#Shellac Of North America

[musicalmonomania]

steve albini.

[b5ksrockhaus]

Shellac, The Wire, June 2024 edition. By Lyndon French & Eric Ruby.

[wildoute]

[evildilf2]

Shellac photos from Josh Bearman, doctornunez on Instagram

[schismusic]

In memoriam: Steve Albini

These are all pictures I took myself. It was the 26th of May, 2015; I was at the Locomotiv Club. I would turn 16 the following July. Nine years later on that same day I will be seeing Godflesh, because no one ever truly changes.

None of these pictures is particularly beautiful or aesthetically pleasing, but I'd argue Steve Albini wouldn't particularly care. He was the fastest and slickest of them all. The smartest and most clever. The one with true conviction, the one to stand his ground at all times — even if it meant tracing back on harmful behaviour, like he did in these past few years. Steve Albini taught me to think with my own head. It isn't always easy, but I try my best.

I hope we can still hear you make some noise, wherever you are — I simply refuse to believe that you've simply gone away

[ampd]

[2007.06.05] Shellac - Excellent Italian Greyhound

CD, Touch and Go - TG303CD

Illustration by Jay Ryan; Photography by Joel Larson; Layout by David Babbitt.

[somethingvinyl]

A perennial favorite of mine—one of the very first newly-pressed vinyl records I ever bought! Shellac is one of the greatest bands on earth. This album, as well as sporting possibly the best album cover ever photographed, is outstanding musically. I especially love the interplay between noise and silence on End of Radio and Genuine Lulabelle, and the unhinged energy of Be Prepared and Spoke (look up the lyric video for the latter sometime when you need a laugh).

Hey Shellac, it’s been almost ten years since your last album. I know you pride yourselves on your inconsistency, but I could really use another one!

[therivershit]

Shellac of North America 10/01/2000, my wedding reception, photo by Mark Wojahn

[doomandgloomfromthetomb]

Shellac - 7th. Street Entry, Minneapolis, Minnesota, October 29, 1994

Guest post! This one comes from friend-of-the-blog Xopher Besinger — a loving tribute to Shellac of North America and the late/great Steve Albini ...

When Steve Albini passed away this past spring the underground music world lost a champion and a crucial resource, both technological and philosophical. But he wasn’t only an engineer, studio owner, and opinionated online presence Albini was also a singular guitar player and for the last 33 years member of the power trio Shellac along with Bob Weston of Volcano Suns and Todd Trainer from Rifle Sport & Brick Layer Cake. The band carved out a special niche, where Wire and Gang of Four overlapped with AC/DC, shearing away all unnecessary elements until the music was compressed down to a single razor blade guitar spinning off coruscating shards of metallic sound over a massive, unstoppable rhythm section and sometimes some yelling.

They made several studio albums, but Shellac was primarily a live band, part comedy act, part blistering noise unit, always conducting shows with the laid-back ease of a long running house band. Toward the end shows were as full of familiar bits and gags as much as new songs but this show, from October 1994 in front of a rowdy home turf crowd (c’mon everyone knows the 7th St Entry was their home) approaching Halloween the band is still very new, a couple of singles had appeared the year prior and the first full-length, At Action Park, came out that month but not everything had completely settled just yet, even the infamous Q & A sessions appear here in nascent form as Albini just fields specific questions about Montana.

This show probably isn’t a holy grail to anyone except for me, I remember seeing the show flyers up around Dinkytown when I was briefly attending the University of Minnesota, but I was still 18, not old enough and without a fake id. The sound is a bit rough on this audience tape, plenty of dance music bleeding in from the First Avenue main room next door (a normal hazard throughout the 90s) and drunken crowd chatter but the band is clearly in their element, teasing Minneapolis icons Morris Day & Arcwelder’s Bill Graber and battering the hell out of the songs. Albini has obviously been listening to the also recently released Jon Spencer Blues Explosion album Orange as he exhorts “blues explosion! number one blues singer!” several times. The setlist draws mainly from the singles & first LP but there are a few surprises, such as the mellow coda to “Rambler Song” from their split single with P.W. Long, an early version of “Disgrace” and of course “Spoke”, which was the normal closer in the early years but didn’t appear on an album until 2007.

As always there is a healthy amount of back-and-forth between the band and crowd and even amongst the band onstage, but Shellac always made it clear that those interactions were as much a part of the gig as anything. This holistic view might be one of the reasons the shows were so memorable, it wasn’t just a band playing music to an audience, the talking, the tuning up, the waiting for the show to start, the lines to the bathroom, the obnoxious people in the crowd, the songs you had never heard before, were all given equal weight as components to the experience. And that to me is what this recording captures, the full weight of seeing them, with all those other things included.

I am going to miss seeing them dismantle the hecklers, I am going to miss the way they could flip from goofy to visceral to transcendent in the matter of seconds, but more than anything I am going to miss that biting, clanging guitar at the start of “Billiard Player Song” cutting straight through everything. Everything. So, grab a cigar, a match, and people who don’t care if you smoke it and loudest speakers you can find. Requiescat!

