on social media about how this was his first ever recorded song with Juice when they had a studio session before Juice was that recognised, and before he was signed, they cooked up a lot of music. This makes it surprising how it didn’t leak after all this time but it shouldn’t matter. What’s important is the quality of the song and since this is a genuine song from a real-life studio session, it’s not nearly as insincere and cynical as some of the other posthumous projects from Juice. Sadly, I don’t this makes it any good. The clicking, stuttering trap beat doesn’t sound bad with his bumping 808s but doesn’t complement the acoustic guitar strumming or even Juice as much as it should – and this is really early Juice, so it’s not like he’s mastered his style of emo-reminiscent self-loathing and painful, drug-induced relationship ramblings. It’s not even as catchy as Juice would start to be later on, so it is just a primitive version of whatever Juice’s sound would end up being. Sadly, we won’t get more development from the guy other than these cheap releases, and if benny blanco guided Juice more into a lane he’s comfortable with and more importantly, Juice was still alive, this could be an example of something great yet to flourish but since his incomplete discography of disposable output is all we have to evaluate, it makes Juice’s work much more difficult to appreciate, especially posthumously, where every throwaway bar about substance abuse has this haunting, unnerving impact it didn’t have before. Oh, and I really like the first verse, which is just aimless flexing but with more charm than he usually has, and with some promises of extra detail he could have gone into, before of course, it switches onto a different topic, an issue plaguing much of the man’s work. In conclusion, the song is fine but I don’t think I can listen to Juice’s work, complete or incomplete, released when he was alive or scrambled posthumously, without feeling sad or just having this contempt for the yes-men who surrounded him. Rest in peace, Juice.
#67 – “Oh Santa!” – Mariah Carey
Remixed by Ariana Grande and Jennifer Hudson
Produced by Scott M. Riesett, Marc Shaiman and Daniel Moore II
“Oh Santa!” is an original Christmas tune Mariah Carey wrote and released with Jermaine Dupri in 2010, for her second Christmas album, aptly titled Merry Christmas II You. The song wasn’t a success, and it couldn’t live up to “All I Want for Christmas is You”, which is fine. We don’t need more Mariah Carey songs in the Christmas canon if we already have an absolutely perfect one at the top of the charts, but if she wants to start flooding the market, I guess it’s best to do it with two experts at vocals, because for her little Apple TV Christmas special, she’s bought along Jennifer Hudson and Ariana Grande for whatever the triple version of a duet is. I assumed this would have been a returning entry because it’s a remix but the original never charted in the UK so I’ll have to talk about both here, and, well, there’s a reason “All I Want for Christmas is You” has never been replicated in terms of success and just sheer quality. I talked about this on my best list but there’s never been a song I feel is so ubiquitous of modern Christmas in the current millennium than “All I Want for Christmas is You”, an outright rejection of festive commercialism in preference of just having her significant other around for the holidays. “Oh Santa!” has a similar presence, but in this one, Mariah Carey’s asking for Santa Claus himself to wrap her crush in wrapping paper and gift it to her for Christmas, with a lot less of the warm intimacy of the classic song and without any of the charm. The 2010 version has this really gross drum machine and a lot of cheerleader-type chanting and clapping that starts off as really ugly – and the chanting still is – but honestly makes a pretty good backing for Mariah sliding over the beat with vocals that may not be as impressive as her best but are just as smooth as they should be over a more coy, low-key festive instrumental. My main issue with it is pace because whilst it is a short song, and she does treat us to some whistle notes and runs by the end, it just fades out and the instrumental doesn’t feel like it goes anywhere, making this song sound slow as all hell. If anything, this remix sounds dated, especially with the more modern vocal production with Ariana Grande and Jennifer Hudson, both in a constant struggle with Mariah for getting a word in, to the point where Hudson over-sells her belting and Grande is the only voice recognisable enough here that actually works. Half way in, the song completely devolves into a bridge of aimless runs and “harmonising” from everyone with that ugly chanting, seemingly unchanged from the original. Yeah, this isn’t pretty, and if anything is a remix of an older song that needed a lot more updates to make it work in a 2020 context and fits all of these incredible vocalists in. This could have been great with an original song that was completed to flatter everyone, but there’s too many cooks in the Christmas kitchen here and the cookies being made are being overcooked. Sure, let’s go with that analogy. Next.
