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newstfionline · 6 years ago

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Headlines

Right-Wing Party Wins Power in Canada’s Oil Region, Attacks Trudeau on Environment (Reuters) A right-of-center party swept to power in Canada’s main oil-producing province of Alberta on Tuesday and attacked Prime Minister Justin Trudeau’s efforts to fight climate change, raising tension just months ahead of a federal election.

U.S. Health Officials Probe Multi-State Salmonella Outbreak (Reuters) U.S. federal health officials said on Tuesday an investigation is underway over a multi-state outbreak of Salmonella Newport infections linked to frozen ground tuna, which were imported into the United States by seafood retailer Jensen Tuna.

Mexico President Sets Aside Education Reform (AP) President Andrés Manuel López Obrador ordered his Cabinet ministers Tuesday to ignore the education reforms put in place by the previous administration while congress tries to work out replacement legislation.

Hundreds of Prisoners Released in Nicaragua Before Protests Anniversary (Reuters) Nicaragua’s government released 636 prisoners on Tuesday as embattled President Daniel Ortega seeks to consolidate his hold on power nearly one year since the beginning of the biggest protests to shake his government.

London Braces for Rail Disruption by Climate-Change Protesters (Reuters) London was bracing for disruption by climate-change activists to underground train services on Wednesday after protesters blocked some of London’s most important junctions including Oxford Circus and Marble Arch.

$1 Billion Raised to Rebuild Paris’ Notre Dame After Fire (AP) Nearly $1 billion has already poured in from ordinary worshippers and high-powered magnates around the world to restore the fire-ravaged Notre Dame Cathedral in Paris, after the French president set a controversial five-year deadline to get the work done.

Hungry for Change, Ukrainians Set to Elect Comedian as Next President (Reuters) Ukrainians fed up with entrenched corruption and hungry for change are likely to elect Volodymyr Zelenskiy, a comedian with no previous political experience, as their next president in a run-off vote on Sunday.

Myanmar Pardons More Than 9,000 Prisoners in New Year Amnesty (Reuters) Myanmar began releasing more than 9,000 prisoners from jails on Wednesday, after the president announced an amnesty on the first day of the traditional New Year.

Murder-suicide flames tensions between Okinawa residents and U.S. troops (Washington Post) Police in Okinawa discovered a grisly scene of murder-suicide Saturday, a culmination of what military officials had already suspected: Navy corpsman Gabriel A. Olivero had a history of violence. Olivero, 32 fatally stabbed an unidentified woman on the island, southwest of mainland Japan, before turning the knife on himself, Stars and Stripes reported. The slaying has inflamed decades-long relations between thousands of U.S. troops and Okinawans, many of whom resent the American presence there.

Indonesia goes to the polls (Reuters) More than 192 million Indonesians are eligible to vote in presidential and parliamentary elections on Wednesday after campaigns focused on the economy, but with political Islam looming large over the world’s biggest Muslim-majority nation. President Joko Widodo, a former furniture salesman who launched his political career as a small-city mayor, is standing for re-election in a contest with ex-general Prabowo Subianto, whom he narrowly defeated in 2014.

Israel Demolishes Home of Suspected Palestinian Attacker (AP) The Israeli military has demolished the family home of a Palestinian suspected in a drive-by shooting against Israelis in the occupied West Bank.

UAE Minister Hails Trump’s Veto of U.S. Congress Resolution on Yemen (Reuters) United Arab Emirates Minister of State for Foreign Affairs Anwar Gargash hailed President Donald Trump’s veto of a congressional resolution that sought to end U.S. involvement in the Saudi-led war in Yemen.

Egyptian President Sissi wins approval from lawmakers to stay in office until 2030 (Washington Post) Parliament voted overwhelmingly for constitutional amendments to extend President Abdel Fatah al-Sissi’s rule and greatly enlarge his powers.

Shelling in Libyan Capital Kills Two, Wounds Eight: Tripoli Official (Reuters) Late night shelling in Libya’s capital Tripoli killed two people and wounded eight, a Tripoli emergency department official said on Wednesday.

150 Missing After Shipwreck in Eastern Congo (Reuters) About 150 people are missing after a boat sunk on a lake in eastern Democratic Republic of Congo, President Felix Tshisekedi said on Tuesday.

#headlines

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millarlawfirm · 3 years ago

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Results Matter! The Millar Law Firm recently obtained a $2.1 Million dollar judgment for the victim of a dog attack in Clayton County, Georgia. At the contested damages hearing, Attorney Justin Olivero presented evidence of the clients’ past pain and suffering as well as the pain and suffering the client would endure in the future because of the defendant’s negligence and the dog's attack.

#case results #millar law firm #atlantaadvocate

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stephensdesk · 4 years ago

Video

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Saucony - “You, but faster”

Agency: Forsman & Bodenfors NYC

Creative Director / Copywriter: Johan Olivero

Creative Director / Art Director: Johan Eghammer

Copywriter: Justin Cannon

Head of Production: Kim Jose

Producer: Laura Peguero

Production Company: Greenpoint Pictures

Director: Jesse Heath

Head of Production: Karen Berkowitz

Executive Producer: Tatiana Rudzinski

Line Producer: Kennedy Davey

Editorial: Greenpoint Pictures

Producer: Victoria Vallas

Editor: Joe Walker

Color: The Mill

Colorist: Josh Bohoskey

Sound Design

Sound Designer / Mixer: Ben Freer

Music: Eagle Blakk, Michael Isaac

#Saucony #dog #dogs

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iowamusicshowcase · 7 years ago

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IHEARIC PODCAST - Episode 21: May Concert Preview (04/29/2018) https://ift.tt/2JN9sCb

