#according to barret it's a piece of shit

[chippersweetbaby]

[reigning-rhapsody]

Bittersweet

Strifesodos, past Gengeal; 2841 words

No TWs

The ear piercing noises of pots and pans and what sounded like now unusable plates briefly silenced the patrons crowding Seventh Heaven and let about everyone in the bar flinch in unison- all but one. Cloud merely quirked up a brow as his head shot towards the kitchen where the newest member of the staff, though it had been months since he’d joined and kept some work away from the ever so eager-to-work Tifa, had been on duty to cook for the evening.

I am, by no means, a great cook, he’d warned them at first, which turned out to be more than true, but his tastebuds didn’t lie, nor did his memory. He could tell what needed more salt and what had to stay cooking on the stove just a bit more until it was at its best, and he knew quite a few recipes for someone that, apparently, was no good as a chef. He wants to evade working any more than just as a bartender, Cloud assumed at first exactly because of that, but as good as the man was when it came to acting, as he had proven quite a few times, what he told was no lie.

Tifa insisted he should try cooking, and Gaia, it was worse than Marlene’s mud-pies from when she was younger. According to Barret, at least, who entered the establishment with a growling belly longing for a meal right as their chef in the making had finished his… attempt. A burnt pot and sore stomachs were the victims in the aftermath of Genesis Rhapsodos’ cooking despite everyone who passed him in the process paying attention to him wearing the glasses he was supposed to have sitting on his nose.

If one wanted to trust the promises given by Tifa, who insisted that teaching her new co-worker how to make some proper dishes was essential, he was a fast learner, and occasionally he even suggested to make a few meals he had memorized. No one knew as to why it was that he had recipes in mind, but no one bothered to ask either. One thing was clear though, the guy sure liked apples.

“Cloud, can you check on him?”, Tifa’s voice rung behind the blond addressed by it, barely able to be heard as the chatter and laughter picked up among the patrons again. She was busy, carrying two trays with food and drinks and a plate on one of her outstretched arms on top of it, so it was understandable she didn’t even wait for an answer and moved to the table that awaited their order. His next delivery would be in about twenty minutes and as slow as he could make himself walk, to evade whatever mess just occurred behind that door a few feet ahead of him would was impossible. Better get it over with quickly.

With a sigh, Cloud turned fully to face the direction of the kitchen and closed the gap that separated him from the door with a few swift steps slipping past filled tables. The blond swung the door open while his unoccupied hand rested in the pocket of his baggy pants. “Hey, the hell-?” He started, cutting himself off as his Mako infused gaze fell upon a kneeling Genesis staring at the floor like he was about to propose to it. Or rather, to the soup on the ground surrounding an upside down pot, porcelain pieces of what once upon a time were bowls circling the romanticized mess like ivory rose petals.

Genesis didn’t look up, nor did he answer, nor did he acknowledge Cloud and pretended the delivery boy wasn’t even present. He picked up the shattered vessels meant for the customers to eat what he begrudgingly prepared out of, seemingly doing his utmost to keep his eyes averted, or fully hidden to begin with.

Cloud narrowed his eyes and stepped forward so the door could fall shut behind him, swaying in and out of the room a few more times and allowing whatever curious mind sat in the much busier space of Seventh Heaven to catch a last glimpse of the scene playing out in the no-customer space, although who was sunken on the ground being covered by Cloud standing in front of him. He approached Genesis, both hands now in the confided space of his roomy pockets as he simply stared down at who he usually had to crane his head back for to make eye contact. Seeing someone who held himself so highly on the floor picking up shards with his own hands, it was amusing in a slightly sadistic way to say the least.

He knew that speaking up would only end in a discussion, then an argument and then a passive aggressive verbal fight that could break out into something physical at any given second. At least it sounded like that, anyway, but if it was the truth stood in the stars since the pair usually got interrupted when they got into another of their near daily banters. So he kept quiet and stayed put until the slender ginger would say the first word. And so he eventually did, pausing his task to exhale a defeated sigh and with what was left of his pride for the day.