#59 – “Daily Duppy – Part 1” – Digga D
Produced by AceBeatz
It’s not uncommon for freestyles to chart in the UK, particularly important British hip-hop tastemaker GRM Daily and their “Daily Duppy” freestyles, which have been the break-out moment for many rappers like Aitch or DIgDat because they reach a level of viral fame and attention that music videos can’t do as well, mostly because of the platform just letting them spit bars over usually decent beats. Digga D was actually opposed to doing one and even sparked some kind of feud with GRM Daily but that dried up soon enough for him to provide them with two “Daily Duppy” freestyles on two different beats but with one cold verse each. Only the first part charted here, as you’d expect, but I’ll cover both. The first part, produced by Ace Beats, has a pretty nice pitch-shifted vocal sample quickly abandoned for the same sample pitched differently, and then it comes back, under a pretty messy drill beat, and whilst Digga D’s riding it really well, I find it hard to be convinced by his delivery here, which is either checked-out or edited so heavily it’s bizarre. I mean, I thought this was a freestyle, right? He can just spit bars over the beat and it’ll be fine, but they add all these stuttering effects, ad-libs and censors that censor pointless words like “juice” but keep actual vulgarities completely intact, as well as censoring some locations but not others. It takes me out of the whole verse, honestly, even if some of it is some pretty slick and nice wordplay, with some funny punchlines and the typical pop culture references you can expect from the more lighthearted of UK drill. I know that people like to make references to their guns in ways that make them even more threatening and eerie, but just like 21 Savage calling his Draco a paedophile, I don’t think Digga D saying that he grooms young ethnic minority boys to sell drugs is “hard” or even enjoyable. I just think it’s pretty awful. I said I’d talk about the second part here, but honestly, it’s a lot less interesting, with a more trap-adjacent beat and boring synths instead of the cool vocal sample. Admittedly, it sounds more like a “freestyle”, but he wastes the moment where the beat cuts out by just rapping filler, and the quarantine references are going to date this, so, yeah, whilst I’m impressed by Digga D’s flow switches here, I’m not a fan of really anything else.
Conclusion
There’s not enough here to give an Honourable or Dishonourable Mention, so I’ll just have to give out the big ones... but everything here is mediocre, so I’m left with not a lot of content at all. I guess Best of the Week can go to the late Juice WRLD and benny blanco for “Real Stuff”, almost purely out of respect, even if the song is just listenable. Worst of the Week was really a toss-up, but I think I’ll give it to “Oh Santa!” by Mariah Carey featuring Ariana Grande and Jennifer Hudson for being such a waste of talent and potential. Only time will tell what comes next week, but I predict a busy one with Christmas music, Taylor Swift and hopefully Kid Cudi, but we’ll see really. I’m going to hazard a guess that we’ll get at least two songs from Taylor and only the Skepta track from Cudi, but I think we could easily have three from each. Here’s this week’s top 10:
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You can follow me on Twitter @cactusinthebank for Imanbek fan-girling and thank you for reading, I’ll see you next week!
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bookmonsterzero · 7 years ago
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2017: September 17 - 23
Read
364. Titan: The Life of John D. Rockefeller by Ron Chernow
365. Six Records of a Floating Life by Shen Fu
366. Fury by Salman Rushdie
Seen
306. Without a Clue (1988/Thom Eberhardt)
307. The Iron Curtain (1948/William A. Wellman)
308. As I Was Moving Ahead... (2000/Jonas Mekas)
309. Hold Back the Dawn (1941/Mitchell Leisen)
310. Brutti, sporchi e cattivi (1976/Ettore Scola)
311. One Hundred Men and a Girl (1937/Henry Koster)
312. The Match King (1932/William Keighley)
313. Münchhausen (1943/Josef von Báky)
314. Caravaggio (1986/Derek Jarman)
315. Princess O’Rourke (1943/Norman Krasna)
316. Agatha et les lectures illimitées (1981/Marguerite Duras)
317. Alien: Covenant (2017/Ridley Scott)
318. Slow West (2015/John Maclean)
319. The Bride Wore Red (1937/Dorothy Arzner)
320. Chapayev (1934/Sergei Vasilyev)
321. Calcutta (1947/John Farrow)
322. A Walk in the Woods (2015/Ken Kwapis)
323. Yes, God, Yes (2017/Karen Maine)
324. The Final Comedown (1972/Oscar Williams)
325. Black Wind (1964/Servando González)
Heard
Orchestre de la Cité - Duruflé: Requiem, Op. 9
Jean-Efflam Bavouzet - Beethoven: Sonata No.8 in C Minor "Pathétique"
Grigory Sokolov - Saint-Saëns: Piano Concerto No. 2
St. Lawrence String Quartet - Shostakovich: String Quartet No. 8
Håkon Austbø - Satie: Gymnopédies and Gnossiennes
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gtarealestatepros · 7 years ago
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Listings May 15 2018
The Best Listings As Of May 15 2018
Here are the absolutely best listings for around the GTA as of May 15 2018.
