#Naomi Yang
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guerrilla-operator · 3 months ago
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GALAXIE 500
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bandcampsnoop · 6 months ago
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7/13/24.
Well, this was unexpected. Galaxie 500 is releasing a 2 LP behemoth - including many unreleased gems from between 1988-1990.
There's not a lot to add to this except that the two songs here rock more than I was expecting. I mean this is Dean, Damon and Naomi. This is pre-Luna Dean Wareham. And this clearly influenced by The Velvet Underground and The Dream Syndicate.
This release is housed in a mock TMOQ sleeve.
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spilladabalia · 6 months ago
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Galaxie 500 - Fourth Of July
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chrisnaustin · 7 months ago
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If only I were she!
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casino-bunker · 8 months ago
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mywifeleftme · 1 year ago
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144: Galaxie 500 // On Fire
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On Fire Galaxie 500 Rough Trade (Bandcamp)
On Fire very nearly got a churlish review primarily consisting of complaints about Dean Wareham’s voice, but today I am very hungover and have spent the evening alternating between playing guitar and “getting to know my body a little better” (as best-selling novelist and three-time WWF Champion Mick Foley called it in his memoirs) and now the album sounds perfect. I’ve always been a little on the fence about Galaxie 500, preferring for the most part Wareham’s less eccentric second project Luna, but few bands have ever been better at evoking a sensation of abstract yearning. On Fire feels the way the insides of your eyelids do when you close your eyes and face the sun. I wonder if part of their trick is in Mark Kramer’s production: it’s rich, clear as a bell, but somehow muted, so that Wareham’s frequent guitar pyrotechnics become textural details rather than the focus. You could remix this and it’d be basically Spacemen 3, but Naomi Yang’s soulful basslines and Damon Krukowski’s expressive drumming are always treated as co-lead instruments. And yes, Wareham’s vocal stylings could be accurately if uncharitably described as yowling, but today at least, it largely works for me. A word of warning though: if my George Harrison-loving stepdad ever hears how Wareham ‘sings’ “Isn’t It a Pity,” the adenoidal chanteur had better watch his back.
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P.S. Yang’s design work on the sleeve is tremendous, and Kramer’s Don DeLillo-esque liner notes might be my favourite of all time. I’ll have to have a think on it, but nothing better is coming to mind.
144/365
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babyjujubee · 2 years ago
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Harry Lloyd, Naomi Yang, Fraser Young, Scarlett Foxett, Alden Ehrenreich, Joseph Morgan and Stuart Walker. Episode 9. Brave New World (2020)
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archivist-crow · 6 months ago
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Galaxie 500 - “Fourth of July” (1990)
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onryou-onryou · 8 months ago
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Bhob Rainey - A Desert of Consolation (from Two Bites of a Bitter Sweet)
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sinceileftyoublog · 8 months ago
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Six Organs of Admittance Interview: More Than a Couple Chairs
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Photo by Kami Chasny
BY JORDAN MAINZER
When Ben Chasny dives into something, he usually dives deep. Upon answering the phone in February, when I called him to talk about his new Six Organs of Admittance album Time Is Glass (out today on Drag City), he seemed a bit scattered. Despite mentally preparing himself all day for the interview, he got distracted by a "What are you digging lately?" Bandcamper compilation Drag City asked him to put together to advertise his record release. (A music fan with a voracious appetite, Chasny was rediscovering music he had purchased a couple years prior and forgot about.) Six Organs records often occupy the same dedicated headspace, Chasny setting aside blocks of time to think about nothing else. That is, until Time Is Glass. On his latest, Chasny blurs the lines between his outside-of-music life and the music itself, the album a batch of songs that reflects on the magical minutiae that sprout during a period of needed stasis.
The last time I spoke to Chasny, he and his partner [Elisa Ambrogio of Magik Markers] were still settling in from their move to Humboldt County in Northern California. "When Elisa and I first moved here, we didn't have any friends," Chasny said. "But there's a group of us that live in Humboldt now. A bunch of my friends moved up since the last time I talked to you." That includes fellow Comets on Fire bandmate Ethan Miller and his partner, fellow New Bums musical partner Donovan Quinn, and folk singer Meg Baird and her partner. "Every New Year's Day, if it's not pouring rain, we take a walk on the beach," said Chasny. One such photoshoot on January 1, 2023 yielded the album cover for Time Is Glass: That's Miller and his poodle, along with Baird's Heron Oblivion bandmate Charlie Saufley. This unintentional artistic collective meets up often, whether for coffee or as Winter Band, a rotating cast of area musicians who form to open up for musician friends when they come through town, like Sir Richard Bishop of Sun City Girls. As such, according to Chasny, Time Is Glass is a celebration of community.
