#Nitetime art

[lost-seal]

Charles Miku

[nitetime-moon]

There is a *criminal* lack of Lukas stickers to adorn my laptop with.

[priokskfm]

#MixOfDay #Podcast #Radioshow #LiveDjset Big Love Radio Show – October 2023 – Art Of Tones Big Mix BIG LOVE RADIO SHOW – OCT 2023 HOUR 1 1. The Shapeshifters – Giving Me Something Better (Aeroplane Remix) – Glitterbox 2. Miguel Migs feat Martin Luther – Back Tonight (Lovebirds Disco Sketch Mix) – Soulfuric Deep 3. Benny Musa – Save My Life - MOS 4. Illyus & Barrientos feat Phebe Edwards – Wait – Big Love 5. Art Of Tones & Inaya Day – Give My Love - Glitterbox 6. AC Soul Symphony – Windy City – Z Records 7. Laroye – First Sight (feat Javonntte) – Freerange 8. Jéroboam – Turn Down The Lights – Space Grapes 9. Roy Ayers – Evolution (Art Of Tones Rework) - White 10. Urban Blues Project presents Mother of Pearl featuring Pearl Mae - Your Heaven (I Can Feel It) (UBP Classic Mix) – Soulfuric 11. Urban Blues Project presents Mother of Pearl featuring Pearl Mae - Your Heaven (I Can Feel It) (Micky More & Andy T Remix) – Soulfuric 12. Roach Motel – The Night (Fred Everything Unreleased Tribute Mix) – Faith 13. Dam Swindle – Soul’s Lament – Heist Recordings 14. Shakedown & Bootsy Colllins - Funky And You Know It (Shakedown Work That Mother Extended Mix) – Glitterbox 15. Flush – Bateau Blanc (Kid Créme Remix) – Glitterbox 16. Bushwacka – Sunday School – Classic Music HOUR 2 The Big Mix – Art Of Tones 1. Sauce81 - Natural Thing - Eglo 2. Souleance - La Fête - Heavenly Sweetness 3. Brother Julian - Kay Watt Edit - Disco Mind 4. Underdog Edits - What Cha Doin - Underdog Edits 5. Ava Cherry - You Never Loved Me (The Patchouli Brothers Edit) 6. Riva Starr - How It Feels - Glitterbox 7. Rose Cornelius - Here (Art Of Tones Reedit) 8. Art Of Tones Feat Inaya Day - Give My Love (Piano Dub) - Glitterbox 9. Patrick Cowley - Primitive World (Hifi Sean Bonus Beats Remix) - Kookoo 10. Donna Washington - First Things First (Art Of Tones Rework) 11. Jeroboam - Turn Down The Lights - Space Grapes 12. 1Major Lee Vincente - Let Me Take You Higher (The Whiskey Barons Nitetime Rework) - Whiskey Barons 13. Javi Frias - Keep Playin - Street Edits 14. Ferry Ultra - Rising Up (Art Of Tones Extended Mix) 15. Detroit Swindle - Were You Ready For That (DS Rework) - Schnitzel Cuts 005 16. Bim Marx And Master Khan - Dont Fall In Love - Stillove4Music Disco, Electronic, House, "Nu Disco", "Deep House", "Classic House", "Jackin House" www.priokskfm.online https://ift.tt/s3jkUTb

[theeverlastingshade]

Ashes Grammar- A Sunny Day In Glasgow: 10th Anniversary

Of all the artists that emerged throughout the prior decade, there wasn’t another quite as elusive, mercurial, and underappreciated as A Sunny Day in Glasgow. They released their debut record, Scribble Mural Comic Journal in 2007, and its homespun concoction of hazy atmospherics and sun-kissed melodies that peaked out from beneath layers of playful noise bridged the gap between Creation Records and Flying Nun, but it also established them as an island unto themselves. They seemed considerably more reserved than most of their peers, and not nearly as easy to peg. Two years later they dropped their stellar sophomore LP, Ashes Grammar, and all those points became even more pronounced. AG is a collection of 22 tracks that run from 11 seconds to just under 6 and a half minutes, and the sequencing is impeccable. Nothing sounds accidental or ill-placed, and while the idea of an album playing through like a single song is a tired cliché at this point, there are few records that fit that description as well as AG. The record is more fleshed out and stranger than its predecessor, and the palpable glee that the band have as they take immense risks throughout is infectious. It’s one long, joyful dream that finds the band upending the well-worn conventions of shoegaze and dream pop to delirious affect, and in the process creating a future benchmark for these respective genres.