Street and TownMLS CodeLink 230 Davis DriveN4127162230 Davis Drive 38 Comay RoadW412710638 Comay Road 432 Brisdale DriveW4126679432 Brisdale Drive 4749 Simpson DriveW41276504749 Simpson Drive 104 Grand Terraceunk AvenueN4128424104 Grand Terraceunk Avenue 3331 Credit Heights DriveW41274363331 Credit Heights Drive 50 Angelgate RoadW412687550 Angelgate Road 42 Garden AvenueN412781142 Garden Avenue 11 Caverley DriveW412840911 Caverley Drive 264 Primrose LaneN4128186264 Primrose Lane 357 Thomas Phillips DriveN4126469357 Thomas Phillips Drive 49 Castlegrove BoulevardC412725749 Castlegrove Boulevard 348 Father Tobin RoadW4126580348 Father Tobin Road 8670 Ravenshoe RoadN41274168670 Ravenshoe Road 584 Forsyth Farm DriveN4126613584 Forsyth Farm Drive 1222 Lambeth RoadW41268781222 Lambeth Road 197 Aspenwood DriveN4126747197 Aspenwood Drive 34 Greyhound DriveC412734034 Greyhound Drive 28 Streetanwood CrescentE412800428 Streetanwood Crescent 5 Relton CircleW41269855 Relton Circle 452 Woodspring AvenueN4126505452 Woodspring Avenue 5 Hanover CourtE41277185 Hanover Court 59 Robert Berry CrescentN412709159 Robert Berry Crescent 473 Pinegrove RoadW4128398473 Pinegrove Road 11 Degraaf CrescentN412686311 Degraaf Crescent 3256 Coralbean PlaceW41271763256 Coralbean Place 1956 Donald Cousens ParkwayN41276141956 Donald Cousens Parkway 23 Citronella LaneW412646423 Citronella Lane 361 Queen Mary DriveW4126756361 Queen Mary Drive 43 Tamarac TerraceN412798843 Tamarac Terrace 334 Ritas AvenueN4127380334 Ritas Avenue 682 Townline RoadE4127253682 Townline Road 11 Webb AvenueW412748911 Webb Avenue 48 Thornway AvenueN412735348 Thornway Avenue 202 Cabernet RoadN4128446202 Cabernet Road 30 Manzanita CrescentW412672830 Manzanita Crescent 124 Terraceosa RoadN4126717124 Terraceosa Road 20 Evelyn Wiggins DriveW412715020 Evelyn Wiggins Drive 15 Kilkarrin RoadW412845715 Kilkarrin Road 61 Colonial CrescentN412759961 Colonial Crescent 99 Blaine CourtN412730199 Blaine Court 66 Canal StreetN412770966 Canal Street 192 Sugarhill DriveW4127741192 Sugarhill Drive 215 16th Avenue 2N4126891215 16th Avenue 2 4 Forsythe DriveN41272124 Forsythe Drive 280 Galbraith BoulevardW4127287280 Galbraith Boulevard 4578 Concession 4 RoadE41271344578 Concession 4 Road 1 N Brock DriveW41272621 N Brock Drive 1437 Woodstream AvenueE41273651437 Woodstream Avenue 24 Brookland AvenueN412753924 Brookland Avenue 802 Childs DriveW4128108802 Childs Drive 11 Harold StreetW412738811 Harold Street 21036 Dalton RoadN412840521036 Dalton Road 83 Oldfield CrescentN412688983 Oldfield Crescent 64 Collier CrescentN412645664 Collier Crescent 102 Melbourne Drive BradfordN4127704102 Melbourne Drive Bradford 7171 Coolihans SideroadW41266837171 Coolihans Sideroad 2960 Dancer CourtW41276252960 Dancer Court 686 Driveiftcurrent DriveW4128067686 Driveiftcurrent Drive 38 East DriveW412719938 East Drive 24 Catherina StreetN412684124 Catherina Street 888 Fetchison DriveE4127045888 Fetchison Drive 8 N Mill River DriveN41282168 N Mill River Drive 192 Fowley DriveW4126775192 Fowley Drive 111 Rose Branch DriveN4126842111 Rose Branch Drive 88 Settlement Park AvenueN412652888 Settlement Park Avenue 20 Langevin CrescentE412657220 Langevin Crescent 2373 Falkland CrescentW41277162373 Falkland Crescent 2187 Sidney DriveW41283332187 Sidney Drive 10 Northern Dancer DriveE412645410 Northern Dancer Drive 11 Tigerlily PlaceW412825811 Tigerlily Place 38 Lewin CrescentE412727538 Lewin Crescent 24 Brough CourtE412793124 Brough Court 158 Jeffcoat DriveW4127286158 Jeffcoat Drive 