#Shredding Machine in Chennai

[avanti4027]

HIGH CAPACITY DEPARTMENTAL HEAVY DUTY DOCUMENT SHREDDERS, Large feed width, large waste bin for continuous use for non-stop shredding key Features: "Shredding Machine in Chennai"

Cutters are made of high grade special alloy steel

5 years warranty on cutters

Designed for minimum noise level

Rugged body all metal construction

Available in strip cut models

[srghospital]

Professional Gynaecologists Dentists Spine Specialists And Other Health Doctors At SRG Hospital

If back pain persists for three months or more, it is deemed chronic. It can come and go, frequently relieving you for a short while before upsetting you. It can be particularly difficult to manage persistent back discomfort if you are unaware of the underlying cause.

[invoitplast]

Plastic Granulator Machine in Chennai

Plastic Granulator Machine in Chennai: Invoit Plast Machinery: Invoit Plast Machinery is an esteemed Indian company specializing in providing reliable solutions for the plastic processing industry. The company focuses on manufacturing, exporting, and supplying Plastic Granulator Machines in Chennai, India. Invoit Plast Machinery prioritizes quality, offering an exceptional range of Plastic granulator machines. These machines feature blades made from high-grade alloy steel, ensuring outstanding performance during the crushing of plastic granules. Clients worldwide recognize the machines for their sturdy construction, easy maintenance, low power consumption, and long service life. Features: The rotter profile is designed to prevent jamming of feed material during operation. Dynamically balanced rotter minimizes vibrations, enhancing bearing life. Fitted with high-quality cutting blades designed for low power consumption. Easy to operate and clean. Customizable hopper design to meet specific requirements. Rotary and stationary blades are made from high carbon/chrome tooled steel for durability. Open rotter design maximizes cooling, and efficiency, and reduces noise levels. Rotter equipped with three rotary blades on roller bearings for efficient cutting action. Rotary blades can be sharpened multiple times, minimizing power consumption and dust production. Company policy emphasizes economical efficiency and product quality to meet client requirements. Product Details: Minimum Order Quantity: 1 Unit Capacity: 250 Kg/hr to 400 Kg/hr Blade Size: 12 Voltage: 415 V Machine Type: Automatic, Semi-Automatic Warranty: 1 Year Brand: Invoit Plast Frequency: 50 Hz Material of Construction: M.S. (Mild Steel) Power Supply: 3 Phase Other Available Models: 8 Inch to 40 Inch Power Source: Electric Application: Capable of shredding/grinding materials such as PET bottles (500ml to 1 LTR), small plastic articles, buckets, plastic containers, and PP caps. Service Coverage: Invoit Plast Machinery provides Plastic Granulator Machine in Chennai and surrounding areas, including Adambakkam, Alapakkam, Alwarpet, Ambattur, Aminjikarai, Arumbakkam, Ayanavaram, Chepauk, Chetput, Ekkaduthangal, Eranavur, Ennore, Guduvancheri, Karapakkam, Kattivakkam, Kattupakkam, Madhavaram, Manali, Manapakkam, Mandaveli, Mangadu, Nanganallur, Pakkam, Palavakkam, Pallavaram, Puzhal, Saidapet, Vyasarpadi, Washermanpet, Sriperumbudur, Kanchipuram, and Thiruvallur. For further information, feel free to contact us. Read the full article

[kaaduorganics]

Buy Wood Pressed Coconut Oil online in Chennai

Shop Wood Pressed Coconut Oil online in Chennai By Kaaduorganics. A traditional Ghani machine or a wooden press can both be used to create wood-pressed coconut oil. This technique involves pressing the shredded coconut to extract the oil by putting it in a wooden press. This is not the same as the more recent method of extracting coconut oil, which does it by using heat and chemicals. Vitamins, minerals, and good fats are ingredients found in coconut oil.

[dustedmagazine]

Dust Volume 6, Number 1

A new year means new music. At least eventually, it does, though January is notoriously slow for album releases. Meanwhile, there’s plenty we missed from late (and mid and even early) 2019, so let’s dig into that for one last big Dust. Here we cover subcontinental LGBTQ gangsta rap, industrial clangor, string quartets, Welsh agitpunk, electronics, free jazz, blackened death metal and an odd, charming collaboration between Cate Le Bon and Bradford Cox (see photo). Writers include Bill Meyer, Jennifer Kelly, Ian Mathers, Tobias Carroll, Andrew Forell, Ray Garraty, Jason Gioncontere, Ethan Militsky and Jonathan Shaw.

Jeb Bishop / Alex Ward / Weasel Walter — Flayed (Ugexplode)

Flayed by Jeb Bishop / Alex Ward / Weasel Walter

You know a party is good if it carries on even though the organizer can’t show up. Bassist Damon Smith planned this encounter, which involved his long-term partner in intensity and chaos, drummer Weasel Walter; New England improvisational fellow traveler (at least until Smith moved to St. Louis a few months after this March, 2019 session) Jeb Bishop on trombone and electronics; and Alex Ward, a veteran of work with Derek Bailey and This Is Not This Heat, on guitar and clarinet. Since Walter has played with both of the other guys in and outside of the Flying Luttenbachers, when Smith had to drop out for scheduling reasons, he was confident that the trio could make something of both the opportunity to play and the space made available by the absent bass. He was right. Both the title and prevailing assumptions about Walter might set you up to expect a one-dimensional blowout, but there’s loads of listening and thoughtful, instant reacting taking place on each of the album’s eight, mostly pithy tracks. This music plays out like a combination of jujitsu and shuttle diplomacy, with players shifting between support and challenge, density and space, rapidity and reserve from second to second.