Perhaps the supportive strength of his artistic family gave Chasny the willpower to incorporate elements of his daily life into Time Is Glass, something he couldn't avoid. He didn't share with me exactly what in his personal life made it impossible to separate the two, though he mentioned his dog, a difficult-to-train puppy that was a mix of three traditionally stubborn breeds. Said dog inspired "My Familiar", a song that uses occult language to inhabit the mind of his obstinate canine companion. "And we'll burn this whole town / No one says there's good," Chasny sings, alternating between his quintessential hushed delivery and falsetto, his layered vocals atop circular picking exuding a sense of sparseness. Indeed, you wouldn't expect a Six Organs record about home life to sound totally blissful; Time Is Glass is at once gentle and menacing. The devotional "Spinning In A River" portrays the titular carefree act as lightly as the prickle of Chasny's guitar or as doomily as the song's distortion. "Hephaestus" and "Theophany Song" imagine their respective mythological characters as gruff and voyeuristic. "Summer's Last Rays" indeed captures a sense of finality, Chasny's processed guitar and warbling harmonium providing the instantly hazy nostalgia before the fade-out. The album is bookended by songs more straightforwardly hopeful, the opener "The Mission" a dedication to friends falling in love with their new place of residence, the closer "New Year's Song" a twangy ode to dreaming. But it's the moments in between that Chasny was forced to capture on Time Is Glass. And thankfully, what was born out of necessity yielded, for him, new ways to interpret the same old, same old.
Read my conversation with Chasny below, edited for length and clarity. He speaks on domesticity, mythology, playing live, and Arthur Russell.
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SILY: You've lived in Humboldt County for a bit. Is Time Is Glass the first Six Organs record in a while you made while situated in one place?
Ben Chasny: I did do a couple records here before. The first one, I was in the process of moving here, so I wasn't really settled. The second was at the beginning of lockdown. This is the first one I felt like was recorded at a home. Everything was settled, I have a schedule. When I was doing the first one, I didn't even have furniture in the house. I had a couple chairs. [laughs]
SILY: Do you think the feeling of being recorded at a home manifests in any specific way on the album?
BC: I started to incorporate daily domestic routines into the record, more often. A lot of the melodies were written while taking the dog for a walk, which I've never done before. There was always stuff to do as I moved in. The times weren't as separate. Before, it was, "Now I'm recording, now I'm doing life stuff." There was a merging of everything here. I would listen to it on my earbuds while taking walks and constantly work on it for six months.
SILY: It definitely has that homeward bound feel in terms of the lyrics and the sound, like you've been somewhere forever. There are a lot of lyrics about the absence of time, and there's a circular nature to the rhythms and the guitars. Does the title of the album refer to this phenomenon?
BC: A little bit. Time does seem, in general, post-lockdowns and COVID, different. The lyrics on the record have a bit more domesticity. It always seems like there was something that had to be done, that would normally keep me from doing music, that I tried to incorporate here. Maybe I'm just getting older, too. I'm getting more sensitive towards time. I'm running out. [laughs]
SILY: Was there anything specific about your domestic life that made you want to include it in your music?
BC: Just that I had to include it in order to do anything. It was no longer separate. The way life ended up working out, I could no longer separate my artistic life from other life. I had to put the artistic aspect into it in order to work. Instead of getting frustrated, I brought [music] more into the house.
SILY: Did working on the record give you a new perspective on domesticity?
BC: I don't know. A little bit. I was just trying to come to terms with basic life things. Let me look at the record, I forgot what songs are on it. [laughs] The song "My Familiar" is about my dog. I got this book called Cunning Folk and Familiar Spirits, which was sort of taken from transcriptions of witch trials from Scotland in the 1500's. A lot of dealing with things like witches' familiars and demon familiars. I found a very strong similarity between that and my dog, which seemed like it was maybe a demon. She's a Husky-German Shepherd-Australian Shepherd mix, so as a puppy, she needed a lot of work. So that became a song. That's a more humorous way everyday life made its way into the music.
[With regard to] the last song, "New Years Song", Elisa and I have a contest on New Year's Eve when we're hanging out where we go in separate rooms and have one hour to write a song. We come out at 11 or 11:30 and play the song for each other. We've done it for a few years now. This was the song I wrote for New Year's Eve going into 2022.