And yet, he didn��t look up. “Not. A word.”, Genesis punctuated with a clearly irritated voice and Cloud just replied with an entertained huff. “Need help?”

“No.” “Uh-huh.” He didn’t have the time to put up with the mage’s stubbornness and crouched down, reaching out to grab the pot whilst his eyes remained on the culprit of the ruined meal. Finally eye-to-eye, Cloud noticed the missing black frame supposed to reach behind Genesis’ ears, “So, let me guess…”, the younger man started, turning the pot around and holding it by the handles, “You knocked this all over because you’re not wearing the glasses?”

That earned him a venomous glare, but an exposed one. Unlike Genesis’, his own vision was just fine, and thus not spotting the black supposed to be added to the color scheme around his face wasn’t just an illusion. “I don’t need them,”, the redhead barked back, “As I’ve told you before. You all are being dramatic over nothing at all.”

Hearing him out of all people judging what crosses the line of being too dramatic made Cloud snort and shake his head at how ridiculous that was, much to the wannabe-cook’s further annoyance. They locked eyes, three triplets and one glassy, milky-white outcast cataract.

The cracks scarring the porcelain skin roped themselves from his left eye over the same side of his cheek, shimmering through the applied makeup that attempted to hide them in vain as it had been vanishing with the sweat glistening on the man’s face from standing in a hot kitchen for hours on. Like veins dotted with thorns, they reached down his neck, reaching over the visible parts of his equally pale chest that was exposed due to the button up Genesis wore being partially undone. He could only guess how much of his body they tainted. They are what caused that vision problems too, as he’d been told by Genesis.

“I know I’m just mesmerizing, but make yourself useful if you refuse to let me handle this on my own.” An arrogant voice pierced Cloud’s zoned out thoughts and he blinked himself back into reality, not having the best experiences with anything piercing him. If it wouldn’t have been a vocal trigger that brought him back though, it would’ve been the smell of something burning.

“Agh- shit!” Genesis cursed under his breath and got on his feet again, groaning at his aching legs that fell asleep staying in the same uncomfortable position for some time. Cloud followed and watched the man place down the pieces of the bowls he’d already picked up next to the stove where a pancake was smelling like the victims of his flames- although it wasn’t on purpose for once.

Another swear muttered as he turned off the heat, or at least what Cloud assumed to be one since it was spoken in the ginger’s native language, and grabbed a spatula that rested on the workspace to his right to try and scratch the pitch blackness off the bottom of the pan. After some hard work was put into saving what could be saved, or what he hoped to save at least, that being the pan, Genesis put the inedible dessert on a nearby plate flipped over.

Both pairs of eyes in the room stared at it in silence, Cloud approaching with caution like what was sitting there was a Behemoth about to jump up and eat both of them whole whilst minding the puddle of broth, veggies and meat on the floor. He then stood next to the creator of the ‘food’ and stared it down. Roasted darker than his outfit, the smell was absolutely unappetizing and nothing looked appealing about it at all. It even took he blond a bit to figure out that there were apple slices mixed into the darkness, swallowed by it like stars during a cloudy night sky.

“Well… not that it was satisfactory, anyway.” Genesis admitted in defeat, much to Cloud’s surprise, although his ego must have been knocked down a few from their earlier confrontation. He might even go as far and claim he saw the slightest, embarrassed blush tinting the ex-SOLDIER’s pale cheeks, though mentioning it would only result in more than just a pancake ending up scorched.

“How the hell did you survive this long?”, Cloud asked with a wrinkled nose.”

“Thank you for your, as always, comforting words.”

“And what do you want me to say?”

“Nothing. It’s-”, Genesis took a deep breath, tightening his ponytail by dividing it into two strings in his hands and pulling, “There was never a need for me to learn how to cook. As a child, we had someone that cooked for us, and when I went to Midgar I first lived off of cafeteria food.. which I, eventually, resented and blatantly refused to eat. Then it was takeout, mostly, and once we became firsts we got an apartment together, so I had Angeal cooking for me.”