72 Bernick CrescentN412657772 Bernick Crescent 34 Moorcrest DriveN412756534 Moorcrest Drive 84 Frederick Pearson StreetN412762984 Frederick Pearson Street 4 Miller DriveW41274694 Miller Drive 15 Hopecrest PlaceW412758215 Hopecrest Place 3 Driveooping Juniper RoadW41284423 Driveooping Juniper Road 36 Lonborough AvenueW412768336 Lonborough Avenue 102 Sellers AvenueW4127072102 Sellers Avenue 32 Winterberry DriveE412709532 Winterberry Drive 4053 Ellesmere RoadE41267904053 Ellesmere Road 54 Kanashiro StreetW412771754 Kanashiro Street 2006 Arborwood DriveE41276622006 Arborwood Drive 61 Larwood BoulevardE412832161 Larwood Boulevard 58 Attridge DriveN412685158 Attridge Drive 60 National Pine DriveN412793860 National Pine Drive 490 Kwapis BoulevardN4126744490 Kwapis Boulevard 8 Westleigh CrescentW41280798 Westleigh Crescent 2178 New StreetW41273592178 New Street 72 Neames CrescentW412824372 Neames Crescent 3205 Munson CrescentW41282283205 Munson Crescent 575 Deerhurst DriveW4126560575 Deerhurst Drive 77 Whitwell DriveW412773777 Whitwell Drive 1582 Lewes WayW41270811582 Lewes Way 2507 Winthrop CrescentW41283532507 Winthrop Crescent 2169 Concession Road 2 RoadN41276632169 Concession Road 2 Road 54 Harry Gay DriveE412764854 Harry Gay Drive 26 Evansville StreetE412840626 Evansville Street 71 Jellicoe CrescentW412820371 Jellicoe Crescent 26 S Kirk DriveW412842026 S Kirk Drive 47 Buick BoulevardW412810047 Buick Boulevard 5218 Palmetto PlaceW41265135218 Palmetto Place 15 Purvis CrescentE412679415 Purvis Crescent 21 Dinsdale DriveN412722821 Dinsdale Drive 53 Frey CrescentE412836753 Frey Crescent 38 Sleepy Hollow PlaceE412827038 Sleepy Hollow Place 2857 Westbury CourtW41283992857 Westbury Court 1226 Duignan CrescentW41268071226 Duignan Crescent 1534 Forestdale CourtW41276521534 Forestdale Court 24 Haviland CircleW412650624 Haviland Circle 243 Mcconvey DriveN4127927243 Mcconvey Drive 90 Andes CrescentN412757390 Andes Crescent 23 Canoe CrescentE412652723 Canoe Crescent 30 N Montavista StreetE412803330 N Montavista Street 22 Gilchrist CourtE412646822 Gilchrist Court 17 Skelton CrescentE412826417 Skelton Crescent 57 Cedar StreetN412817657 Cedar Street 803 Hilton BoulevardN4127393803 Hilton Boulevard 1314 Galesway BoulevardW41271381314 Galesway Boulevard 27 Henry Welsh DriveC412706727 Henry Welsh Drive 5 Fraser AvenueW41283325 Fraser Avenue 83 Boon AvenueW412659683 Boon Avenue 10420 Heritage RoadW412819610420 Heritage Road 111 Sibbald CrescentN4128276111 Sibbald Crescent 2302 Dufferin StreetW41268002302 Dufferin Street 35 York StreetW412842735 York Street 5 Andrews AvenueC41271755 Andrews Avenue 1469 Dunedin CrescentE41283351469 Dunedin Crescent 378 Red Osier RoadX4126829378 Red Osier Road 75 James Scott RoadN412844075 James Scott Road 137 Pineway BoulevardC4126866137 Pineway Boulevard 156 Lamoreaux DriveE4127452156 Lamoreaux Drive 621 Armstrong BoulevardW4126588621 Armstrong Boulevard 283 Mcbride CrescentN4127384283 Mcbride Crescent 82 Lynvalley CrescentE412678382 Lynvalley Crescent 182 Blackwell CrescentE4126836182 Blackwell Crescent 1356 Church StreetE41272231356 Church Street 1425 W Placeains RoadW41277461425 W Placeains Road 1602 Chilliwack StreetE41267761602 Chilliwack Street 252 Scott RoadW4128304252 Scott Road 4765 W Highway 7N41269374765 W Highway 7 69 Citadel DriveE412686169 Citadel Drive 28 Rosebough StreetX412766628 Rosebough Street 17 Notman WayW412691817 Notman Way 27 Willow Terraceail RoadN412680827 Willow Terraceail Road 4171 Edgerton RoadE41278414171 Edgerton Road 62 