#I feel like zero joy about the eras tour now after not getting to go in vienna | Explore Tumblr posts and blogs

cherriesink · 3 years ago

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Suwa - Murmurs

Murmurs are snippets of character reflection earned by increasing Explore Points during Exploration. They usually include 6-7 monologues about other characters and 3-4 monologues about things important to the specific character.

These lines are taken straight from the English translation of the game, so fair warning of bad grammar.

About Yatsufusa “Yatsufusa is a lucky dude. Those like him die instantly when they turn into a vampire. I know that from experience. We rescued him, Tenman-ya sheltered him, and Ishikawa showed him the way. An extremely lucky one. He’s like Kurusu how he doesn’t want to kill anyone.

But Kurusu is an A-Class after all. Most vampires avoid him in the first place even if he whines. But Yatsufusa is a C-Class like me... He can die if he lets his guard down.

Well, it’s none of my business. We both like watchin’ plays, so it’s not like I don’t wanna help him out. Only I can teach him hoe to fight as a C-Class. Ambushing and sneak attack is my style. Kill them cold with a cunning, silent, calm attitude. It’s best if the vampires don’t even realize that they’re dead.

Though, I did mess around with them when I was young. That was when I got the nickname “Vampire Hunter.””

About Kurusu “Dear Kurusu is physically A-Class but naïve on the inside. I bet he never went through things like being attacked by a human being, or takin’ shelter in an abandoned house and freakin’ out to a ray of sunlight comin’ in from the cracks. Not even... having to kill anyone for their blood...

A vampire that’s cushioned by the military the moment he got infected and has blood supplied to him without killin’ anyone, huh...

I’ve been alive for some time, but I’ve never seen a vampire like him. He’s no vampire. He’s a complete human inside. I don’t mean to nag him sayin’... “Young ones these days.” Coz those are for geezers that are good for nothin’. Live as long as me, and naggin’ at new things and era becomes stupid.

An era where vampires fight for the government- then so be it. That’s all.”

About Maeda “You bump into guys like Maeda when live long like myself. Most of them die miserably. Guys like him are prepared to die even when they have the privilege to live. Not even a samurai in the Edo period was so bold as him.

After all, Japan lived in peace for 300 years. Most of them died without havin’ to risk their own lives for somethin’. I haven’t seen those strong determined eyes in so long. If you wanna know the secret to longevity, that is to avoid any trouble with that kind. Even if you’re above them, they might turn on you with somethin’ outrageous.

I battled a guy like Maeda once, but he almost chopped my head off. He was a famous swordsman... but I forgot what his name was.”

About Yamagami “Yamagami is useless. His vampire detectin’ skills are even useless. Cos we have Kurusu on our side. They sense us by the time Yamagami detects them. Not to mention that- I’m quite famous between vampires.

So, Yamagami has to be on his own. But even if he detects a vampire, he’s unranked... meanin’ he can’t fight. He clings to things like honor and human kindness. And even to his wife... Kurusu can’t perform at his best because cos he covers up for Yamagami.

Can’t say we need Yamagami on our team as Code Zero. It’s not like he can do experiments behind the scene like Takeuchi so... just make him be our janitor.”

About Takeuchi “I’ve lived for quite some time but never met a vampire like Takeuchi before. Most of us fall into despair right when we become a vampire. The reason is simple. Being told that we can only consume blood, not being able to go under the sun, and end up sinkin’ in water. Just when you think it can’t get worse- we cannot die. That’s where most of us lose it and scream our heads off.

But him, Takeuchi- I heard that guy rejoiced. He yelled, “I can research forever!” I never heard of a vampire like that. Forget about all the nonsense about young ones being so spineless. He’s probably a subspecies of humankind IF he was human to start with...

Anywho, I wish he’s stop usin’ his skunk ball. Even the deodorize mask can’t block the smell if he uses it too much.

But I like these daggers. They fit my style. Who knows how he makes them, but they’re durable and the best.”

About Defrott “Defrott- I haven’t seen a foreign vampire in a long time. My hair stood on end when I first met him. It was my first time seeing an S-Class and also an underaged vampire surviving for hundreds of years.

...He must be intelligent. Stayin’ young stands out so we can’t stay in one place for a long time. Judging by his appearance, people will start noticing him if nothin’ changes about him for three years. So he has to change his hideout every three years with a decent reason for a kid to be on his own...

A lot of underaged vampires will act with a grown one or threaten humans to act as their guardian- It’s a derogatory term, but we call those kinds “Parasites.”

But Defrott chose to parasite on theater. A theatrical company will go on tours from one place to another. And he can disguise with makeup. Smart choice. But the smartest decision is that he doesn’t attack humans for whatever reason.”

About Tenman-ya “Tenman-ya is like a sanctuary for vampires that wanna live as normal people. I heard vampires also have national traits. It’s said that Japanese vampires are quiet... but maybe they’re just timid. They’re probably hesitant of attacking people.

I never cared, but some bragged that they’d only attack criminals... But there aren’t that many criminals out there, so they ended up attackin’ innocent people.

During the end of the Edo period, there were those that impersonated Sonno Joi and attacked the supporters of the Shogun. It was entertaining watchin’ them take advantage of politics.

...Well, vampires made different excuses in order to get blood. But I guess the way Tenman-ya does it by payin’ vampires with blood suits Japanese vampires the best.”

About Code Zero “Vampires don’t act in groups unless they exceptionally get along with each other. They’ll stand out, and it’ll usually end up in a fight if you’re with someone for hundreds of years.

But it seems that vampires act together nowadays. They must be afraid of the Taisho era... the era where everything changes in a spilt second. That’s why they lean on each other.

Well, I don’t blame them... I’m livin’ with a group of vampires under the roof of Code Zero myself. Which I never would have imagined 100 years ago. But lifestyle changes with time.

But man, it was crazy after the Edo period came to an end. I enjoyed it, but it must’ve been tough for those who saw it differently.”

About the Past “How old am I- I have no when I was born. There weren’t newspapers back then or a custom celebrating birthdays. It became easier when the western calendar came in. Peasants and merchants weren’t familiar with the names of eras either.

When I told Takeuchi that I was tortured to death by vampires that snuck in with the missionary, he said, “That must be the Azuchi-Momoyama period.” So I just go with what he told me.

Kurusu asked, “What was it like in the Edo period?” but... I have no idea how long the Edo period lasted. Besides, I didn’t read newspapers so it’s not like I knew about what went on in the human world.

But there were many fires in Edo. Vampires can’t stand the heat so, there weren’t many vampires in Edo. Vampires at the time only had the choice of livin’ in the mountains. Cos people live in villages. If not, it’s under the temple’s jurisdiction according to what I learned in temple school...”

About the Height “My height... I’m fine being a vampire, but couldn’t they have wait for another two, three years before they bit me? The length of your limbs do impact in a battle. Takeuchi was sensible enough to make these boots with thick soles... but I can tell he also sees my height as a disadvantage. It’s the only pain I feel.

...Edo was a good time for me. There were less watchmen on patrol. Now, the Imperial Capital is full of police, and I’d get questioned if they see a kid like me walkin’ around at night. It’s annoyin’. The Special Forces Unit 16 and Code Zero are top-secret units, so they still suspect me even when I tell them where I belong to...

Oh, I can just have Yamagami tag along with me! Finally, he’s useful at somethin’.”

#mars red #suwa

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dustedmagazine · 4 years ago

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Dust Volume 7, Number 2

Bitchin’ Bajas

The whole country is snowed in and Texas is starting to look a lot like the Terrordome, and we can see how people might not be laser focused on music right now, especially if they’re cold or sick or out of food. But music continues to pour in, in great quantities and beguiling diversity, and a fair amount of it is very, very good. So, while we encourage you to take care of your brothers and sisters first (by donating to organizations like Austin Mutual Aid, Community Care — Mutual Aid Houston, Feed the People Dallas or the Austin Disaster Relief Network), we also present another collection of short, mostly positive reviews of new-ish records that have caught our attention. Writers this time around include Ray Garraty, Jennifer Kelly, Bill Meyer, Justin Cober-Lake, Eric McDowell, Bryon Hayes, Jonathan Shaw, Tim Clarke and Mason Jones.

Babyface Ray — Unfuckwitable (Wavy Gang)

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On his new 7 song EP Unfuckwitable, thanks to his technical skills, Babyface Ray grinds through a great variety of trendy topics under a great variety of beats: from “not rap” rap to “bad bitch” rap to “we got it off the mud” rap. It’s all very professionally done, as you expect from a professional rapper, despite Ray’s claims that he’s not one. But midway through it, behind the misty fog of bouncy production and some lines catching the ear, you can clearly see at least two problems, with the EP and Babyface Ray. First, he doesn’t have anything to say (unlike some hip hop artists who ran out of things to say, he never had any in the first place). Second, he either doesn’t rhyme or goes for a lazy rhyming. The standout here is “Like Daisy Lane”, a catchy little song, with absolutely no substance behind it.

Ray Garraty

Bananagun — The True Story of Bananagun (Full Time Hobby)

The True Story of Bananagun by Bananagun

Ooh look, it’s tropicalia from Australia! The five-piece Bananagun hails geographically from Melbourne, but metaphysically from 1960s Sao Paulo or swinging London. Their first album swaggers like a long-haired hipster in wide-flared hip huggers, fingers snapping, funk bass slapping, keyboards and flutes gamboling in hot melodic pursuit. Multiple band members got their start in similarly 1960s-aligned Frowning Clouds, so the psych garage freakbeat elements are, perhaps, to be expected. But Bananagun runs hotter, wilder and considerably less Anglo. “People Talk Too Much” rattles the foundations with scorching funk percussion, big flares of brass and a vintage Afro-beat call and response chorus. “Mushroom Bomb” likewise heats up psychedelic apocalyptica with seething syncopations of bass and drums. Most of these tracks are a bit overstuffed, with a pawn shop’s worth of instruments enlisted in happy, dippy, everyone-get-in-the-jam exuberance, but am I going to complain about too much joy? I am not. Bring on the Bananagun.

Jennifer Kelly

Andrew Barker / Jon Irabagon — Anemone (Radical Documents)

Anemone by Andrew Barker + Jon Irabagon Duo

Some names tell you exactly where you stand, and others raise questions. Take the name of this record, for example; did drummer Andrew Barker (Gold Sparkle Band, Little Huey Orchestra) and tenor saxophonist Jon Irabagon (Mostly Other People Do The Killing, I Don’t Hear Nothin’ But The Blues) have the aquatic or land-lubber variety in mind? To get specific, is this record a buttercup, or a bottom-dwelling, plant-lookalike life form that waits for other aquatic species to come close enough for it to lance them, paralyze them with venom and chow down on their still-living bodies?

“Learnings,” the first of the album’s four tracks, is true to its name, being a distillation of instrumental tones and free jazz attacks that might remind you of moments from various Coltrane and Pharoah records. It feels familiar, but invigorating. The title tune comes next, and it’s a slower, more laconic performance, attractive enough to be either the sea or land variety. Then comes “Book of Knots,” which suspends an intricate percussive construction over slow-bubbling pops and barks. The record closes with “Branded Contempt,” a juxtaposition of pathos-rich blowing and restless brushwork. One can listen most of the way through this record without guessing whether it owes allegiance to Poseidon or Persephone, but the coarse intensity of Irabagon’s playing in the last minutes is the tell; this record packs a sting.

Bill Meyer

BBsitters Club — BBsitters Club & Party (Hausu Mountain)

BBsitters Club & Party by BBsitters Club

Label Hausu Mountain specializes in weird experimental electronics. Its release of a rare rock record might raise a few eyebrows. BBsitters Club, with the label's founders making up half the quartet, pulls off a tricky feat in becoming an arch rock band. BBsitters Club & Party has enough old-fashioned blues and psych-based rock to suggest a group taking itself seriously. Naming the opening track “Crazy Horse” immediately calls attention to its meta status, even if the track sounds more like Pink Floyd than Neil Young's collaborators (and there's a touch of hair metal in there, too). No group with songs called “Joel,” “Joel Reprise,” and “Joel Reprise Reprise” can take itself too seriously, and that kind of playfulness runs throughout the disc. At the same time, BBsitters Club does take its musicianship seriously. They avoid conventional forms, working in complicated structures full of surprising twists. The group can get a little proggy, but then twist it toward an Allman Brothers-style jam. If it starts to settle into the Woodstock era (see the clear nods to Hendrix and Cream), it jumps to the 1980s with an unlikely easiness. The band goes wherever they feel like rocking, with everyone invited to the party.