 AG unfolds like a euphoric fever dream pitched somewhere between a religious ceremony and a twee dance party. ASDiG was a seven-piece band when they recorded AG, and so unsurprisingly there’s quite a bit going on at all times. There’s a sharp pop sensibility coursing throughout the record’s veins, but the band rarely engages that impulse directly, more often than not they tuck their melodies under waves of guitar distortion, four on the floor beats, and a wide assortment of texture. When the melodies are pronounced, as on “Close Chorus”, or “The White Witch” the results are simply breathtaking, and that playful sense of mischief that renders those moments far and few between is a large part of the record’s appeal. The vocals are consistently gorgeous but many of the actual lyrics are indiscernible, and so even when the vocals soar they still function as additional texture. On many of the songs the vocals don’t seem like the true focal point of the music, but there are plenty of stunning vocal melodies and harmonies throughout AG that negate the sense that they were an afterthought. And for a band that understandably scans entirely as headphone music, ASDiG provide these songs with quite a bit of infectious rhythm that you can actually dance to. The juxtaposition between the rhythms and the rest of the arrangements that their songs are composed of is remarkably fluid from start to finish, which gives AG on the whole a potential appeal beyond the the vast majority of comparable contemporaries.

The majority of the tracks that AG consists of scan far closer to sketches and interludes than they do proper songs. There are a few obvious high points that are far more fleshed out than the bulk of what’s here, but most of the songs on AG are just a few minutes long, and develop their ideas quickly without overstaying their welcome. In this way AG is more reminiscent of a Flying Lotus record in structure than most of the obvious shoegaze and dream pop touchstones that they’re building off of sonically, and that approach remains engaging because it consistently keeps the listener on their toes. No two songs sound alike, but they’re clearly the work of the same band, and more so than any other ASDiG record AG showcases a staggering amount of range from a fairly well-defined set of parameters. Songs like “Headphone Space” and “The White Witch” are among the best songs that ASDiG ever recorded, and necessitate their respective lengths to develop their exceptional melodies and mesmerizing arrangements. Most of the record is told through short, sweet bursts like the touching guitar drone of “Miss My Friends”, the stomp/clap rhythm and high-pitched synth squeal of “Canalfish”, or the alluring combination of bass, harmonica, and sleigh bells on “Loudly”. These songs succeed in building an engrossing patchwork of disparate pieces that, when listened to within the proper sequencing, showcase a staggering amount of growth from their relatively lean and more straightforward debut.

While every track on AG bleeds together superbly, there are a few songs here that loom large over everything else. Opening to clanging guitar riffs, a simple tom beat, and a gorgeous, wordless vocal melody, “The White Witch” takes a little over a minute to establish its presence before the arrangements break away to reveal a gorgeous dream pop song hiding beneath the squalls of distortion. The song chugs along for another two minutes steadily incorporating additional guitar overdubs before dipping into a mesmerizing outro with the surging guitar easing up for an emphasis on pure atmosphere. The following song “Nitetime rainbow” is one of the more interesting songs on AG, and opens to a rapid-fire procession of hi-hats while waves of bright synths wash over them. A hand-clap/kick drum rhythm emerges alongside scattered chants, faint harmonies, and jangly guitars that create an alluring framework, but everything dissipates shortly thereafter, replaced with nothing but a four on the floor bounce. That tension of building up their arrangements, and quickly cutting them back down persists throughout the following few minutes, and as the song concludes they bring everything back for a satisfying conclusion that transitions superbly into “Canalfish”. The 41 second interlude “Life’s Great” only exists for pure kindling, but it’s a perfect segue into closer “Headphone Space”, the grand culmination of everything that the band accomplished on AG. On “Headphone Space” ASDiG set colorful synths that explode like fireworks against a throbbing low-end while angelic harmonies triumphantly swirl around the chaos in pitch-perfect harmony.

While many of the songs on AG are among their best, the absolute best song that ASDiG has ever released is hands down “Close Chorus”. A quick burst of kick drums ignites an immediately entrancing vocal melody that the band lay softly over synths that swell with euphoria, jangly guitars, and a bouncing bassline. Shortly afterwards they add a hi-hat polyrhythm, and continue to build on this groove before everything drops away save for the vocal melody, a procession of heavenly harmonies, and a kick/snare rhythm. “Close Chorus” then hits a bridge that locks everything into a sort of spiraling stasis before a chugging hi-hat/kick rhythm comes barreling into the mix alongside the guitar, bass, and synth motifs from earlier. After the vocals return to build the intensity back up “Close Chorus” erupts into a fit of pure ecstasy propelled by their finest vocal melody to date. ASDiG then go into a legitimate guitar solo that flexes their pedal board acumen, and from there the song crescendo’s into one of the most cathartic moments in any song that I’ve ever listened to. It’s difficult to genuinely talk about a song as good as “Close Chorus” and do it justice without lapsing into hyperbole, but it’s the kind of song that you remember where you were when you first heard it, and it’s a perfect demonstration of ASDiG firing on all cylinders while making something that no one else could have.