Bill Meyer  

 Cartel Madras — Age of the Goonda (Sub Pop)

Cartel Madras turns gangsta rap’s hyper-male, African-American-oriented bravado on its side, filtering the guns and blunts ethos through a female, queer, multicultural lens without diluting its violence in the least. Sisters Priya and Bhagya Ramesh, known as Contra and Eboshi, have lived in Calgary since childhood, but they immigrated from Chennai, India, once part of Madras, hence the name, hence the tricky scales and intricate, not-quite-Western rhythms of their rhymes. Age of the Goonda works in a spare, menacing way, dense, referential wordplay atop an undulating threat of sub-bass and the occasional spray of bullets.

“Goonda Gold,” celebrates cartoonish dominance, though with a South Asian twist. Little bits of Hindi harmonics decorate the bare architecture of synth bass sounds and cracking, stabbing percussion (augmented here by gunfire); the Cartel’s chant of “Gold on my neck I’m a Goonda/got guns in the air like a junta” puts a subcontinental spin on ghetto law. The clever-est word sprays come in “The Legend of Jalopeno Boiz,” where the duo references everything from Frost/Nixon to incel stereotypes, but the single “Lil Pump Type Beat,” is all hedonism, devious syncopation and sexual predation. Though wildly intersectional, these tracks make no concessions to soft, liberal ideas about how women/minorities/LGBTQ people wield power; they do it just like the men do, with guns. “Take off your top boy/somebody bring me my gun/that bag in the back of the jeep/you just a bitch on the run,” asserts one or the other sister in “Jumpscare.” What was that you were saying about women and nurture?

Jennifer Kelly

 CIA Debutante — The Landlord (Siltbreeze)

CIA Debutante-The Landlord by CIA Debutante

A new Siltbreeze record is a rare blessing nowadays. The label’s first release since 2018 comes from Paris duo CIA Debutante. The Landlord fits in nicely with the label’s storied '90s output, particularly the Shadow Ring. The electronics aren’t quite glitchy—they sound more like the batteries in a cheap toy dying. Still, CIA Debutante are savvy enough to avoid getting too clever with their sputtering, plodding, and whizzing, and they don’t go the easy route when layering incongruous sounds. There’s never the fatiguing sense that they rely on the same few tricks. It helps that their murky, paranoid vignettes are fully engrossing. CIA Debutante tap into something truly nightmarish on The Landlord, which is a rare accomplishment. Sure, plenty of music shoots for tense and creepy, but CIA Debutante have an exceptional gift for the uncanny, the kind of stuff that haunts you long after you’ve woken up and can no longer hope to grasp it. Ethan Milititsky

Decoherence — Ekpyrosis (Sentient Ruin Laboratories)

Ekpyrosis by Decoherence

Decoherence is a pretty good name for a band that locates itself in the liminal space between industrial music’s stomp and clangor and black metal’s astringent tumult. The band’s new LP (and first full length release) Ekpyrosis is at its best when its waves of distorted hiss, dissonant riffing and distant shrieks and growls threaten to rend the record to shreds. One imagines that if you found yourself in an aluminum ladder factory, amid the massive drills and extruding machines and metal presses and then removed your ear protectors, you’d hear something akin to this — especially if the place was possessed by demons of ill intent. It’s a well-crafted, ritualized chaos. The band is so insistent on a specific set of sounds and forms that the record’s long tracks tend to blur into one another. Which may be the point. Decoherence, indeed.

Jonathan Shaw

 Bertrand Denzler / CoÔ — Arc (Potlatch)

Arc is a two-part, album-length work by Bertrand Denzler, a Swiss-born, Paris-based saxophonist and composer. It is performed by CoÔ, a string septet led by double bassist Félicie Bazelaire. The ensemble’s composition is a sort of funhouse reflection of a string quartet, distorted towards breadth; it comprises one violin, two violas, one cello and three double basses. But there’s nothing comic about this music, which is quite beautiful in the same way as a slow winter sunset. Denzler’s method here involves the use of continuous sounds, but don’t call it drone. The players use both conventional and extended techniques to create a continually changing sequence of striated sounds. Naked scrapes and cavernous groans arc in formation, changing fairly frequently over the course of each piece. The result is immersive enough to let you get lost, but keep your ears and eyes open; you wouldn’t want to miss one moment of gradual transition. A note about circumstances — Potlatch, the label that released this CD, has slowed its production in recent years, and this is the only record it released in 2018. Apparently, the label isn’t wasting its time with unnecessary effort; Arc clears the necessity bar.