Folks, we have a concert this Saturday, May 5th at 2pm. That's the main motivating factor for this week's episode of iHearIC Radio, where we listen to recordings of poet Laura Felleman, musician Joshua Johnson, and members of the iHearIC Oliveros Ensemble. The show will be at Riverside Festival Stage in City Park, and you can check out all the details and rsvp here on facebook: https://www.facebook.com/events/190222161704598. This is the last concert of our Spring 2018 season, so it's your last opportunity to catch one of these before we take our Summer break. Come hang out with us at the park! Make sure you also check out the upcoming Black Stork*/Asher Brown show on May 11th at Trumpet Blossom: https://www.facebook.com/events/1781343651887209 (*iHearIC organizer Carlos Cotallo Solares) And the day after that you can also enjoy the Iowa Dance Festival Concert in Coralville, featuring some music by our very own Justin K Comer: https://www.facebook.com/events/185419328927494 Next week's radio show (May 6th) will feature recordings from the May 5th concert and some guests from Professor Trevor Harvey's Diversity in Music class! This episode features music by: Joshua Johnson (https://www.facebook.com/thehighwatermark) Louis Andriessen (http://www.boosey.com/pages/cr/composer/composer_main?composerid=2690) David Beyer (https://www.facebook.com/pg/paleonathmusic / https://www.youtube.com/channel/UCKIlJw5eWrmC9nQScRuAFEQ / https://twitter.com/paleonath) Justin K Comer (http://justinkcomer.com / https://www.youtube.com/user/JustinKComer / https://justinkcomer.bandcamp.com / https://soundcloud.com/justin-comer-1 / https://www.facebook.com/justinkcomer / https://twitter.com/justinkcomer) Marissa Flemming Kenken Gorder (http://www.kenkengorder.com) Alex Spenceri (https://soundcloud.com/alex-spenceri / https://www.youtube.com/channel/UCrTsq6rhxIIEwt_NFdN4WXQ) Teddy Van Winkle Will Yager (https://soundcloud.com/will-yager / https://twitter.com/willyager) Merrill Miller (https://www.facebook.com/merrillmillermusic / https://merrillmiller.bandcamp.com) David Clair (https://davidclair.bandcamp.com) Asher Brown (https://asherbrownmusic.com / https://www.facebook.com/asherbrownmusic / https://www.youtube.com/channel/UCQKJMRoU5X_QJPvM9yItymA / https://soundcloud.com/asherbrownmusic / https://www.bandsintown.com/a/12250694 / https://open.spotify.com/artist/3vlkFn8yanHZrVDgsxZMj7 / https://www.instagram.com/asherbrownmusic / https://twitter.com/asherbrownmusic / https://asherbrown.bandcamp.com) spoken words by: Laura Felleman (http://formandpower.blogspot.com) Kassia Lisinski (https://substration.wordpress.com) and inaudible dancing by: Dot Armstrong Direct mp3 link: https://archive.org/download/20180429Ihearic21/2018-04-29%20ihearic%2021.mp3 http://ihearic.com https://www.facebook.com/ihearic https://twitter.com/ihearic https://youtube.com/ihearic https://www.gofundme.com/ihearic https://itunes.apple.com/us/podcast/ihearic/id1332224527 https://play.google.com/music/listen?u=0#/ps/I72sphfyva37bupflw5xx7cc72e https://www.mixcloud.com/iHearIC/ https://ihearic.blogspot.com/ http://iowamusicshowcase.blogspot.com/search/label/IHearIC%20podcasts RSS: http://feeds.feedburner.com/ihearic PREVIOUSLY ON IOWA MUSIC SHOWCASE: YOUR OWN PRIVATE IOWA - Episode 29: Christopher The Conquered http://iowamusicshowcase.blogspot.com/2018/05/your-own-private-iowa-episode-29.html IHEARIC VIDEOS - Dana T, a Violinist, and a Chorus http://iowamusicshowcase.blogspot.com/2018/05/ihearic-videos-dana-t-violinist-and.html PLAYLISTS - Random Iowa Music on Bandcamp 2 http://iowamusicshowcase.blogspot.com/2018/04/playlists-random-iowa-music-on-bandcamp.html JAZZMAN JOE VIDEOS - Tina Haase Findlay sing Ella Fitzgerald at Noce in Des Moines on Apr 21. 2018 http://iowamusicshowcase.blogspot.com/2018/04/jazzman-joe-videos-tina-haase-findlay.html IHEARIC PODCAST - Episode 20: More Guests Than Microphones (04/22/2018) http://iowamusicshowcase.blogspot.com/2018/04/ihearic-podcast-episode-20-more-guests.html THREE RANDOMLY PICKED PREVIOUS POSTS.... PLAYLISTS: A Playlist for Street Heat and the Eclipse http://iowamusicshowcase.blogspot.com/2017/08/playlists-playlist-for-street-heat-and.html JAZZMAN JOE VIDEO - DMACC Chorus Ensemble with Simon Estes on Dec 8, 2017 2017http://iowamusicshowcase.blogspot.com/2017/12/jazzman-joe-video-dmacc-chorus-ensemble.html OTHER SOURCES: A list of websites, podcasts, and playlists for Iowa Music http://iowamusicshowcase.blogspot.com/2016/07/other-sources-list-of-websites-podcasts.html

#IFTTT #Blogger #Iowa #Iowa Music #Iowa Artists #Iowa Bands #Music of Iowa #Midwest #The Midwest #Mid

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critdecomp · 7 years ago

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Listening #3: learning to play nested environments (technical and natural)

James Tenney - Analog #1 (Noise Study) (1961, Bell Laboratories)

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I learned to hear these sounds more acutely, to follow the evolution of single elements within the total sonorous “mass,” to feel, kinesthetically, the characteristic rhythmic articulations of the various elements in combination,etc. Then I began to try to analyze the sounds, aurally, to estimate what their physical properties might be drawing upon what I already knew of acoustics and the correlation of the physical and the subjective attributes of sound.

Tenney (born 1934) is widely considered as the first composer to make a piece of purely digital music, Analog #1. Zavagna et al. deconstruct the piece along multiple axes in their 2015 paper, but the point of interest here is the parallel development of Tenney’s understanding for his living environment (specifically, the trip between his Manhattan home and Bell Labs in Murray Hill, via the Holland Tunnel) and his work environment, the MUSIC-III system as assembled by Mike Matthews.

In the quote above, Tenney describes his learning to enjoy and productively experience the sounds of the Holland Tunnel, which links New Jersey and New York by going under the Hudson. The experience will seem familiar to those acquainted with the early works and philosophies of Pauline Oliveros and John Cage: attentive (deep?) listening allows for a new, productive perspective on traditionally unpleasant sounds.

Tenney had no necessity to find beauty in the resonating white noise of his daily commute, yet this gentle self-discipline parallels his effort of learning still-developing MUSIC-III. In this iteration of the software, Matthews introduced the concept of unit generator, or u-gen. These u-gens enable Tenney to implement an instrument, which he would re-use in later pieces and describe in his 1963 article Sound Generation by means of a Digital Computer:

Unfortunately Noise Study used custom u-gens for which the code has been lost (Zavagna, 2015), but this diagram show the basic signal flow for each of the 5 digital instruments (Music-III works based on an orchestra/score separation, and Tenney used 5 copies of this instrument for Noise Study). Oscillators are mixed, some via a Random u-gen, and then processed further. Tenney adds:

For center frequency, the toss of a coin was used to determine whether the initial and final values for a given note were to be the same or different (i. e., whether the pitch of the note was constant or varying). In order to realize the means and ranges in each parameter as sketched in the formal outline, a rather tedious process of scaling and normalizing was required that followed their changes in time.