After AG ASDiG continued to undergo several more lineup changes, most notably adding Jen Goma into the fold whose vocals played an increasingly large role in defining their sound on subsequent LPs. Following AG came their short and sweet Nitetime Rainbows EP in early 2010, their underrated third LP, Autumn Again, in late 2010, their masterful fourth LP, Sea When Absent, in mid-2014, the surprisingly heavy and too brief No Death EP in early 2015, and a solid double EP called Planning Weed Like It’s Acid / Life Is Loss in late 2015. They’ve never released anything that’s less than good, but their profile has never really seemed to rise above unanimous critical acclaim, and outside of specific music-obsessive circles they remain almost universally unknown. No other artist has managed to fuse shoegaze, dream pop, psychedelic pop, and experimental electronic music in a way that’s anywhere near as exciting or singular since ASDiG dropped SMCJ in 2007. While AG doesn’t quite sustain the immediacy of SMCJ, nor does it consistently impress with its songwriting like SWA, AG is nonetheless an impressive work of art that finds the fluid septet’s sound crystallizing into something wonderfully inimitable. ASDiG have always seemed to own their elusiveness though, and just like the rest of their records, AG seems meant to have been a lost secret brimming with colorful vistas worth exploring for those curious and patient enough to give them the time that they necessitate.

Essentials: “Close Chorus”, “The White Witch”, “Headphone Space”

[willkimart]

a quick nitetime doodle of my boy drawing ✍️ #boy #son #baby #art #drawing #doodle #sketch #kidsart #picturebook #cartoon #comics #figuredrawing #lifedrawing #portrait #illustration https://www.instagram.com/p/BpDyxfBBdT3/?utm_source=ig_tumblr_share&igshid=qhg6ux8ckq44

[yohanaimmanuel-blog]

vibes for the nitetime @issadeadgirrl 😈 link in bio spread this round (at Wynwood Arts District, Miami, Florida) https://www.instagram.com/p/BvNPiFunzvU/?utm_source=ig_tumblr_share&igshid=1ufbrs9cb0ldu

[miis-g]

long exposure in los angeles

[hazzzybae]

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Producer Of The Day Beat By: NITETIME Visuals By: My Protégé #WSHH #Hiphop #producers #artists #lofi #contentcreator #animation #rapper #influencer #producer #hiphopculture #videooftheday #amv #trending #rap #beat #worldstarhiphop #onepiece #luffy #recent #visuals #art #music #anime #produceroftheday (at Japan) https://www.instagram.com/p/BygtkoZBLgB/?igshid=146mc1eo02tcb

[lost-seal]

Look at this followers, this is what The Walten Files fans demand your respect for!

[lost-seal]

A redraw of that one Bunny Farm frame. It’s also a base for whatever silliness you come up with. Make him sing! Recite the Pepsi Logo Document! Just credit me.

[lost-seal]

Introducing…

Sky Cotl + Rain World AU

Basically it’s “What if spirits were slugcats?”

And our first one is…

The Visitor

Name is based on one of their titles, Auspicious Visitor.

Lore: An Iterator from far away, none the wiser about what’s going on in the main campaign, is sending holiday cheer across the lands.

Gameplay: The bag you lug around has many goodies. Give one to a creature and they will be more friendly towards you while also raising your karma. Killing a creature lowers your karma because you’re here to spread joy, and killing does the opposite. But you get the average amount of pips.

Goal: Give a goodie to every species. Every different colored lizard count as a different species.

Notes:

The food doesn’t actually have names yet, those are the things it’s based off of

Completing the goal ends with a picture of the visitor and their friends celebrating with their iterator. The ascension route shows them giving a goodie to a void worm.

Has the mark. Don’t know if the other gratitude slugcats will

Basic stats

Didn’t add the antlers because I didn’t want the sprites to be too complicated

5 pips to hibernate, 3 pips can be stored for the next cycle

Starts at 3 Karma

[lost-seal]

Her name is Janice and she works at a laundromat.

[lost-seal]

Assorted creatures.

[lost-seal]

Take a look. It’s in a book. A reading rainbow.

[lost-seal]

Fun, 2024

Do y’all want me to share more personal art?

[lost-seal]

Laughter