#Rival Consoles Now Is LP

[thejoyofviolentmovement]

New Audio: Rival Consoles Shares Nocturnal "Coda"

New Audio: Rival Consoles Shares Nocturnal "Coda" @rivalconsoles @ErasedTapes @terrorbirdmedia

Ryan Lee West is a critically acclaimed, London-based electronic music producer, best known as Rival Consoles. Over the course of his 15 plus-year career, the London-based electronic music producer’s work has diversified from the challenging electronic output of his early EPs to gradually become more conceptual and metamorphic: 2020’s Articulation used drawings and sketches to imagine and…

[motorfestgames2023]

The Crew: Motorfest - Igniting the Racing Scene in Hawaii

The Crew: Motorfest is like totally lit, you know? It's not about its success, but more about how it's following the same vibes as Forza Horizon. They've jacked all the dope stuff from Forza Horizon, from the menu setup to the intro, the banging music choices, and the storytelling style, down to the types of races and the actual gameplay itself. It's like, if a game series is fire, it's gonna get copied, and that's cool, but it's not getting a high score from them. Anyway, it's awesome that PlayStation players finally get a similar game to vibe with.

Hawaii is where the biggest motor fest in the world goes down, with all the different races and scenes, from lush jungles to chill volcanoes, crazy cities, and untouched beaches. All those spots are gonna get messed up by racers doing their thing, whether it's off-road, on the streets, or at the tracks. And it doesn't matter if you're into cars, bikes, boats, or planes; they got it all, and that's just the beginning of what's in store in The Crew Motorfest, which they've been hyping up. It had to step up its game and give us a map that's as rad as the one in The Crew 2, which had a "condensed" version of the whole United States we could explore coast to coast, with all the iconic spots. Hawaii, while wild and diverse, doesn't have the same pull, like no Las Vegas to hit up, but it makes up for it with a massive landmass, with different vibes in every corner. Plus, thanks to the new consoles like the PS5, the visuals are next level, with stuff to smash everywhere, and the graphics are insane especially the lighting. So, if you're looking to enhance your gaming experience, you might want to consider where to buy PS5 games.

Adrenaline Rush: The Ultimate Racing Experience on the Island

Inside the island, there are all these mini-games, just like the rival game. You got stuff like speed limits and photo ops. They even brought in this Slalom thing where you have to zigzag through points in a set area, which sounds hella fun. And there's a whole section for Formula cars that you can race on tracks. Aside from cars, boats, and planes, these Formula rides are a blast, with even pit stops. It's more arcade-style, not the hardcore sim stuff like Formula 1 games. They even threw in some Red Bull vehicles from back in the day. The real deal for a racing game is how the cars drive, right? Before, The Crew didn't do it for them, and they thought the driving in lots of Ubisoft games, like Watch Dogs 2 and Legion, was whack. So, they were mad skeptical about this game, wondering if it would be worth it to buy PS5 games like this. Like, more biased than cautious, for real.

Customization and Legend Points: Unveiling Motorfest's Personalization Features

Now, let's talk about customization in Motorfest. First off, you get to pick a character, but it's kinda meh, not much to work with, so they didn't even bother making a character that looks like them. But you can customize your character's drip a bit, from gloves to shades. They also have animations for posing and celebrating, but here's the kicker – once you pick your starting gear at the beginning, you gotta spend in-game bucks or real cash for the rest. When it comes to the money stuff, they've been grinding for over a dozen hours and haven't felt the pressure to drop real dollars. What's more important than looks is those Legend Points (LPs). You earn 'em by playing, like when you're looking to buy PS5 games, and can use 'em to unlock perks like more nitro power or better drifting. LPs let you flex your style beyond just clothes, ya feel?

[headlinerportugal]

Agosto sem L’Agosto já não é a mesma coisa | Reportagem

Já ganhou raízes em Guimarães e na agenda cultural nacional este Festival L’Agosto que era suposto só ter tido uma edição, a de 2017. Contando com a deste ano já lá vão 6 edições e, pelo “andar do carrossel” (ou não estivéssemos numa altura de festas da cidade), não ficará por aqui.

Dia 1, quinta-feira 3 de agosto

Vindos de São Tomé e Príncipe os África Negra proporcionaram uma abertura de evento bastante festivaleira com música com aquele timbre tipicamente africano. Não atrasou muito e, apesar da equipa local de futebol estar a jogar com mais de 18 mil pessoas a assistir, certo é que não afetou a afluência de publico já em bom número desde cedo.

Sons africanos bem quentes dos África Negra // Foto @ José Caldeira São uma formação com mais 40 anos de história tendo tido o seu apogeu nos anos 80. Atualmente com 6 elementos, eles puxaram pelas gentes de Guimarães e puseram as pessoas a bailar na relva do jardim do Museu de Alberto Sampaio. Com canções como “Angélica” ou "Madalena meu amor" um mini baile foi criado deixando os presentes muito bem-dispostos. Chamada de atenção para o baixista, mostrou os seus dotes extra: tocou o seu instrumento com a boca e com os pés. Algo que ainda não tinha visto em tantos anos de concertos.

Glockenwise, a banda de Barcelos como Nuno Rodrigues fez questão de repetir orgulhosamente durante o concerto, foi a seguinte em palco. O novo rock lusitano é liderado por eles e pelo seu muito aplaudido e elogiado LP ‘Gótico Português’ editado no passado mês de fevereiro. No decurso dos seus 45 minutos de atuação, slot bastante curta efetivamente, focaram-se nesse incrível álbum do qual tocaram “Vida Vã”, ”Lodo”, “Natureza”, “Margem”, “Gótico Português” e a última da atuação “Besta”. Esta é a ordem pela qual foram interpretadas.