The multiple levels of indeterminacy form a second parallel with Cage. Tenney is using the semi-chaotic nature of the tunnel as a prompt to make sense of the possibilities offered by Music-III.

http://www.musicainformatica.org/listen/james-tenney-selected-works-1961-1969.php

The remake of James Tenney's Analog #1: Noise Study, a didactic experience - Paolo Zavagna, Giovanni Dinello, Alvise Mazzucato, Simone Sacchi, Dario Sevieril - LIEN, 2015

http://www.allmusic.com/composition/analog-1-noise-study-mc0002498856

Kahn, Douglas. "James Tenney at Bell Labs." Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts. MIT Press, 2012: 131-46.

Tenney, James C. "Sound-generation by means of a digital computer." Journal of Music Theory 7, no. 1 (1963): 24-70.

Ellen Fullman - Flowers (Through Glass Panes, Important Records, 2011)

A composition made using the long string instrument made by Fullman (born 1957) and featuring violin and cello, this reflects a lifelong practice of experiencing a natural system (that of the long strings) and exposing this knowledge through sound.

Justin Yang, lecturer in the arts department at RPI, was explaining to our class today that visiting Fullman’s lecture made him realize how much skill playing the long string instrument takes. Rosin gloves are an odd way to play strings - Justin described how although he could get the strings to resonate, the overall output of his interaction with the system was overall “pretty terrible” compared to Fullman: he concluded that just like with other systems, the long string instrument offered space for expertise. Fullman had dedicated her career to it because it deserved that level of attention.

Rather than using insight from an existing physical system to illuminate a constructed, digital one like Tenney, Fullman is reframing traditional acoustic instruments (violin, cello) in the context created by her long string instrument.

Fullman, going further than simply comparing timbres as in the diagram above, elaborates:

I have the sense that my instrument is an open system, responsive to frequencies being played by other musicians and by the resonance of the room itself. When another musician’s sound reinforces my tuning, I can even feel a buzzing energy driving my strings to resonate using very little pressure from my fingertips. A dead room is very unflattering to the sound of my instrument. The Long String Instrument is complemented by a resonant room, unlike a cello, for example, which has a self-contained resonance and beauty of tone within its own body that a resonant room merely enhances. The artifacts that my instrument produces are at the core of my work. I find myself feeling lost in a dead room; I do not know how to move. It is as if my instrument itself has disappeared like a phantom, because I think I am actually playing the resonance of the room.

Here we have a different agencement of environments: the long string instrument, interacting with her, the other musicians and their instruments, all interacting with the space. By making the resonant body of her system the room in which she installs her system (rather than an artificial electronic tunnel like Tenney does) the implementation of this learning is different, but the modes of investigation offer parallels.

Fullman, Ellen. "A compositional approach derived from material and ephemeral elements." Leonardo Music Journal 22 (2012): 3-10.

György Ligeti - Artikulation (composed and notated 1958)

Ligeti (born 1923) and this early piece explore another environment, that of language, as mediated through electronics. One of his few Cologne pieces, he describes it as:

'Artikulation' because in this sense an artificial language is articulated: question and answer, high and low voices, polyglot speaking and interruptions, impulsive outbreaks and humor, charring and whispering.

Elaborating on the modes of productions of this piece in another publication:

First I chose types [of noise, or artificial phonemes] with various group-characteristics and various types of internal organization, as: grainy, friable, fibrous, slimy, sticky and compact materials. An investigation of the relative permeability of these characters indicated which could be mixed and which resisted mixture.

Again, we have the exploration of a natural phenomena (speech) through the lens of an abstraction (a phoneme-deconstruction of language) and expressed through the creative use of a technology.

The parallel between Rainer Wehinger’s post-facto score for Artikulation and the one devised by Alvise Mazzucato for Tenney’s Noise Study also offers another point of comparison relevant to this concept of environmental exploration. Beyond the straightforward stylistic commonalities and differences, these scores, along with Fullman’s unique notation system, reflect the paths used to traverse these environments and the exploratory nature of that travel.

Éliane Radigue - Usral (1969)

Artist’s statement from the Cambridge Companion to Electronic Music

Radigue’s early work is composed of recordings of feedback loops as re-framed by thorough tape-editing. Radigue (born 1932) decided to exploit her ability to manipulate the feedback sound of a microphone aimed at speaker. She used this material as the building blocks of compositions, though the use of tape editing techniques. Having met and socialized with Tenney, and seen the early days of Musique Concrete in Paris, Usral very much fits within the systems exploration of the pieces discussed above. In this case, the organization of sound is a thoroughly personal choice, and yet she uses the word vocabulary in the above statement, offering a connection to Artikulation.

Radigue’s musical language - not based on artificial phonemes like Ligeti, but rather closer to the drones of Fullman’s string instrument, exposes her development of an affinity for the sustained sound afforded by feedback and her intellectualization of a possible structure to fit it in.

This new combination of used / modeled systems - electroacoustics and purely electronic, pushes us in the direction of a taxonomy of played / inspiring enviroments.

http://daily.redbullmusicacademy.com/specials/2015-eliane-radigue-feature/

A potential criticism of this critical angle is that, well, a fair amount of contemporary music is concerned with the “exploration” of systems. However, a taxonomy of the architectures of technology and listening that make up this underlying trend in electronic sound could probably still use some organizing (at least in this post). Let’s go back over the models / implementations for each piece:

Analog #1: human system (holland tunnel), mediated by MUSIC-III

Flowers: natural system (a resonant room), mediated by Fullman’s long string instrument (a human system) in coordination with occasional traditional instrument.

Artikulation: speech (a natural system) as re-imagined by Ligeti through electronic sound (an electronic system).

Usral: electroacoustic phenomena (feedback) as re-presented by Radigue and her tape players.

This space may be more than 3 dimensional, working with spectra rather than binaries. There is a human dimension, an electrical dimension, and a constructed dimension, perhaps more. Just like instruments define the musical space within which a performance or composition can operate, these “environments,” whether imagined or real, define the ideological space in which that instrument is used. Each composition can be read as a compromise, or intersection of those spaces at a particular time. Mathematicians build abstract models of reality to better understand an aspect of it, knowing (usually) that the simplifications made along the way sacrifice some of the model’s overall accuracy to the benefit of more precisely representing one of the underlying phenomena. In this case, these creative machines, as George Lewis would call them, allow each composer to reduce the freedom offered by a musical practice into a more manageable space for them to explore.