Justin Cober-Lake

Bitchin Bajas — live ateliers claus (les albums claus)

Bitchin Bajas - live ateliers claus by Bitchin Bajas

If we can all agree the pandemic has dealt musicians some dizzying blows, that’s hardly to say they had it easy before. Squeezed between tech platforms and spurned by a hostile federal government (speaking for the US, anyway), even on tour they had to contend with iffy financials, physical neglect and — because why not say it louder for those in the back? — literal theft. So Cooper Crain, Rob Frye and Dan Quinlivan found themselves over 4,000 miles from home in May 2018, playing Brussels’s les ateliers claus on borrowed equipment after having their gear stolen (twice) on a European tour in support of Bajas Fresh. “Um, we’re, ah, Bitchin Bajas, from Chicago ... Illinois,” one of the trio says over the set’s first tentative tones. “And thanks ... for coming. This is gonna be great, I think. Or, we’ll see.”

Perhaps it’s not a question of either/or but both/and, the cosmic “we’ll see” of COVID-19 only amplifying how truly great it is to receive this music in the unimaginable future of three years later. As ever with the Bitchin Bajas, there is pleasure in the subtleties, whether that’s an excited concert-goer whooping as “Jammu” picks up momentum or the way each turn of the musical kaleidoscope seems to bring out new hues. That the recording doesn’t represent any dramatic departure from what we hear on the studio album or during other sets on other tours is part of its appeal and part of its power as a balm. We don’t need any more startling revelations right now. In this sense, the whole live ateliers claus series is a reminder that this venue and these artists — from Michael Chapman (vol. 1) up through Will Guthrie (vol. 12) — are still here today. If we can help repay what’s been stolen from them, they’ll be here tomorrow, too.

Eric McDowell

Loren Connors & Oren Ambarchi — Leone (Family Vineyard)

Leone by Loren Connors & Oren Ambarchi

This is the first time that Loren Connors and Oren Ambarchi have collaborated, despite the myriad ties that bind the two guitarists across the global exploratory music scene. Leone offers a trio of pieces arranged like overlapping globs of paint on a painter’s palette: the two artists each perform solo with a collaborative piece in between. “Lorn” is a side-long Connors piece with the guitarist in an experimental mood, hammering the reverb-drenched strings to create a glorious cacophony. Ambarchi’s “Nor” recasts the guitar first as a church organ and then as a subaquatic communications device. When the two pair up for “Ronnel,” it is a symbiotic meeting. Connors picks out notes around which Ambarchi weaves contrails of tone. It is a mesmerizing piece, and, we hope, just the first of many joint efforts from these two.

Bryon Hayes

Buck Curran — WFMU 'The Frow Show' Live Session (Feat. Jodi Pedrali) (Obsolete Recordings)

Buck Curran: WFMU 'The Frow Show' Live Session (Feat. Jodi Pedrali) by Obsolete Recordings

When we last caught up with Buck Curran, he was hunkered down at then ground zero for the COVID epidemic, socially isolating in Bergamo, Italy while recording the lovely acoustic-guitar-and-voice album, No Love Is Sorrow. Half a year later, still deep in the grip of a worldwide pandemic, he made this record, a duet with Italian keyboard player Jodi Pederali, revisiting one song from the previous album and adding three others. The tracks with Pederali fuse Curran’s electric blues with the bright, meditative melodies of Pederali’s piano. The two players interact and overlap in intoxicating dialogue. “Deep in the Lovin’ Arms of My Babe,” reprises the finger-picked folk of Curran’s earlier album, adding a glittering sprinkle of piano to its mournful, wistful melody. The set was recorded for Jess Jarnow’s show on WFMU and released on Bandcamp, and while not as long or as weighty as No Love Is Sorrow, it’s well worth hearing.

Jennifer Kelly

Jürg Frey — l’air, l’instant - deux pianos (Elsewhere)

l'air, l'instant - deux pianos by Jürg Frey

When you put two pianos together, there must surely be a temptation to see how much sound you can get out of them. Swiss composer Jürg Frey does the opposite on the two compositions that make up this CD. Each is so sparse that an inattentive listener might think they are hearing one patient pianist, when in fact they are hearing a pair of deeply skilled interpreters. The task assigned to Reinier van Houdt and Dante Boon is to place their notes in such precise relation to each other that they can influence each other’s pitches without interfering with them. Each musician is, as the title “toucher l’air (deux pianos)” (2019) suggests, inducing a slight disturbance in the atmosphere, lightly pressing transitory shapes into the silence that absorbs each note. “Entre les deux l’instant” (2017/2018) allows the two pianists to decide how closely they will match paces as they trade the roles of melodist and accentuator. Immune to gauche temptation, Frey seems drawn instead to see how much attention and how little sound it takes to accentuate the beauty of silence.

Bill Meyer

Chris Garneau — The Kind (The Orchard)

THE KIND by Chris Garneau

Chris Garneau’s lush, stunning art-pop swoops and whirls and flutters in wild arcs of drama. In this fifth album, the New York City songwriter works in a restrained palette of guitar, piano, electronics and drums, but colors way outside the box with his vibrant, emotional-laden voice, which flies up into a falsetto register with an ease not heard since Jeff Buckley passed. “I know you loved me truly, but we don’t love one way, do we?” he croons on the gorgeous “Telephone,” lofting up into whistle range without losing the purity or the trueness of his tone. Cuts like the title song and “Now On” are prayerfully simple, just framing piano chords and Garneau’s highly charged delivery. But others like “Not the Child” are more intricately constructed with a lattice of picked strings, an antic syncopated beat and staccato vocal counterpoints that dance around the main line. The Kind’s songs are deeply personal and rooted in Garneau’s experiences as gay man, but they’ll resonate with anyone who’s ever loved or longed or regretted.

Jennifer Kelly

Gaunt Emperor — Femur (Self-released)

Femur by Gaunt Emperor

Some would-be emperors may no longer have clothes (looking at you, Trump), but Gaunt Emperor is unabashed about wearing its influences on its sleeve. Femur is the first LP by this California project, and Sunn 0))) and the first few records released by Earth are large presences, looming hugely just behind the sounds Gaunt Emperor generates. If you’re familiar with those other bands, you get the essential idea: deep (really deep) notes and long (really long) sustain from loud (really loud) guitars, and not much else. That said, Gaunt Emperor has an aesthetic vision that seems to be attempting to survey its own territory. While compositions like “Slow Submersion” and “The Birth of Obsidian” work from the playbook established by O’Malley and Anderson, the textures of Gaunt Emperor’s guitar tone have their own sort-of-subtle qualities. They’re pretty good. “Conception,” the second track on Femur, expresses a similar inclination towards melody that Earth began to demonstrate on The Bees Made Honey in the Lion’s Skull (2008), but Gaunt Emperor retains an unrestrained relation to volume; you can feel the heat inexorably building in the overdriven amplifier stack. In any case, this is suitable music for pondering massive, ongoing phenomena, like the calving of icebergs off Antarctica’s coast or the steady disappearance of the Amazonian rainforest — not that Femur will make you feel any better about that stuff.

Jonathan Shaw

Luka Kuplowsky — Stardust (Mama Bird)

Stardust by Luka Kuplowsky

Soft jazzy reveries coalesce around this Toronto songwriter’s offhand, semi-spoken melodies. Little accents of acoustic bass, slide guitar, hushed harmonies dart in and out of focus, but the songs themselves come up on you obliquely, filtering in from the vents in evocatively scented clouds. Rhythms sway in undulant, bossa nova syncopations, while chords slide into resolution from slightly off center. A half-remembered jazz flute lick lick lofts through the window. At the center of it all is Luka himself, posing, but not insisting on koan-like observations. “Perfection is a noose,” he confides amid the muted wreck and roll of massed jazz sounds in “City by the Window,” but he seems unbothered by it. Perfection is an accident, and if you look at it too hard, it disappears.

Jennifer Kelly

José Lencastre / Hernâni Faustino / Vasco Furtado — Vento (Phonogram Unit)

Vento by José Lencastre / Hernâni Faustino / Vasco Furtado

Vento is the Portuguese word for wind, and the name conveys that combination of purposeful and chance operations that converged to make this record happen. The trio of alto saxophonist José Lencastre, double bassist Hernâni Faustino and drummer Vasco Furtado didn’t book a studio with the intent to record; they just wanted a place to play for a couple hours. But the engineers had just obtained some microphones and wanted to try out their new toys. Likewise, this improvisational trio did not bring an tunes to the session, but they play with a purposefulness born of shared aesthetic values. Whether are sailing a brisk clip, as on the title track, or gradually unwinding the music at low volume and velocity, as on “Ruínas,” they operate as a real time compositional cooperative, developing their music in linear fashion. While they share a direction, they also value contrast. For example, Lencastre’s breathy tone during the latter tune’s early moments balances Faustino’s pointed twang. Since remorseless microoganisms and anti-cultural politicians are each doing their best to keep live music down, records like this serve a necessary function in reminding us of the life force that motivates improvised music.

Bill Meyer

Lilys — A Brief History of Amazing Letdowns (Frontier)

A Brief History of Amazing Letdowns by Lilys

Kurt Heasley’s Lilys made some of the most ebullient and inventive guitar music of the 1990s. The best Lilys songs sound as though they’re flying apart and being put back together as they hurtle along, killer hooks tossed aside as quickly as they start to drag you in. Though they’re perhaps best known for their Kinks-indebted breakthrough Better Can’t Make Your Life Better, this was actually a sharp turn away from the dense shoegazey atmospherics of their first couple of records. Thus far, Frontier Records has reissued their first two albums, In the Presence of Nothing and Eccsame the Photon Band, both of which are superb. The A Brief History of Amazing Letdowns EP was originally released in 1994, a transitional period when Heasley was still exploring the textural joys of distorted guitars while starting to throw down pop hooks with aplomb. Opener “Ginger” hits similar pleasure centers as Weezer’s debut, released the same year, while on “Dandy,” Heasley’s vocal sounds uncannily like Stephen Malkmus. The previously unreleased “G. Cobalt Franklin” foregrounds searing guitar tones and bulbous bass, the bulk of the melodic layers sounding like they’re bleeding through from the next room, peppered with swirling flange and voice recordings. The second half of this expanded edition comprises songs originally demoed for Eccsame the Photon Band, and later released in 2000 on a split EP with Aspera Ad Astra. They’re decent enough, though feel like they’re missing the spark of the best Lilys creations. So, while this amounts to a far-from-essential Lilys release, it’s fascinating to hear Heasley in transition, working out how to reconcile his love for melody with his immersion in guitar noise.

Tim Clarke

Fred Lonberg-Holm — Lisbon Solo (Notice)

Lisbon Solo by Fred Lonberg-Holm

As befits a guy who has also recorded a “solo” record in the company of a Florida swamp full of frogs, Fred Lonberg-Holm picks his recording locations strategically, and location has a lot to do with how this album turned out. It was done at an old and well-appointed studio in Lisbon, Portugal, where he could be sure that the microphones would catch every creak, groan and polyphonic wail he might draw out of his main instrument. But he also knew, from prior visits, that he would have access to some seriously over-the-hill pianos. While most of the album is devoted to savagely bowed attacks, the odd digressions into detuned, radiant chimes deliver just enough respite to keep you off balance and on the edge of your seat.

Bill Meyer

Dan Melchior — Odes (Cudighi Records)

'Odes' by Dan Melchior

Dan Melchior is likely a recognizable name to Dusted readers; he has made quite a string of releases over the years. This cassette/digital release, recorded in 2016, is a subdued affair, nine songs for the most part following the same blueprint: a track of strummed or lightly picked acoustic guitar with a fuzzy electric lead layered on top. The foundational guitar tracks establish a calm, repetitive cycle, giving some of these songs an almost raga-like feel, in some cases through a hazy reverb: "Tybee" feels like you're sitting in the next room listening to him play through a closed door.