Queen Mary DriveW412838262 Queen Mary Drive 7523 Middlebrook StreetW41271237523 Middlebrook Street 30 Mahaffy PlaceE412737830 Mahaffy Place 1249 Pharmacy AvenueE41265731249 Pharmacy Avenue 43 La Roche AvenueW412674243 La Roche Avenue 126 Fletcher AvenueE4126920126 Fletcher Avenue 223 Dairy DriveE4127415223 Dairy Drive 42 Hillsburgh DriveW412728442 Hillsburgh Drive 43 School StreetN412696943 School Street 308 Vesta DriveC4128062308 Vesta Drive 1 May StreetC41278251 May Street 50 Denham DriveN412716750 Denham Drive 172 Roxborough DriveC4127350172 Roxborough Drive 1775 Blythe RoadW41276261775 Blythe Road 109 Pine Valley CrescentN4127822109 Pine Valley Crescent 53 Sandringham DriveC412817053 Sandringham Drive 1173 Mississauga RoadW41273761173 Mississauga Road 98 Olive AvenueC412664298 Olive Avenue 103 Alexandra BoulevardC4128166103 Alexandra Boulevard 6 Berkindale DriveC41268596 Berkindale Drive 35 Streetollery Pond CrescentN412751435 Streetollery Pond Crescent 26 Mcroberts PlaceN412791626 Mcroberts Place 33 Webster AvenueC412749633 Webster Avenue 24 Roe AvenueC412673624 Roe Avenue 168 Alfred AvenueC4126839168 Alfred Avenue 537 Broadview AvenueE4126576537 Broadview Avenue 55 Glenarden CrescentN412651655 Glenarden Crescent 12 Broadleaf RoadC412715712 Broadleaf Road 55 Leacroft CrescentC412764155 Leacroft Crescent 180 Glenview DriveW4128217180 Glenview Drive 142 Old Surrey LaneN4127519142 Old Surrey Lane 64 Roberta DriveC412729464 Roberta Drive 232 Maxwell StreetC4127893232 Maxwell Street 107 Grandview AvenueN4127032107 Grandview Avenue 401 Kingsdale AvenueC4127307401 Kingsdale Avenue 1139 Carla CourtW41272481139 Carla Court 107 Rockport CrescentN4128431107 Rockport Crescent 16 Vomano StreetN412700416 Vomano Street 330 Douglas AvenueC4126578330 Douglas Avenue 801 Meadow Wood RoadW4126721801 Meadow Wood Road 60 Southvale DriveC412750460 Southvale Drive 190 Berry RoadW4126535190 Berry Road 158 Streetrathearn AvenueN4128429158 Streetrathearn Avenue 1794 E Lake Shore BoulevardE41284281794 E Lake Shore Boulevard 16 Ashwood CrescentW412733316 Ashwood Crescent 352B W Lawrence AvenueC4127338352B W Lawrence Avenue 6 Chiltern HillN41277196 Chiltern Hill 51 Glacier CourtN412791251 Glacier Court 3377 Indian Terraceail RoadX41265013377 Indian Terraceail Road 314 Horsham AvenueC4128308314 Horsham Avenue 105 King Summit RoadN4126502105 King Summit Road Lot 57 Nave StreetN4128267Lot 57 Nave Street 54 Lee AvenueN412812354 Lee Avenue 345 Dalewood DriveW4126804345 Dalewood Drive 179 Markham StreetC4127190179 Markham Street 48 Riverdale AvenueE412718848 Riverdale Avenue 11 Wiarton CourtN412684911 Wiarton Court 5 Glenayr RoadN41282805 Glenayr Road 1455 The Links DriveW41264871455 The Links Drive 609 Coldstream AvenueC4127560609 Coldstream Avenue 11 Whitman StreetC412828211 Whitman Street 451 North Lake RoadN4126495451 North Lake Road 187 Canyon Hill AvenueN4126877187 Canyon Hill Avenue 26 Damian DriveN412832426 Damian Drive 100 Willis DriveN4127311100 Willis Drive 127 Douglas RoadN4127722127 Douglas Road 40 Birch AvenueN412750340 Birch Avenue 22451 Simcoe StreetE412771222451 Simcoe Street 44 Market StreetW412663144 Market Street 24 Amaranth CourtN412711724 Amaranth Court 51 Williams CourtN412717451 Williams Court 16 Horse Rake RoadN412712616 Horse Rake Road 46 Argonne CrescentC412843346 Argonne Crescent 89 W Hillsdale AvenueC412741989 W Hillsdale Avenue 15 Artisan PlaceC412671315 Artisan Place 50 Thursfield CrescentC412738350 Thursfield Crescent 890 Wildrush PlaceN4127017890 Wildrush Place 