SILY: You talk about God on Time Is Glass and delve a little bit into mythology. Was that something you were thinking about on a day to day basis when writing?
BC: The “Hephaestus” song was just a character. That was a rare song for me in that I was trying to make sounds that particularly evoked a mythological figure. I've made nods to mythology in the past, but the titles were almost an afterthought. This particular song, I was trying to make the sounds of that character in their workshop with the fire and anvils. I was trying to evoke that feeling. That was kind of a new one for me.
SILY: Maybe I'm reading into it too much, but you also seem to talk a bit about your state of mind on "Slip Away".
BC: It's funny you caught onto that, because I wasn't really expecting to bring it up during interviews. I wouldn't say that I came close at times in the past couple years to schizophrenia, but I could see way off in the distance and horizon what that would be like. I...was trying to write about that. At the same time, the lyrics that have to do with two minds and the splitting of the mind are also somewhat of a reference to the idea of a celestial twin or Valentinian gnosis, how you have a celestial counterpart. That idea [is behind the concept of] someone's guardian angel.
SILY: On a couple songs, you sing to someone or something else. "The Mission" you've mentioned is for a friend and their new partner. What about on "Spinning in a River"?
BC: Maybe it was more of a general idea. It wasn't so much to a person as to a general concept of Amory.
SILY: What were all the instruments used on the record?
BC: I had some guitar, I was singing, and there's some harmonium on it, which I did a lot of processing on, lowering it octaves. I've got some really basic Korg synths. Electronic-wise, there's a program called Reactor I like to use a lot. I do it a little bit more subtly than electronic artists. I use it more for background.
SILY: I picked up the harmonium on "Summer's Last Rays"! I feel like you never truly know when you're hearing a harmonium unless it's in the album credits. Sometimes, that sound is just effects.
BC: There are two different harmoniums. When the bass comes in, that's also a harmonium, but I knocked it down a couple octaves and put it through some phaser. It has a grinding bass tone to it. This is actually one of the few Six Organs records with bass guitar on it. Unless it's an electric record with a band, there's never really been bass guitar. I was really inspired by Naomi Yang's bass playing in Galaxie 500 and how it's more melodic. I told her that, too.
SILY: On "Theophany Song", are you playing piano?
BC: Yeah, that's at my friend's house. I just wanted to play a little melody.
SILY: Was this your first time using JJ Golden for mastering?
BC: I've worked with JJ before. He did Ascent and a few others. I particularly wanted to work with him this time because I had just gotten that Masayuki Takayanagi box set on Black Editions and saw he had done that. I have the original CDs, and I thought he did such an amazing job that I wanted to work with him again.
SILY: Is that common for you, that you think of people to work with and you dig a record they just worked on and it clicks for you?
BC: That's the first time I had just heard something and thought, "Oh, I gotta work with this person." I usually have a few mastering engineers I work with and think, "What would be good for them?" or, "What does this sound like?" I usually like to send the more rock-oriented stuff to JJ, but I was just feeling it this time.
SILY: Have you played these songs live?
BC: The instrumental "Pilar" I have been playing since 2019. That's the oldest song on the record. I did do one show last September where I played a couple of these songs live. I have some ideas on how to work it out. It will be a solo acoustic show, but I [hope] to make some new sounds so it's not so straightforward. One thing about this record is I tried to write songs in the same tuning. On previous records, I used a lot of tunings, and it was a real pain to try to play the songs live. I did write this record with the idea that most of these songs would be able to be done live.
SILY: What have you been listening to, watching, or reading lately?
BC: I just got the Emily Robb-Bill Nace split LP. I just saw her live a couple nights ago. The latest one on Freedom To Spend from Danielle Boutet, which is awesome. Freedom To Spend is a go-to label for me. Also, this split with Karen Constance and Dylan Nyoukis.
I've been reading Buddhist Bubblegum by Matt Marble, about Arthur Russell and the systems he developed, which I knew nothing about. His compositional systems have almost a Fluxus influence. The subtitle is Esotericism in the Creative Process of Arthur Russell, so it's also about his Buddhism as well. When I first heard about the book, I didn't know if I needed to get it, but I heard an interview with Matt about the detailed systems Arthur Russell came up with. It gives me a whole new level of appreciation for him. It's so good.
SILY: Did you listen to Picture of Bunny Rabbit?
BC: It's so good, especially the title track. It seems like when he has us plugged into some kind of effects or delay, he's switching the different sounds on it, but it makes the instrument go in so many different areas. To me, the title track is worth the price of the entire record, even though the whole thing is good.