[theoutcastrogue]

Oh it was a GREAT year for queens / empresses / mothers of the blues. Bessie Smith, Ma Rainey, Mamie Smith, Lucille Bogan, Ida Cox, all have iconic recordings from 1923 or earlier.

Oh, and Jelly Roll Morton!

Another important addition to the public domain is folk music recorded so early in America, and I don’t just mean American folk, I mean immigrant folk. Many places didn’t have a recording industry so early, either not well-developed or not at all, so such recordings are (among) the first in a whole bunch of genres and languages. I mean, I only know for a fact about my immediate vicinity (the Balkans, Turkey, the Middle East, north Africa) and that literally applies to everyone. I’m sure it goes way beyond that.

New York in particular had several studios in the 1920s which specialised in music by and for immigrants from all over, and sometimes musicians from origin countries would travel all the way to New York to record, hoping to sell the records (shellac at first, and only later vinyl) both in America to their compatriots and back home. And since musicians from all over hanged out in the same studios, there was a certain amount of fusion, influences going back and forth, everyone borrowing from everyone else, and no one particularly caring who wrote what. Which is of course the natural state of folk music, that’s how this shit works, not with bloody copyright, and that’s why it’s so RICH. These studios lasted until the 1960s or thereabouts.

I’m happy that these early recordings are finally going into the public domain. But goddammit, this is a treasure that had no business being locked for so long, no business at all.

The reason why we're suddenly seeing a bunch of indie video games – particularly American indie video games – using vintage music is because the US finally has a public domain in sound recordings.

For context, until 1972, there was no federal copyright regime in the US for sound recordings; intellectual property law for sound recordings was devolved to the individual states, meaning there were fifty different sets of rules that might apply to any given recording, and some states allowed sound recordings to be protected for an indefinite term – i.e., in essence, perpetual copyright without expiration.

What changed in 1972 was the Sound Recording Amendment, which unified established federal copyright on sound recordings for the first time, but which allowed any pre-existing state-level copyrights for sound recordings published prior to February 15th, 1972 to run for their full term. Since most state-level sound recording copyrights had no fixed term (see above), this was capped at the "publication plus 95 years" rule which applies to other federal copyrights – with the twist that the 95-year cap on previously perpetual sound recording copyrights would count from 1972, not from the date of publication.

This effectively meant that no sound recordings in the US would enter the public domain until February 15th, 2067 – which doesn't do anyone a whole lot of good right now!

Fast forward to 2018, when another piece of federal legislation, the Music Modernisation Act, was passed. Though this act was mainly concerned with streaming royalties and such, it also contained provisions to grandfather certain sound recordings into the public domain earlier than the Sound Recording Amendment's all-or-nothing 2067 deadline. Specifically:

On January 1st, 2022, all sound recordings published before 1923 would enter the public domain

Sound recording published from 1923 through 1946 will enter the public domain 100 years after the date of first publication

Sound recordings published from 1947 through 1956 will enter the public domain 110 years after the date of first publication

In practice, what this means is:

All sound recordings first published before 1923 entered the public domain last year, on January 1st, 2022;

This year, 2023, is a "gap year" in which no sound recordings enter the public domain (i.e., being the 100th and final year of protection for sound recordings first published in 1923); and

On January 1st of next year – that is, January 1st of 2024 – new batches of sound recordings will begin to enter the US public domain on a yearly basis for the first time in history, starting with sound recordings first published in 1923.

[musicalmonomania]

thinking about him always. thanks for being one of my biggest heroes, steve. i owe a lot to you 🙏 genuinely wouldn’t be who i am today if it wasn’t for this guy. the music industry lost a real one when he died.

[uneditedfootage]

pinned 11/7/2024

jack/cheese/media/travis

22 T day (5/23/2023) (currently off t and it has fucked my mental health up tho love laws) no gender only loving women

he/him/his ey/em/eirs it/its

mentally ill + neurodivergent (my biggest enemy is my brain)

interests/likes

(not in order)

- miniature painting (mostly warhammer + malifaux)

- ttrpgs (chained to d&d like a dog to a fence but id love to get into OSRs and p2e) tbh ive been playing 5e for 8 years i need a break i hate the company behind the game more than the game

- meat locker + prurient + other fernow works

- twin peaks

- dungeon meshi

- physical media collecting (mostly noise and power electronics vinyl, cassettes and cds)

- horror media (i love body horror i love the horrors of having a body)

- pony beading (diy merch!!)