Calling the overdubs "guitar leads" implies the wrong feel. While played through fuzz or distortion, the mood is a woozy one, more opiated than energetic, but in a drifting, pleasant way. There's an over-arching melancholy throughout these songs, one person alone playing to satisfy a need. Knowing Melchior was facing the recent loss of his wife Letha certainly colors it, but even a listener ignorant of that back-story would feel the emotional resonance.

These nine ramshackle, loose instrumental pieces are personal, incomplete, and like having someone entrust you with private stories in song form.

Mason Jones

Mint Field — Sentimiento Mundial (Felte)

Sentimiento Mundial by Mint Field

Mint Field, from Mexico City, filters the feedback and noise of shoegaze guitars through a pensive screen, finding an aura of nostalgia in between and among blinding walls of scree. Estrella del Sol Sánchez contributes two of the band’s signature sounds, the dreamy, delicate vocals and the swirling masses of altered guitar. She is supported by Sebastian Neyra on bass and Callum Brown on drums. The volume level varies song to song, but it’s all mesmerizing and good. “Delicadeza” breezes in on the tenderest sort of sigh, the softest, most lyrical strummed accompaniment, but “Contingencia” digs in and pounds, drums cranking, bass thudding and guitars winging out in wild arabesques of distorted sound. The easiest comparison might be the similarly hauntingly voiced Lush, but there’s something special here in the soft, keening soprano calm at the center of even the most agitated cuts.

Jennifer Kelly

Roy Montgomery — Island of Lost Souls (Grapefruit)

Roy Montgomery 40th Anniversary 2021 LP Series by Roy Montgomery

In 2021, guitarist Roy Montgomery celebrates 40 years of music-making with the release of four new LPs, beginning with Island of Lost Souls. Though 2018’s fantastic Suffuse included vocals from artists such as Haley Fohr (Circuit Des Yeux), Julianna Barwick and Liz Harris (Grouper), Island of Lost Souls is entirely instrumental, comprising four pieces, each dedicated to a late artist (actor Sam Shepard, and musicians Adrian Borland, Peter Principle and Florian Fricke). Though wordless, Montgomery’s guitar speaks volumes, flickering and flowing with the liquid grace of a player intimately familiar with both his fretboard and the effects pedals at his feet, sending waves of tone cascading with delay and reverb. Plus, on the side-long, climactic “The Electric Children of Hildegard von Bingen,” Montgomery pitch-shifts his guitar so it really ascends to the heavens, where it takes up residence for 22 minutes. Fans of Windy & Carl, Flying Saucer Attack and The Durutti Column, take note.

Tim Clarke

Jon Mueller — Family Secret (American Dreams)

Family Secret by Jon Mueller

A family secret is usually a multigenerational skeleton in the closet that is either sorrowful or sinister. For percussionist and Volcano Choir member Jon Mueller, it is the former: a series of familial rifts that became the unlikely muse for this collection of reverberating drones. Mueller employs instruments that produce multiple resonant tones, such as singing bowls and gongs, to create rich pools of complex sound. Metallic hues brighten subterranean rumblings while enigmatic dapples of condensed steam coalesce into liquid shapes. The drummer conjures ghastly creatures through extending the vocabulary of his drum kit. Cymbal scrapes become banshee wails and scoured skins emanate uncanny whispers. With Family Secret, Mueller manifests his personal demons as phantom signals. He transmogrifies emotional strife into physical actions which then become ethereal. Ironically, the resulting sounds are actually soothing. Pain has never sounded so sweet.

Bryon Hayes

Primitive Motion — Descendants of Air (Kindling)

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Primitive Motion is the Brisbane-based duo of Sandra Selig and Leighton Craig, and Descendants of Air is their seventh album, previously only available as a CD given away at live shows. You can immediately imagine what the album sounds like based on the artist name and album title alone: rustic yet cosmic, full of space and open to spontaneity. Recorded on the banks of the Enoggera Reservoir, these eight meandering pieces prominently feature the sounds of wind and leaves, plus the calls of raucous Australian birds, while Selig and Craig insinuate suggestions of melodies and chords on nylon-string guitar, woodwinds, and battery-powered keyboards, and gently massage the air with percussive patters. Though part of the appeal of the recording is its deliberate vagueness, the most affecting piece, and the shortest, is “True Orbit,” where a strident theme built around melodica, keyboard and voice seems to emerge fully formed from the aether.

Tim Clarke

Socioclast — S/T (Carbonized Records)

Socioclast by Socioclast

In heavy music’s current moment of endless genre-hopping and hybridization, it’s nice to hear a record that understands exactly what it wants to be. Socioclast is a grindcore record. Like Assück’s grindcore’s records. A lot like Assück’s grindcore records. You get all the high-velocity chugging crunch and guttural grunting — vocals so deep in the gullet that it’s pretty hard to pick up any lyrics. The song titles, however, suggest the ideological dispositions you might expect: “Surveillance, Normalization, Examination,” “Specter Signal,” “Psychodrone,” “Propaganda Algorithm.” There can be a fine line between paying tribute and being derivative, but Socioclast creates an homage rather than an outright imitation. This is 21st-century music. It sounds a lot clearer and slicker than anything Assück or the early Slap A Ham bands committed to vinyl. Like Slap A Ham, Socioclast is a California-based musical phenomenon, featuring dudes who have played in bands like Deadpressure and Mortuous; Colin Tarvin’s death-metal grooves are especially prominent on some of the record’s best tracks, including “Eden’s Tongue” and “Omega.” But this is assertively a grindcore record. Given that version of traditionalism (and yes, events have come to such a pass that grindcore has a tradition), it turns out that Socioclast isn’t all that socioclastic. So goes the strangeness of semantics. But the music is good.

Jonathan Shaw

Space Quartet — Under the Sun (Noise Precision Library)

Under the Sun by Space Quartet

Space is a persistent and multi-faceted theme in the music of the Portuguese electronic musician, Rafael Toral. And while his name is not appended to the Space Quartet’s, make no mistake, this is his band, playing his music. But it is a music derived from ideas that can’t be realized without the right people. So, while Toral has delved repeatedly into the sounds that people imagine they might make and that they actually find in outer space, and he has explored empty and variously filled spaces as starting points for his music, the point of the Space Quartet is to find the right people, and give them enough space to realize a new kind of jazz. Under the Sun is the combo’s second recording, made with a substantially different line-up than the iteration that recorded the self-titled debut for Clean Feed Records. Toral has sacrificed the all-electronic front line and switched drummers, but in doing so he may have found the right crew to take him where he needs to go. Across the album’s two 21-minute-long tracks, there are usually several ongoing dialogues taking place between the players, which manifest intriguing degrees of mutual challenge and support. But the way that Toral’s elongated feedback lines and Nuno Torres’ stuttering alto saxophone phrases flow around Hugo Antunes’ stark, elastic double bass figures and percussionist Nuno Morão’s lightly deployed, carefully modulated streams of textures and beats that extends a lineage anchored in the language that Cecil Taylor’s trio first released into the air at the Café Montmartre back in 1962.

Bill Meyer

Stinkhole — Mold Encrusted Egg (Mangel Records)

MOLD ENCRUSTED EGG by STINKHOLE

The name sort of says it all, but to clarify anyways: Stinkhole languishes in a slimy musical ditch, bottoming out somewhere between the No Wave skronk of Mars and the transgressive caterwauling of Suckdog. As was the case with both of those acts, the dissonance and the gross-out antics can obscure some interesting ideas. Clawing your way through the dense layers of yuck (or, depending on how you’re wired, enjoying it) is integral to the challenge posed by the experience. All the gagging vocalizations, primitivist drumming and semi-tuned bass whomps on Mold Encrusted Egg occupy prominent positions on the surface of songs like “Orange Juice.” But listen to Mold Encrusted Egg a little more closely: there are some rabid grooves, feral guitar breaks and a lot of impenetrably weird environments of sampled sounds, tape manipulations and unidentifiable scree. Is it fun? Does it sound good? Fuck no. The band’s name is Stinkhole. They write songs with titles like “Slippin’ on Slug Slime” and “Emancipated by Hair.” They roll with the whacko punk and noise bands that have congregated around the Berlin-based Flennen digital music zine and its accompanying label. Dig the stink. Rock has rarely been so richly rotten.

Jonathan Shaw

Styrofoam Winos — S-T (Sophomore Lounge)

STYROFOAM WINOS "S/T" by Styrofoam Winos

Stryofoam Winos brings together three old friends to swap songs in Nashville. You might recognize Lou Turner from her solo album, Songs for John Venn, a sly and subversion of the songwriter’s wholesome alt-country charm. Joe Kenkel is a kindred spirit, a folk rock singer with respect but not reverence for the certitudes of Southern life. Says Nashville Scene of his solo Dream Creator, “Kenkel, a sophisticated folk-rock songwriter, documents Music City’s idiosyncrasies on his debut LP, with acutely observant lyrics.” And Trevor Nikrant completes this anonymous all-star line-up; his 2017 debut caught the ear of Aquarium Drunkard’s J. Steel who called it “Oddball baroque psychedelia broadcasted from a basement on the east side.” The three kicked things off with a lo-fi and charming debut, Winos at Home, in 2017, but this self-titled LP takes things up a notch with songs that balance craft with eccentricity. “Stuck in a Museum” jangles and rambles in an antic, neurotically intelligent way, as the narrator finds himself entrapped amid the exhibits, staring fixedly at a teapot from the Tang Dynasty. “Roy G. Biv” turns contemplative—and twangy—as Turner sings plaintively about rainbows and colors, the way things change and how hard it can be to keep up. “Maybe More” glints with mandolin, but remains pared back, as a down-trodden singer (one of the guys, not sure which) sings about a life stuck in neutral, same book, same coat, same jokes, but beautiful. The disc has the feel of a warm, casual gathering, with friends jumping in on harmonies or picking up the bass. The songs are sharp and lovely without a lot of fuss.

Jennifer Kelly

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imperfekti · 5 years ago

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Tenipuri Party: Tezuka Kunimitsu profile translation

TN:

In the absence of an official English version, this translation is intended to help those who can’t read the material in the original language. Please support Tenipuri by getting your own copy of this book - it is worth it! There are various ways of purchasing it even for those not living in or visiting Japan.

The pictures I have included in this post do not show full pages.

On the translation: this time I’m aiming for a more direct, “Japanese-sounding” translation to share the mood of the content more as it is. This will probably cause some sentences to appear weird in English.

On Tezuka’s style of speech: his word choices and sentence structures are mostly polite and serious.

I’m still working on Japanese, so there might be mistakes. Please let me know if you spot any translation errors so I can fix them here!

Tezuka Kunimitsu

U-17 German representative player Seishun Gakuen Middle-school player

Beyond the imagined future - the released challenger!!

Message

“For the support every day, I’m grateful. For the sake of becoming a professional, and for the sake of my tennis, I intend to earnestly keep confronting myself. I think you are the same. In the future as well, together. Let’s go without carelessness.”

Extra prize: A voucher for two at a high-class mountaintop hotel “An undeserved honor. I’m focusing on tennis right now, but… If I can make the time, I will gratefully use it. For two, huh…”

Profile

[DATA] Middle-school 3rd year / October 7th (Libra) / Blood type O / 179 cm / 58 → 61 kg / Left-handed

Special techniques: Drop shot, zero shiki drop shot, Muga no kyouchi, Hyakuren jitoku no kiwami, Saiki kanpatsu no kiwami, Tenimuhou no kiwami, Tezuka zone, Tezuka phantom, Zero shiki serve

Playstyle: All-rounder

Family: Grandfather, father, mother

Father’s occupation: company employee (business) (grandfather is a judo instructor for the police)

Hobbies: Mountain climbing, camping, fishing

Favourite saying: The enemy is within yourself

Favourite color: Green or blue

Favourite food: unacha (a dish with eel carefully broiled in soy-based sauce), Räucheraal (TN: smoked eel)

Favourite book: German-Japanese-German dictionary (to carry with him)

Favourite music: Classical (Beethoven)

Preferred type of person: Trying not to think about it at the moment.