The drop of his name briefly silenced Genesis who still had his leer cast upon the failed attempt of a pancake. His lips thinned and he swallowed dryly, hands placed flat on the surface of the workspace. He exhaled a breath through his nose and his shoulders twitched weakly in a half-chuckle. “‘You’ll stay out of the kitchen when I’m cooking. You’re banned from the stove, Gen.’”, Genesis mocked a deeper voice to the best of his abilities, a bittersweet smile curling on his lips, “Sugar sweet, no? I never needed to learn how to make anything for myself. It was a thing I had done for me, and people never minded, either.”

“Not that that would have gotten me to start learning.” He added after another few seconds filled with nothing but the mechanical whirring of the fridge a few feet away from them. “Angeal, he uh… He loved cooking, but baking even more. The pie he made was to kill for, and whenever he made it, I would sit there and watch. Talk to him, sometimes even help. Providing he let me, that is.”

Finally, he looked up again and turned his head to look at the other swordsman. “No matter what I will make, it won’t live up to what he did.”, his head then hung low once more, “Nor would it satisfy him.” The normally so confident and boasting voice, teasing and preaching highly poetic metaphors nobody but him understood, grew lower in volume, quieter with every word vocalized and brought to live by it, although it sounded dead, unenthusiastic. It wasn’t a voice that fit Genesis.

“Or me.” His hands visibly gripped the edges of the big table harder, like he was trying to ground himself so he wouldn’t fall into a void that existed to eat him up from the inside, fill him with the worst of what life had to offer. His eyes fell shut, knuckles turning white and his fingers shook ever so slightly until he straightened his posture to one that equaled that of a candle and let out a shaky breath between agape lips, mismatching eyes fluttering open again. “I should clean this up now. Don’t you have a delivery to fulfill, hm?” Genesis ushered, his intent to get Cloud out and not show any more weakness than what just occurred beyond noticeable. It went under his skin, let the hair on the back of his neck rise and spread goosebumps across his arms.

It was… so damn depressing to witness.

“Ah. Ah- yeah, right.” Cloud reminded himself and reaches for the PHS in his pocket, flipping it open to check the time. He had a few more minutes. Watching Genesis move to a cabinet where a few kitchen towels were stored from the corner of his eye, the blond warrior pocketed his phone again, ran a hand through his artfully spiked hair, took a deep breath that let his chest puff out, counted his blessings and took off a glove with his teeth to grab the round little mistake sprawled out on the plate. Leather glove dropped in his lowered hand once it returned from brushing back the sunny mess on his head, he made sure the golden-brown side was the one facing the floor and placed it against his lips. He swallowed, opened his mouth and took a generous bite.

The first few times of chewing were experimental, eyebrows knitted together and eyes nearly pinched shut, though he discovered that keeping the part which wasn’t tainted by the lord of the Underworld and all evil himself judging by the pitch blackness trademarking it did make it a lot more bearable. Whenever some of the burnt bit brushed over his tongue he just gave it his best to swallow that piece, his tastebuds welcoming the sweet flavor of the apples dancing over it whenever he was lucky to have some in his mouth the more bites he took.

Two down, about two or another three to go. It wouldn’t be a chore to eat it if it weren’t for the burnt side, he had to admit, so Tifa wasn’t lying when she said he improved and was indeed a fast learner.

“You’re insane, Strife.”

Cloud nearly choked on the load of pancake occupying his mouth the moment Genesis caught him forcing down the food. He cleared his throat and properly swallowed what was left on his tongue. He ‘tch’ed, glaring at the dessert like it was his worst enemy. “I didn’t eat anything yet today’s all. Don’t want Tifa to get on my ass for not eating again.” “And how would she know?” “She… just does- you should be glad I’m making what she’ll say to you less worse.” The sunny haired man silenced himself by ripping another huge piece out off the pancake, so much it only left one last bite instead of a possible three. Although his angles eyebrows raised into a less hostile expression when he saw the slightest bit of a smile growing on the auburnet’s plush cherry lips. He stopped chewing for just a moment, taking in- no, admiring what he did by refusing to let someone sulk and keep self loathing. “Get out, or I’ll tell Tifa all of what just occurred was your and only your fault.”