Cláudio dos Glockenwise // Foto @ José Caldeira Nuno Rodrigues pediu por duas vezes para o público se juntar em frente ao palco e as pessoas corresponderam criando uma vibe mais apropriada para o momento. Com a noite bem fresca até foi uma boa ideia juntar o pessoal. Nuno esteve interventivo qb e até teve a proeza de ter, pela primeira vez, o capotraste da guitarra partido.

"Primeira vez que apresentamos o gótico foi em Guimarães e estava menos gente. Vitória!" disse Nuno Rodrigues e aquele grito de vitória foi uma espécie de anti-clímax para os adeptos do Vitória Sport Club em noite de eliminação europeia. Questões futebolísticas aparte, o artista referia-se à atuação no passado mês de fevereiro quando tocaram no Teatro Jordão numa atuação inserida no Courage Club. Estive também nessa performance e foi igualmente um momento bem passado.

Nuno dos Glockenwise /// Foto @ José Caldeira Nuno Rodrigues (voz e guitarra), Rafael Ferreira (guitarra), Rui Fiúza (bateria) e Cláudio Tavares (bateria) são o núcleo duro desta formação barcelense e ao vivo contam com o apoio de dois músicos: Gil Amado (guitarras) e Sérgio Bastos (teclados) e proporcionaram o melhor momento da jornada inaugural no qual existiu o pico de público nesta noite. Nota ainda para a particularidade dos fãs terem as letras na ponta da língua.

O único da noite a ter um slot superior a 45 minutos foi Ryan Lee West conhecido musicalmente como Rival Consoles. Este artista britânico tem já mais 15 anos de carreira e estreou-se em Guimarães neste L’Agosto. A sua atuação foi pautada pelo seu som característico e diferenciado produzido através dos seus sintetizadores.

Ryan Lee West como Rival Consoles // Foto @ José Caldeira Alguns dos temas interpretados por Rival Consoles foram "Persona", "Forwardism", "Afterglow" e "Sudden Awareness of Now" . Como jeito de remate posso afirmar que foi um bom cartão-de-visita do seu trabalho discográfico.

Dia 2, sexta-feira 4 de agosto

Esta noite ficou marcada pela primeira enchente nas ruas de Guimarães por causa das Festas da Cidade e Gualterianas. Um cenário totalmente divergente relativamente à noite anterior em que as redondezas do Museu de Alberto Sampaio estavam perfeitamente serenas. As ruas estavam cheias de vida e de pessoas, já o recinto do L’Agosto estava muito pacífico por volta das 22h.

A lisboeta Maria Reis prossegue a sua carreira a solo iniciada em 2017 deixando para trás o projeto Pega Monstro em versão duo com a sua irmã Júlia. A cantora e compositora subiu ao palco a pedir com os braços, como a querer dar um abraço, pedido dessa forma visual, para as pessoas se aproximarem dela. A solicitação foi aceite e o público, ainda em número tímido, chegou-se à frente do palco.

A canautora Maria Reis em estilo muito sincero // Foto @ José Caldeira ‘Benefício da Dúvida’, lançado em 2022, foi o mote para a sua atuação. Apresentou-nos canções como "Elefante na Sala" e “Odeio-te”, as duas primeiras tocadas, e desse LP tocou também, por exemplo, “Virgem Maria” e faixa que dá o nome ao trabalho e discográfico. A crueza sincera e desarmante com que interpreta as suas próprias canções, com letras bastante diretas, é algo que as pessoas sentem nos ossos. O devido valor pela sua coragem dessa pose pública é-lhe devido.

Para a atuação de Moullinex △ GPU Panic o ambiente já estava mais vibrante e o número de pessoas bem mais significativo. Companheiros de editora e de palco, Luís Clara Gomes e Guilherme Tomé Ribeiro, proporcionaram um dos momentos mais significativos do evento. Vestidos a rigor ao estilo yin-yang subiram ao seu mini palco situado sensivelmente a meio do recinto.

Moullinex & GPU Panic num conceito diferenciado // Foto @ José Caldeira O público já estava ansioso e os últimos preparativos da “nave espacial” fizeram ainda borbulhar um pouco mais a expetativa. O sistemas de luzes já estava com OK dos técnicos e por isso foi hora de “levantar voo”.

Tudo afinado e pelas 23:11h o duo entrou e iniciou a sua performance com “Inner Child”. Do mais recente álbum conjunto tocaram, por exemplo, “Break Me In Pieces”, “Pacífico” ou “Sublime”. Pelo meio apresentaram um tema novo e em seguida como disse Moullinex: “a partir de agora só se parte pedra aqui”. Aí entramos numa nova fase do espetáculo, sempre com um sistema de luzes bastante apelativo. A proximidade do público funciona muito bem e quebra-se aquela “barreira invisível” quando os artistas estão num local mais afastado, ajuda a criar sensações mais intensas.

Moullinex & GPU Panic num conceito diferenciado// Foto @ José Caldeira “Luz” foi a última interpretada ao fim de 1h numa atuação positiva e satisfatória para todos os que puderam presenciar.

Axel Moon e Niko Shin são franceses e o seu projeto chama-se Ko Shin Moon. Eles que regressaram ao Minho depois da presença no gnration Open Day em 2022, altura em que pude comprovar a sua valia. O som que produzem é construído com claríssimas inspirações indianas e arábicas. Um cruzamento entre os sons mais modernos das batidas eletrónicas e dos sintetizadores com o som de instrumentos tradicionais orientais de cordas.

A dupla francesa Ko Shin Moon /// Foto @ José Caldeira A performance foi bem recebida pelo público vimaranense e durante 1 hora o público aproveitou para dançar ao ritmo dos Ko Shin Moon não tendo desarmado depois da atuação do duo lusitano.