Preferred date spot: Zugspitze

Most wanted item: A mountain model kit

Things he’s bad at/with: Being idle, colourful cakes

Elementary school: Seishun Dai Daiichi Elementary School

Committee: Student council president

Strong subjects: World history

Weak subjects: None

Often visited place in school: The library

Uses allowance on: Books

Skill outside tennis: Woodworking, preparing fish for cooking

Routine during tournament: Keeping a diary in German, watching foreign comedy-dramas.

Favourite anniversary: 23rd August

Preferred travel destination: Macchu Picchu ruins and Huayna Picchu

Present for a special person: Writing a letter of gratitude

Scenes

Injuries, seizing the nationals… Tezuka Kunimitsu overcame numerous challenges that waited for him and seized glory. But he is not a man who would be satisfied with that. From now on too, I want to pay attention to the steep path of him who moved over to Germany.

(Quotes on pictures:)

“I will not lose.”

“Saiki kanpatsu no kiwami!?”

“And then Seigaku’s era will begin once again!”

“Now, let’s go without carelessness.”

Indeed, it should perhaps be called a “Tezuka zone”.

“Hyakuren jitoku no kiwami!?”

This boy’s tennis is certainly Ten’imuhou no kiwami!?

“No matter who I will end up fighting… I will win!”

The German representatives’ strained atmosphere connects to rapid development (*1)

Tezuka-senshu (*2) becoming a German representative was a shock. Did you not have worries about this decision?

If I said no, it would be a lie. However, as to what is important for me as someone aiming to become a professional, I judged it to be fighting as a German representative and based my decision on that.

Specifically, the currently important thing for Tezuka-senshu is…?

Most of all, it is actual experience of fighting at a higher level. At the German training centre, I have the fortunate chance to rally with top pros like Volk-senshu. Even in practice, they are always making hypotheses as to which shot they should hit, what kind of a play they should make in any kind of match circumstances when they are standing on the court. Having put myself in such a strained atmosphere, I can truly feel my level of experience rising rapidly.

Any bewilderment at facing your former comrades…?

Whoever will become my opponent will not be a problem. But, at first, I thought I was feeling sorry. However, at the time of fighting Japan in the exhibition match, I came to realise my heart was throbbing about competing against them. But just fighting as sworn friends, it is not to elevate ourselves. Rather, by putting a net in-between and confronting each other, the light can come from a new angle and hasten growth - that is what I believe right now.

Then, what is Tezuka-senshu’s current objective or dream?

Upon seizing the world, to hold up the flag of Germany that showed in me, a foreigner. If the opponent for that match were to be Japan, there would not be higher joy.

In a well-ordered and non-negligent environment, pleasant days go on

Have you already grown accustomed to life in Germany?

Yes. Everything proceeds very systematically, so in that sense, it sometimes feels like it is actually even more pleasant than in Japan.

What things for example are like that?

Everyone is already gathered around 15 minutes before the set meeting time. The notion of ecology is growing, so most customers carry eco bags for their shopping, and the separation of waste is enforced thoroughly. Everything is done logically, and it’s an environment without negligence.

I see. It suits the serious Tezuka-senshu perfectly. Then, how do you spend your days off?

Touring antiquarian bookshops is currently my biggest enjoyment. From Goethe to Ende, I have been able to acquire several original texts that I couldn’t in Japan. Also, when time and money allow, I try to go to classical concerts.

What about the German language?

The German language too is a very systematic and logical language. There are very few exceptions, as long as one memorises the basic grammar and idioms, it is quite effective to use. Of course I still lack study, and there are many points where I lack experience, but words are not the only means of communication. Rather, sometimes it is facial expressions that speak more eloquently.

Facial expressions…?

Yes. Facial expressions.

Message for Tezuka Kunimitsu

As expected�� should I say. Congratulations. (Inui)

YEEES! CONGRATULATIONS!! (Kawamura)

You should still be able to grow one rank higher. Put effort into your training. (Volk)

I will definitely not forget the thing that you taught me. Let’s meet on the court. (Fuji)

I’m glad you seem to be doing well in Germany too. Eat your meals properly! (Ooishi)

Tezuka-buchou-senpai, congratulations. We are protecting Seigaku. (Kaidou)

I’ll win one day, both in popularity and tennis! (Momoshiro)

You’re not planning on ending it at this? I’m waiting for the next opportunity to fight you. (Atobe)

Congratulatioons. But I’ll overcome you soon. (Echizen)

Are you doing well Tezuka? Send something tasty from Germany! (Kikumaru)

This guy is in 4th place!? Gimme a break! You can go higher than that! (Siegfried)

Party talk

Q: Who would you like to inform about this time’s rank and feelings? A: My family. My grandfather too is always supporting me.

Q: You are being served a lot of food. A: Ooishi. I’m grateful, but it’s already enough. I’m eating sufficiently… I tasted Japanese unacha for the first time in a while.

Q: You can also take part in an improvisation skit competition. A: … No, thank you. I was able to enjoy it quite a lot just by watching.

Q: You got excited with Bismarck-san, though... A: … I was merely unilaterally lectured about how to flirt with women.

Q: Who did you come to the venue with today? A: With the German representative senpai. In addition to training, we measured the time and ran to the venue.

Q: Oh? Is there something the matter with Echizen-kun? A: No. I just thought he seems to have gained experience and grown somewhat.

History

Age 0 October 7 Birth

Age 5 Makes a mistake in dance moves in a kindergarten’s play

Age 10 June Climbs Switzerland's Matterhorn with his father

Age 11 Summer Meets Yukimura and Sanada after the Jr. Tournament, has a match Goes fishing with grandfather, catches a sea bream

Age 12 March Graduates from Seishun Dai Daiichi Elementary School

April Enters Seishun Gakuen Middle School Is hit on the elbow with a racket by a senpai in the tennis club Is told to become "Seigaku's pillar of support" by Yamato

Age 13 November Displays a sketch of mountain grass in the culture festival

January Goes to the first shrine visit of New Year with the club’s 1st year members, makes a vow of conquering the nationals

April Becomes a 2nd year Becomes the vice captain of the tennis club

June Participates in a bread eating race in an athletic festivals, places second

September Gets lots of recommendation letters and becomes the student council president

Age 14 Declines the Jr. Senbatsu invitation Around autumn Has an uncomfortable feeling in his arm

October On the field trip (Taiwan), buys tea utensils for souvenirs

November At the Allied music festival (*3) , participates in the class chorus as a musical conductor

February For the first time in his life, forgets something

April Becomes a 3rd year Becomes the captain of the tennis club

May Wins Tokyo preliminaries championship Is mistaken for a teacher at Kawamura Sushi Has a match with Ryoma on courts underneath the railway

June Wins prefecturals championship Declines offer from the special overseas JFH program Goes to the drawings for the Kantou tournament

July Is invited to Hyoutei’s opera appreciation party as the student council president but declines Start of Kantou tournament In the first round against Hyoutei, loses to Atobe in S1 Goes to Kyuushuu for rehabilitation

July 27 Wins Kantou tournament championship

August 14 Drawing for the nationals, returns from Kyuushuu

August 17 Start of nationals Faces Higa in the 2nd round, wins against Kite in S1

August 19 Quarterfinals against Hyoutei, wins against Kabaji in S2 Semifinals against Shitenhouji, wins against the Chitose-Zaizen pair in D2 Yakiniku battle, is one of the last members remaining

August 23 Finals against Rikkai, loses to Sanada in S3 Wins nationals championship Goes to the victory celebration at Kawamura Sushi

Age 15 (*4) September Is invited to Rikkai’s ocean festival, makes guest participation in a play

October 12 Climbs Kitadake with father

November Participates in U-17 camp Wins against Kaidou in the “friendly fire” matches Learns about a fishing mobile game from Marui and Kirihara In the court shuffle between 3rd and 5th court, wins against Yamato Abandons the match against Fuji midway, departs for Germany Aiming to become professional, participates in the German representative team

December Participates in the U-17 Pre-World Cup drawings U-17 Pre-World Cup starts In Vs Japan, wins against Irie-Atobe pair in the second match U-17 World Cup starts Is drawn into a fight about food by Siegfried, eats Japanese food together Wins against South Africa and Canada

Plan

(Pictured: two documents of mountain climbing plans, including itinerary, packing list and map.)

“This is from when me and father climbed during consecutive holidays. When climbing mountains, let’s make plans properly and climb without carelessness.”

Fashion

It seems he didn’t bring much clothing with him from Japan. I will give you something next time. (Volk)

With Kunimitsu’s hair style, clothes from any country would suit him. (QP)

Wearing clothes you received just like that. That’s like you. (Fuji)

Whether the person in question is aware of it or not, wearing a waistcloth is quite stylish. (Kite)

“I am not a person who is particular about clothes, but only when it comes to shoes, I make it so that I can play tennis in them.”

Room

Bedroom of the room I’m staying in in Germany There’s only bare minimums like the bed and desk that were part of the furnishings. But I’m thankful that letters and daily necessities have been delivered from Japan. Overall, I like the things made from wood and seeing the townscape from the window.

TN:

*1 張り詰めた, haritsumeta. Strained, stretched, tense. Not strained in the sense of anxious or having problems. It seems more like everyone is ambitious and focused.

*2 選手, senshu: player, athlete. I chose to leave this as it is since the interviewer uses it all the time as an honorific, and couldn’t figure out a natural expression in English.

*3 連合音楽会, rengou ongaku kai. This seems to be some kind of an annual music event that at least schools participate into.

*4 It seems like a mistake that age 15 is placed at September, not October.

#my translation #tezuka kunimitsu #prince of tennis #new prince of tennis #seigaku #fuji shuusuke #otp #my captain

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advernia · 5 years ago

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the world in her heart, her heart in his hands

assorted sidenotes for the fic i made in response to an anon-sent aesthetic prompt! oooh boy, i sure took long on this one lmao...... _(:3 」∠)_

prompt #7: steady notes coming from a guitar nearby, fireflies dancing around the clearing, two sleeping bags close together, and a bright full moon briefly covered by a cloud.

so the core idea i had when i saw that prompt got requested was based on jonah’s say i do! route: he says that one day, he wanted to go to the land of reason + see the place alice was born and raised. tbh idk how the prompt even led me to that, but the imagery vibes i got from the prompt hinted of something like freedom. or something like lovers secretly meeting in the woods, which i sort of went by.