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dustedmagazine · 6 years ago

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Dust Vol. 4, Number 11

Blink and 2018 is just about over, at least in terms of music releases, at least if you don’t follow best ofs, mainstream hip hop or holiday music. As we close in on another year of amazing music—but what year isn’t, really?— Dusted takes a moment to dig through the piles and write some short, mostly positive reviews of albums that might have gotten slept on. As usual, writers follow their interests through expansive drone, transcendental folk, incendiary free-jazz, metal, punk and gospel-tinged Americana. Contributors this time included Ethan Covey, Justin Cober-Lake, Jennifer Kelly, Bill Meyer and Jonathan Shaw.

Bitchin Bajas — Rebajas (Drag City)

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Bitchin Bajas are a band made for deep exploration. Their hallucinatory, drone-based excursions are like an old couch — sink in, stretch out and stay a while. Rebajas, released this fall by Drag City, makes that task simple. The seven CD set features most everything the band has released since their debut in 2010: eight full albums and their contribution to various split albums. If you’re dipped into Bitchin Bajas previously, you’ll know what you’re getting. (And if you haven’t there’s little chance this package, or this review of it, is where you’d start.) That said, for those with a long drive, or a monk-like attention span, settling in and tracking the territory of the band’s evolution is rewarding. While the themes — of drone, calm, repeating bass and synth figures — remain constant, the band isn’t a one trick (or one note?) pony. Deep listening uncovers the variety between shorter, bloop-and-hum pieces from Tones/Zones (Disc 1) and the meditative, cycling layers of “2303” from last year’s Bajas Fresh (Disc 7). And there are moments that peek up from the soup: “Bajas Ragas” adds hand percussion and a loping bass line for one of their most engaging concoctions—fit for a slow-motion dance floor in a submerged city of the future. Missing, unfortunately, is their 2016 collaborative album with Bonnie “Prince” Billy, the excellently-titled Epic Jammers And Fortunate Little Ditties. As is this intriguing gem of Rolling Stones covers. Yet, with just shy of seven hours of music, I doubt many will sweat their absence. There’s more than enough to disappear into. And, if this review hasn’t spelled it simply enough, this is quite possibly the trippiest music out there. So, set your intentions and bon voyage.

Ethan Covey

Nathan Bowles—Plainly Mistaken (Paradise of Bachelors)

Plainly Mistaken by Nathan Bowles

Nathan Bowles, banjoist, percussionist and citizen of New Weird America, departs from his plain-spoken directness in this fourth album and makes a welcome detour into open-ended psychedelia. Right from the dreamy, drifty “Now If You Remember,” you sense a soft-focus open-ness to otherworldly experience. The cut, written by the seven-year-old Jessica Constable and included on Julie Tippett’s 1976 Sunset Glow, shifts and shimmers in ways that Bowles percussive banjo ditties have rarely done. Yet the album’s transcendental heart comes in “The Road Reversed,” where a pounding, dancing rhythm kicks among long, velvety bowed tones, and banjo notes bend into raga-like half-tones. Folk Americana frolics amid deep-toned Eastern meditation, and where one begins and the other ends is hard to say and, also, beside the point. There are, for sure, some traditional touchpoints—“Elk River Blues” (a tune by Ernie Carpenter that Bowles revisits here), “Fresh and Fairly So” and “Stump Sprout” will all satisfy fans of the twang and the twitch. Yet what lingers, for me, are the ones that stray from past experience, the slow, solo ambiguities of “Umbra,” the shadowy flurries and shifting dissonances of “Girih Tiles.” What Bowles’ well-turned work has lacked till now is mystery, and here it is at last.

Jennifer Kelly

Mike Farris — Silver & Stone (Compass)

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Mike Farris's long, strange career flamed briefly with the alt-rockers Screamin' Cheetah Wheelies in the 1990s. After that, Farris rejected his rock 'n' roll lifestyle and grungy sound in a move toward gospel and soul. The surprise of the transition wasn't the partier-to-Christian story but the discovery of how strong Farris's vocals are. On Silver & Stone, he has less of a gospel focus, but down in some swampy soul music (with bits of brighter pop), he shows off that voice. He's willing to take on Bill Withers (“Hope She'll Be Happier”) and Sam Cooke (“I'll Coming Running Back to You”) — not tasks usually recommended — and he comes out of it just fine.

The album fits a sort of arc for his solo career. It lacks the new-convert punch and joy of Salvation in Lights, but it shifts into more thoughtful reflection. Where he had been celebrating, now he's considering how to live. The explicit religion has mostly disappeared, but Farris's songs still run on hope and a big heart. The sorts of ideas at work on Silver & Stone synthesize on “When Mavis Sings,” a tribute to Mavis Staples and serves as a sort of musical and personal model. Farris, whether in rock or soul, the church or the club, presents a focused vision with enough groove to carry it through.

Justin Cober-Lake

Tim Feeney — Burrow (Marginal Frequency)

MFCS K | Tim Feeney - Burrow by Marginal Frequency

Burrow can be read as both an explanation and an instruction. Percussionist Tim Feeney begins each of this tape’s four pieces (two per side, and if you purchase a download you’ll get a file of each side, not each piece) in similar fashion, beating out a pattern with minimal variation. As the performance progresses monotony gives way to fascination as Feeney slowly reveals a beat’s potential variations. At a certain point things change. Are you hearing more because he threw something on the drum skin, or because your concentration is unlocking that drum-strike’s secrets, or maybe both? Treat this tape like a meditation guide, one that helps you to dig into the sound and see what treasures you find.

Bill Meyer

Forever House — Eaves (Infrequent Seams)

Eaves by Forever House

Forever House makes wildly complicated songs whose improvisatory flights and furies are held together, barely, by Meaghan Burke’s keening, swooping melodies. A lurid aura hangs over these difficult, jarring compositions, witchy incantations invoking freaks, body doubles and spiders. Burke’s voice is velvety dark, draping over odd-shaped rhythms, jutting stabs of violent sound. The drumming is particularly good in an off-putting, against-expectations manner; along with throbs of cello and throes of feedbacked dissonance, it constructs a weird fun house architecture where everything tips and distorts and unsettles.

Forever House’s oddities work because they’re powered by formidable skills – this is a band with a serious NY downtown pedigree. Burke, a cellist and composer, commutes between classical orchestra work and solo material that skitters along the boundary between archaic pop and free-wheeling art song. Both guitarist James Moore and bassist James Illgenfritz have played with John Zorn, as well as other downtown luminaries (in Illgenfritz’s case Anthony Braxton, John Zorn, Elliott Sharp and Pauline Oliveros and others, in Moore’s with the electric guitar quartet Dither). Drummer Pete Wise has left less of an internet trail but seems to have Bang on a Can connections. You get the sense that Forever House is their spooky busman’s holiday, a chance to play against type and raise some unruly ghosts. Boo!