Dia 3, sábado 5 de agosto

Praças, ruas e esplanadas cheias em ambiente de festa. Assim estava Guimarães em mais um dia das Festas da Cidade e Gualterianas 2023. A boa vibe entrou igualmente no jardim do Museu de Alberto Sampaio e logo deste início, até mesmo antes do arranque dos Solar Corona já se registava uma boa afluência. "Dancing in the dark" na versão dos Hot Chip entoou na instalação sonora nos instantes antes do arranque da última noite e para uma estreia de peso na Cidade Berço.

José Roberto Gomes (baixo), Rodrigo Carvalho (sintetizadores), Peter Carvalho (bateria) e Nuno Loureiro (guitarra) entram de forma convicta pelas 22:15h para uma jornada que foi a verdadeira aceção de “partir pedra”. Já não há o saxofone de Julius Gabriel. Há, no entanto, uma viagem stoner na qual os sintetizadores foram aquela especiaria que deu aquele toque especial naquele menu rock servido de forma marcadamente picante.

Solar Corona numa belíssima abertura do 3º dia // Foto @ José Caldeira O orgulho barcelense foi, mais uma vez lembrado, duas noites depois dos Glockenwise o terem igualmente enfatizado. Barcelos é realmente a capital do experimentalismo do rock nacional de nota máxima.

Tinha curiosidade nos Cobrafuma, exacerbada pelo facto das opiniões ouvidas sobre as suas qualidades acima da média. A boa expetativa foi confirmada com selo de qualidade atribuído ainda mesmo antes do final dos 45 minutos em que atuaram.

José Roberto Gomes mudou o seu outfit deixou o baixo e pegou na guitarra, o que não mudou foi a sua constante entrega. Ao serviço dos Cobrafuma e ao lado de Luís Chaka Santos (bateria), Miguel Azevedo (voz e guitarra), Rui Pedro Martelo (voz e guitarra) foram uma espécie de superbanda nacional.

José Roberto e Chaka a dar o seu melhor // Foto @ José Caldeira "Fecharam-nos a sala mas nós vamos tocar para vocês" disse Azevedo em alusão à recente polémica com as salas do STOP no Porto. Sendo uma banda do Porto seria inevitável a referência. Tocaram o seu álbum de debute na sua totalidade. As 3 vozes zangadas e roucas de Miguel, José e Rui deram uma roupagem mais punk ao som já de si bastante fortíssimo.

O público correspondeu com uma energia impetuosa, no bom sentido, no qual o mosh lá fez a sua abençoada aparição. Mosh que não foi de presença omnipresente como sua santidade o Papa.

Miguel Azevedo, a figura ímpar da música portuense // Foto @ José Caldeira Para o encerramento de 3 dias de L’Agosto ficou guardada a presença dos And So I Watch You from Afar, quarteto oriundo de Belfast na Irlanda do Norte. Eles foram a cereja no topo do bolo rubricando o momento mais marcante do festival em 2023. Entraram instantes depois da meia-noite e meia por entre o fogo-de-artifício das festas da cidade o que deu um impacto visual brutal à parte inicial da sua atuação, algo que apanhou desprevenidos Rory Friers (guitarra), Niall Kennedy (guitarra), Ewan Friers (baixo) e Chris Wee (bateria), os atuais membros dos And So I Watch You from Afar.

No público notou-se a presença de fãs, inclusive vindos de Espanha, numa noite que registou a melhor adesão de público comparativamente às duas transatas. O post-rock instrumental dos And So I Watch You from Afar é delicioso e emocionante. Deu para percecionar o porquê do seu sucesso, eles que já têm uma vida longa e que está a caminho dos 20 anos de carreira.

O post-rock imparável dos And So I Watch You from Afar // Foto @ José Caldeira “Big Thinks Do Remarkable”, quiçá o tema mais emblemático desta formação irlandesa, não faltou e foi interpretado antes do encore. Até esse ponto não faltaram temas como “Mullally”, “A Little Bit of Solidarity Goes a Long Way” ou “7 Billion People All Alive at Once”.

A boa disposição do quarteto foi reinante durante a performance e para um final ainda mais épico no encore Ewan Friers e Rory Friers desceram ao jardim e tocaram no meio dos fãs.

Ewan Friers dos And So I Watch You from Afar // Foto @ José Caldeira Este foi um final merecido para o L’Agosto, com nota altíssima e que fica marcado para a história do festival. Um evento que aconteceu de maneira fluida num local bastante aprazível e que pareceu uma ilha no meio de tanto reboliço das festas. Uma ilha encantada e um cantinho bom que serviu de resguardo acolhedor. Considerações finais: - Penso que o festival L'Agosto devia ser apenas dois dias, a organização poderia assim maximizar (até mesmo financeiramente) a escolha das bandas para sexta e sábado, respetivamente. - Não coincidir nos dias em que se realizam as Festas Gualterianas, acho que retira visibilidade ao festival. - O festival teria mais a ganhar com bandas das "ondas sonoras" dos And So I Watch You from Afar e Cobra Fuma (tocaram nesta edição) ou dos Zen e Bizarra Locomotiva (toraram no ano passado). Foram os dias com mais gente nas respetivas edições. Texto: Edgar Silva Fotografia: José Caldeira | Festival L'Agosto (fotos oficiais)

[rapturerecords]

Song: Slave to the Blues / Oh My Babe Blues

Artist: Ma Rainey and her Georgia Band

Record Label: Paramount 12332

Recorded: ca. December 1925

Location: Project V13 teaser

A rare song from a rare label. Here’s “Slave to the Blues” presented by the infamous Paramount Records label. Regrettably due to both its age and the somewhat non-standard practices of recording and pressing at the label, the audio quality leaves something to be desired, but I have tried to clear up some of the noise.