- walking and sight seeing

- fuzzy animals

- courage the cowardly dog + i love all animation but i really like the 90's-00's

- cool world + other bakshi works

- wham city comedy

music likes not in order + im forgetting a lot right now

prurient , xiu xiu (saw them twice) , coil, swans, nightmare at hanging rock , big black , whitehouse , chat pile , shellac of north america , machine girl , lustsick puppy , sprain , pharmakon , rainforest spiritual enslavement , danny brown , the residents , rev kristen michael hayter / lingua ignota , angels of light , jarboe , uboa , melissa , dazey and the scouts , caligula031 , sophie ,

i will most likely listen to anything besides most modern country or christian music i want to scanners head pop all the members of skillet

byf

- because of brain stuff im not the best at tagging things my blanket tags are .tw / .cw [subject] please feel free to message me about anything you need specifically tagged! im also not the best with interacting as well i like to call it vampire brain (for some reason i need explicit permission to talk to people? idk bitch(me) be crazy

dni

i love the block button

- general dni (bigots, racists nazis bootlickers choke)

- zoophiles pedos

- identity policers or whatever the truscum/transmed equiv is

- dont like chihuahuas - like felony fartinez

[wildoute]

[trendingreportz]

Water-Based Pigment Inks For Textile & Apparel Market - Forecast(2024 - 2030)

Water-Based Pigment Inks For Textile & Apparel Market Overview

Water-Based Pigment Inks For Textile & Apparel Market size is expected to be valued at $272.0 million by the end of the year 2026 and is set to grow at a CAGR of 5.3% during the forecast period 2021-2026. Water-based pigment ink contains pigments in a colloidal suspension with water as solvent. In comparison to other types of pigment inks, water-based pigment inks produce brighter colors and also provide light-fastness. The water-based pigment inks come in larger particle levels and therefore, it is not easily decomposed by the light. Water-based pigment inks tend to resist water and UV light better than dye-based ink and can restrain from fading for a longer period. The increasing adoption of water-based pigment inks owing to their economical uses and the growth surge of the textile industry is also contributing to the growth of the Water-Based Pigment Inks For Textile & Apparel Market. This is majorly driving the demand for Water-Based Pigment Inks For Textile & Apparel Market.

COVID-19 impact

Amid the Covid-19 pandemic, the water-based pigment inks market was hugely affected, owing to the various legal and economic restrictions laid by governments across the world. The decline in the growth of the related industries is also restricting the growth of the Water-Based Pigment Inks For Textile & Apparel Market. For instance, Indian textile and apparel exports in 2020-2021 are almost 13% less (in dollar terms) than the previous year, provisional data available with the Cotton Textiles Export Promotion Council shows. The exports were worth US$29 billion last year as against US$34 billion in 2019-2020. According to the National Council of Textile Organizations (NCTO), the U.S. textile and apparel shipments decreased from US$75.8 billion in 2019 to US$64.4 billion in 2020. This is majorly restricting the growth of the Water-Based Pigment Inks For Textile & Apparel Market. 

Report Coverage 

The report: “Water-Based Pigment Inks For Textile & Apparel Market– Forecast (2021-2026)”, by IndustryARC, covers an in-depth analysis of the following segments of the Water-Based Pigment Inks for Textile & Apparel Industry.

By Resin Type: Acrylic, Alkyd, Epoxy, Polyamide, Hydrocarbon, Melamine, Maleic, Shellac, and Others.

By Pigment Type: Organic Pigment, Inorganic Pigment (White [Titanium Dioxide, Zinc Oxide, Zinc Sulfide and Others], Colored [Chrome Yellow, Molybdenum Orange, Iron Red and Others], Black, Metallic, and Others.

By Application: T-shirts, Signage Flags, Home Furnishing Fabrics, Sports Apparel, Fashion Textile and Others.

By Geography: North America (USA, Canada, Mexico), Europe (UK, Germany, France, Italy, Netherlands, Spain, Russia, Belgium, and Rest of Europe), APAC (China, Japan India, South Korea, Australia & New Zealand, Indonesia, Taiwan, Malaysia, Rest of APAC), South America (Brazil, Argentina, Colombia, Chile and Rest of South America) and RoW (Middle East and Africa).

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Key Takeaways

Asia-Pacific market held the largest share in the Water-Based Pigment Inks For Textile & Apparel Market owing to increase in investments in the textile industry and growth of the textile industry.

Increasing adoption of water-based pigment inks is one of the major factors driving the Water-Based Pigment Inks For Textile & Apparel Market.

The growth in the textile industry is driving the demand for Water-Based Pigment Inks For Textile & Apparel Market.

Amid the Covid-19 pandemic, the Water-Based Pigment Inks For Textile & Apparel Market were majorly affected in terms of sales and distribution during the global pandemic. The situation is however set to improve by the end of the year 2021.

Water-Based Pigment Inks For Textile & Apparel Market Segment Analysis –By Resin Type

Acrylic segment held the largest share of 38% by revenue in the Water-Based Pigment Inks For Textile & Apparel Market in the year 2020. Acrylic based pigments are water-based pigments and is produced through the process of rheology. It is mostly used on textile substrates such as cotton/polyester combined fabric, cotton fabric and other textile materials. Acrylic resin emulsion is soft, anti-crocking agent and acts as the printing binder for textile printing and finishing. Acrylic resin emulsion is soft, anti-crocking agent and acts as the printing binder for textile printing and finishing. This will exponentially increase the demand for acrylic segment in the Water-Based Pigment Inks For Textile & Apparel Market.