Bill Meyer

 Fujiya & Miyagi — Flashback (Impossible Objects of Desire)

One of the interesting things about Fujiya & Miyagi’s songwriting is that as the UK post-motorik outfit’s music becomes ever more focused and sleekly propulsive, frontman David Best has zeroed in on any number of little aspects of life disturb and upset the kind of cool pulse the band specializes in. Here it’s everything from violations of your “Personal Space,” the “Fear of Missing Out,” and nagging thoughts in the title track to the more political concerns of the closing lengthy workout of “Gammon” (which eventually, in one of the little touches that makes F&M’s music so addictive, settles on the “pure evil vibrating” of a dial-up modem). That doesn’t mean the band can no longer bust a groove just for the pure joy of it, as “Dying Swan Act” proves, but it’s the combination of those chops and the perceptive if increasingly jaundiced eye they turn on life that makes them such a unique and compelling act.

Ian Mathers

 Cate Le Bon & Bradford Cox — Myths 400 (Mexican Summer)

Myths 004 by Cate Le Bon & Bradford Cox

Intricate fancies turn just out of true in this pop-up collaboration between Cate Le Bon and Deerhunter’s Bradford Cox, the fourth in a series of joint EPs recorded under the auspices of Mexican Summer’s annual Marfa Myths festival (hence Myths 400). The two artists work in a skewed, peripheral vision take on artful pop, building interlocking boxes of percussion and whimsey in which fleeting glimpses of loveliness flit by. The song-i-est bit of Myths 400 is undoubtedly “Secretary,” a Weimar-decadent bit of mournful song hedged in clanks and clicks, strings and clarinets, and the odd combination of Le Bon’s pure art-song shiver and Cox’s less pristine, more grounded voice. Yet the rhythm-centered oddities are just as rewarding; resist the slap-bang fanciful-ness of growly-voiced, Cox-led “Fireman,” with Le Bon trilling off center arias in the margins at your own peril. “What Is She Wearing” bangs out disconsonant guitar tones in slightly off center patterns and tunings; it’s a wind-up toy’s existential crisis. Le Bon chants in a Middle European cadence, as the cut falls somewhere between early Michachu and a Kurt Weil song. It’s about the last thing you’d expect to emerge from the desert, eccentric, abstracted, playful and utterly urbane.

Jennifer Kelly

  Urs Leimgruber / Andreas Willers / Alvin Curran / Fabrizio Sperra—Rome-ing (Leo)

Urs Leimgruber has covered a lot of musical ground in a performing and recording career that spans over 45 years. The three musicians who join the Swiss saxophonist on this freely improvised encounter, which was recorded in Rome late in 2018, are well chosen to access aspects of that history and shape it into sound configurations that are quite present-focused. Quick, light-fingered, and restless, drummer Fabrizio Sperra keeps things in constant motion. Swiss guitarist Andreas Willers stirs chunks of almost rock-ish noise and sprinkles stinging, pure-toned notes into the mix that give the music heft without slowing it down. Alvin Curran, an American keyboardist and composer (and member of MEV), draws on classical more than jazz elements in his piano playing; there are moments where he stubbornly erects a structure that the other musicians must either inhabit or work around. But his sampler also enables him to inject the sounds of other places. Shifting between tenor and saxophones, Leimgruber drives quickly spiraling phrases through the open spaces and uses astringent, distressed tone-shards to suggest where there needs to be more space.

Bill Meyer

 The Master Musicians of Dyffryn Moor — Music for the National Health Service (Amgueddfa Llwch)

Music for the National Health Service by The Master Musicians of Dyffryn Moor

When I was a younger punk, I would sometimes take in the phenomenon of bands’ whose lyrical explanations would take longer to deliver than the playing of the actual songs. And while I haven’t seen this crop up much recently, I feel like that aesthetic is alive and well when I visit the Bandcamp page of The Master Musicians of Dyffryn Moor, which includes a terse essay about the dangers facing the NHS under the current British government. This new EP follows two excellent full-lengths, Cerddoriaeth Ddefodol Gogledd Sir Benfro (Ritual Music of North Pembrokeshire) and Contemporary Protest Music, which blend the “instrumental music can be politically charged” feel of Godspeed You! Black Emperor with the intricacy of Steve Reich’s Drumming. These two songs continue in that tradition — furiously played percussion with a heated political subtext — but add a few tweaks to the sound the group has already established. Specifically, there’s a stronger electronic element here: you could probably get a dancefloor moving if you cued up “A spell to protect the NHS from those who seek to destroy it.” Its opposite number, “A hex on those who seek to destroy the NHS,” is built around a steady pulse. You probably can’t dance as well to that, but given the potential psychic damage incurred by dancing to a hex, would you actually want to?

Tobias Carroll 

 Overground Collective — Super Mario (Babel Label)

SUPER MARIO by OverGround Collective

The Overground Collective is a pan-European big band that is based in London and led by Paulo Duarte, a Portuguese guitarist/composer currently based in Scandinavia. If that sounds like a bit to get your head around, you probably need only wait a while to see what Boris’s Britain does to the freedoms of movement and thought necessary for such an endeavor to get off the ground. For the rest of us, it’s a nice illustration of why such fluidity is part of a better way. Duarte spent some time in England studying the ways of various improvisers, and recruited 17 to join him in realizing a set of compositions designed expressly for them. Certain of the participants come from free jazz (Julie Kjaer, Rachel Musson) or cross-genre experimentation (Yazz Ahmed), and you can hear the influence of such approaches in a few moments of freefall and adventurously conceived solos. But these elements fit into a structure that fits squarely in the tradition. Duarte sets tunes you could hum on grooves that’ll make you tap your feet, albeit quickly enough to annoy your neighbor if the floorboards happen to transmit your amateur approximation of his beats, and dresses them up in arrangements that could speak to a person who thinks that jazz’s lineage is a straight line from Duke Ellington to Maria Schneider. Music like this is a reproach to those who think that differences can’t be complimentary parts of a whole.