This year is rather auspicious as it is the 10 year anniversary of the 2010 teaser for Project V13 on the Fallout website and also the recent release of a new film Ma Rainey’s Black Bottom on Netflix. This record happens to have been made two years before the recording session depicted in the film.

When logging into the now-defunct Fallout Online website, players were greeted with a series of Polaroid photographs being tossed onto the table offering shots of buildings and concept art while this song emanates from the glowing record player and radio combination console on the right.

Recorded in late 1925 in the winter, this song is one of the few songs from the 1920s used in Fallout and would have been the oldest recording used in the series.

A period Chicago Defender print ad for Ma Rainey’s “Bessemer Bound Blues”, recorded during the same session. Also listed are other Paramount Record titles.

Born Gertrude Pridgett, though otherwise known as Ma Rainey, she lived a fairly colorful life rife with intrigue and rumor. Even her birthplace is uncertain with various sources giving credit to Alabama or Georgia.

As her named suggests, she is dubbed the “Mother of the Blues”, combining elements of vaudeville and early “jass” (later spelled as jazz). She and her husband William “Pa” Rainey toured extensively throughout the South in the 1900s and 1910s with live performances in minstrel shows and vaudeville. It’s around this time she coined the term “blues” to describe her music as well as developing a relationship with Bessie Smith, also up and coming.

Though demand for recordings by black musicians was high, the color barrier meant that Rainey was not able to be shellacked until 1923 by signing with Paramount.

While she recorded with many jazz stars of the day and made over one hundred recordings with Paramount, the film focuses on her last years with the label which would also go bankrupt by the 1930s.

Regrettably, there are comparatively few photos of Ma Rainey, but her voice still echoes from the grooves.

Left: A still of the 1984 Broadway cast, Center: A Playbill for “Ma Rainey���s Black Bottom”, Right: A reverse shot of the same scene from inside the recording room from the 2020 film

Strictly speaking, Ma Rainey’s Black Bottom is not an biographical film, but rather a restaging of the 1984 August Wilson play of the same name which dramatizes a 1927 recording session in Chicago. Many of the scenes take place outside of the recording room and focuses on conversations between the band members. With the exception of Ma Rainey herself, while the roles of the musicians, the recording engineer and so on undoubtedly existed, the characters are largely fictional.

The title refers to a song and dance of the same name, and of course Ma Rainey’s version of it as yet to be recorded until near the end of the story. The above record label represents the central MacGuffin which is never directly seen in the film, but drives the plot forward. While much has been said about the characters portrayed in the film including the last film role of Chadwick Boseman, here’s a closer look at one of the more muted mechanical stars of the 1920s recording process documented in the film.

Triptych of a heat wave: an electric fan, an ice-cold 5¢ bottle of Coca-Cola, and a box of discarded lacquer discs.

A slight change to the script of the play is the changing of the setting from winter to summer as foreheads glisten with perspiration. While dialing up the oppressive heat brings more prominence to the electric fan and Coca-Cola scenes (the character Levee also attempts to repeatedly open a door for ventilation), the original recording session for “Ma Rainey’s Black Bottom” was in the winter of 1927. Perhaps the winter release of the Netflix film was meant to be a reminder.

This also has an impact on the recording session itself. The film depicts the recording session using smooth black lacquer discs (sometimes called acetate discs though they do not contain that material). As the recording engineer tosses the bad takes into the bin, it shows they are thin metal discs covered with a thin layer of nitrocellulose lacquer.

Industry films showing wax blanks used to make the initial recording before heading to the plating process. Note how the wax is polished to a shine, the disc is thicker, and of a lighter color than lacquer. The text intertitles indicate silent film footage. The first three rows date to the 1920s with the third for a Columbia Records pressing plant. The last row is a film from the 1940s showing RCA Victor still using wax recording blanks. All are for shellac 78 rpm records as the vinyl LP would be introduced in 1948.

Industry films showing lacquer covered blanks used to make the initial recording before heading to the plating process. Note how the blanks are glossy black and much thinner. The first row is from the late 1930s showing lacquer discs being used to eventually cut shellac 78s for Variety Records. 1948 would bring the invention of the vinyl LP and more common color footage. The second row shows updated footage from RCA Victor in the 1950s now using lacquer discs to press newly invented vinyl LPs. The last row also shows lacquer blanks for Capitol Records. If you don’t recognize Mel Blanc’s face, you may recognize his voice from innumerable Looney Tunes cartoons. 

Contemporary film footage from record pressing plants during the 1920s more commonly show thicker one-inch discs made of wax being used in the record lathe. Lacquer discs were more commonly used in the decades following.

A wax disc would have melted in the sultry summer of Chicago which gets as hot as it does cold in the winter. While it was easy to keep a wax disc warm, cooling technology had not progressed so far during that period. Many of Ma Rainey’s recording sessions appear to have been made in the winter or at least the cooler months in Chicago and New York. A humorous anecdote about a 1930s Bob Wills recording session details packing the wax master recordings on couple hundred pounds of ice to beat the Texas heat.

Though phonograph cylinders were made of wax a few decades prior, these wax discs made during the recording process was the origin of the term “spinning wax” popularized by disc-jockeys.

Regardless of wax or lacquer, this recording is extremely fragile and unable to be played very much. Similar to today, the process still continues to metal plating where multiple more durable metal copies are mirrored before eventually stamping out the right side up grooves into a vinyl slab, or more appropriate for the era depicted in this film, a shellac record.