Jennifer Kelly

German Army — Kowloon Walled City = (Null Zone)

Kowloon Walled City by German Army

German Army is neither an established military entity nor some reenactment clique, but a low-flying, California-based combo that (according to their Facebook page) “uses art to document disappearing cultures and wildlife while critiquing imperialism in all forms.” Kowloon Walled City certainly qualifies as a disappearing culture, since most of the semi-autonomous, mob-run neighborhood that sat at the edge of Hong Kong’s airport has been cleaned up or knocked down. Since there’s nothing particularly Chinese-sounding about this tape’s perky synth/drum jams and the rare spoken vocals are in distinctly American-accented English, the proclaimed mission may be a failure or just a red herring. But if you need some catchy tunes limned with coded mystery to jam in your old jalopy (if you have tried to get a car stereo with a tape deck in the last ten years, you know what I’m talking about), German Army is at your service.

Bill Meyer

Gong Gong Gong—Siren (Wharf Cat)

Siren 追逐劇 by Gong Gong Gong 工工工

Two songs from the duo of Joshua Frank and Tom Ng make a case for an intriguing Beijing punk-noise underground. The a-side, “Siren” abstracts the electric blues into a single clattering guitar riff, a zooming, looming roar of bass and a searing call (no response) vocal from Ng, in sing-song-y Chinese. “Something’s Happening” is meatier and more conventionally rock, still built on sharp, stinging guitar clamor, but buzzing with Hendrix-y solo-ry (if Hendrix played the bass). Both tracks employ the minimum number of parts to maximal impact, the construction loose enough for friction, sparks and gnashing aggression.

Jennifer Kelly

Gerrit Hatcher / Peter Maunu / Julian Kirschner — The Raven and the Dove (JAKI)

The Raven and the Dove by Hatcher/Maunu/Kirshner

Chicago’s built on drained swampland, so when the next wave of free jazz rolls up, it can travel. Certainly this trio, which comprises two younger musicians and one more who seems to be doing exactly what he wants with his retirement, covers a lot of ground. Gerrit Hatcher is an extroverted tenor saxophonist with a raw tone and a willingness to depart from his default setting of muscular tune-grinding into passages of tentative flutter and delicate counterpoint. Good drummers never lack for work, so it’s saying something that you can find Julian Kirschner on a Chicago stage pretty much every week of the year. He comes from a post-free jazz conception of his instrument that favors color, space and movement over pulse or swing. Joining these youngsters is Peter Maunu, whose past life playing fusion and new age music seems quite irrelevant to the unpredictable stream of savage scraping, subliminal humming, and acidic rocking that issues from his guitar, violin and mandolin. This group is brand new, but it won’t be for long; they’ve been touring around the Midwest this fall, so you can expect them to add seasoned rapport to band new promises before long. Catch them if you can, and catch this promising debut if you can’t.

Bill Meyer

Kidd Jordan / Alvin Fielder / Joel Futterman / Steve Swell — Masters of Improvisation (Valid Records)

Masters of Improvisation by Kidd Jordan, Alvin Fielder, Joel Futterman & Steve Swell

It takes a particular orneriness to be a musician in a musical city and stake your claim to a style that the city has never embraced. You can say a lot of things about New Orleans, but it’s never really been a free jazz town. But that hasn’t stopped tenor saxophonist Kidd Jordan, who has made his crust playing and teaching every style that a jobbing musician must play, from playing a particularly uncompromising variety of free jazz. Two of his accompanists here are long-time partners. Drummer Alvin Fielder, who like Jordan is in his 80s, has likewise carried the free jazz torch in southern environs where the muggy air of indifference would douse a fainter spirit. Pianist Joel Futterman is a decade younger and his darting technique and forays inside the piano imply that his roots are sunk in different turf than his mates, but he’s been playing with them long enough to be able to bring empathy as well as energy to the table. New York-based trombonist Steve Swell is the newcomer, and his ability to shift effortlessly between sere exhalations and brash attacks allows him to complicate the combo’s late-Coltrane vibe without betraying it, and then be equally persuasive when they turn around and wring the last blue drops out of Doc Pomus’ “Lonely Avenue.” This concert recording lingers long on the stormy side; go on, stick your face into the wind, you won’t be sorry.

Bill Meyer

No Love — Choke on It (Sorry State)

Choke On It by No Love

No Love, from Raleigh, NC, play punk rock that conjures the ragged toughness of the mid-1970s NYC downtown scene and the pace of early-1980s Southern Cali hardcore. It’s a potent mix, and when guitarists Seth Beard and Daniel Lupton make a bit of space for vocalist Elizabeth Lynch, the record really kills it. The record’s title track and “Dogs//Wolves” — released back in 2015 as the A-side of a terrific single — are frantic punk burners that scrap and sizzle, teetering on the brink of perilous chaos. The band manages to channel the energy without disciplining it, like the Heartbreakers in those magical months in 1975. “Back Taxes & Anaphylaxis” is even better, mostly because Lynch takes an aggressive lead on the song, showing what she can do. On “Drama Fever,” she manages to keep pace with the guitars’ slashing intensity, but on some of the other tracks, she’s drowned out by all the frenzied riffage. The raw sound of the record gives it a low-grade charm, but the noise sometimes obscures the tunes, which are pretty great. Still, the band’s vigor and verve are undeniable. More, please.

Jonathan Shaw

One Tail, One Head — Worlds Open, Worlds Collide (Terratur Possessions)

Worlds Open, Worlds Collide by One Tail, One Head

Norway’s One Tail, One Head have been playing black metal since 2006, but this year’s Worlds Open, Worlds Collide is the first full-length record the band has ever released. They’ve made a career on their reputation as a live act, pairing their orthodox blackened sound and songs with a stage show only slightly less theatrical than Watain’s (that’s all stage blood, right guys?). It seems that this first LP will be their last, as One Tail, One Head have announced their intent to call it quits after a tour supporting the record. That sense of finality may have prompted the band to round the stylistic bases, pairing truculent, muscular songs reminiscent of the early demos (“Firebirds” is a good example) with more chaotic, swirling work typical of the recent EPs. Songs in the former mode are more successful here, especially the record’s title track, which thunders and crackles with convincing menace. But One Tail, One Head could have given themselves a better sendoff. Few of these tunes feel fully realized, and none is near the equal of the band’s intense performing presence. It’s too bad — but a wise (or wise-ass) kid from Chicago once observed that “breaking up is an idea that has occurred to far too few groups, sometimes the wrong ones.” Via con Satàn, fellas.