Bill Meyer

  Pictish Trail — Thumb World (Fire)

Thumb World by Pictish Trail

Folktronica from the tiny island of Eigg in the Hebrides, this latest album by Pictish Trail (Johnny Lynch) demonstrates the aesthetic value of both isolation and connection. Per isolation: Lynch lives on a windblown island with fewer than 100 other people. But as for connection, he is intimately involved in a northerly folk scene through King Creosote’s Fence Records and surrounded by local musicians. There aren’t that many folks on Eigg, but almost everybody plays an instrument. That kind of environment allows space for eccentricity and practice, which shows up on these expansive, dance-inflected, folk-shadowed cuts. Pictish Trail enlarges his subtle, personal songs with enveloping arrangements of rock sounds and club electronics; Kim Moore contributes some string arrangements and Alex Thomas of Squarepusher sits in on drums. “Double Sided” has the lilt and ramble of Three EPs Beta Band (Lynch has been out touring with Steve Mason lately), while gorgeous, glistening “Slow Memories” has the glitch, glow and aura of early Tunng. Thumb World demonstrates that music can be solitary without being lonely, introspective without self-absorbation. “You’re my solitude/I’m never so alone by myself,” sings Lynch, on the surprisingly rock-guitared “Bad Algebra,” underlining the fact that too many people (or the wrong people) can be isolating, and a few can provide the space for originality and experiment.

Jennifer Kelly

Pinkish Black — Concept Unification (Relapse)

Texas psych sludge prog metal duo Pinkish Black has been quiet for a little while; their last record, 2015’s Bottom of the Morning, was such a compact and potent summation of the miasmic bad vibes that Daron Beck (synthesizers, voice) and Jon Teague (drums) can summon up seemingly at will. No more than a minute into the opening title track of their fourth record you get a strong reminder of just that atmosphere; you might as well be in a haunted castle during the full moon. The closing, lengthy “Next Solution” also offers a reminder of what you might call classic Pinkish Black, but it’s the four songs in between that show Beck and Teague working to make sure there is always room to expand their dark palette. Whether it’s the relatively straightforward, thrashy “Until” or the prettily drifting “Inanimatronic” the results are always interesting. Bottom of the Morning remains the best introduction for now to this duo’s indelible sound, but once you’re a fan Concept Unification makes for a strong and promising follow-up.  

Ian Mathers

  Alexa Rose—Medicine for Living (Big Legal Mess)

“How I wish I were kinder, how I wish I were patient, I could learn all the songs on the gospel station,” trills Alexa Rose in a water pure soprano touched with shivery vibrato as she navigates the twists and corners of the title track from her lovely debut album. The Virginia-born, Memphis-based songwriter has a native’s familiarity with gospel, country and folk blues, but a fresh, sparkling delivery that makes these well-worn forms sound like she just thought of them. A lilting, effortless voice elicits spare melancholy sparked with hope and a crack band of Americana pros in tow – Will Sexton on guitar, George Sluppick playing drums and Mark Edgard Stuart on bass — fill out the songs without a bit of bloat. “Tried and True” enlists a cajun squeeze box and skittering banjo into Rose’s smart, unsentimental songcraft; country teems with strong women disappointed by love, but Alexa Rose is clear-eyed and strong enough to kick its ass without breaking meter. Gorgeous and empowered stuff.

Jennifer Kelly

Sartegos — O Sangue da Noite (I, Voidhanger)

O Sangue da Noite by SARTEGOS

This new release by Sartegos isn’t so much blackened death metal as it is a death metal record that morphs its shape and sound into black metal. The buzzy crunch and acrobatic soloing of opener “Sangue e Noite” gradually give way to leaner, meaner riffs, and by the midpoint of fourth track “Solpor dos Mistérios,” the record has fully taken on the properties of merciless, muscular continental black metal. The record may engage with various metal subgenres, but O Sangue da Noite is held together by Sartegos’s focus on Galician nationalist themes and celebrations of its landscape. The band is named for a miniscule rural hamlet in Galicia, and we are told that all lyrics are delivered in the region’s native dialect. Black metal and ardent nationalism don’t always make for the happiest of combinations. For those of us lacking fluency in the language, it’s tough to know what ideological charge the lyrics carry. And Galician regional politics feature a panoply of leftist and right wing factions, all with their own fiery arguments for the region’s autonomy. What sort of blood? Who sings in the night? Hard to say. But the music’s pretty good.

Jonathan Shaw

 Seablite – Grass Stains and Novocaine (Emotional Response)

Bay Area quartet Seablite’s debut album navigates the fuzzy end of indie pop with aplomb. Vocalists Lauren Matsui (guitar) and Galine Tumasyan (bass) are joined by drummer Andy Pastalaniec and ex-Wax Idol Jen Mundy on lead guitar for 11 tracks of chipper, summery shoegaze that sit easily alongside their most obvious influences Lush, Curve and Stereolab. Seablite’s songs are elevated by the interplay of twin vocals, clean guitar lines and bouncy bass lines supported by cymbal heavy motorik drums. There’s steel beneath the gauze as Mundy brings a little of the Idols’ shade to proceedings and Pastalaniec drives songs like “Pillbox” and “Polygraph” hard and fast down a euphoric freeway of top-down thrumming thrills. Yes, it sounds like a lot of bands you’ve heard and maybe loved but Grass Stains and Novocaine is so well put together and convincingly played it’s hard to resist.