Production designer Mark Ricker called the record lathe the “fifth star of the movie”. There are scant details about where they obtained the record lathe except it was from a recreator in the Los Angeles area. It is possibly related to the work of Nicholas Bergh who had restored a working 1920s record lathe which was featured in the documentary film series American Epic. The series explores this period of early recorded music and the people in front of and behind the microphone including Ma Rainey. In addition, contemporary artists attempt to adapt their music to the rigors, quirks, and restrictions of a 1920s recording studio. Jack White also produced on the film as well as producing the extensive Rise and Fall of Paramount Records box sets. Admittedly, the two machines aren’t a perfect match, but there is a very similar brass weight driving the entire mechanism which spectacularly snaps and crashes to the floor in a recording session.

With lacquer discs being used to preserve radio broadcasts by the late 1930s, it is likely the record lathe was adapted to work with lacquer discs since they are still in use today and more common to come by than wax discs.

Also notable during the session is that all the instruments and the vocalist share one microphone. The request for a second microphone was likely for dramatic effect. Similar to the acoustic era, the early electric microphone era were still experimenting with proper placement. It is a testament to the power of Ma Rainey’s voice that it can be picked out amongst the surface noise as the instruments and vocals move in and out of focus.

These were the days before the invention of magnetic tape and a substantially reduced recording booth without hulking amplifiers, control boards, and tape machines reflects that. Multi-track recording, overdubbing, or even audio editing was very difficult to accomplish in the pre-tape era. One microphone, one take, and direct to disc, otherwise the recording had to be done over.

While wax could be remelted or perhaps shaved, a flubbed take on a lacquer disc could not. Despite what some of the characters say, 6, 7, 8, 9 takes for the first song of a set-list would be expensive. Paramount would go bankrupt in the following years.

Paramount Records had a storied history nearly rivaling Ma Rainey herself though the record itself largely serves as the MacGuffin in the story. While the name of the record label was never directly mentioned in the film, there are some loose references. The advertising placards around the door mention offerings from a chair factory which Paramount originated. The Wisconsin Chair Company added making phonograph cabinets to its list of operations before delving into making their own phonographs and a record label in 1918.

Like Ma Rainey’s manager, the roles of the recording engineer and the record producer were likely combined into one character, Sturdyvant of Hot Rhythm Recordings, as the sign outside says.

Due to the popularity of the “race records”, Paramount had actually rented or owned recording studios in New York, Chicago, and in Wisconsin. Jay Mayo Williams or “Ink” Williams served as an unofficial liaison between Paramount and the African-American community, even convincing Ma Rainey to record for the label.

However, the label was plagued by low-quality pressings and inconsistent recording practices. Some records even have other songs heard in neighboring rooms. Williams would leave to produce his own record label Black Patti and later was head of the race records department at Decca.

The coming of the 1930s and the Great Depression spelled the end for Paramount Records. Employees were let go or reportedly paid in the metal record masters. Though many were sold for scrap metal, local rumor has the disgruntled employees throwing the masters into the Milwaukee River.

As a result, much of the Paramount Records catalog has become exceedingly rare or outright lost to the ages.

As a coda, a final scene was added to the film which was not present in the original play. A white orchestra plays a restrained version of a composition heard earlier by the Levee character. The bandleader is not named, but strongly resembles Paul Whiteman, one of the most recorded of the dance bands of the day. His trademark mustache and oval head were frequently caricatured even on his own record labels. Though he never recorded for Paramount, he was at the Victor and Columbia labels at the time, in addition to the circumstances of the recording session in the film there is an added layer referring to the background of his controversial self-styled moniker “The King of Jazz”.

Listen to the flip side “Oh My Babe Blues” here.

[prehistoricsounds]

This week's arrivals!

New releases from All Them Witches "Nothing As The Ideal", Angel Olsen "Whole New Mess", Beans "All Together Now", Colter Wall "Western Swing & Waltzes And Other Punchy Songs", Dion (Of Dion & The Belmonts fame) has recorded "Blues With Friends" with some big name friends such as Jeff Beck, Paul Simon, Bruce Springsteen, Van Morrison and Billy Gibbons to name a few! Els Michels Affair "Adult Themes",Emily Barker "A Dark Murmuration Of Words", Everything Everything "Re-Animator", Josh Pyke "Rome", Naked Giants "The Shadows", Rival Consoles "Articulation", The Frights "Everything Seems Like Yesterday", The Lemon Twigs "Songs For The General Public", Thibault "Or Not Thibault" (featuring Nicole Thibault from Minimum Chips and contributions from members of ORB, Parsnip and The Ocean Party) and Video Age "Pleasure Line"

Great to finally have the latest Khruangbin album "Mordechai" back in stock

Plus much more!