Jonathan Shaw

Vanessa Peters — Foxhole Prayers (Idol)

Foxhole Prayers by Vanessa Peters

Singer-songwriter Vanessa Peters could have settled for the smart folk-rock she’s been doing for almost two decades, but on Foxhole Prayers she stretches herself, looking at the cultural landscape without relinquishing her personal lyrics. “Carnival Barker” offers her most direct political track, but “Trolls” is more effective, capturing the patience and perseverance needed to defeat the title characters. The song has personal and political resonances, and it's that dual thinking that drives much of the album. “Fight” takes on extra meaning in the context of the album. Peters unveils her own fears and her own need to press on, but with enough space in the lyrics that she could be speaking to herself, a young artist, or someone afraid of venturing into the public eye in any sense; calls to bravery aren't limited to those on stage and Peters situates her song as someone who knows that.

As her view expands, so does her music, particularly as she incorporates electronic elements into her sound. The dance-pop influences of “Before it Falls Apart” surprise, but Peters' tasteful use of the new sounds allows everything to fit in naturally with what she does. The album, inspired in part by comparing the world of The Greaty Gatsby with today's political climate, has its roots in crisis, hence the title track, and Peters uses her art to search for something better.

Justin Cober-Lake

Shells—Shells 2 (Gingko)

Shells 2 by Shells

The evidence suggests that Shelley Salant is not a loner. She’s been booking shows in Southeast Michigan for a decade. She’s the sort of record store clerk who greets you with a recommendation that you’d best consider. She’s played guitar in Tyvek and Swimsuit. She’s the sort of person who makes communities happen by doing what she does.

But she also has pretty strong instincts about what makes a guitar worth hearing — liquid tone, phrases that are concise unless they need to wander, pithy hooks, gritty noise and reverb for days. She’s got some things to say on her own, and that’s where Shells comes in. Shells 2 contains 14 tracks, each a brief and lucid lesson about one or more of the aforementioned virtues. Some of them comprise layers of loops, some follow a single snaking line, and a couple have been overdubbed into an approximation of a band. Similarity spotters may point out the bits that sound like Link Wray or Roy Montgomery or the Feelies, but that would require looking past all the bits that sound like Shelley Salant rocking essentially.

Bill Meyer

Various Artists — Chebran Volume 2: French Boogie 1979-1982 (Born Bad)

This superlative collection of funk, disco and proto-rap documents the cross-hybridization of bootleg tapes of Grandmaster Flash, Eurovision-style dance music and sounds from the African and Arabic colonies that bubbled up in working class neighborhoods at the dawn of the 1980s all over France. Here on cuts like Ethnie’s “De Chagrin En Chagrin” synths take up the serpentine non-western melodies, while Bootsy-style funksters slap and pop out the boogie. Likewise, the ponderous stomp of bass and percussion anchors Ganawa’s “Yamna” in present day disco, but its wheeling woodwinds and haunting call and response transport you to sand swept deserts in North Africa. Ettika, both the track name and the artist name for a one-hitter from the early 1980s, nudges a disco synth into twisty arabesques and flits from French to Arabic in its emphatic, female-powered raps. Forget the melting pot, these cuts bubble like sour dough starter, when errant spores of yeast find a home in a dull white flour soup and create something marvelous.

Jennifer Kelly

Otomo Yoshihide / Paal Nilssen-Love — 19th of May 2016 (PNL)

19th of May 2016 by Otomo Yoshihide & Paal Nilssen-Love

Conventional wisdom holds that when Paal Nilssen-Love gets on stage with an electric guitarist, fillings will loosen. That certainly holds true when he pairs up with Terrie Ex, his preferred six-string slinger of recent years, and there are parts of this encounter with Japanese guitarist Otomo Yoshihide that could be cited as supporting evidence. Otomo brings plenty of volume, distortion and ferocity; there are passages where it sounds like he’s demolishing some metallic structure while Nilssen-Love erects an impregnable surrounding whirlwind. But neither man stays in one gear, and some of the most involving moments come when they drop to a scrape and a shimmer.

Bill Meyer

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houstonlocalus-blog · 8 years ago

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Delving In: The Hidden Agenda

Paul Ramírez Jonas, “Public Trust” as part of “Atlas, Plural, Monumental” at the Contemporary Arts Museum Houston

This week brings in an extraordinary mix of creative events, including two performances presented by Nameless Sound, outdoor screenings of two of Sun Ra’s classic films, and a community discussion about artists’ roles and gentrification at Alabama Song.

Tuesday, May 23

Discussion — Here to There, A Call to Arms at Alabama Song

From 6 to 8 pm, Alabama Song (2521 Oakdale) presents a discussion with Teresa Silva, a writer, curator and the Director of Exhibitions & Residencies at the Chicago Artists Coalition, and Kristin Korolowicz, an independent curator and writer. The event — organized by artists Edra Soto and Gabriel Martinez, residents of the 2:2:2 Exchange initiative co-led by Project Row Houses and Chicago’s Hyde Park Art Center — will present an open discussion with the Houston community to address how artists, both directly and indirectly, impact the communities around them, specifically focusing on the complex politics of gentrification.

Wednesday, May 24

Agnes Martin, “Island No. 1,” 1960. Featured in The Menil Collection exhibition “Between Land and Sea: Artists of the Coenties Slip”

Discussion — Christina Rosenberger on Agnes Martin and Abstraction at The Menil Collection

From 7 to 8 pm, The Menil Collection (1533 Sul Ross) will host a lecture by Christina Rosenberger regarding artist Agnes Martin, the subject of her book Drawing the Line: The Early Work of Agnes Martin. Martin is one of the artists featured in the institution’s current exhibition Between Land and Sea: Artists of the Coenties Slip, which presents a group of creatives living and working during the late ’50s and early ’60s in the old seaport at the lower tip of Manhattan called the Coenties Slip. Rosenberger will examine the path of Martin’s early career, her interactions with artists like Ellsworth Kelly, Robert Indiana and Lenore Tawney, and the creative networks that formed between California, New Mexico and New York during her era.