Andrew Forell

 Seiðr — Intethedens Afsky (Nattetale)

Seiðr is a one-man band from Denmark. For just one man, he was awfully busy in the past year, having put out three records. Intethedens Afsky can boast of 10 tracks of dirty, primitive sound with bursts of melody buried immediately under a wall of noise. The inspiration for Seiðr’s music can be found in early 1990s Norwegian black metal, and Claus H. (that’s his name) cannot be blamed for being too much of a good student. Why shouldn’t he have learnt from his elders? The first two tracks here have samples from “nature,” and this gives us a hint to how Seiðr’s music can be interpreted: it’s ruptures in Nature’s hellish landscape. No one will be saved.

Ray Garraty   

 Spider Bags — A Celebration of Hunger (Sophomore Lounge)

SPIDER BAGS "A Celebration of Hunger" by Spider Bags

Spider Bags are still around, making a record every three or four years for Merge. But listening to this debut, it’s hard to imagine how they did it. If subject matter reflects life style, then the motto of these guys back in 2008 was, “We do the hard stuff so there won’t be any left for you. Say, can you loan me a couple of twenties?” But there’s a self-observing intelligence at work in these songs that suggests that self-awareness wasn’t totally obliterated, and a loose, rumbling energy to these roots-tinged garage-rock songs that confirms that the Bags spent at least part of everyday upright. Add to that engineer Brian Paulson’s knack for getting sound under challenging circumstances, which renders the live-sounding performances with sufficient but not distracting clarity, and you have a good soundtrack for the next time you want to drink yourself off the barstool in the privacy of your own home.

Bill Meyer

 Luke Spook — Small Town (Third Eye Stimuli)

Australian multi-instrumentalist Luke Spook steps away from the garage-punk of his Pinheads to conjure up lysergic specters from bygone times on Small Town. There are a fair number of freaked out boil-overs in the offing but the general tone is one of reserved simplicity. Whether sipping tea with the subject of “The Owl” or gathering around the fire with some fellow townsfolk on the title track, Luke channels Syd Barrett to the point of becoming nearly indistinguishable. But what makes Small Town more than just a covers album is Luke’s ability to vary the intimacy of his arrangements when needed. “All the King’s Horses” features a harmonica solo backed up with an (accidental?) chorus of distant, wailing hounds. Those types of moments lurk beneath the surface and inject a pastoral quality that feels authentic. More quirky utopian village than small town, the world Spook creates is a place to live rather than to pass through.

Jason Gioncontere  

 Nick Storring — Qualms (Never Anything)

Qualms by Nick Storring

Nick Storring’s latest recording started life as the score for a dance performance, and it is easy to imagine how it might function in that role. The composition, which spans both sides of a cassette, is episodic. Each moment feels unique unto itself, creating an environment in which things — maybe movements, or maybe something in your own imagination — have the space to happen. If you caught him onstage with the group Picastro, you would probably see Storring play cello, but for Qualms he plays a couple dozen keyboard, stringed, percussive and woodwind instruments. This allows similar themes and actions to appear and reappear in different garb. One stalking theme, for example, manifests once as a psychedelically dense string melody, and again played by gamelan percussion. Elsewhere passages of meter-less sound temporarily halt the progress. Moments of Steve Reich-like repetition surface, but instead of locking in like they might in a Reich piece, they quickly morph into something else. The same pattern of change that probably made this a handy program for a dance performance makes it an engaging pure listening experience.

Bill Meyer

 Sun City Girls — Dawn of the Devi (Abduction)

Dawn of the Devi by Sun City Girls

Dawn of the Devi holds an important place in the Sun City Girls’ discography. Released in 1991, it was the follow up to the much-celebrated Torch of the Mystics, which remains one of the more tuneful and easily-relatable records that Charles Gocher and brothers Alan and Richard Bishop ever did. As such, it had a job to do, and it did it well. That was to throw the followers who sandals instead of sturdy shows off the track. They did this by serving up a song-free album of jagged, totally improvised jams. While it did the job at the time, and in doing so established a pattern of giving the people something other than what they want, in retrospect, you can appreciate it for another reason. Dawn of the Devi makes a pretty strong case for the trio as a rock-derived improvisational ensemble. They sound like they’re listening and responding to each other, and their transitions from acidic splatter to swooning hesitation or heavy ambush make intuitive sense. It wasn’t always that way.