AC/DC - Highway To Hell [LP] AC/DC - Let There Be Rock [LP] (sold) Alex Lahey - Welcome To The Black Parade (Like A Version) [7"] All Them Witches - Nothing As The Ideal [LP] Amy Winehouse - Lioness: Hidden Treasures [2LP] Angel Olsen - Whole New Mess [LP] Beans - All Together Now (Purple/Magenta) [LP] (selling fast) Billie Eilish - Live At Third Man Records (Blue) [LP] (sold) Billie Eilish - When We Fall Asleep, Where Do We Go? [LP] Black Sabbath - Sabbath Bloody Sabbath [LP] Bon Iver - Bon Iver [LP] Brockhampton - Iridescence [2LP] (sold) Charged GBH - 1981-84 [4CD] (sold) Charli XCX - Vroom Vroom (Clear) [LP] (sold) Chris Cornell - Chris Cornell [2LP] (sold) Cock Sparrer - The Albums 1978-87 [4CD] (sold) Colter Wall - Western Swing & Waltzes And Other Punchy Songs [LP] Dashboard Confessional - The Places You Have Come To Fear The Most [LP] David Bowie - ChangesNowBowie [LP] Dion - Blues With Friends [2LP] Dokken - The Lost Songs: 1978-1981 [LP] El Michels Affair - Adult Themes [LP] Emily Barker - A Dark Murmuration Of Words (White) [LP] Everything Everything - Re-Animator [LP] Fatboy Slim - Greatest Hits: Why Try Harder [2LP] Fidlar - Xanny (Like A Version) [7"] Guns N' Roses - Use Your Illusion I [2LP] (sold) Halestorm - Vicious [CD] (sold) Hiroshi Yoshimura - Green (Green Swirl) [LP] (sold) Hockey Dad - Brain Candy (Yellow) [LP] Idles - Joy As An Act Of Resistance [LP] INXS - The Swing [LP] Jimi Hendrix Experience - Electric Ladyland [2LP] Josh Pyke - Rome [LP] Justin Townes Earle - Saint Of Lost Causes [2LP] Kamaal Williams - Wu Hen (Red) [LP] Kathleen Edwards - Total Freedom [LP] (sold) Khruangbin - Mordechai [LP] Metallica - Master Of Puppets [LP] (sold) Metallica - S&M2 (Marbled Orange) [4LP] (sold) Naked Giants - The Shadows [LP] NAS - Illmatic XX [LP] (sold) Nirvana - Nevermind [LP] Paul Kelly & Paul Grabowsky - Please Leave Your Light On [LP] Phoebe Bridgers - Punisher [LP] Pretenders - Hate For Sale [LP] Rex Orange County - Apricot Princess (Orange) [LP] (sold) Rick Wakeman - The Red Planet [2LP] (sold) Rival Consoles - Articulation [LP] Sex Pistols - Never Mind The Bollocks [LP] Spacey Jane - Sunlight [LP] Steven Wilson - Insurgentes [2LP] Stiff Little Fingers - The Albums 1991-1997 [4CD] (sold) Taylor Swift - 1989 [2LP] The Beatles - Magical Mystery Tour [LP] (sold) The Beatles - Yellow Submarine [LP] The Cult - Pure Cult [2LP] The Drones - Here Come The Lies [2LP] The Fall - I Am Kurious Oranj [LP] The Frights - Everything Seems Like Yesterday [LP] The Jayhawks - XOXO [CD] (sold) The Lemon Twigs - Songs For The General Public [LP] The Stooges - Live At Goose Lake 1970 [LP] The Strokes - The New Abnormal [LP] Thibault - Or Not Thibault (Pink/Blk) [LP] Thumlock - Lunar Mountain Sunrise [LP] Traffik Island - Sweat Kollecta's Peanut Butter Traffik Jam [LP] Tyler, The Creator - Igor [LP] Tyler, The Creator - Scum Fuck Flower Boy [2LP] (sold) Vance Joy - Elastic Heart (Like A Version) [7"] Various - Kill Bill Vol. 1 OST [LP] Various: Dirty Work Going On - Kent & Modern Records Blues Into The 60's Vol. 1 [CD] (sold) Various: New Breed R&B - Saturday Night Special [CD] (sold) Video Age - Pleasure Line (Purple) [LP] White Stripes - Elephant [2LP] Yo La Tengo - Electr-O-Pura [2LP]

[mhsn033]

Coronavirus: How music played on in lockdown

Listing copyright Getty Photos

Listing caption How can song thrive within the time of coronavirus?

That you just would have the ability to no longer quit the song, as one passe disco song says – but one scheme or one other, coronavirus has come pretty close.

At the tip of the pandemic, with file stores shut and labels struggling, the waft of original album releases slowed to a trickle.

Now the change is starting to clutch up the rhythm all another time but shoppers are still reluctant to visit the High Road for original LPs and CDs.

In lockdown, we luxuriate in learnt to expose extra albums online and the scheme we exhaust song streaming products and companies has changed as properly.

And whereas are residing song can resume in England from this weekend, it is inclined to be on a restricted basis, as social distancing measures mean fewer paying prospects shall be allowed into venues.

So how luxuriate in completely different sectors of the song industry coped?

The file label

“Or no longer it has been no longer easy, to claim the least,” says Adam Velasco, managing director of Cherry Crimson Records, an honest label that is one amongst the finest companies within the song reissue market.

Physical albums are mighty sellers for the label and its field sets are highly prized by collectors.

Listing copyright Cherry Crimson Records

Listing caption Avant-garde artists the Residents are among Cherry Crimson’s contemporary mighty sellers

At the beginning up of the pandemic, distributors and warehouses all over the world were closing down, forcing the corporate to decrease attend on original releases.

“There was once no level in planning issues for May per chance and June. Who knew the build we were going to be?” he says. “Nonetheless we true did the most efficient we would to purchase with our fan atrocious.”

That intended offering discounts, flash sales and completely different special gives throughout the Cherry Crimson online page.

It also intended responding to prospects “of a decided age” who rang in to claim that they were no longer on the cyber web and didn’t know the build to purchase physical albums whereas file stores were shut.

Nonetheless the effort paid off, with the label’s mighty sellers below lockdown including the Residents’ original album, Metallic, Meat & Bone, plus deluxe reissues from artists corresponding to Be Bop Deluxe and Laura Branigan.

Cherry Crimson resumed its release time table in July, earlier than somewhat a couple of its rivals. “We were assured that we were getting to our followers and of us were hungry to purchase original releases,” says Mr Velasco.

The file stores

Sooner than the pandemic struck, song retailer Tough Commerce was once promoting extra records than ever, with esteem-for-esteem 2019 UK sales up 25% general.

Its model of staging in-store gigs, with admission free to of us who sold the band’s album, had proved a a hit scheme of marketing and marketing physical releases within the age of streaming.

Listing caption Fewer of us are visiting Tough Commerce stores but online sales are booming

Nonetheless then Tough Commerce Retail had to close its four UK stores and director Stephen Godfroy says, “We are able to need a solid 2d-half recovery if we ask to full the one year with sales matching 2019.”