SILY: What else is next for you? Are you constantly writing?
BC: This is gonna be a very busy year release-wise. I have a couple more things coming out. It's hard to write stuff because I always think it'll take so long for it to come out. I'm halfway working on something, but I have no idea when it will come out.
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fuchsiaswingsong · 2 years ago
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Listen/purchase: Never Be A Punching Bag for Nobody by Naomi Yang
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biglisbonnews · 2 years ago
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Neutral Milk Hotel: Naomi From Neutral Milk Hotel’s acclaimed 1996 album, On Avery Island, the track “Naomi” was inspired by and named after rock band Galaxie 500’s bassist and vocalist Naomi Yang. Now, 26 years later, and to commemorate today’s release of The Collected Works of Neutral Milk Hotel, Yang has debuted her own visual interpretation of the track. “I was charmed by the album and by the band … https://coolhunting.com/culture/neutral-milk-hotel-naomi/
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gushers-simp · 5 months ago
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Some thoughts about contrasting characteristics and diversion tactics in A Deadly Education (I have not yet read the other two books in the series)
Regarding El, she is described as feeling like its going to rain, and its understandable why people would see that and immediately think "bad", but rain isnt necessarily a bad thing. I think Novik chose that specifically because of the symbolism a coming storm can bring. Its destructive and scary, yeah maybe, but rain is cleansing, it brings new life/growth.
I have a hunch that is going to tie in quite beautifully with her character arc/what ever role she will grow into in the next two books.
And I feel like Novik does a lot of subtle misdirection like this, giving El a description we're meant to immediately interpret as bad, but that can actually be interpreted much differently if you stop to think about it (maybe the only reason people fear her is because they fear the unknown. she's not bringing destruction as death, she's bringing it as change. and people hate change, change is scary in and of itself). I notice this misdirection a lot with how Orion and her are being constantly contrasted. They are very much opposites in a lot of ways--physically: Orion is pale and silver haired and kinda more small of stature for a guy, El has darker skin, dark hair, on her way to being above average in height; socially: orion is well loved and well recieved, kinda socially oblivious tho (very autistic imo) doesnt realize all the structures benefiting him, whereas El is an outcast people take an automatic disliking to, is very socially speculative,extremely good at reading people, and very aware of how everything functions, the structure of the hierarchies, the systems in place and necessary procedures to make it through life at the school, etc. -- but if you stop reading into all the opposites that are being deliberately thrown at you and analyze their relationship and their characters, you see they have a lot of core things in common. like that they both have similar feelings of social isolation (even if it is in opposite directions), theyre both brave and self sacrificing. It almost feels like im not meant to realize that yet, because then i will realize how everything is going to end. (I have a fear that the self-sacrificing bit is reaaalllly going to hurt later on.)
There is also a prevalent theme of ballance in this book, and that ties into the comparing and contrasting of Orion vs El. They are extremely yin yang coded.
I feel like this isnt the kind of thing I'd usually be thinking so deep about in an average book, but this author has already proven that shes is very smart. The ways she writes about the different politics, the realistic characters (looking at you, trauma responses so realistic they triggered my own XD), the rich culture of the school and of the magic itself, etc., it makes it feel completely possible that she'd be doing all of these subtle things very on purpose. Immediately I think of the scene in the library, where the school is using distraction and misdirection to try to keep El from noticing the maw-mouth. And the thought of Novik using this kind of misdirection/distraction literally in the story (like the library scene) but also as writing device (where its not directed at the main character, but at us, the audience/4th wall) is soooooo cool to me wow.
Naomi Novik is a genius.
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spilladabalia · 11 months ago
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Galaxie 500 - Tugboat (Live)
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11riize · 1 year ago
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Would u be able to right a soft dom Jungwon smut pls ?💕💕
Okay so this is off the top of my head. Idk if this is too much lol 😂 hopefully you like it 😋
Masterlist
After a long day you finally return home to be tightly embraced by your loving boyfriend. “Hey baby, how was your day?” He asked you while kissing on your face. This was a everyday occurrence even if you two didn’t leave the house. But needless to say you loved it so much. “it was tiring but at least I’m home with you” you happily respond. “I’m sorry to hear that baby.” He said finally letting go and guiding you to the couch where he sits you on his lap. You look down at him, placing you hands on his shoulders as he puts his on your waist.