Bill Meyer

 These New Puritans — Inside the Rose (BMG)

Essex experimentalists These New Puritans return with a lush yet disquieting take on English pastoralism. On Inside the Rose multi-instrumentalist twin brothers Jack and George Barnett create an often lovely, occasionally portentous, romantic paean to nature and love. As the Barnetts move further beyond the fractured post-punk of their debut Beat Pyramid, this, their fourth album, elaborates the use of contemporary classical and choral orchestration into arrangements that channel Talk Talk. Jack Barnett’s voice is high in the mix and evokes David Sylvian at his most emotive. Beneath the sheen and swooning strings George’s drumming shifts and slides between Reichian repetition and fierce Taiko inspired rhythms. Inside the Rose is a meticulously produced but never fussy collection, welcoming the listener but refusing either to compromise or patronize. A serious but accessible work full of carefully considered details, some gorgeous melodies and an almost Pre-Raphaelite sensibility expressed in a thoroughly contemporary manner.

Andrew Forell

 Various Artists — No Other Love (Tompkins Square)

No Other Love : Midwest Gospel (1965-1978) by Various Artists

No Other Love is, like the several albums that Mike McGonigal has compiled for different labels, a sequence of gospel records drawn from one collection. In this case it is the collection of Ramona Stout. She culled the 45s that make up this set from her husband Kevin’s trawls of records that had spent years in Chicagoan basements. A graduate student who had spent much of her life outside the USA, she saw with clear eyes the grime of American urban poverty, and found herself deeply compelled by the discovery that hopeful music could grow in such decay. There are no big stars amongst these recordings. Even at the time they were recorded they would have sounded rough and behind the times production-wise — just electric guitars, drum kits, whatever piano or organ was sitting in the church where they were recorded, and congregants’ voices. But the fervor of yearning and the joy of release makes every track a transporting listen.

Bill Meyer

 WOW — Come La Notte (Maple Death Records)

Come La Notte by wow

Underground Roman duo China Now (vocals, drums) and Leo Non (guitars) recent album as WOW, Come La Notte (Like the Night), is seven tracks of 1960s influenced Italian noir cabaret high on atmosphere and drama. Now’s almost operatic vocals are at the forefront over skeletal brushed drums, minimal bass and restrained guitar. The band lulls then surprises with a spectral sax and bursts of crashing cymbals and feedback on “Niente Di Speciale” (“Nothing Special”), a keening gypsy violin on “Vieni Un Po’ Qui” (“Come Over Here”), middle eastern organ on “Occhi Di Serpente” (“Snake Eyes”). Fatalism drips from every note bringing to mind a low ceilinged club in the catacombs where refugees from the sun fill the air with smoke and their guts with grappa and cheap vino rosso as Pasolini scouts for rough trade and fingers grip switchblades concealed in socks. Come La Notte is a slow grower that draws you in even while it picks your pocket. Put it on and live a little vicarious danger in your own private La Dolce Vita.  

Andrew Forell  

[digitalkubsimpexstuff]

Shredding Machine In Chennai https://www.kubsimpex.com/shredding-machine-in-chennai/

Shredding Machine In Chennai Four Reasons Why We Need Shredding Machine Shredding is critical for safe keeping confidential and sensitive information. Most of us create and keep files with sensitive content; examples of which are bills, financial statements, marketing plans, employee files, and even delivery packages. Government offices, non-commercial organizations, large corporations, small businesses, and private citizens alike make use of machines called shredders that cut paper into strips or fine pieces, which are then collected and recycled.

Shredding Machine In Chennai COMPLIANCE WITH THE LAW We all have the right to protection of personal information. As a matter of fact, there are laws that penalize improper disposal of documents with sensitive and confidential content. Organizations that hold personal data but neglect to protect it face financial and legal consequences. Employers for example use paper shredding services to get rid of employee files which are no longer in use.

#shreddingmachineinchennai

[virogreenindia]

E-waste: Expectations Vs. Reality

With increasing consumerism day by day and companies feeding the flames by pushing out newer, better versions of products every few months, the never-ending cycle of buying as well as disposing of continues.

The predicament of unnecessary consumption and fabrication has taken a toll on the sphere and its resources. The effects are prevalent, and it is complex not to notice the outrageous amount of e-waste that has involved both land and sea.

The solution to reducing the amount e-waste

E-Waste is one of the plagues distressing our planet, and smartphones make up a significant portion of this type of waste. There is now an emergent concern about e-waste recycling solutions. E-Waste management company in Chennai is gaining popularity as the idea of a sustainable lifestyle gains traction.

The Reality of E-waste Recycling

Though people have a broad-spectrum thought of how e-waste recycling works, there is a lot that goes on behind the scenes. Let’s take a look at the reality check of e-waste recycling across the globe and exactly how old e-wastes are recycled.

We will take it from the point where you, an alarmed consumer, drops off an old gadget at the recycling unit. The gadget first goes through a thorough inspection. The first thing that needs to be verified is the device is authentic or not. This is checked to ensure that the device isn’t stolen or lost.  Afterward, the prime components of the e-wastes undergo verification. Even if a gadget is in a very deplorable state and considered Beyond Economic Repair, it can still be recycled so that expensive materials do not go to waste. E-wastes contain precious metals and minerals, which can be recycled to form new products.

What’s there in e-waste?

Electronic devices or gadgets are made of a complex mix of materials that include gold, silver, copper, platinum, palladium, lithium, cobalt, and other valuable elements. One metric ton of circuit boards can embrace about 40 to 800 times the quantity of gold and 30 to 40 times the total of copper mined from one metric ton of ore in the united states, and the precious materials can be reclaimed through recycling.

E-Waste Recycling: How is it done?