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Water-Based Pigment Inks For Textile & Apparel Market Segment Analysis – By Pigment Type

Inorganic pigment segment held the largest share of 59% by revenue in the Water-Based Pigment Inks For Textile & Apparel Market in the year 2020, with a growing CAGR of 4.89% during the forecast period 2021-2026. The color pigment inks, especially chrome yellow garnered the most demand owing to its power of lightfastness. Chrome yellow consists of lead chromate and solid solutions of lead chromate and lead sulfate, which reacts to acid and alkalis and changes color accordingly. Reaction of chrome yellow with acid leads to the formation of orange dichromate ion and the reaction with alkali leads to the formation of pale-yellow chromate ion. Chrome yellow is a crystalline mineral consisting of lead chromate which can vary in hue from primrose yellow to orange. The yellow chrome pigments consist of fine particles that are dense and opaque. This is driving the demand for inorganic pigment in the Water-Based Pigment Inks For Textile & Apparel Market.

Water-Based Pigment Inks For Textile & Apparel Market Segment Analysis – By Application

Fashion textile segment held the largest share in the Water-Based Pigment Inks For Textile & Apparel Market in the year 2020, with a growing CAGR of 6.0% during the forecast period 2021-2026. The increase in the use and production of fashion textiles in the recent days is one of the major factors driving the demand for Water-Based Pigment Inks For Textile & Apparel Market. According to World Resource Institute, 20% of water pollution comes from the traditional textile coloration. Whereas the use of water-based pigment inks is eco-friendly, eliminates VOC emissions due to which manufacturers are leaning towards water-based printing ink which is driving the demand for Water-Based Pigment Inks For Textile & Apparel Market.

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Water-Based Pigment Inks For Textile & Apparel Market Segment Analysis – By Geography 

Asia-Pacific region held the largest share of 37% in the Water-Based Pigment Inks For Textile & Apparel Market in the year 2020, and is growing with a CAGR of 6.2% during the forecast period 2021-2026. According to data released to the Global Times by e-commerce giant Alibaba in China, clothing products were the best performer in the second half of the year 2020, climbing from ninth to fourth place on a list of the most popular product categories. The amount of apparel sold on Alibaba.com increased by 274 percent year over year in September, with the number of purchasers increasing by 266 percent. Furthermore, the textiles and apparel industry in India accounts for 13% of industrial production and 12% of export revenues, with a GDP contribution of 2.3%. The Ministry of Industry and Commerce of Paraguay stated in February 2021 that it will invest US$1.1 million in the manufacturing sector, primarily helping the apparel, textiles, and footwear industries, as well as other assembly operations. According to a recent report by the Australian Fashion Council (AFC), the Australian fashion and textile industry contributed more than US$18.6 billion (Au$27.2 billion) to the country's GDP in 2020-21. This is driving the Water-Based Pigment Inks For Textile & Apparel Market in the Asia-Pacifc region.

Water-Based Pigment Inks For Textile & Apparel Market Drivers

Increasing adoption of water-based pigment inks is one of the major factors driving the Water-Based Pigment Inks For Textile & Apparel Market

Water-based pigment inks has more advantages such as improved plant safety and a significantly lower environmental impact as compared to other types of pigment inks. Water-based pigment inks provide viable solutions to rather complicated problems in the textile industry such as pattern printing, dye ink absorption into the fibre and others. The usage of water-based pigment inks also poses less environmental threat as water-based ink pigments usually contains large volumes of water and a substantially lower content of (>1%) volatile organic compounds as compared to other types of pigment inks. This also makes water-based pigment inks to be easily stored, without much damage to the surroundings. Water-based pigment inks absorbs better than solvent-based pigment inks and thus gives consistent pigment to the fabric. Water-based pigment inks are also inflammable as compared to solvent-based pigment inks. This is majorly driving the demand for Water-Based Pigment Inks For Textile & Apparel Market.

Water-Based Pigment Inks For Textile & Apparel Market Challenges

Volatile price of water-based pigment ink is significantly restricting the growth of the Water-Based Pigment Inks For Textile & Apparel Market

The volatile prices of the various raw materials used in manufacturing water-based pigment inks is one of the major challenges restricting the growth of the Water-Based Pigment Inks For Textile & Apparel Market. For instance, Allnex, a global producer of industrial coating resins and additives, increased the prices of solvent borne and waterborne acrylics resins in Europe, Middle East and Africa during March 2021. This price hike further increased the price of critical raw materials, leading to an increase to US$0.18 /Kg (€/0.15 kg). Thus, the cost of raw materials is continuously increasing or fluctuating because of factors such as transportation & logistics, increasing demand, depletion of natural resources and more, which is affecting the price of water-borne pigment inks. Furthermore, in March 2021, the British Coatings Federation (BCF) has warned that a lack of critical raw materials and packaging, as well as major price hikes, could be the most pressing challenges for the coatings and printing ink industries in 2021. Thus, the volatility and increase in prices of raw materials such as titanium dioxide, acrylic, epoxy, polyamide and more is expected to create a significant challenge for the water-borne pigment inks market manufacturers during the forecast period. 