6 Orchard StreetN41271606 Orchard Street 3377 Cider Mill PlaceW41282563377 Cider Mill Place 10 King View CrescentN412707410 King View Crescent 41 Paradise Valley TerraceN412715341 Paradise Valley Terrace 192 Hounslow AvenueC4127635192 Hounslow Avenue 2 Boddy CourtN41274202 Boddy Court 24 Cherna AvenueN412661024 Cherna Avenue 7 Geranium CourtN41281817 Geranium Court 133 Castle CrescentW4128095133 Castle Crescent 548 Cochise CrescentW4128426548 Cochise Crescent 63 Kippendavie AvenueE412736163 Kippendavie Avenue 142 Tiago AvenueE4127282142 Tiago Avenue 11 Burkston PlaceW412729611 Burkston Place 28 Bembridge DriveN412842528 Bembridge Drive 509 W Adelaide StreetC4127956509 W Adelaide Street 9 Foxfire ChseN41269519 Foxfire Chse 541 Merton StreetC4127754541 Merton Street 48 Heddington AvenueC412758648 Heddington Avenue 496 Hounslow AvenueC4128097496 Hounslow Avenue 18 Loyal Blue CrescentN412835818 Loyal Blue Crescent 37 Queen Magdalene PlaceC412644237 Queen Magdalene Place 2 Allegranza AvenueN41277362 Allegranza Avenue 64 Gorman AvenueN412843464 Gorman Avenue 53A Bond CrescentN412839353A Bond Crescent 12 Brocton AvenueN412694412 Brocton Avenue 681 Manning AvenueC4127764681 Manning Avenue 71 Brooklawn AvenueE412801971 Brooklawn Avenue 40 Rancliffe RoadW412767040 Rancliffe Road 215 Warren RoadN4126455215 Warren Road 4 Edgecombe CourtN41269114 Edgecombe Court 906 Shadeland AvenueW4126738906 Shadeland Avenue 15 Dolan LaneN412653015 Dolan Lane 9 Porcelain TerraceE41281259 Porcelain Terrace 213 Willow AvenueE4127409213 Willow Avenue 16 Sixpenny CourtN412784616 Sixpenny Court 17 Calvin AvenueC412689317 Calvin Avenue 551 Balliol StreetC4128018551 Balliol Street 19 Talgarth RoadW412745319 Talgarth Road 37 Hallam StreetW412756137 Hallam Street 3185 Tacc DriveW41266393185 Tacc Drive 42 Lionel Byam DriveE412811842 Lionel Byam Drive 17 Gregory Scott DriveN412754617 Gregory Scott Drive 1125 Kent AvenueW41265681125 Kent Avenue 559 Alfred Hughes AvenueW4127529559 Alfred Hughes Avenue 74 Golden TerraceN412770574 Golden Terrace 315 Manhattan DriveN4127394315 Manhattan Drive 408 Hoover Park DriveN4126648408 Hoover Park Drive 32C Oxford StreetC412654632C Oxford Street 4297 Terraceailmaster DriveW41265414297 Terraceailmaster Drive 173 Mill Pond CourtN4127986173 Mill Pond Court 161 Huron StreetC4125170161 Huron Street 56 Millicent StreetW412749456 Millicent Street 28 Placeeasant AvenueC412708328 Placeeasant Avenue 128 Aikenhead AvenueN4126524128 Aikenhead Avenue 3 Gladiolus StreetW41270503 Gladiolus Street 120 Clansman BoulevardC4127457120 Clansman Boulevard 1738 Kildare CourtW41269141738 Kildare Court 14687 Creditview RoadW412714814687 Creditview Road 6 Moraine Ridge DriveN41272456 Moraine Ridge Drive 378 Bartlett AvenueW4128122378 Bartlett Avenue 25 Goldlist DriveN412826625 Goldlist Drive 436 Terraceaviss DriveN4128195436 Terraceaviss Drive 47 Kindy StreetN412718747 Kindy Street 35 Camlaren CrescentN412773535 Camlaren Crescent 14 Houston CrescentC412819814 Houston Crescent 232 La Rocca AvenueN4127543232 La Rocca Avenue 165 Gauguin AvenueN4127441165 Gauguin Avenue 137 Blake AvenueC4128306137 Blake Avenue 1443 Saginaw CrescentW41264441443 Saginaw Crescent 2828 Danforth AvenueE41275782828 Danforth Avenue 1653 Wembury RoadW41279611653 Wembury Road 6 Windham TerraceN41277876 Windham Terrace 3423 Mulcaster RoadW41280123423 Mulcaster Road 3 Perth StreetW41266323 Perth Street 161A Locksley AvenueW4126768161A Locksley Avenue 209 Homewood AvenueC4126586209 Homewood Avenue 23 Streeteppingstone