“You look so cute wonnie..” you say leaning in to kiss him in to which he happily kisses back. Wanting more of you he grabs at your ass, making you gasp softly giving him access to you mouth. Both of you fighting for dominance over the heated kiss like it’s the very last. This is something you love so much about him. The way he gently guided you into this unbearable feeling of desperation, desire, and hunger in which only he can satisfy. Something that he knows leaves you wanting more. Every time he touches you it leaves a trail of fire. The way he kisses you like he will die if he ever lets you go: devotion.
He takes your clothes off one by one. Dropping each garment on the floor not caring about where it landed. He lays you on the couch and admires you for a few before looming over you and cupping his hand over your heat “please.. need you now..” you’d say to him with desperate eyes. So he takes all of his clothes off. When he takes off his boxers/breifs his cock slaps his abdomen standing proud. He takes it and guides it to your heat, easing the tip in then the whole thing. The feeling of fullness sparking. When he’s completely bottomed out, you feel him in your tummy. Moaning at the stretch of his cock he begins to thrust himself in you, focusing on how his cock goes in you cunt. Enjoying the way you clamped around him and moaning clearly loving it, he moves a hand from your thigh to your hand, holding it tightly. His speed picks up knocking wind out of you from how good it feels you just close your eyes letting him take over your mind and body. It doesn’t take long for a knot to build up in your tummy “I’m close” you murmur and he just nods, pushing down on his cock in you belly making you moan loudly on accident (neighbors are gonna kill ya) and he moves harder. Hard enough to make you go up each time he fucks into you.
The knot in your stomach finally snapping making your mind go blank and giving a feeling of relief. It doesn’t take long for jungwon to pull out and cum on your thighs breathing heavily. He leans down and kisses you gently “you ok?” He ask while leaning up and grabbing tissue from on the coffee table, gently cleaning you guys mess. “I’m okay just sleepy” you say. He reaches for his shirt and puts it on you. That’s all you remember as you drift to sleep.
JUNGWON POV
“Ahh. She’s sleeping “ he thought to himself smiling at how cute you look in a slumber. He lifts you up and takes you to the bedroom and tucks you in the bed, placing a kiss on your temple before going to clean the couch :3 !!
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cuddles-edits · 1 year ago
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Ambiguously Bisexual Characters
Happy Bisexual Day of Visibility. Here's another icon set of ambiguously bisexual characters.
No Discourse Please.
Zoé Lee from Miraculous Ladybug; she is revealed to have feelings for Marinette in the Season 5 episode Adoration, confirming that she is attracted to women. Her exact sexuality has not yet been stated.
Blue Moon from Cyberpunk 2077; during their final text conversation after successfully completing the Every Breath You Take side job, V can ask them out to dinner. Regardless of gender, she turns them down, not because she doesn't want to, but because she doesn't have time. Whether this is a hint that she's bi or an oversight by the developers is uncertain, but it's a valid interpretation nontheless.
Yang Xiao Long from RWBY; she is in a relationship with Blake Belladonna, who is canonically bi, as of Volume 9, but it is unclear if Yang is bi, pan or lesbian. Though it is worth noting that she displays attraction to men very early on in the series, though hasn't done since, so it could be interpreted either way.
Fang from Goodbye Volcano High; they are non-binary and can potentially enter a relationship with the female Naomi. Their exact orientation remains unsaid, however, and is left open to interpretation.
Naomi from Goodbye Volcano High; she is attracted to the non-binary Fang, and can potentially enter a relationship with them. Her exact orientation remains unsaid, however, and is left open for interpretation,
Reed from Goodbye Volcano High; he is shown to be attracted to men, but his exact orientation remains unsaid and open for interpretation.
Boscha from The Owl House; when asking Amity if she saw a ghost and if they're cute, Boscha refers to them with gender neutral pronouns. In addition, the way she is written in For The Future provides some possible subtext that she may have had feelings for Amity at some point. No statement on this has been given, so it's open to interpretation.
Goro Takemura from Cyberpunk 2077; following the mission Gimme Danger, V can ask Takemura in a very suggestive fashion if he'd like some company, which he does pick up on. Regardless of gender, he turns them down, but also says that he is "honoured", and indicates that if circumstances were different, he may have accepted. Again, whether this is developer oversight or a hint that Goro is bisexual is open to interpretation.
Edric Blight from The Owl House; in the episode Through the Looking Glass Ruins, he's said to have a date with someone, but they are only ever referred to with gender neutral pronouns. We never see this person, or hear anything else about this afterwards, so their gender and his sexuality remains open to interpretation.
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