E-Waste Management in Chennai is practiced both formally and informally. Proper or formal e-waste recycling solutions usually involves disassembling the electronics, separating and categorizing the contents by material, and cleaning them.

E-wastes are shredded mechanically for further sorting with advanced separation technologies. Companies adhere to health and safety rules and use pollution-control technologies that reduce the health and environmental hazards of handling e-waste.

And in informal recycling, men and women and children recover valuable materials by burning devices to melt away non-valuable materials, using mercury acids to recover gold, and dismantling machines by hand to reclaim other elements of value.

Who can help you manage your e-waste?

Virogreen is the leading e-waste management company in Chennai, India, offer you a helping hand handling your e-wastes and recycling them effectively. We convey a suitable and safe way to recycle your old electronic waste.

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Application of biometrics in the best shapewear  automobile industry is not recent news; it has been in use for the past few years. However, with the advent of technological developments, the automobile industry has been quite busy in experimenting with automotive biometrics. Biometrics system in vehicles provides accurate and maximum protection to every vehicle owner against hacking or theft. This technology employs multi-factor authentication. In most cases, the two-factor authentication system is implemented. Moreover, the focus is primarily placed on the accessibility of the vehicle, immobilizer, health monitoring, and switch ignition via fingerprints.The automobile industry is quite upbeat in embracing innovative technologies which are convenient and user-friendly to provide the feel of luxury to their customers. Strengthening a vehicle's security while ensuring customers' safety is one of the main concerns of the automakers. Automakers, especially the leading ones in the market have been incorporating automotive biometrics Maternity Shapewear technology in their auto-parts. No wonder the automotive biometrics market is growing at a fast rate and the trend seems like it will stay strong in the foreseeable future. However, India's auto recycling or auto shredding ecosystem is still in its infancy. The sector is largely dominated by the unorganized sector. Areas like Mayapuri & Jama Masjid in Delhi, Kurla in Mumbai, Pudupet in Chennai, are the current graveyards for scrap vehicles.The activities in these areas is largely unorganized and unregulated. This means that the recycling process is primarily carried out without sophisticated equipment& processes. The recovery and efficiency is also low. The processes not only pose health hazards, they also inherently have serious security loopholes.Health hazards surrounding the markets have attracted attention in the past. There was a case of radiation caused due to Cobalt 60 pencils, a few years ago. Lead batteries too are harmful in content. Oils from vehicles drained off on roads, result in extremely unhygienic conditions around. The practice of gas cutting creates enormous amount of pollution, and makes it impossible to breathe - worsening the abysmal condition of air quality which exists in Delhi either ways.In washer dryer clearance addition to the existing pipeline of old vehicles that stream into these markets, the government is drafting the much-needed End of Life policy for cars. With the average life of a car in India being 18 years, as against 9.73 years in Europe, vehicles run way beyond their expiry date. The effect is obvious: An old car produces as much as 10 times the emission of new cars, owning to obsolete technology, etc. The Delhi government, to begin with, has drafted a policy to scrap 37 lakh vehicles older than 15 years, roughly 37% of the cars registered in Delhi. "There is no rule at present to guide the police or the government as to what is to be done with the vehicles after they are impounded. The new rules will create a mechanism to ensure proper disposal of appliances houston old vehicles. This is going to be a first-of-its-kind policy in India," commissioner (transport) Varsha Joshi had told Hindustan Times.The question is now this: Does Delhi (or India) have adequate and right capacity to recycle these old cars?India will need to borrow best practices followed in Europe & US to help raise the automobile recycling practices to an organized level.In this process, the vehicle is first sent for de-pollution. De-pollution Process safely removes all hazardous waste - batteries, air bags, gas cylinders, mercury switches, tyres, air conditioning units, fluids and oils - this is done through sophisticated machinery. The vehicle is then sent for dismantling where good parts are removed for further resale/use. Remainder of the vehicle is then pressed/ sheared.The pressed vehicle is then sent to the shredder plant for car dealerships in houston further processing.