Cloud playfully rolled his eyes, though did as told and moved towards the door, no intentions of a further exchange made- not on his side, at least. “Oh, also-”, he was stopped by Genesis speaking up once more, coming to an abrupt halt and half turning around, “You should pay me a visit when I am on cooking duty again sometime, maybe I have more blissfully tasting food for you to devour.”

Cloud snorted, “No promises.”

“Don’t you speak to me with a full mouth, learn some manners.”, Genesis retorted with a playful hum before truly dismissing the other with a flamboyant wave of the hand that didn’t hold a soup-soaked towel.

This time truly exiting, Cloud pushed the last small bite of the pancake into his mouth and chewed with stuffed cheeks, hands returning to his pockets as he eyed the bar counter where the delivery was stored. Forcing down the rest of the half-bitter-half-sweet mistake, he glanced over his shoulder one last time to see Tifa hurriedly moving into the kitchen. He exhaled in amusement at the distant chatter coming from behind the door swaying door before it fell shut completely and blocked out the conversation though. Cloud moved behind the bar to crouch down and grab the package that needed to be driven to Junon and set on his way out of the warm and cozy confinement to let the cold air hit him full on.

Genesis sounded more like himself again, he noted.

[dustedmagazine]

Dust Volume 6, Number 6

Whatever happens, Bobby Conn will always be fabulous

Greetings from the never-ending sameness! It must be Friday since we’re doing a Dust, but we are not exactly sure which Friday and, indeed, which day of the week comes after that. We have not had a haircut in a while, and we’re wearing the most comfortable, least fashionable things we own, but we have not quite given up, because, you see, we’re still listening to music. Here are short missives from our respective quarantines, covering experimental psych, fey orchestral pop, slow rolling sine waves, disco-glittering satire, solitary black metal and assorted other musical manifestations. Contributors included Bill Meyer, Andrew Forell, Jennifer Kelly, Jonathan Shaw and Michael Rosenstein.

Eric Arn & Jasmine Pender — Hydromancy (Feeding Tube)

hydromancy by eric arn & jasmine pender

Hydromancy is the ancient practice of divining the gods’ intentions by staring for long periods into a pool of water. Eric Arn, an American guitarist who has been based in Austria for the last decade and a half, seems to have picked up at least one message from the cosmos, and he is acting upon it. Feeding Tube Records is his home. Hydromancy is his third release on the label, and like its two predecessors, it carves out a unique zone within a large and ever-spreading field of inquiry. Arn’s spent time playing psychedelic rock, free improvisation and solo acoustic explorations, and worked with players from Texas, New England and Vienna. This time he’s partnered with an English cellist, Jasmine Pender, on two side-long ponderances of resonance. The title is apt; the musicians seem to be regarding the surface of their sound, first letting ripples and reflections guide them, but ultimately peering beneath the surface into darker, persistent currents.

Bill Meyer

ARTHUR — Hair of the Dog (Honeymoon)

On his sophomore album, Philadelphia songwriter ARTHUR disguises ruminations on addiction, anxiety, pain and paranoia in summery cloaks of experimental pop. The combination of whimsy and woe is nothing new, but it’s a fine balance. In Hair of the Dog, complex arrangements surround naïve-sounding melodies, hinting at inner turmoil.  

The album incorporates whispers of disco in “No Tengo,” a low key Caleb Giles rap interlude on “Something Sweet,” swinging 1960s horns on “William Penn Island” and a choir of children on “You Are Mine.” The magpie eclecticism holds together beneath a voice that can err on the side of mannered. It is most effective when direct and unadorned as on “Simple Song” where a woozy waltz and detuned guitar bridge underline the poignancy of the lyrics: “In a couple of years/You lose a couple of friends/You lose yourself and you start over again/I don’t have patience/All that I know is addiction.” There is a lot to like here even if at times ARTHUR treads too hard on the path of whimsy.