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The curing time, printing speed, and cost restriction of water-based pigment inks is also restricting the growth of the Water-Based Pigment Inks For Textile & Apparel Market

As much as water-based pigment inks has advantages, it also has various disadvantages such as high cost, more curing time, and printing speed restriction. This is limiting the growth of the Water-Based Pigment Inks For Textile & Apparel Market. When compared to solvent based pigment inks, water-based pigment inks take significantly longer time to cure. During the curing phase, water-based pigment inks are more vulnerable to effect of environmental conditions, such as temperature and humidity. Hence, solvent-based resins are preferred for applications in humid environments that don't allow water-based pigment inks to cure properly. Also, solvent-based pigment inks are typically more resilient than water-based resins during the curing of the coating. According to the Lawson Screen & Digital Products, Inc., water-Based Ink can be more expensive and it doesn't work well dark colored garments because of its lack of opacity and bleed-resistance. In addition, the capital and fixed costs of switching from solvent-based to water-based technology are significant. Hence, solvent-based resins are still widely used by small-scale businesses in developing countries. Furthermore, due to the high surface energy of the water component, water-based pigment inks cannot wet and print smoothly on textile and apparel materials. According to the Ink Intelligence LLC, in the modern textile printing, the biggest challenge for water-based inks is to keep up with the high press speeds (in excess of 1000 ft/min) commonly in place for solvent inks. This is restricting the growth of the Water-Based Pigment Inks For Textile & Apparel Market.

Water-Based Pigment Inks For Textile & Apparel Market Industry Outlook

Acquisitions and mergers, production expansion, facility expansion collaborations, partnerships, investments, are some of the key strategies adopted by players in the Water-Based Pigment Inks For Textile & Apparel Market. Major players in the Water-Based Pigment Inks For Textile & Apparel Market are:

Sun Chemical

DuPont de Nemours, Inc.

Huntsman Corporation

INX International Ink Co.

Mimaki Engineering Co., Ltd.

Avient Corporation

Huber Group

Spectrachem

Velvet Jet

Molkem

Inknovators

Achitex Minerva Group

Livingink

Virusinks

Covestro AG

Acquisitions/Technology Launches

In June 2021, Sun Chemical and DIC Corporation finalized the acquisition of BASF’s global pigments business, known as BASF Colors & Effects (BCE), a strategic partner which aims for high growth and high added value by expanding functional pigments into niche applications.

In June 2019, Huntsman Corporation launched a water-based digital ink “Novacron Advance. The product is used in cellulosic and polyester/cotton blends.

[schismusic]

THE DISCOGRAPHY PRINCIPLE, Episode 2: Shellac - or, The Song Remains the Same

The discography principle may be defined as an objective way to determine whether or not you're worthy of calling a band or artist "your favorite" or "one of your favorites". A possible enunciation of it goes as follows:

"Let u ≝ some asshole, B ≝ {b|b is a band}, n ≝ #({x|x is a record by b}); let p = #({y|y is a record by b in u's possession}) = p1 + p2 wherein p1 ≝ number of physical records by b you own in any format and p2 ≝ number of records by b you have downloaded. If p ≥ n ∨ p2 = n (for n → +∞), then ∃b∈B such that b is one of u's favorite bands."

When u = me, this subset of B (which we might call Bf) is comprised of six bands, off the top of my head: Autechre, Godflesh, Shellac, Kraftwerk, Fugazi and Coil, listed in no particular order.

If you want to read the prologue to this series, go here. Otherwise, let's get going.

My first year of high school was a year of exploration. Coming out of high school having exclusively listened to Pink Floyd's entire recorded output (it wasn't yet time to do anything more esoteric and perverted with record, like asking them questions, using them as spaces to be mapped out, springing poetry pieces off of them as if they were trampolines; all of that is stuff that comes the more expert you get at using records and the less respectful of them you become, which isn't necessarily a net negative) I then set out to find out more about the history of rock, sailing all alone. I'm not one of those people who get their passion for music from a relative or their parents, music was my thing and my thing only — that is, mine and the Internet's, because that's what you do in 2013 after all — you hear a name off of somewhere, you look it up on Wikipedia — the page in question usually has citation problems, provided it exists at all — and it becomes your personality for a while.