OKAY SO I SWEAR I FINISHED WRITING THE PROMPT (day zero!!!) EARLY (by my standards) LMAO.............. like, maybe a week after i got the ask or so? but then when i went about proofreading it i felt that it was... lacking??? i can’t explain it myself, but i didn’t wanna post it yet until i got that feeling cleared out - i tried revising + adding, but it didn’t help so i just started thinking about expanding the fic instead...

thinking about the scenes really took longer than i thought?!?!?! i wanted this request up early but i was stumped on what kind of scenes i wanted to see + how their lengths were gonna be.... plus i was thinking if i should go solely on narration + description........ or maybe more of dialogue...... then i jumped to holy shit what’s my timeline gonna be what cultural whatnot am i gonna emphasize and i think i fussed over those aspects rather than picturing the actual scenes LMAOOO.......................

great disclaimer: i have NEVER stepped into the uk..... or england + london for that matter ahahaha GET REKT tho i want to someday huehuehue....... i heavily relied my research on maps + history websites + train timetables to help me get through the touring parts so do forgive me if i messed up somewhere + butchered history haha..... i was thinking to make things vague, but since i’m always in for emphasizing the differences between cradle + land of reason, i decided to get a little technical with it......

i have to admit that i wrote most of the fic during breaks in work hELLA RAD........... i’m doing my job properly, i swear........ it’s just that when i already have a stable idea of what i want to happen, the scene becomes clearer in my mind. i wanted so! badly! to add scenes of jonah pronouncing words and looking at various things funny!!! jonah and his attempts to communicate with londoners!!! fussy jonah poking around a boutique, him being fascinated + studying displays of gun shops, or him accidentally offending the royal guard + constables LMAOOOOO but i couldn’t seem to write anything satisfactory involving those ideas........... ಥ_ಥ

back to the issue of timeline, i was picturing the london in this fic to be around the 1860s or smth.... but then i remembered that in edgar’s dramatic end letter, he mentions his fascination with electricity aka lightbulbs......... which were, like...... discovered early 1800s but only became common in 1882 ahahaha....... when i realized this i was already writing day 18 oOOPS so i just decided to go on and wing it I’M SORRY _(:3 」∠)_

on timeframe, i know that it’s very highly unlikely that jonah would take a vacation for two months. i bet the mere concept of a one-month vacation is enough to give him a heart attack LMAOOOO but let’s just say that red army told him to take his time in the land of reason, especially when they learn that jonah plans to formally meet alice’s parents. when he hears about this, lancelot tosses in the suggestion of proposing to alice while they’re in the land of reason, so that jonah can tell her parents about that too. jonah thinks it’s a fantastic idea..... so he decides to accept hot damn, a two month vacation!

whole route & lengths of stay (points streaked with red are mentioned within the fic minus nottingham whoops sorry):

london [16 days bc IT’S A BIG CITY LMAO (day 30 - 14). rides a morning train going to bristol on the 14th, arrives there midday.]

bristol [5 days (day 14 - 9). leaves bristol on the morning of the 9th to walk all the way to glastonbury, arrives there come late afternoon / evening.]

glastonbury [4 days (day 9 - 5). leaves midday of the 5th to walk their way to alice’s village, arrives there around sunset.]

alice’s village / ‘actual wonderland’ lmao [5 days (day 5 - 0). located somewhere in between bridgwater, taunton, and glastonbury. month 1 of vacation has ended.]

day log commentary!

thirty. arrival in the land of reason through falling - routes where alice does go back don’t feature her falling down london’s sky, so maybe she’s just... spit out from the hole????? idk haha so i altered it anyway!!!!! the landing scene was initially like this: jonah lands first, he catches alice in his arms, they banter a bit....... and then they suddenly remember the suitcase only for said object to fall right on jonah’s head LMAOOO....... it’s a cradle magical object that looks like a regular suitcase but will always be as light as a feather despite it’s contents + it has GREAT CAPACITY so jonah is actually okay!!!!!! i decided to scrap that scene concept though haha!

twenty-nine. does the hole to the land of reason only open around midnight or smth???? i’m sure it doesn’t, but i went with jonah + alice leaving cradle minutes before twelve o’clock, so when they arrive in london jonah gets to see the big ben signal midnight. is that planned on alice’s part? maybe. on another note, i’m assuming that a high-ranking officer + noble like jonah is definitely used to traveling to other countries so he’s definitely not one for homesickness, but i like the thought of him always feeling all sorts of uncomfortable on his first nights away from home - he doesn’t make a big deal about it bc he gets better three days in or so. idk, it just seems fitting for someone very particular like him.

twenty-seven. if luka’s hair is fucking dyed, my god (no wonder i found those light ends of his hair sorta funny), then here’s jonah excuse to adapt another hair color with the help of magic crystals LMAO - i always stick with a reality ensues standpoint, so his ikeman looks aside, i’m sure londoners would find jonah’s hair color (heck, maybe even his eye color) very unique. alice can’t deal with all that sudden attention lol but she somewhat proud that the man who has effortlessly captured the attention of the people of her world too is the man she proudly calls her lover ( ͡° ͜ʖ ͡°)

twenty-three. now that i think of it, what exactly does cradle mean when they say the land of reason? are they simply referring to the city of london, or earth as a whole??? most likely the latter, but i’m pretty sure no one except blanc (and possibly ray bc that globe in his room lol) know exactly how large the land of reason is. anyway, not gonna lie, i wanted jonah + alice talking about novels by maybe the likes of charles dickens, thomas hardy, george eliot or h.g. wells. heck, maybe jane austen and charlotte bronte too!!!! but i had to scrap that bc gaps in understanding cultural & historical references + use of language, figurative and non-figurative.... it’s a shame about the last two though - i’m sure jonah can somehow probably relate to the society depicted in their books since the red territory sounds like your typical breeding place of victorian era nobles lmao!!!!

eighteen. sometimes when people learn / gain a deeper understanding about new things, they have the urge to brag about said knowledge to others - of course jonah wants to show alice what he knows about her world so far haha! calling a train a mechanical beast tho lmao..... he refers to it that way, but i think it’s his target of fascination in london!!! noise and possibly environmental issues aside, it’s very convenient + efficient and can cater to all, but what he finds most impressive that it’s a man-made locomotive!!! that’s something worth incredible praise!!! ( ᐛ )و

fourteen. actual train ride!!! hmmm.... i think jonah only panics maybe a good thirty minutes in when the train starts moving??? alice tries to calm him down by pointing at the passing scenery out the window + idle chatter until jonah finally relaxes himself.... but then he starts to panic slightly again when alice suggests that they look around the train and he’s like: is that even remotely safe??? what about our baggages, can we leave them unattended??? hey, i saw you snicker - how dare you laugh at me!!!

nine. according to google, an estimate of a walk starting from bristol going to glastonbury is 8h 25min. that’s for the present time though - would’ve it been shorter or longer in the past??? idk, but definitely one’s pace during the walk affects the total time, lol. since railroads only started out around 1830s + i made alice a village girl, walking really is her way to go. pedestrianism was still a thing around the 19th century!!! her stamina in other routes tho lol (ﾟ⊿ﾟ)

six. here’s my self-indulgent thing of wanting to add a dance scene, pt. 1 LMAOOOO - the steps in the scene aren’t really from a certain folk dance in england, much less from glastonbury itself... i did look up on england folk dances, but i couldn’t pick one that i wanted to incorporate into the scene so i went with describing some random steps on the top of my head _(:3 」∠)_ ..... maybe someday, i’ll write a proper one..... on another note though, i suppose jonah can adapt quickly to folk dances, but he may come off a bit stiff at first in line / column dances where there’s the switch of partners??? i mean, there are formal 19th century dances that have that same concept, but.... the finesse + personal boundaries are all there lmao - he’s not against the casual intimacy + show of obvious joy in folk + common dances though, it’s just more of that he’s not used to the informality of it all, i think.

five. plot twist: alice does lead jonah to her home, the cottage on a hill like she always described, but what he doesn’t expect is when she solemnly says that she’d introduce him to her parents she leads him to the back of the hill and in the foot of the hill he finds himself staring at her parents’ gravestones as she’s smiling sadly with a bouquet of flowers in her hand OH WAIT WRONG GENRE WASN’T THIS SUPPOSED TO BE FLUFF LMAO - kidding aside, i do hope cybird catches onto the idea of a story event of chosen suitor going to the land of reason with alice to meet her parents or smth!!! they did do a travel event in the jp ver, after all.... but i’m not keeping my hopes up haha....... _(:3 」∠)_

zero. self-indulgent thing of wanting to add a dance scene, pt. 2 - tho it’s in the latter part along with the prompt lmao!!! hmmm, i’m pretty satisfied with how this one turned out tho i had a little problem arranging the first half - the rest i relatively left untouched even after i added the rest of the days to the fic. hopefully, does well as a nice end to the fic itself..... tbh, the thought of summer dress alice + casual shirt & pants jonah both barefoot & running around like children in moonlit woods (don’t do this in real life folks) made me smile a lot. give me more soft-and-not-so-tooth-rotting-fluff scenes, cybird

also!!! since the prompt involved a guitar, i had a certain track on repeat lmao - you can listen to it here, and it’s the second to the last track titled umibe ni yurete (swaying in the beach)! (ノ^∇^)

and that’s all that i’ve got today!!! thank you very much for reading + hope you’re staying safe & well wherever you are!!!!（｡≧◇≦）ﾉ

#rundown.txt #u know what else took me so long to decide on this fic #a title + summary LMAOOOO #i wanted the title to be something related to the prompt but.... so much for that orz #i usually have no problems making them up but #why was this a struGGLE LOLOL

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ifuckinglovestvincent · 6 years ago

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BILLBOARD: St. Vincent On Her Reworked 'MassEducation' LP & Her 2019 Plans: 'The Best Thing I'm Going to Do Is the Next Thing

12/17/2018 by Lyndsey Havens

[Photo: Shervin Lainez]

She tells Billboard about her personal highlights from 2018

As 2018 winds down, Billboard is asking some of the artists who helped define the year in music to look back on their accomplishments, their favorite memories and their pop-culture obsessions from the past 12 months. First up: St. Vincent.

St. Vincent is never satisfied. It’s why, she says, she is always creating in one way or another: She picked up DJing in June and spun her first live set by September; reimagined her 2017 knockout MASSEDUCTION as a stripped down, piano-driven album called MassEducation this October; started producing for other artists as a part of some as-yet-unannounced collaborations; and is gearing up for her feature-length directorial debut, in which she’ll bring a woman-led version of Oscar Wilde’s The Portrait of Dorian Gray to the screen.

“The best thing I’m going to do is the next thing I do,” she tells Billboard, just a few days before she picked up two Grammy nominations for MASSEDUCTION (the album's art director, Willo Perron, also got a nod for best recording package.) But while she has a few more plans on the books for 2019 -- including a Feb. 14 performance at Lincoln Center as part of its American Songbook series -- what that next, best thing will be in her own music is open-ended. “You know when you hear it,” she says. “When a ghost walks through the room or when you sing a certain line and it makes you all weepy. That’s when you know that something is special.”

Below, she talks about reworking her songs for MassEducation, the hits and misses of Auto-tune and why she's taking a break from social media.

“Slow Disco” now exists in three different forms: the original on MASSEDUCTION, a made-to-dance version called “Fast Slow Disco” and now a stripped-down take on MassEducation. Why is it important to show that your songs can have many lives?

I felt like that particular song wasn’t done telling its story in just the one version that existed [on MASSEDUCTION]. And to me, that’s a testament to songwriting. Like, “Can this song be stripped back to nothing and still be powerful?” I spent so much time really working on the songcraft of this album that I just wanted to live in [the songs], totally stripped bare. Recording in that way actually made me feel more free. We recorded it live over the course of a couple days, and we didn’t do very many takes of anything. We didn’t even talk about what we were going to do or how we were going to do it, so you’re actually hearing us discover the songs in real time. What happens oftentimes for me is I write guitar parts that are complicated and then vocal melodies that can be complicated, so my brain live is doing complex processing. But it’s such a joy to just sing. I just got to really live in the words and live in the space and take my time and live in the silence. That, to me, is really freeing and gratifying and gets to my heart.

You’ve taken up DJing recently. What has that taught you about reinventing a song?

I love DJing, because it keeps me voraciously looking for new music, going back to things that I love and trying to make connections between songs. Sometimes those connections are as simple as, “Okay, the BPM and vibe of this are in a similar place, this could be an interesting transition.’ And sometimes the things that the songs have in common can be really hilariously, lyrically thematic. I get to test my genealogy and go from Herbie Hancock into Tribe Called Quest into Kendrick [Lamar] or something -- tracing lines between music from totally different eras. I love it. I get to discover music and listen in a way that is just total pleasure and enjoyment and inspiration.

You’ve also started producing for other artists. What surprised you the most about that process?

Producing takes the preciousness out of music-making, and you can see the big picture because you’re not in any way blinded by your own fear or ego -- that thing that you run into when you’re doing something really personal, like singing or playing guitar. I can hear the bird’s-eye view of what something could be without having to perform it at all. So that’s great. I love the tech side of it, too. I love sitting and trying to get great sounds for hours, and I love trying different things and reaching and building and playing with space. Also, one thing I definitely have learned is to never ever settle. Never settle for what kind of artist you think someone is, never underestimate anybody. Always be listening, and push it.

What’s a musical trend you’d like to see go away in 2019?