Andrew Forell

Gaudenz Badrutt — Ganglions (Aussenraum)

Ganglions by Gaudenz Badrutt

“Connect” is the not the first words that 2020 is going to wear out, but it’s in the running. Veteran Swiss electronic musician Gudenz Badrutt could not have foreseen the present situation when he was making this LP, but it speaks to at least one aspect of it. Perhaps the barrages of commercials dropping the word “connect” by corporations interested in currying your subconscious good will has you pondering the networks by which that state is accomplished and sustained. Badrutt’s music is assembled from sine waves and feedback systems, which he layers and interrupts to make sound that flickers and surges like an audio rendering of your nervous system in various states of load-carrying and overload. Listen closely, and you can ponder your place within the system. But if you’re sick of thinking, feeling, and awareness, turn this shit up and it will blot out whatever offends you.

Bill Meyer

  Nat Baldwin — Autonomia I: Body Without Organs (Shinkoyo)

AUTONOMIA I: Body Without Organs by Nat Baldwin

Nat Baldwin is a published novelist as well as a singer and double bassist with several solo records and a long-time stint is a member of the Dirty Projectors on his cv. His versatility does not come at the expense of focus; indeed, Autonomia I (so named because there’s a second, cassette-only volume) show that he knows how to get a lot out of a particular idea. This LP was inspired by a broken bow, which he employs (sometimes in concert with an intact one) on five of the LP’s seven tracks. When one of your tools is unreliable, you have to be ready to scramble, and there are moments when it sounds like he’s trying to recover from or get ahead of his implement’s waywardness. But those also sound like moments of opportunity; whether he’s exploring rattle of a loose part against his bass’s body or using that bow to obtain non-prescribed tensions from his strings, he organizes his instrument’s unusual sounds into quick-moving, provocatively shaped constellations of sound.

Bill Meyer

Bonifrate—Mundo Encoberto (Self-released)

Mundo Encoberto by Bonifrate

Pedro Bonifrate is one-half of the Brazilian psych outfit Guaxe, this solo album (according to Google translate “overcast world”) springs from the same trippy, laid-back but multi-instrumented roots. Lush like the rainforest that surrounds him, playful and full of bright colors, this eight-part composition unfolds in the manner of a particularly vivid dream. “Parte 1” mutates freely over its 11 minute duration, stirring to life in a rush of strings, slipping into beach-y mildly hallucinogenic balladry, trying on a bit of Syd Barret-ish whimsy, crescendoing in clangorous guitar overload. Hard to say if Bonifrate played all the instruments, but the album has an idiosyncratic euphoria, as if it were lifted in one piece from the vivid contours of one person’s mushroom trip.

Jennifer Kelly

 Bobby Conn — Recovery (Tapete)

“It’s a disaster, the one we’ve been waiting for for years, and now we get to see how this thing ends,” croons the one-and-only Bobby Conn in his glam-shuddering, disco-sleek tenor, and sure, 2020 in a nutshell, got it in one, congrats! Who’d have thought that Conn’s arch, satiric performance art could be a form of comfort here at the end of the world? Who’s have supposed his stylized excesses would seem not an iota too much? Conn, as ever, is sharp and topical, pondering all the oppressed sub-groups left out of the “Good Old Days,” (against a swaggering Phil Spector beat), mourning the xxx-rated theaters put out of business by Pornhub in “Bijou,” skewering big data’s intrusions in the synth-operatic glories of “Disposable Future.” But what’s always separated Conn from mere satirists is the elaborate, over-the-top quality of the music he makes. “Recovery” with its scatted bassline, its frenetic syncopation, its funk precision—it all works as music way before you start to chuckle at the lyrics. Conn is as much a character in the long-running graphic novel that plays in his head as a bandleader, but don’t underestimate the bandleader. There’s art underneath all that eyeliner.