Now the stores are open all another time, though with fewer of us in them. At the same time, the retailer has considered online sales upward push so great that it had to build of abode up a devoted online fulfilment warehouse.

“In essence, we were compelled to alter into an online-led industry in precisely a topic of weeks,” says Mr Godfroy.

Listing copyright Dinner birthday party Records

Listing caption Dinner birthday party Records is working a click on-and-accumulate provider in its car park

Yet another honest file shop, Dinner birthday party Records in Kingston, has taken a supreme potential.

In favor to reopen the premises fully, the shop is directing prospects to its online page and offering a click on-and-accumulate provider from its car park.

Jon Tolley, who runs the industry, says that having to limit prospects’ searching in his “small and dingy” shop felt “too regimented and no longer what we’re about”.

“We’re still serving of us, true otherwise,” he told the BBC.

The streaming provider

Digital song, naturally, is no longer any longer inclined to the same distribution and sales issues which luxuriate in plagued vinyl and CD sellers.

Nonetheless in accordance with streaming provider Deezer, the scheme of us exhaust its provider has fluctuated considerably throughout the pandemic.

Listing copyright Getty Photos

Music consumption within the UK dipped when lockdown was once first announced, the provider talked about, but had risen all another time by the quit of May per chance.

In the meantime, on the opposite hand, a couple of issues had changed.

Whereas confined to their homes, Deezer users were now no longer streaming throughout the neatly-liked “sprint back and forth time” of 06: 00 to 07: 00, but were starting their day after day listening at 09: 00 to 10: 00.

Users were also streaming through TVs, game consoles and natty speakers instead of mobile devices, though those for the time being are taking half in renewed repute.

“By June, listening had actually bounced attend within the UK. General song streams were 63% elevated in June than they were throughout March and the tip of the pandemic,” a Deezer spokeswoman talked about.

Deezer talked about that users’ song alternate strategies also mirrored the public mood, with some spikes in listening corresponding to executive announcements.

“When lockdown first started, Deezer seen mighty will improve of streams for ‘still’, ‘actually feel true’ and ‘satisfied hits’ playlists within the UK and all the map in which throughout the world,” the provider talked about.

So what’s next?

Despite the easing of lockdown measures this weekend in England, many song followers might perhaps well perhaps also still be cautious of going to gigs.

The areas that host concert events are struggling to reside afloat, despite an injection of executive money for as much as 150 small song venues in England.

Listing caption Covid-19 has temporarily attach paid to Tough Commerce’s in-store gigs

Dinner birthday party Records passe to stage 200 gigs a one year at native Kingston venues, but says it has given up hopes of doing so earlier than the quit of 2020.

With a ways fewer alternatives to play are residing, the disaster is hurting artists, who count on earnings from touring and merchandise sales, says Cherry Crimson’s Adam Velasco.

“We’re attempting to wait on their spirits up and pondering of releases to abet them,” he adds.

Tough Commerce Retail’s Stephen Godfroy says footfall stays “vastly decrease” than earlier than lockdown, with sales down accordingly.

Nonetheless he takes a witness ahead to this one year’s great-postponed File Retailer Day, which is prepared to now happen on three separate dates: 29 August, 26 September and 24 October.

And as completely different labels get up with Cherry Crimson and revert to same old schedules, October promises to be “a fully rammed month for original releases”, Mr Godfroy says. So there is one thing for song followers to seem ahead to.

from WordPress https://ift.tt/3kOgY35 via IFTTT

[akaanuar]

Rival Consoles - Sudden Awareness of Now (Official Audio) from Erased Tapes on Vimeo.

Taken from Rival Consoles' forthcoming new album 'Articulation', released on 31 July.

"This is a song I created late at night, I wanted to make something full of momentum and mood.

The bird song that appears at the beginning of the piece was actually a very late idea in the creating process. My studio is surrounded by a lot of trees and there is always bird song, which I love but normally don’t consider wanting to use in my music. However one day when I was working on the piece, I kept noticing that the birds, were singing perfectly in tune with the song, so much so that it sounded like one of the little melodies that appears at the end of the song. I quickly recorded it on my phone and it just felt right in the music. I think it grounds the song and also plays with the idea that at the beginning of the piece is bird song, and at the end of the piece is a kind of electronic bird song.

The end is something I have been longing to make for a long time, which is the closest I have gotten to synths coming in and out of picture like choreography, the synths are having a conversation, and it’s very fluid. The mood of the piece to me, is a kind of bittersweet blend of hope and nostalgia." — Ryan Lee West

Articulation (which follows 2018’s Persona) was conceived with a very visual way of thinking, unusual for the London musician and producer. During the writing process Ryan drew structures, shapes and patterns by hand to try and find new ways of thinking about music, giving himself a way to problem-solve away from the computer. The album title references a piece by the avant-garde contemporary composer Györgi Ligeti, though not for its music, but for the non-traditional graphic score that accompanied it. You can see some of these drawings here: rivalconsoles.net/diagram

Pre-order 'Articulation' on LP · DL: IDOL.lnk.to/articulation

[entergamingxp]

Intel reveals their first discrete graphics card, already en route to developers • Eurogamer.net

The graphics cards space has been immutable for decades, with Nvidia and AMD each taking turns at the top of the discrete market and Intel chipping away with their integrated offerings. Now, years after the first rumblings that things were about to change, Intel is sending out its first discrete GPU to developers. It’s called the DG1, and it could have an impact far in excess of its modest frame. Two days after first revealing the card on stream, we have more details about how this card works – and what Intel is planning to do with it.