Sometimes I find Auto-Tune really evocative, and then sometimes I find it really not evocative. But it’s all in the hands of the artist. I think that we’re going to see less trap beats in 2019. They are really cool, don’t get me wrong, but it seems like it’s reached max saturation.

What artist would you want to invite to a holiday dinner with your family?

This is going to sound braggy, but one of my favorite compliments that I ever got was from an artist who said: “So many things are pointless, and you’re not.” That was the biggest compliment I think I’ve ever gotten. But I don’t want to be gross and say who that was, so… who would I invite to dinner? Is this one of those ones where you’re supposed to say Jesus? I would love to invite Kerry James Marshall. I’ve never met him. I really loved his exhibition last year, it was just beautiful.

What’s the best performance you saw this year?

Nine Inch Nails.

What’s one song you could not get out of your head this year?

Currently, the 1975’s “Love It If We Made It” -- I like that they’re pushing. It’s ambitious and has so much heart to it. I really have enjoyed their new album.

What’s your favorite city that you visited this year?

I had a really great time in Guadalajara -- let’s give Mexico some love. I was on tour, I’d never been. I was there in October, but my brother-in-law is a chef, so he came and we just ate all the tacos and tried all the food. It was great.

What app did you use the most this year?

The podcast app. After I was done with touring and answering questions about records and stuff, I was taking a social-media break. I don’t have Instagram or Twitter or anything on my phone anymore. It’s wonderful. I used to, but the world doesn’t need me to weigh in on every outrage every day. I was like, “This is totally joyless. I’m doing this because it’s a thing that I got conditioned to think that I needed to do, and it gives me exactly zero pleasure.” It doesn’t feel good to my heart to do that kind of stuff.

Right now, what is the most important thing to you?

My family is the most important thing to me. What I spend the most time on is my art. You can read that however you like.

I’m sure they intersect at times.

They absolutely do, yeah. But my heart is making what I love and the people I love, and that’s kind of it.

During the rollout of MASSEDUCTION, you held a mock press conference and poked fun at music-journalism tropes. What do you ideally want out an interview?

The thing is, my ideal interview is actually an interview where I don’t talk about myself and get to ask other people about themselves. But I realize that’s not the structure, that’s not the exchange. I was trying to acknowledge the dance we were doing as artists and press and have some fun with that. Some people liked it, and I’m sure it was annoying to some people. It’s strange when you think [an interview] is one thing and someone has a completely different experience, and you’re like, “Oh dear God, do I lack that much self-awareness? Do I not understand facial cues, what’s happening here?” But it’s not in my control, and it’s not supposed to be.

#st vincent #annie clark #billboard #interviews #thx for explaining the lack of tweets which everyone misses and feels lost without #also #the 1975 being on annies list of faves is more proof that she just wants to confuse and shock the masses #guess i should listen to it...#my niece was obsessed with them when she was like 14 #now she is a fan of angel olsen and anne.#not that i had anything to do with that #lmao #...

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rebeccaheyman · 4 years ago

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reading + listening 08.10.20

When I say that my book consumption this week swung from the best 2020 has to offer so far to the absolute worst, I am not exaggerating in the least. Another wild ride from start to finish...

Love is a Rogue (Lenora Bell), ebook, ARC. Full review on NetGalley. LOVE IS A ROGUE was my first Lenora Bell book -- but clocking in at a solid B, it won't be my last. Beatrice is an able-enough heroine, distinguished by her love for etymology, books, and the etymological dictionary she's planning to write once she achieves full spinster status. All she needs to do is fail one more season with the ton to circumvent her mother's plan's to make an advantageous marriage. Ford, our dashing hero, enters the scene as a carpenter whose role overseeing the renovation of the duke's estate brings him into Beatrice's path. They collide with flirtatious results, and the fun continues when Beatrice hires Ford to renovate a bookshop she just-so-happens to have inherited from a dead aunt. Unbeknownst to Beatrice, the property brings Ford's past directly in-line with her present, and they unite to overcome the challenges posed by society, their personal demons, and Ford's dastardly grandfather.

For me, Beatrice's status as the duke's sister undermined the urgency of her final season in society; she doesn't have to marry to save the family fortune or escape a cruel family situation, and in fact, Beatrice quickly decides to play along and appease her mother, all the while knowing she'll reject any proposals and retire to the country in due course. So the stakes are not especially high from a cultural perspective, which deflated the conflict somewhat. Likewise, Ford's inner demons don't hold the same power over him that might seriously impact his actions; he's set to return to the Royal Navy any day now, but decides with zero fanfare that actually no, he'll decline another tour and stay land-locked, tyvm. How realistic would it have been to back out of military service? I can't say -- but it seems like this would have been a serviceable point of separation for Ford and Beatrice, that would have prolonged the third act and provided valuable tension. Because it's the third act that keeps LOVE IS A ROGUE from ascending higher in my estimation.

The Midnight Bargain (C.L. Polk), ebook, ARC. Full four-star review on NetGalley.

I unequivocally adored THE MIDNIGHT BARGAIN, the first I've read from author C.L. Polk. It's a little tricky to categorize this standalone fantasy romance, which takes place in a decidedly other world, but still calls on the culture of Regency-era England -- so to call it "historical" is misleading, but readers who enjoy historical romance will surely find the cultural mores in THE MIDNIGHT BARGAIN both familiar and compelling. Beatrice Clayborn is in town for her last Bargaining season -- a time for male sorcerers to find powerful wives whose magic will serve them once the marriage is sealed. Because in this world, women aren't allowed magic and marriage simultaneously; the danger of a spirit taking over an unborn child is too great, so women are collared, literally and figuratively, to keep this atrocity from happening. Beatrice has plans to study magic in secret and become a full-fledged Mage, which would render her ineligible for marriage and destroy her family's social and economic standing, but secure her rights to her own power and body for the rest of her life. All she needs are the secrets hidden in one particular grimoire -- that's stolen right from her hands by the Lavan siblings. Powerful, and with ambitions and secrets of their own, the Ianthe and Ysbeta and Ianthe complicate Beatrice's plans by drawing her into their lives; Ysbeta as accomplice, confidante and friend, and Ianthe as all those things plus potential lover and love.

Polk's writing is fluid and charming, with careful attention to detail. Her evocative world-building and subtle magic system is never forgotten, but it also never overwhelms the distinctly human motivations that move our characters through time and space. THE MIDNIGHT BARGAIN was compulsively readable, full of lovely language and delightfully unassuming turns of phrase. Beatrice is intrepid and brave; Ysbeta is fierce and loyal; Ianthe is the profoundly romantic, feminist hero we all need. A delight from the first page to the last, THE MIDNIGHT BARGAIN is a tightly-woven, beautifully-rendered fantasy romance that will make you a C.L. Polk fan if you aren't one already.

Midnight Sun (Stephanie Meyer). eBook + aBook. Perhaps like me, you thought a little nostalgia and escapism would revive the dregs of this terrible, pandemic summer. Maybe you thought a throwback to simpler times -- the year 2005 to be exact -- would make you feel young and carefree again. Bella and Edward’s angsty bullshit would be fun to revisit, and maybe Edward’s POV would reveal something interesting about a story we might not all have loved, but definitely loved to hate. Well, 2020 is here to set you straight again: this year absolutely blows, and no amount of sparkly vampires can save it. I can say with perfect clarity that MIDNIGHT SUN is the worst novel I (or anyone) will read this year. The degree to which MIDNIGHT SUN fails as a novel is so extreme, it’s actually hard to qualify which aspect of the book is worst: the writing, the narrative development, the unadulterated laziness of retelling a story from a POV that adds literally nothing to our understanding of that first narrative. Fail, fail, fail. In no particular order, here are my thoughts:

The writing is as bad as you think it’s going to be. I don’t know what Stephanie Meyer has been doing for the past 15 years, but it’s not working on her craft. Purple prose takes on newly virulent shades in this trash heap of lazy language.

While I understand that the story itself was restricted by an established plot, there was an opportunity to leave behind some of the language that simply hasn’t aged well. “...[M]y own personal brand of heroine” was cringe-inducing the first time, and no effort was made to allay a scene that is frankly embarrassing to read. Perhaps worst of all, though, is that language on the same plane of egregiousness is introduced to the narrative with no precedent from the original text. Bella’s claim that she’s “so clumsy that I’m almost disabled” (245) doesn’t feel like something that should have passed muster in 2020. Did no one flag this for blatant insensitivity? Yeesh.

The original TWILIGHT was just shy of 500 pages. MIDNIGHT SUN is 675 pages. Six! Hundred! Seventy! Five! How does a story that was overlong at 500 pages stretch almost 200 MORE pages, you ask? Easy, when you commit to narrating every scene in painstakingly slow detail. The infamous baseball game you remember? It takes nearly fifty pages for it to unfold in Edward’s slow, tedious narration. At one point, when Ed & Co. are trying to throw James off Bella’s scent, Edward starts articulating individual footsteps. It’s... stunning, how god-awful boring this book is.

Dear Reader, you know -- have always known -- that Edward is an obsessive sociopath with stalker tendencies and a serious control problem. Your conscious mind has elected to allay your concerns about the health of Bella and Edward’s relationship because it’s fun to watch two kids being dramatic and self-centered, yearning for each other with the kind of intensity that only comes with the blinders of young love. Dear Reader, you will STRUGGLE to maintain this elan for toxicity if you read MIDNIGHT SUN. Edward’s murder-fantasies, which extend to all the kids in Bella’s science class and later, to the school secretary too busy salivating over a child to recognize how unhinged he is, are difficult to stomach. The constant litany of “it hurts but I like it” is incredibly off-putting and, again, boring as dry toast.

I can’t keep going. It was just so, so bad. It wasn’t fun or nostalgic or even funny. Just pathetic. I know this was a cash-cow slam-dunk for Meyer and her publisher, which is all the proof we’ll ever need that money is the root of all evil. Rarely have I ever felt this way but here it is: I wish this book didn’t exist. Don’t buy it.

The Poet X (Elizabeth Acevedo), eBook. I admit, I started THE POET X months and months ago, and had 50 pages to finish that I just didn’t get to until this week. I was floundering after M*dnight S*n, and knew the only remedy short of bona fide brain bleach would be an infusion of thoughtful, beautiful, elegant language. Finishing this novel-in-verse started the process of reviving my faith in the written word. Acevedo never trades pathos for angst, and allows Xiomara’s complex emotions and experiences to shine with subtlety and heart. THE POET X occupies that top-tier of novels-in-verse that, for me, has since been limited to BLOOD WATER PAINT (Joy McCullough).

These Ghosts are Family (Maisy Card), aBook narrated by Karl O’Brian Williams. I love a multi-generational narrative, especially when a well-earned comp to one of my favorite novels, HOMEGOING (Gyasi), indicates a globe-spanning, culturally complex, deeply human story that hinges around one decision that ripples through time and space. When Abel Paisley assumes his dead friend’s identity, the consequences of his choice reverberate through the family he left behind in Jamaica and the one(s) he forms in New York. With Abel’s life fast coming to an end, his desire for closure brings the truth of his deception to light, and that decision, too, has far-reaching consequences. This is a beautiful debut from Card, and the narration from Williams is exemplary. If you read and adored ALL ADULTS HERE (Emma Straub), dive into THESE GHOSTS ARE FAMILY for an even more poignant family portrait that still capitalizes on a strongly-braided narrative and multiple POVs.

Migrations (Charlotte McConaghy), eBook. If M*dnight S*n is the worst book 2020 has to offer (and it is!), MIGRATIONS is undeniably the finest. I’m calling it right here: This is the best book you’ll read this year, full stop. As of this writing, on Monday morning, I’ve already gifted MIGRATIONS twice -- and I only started reading it on Saturday night. That’s how quickly it drew me in and wove itself around my heart.