Performance — Joe McPhee’s Survival Unit III at Studio 101 at Spring Street Studios

From 8 to 10 pm, Nameless Sound will host Survival Unit III, a performance by dynamic horn player Joe McPhee, at Studio 101 at Spring Street Studios (1824 Spring). Hailing from Poughkeepsie, McPhee is known for his use of profoundly experimental approaches in his relation to the radical movements of jazz in the ’60s. Mostly developing his career in Europe from the mid-1970s through the ’80s, this concert will mark 20 years since his inaugural performance in Houston, which was also the first concert presented by Nameless Sound founder David Dove. Tickets are $13 each or $20 for this performance as well as the Pauline Oliveros memorial on Saturday.

Thursday, May 25

Paul Ramírez Jonas, “The Commons,” 2011

Gallery Tour — Atlas, Plural, Monumental with Deborah Fisher at the Contemporary Arts Museum Houston

From 6:30 to 7:30 pm, the Contemporary Arts Museum Houston (5216 Montrose) will host a gallery tour of Paul Ramírez Jonas’ survey exhibition Atlas, Plural, Monumental. Deborah Fisher, an artist, regular collaboraor with Ramírez Jonas and the founding Executive Director of A Blade of Grass, will explore how we “see experiences” in a participatory discussion of socially engaged art.

Discussion — Adela Andea and Pablo Gimenez-Zapiola at the Galveston Arts Center

Starting at 6:30 pm, the Galveston Arts Center (2127 Strand) will host talks with Houston-based artists Adela Andea and Pablo Gimenez-Zapiola as part of their 2017 lecture series. Andea will present Within the medium of light, addressing her use of light as an artistic medium and the influence of the opposing concepts of natural versus artificial. Gimenez-Zapiola’s presentation, My Way of Seeing + Merging the Analog with the Digital, will examine his work and how art can enhance life experiences of the viewer.

Saturday, May 27

HJ Bott, “Big Alamo,” 1978

Last Chance — HJ Bott: Thick and Thin and Back Again at Anya Tish Gallery

Don’t miss your final chance to see Thick and Thin and Back Again, a solo exhibition from Houston-based artist HJ Bott. The exhibition, which celebrates Bott’s 70th year of exhibiting artwork, presents a selection of paintings from the artist’s most highly acclaimed Monochrome Series that began in the 1970s. Known for concocting his own paints to create striking metallic hues in monochromatic works, Bott has been using geometric forms as the basis for exploring adjacent or opposing forces. The gallery will be open from 10:30 am to 5 pm on Saturday.

“Public Trust” at Contemporary Arts Museum Houston

From 1 to 5 pm, the Contemporary Arts Museum Houston will present “Public Trust,” an interactive artwork by Paul Ramírez Jonas. The piece asks museum visitors to examine the value of a word by declaring a promise, the words of which are recorded in a drawing that is shared with them and posted on a marquee board alongside similar pronouncements made by notable figures from the week’s headline news.

Closing Reception — United By Hand at the Houston Center for Contemporary Craft

From 3 to 5 pm, the Houston Center for Contemporary Craft (4848 Main) will host the closing reception for United By Hand, an exhibition featuring works from Drew Cameron, Alicia Dietz, and Ehren Tool. The Memorial Day weekend event invites the public to reflect upon those who have fallen in service, and features readings from Dietz as well as poet and Vietnam War veteran David Brown. There will also be a ceremonial folding of Cameron’s “9.5 x 5: Houston Flag” and a giveaway of Tool’s unique cups.

Pauline Oliveros

Performance — Pauline Oliveros Celebration with Joe McPhee and the Nameless Sound Ensembles at MECA

From 8 to 10 pm, Nameless Sound will host a celebration and memorial for native Houstonian and distinguished composer and musician Pauline Oliveros, who passed away on November 24, 2016. The event, hosted at MECA (1900 Kane), will feature “Deep Listening Space Time Continuum,” written and performed by Joe McPhee, as well as a variety of scores from Oliveros herself, performed by the Nameless Sound Ensembles. Participating musicians include David Dove, Tom Carter, Ryan Edwards, Sonia Flores, Lisa Harris, Jason Jackson, Justin Jones, Rose Lange, Ayanna Jolivet Mccloud, Rebecca Novak, Alauna Rubin, Jawwaad Taylor, and Joe Wozny. Tickets are $13 each.

Sunday, May 28

Sun Ra

Screening — Sun Ra Sunday at Lil’ Danny Speedo’s Go Fly a Kite Lounge

From 8 until around 11 pm, join Lil’ Danny Speedo’s Go Fly a Kite Lounge (823 Dumble) for outdoor screenings of two classic Sun Ra films in honor of his belated birthday on May 22 (the event was postponed a week due to inclement weather conditions). Films include A Joyful Noise (1980) and Space is the Place (1974).

Delving In: The Hidden Agenda this is a repost

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amarantomgta · 8 years ago

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En el marco de la III Feria Internacional del Libro del Caribe, presentamos nuestro calendario de eventos en conjunto a @filcarvenezuela y @librerialc | Los esperamos SABADO 11 DE MARZO 8:00pm INAUGURACIÓN FILCAR “LA COSIATA DANCE PARTY” COCTELERÍA CONTEMPORÁNEA MÚSICA Y VIDEO ARTE DOMINGO 12 DE MARZO 3:00PM PRESENTACIÓN DEL LIBRO “SELENITA” DE LUIS ROMERO. PRESENTADO POR LENA YAU. LUNES 13 DE MARZO 8:00PM MIGUEL VON DANGEL: CHARLA SOBRE LA OBRA DEL ARTISTA. PRESENTADO POR ÁLVARO MATA. MARTES 14 DE MARZO 10:00AM A 1:00PM TALLER GASTRONÓMICO: ¿HABLAMOS COMIDA, LETRAMOS LA MESA? CON LENA YAU. INFORMACIÓN: [email protected] 8:00PM INAUGURACIÓN EXPOSICIÓN: “TERRA ARTE DE OTRA VOZ”. GRÁFICAS A PARTIR DE LA LECTURA DE LA NOVELA “HORMIGAS EN LA LENGUA” DE LENA YAU. TERRA GRÁFICA Y LENA YAU MIERCOLES 15 DE MARZO 8:00PM PRESENTACIÓN DE LOS DIARIOS 1988-1989, CON VICTORIA DE STEFANO. PRESENTADO POR DIOMEDES CORDERO. JUEVES 16 DE MARZO 8:00PM PRESENTACIÓN IMAGEN, OBJETIVO Y CONFESIÓN, CON ALEJANDRO OLIVEROS. VIERNES 17 DE MARZO 8:00PM NOCHE DE OPERA: MÚSICA Y CHARLA, CON JAIME BELLO-LEÓN MENÚ ESPECIAL POR NUESTRO CHEF: ALEJANDRO PIZZORNO SABADO 18 DE MARZO 6:00PM PROYECCIÓN: “GABO, LA MÁGIA DE LO REAL”. DOCUMENTAL 2014, DIRECTOR: JUSTIN WEBSTER. EMBAJADA DE COLOMBIA DOMINGO 19 11:00AM BRUNCH CON JOSÉ BALZA. PRESENTADO POR DIOMEDES CORDERO Arte | Gastronomía | Pensamiento | Música | Cultura | Libros #Pampatar #Margarita #CocinaContemporanea #CuraduriaMusical #Mixologia #CocinaNeotropical #LaboratorioGastronomico #GaleriaDeArte #NeoPunk #Brunch #Locallectual #AmarantoCacri #MesaCallejera #VenezuelaStreetFood #Libreria #Bar #Casablanca #ContraCultura #Filcar (at AMARanto Restaurante + Galeria)