It went like this with the Mars Volta for me, my next Pink Floyd-level obsession, which consumed my conscious mind for about a full year. In the meantime I went along, getting into Nine Inch Nails (my first paid gig, on the Hesitation Marks tour; it was June 3rd, 2014) and Slint, slowly but steadily going through OndaRock's cute little "milestones" section. I never actually did go through it all the way, even though the records it includes maybe oughta be checked out at one point, but it did spark in me a form of interest in stuff that I normally wouldn't have cared for at that time. One of the names that came out of this was Shellac, a band I frankly checked out exclusively because the OndaRock page for them mentioned physics and odd time signatures. There comes a time in a music listener's journey where playing in five or in seven is simply the most big brained thing you could possibly do, especially if you're a guy who grew up on King Crimson and who thought the fact that Money by Pink Floyd is in 7/8 was hot shit — conveniently ignoring the very fortuitous slide into 6/8 right as David Gilmour is about to start his solo…

So as My Black Ass started I was on board, my own white ass absolutely floored. I was on board the exact second the pick first hit the strings (I was later to find out Steve Albini uses exclusively copper picks and aluminum-neck guitars) and that absolutely fucked-in-the-head sound that these three guys have found a way to conjure. It's a sinewy sound, something that really requires a maximum of four different elements to obtain, and as such has a slew of imitators that never really fit the bill. What we have of Shellac (at least officially) are seven LPs, one of which recorded live and another one limited to a release of 779 copies, three EPs, one or two singles and compilation tracks, and two Peel Sessions — one of which made when the actual John Peel had already been six feet under for about a month. Critically, John Peel as sound engineer (criminally underrated) is probably the only person who could have made justice to Shellac's sound, to a point where some of these songs featured on the 1994 Peel Session might be at their absolute best there.

At Action Park, finally, was a rock record that required of me a form of thought that went beyond simply learning the riffs and calling it a day; more importantly, it was a record whose riffs I could learn. Slint weren't as easy to me (at the time still relatively inexperienced), nor did they feel as genuinely dangerous — and Steve Albini's previous recorded output was absolutely critical in conveying that sense of forbidden. Honestly, if your first band makes songs about all sorts of horrifying violence and your second band is called — ahem — Rapeman, in reference to a Japanese erotic manga, what the fuck can I tell you? Of course everything you lay your hands upon becomes imbued with an air of deep distaste and transgression and genuine fear. Song of the Minerals is the first time I realized that there are people in the world who simply don't care about other people getting hurt and treating themselves so badly they die from it. Il Porno Star is a song that so openly and directly describes the life of somebody involved in the sex industry that it finally, for the first time, made sex workers look and feel real to me, giving them a backstory of sorts. At the same time, Pull the Cup sounded positively lobotomized, and A Minute felt so enraged for no reason at all that it made a lasting impression: anger was liberating, or in John Lydon's words anger was an energy. And best of all — I could play those songs from start to finish. Some dude, his name was Claudio, had made a webpage on the Tiscali provider which he had kept updated up until about the year 2000 and where he collected a number of guitar tabs contributed by various people. The page, amazingly, can still be found online here (as of Feb 20, 2024) and most of the tabs are still accessible.

Surprisingly enough, it didn't take me long before I moved along to Shellac's other records; I was lucky enough to find a copy of Dude Incredible in a store back when it was first released and then a copy of 1000 Hurts at a record fair (both CD only at the time). Those two and At Action Park remain the two Shellac records I've spent the most time with to this day, and again it was very interesting getting to see this band attempt to find a way to move past that absolutely stellar debut and never really doing that, but still writing some very worthwhile songs and albums in the meantime. Upon listening to Dude Incredible it felt like the most complete summa of the band's work, and that was my favourite Shellac record for a while — it probably still is, for different, more sentimental reasons — but in retrospect that wasn't the case at all. Shellac's body of work is pretty interesting in that the single records always feel achingly incomplete once you get to know the rest of their work, but at the same time — as far as the songs they include go — all records include nothing but the very best the band could have put forward at that particular time. When I feel like listening to Shellac again I am, for time reasons, forced to go record by record, especially because it's a very logical way of going through it (see my piece on Autechre), but unlike Autechre you have this thing where all records sort of blur into one another. It surprises many people to know that Steve Albini's dream band to work with is AC/DC. As an avid Shellac listener, it puzzles me that anyone would think otherwise.

At a certain point I stopped feeling that playful horror-movie disgust that Shellac's lyrics kinda toy with and started marvelling at just how insanely sexist some of their stuff is. Obviously, this is the kind of stuff you think of when you're sixteen and devoid of any capability to process parody and irony. I like to posture myself as though I was "in the know", as though Steve Albini's mastermind plan was to kind of lure people into thinking he was a piece of shit, but at the same time it was very easy — scarily so — to get into Prayer to God's protagonist's point of view when he sings the lyrics to the song. In time, I kind of grew to alternately despise it and try to pretend it was being somewhat parodic, until I re-listened to the song and re-read the lyrics and holy shit: it actually was parody all along. Who the fuck sings a song like that and says "make him cry like a woman — no particular woman"? It was that perfect point where the game was revealed all along: the song's protagonist likes to pretend he's a decent person, that he "respects women", but deeply ingrained within him (and fundamentally at odds with what he says he believes in) there remains a profoundly predatorial, territorial and ultimately violent view of romance and sexuality. And all was well once more. It became even better once Steve Albini decided, after the pandemic, to stop posturing as the victim and finally talk about all the stupid bullshit he did and said over the years, to distance himself from all people who ended up essentially embracing right-wing talking points for no reason other than to, supposedly, own the libs. Interviewed by The Guardian, he said something to the effect of "if the stupidest person in the room agrees with you, it's time to ask yourself some questions".