TerraceE412646623 Streeteppingstone Terrace 14 Amos CourtN412709214 Amos Court 16878 Humber Streetation RoadW412662116878 Humber Streetation Road 124 Homewood AvenueC4128061124 Homewood Avenue 1764 Saltdene TerraceW41276121764 Saltdene Terrace 62 Albright CrescentN412726962 Albright Crescent 20 Gracefield CourtN412776320 Gracefield Court 601 Ceremonial DriveW4128365601 Ceremonial Drive 139 Beaver Bend CrescentW4127585139 Beaver Bend Crescent 77 Worthington AvenueN412703177 Worthington Avenue 376 Sandford RoadN4126831376 Sandford Road 46 Timber Valley AvenueN412763746 Timber Valley Avenue 12 Pettet DriveE412660712 Pettet Drive 274 Queensdale AvenueE4127297274 Queensdale Avenue 321 Horsham AvenueC4127798321 Horsham Avenue 3074 Ingleton LaneW41271283074 Ingleton Lane 34 Sweet Water CrescentN412767834 Sweet Water Crescent 27 Valley TerraceN412840427 Valley Terrace 27 Maisonneuve BoulevardW412711527 Maisonneuve Boulevard 4 Holmbush CrescentE41274614 Holmbush Crescent 11 Moir AvenueC412845111 Moir Avenue 488 Wheat Boom DriveW4127030488 Wheat Boom Drive 30 Oak Lea CircleN412801530 Oak Lea Circle 141 Devins DriveN4128046141 Devins Drive 43 Bickerton CrescentC412769543 Bickerton Crescent 137 Brookview Drive BradfordN4128423137 Brookview Drive Bradford 226 Shaughnessy BoulevardC4127093226 Shaughnessy Boulevard 125 Joseph Hartman CrescentN4128272125 Joseph Hartman Crescent 32 Rembrandt CrescentW412662532 Rembrandt Crescent 174 Romac CourtN4127490174 Romac Court 343 Binns AvenueN4126855343 Binns Avenue 162 Rivers Edge PlaceE4127714162 Rivers Edge Place 56 Anewen DriveC412836656 Anewen Drive 55 Royal York RoadW412838855 Royal York Road 275 Baker Hill BoulevardN4127610275 Baker Hill Boulevard 704 Santa Maria BoulevardW4127693704 Santa Maria Boulevard 1495 Chiddingstone CircleW41273631495 Chiddingstone Circle 370 Robert Parkinson DriveW4127593370 Robert Parkinson Drive 34 Perdita RoadW412651534 Perdita Road 21 Banks DriveW412775021 Banks Drive 313 Gells RoadN4128035313 Gells Road 161 Paradelle DriveN4126972161 Paradelle Drive 5 Kenninghall BoulevardW41267115 Kenninghall Boulevard 76 W Lawrence AvenueC412702676 W Lawrence Avenue 54 Lehman CrescentN412760254 Lehman Crescent 12 Yarn RoadW412839112 Yarn Road 71 Marlow AvenueE412743571 Marlow Avenue 782 Miltonbrook CrescentW4128447782 Miltonbrook Crescent 42 Gradwell DriveE412729942 Gradwell Drive 2223 Fassel AvenueW41265752223 Fassel Avenue 514 Streetafford DriveW4127936514 Streetafford Drive 4746 Antelope CrescentW41278554746 Antelope Crescent 197 District AvenueN4127060197 District Avenue 18 Christman CourtN412645118 Christman Court 32 East Corners BoulevardN412663432 East Corners Boulevard 206 Ray Snow BoulevardN4127584206 Ray Snow Boulevard 5 Crendon DriveW41280925 Crendon Drive 254 Alex Doner DriveN4127591254 Alex Doner Drive 49 Regina AvenueC412707049 Regina Avenue 2081 Frontier DriveW41270362081 Frontier Drive 276 Iredale RoadN4126737276 Iredale Road 278 W Charlton AvenueX4126678278 W Charlton Avenue 1 Beresford CrescentW41268541 Beresford Crescent 2373 Woking CrescentW41272092373 Woking Crescent 220 Langford Boulevard BradfordN4127579220 Langford Boulevard Bradford 614 Society CrescentN4127077614 Society Crescent 38 Ambler LaneN412823638 Ambler Lane 1796 Terraceuscott DriveW41271141796 Terraceuscott Drive 99 Winston Castle DriveN412693999 Winston Castle Drive 81 Robert Green CrescentN412743081 Robert Green Crescent 75 Ina LaneN412813575 Ina Lane 23 Noor Ud Din CourtN412656223 Noor Ud Din Court