#cocinacontemporanea #cocinaneotropical #venezuelastreetfood #libreria #curaduriamusical #laboratoriogastronomico #margarita #neopunk #bar #casablanca #mixologia #contracultura #filcar #galeriadearte #brunch #mesacallejera #pampatar #amarantocacri #locallectual

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30032 · 8 years ago

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2017

Scott Walker - Scott 3 Valerio Tricoli - Forma II 1991 - No More Dreams Superfíce - Hélices Abyss X - Nushu David Lang - David Lang: Are You Experienced? David Lang - Child David Lang - Lang: The Little Match Girl Passion doon kanda - Heart Ital Tek - Hollowed CEP - Drawing The Targer Around The Arrow BANANA - LIVE Amnesia Scanner - AS Truth Celestial Trax - Thru Our Eyes, Pt.1 Second Woman - Second Woman Rashad Becker - Traditional Music of Notional Species II Muslimgauze - Azzanin (2013) Justin Timberlake - The 20/20 Experience (2013) Shackleton - Sferic Ghost Transmits Hans Otte - Das Buch Der Klange (1984) Visible Cloaks - Reassemblage Sarah Davachi - Vergers IVVVO - Good, Bad, Baby, Horny K Á R Y Y N - QUANTA 1 Coil - Age of Naples (2005) alva noto - Transform (2001) Various - Dream Disc, Vol. II (2016) CVN - Matters (2016) Blanck Mass - World Eater Charlie XCX - Number 1 Angel Sega Bodega - Ess B Various - Mono no Aware Suda - Hives High Plains - Cinderland Egyptrixx - Pure, Beyond Reproach Mount Eerie - A Crow Looked at Me Pharmakon - Contact Hazard - Wind (2001) Oli XL - Tracer Wanz (2016) Diamanda Galas - All The Way Arca - Arca Kendrick Lamar - DAMN. Yves Tumor - When Man Fails You (2016) Kelly Lee Owens - Kelly Lee Owens Colin Stetson - All This I Do For Glory Jenny Hval - Blood Bitch (2016) Forrest Swords - Compassion Hauschka - What If Diamanda Galas - At Saint Thomas Apostle Harlem Kara-Lis Coverdale - Grafts Kara-Lis Coverdale, LXV - Sirens (2015) Evan Caminiti - Toxic City Music Sevdaliza - Ison Ellen Arkbro - For Organ and Brass Shygirl - MSRYNVR Sega Bodega - SS (2015) (2015) Daniel L Harle - 1UL EP G Mills - 260 EP Félicia Atkinson - Hand in Hand Sinjin Hawke - First Opus Dadras - Nature Boy EP Arve Henriksen - Towards Language James Ferraro - NYC, Hell 3:00AM (2013) Com Truise - Iteration Whitney Houston - My Love Is Your Love (1998) Soda Plains - Kickbacks (2015) Jefre Cantu-Ledesma - In Summer (2016) Smerz - Okey (2016) Clams Casino - Instrumental Mixtape 4 Pep Llopis - Poiemusia La Nau Del Argonautes (1987) Jasmine Guffond - Traced Marc Barreca - Music Works For Industry (1983) Swan Mean & Yoshitaka Hikawa - Knife Splits Ice LUNARIOS - ENTRA (2016) Quay Dash - Transphobic Tyler The Creator - Flower Boy Lusine - A Certain Distance (2009) Pan Daijing - Lack dd elle - Lover’s Leap/Latin Aphorism Alice Glass - Alice Glass Pauline Oliveros - The Well & The Gentle (1985) Aaron Dilloway - Gag File Actress - AZD Gage - 2017 STAY PARO Kelman Duran - 1804 KIDS Zuli - Numbers Iglooghost - Littles Grids (2016) CELES7E - From Ashes Maxwell Sterling - Hollywood Medieval Ani Klang - Worst of All Time EP Antwood - Sponsored Content Joseph Shabason - Aytche Peter Broderick - Music for Falling From Trees (2009) THE DIGITAL DREAM GIRL - CRAWL Backtearer & Why Be - dc Coucou Chloe - Erika Jane Iglooghost - Neō Wax Bloom Kepla, DeForrest Brown Jr. - Absent Personae Hans Appelqvist - Swimming Pool Kelela - Take Me Apart Ian Chang - Spiritual Leader The Newcomer - EARTH MOTIVATION Jessica Pratt - Jessica Pratt (2012) Sugai Ken - On The Quakefish (2016) MUN SING - Witness EP Visionist - Value Sugai Ken - UkabazUmorezU Lustmord - Purifying Fire (2000) Chastic Mess - No Spiritual Surrender (2016) Bibio - Phantom Brickworks Rabit - Les Fleurs Du Mal LYZAA - Powerplay M.E.S.H. - Hesaitix Sega Bodega - SS (2017) x/o - cocoon egg oxhy - respite unoffered Bjork - Utopia Morten HD - The Night of Pan James Ferraro - Troll James Ferraro - Cold (2013) IVVVO - Prince of Grunge Visible Cloaks - Lex J.G. Biberkopf - Fountain of Meaning Charli XCX - Pop 2 BROCKHAMPTON - SATURATION III Tzusing - 東方不敗 Hiroshi Yoshimura - Music for Nine Post Cards

#30032

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millarlawfirm · 5 years ago

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The Millar Law Firm is proud to announce another great addition to our winning legal team! Please join us in welcoming Attorney Justin Oliverio to our firm.

https://atlantaadvocate.com/about-us/justin-olivero/ ⚖️

#millar law firm #the millar law firm #atlanta advocate #attorney #lawyer #personal injury

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iowamusicshowcase · 7 years ago

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#Iowa #Iowa Music #Music #Midwest Music #Midwestern Music

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