Franny Lynch is on a mission to follow the last of the world’s Arctic terns on their epic annual migration. For all that she’s following the birds, Franny is also running from her past, and speeding toward her own planned end. In a narrative that moves through time as fluidly as a dorsal fin cutting through the water, McConaghy slips in and out of the present to multiple eras of the past -- each as compelling as the next. How Franny came to be on her mission is a story of love and passion and wandering and heartbreak, and how a girl who has always belonged to the sea manages to make her way through the world on land. Like STATION ELEVEN (Emily St John Mandel), MIGRATIONS paints into being a future that is eerily possible and terrifyingly probable, but never sacrifices the propulsive character study at the center of the work in favor of grand-standing about issues. And the language... oh my soul, the language. I was spoiled for choice when it comes to excerpts, but here’s one that slayed me in Act III:

“And I am done with the universe between us. It is so perilous, this love, but he’s right, and I will have no cowardice in my life, not anymore, and I will be no small thing, and I will have no small life, and so I find his mouth with mine and we are awake at last, returned to a land long abandoned, the land of each other’s bodies.” (275)

Give yourself the gift of this novel, and then give the gift of this novel to someone you care about. Then find me on Twitter so we can talk endlessly about how wonderful it is.

Okay, on the docket this week:

The Ten Thousand Doors of January (Alix Harrow)

Sweet Sorrow (David Nicholls)

The Garden of Small Beginnings (Abbi Waxman)

Perfect Little World (Kevin Wilson)

The Vanishing Half (Brit Bennett)

#midnight sun #the midnight bargain #love is a rogue #these ghosts are family #migrations #the poet x #amreading

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thesinglesjukebox · 5 years ago

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youtube

NEW KIDS ON THE BLOCK FT. SALT-N-PEPA, NAUGHTY BY NATURE, TIFFANY & DEBBIE GIBSON - 80S BABY

[3.62]

In which Generation X reclaims from the millennials their right to shameless nostalgia...

David Moore: She scattered clues around the house that methodically led both of us to screens on our birthdays, one screen on the first floor and another on the second, mine the endless scroll of Mario demonstrating the mechanics of his first platform adventure in a perfunctory loop, my sister's the boys on the muted VHS tape silently mouthing their songs with a desperate exuberance, the picture already fuzzy in the corners on our forbidding and ancient television, and we both swooned, me for mine and her for hers, neither screen permeating the other's world, at least not directly. With the slightest nudge, the images flood in, all from screens -- I forget other images, the faces that were never projected back to me -- while larger units of time dissolve. I can't tell you with any clarity whether our scavenger hunts happened at the same time, at the midpoint between our birthdays, or if they were separated by months or even years. I don't know whether they happened in 1988 or 1989 or 1990 or 1991, except I know it wasn't 1992, because Mom would have been dead then and time was different after that. There is something sacred and fragile about that period -- I was four, five, six, seven -- and then afterward the whole world stretched out and arranged itself, and childhood never congealed in memory the way that those four years did, and not just from being four or five or six or seven. My sister was two years older than me and the same thing happened to her. It was the end of the first part of our lives, and we didn't get to choose when to settle for living in the sequel. I wouldn't experience anything like that blur, its magic and madness and incoherence, until my sons were born -- two, three, four, five years old, and then you resurface and time relaxes and pulls itself together again. The boys from the video are now desperately exuberant men, back to pierce the cocoon of my memories, those four years that in popular reimagining are also ten years, that are the '80s and the '90s and occasionally the early 00's, too. The attempt misses with clumsy gestures that scream their inauthenticity, as so many crass parasites on our nostalgia do, though not all. At the same time, I also find that even the faintest cue in an unexpected corner -- in this case, those low canted-angle shots in the music video that pick up the glint of the stage lights -- can rip through the scar tissue of time and transport me back into those little tunnels we ran through to find the treasures Mom hid for us, which is where I was myself hiding until I snapped out of it with a sudden need to know if it was Debbie Gibson or Tiffany who now sounds a bit like Kesha. (It was Tiffany, obviously.) [4]

Tim de Reuse: Is this a heartfelt homage to the cheesy sounds of the Reagan era or a cynical parody that throws out a bunch of easily recognizable sound design tropes in hopes that comedy can be measured in references per minute? I don't know. I don't think anyone involved in making this track knew either. [2]

Alfred Soto: Crushed that this wasn't a mixed-up cover of K.T. Oslin's classic, I understood anyway that this isn't meant for us -- it's meant for the thousands of fans who book passage on NKOTB's cruise. But this syncopated Frankenstein does better than expected, and the top line former stars acquit themselves with enthusiasm if not quite inspiration. I wish I could say Joey McIntyre sang as good as he looks now, and someone must remind NBN that while "O.P.P." is Poppy Bush Interzone, "Hip Hop Hooray" is not. [5]

Jessica Doyle: I was a certified preteen in 1989-90 (it was not "tween" back then) and have the remembered overidentification with Mary Anne Spier and encyclopedic knowledge of the Duke University men's basketball team to prove it. So. First: Cheryl James sounds just as great as she did; Tiffany sounds better than she did; Joey McIntyre is approximately 5,000 times more attractive than he was circa "Please Don't Go Girl," a miracle none of us deserved; and I'm glad Naughty By Nature was willing to tag along but question the absence of Digital Underground, Biz Markie, and Sir Mix-a-Lot. (One of them, surely, could have provided a more on-brand base than "The Message," which was before our apparently-eagerly-remembered time.) But it's nostalgia. which is a strange force that warps and leaves distortions in its wake. (See, for example, our "1999" entry: 21 blurbs, 39 comments, zero mentions of Columbine.) I can understand it, a bit; I'm not fond of this whole growing-old thing either, and there's a certain defiant joy in the continuity. And maybe saying I'd rather stay 40 than go back to being 12 is just a marker of how good I've had it, and my unease is privilege talking. But it still feels to me that nostalgia is more dangerous than consoling. And potentially deliberately stupid: if you're going to celebrate music, celebrate it because the music itself was worth celebrating, not because it happened to be popular during a time that's now over. During a fit of old-school dancing silliness the other night in our kitchen, my husband and I queued up "Push It." As you youngs would say, it bangs. [2]

Will Adams: Even as someone who was neither alive nor even conceived in the '80s, the cynicism of this nostalgia summit is not lost on me. Legacy tours are one thing, but an entire recorded song that achieves even less than modern day remixes as far as recapturing ~how things used to be~ feels like a profound waste of time for everyone involved. [3]

Alex Clifton: I suspect I would like this more if I'd been born in the '80s or had listened to any of these artists growing up (this is the first NKOTB song I've ever been able to identify as such). But we got "2002" and "1999," so why not the '80s, especially since synths are still in vogue? Like a lot of '80s pop music, it's fun and a bit corny, but thankfully not Ed Sheeran-corny -- no "both of our lungs" here. [6]

Joshua Minsoo Kim: I admit the title is kind of clever, but everything else is a flattened hodgepodge of ideas and sounds from artists who are shamelessly trying to relive their glory days. I can't tell if I pity or admire them. [3]

Stephen Eisermann: A touch of gimmick, a hint of features, but mostly an excess of cheese. [4]

[Read, comment and vote on The Singles Jukebox]

#New Kids on the Block #Salt N Pepa #Naughty by Nature #Tiffany #Debbie Gibson #pop #music #music review #writing

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lyndsey-parker · 7 years ago

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Girlschool’s Anna Bullbrook and Shirley Manson: ‘Women are roaring back in a massive way’

Shirley Manson and Anna Bullbrook at Girlschool 2017. (Photo: Facebook)

As the third annual Girlschool festival takes place in Los Angeles this weekend, its voices – which this year include Garbage’s Shirley Manson with the Girlschool Choir, Sleater-Kinney’s Carrie Brownstein in conversation with poet Morgan Parker, Pussy Riot-affiliated rapper Desi Mo, and the Dum Dum Girls’ Kristin Kontrol — are needed now more than ever. Following a disappointing Grammys, at which few women won any actual awards and Recording Academy president Neil Portnow controversially placed the blame on female artists, telling women they need to “step up” — Girlschool provides a sense of community “for women that don’t get the opportunity to be heard on mainstream media outlets and platforms,” Manson tells Yahoo Entertainment. “You don’t hear these voices very much at all in our culture currently. That’s what I think’s so magical about Girlschool.”

The Girlschool artistic collective was founded by Anna Bullbrook of the Airborne Toxic Event (a classically trained violinist who’s also played with Kanye West, Beyoncé, Edward Sharpe & the Magnetic Zeros, and Vampire Weekend) to “celebrate, connect, and lift women-identified artists, leaders, and voices.” Speaking with Yahoo about of this year’s event in a candid roundtable with Manson (who was last year’s Girlschool keynote speaker), the conversation gets heavy at times, but Bullbrook can’t suppress her giddy excitement over this year’s Girlschool lineup. “It’s going to be unmissable, and if you miss it, you will probably have FOMO for the rest of your life,” she enthuses. “Everybody deserves a chance to be heard, but also everybody’s so good, you’re going to want to hear them.”

Read on for Bullbrook and Manson’s thoughts on gender equality and inclusivity in music, the #TimesUp movement, why the progress women made in the ‘90s frustratingly stalled, their hopes for the future, and the power of “positive discrimination.”

Yahoo Entertainment: Shirley, how did you come to be a part of Girlschool?

Shirley Manson: I just really admired what Anna was doing, and I felt it was really vital what she was doing at that particular time. As time has unfolded since we connected, I couldn’t be more right. The need for the kind of advocacy that Anna’s doing is more vital than ever. I was really inspired when I met her, and I’ve stalked her on social media ever since, and been blown away by how much she actually does. We’re all guilty of talking a lot, just saying, “I’m supporting and doing this and doing that,” but Anna has been able to do things for other people, and I really respect that.

Yahoo Entertainment: Anna, why did you decide to start Girlschool? Did your own experience as a musician in a male-dominated field make you want to take action?

Anna Bullbrook: Yes. I think especially in the wake of this [USC] study [about the lack of representation of women in music] that was just released this week, we’ve all seen the statistics, which very much confirm my experience — our experiences as the female members of the bands that we’ve been in, and coming from the rock space. It’s a very lonely position to be in. … It wasn’t until probably eight years that I started to really notice and miss the company of other women. I had this perspective shifting experience with Rock ‘n’ Roll Camp for Girls L.A. I was a speaker, and it was the first time I’ve ever been in a space that was 100 percent women-identified people coming together in an intentionally positive way around making music. I’d never had that experience. After that experience, I was so hungry for more of that. I couldn’t unsee what I had seen, and I couldn’t exist without it going forward.

I’m actually really excited that we actually have hard data now that we can point to and say, “This is a problem, look. We’re not just making it up. There really is this incredible disparity.” What would music sound like if it were more inclusive? What would happen if all the incredible women producers that I know were actually given a chance to make a record, or someone would take a chance on them with a budget? What would happen if songwriters were women too? What would music sound like? It’s very exciting to have truth and have facts that we can look at, that we can actually assess where we are, then keep working towards a beautiful, brighter future — look back at the numbers and see if you’ve measurably moved the needle.

Manson: Statistics are really depressing. We all know that that’s not because women aren’t great musicians. There’s something amiss here. I guess we’re all trying to struggle to figure out why this is the case, whether it’s that women don’t have the confidence necessarily to push themselves into the spotlight, or whether they’ve not been given the chance to stand in the spotlight. I think there are multiple reasons why women are not engaged in music in the same way as their male counterparts. That has to change, and I think what Anna is doing, it’s positively trying to change how women view themselves and to give them this confidence and joy — the joy that you get from playing music.

Yahoo Entertainment: The ’90s, an era when Garbage came to prominence, is a decade I look back on fondly. At that time, it seemed like the issues we’re discussing now we’re in the process of being erased. So many bands that I like were coed, or all women bands, or female-fronted. Lilith Fair, Alanis Morissette, Riot Grrl, Courtney Love, the Breeders, Liz Phair – the list goes on. Then I feel like everything regressed, or it stopped. Do you have any thoughts as to why that progress didn’t continue?