During shredding 3 components of the automobile are segregated: • Ferrous - recycled into material • Non-ferrous - recycled into material • Shredded residue - this is sent to landfills or further recycled to the extent possible The organized process is carried out through machines as against brute force used in unorganized markets. Near zero pollution & waste is produced as a result of these organized processes. The result is a circular economy, where steel scrap produced is reused, and dependence on extraction of luxury cars houston natural resources as well as on imports of steel scrap is reduced (India currently imports steel scrap to the tune of 8 million tonnes). Hence, the need of the hour for the Indian context is not only an efficient End-of-Life vehicle policy, but also organized vehicle recycling practices. We have a proud car culture in the United States but, surprisingly, not many people know too much about this country's automotive history. For this history lesson, we are focusing on the automotive "industry" rather than the history of the automobile itself.In the 1890s, the American automotive industry began and, thanks to the use of mass-production and the large size of the domestic market, quickly evolved into the largest automotive industry in the world (though this title would be taken from the U.S. by Houston SEO Expert Japan in the 1980s and then from Japan by China in 2008).The U.S. motor vehicle industry actually started with hundreds of manufacturers, but by the end of the 1920s, three companies stood apart from the rest:These three companies continued to prosper, even after the Great Depression and World War II. Henry Ford began building cars back in 1896 and started the Ford-Motor Company in 1903. Ford utilized the first conveyor belt-based assembly line in 1913, improving mass production of its Model T. The used appliances houston assembly line decreased costs significantly and the Model T sold so well that it propelled Ford into the largest automobile company in the U.S.General Motors was founded by William Durant (formerly a carriage maker)n in 1908. In the first couple of years, GM acquired Buick, Oldsmobile, Oakland (later to become Pontiac), Cadillac, and a number of other car companies. Durant also wanted to acquire Ford but Henry Ford opted to keep his company independent. Having become a little to "acquisition-happy," Durant over-extended the company SEO Company Toronto and was forced out by a group of banks who took controlling interest in the company. Durant then teamed up with Louis Chevrolet and founded Chevrolet in 1913, which became a quick success. Durant retook majority control in GM after acquiring enough stock and GM acquired Chevrolet in 1917. This did not last long, however. Durant was forced out again in 1921. In the late 1920s, GM overtook Ford as the largest automaker.The former president of Buick and a former executive of GM, Walter Chrysler took control of the Maxwell Motor Company in 1920, revamped it, and reorganized it into Chrysler Corporation in 1925. Chrysler acquired Dodge Brothers in 1927 and, in 1928, introduced the DeSoto and Plymouth brands thanks to the dealer network and manufacturing facilities that came with the Dodge acquisition. By the 1930s, Chrysler overtook Ford and became the second largest automaker.By 1950 what career is right for me, America produced almost 75 percent of all automobiles in the world. At the start of the 1970s, however, U.S. auto companies (especially the Big Three) were severely affected by increased competition from foreign auto manufacturers and high oil prices. In subsequent years, companies bounced back occasionally but the crisis reached its pinnacle in 2008, prompting Chrysler and General Motors to file for bankruptcy reorganization and be bailed out by the federal government. While Ford was also affected by the crisis, it decided to power through on its own and did not take the bail out. We actually have a lot of respect for Ford as a result of this. They did not take the easy way out. The automotive equipment industry deals with the production of every kind of tool and machinery that is needed for the manufacture, maintenance and repair of vehicles including cars and car parts. As such, the industry produces several different varieties of equipment starting from basic hand tools to more complex machinery.Automotive workshops and garages will be unable to function without automotive equipment. 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Such tools are powered by compressed air and are high powered versions of the more traditional hand tools. Common examples of pneumatic automotive equipment include air compressors that can be used to power a variety of tools including hammers, drills, ratchets and spraying tools. * Availability of pneumatic equipment makes it easier for mechanics and technicians to undertake repair and maintenance work because they are powerful and easy to use. For example, a set of pneumatic shears can cut through sheet metal at a faster early childhood development rate and leave behind a smoother edge when compared to traditional tin snips. Similarly, air hammers outfitted with chisel or punch bits have multiple uses. They can they be used for straightening dents. The chisel feature can be used to break rusted parts loose and the punch bits can be used to remove old rivets and bolts that are too difficult to take out by hand. * Lifts: several different kinds of lifting equipment are used to lift and secure cars so that mechanics and repair persons can easily work under the vehicle. These lifting tools include both low-tech tools such as basic floor jacks, car ramps and jack stands as well as hydraulic lifts and floor jacks for better efficiency and performance. * Vehicle Exhaust Removal Systems: vehicle exhaust removal systems are used to capture and remove harmful exhaust fumes to insure optimal air quality in automotive maintenance and repair facilities. These are mandatory equipment as per OSHA Standards in order to limit exposure to harmful vehicular emissions. Common vehicle exhaust technical schools near me removal systems include hose drops as well as reels. * Lubrication Systems: Automotive lubrication systems include several different types of oil meters, ATF meters, gear lube meters, dispense valves and grease dispenses valves. The Automotive equipment business is a very large and competitive business. Automotive repair businesses must A+ certification training buy equipment from reputable dealers for the best deals and performance levels.

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Plastic Recycling Granulators Supplier in Chennai: Plastic recycling granulators are machines that are used to recycle plastic waste materials by breaking them down into small, granular particles. These particles can then be used to make new plastic products, thereby reducing the amount of plastic waste that ends up in landfills or pollutes the environment. The granulation process involves several steps. First, the plastic waste is collected and sorted by type. Then, it is shredded into smaller pieces and washed to remove any contaminants. Next, the plastic is melted down and extruded into long strands, which are then cut into small pellets or granules. These granules can then be used to make a wide range of new plastic products, including packaging materials, toys, and household items. Plastic recycling granulators are an important tool in the fight against plastic pollution, as they help to reduce the amount of plastic waste that ends up in our oceans and landfills. We Provide Plastic Recycling Granulators Supplier in Chennai Including Adambakkam, Alapakkam, Alwarpet, Ambattur, Aminjikarai, Arumbakkam, Ayanavaram, Chepauk, Chetput, Ekkaduthangal, Eranavur, Ennore, Guduvancheri, Karapakkam, Kattivakkam, Kattupakkam, Madhavaram, Manali, Manapakkam, Mandaveli, Mangadu, Nanganallur, Pakkam, Palavakkam, Pallavaram, Puzhal, Saidapet, Vyasarpadi, Washermanpet, Sriperumbudur, kanchipuram,thiruvallur, oragadam industrial area, Sri City, West Mambalam. Read the full article

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