Let’s start at the beginning. Intel’s new graphics architecture is called Xe, and comprises of three microarchitectures that operate at different scales – Xe-LP for low power mobile devices, like phones, tablets and laptops, Xe-HP for workstations or gaming-class desktops and Xe-HPC for high performance computing – think server clusters and supercomputers. The DG1 is from this first class of devices, so don’t expect desktop-class performance that rivals the best from AMD or Nvidia – that’s coming later.

Rather than being a standalone release for gamers, right now the DG1 is intended mostly for developers to get to grips with the new Xe architecture. Intel’s 11th-generation Tiger Lake mobile processors are driving the release, as these will include the new Xe-LP integrated graphics, which the company promises will offer double the performance of the Iris Plus graphics built into 10th-generation Ice Lake chips. (Intel also claim that the new CPUs will boast double digit upticks in CPU performance and a heavy boost to AI processing as well.) Of course, it can be hard to program applications to take full advantage of a chipset that hasn’t been released yet, so Intel is sending out to the DG1 to independent software developers ahead of the launch of Tiger Lake. That should ensure everyone is up to speed with the Xe-LP microarchitecture, no matter whether it’s built into a laptop or present as a discrete GPU.

So that’s what DG1 is intended for – at least for now. The other big reveal today is what the card actually looks like. These photos don’t reveal a massive amount, but we can see four display outputs – likely one HDMI, three DisplayPort – and no auxiliary power input, suggesting that the card is drawing no more than the 75W provided by the PCI express slot. There’s also a modest nine-bladed fan, about 70mm in size, sitting within a finned metal shroud fitted with a back plate. Judging by the size of the PCIe slot, the card measures about 14cm long, a little shorter than the average “mini” graphics card of around 17cm.

The release also contains some information about the software side of the equation. Like Intel’s integrated graphics, the DG1 will make use of the recently redesigned Graphics Command Center. Redesigned last year, the software recently added integer pixel scaling and a beta version currently offers hardware-accelerated screen capture.

Despite today’s announcements, there’s still plenty we don’t know about the DG1 graphics card, the Xe architecture and those Tiger Lake processors. Leaks have suggested a 96 execution unit part compared to the 64 execution units on Ice Lake, but that remains unconfirmed – and we have no idea about other specs like clock speed, memory capacity and bandwidth, to say nothing of a price and release date! However, we can at least postulate that the higher execution unit count, plus access to dedicated VRAM and cooling, should allow this low power part to punch harder than its previous-gen mobile counterparts.

Ultimately we’re left with more questions than answers, but with luck Intel will be a little more forthcoming in the months leading up to the rumoured summer release date. With a new console generation and fresh PC hardware from all three major players, 2020 could be one to remember.

from EnterGamingXP https://entergamingxp.com/2020/01/intel-reveals-their-first-discrete-graphics-card-already-en-route-to-developers-%e2%80%a2-eurogamer-net/?utm_source=rss&utm_medium=rss&utm_campaign=intel-reveals-their-first-discrete-graphics-card-already-en-route-to-developers-%25e2%2580%25a2-eurogamer-net

[thejoyofviolentmovement]

New Audio: Rival Consoles Shares Glistening "Running"

New Audio: Rival Consoles Shares Glistening "Running" @rivalconsoles @ErasedTapes @terrorbirdmedia

Ryan Lee West is a critically acclaimed, London-based electronic music producer, best known as Rival Consoles. Over the course of his 15-year career, the London-based electronic music producer’s work has diversified from the challenging electronic output of his early EPs to gradually become more conceptual and metamorphic: 2020’s Articulation used drawings and sketches to imagine and developed…

[thesynthsoulreaper]

The defining brawler franchise? What memories this brings back as my cousin and I would rent this and play on the now classic Sega Genesis console. A quantum leap over 80s classics such as Double Dragon and Its medieval counterpart, Golden Axe, the first Streets of Rage(Bare Knuckle in Japan) came as the 80s actually ended, so it is interesting to see how it stacks up against its progenitors. Arcades were still big at this time, but having a robust selection of characters at home was a must: Adam, Blaze and Axel came along after Final Fight hit the arcades in ‘89, which then made its way to the Super Nintendo around the same time. While it had larger than life characters, Streets of Rage seemed faster when it came to gameplay given the inferior quality of the Genesis graphics. Nonetheless, the series spawned two sequels with an ever evolving cast of characters, and by the third installment, it had a revolutionary synth score that rivaled the sound composition of most other games at that time. Now, Data Discs offers that score on a double LP, just as current home consoles offer the actual game in retro collections such as the Sega Genesis Classics. Musically, the score for Streets blended synth and funk beats, as you fight your way through gang members who look like something out of Mad Max, Cyborg, or even the Warriors. I always liked this art work, though. Dynamic, like 80s action movie posters.

[thejoyofviolentmovement]

New Audio: Rival Consoles Shares Glistening and Thumping "World Turns"

New Audio: Rival Consoles Shares Glistening and Thumping "World Turns" @rivalconsoles @ErasedTapes @terrorbirdmedia

Ryan Lee West is a critically acclaimed, London-based electronic music producer, best known as Rival Consoles. Over the course of his 15-year career, the London-based electronic music producer’s work has diversified from the challenging electronic output of his early EPs to gradually become more conceptual and metamorphic: 2020’s Articulation used drawings and sketches to imagine and developed…

[thejoyofviolentmovement]

New Audio: Rival Consoles Shares Glistening and Propulsive "Now Is"

New Audio: Rival Consoles Shares Glistening and Propulsive "Now Is" @rivalconsoles @ErasedTapes @terrorbirdmedia

Ryan Lee West is a critically acclaimed, London-based electronic music producer, best known as Rival Consoles. Interestingly, over the course of his 15-year career, the London-based electronic music producer’s work has diversified from the challenging electronic output of his early EPs to gradually become more conceptual and metamorphic: 2020’s Articulation used drawings and sketches to imagine…