Manson: I’ve been saying this for years now. I think when Sept. 11 occurred, it not only was a horrendous tragedy, but it affected the culture and it affected American radio programming. All of a sudden everybody in the world felt really unsafe in ways that we had never ever felt before. As a result, humanity gets conservative. When humanity feels under attack, when it feels threatened, it gets conservative, and nobody wants a woman with opinions, or an aggressive woman, or a powerful woman, at times when white men are feeling under threat. It’s oversimplifying it to put it like that, but I do essentially believe that that is what was at play. Like you say, everything was on this amazing trajectory, and then all of a sudden it was like the car turned around and headed back down the road. It’s never changed direction since. It’s really rather frightening and really disheartening because when we emerged in the ’90s, it really felt like women were piercing through the glass ceiling. In some ways we definitely were, but unfortunately, that change has not continued.

You mentioned Lilith Fair. I didn’t want to participate in Lilith Fair. By the time we were invited to go on that tour, I didn’t want to do a fully female-oriented festival. It was against everything I believed in. But now I feel like it’s necessary for me to put my weight behind women’s interests. I feel like that because the times have changed. The climate’s different, and I think it’s a matter of urgency for women to galvanize.

Yahoo Entertainment: That is an interesting point, actually, because there is a mindset that sometime doing things that are solely all about being women, whether it’s Lilith Fair or the She Rocks Awards, or even Girlschool, it’s making women be “other,” putting them off in a little side category.

Bullbrook: Actually, Shirley and I were talking about this. As two women in bands that have had some levels of success, we don’t have that many peers. I would say just from my experience being out there in the professional landscape, life got very lonely. So just the experience of seeing so many women-identified people as artists, technical people, and speakers in one place, it’s so exciting. I think that is the intention behind a lot of girls’ groups: When there’s a lot of really amazing people together who feel some kind of kinship with each other, that feeling of community feels very enriching. And I think if you do it in a way that is inclusive and includes everybody on the gender spectrum — and that includes men — then you’re creating something really beautiful, exciting, and positive. It involves the whole community. I do agree that if you completely separate yourself, it’s not as effective as it could be.

Manson: I think when I was younger, I guess I didn’t believe in “positive discrimination,” and now as I’ve gotten older, I’ve realized we will never break the mold and the old patriarchy unless we do recognize that women of all colors are not as privileged as men of all colors. There has to be some way that we break that. A lot of people point at positive discrimination and say, ‘This isn’t cool.” I was guilty of that myself when I was younger. But the political climate is such and the actual statistics are such that I really feel that positive discrimination is the only way we will actually change the course.

Bullbrook: I tend to think this about feminism in general, but I think it has to be inclusive and representative across the board: color, identity, religion, ability. I feel like it’s really incredibly important to make sure that if we want to move forward we do it together, and we do it from a very intentional and considered way. I feel like any effort which just is one group of people, one type of woman, so to speak, misses the point entirely.

Yahoo Entertainment: At Girlschool last year, there was a panel discussion about sexual harassment in the music business. This was well before harassment became the topic of national discussion that is now.

Bullbrook: I think these things go in cycles in the media. I am heartened to see so many people engaging with it, and I hope that in the process of building a big cultural moment actually results in people teaching our children how to be better people, people teaching their children about equality, people teaching their children about consent and what it means to be a good person, no matter what your gender is. I really hope that we see some change from this, but I think to be a woman in the world is to engage with the constant fear of sexual harassment and the fear of sexual assault. … I would love to see a world that feels like Girlschool, where when you’re there, you actually don’t have to worry about that for a little while.

Yahoo Entertainment: Sometimes I do worry that #MeToo and #TimesUp will be seen as some “hot new trend” — meaning, in the media will get tired of reporting about it, or people will be tired of reading about it, just because there’s been such a media saturation for the last six months or so. I almost fear people will fatigue of these stories and then not take them seriously anymore.

Manson: I feel a little concerned too, that people’s ears just start to shut down and get bored and move onto another topic. But I do agree with Anna. I feel like the conversation is being had and it is a really significant cultural moment, and it’s on everybody’s lips. I think that will affect a generation of men and women — or everyone on the spectrum, let’s say. I think it’s never going to change people who have serious sexual problems. There’s always going to be predators out there, and they will prey on anyone. No amount of discussion and no amount of analysis will ever change that; some people are sick in the head, and that’s just how it goes. But I do think it will give pause to the average [man of] power and privilege that thinks he can just take what he wants, when he wants, without consequence. I do think that’s one of the greatest things that we’ll take from this moment in time.

Above all things, we must encourage people to speak out, and continue to speak out. It’s about using your voice. If you don’t use your voice, you’re eradicated by history. That’s just how it’s always been. You must be a witness to your own experience. And at this time when we’re all so busy broadcasting, we really all need to stop and listen, and actually pay attention, and see, and hear, and try, and reeducate our children. A lot of it’s about education. It’s about teaching people what is right and what is wrong, what’s appropriate and what’s not.

Yahoo Entertainment: Do either of you have any stories about how you’ve been discriminated against, or just in general treated differently, poorly, because of your gender?

Bullbrook: Well, I think the insidious thing about bias is sometimes it’s hard to see it. I think it’s hard to even know when it’s happening to you, because we’re all biased. The sad thing is, everybody is biased against women — including other women. We might just look at two people, two different candidates for something, and think one is just worse for some reason. We don’t know why, but one happens to be the woman-identified candidate. It blew my mind when I actually started understanding the idea of bias and looked around. I started to see it everywhere — in myself, in others, in experiences I’ve had. I look backwards with a whole new pair of glasses and can see all of these colors I’ve never seen before.

I’ve had those very obvious experiences where the label executive suggested I wear a see-through skirt in New York City for a photo shoot. This was the head of the label who holds the purse-strings for the marketing budget. Some members of my band were like, “Don’t do that. You’re going to be uncomfortable.” I was like, “Really? You want me to show my butt?” Some of that stuff happens, but I feel like more often than not, because I was with really good people, the way it plays out is much more subtle and hard to notice, unless you actually open your eyes to it. I know Shirley’s had some other experiences.

Manson: I feel like it happens to women every day, in really subtle ways. As Anna said so rightly, often you can be slow yourself to detect it, to have a clarity about what has happened. You’re not always aware of that when all the male record execs are commenting on your hairstyle. It’s only a few years later that I’m thinking, “What the f***? What’s my hair got to do with you? You wouldn’t be talking about a male artist in this way!” I was an object. I was too young, and too naïve, and too vain to really detect it at the time, but now looking back, I’m like, “That was just ridiculous.” More than that, I think in business I have just been completely ignored a lot of the time by male lawyers, and managers, and business managers. Everything’s directed towards my male counterparts. They would talk to me maybe about what shoes I wanted to wear. It continues to this day.

Yahoo Entertainment: How did you handle that, especially when you were first starting out?

Manson: I’m very aware that during the very first part of my career, I played submissive dog all the time. I wouldn’t come into a work situation and say, “This hi-hat doesn’t sound good to me.” I would fudge the margins and deliberately dumb myself down, use simple language and try not to be threatening. I would never take ownership over any directive. I knew that if I didn’t act like a submissive dog, I wouldn’t get what I wanted. Men don’t have to do that; women continue to have to do that often. You’ll see it in a lot of female execs. They’re very fun, and energetic. I feel that that’s methodology to get what they want, but men can be as grumpy and unpleasant as they wish and nobody has a word to say about it. If a woman acts that way, she’s a c***, literally. She’s a “bossy c***.”

Yahoo Entertainment: It’s interesting to talk about this stuff, because recent onslaught of media headlines is definitely more focused on the crazy, shocking, violent stories. But these stories you’re telling now are also important. I think it’s important to talk about how incidents that maybe don’t seem nearly as dramatic, or traumatic, also take their toll.

Bullbrook: I’m hoping that Girlschool can create a really warm, engaging, and high-quality story around this incredible talent and create enough of a conduit so that we can start catapulting more artists who are already here. The industry is full of talented women who are working in the music space in some capacity. Let’s start pushing them into opportunities out in the mainstream, and let’s start pushing them and giving them the experience they need to go get a paying job. Let’s create jobs for them, so then they have the experience at a high level where someone finds them undeniable. If you can create this positive and action-oriented space, it’s also just really fun to be a part of. I’m hopeful about where we can go with things in the future. This is really positive for all of us who are involved in it.

Yahoo Entertainment: I love the idea of community, because you touched on something interesting: women sometimes being biased against other women. I think that is such a shame.

Bullbrook: I feel like, yes, there’s bias, but it is a myth that women don’t support each other. I think when given the opportunity, we do. It’s magic, it’s incredible. I can’t feel anything other than hopeful, because of what I see every day in my personal experience and work. I see too many good things that happen when women come together to believe that we’re not supportive of each other.

Manson: Well, I have to disagree and agree. I’ve been on the receiving end of both situations. I’ve enjoyed phenomenal support from incredible women, and I’ve also seen the panicked, fearful, defensive approach by a lot of other female artists who never, ever seem interested in supporting or speaking out on behalf of another female artist. I think ultimately it speaks of the way our culture is, which is all based on fear of lack of opportunity. For women in general who are getting less opportunity than their white male counterparts, I think they feel if one woman flourishes, automatically all the other women in the room don’t. Of course, I don’t believe that’s the case at all, and until women really support the women they see flourishing, we’ll never change the lack of opportunities. Similarly, white women have to get the backs of their black sisters and women of color. We all have to start recognizing how can we break down the system that we are currently oppressed under. These are big words and it sounds dramatic — but I think it is quite dramatic, really.

I think, again, it goes back to education. We need to educate our children differently. We’re still teaching them that girls do housework and boys get to run out and get dirty in the yard. It’s just crazy that these stereotypes still exist. We have yet to really break that down. I just feel like boys are encouraged to take up room, and girls are encouraged to make themselves small. Boys are encouraged to be loud and boisterous; girls are supposed to be ladylike and quiet. I think all these things are what lead to these weird imbalances in our culture, and it has to change. This is not good for anyone. Yes, particularly in the arts, you’ll find pockets of incredibly supportive women collectives and movements, but out in the world at large I don’t see a lot of support from women for other women. I see a lot of bitchiness, criticism, judgments, and snickering behind girls’ backs. I don’t know, that’s just my perception of the world. I’ve worked with men a lot in my career, and men are much more forgiving to themselves and to each other. Women are really unforgiving of themselves and each other. These are sweeping statements, and it’s not by any means a rule of thumb, but that’s what I’ve witnessed in my life.

Yahoo Entertainment: How do you see what’s going on musically now — especially as it pertains to women-identified artists –reflecting what’s going on politically, culturally? And where is that going?

Bullbrook: I’m just so deep in this festival coming up, and I’m just excited about what we have around us. I’m enthralled with how much different talent there is. I’m excited to see what happens when we get all those different people together under one roof, bringing different audiences together. I feel what’s happening, especially with people ages 15 to 25 these days, around gender and unboxing these gender types and creating a bit more freedom within everything. I feel so hopeful. I know that history and statistics show that maybe I shouldn’t be hopeful, because it’s really hard to make a change, but I have to believe in a better future — because if I didn’t, what would I work towards?

Manson: I also feel really optimistic, and I feel that there’s a whole new wave of really provocative, smart, informed women making music that’s much more rebellious/provocative than the last 20, 15 years. I feel like there’s a real upswell from women who have something to say, who are not interested in putting on a leotard and singing pop music. Now, that is a huge shift, because certainly 10 years ago, that’s all you saw: girls wanting to be pretty. They were all wearing long nails painted glamorously, they were all very ladylike, and they were all singing pop songs either about having a great time in a club, falling in love, having their hearts broken, or being forever young. Things have definitely shifted.

I feel like we have had 20 years of forceful women being pushed back, now the women are roaring back in a massive way. And I do feel that that will then, again, push women’s rights and women’s fortunes forward. Let’s face it, I have a better life than my mum did. My mum didn’t get to choose what she did for a living. My mum basically would keep house, and get a f***ing allowance from my father. I grew up in a very conservative household, and my granny also didn’t have freedom. And neither did her mother before her. I do believe in the concept of evolution really strongly. When I talk to young women now, they’re way smarter than I ever was. So, I just have to believe that the next generation are going to continue that. Human nature is going to continue to evolve, and everything’s going to be OK in the end.

Girlschool takes place Feb. 2-4 at the Bootleg Theater in Los Angeles. Click here for tickets and the full lineup.

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