So after a whole year of preparations, in May 2015 Shellac hit Italy and played Catania, Rome and Bologna together with Uzeda — another great band full of great people. I went there with my then-girlfriend, C., and we proceeded to creep the shit out of all the people in the queue when she mentioned she knew how to skin a hare and I asked her to explain how to do that. Fun times were had. Anyway, I knew rationally that there were three people in Shellac (Steve Albini, velocity; Bob Weston, mass; Todd Trainer, time) but until I was there it didn't really hit me. To me, Shellac was the third Steve Albini project, after Big Black and that other band. Then all of a sudden they take the stage, after Uzeda finished up their absolutely blistering hot set which I barely remember at all (despite really enjoying it), and it was bloody fucking murder. I only have a very vague recollection of what happened during the set; bits and pieces, really — me jumping like two meters into the air when the main riff for Dude Incredible hit, the ten-minute spoken word short story that Steve Albini improvises during the silent break in Wingwalker, the little bit called The Defenders of Fun (actually named Killers, and you can find a studio version of it here) they do before that same song, the impromptu Joy Division references during The End of Radio. But the best, most memorable parts of the concert were the very beginning and the very end.

When the gig was about to start, Bob Weston came out of the backstage area and you better believe I straight up jumped him right then and there. It is simply impossible to understate just how much my respect for Bob Weston went up that night. This motherfucker, no joke, stood around and hugged me like he was my long-lost father, we talked for a full twenty minutes and after that he told me "now I'm sorry, but I have to go" and I told him "oh sorry, are you still unloading the last things?" and he very calmly replied "I have to take a shit". Which meant that this dude stayed behind for me and delayed a whole ass toilet trip for twenty! fucking! minutes! to talk to a hyperactive, boundary-overstepping fifteen-year-old who had potentially absolutely nothing worthwhile to say. But this was nothing. When the show ended (the last song they played was The End of Radio, they dragged it out for like a full ten minutes while Steve Albini rambled on for the entire duration of the track — possibly one of the band's best set of lyrics, regardless of the absolutely buttfuck insane improvised bits that were thrown in on that particular night) the last note ringed out for like five full seconds. The sheer sustain these aluminum-neck instruments put out is scary. Then Bob Weston specifically looked at me, I was standing right under the stage in front of him, and handed me his pick. To this day I still keep it within the Dude Incredible CD case, which all three Shellac have signed. To get that signature I pissed off poor Todd Trainer, who really just wanted to get his drum kit off of the stage (Todd, if you're reading this: I'm so sorry. I did not know any better and if that weren't enough I was in a massive rush. If we ever meet again, drink's on me). But another thing I will never forget about that night was their interplay. The perfect, and I hate using this kind of superlatives but there really is no other word for it, absolutely perfect way that they locked into one another and the natural flow of song bits and parts and even just the physical nature of the sound itself. These songs are not as simple as they sound, which was life-altering to me as a musician and as a person.

So apparently Shellac have been teasing a new record for about a year. Sometimes they upload snippets of the vinyl master copy playing, some other times it's small clips from the pressing plant, other times they just play three or four of the songs live, as they have for the past four years or so. Hadn't it been for the pandemic, I think, they would have gotten the record done in time for 2021 — seven years since Dude Incredible, their last studio album. Lately (i.e. since 1000 Hurts) Shellac have released records at a very sluggish pace; some might think it's a matter of ideas slowly running to an end, I for one it's a matter of songwriting quality. Chick New Wave I didn't really like at the time, but I hear they got a couple new ones that they've played to an audience — the titles are The Girl from Outside and the spectacularly-named I Don't Fear Hell and you can hear them one after the other here. And everytime a Shellac record releases, ooh boy, it's a party: these guys' passion project is, very simply, a labor of passion; it actively refuses to play by the market's rules and everytime it's just eight or nine songs that the band felt were strong enough to release. Who cares if people on websites think that it's repetitive and more of the same and cookie-cutter, and anyway almost no one does. We as Shellac enjoyers appreciate that this is just something these three guys do for fun, and if a record comes out of it then all the better for us. Plus, it's new songs for live shows, and that's where the real substance is at. So, let's hope the record comes out soon, and they visit Italy again. I know for a fact I'll be there. Now Todd, about that beer I owed ya…

[lalsingh228-blog]