Listings May 15 2018 first appeared on: GTA Real Estate Pros 154 Bathurst St, Toronto, ON, M5V 2R3 647-362-2000 https://goo.gl/Yj7G5g
source https://www.gtarealestatepros.ca/listings-may-15-2018/
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malkaspeaking-blog · 12 years ago
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If you didn't know, you really needed to: Harriet
Los Angeles is the home to many great things including but not limited to awesome weather, great Mexican food, Francesca Lia Block, palm trees, yogis, the Rose Bowl Flea Market and Harriet. Harriet is a group fronted by Alex Casnoff (former PAPA and Dawes pianist), whose month-long residency at the Echo on Sunset came to a close this past Monday.
I was determined to see Harriet's show after hearing "No Way Out" in my friend's car, so off I went on Monday night after my Seder to experience Harriet first-hand. Let me tell you, I was blown away. I always appreciate a band who enjoys themselves when they are performing and Harriet put on a great show and connected phenomenally with the crowd. There was no one thing that made the show great, but the enthusiasm of the band, the energy of the drummers (there were two drummers- which was AWESOME) and the Casnoff's epic voice spun the whole thing into a hip-swinging success.
I could not recommend a band more, although they sound great on their EP, seeing them live was really a great experience that is highly recommended!
Enjoy the video for "I Slept With All Your Mothers" and their EP below
Harriet "I Slept With All Your Mothers" from Harriet on Vimeo.
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thelensofyashunews · 8 months ago
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MATT CHAMPION ANNOUNCES DEBUT SOLO ALBUM 'MIKA’S LAUNDRY' DUE MARCH 22ND VIA RCA RECORDS
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Matt Champion announces his forthcoming debut solo album Mika’s Laundry, and shares his latest single “Slow Motion” in collaboration with JENNIE. The album will be released March 22nd via RCA Records and includes previously released singles “Aphid” featuring Dijon and “Slug,” both of which were accompanied by Anna Pollack-directed music videos.
Mika’s Laundry crystallizes a radical shift for Matt in his return to his solo music, experimenting with new ideas over the course of several years to mold a singular sound. Speaking to this new approach, “Slow Motion” sees Champion wrestle with his peace of mind, complemented by production that nods to drum and bass influences. At the album’s core, Matt writes thoughtfully about the complexities of his relationships and asks the existential questions that come with growing up and discovering your place amongst your peers. Matt co-produced the album alongside Henry Kwapis, Dijon, and a handful of other close collaborators, warping his voice to complement the textures of the music.
Equally important to the music is the dystopian world Matt crafted for the album to exist within. A remote, but technologically sound community of cement-walled facilities, open plains, and greenhouse-like domes, at the center of which lies the album’s namesake club, Mika’s Laundry. Partnering with director Anna Pollack, Matt pieced the world together through a series of visuals that illustrate Matt’s idyllic future.
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Pre-save/order Mika’s Laundry and listen to “Slow Motion” above and stay tuned for more from the artist coming soon.
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