Ambrettolide Market Sets the Table for Continued Growth

Advance Market Analytics added research publication document on Worldwide Ambrettolide Market breaking major business segments and highlighting wider level geographies to get deep dive analysis on market data. The study is a perfect balance bridging both qualitative and quantitative information of Worldwide Ambrettolide market. The study provides valuable market size data for historical (Volume** & Value) from 2018 to 2022 which is estimated and forecasted till 2028*. Some are the key & emerging players that are part of coverage and have being profiled are International Flavors & Fragrances (United States), Firmenich SA (Switzerland), Symrise AG (Germany), Givaudan (Switzerland), The Good Scents Company (United States), UL LLC (United States), Aroma Chemical Services International GmbH (Germany), DM AROMATICS (India), CHEMSHEL (India), Saraogi Shellac Overseas Corp.(India). Get free access to Sample Report in PDF Version along with Graphs and Figures @ https://www.advancemarketanalytics.com/sample-report/105634-global-ambrettolide-market

Ambrettolide is one of the macrocyclic musk occurring naturally and is a superb fixative showing a synergetic and amplifying effect on perfumes and which is and a very fine character. It is unique in that its influence in a composition can be perceived at all evaporation levels. It is a superb fixative and highly substantive, and yet exalts the top note of a fragrance in an exceptional manner. Increasing the use of the ambrettolide in the perfumes and cosmetics industry has led to significant growth of the ambrettolide market over the forecast period. Keep yourself up-to-date with latest market trends and changing dynamics due to COVID Impact and Economic Slowdown globally. Maintain a competitive edge by sizing up with available business opportunity in Ambrettolide Market various segments and emerging territory. Influencing Market Trend

Rising High Demand  Musk Odorants

Market Drivers

Increasing Demand for Perfumes from the People Globally

Growing Flavours and Fragrances Industry in Emerging Economies

Opportunities:

Challenges:

Short Supply of Naturally Occurring Musk is Hindering the Growth of the Market

Have Any Questions Regarding Global Ambrettolide Market Report, Ask Our Experts@ https://www.advancemarketanalytics.com/enquiry-before-buy/105634-global-ambrettolide-market Analysis by Type (98% Purity, 99% Purity), Application (Flavor and Fragrance, Household Chemicals, Others), Distribution Channel (Direct Sales, Distributor, Retailer, Online)

Competitive landscape highlighting important parameters that players are gaining along with the Market Development/evolution

• % Market Share, Segment Revenue, Swot Analysis for each profiled company [International Flavors & Fragrances (United States), Firmenich SA (Switzerland), Symrise AG (Germany), Givaudan (Switzerland), The Good Scents Company (United States), UL LLC (United States), Aroma Chemical Services International GmbH (Germany), DM AROMATICS (India), CHEMSHEL (India), Saraogi Shellac Overseas Corp.(India)]

• Business overview and Product/Service classification

• Product/Service Matrix [Players by Product/Service comparative analysis]

• Recent Developments (Technology advancement, Product Launch or Expansion plan, Manufacturing and R&D etc)

• Consumption, Capacity & Production by Players The regional analysis of Global Ambrettolide Market is considered for the key regions such as Asia Pacific, North America, Europe, Latin America and Rest of the World. North America is the leading region across the world. Whereas, owing to rising no. of research activities in countries such as China, India, and Japan, Asia Pacific region is also expected to exhibit higher growth rate the forecast period 2023-2028. Table of Content Chapter One: Industry Overview Chapter Two: Major Segmentation (Classification, Application and etc.) Analysis Chapter Three: Production Market Analysis Chapter Four: Sales Market Analysis Chapter Five: Consumption Market Analysis Chapter Six: Production, Sales and Consumption Market Comparison Analysis Chapter Seven: Major Manufacturers Production and Sales Market Comparison Analysis Chapter Eight: Competition Analysis by Players Chapter Nine: Marketing Channel Analysis Chapter Ten: New Project Investment Feasibility Analysis Chapter Eleven: Manufacturing Cost Analysis Chapter Twelve: Industrial Chain, Sourcing Strategy and Downstream Buyers Read Executive Summary and Detailed Index of full Research Study @ https://www.advancemarketanalytics.com/reports/105634-global-ambrettolide-market Highlights of the Report • The future prospects of the global Ambrettolide market during the forecast period 2023-2028 are given in the report. • The major developmental strategies integrated by the leading players to sustain a competitive market position in the market are included in the report. • The emerging technologies that are driving the growth of the market are highlighted in the report. • The market value of the segments that are leading the market and the sub-segments are mentioned in the report. • The report studies the leading manufacturers and other players entering the global Ambrettolide market. Thanks for reading this article; you can also get individual chapter wise section or region wise report version like North America, Middle East, Africa, Europe or LATAM, Southeast Asia. Contact US : Craig Francis (PR & Marketing Manager) AMA Research & Media LLP Unit No. 429, Parsonage Road Edison, NJ New Jersey USA – 08837 Phone: +1 201 565 3262, +44 161 818 8166 sales@advancemarketanalytics.com