Jennifer Kelly

Curanderos — Raven’s Head (Null Zøne)

Raven's Head by Curanderos

If you’re looking for something to cure what ails you in these uncertain times, Raven’s Head might be your balm. You won’t need a prescription, since the tradition of shamanistic healing precedes the AMA, and the particular configuration of healers here — John and Michael Gibbons of Bardo Pond + Scott Verrastro of Kohoutek — models a cooperative approach that more conventional leadership would do well to emulate. The combination of personalities also tips you off to what to expect. Verrastro is a colorist, using the metal parts of his drum kit to keep the listener aware of the dimensions surrounding the listening space, but he also provides just enough forward momentum to keep the music moving at a fogbank-rolling pace. The Gibbons match liquid lead and coarse riff with practiced ease; they’ve spent a lot of time in such cloudy spaces, and they breathe deeply of the inspirational atmosphere.

Bill Meyer

Discovery Zone — Remote Control (Mansions and Millions)

Remote Control by Discovery Zone

“Sophia Again” is a sci-fi mini-story, presenting the conversation between an AI creature and her creator, talking about the self, the meaning of life and the joy of connection, as bubbling arcs of synthesizer sounds jet off into the ether. It is, perhaps, the most literally futuristic of the cuts on this gleaming, synth-centric album, though the whole thing is polished to an other worldly, not quite natural glow. JJ Weihl, the artist behind Discovery Zone, also works in Fenster, a Berlin-based psychedelic pop band of a similarly polished, dance-referring (but not dance) aesthetic. Here, she works solo in luminous abstractions of crystal clear sound. The pleasure comes in the purity and beauty of voices, synths, drum beats, which sound like Sophia might have made them while learning to be human; they are a little too perfect to be wholly man-made.

Jennifer Kelly

 Esoctrilihum — Eternity of Shaog (I, Voidhanger)

Eternity Of Shaog by ESOCTRILIHUM

An epic of esoteric demonology from Ashtâghul’s one-man black metal project Esoctrilihum, Eternity of Shaog presents as ten songs, most of which bear titles like “Exh-Enî Söph (First Passage: Exiled from Sanity)” and “Amenthlys (5th Passage: Through the Yth-Whtu Seal).” One gets the sense that there is a cosmology being built—but even Google has a tough time tracking the references to the many, many Eastern mythic systems in the repertoire. The provisionally good news is that Eternity of Shaog is a bit less musically spastic than its predecessor, The Telluric Ashes of the Ö Vrth Immemorial Gods, an even longer record released just last year. Say what you will, Ashtâghul is prolific. On this new record, you get his signature combination of black metal speed and snarl and an ambitiously (that’s the kind word) proggy compositional sense. The transitions this time around are less violent, the riffs are pretty good and plentiful synths build out to lush soundscapes. The musical textures are rich, but the bad vibes dominate. It’s hard to say what malign presences you’ll be summoning into your home if you play this stuff as loud as seems intended. Maybe keep some holy water handy.

Jonathan Shaw

Fire-Toolz — Rainbow Bridge (Hausu Mountain)

Rainbow Bridge by Fire-Toolz

As Fire-Toolz composer, producer and multi-instrumentalist, Angel Marcloid conjures mosaics from such disparate elements that one wonders how the music hangs together. Yet what at first seems like a chaotic, fractured farrago coalesces into a cohesive picture of her world that simultaneously bewilders and awes. Catholic in source and meticulous in construction Rainbow Bridge is an uncompromising and often stunning dash through Marcloid’s mind. Treated vocals that evoke death metal or JG Thirwell at his most outré, passages of twinkling synth and arena guitar, elements of 1980s Japanese ambient music, fusion jazz and Chiptune slot together like Jenga blocks that wobble but never quite collapse.

Marcloid’s project of musical excavation, reclamation and transformation perhaps mirrors her experience as a non-binary transgender person and the atomization of many tracks on Rainbow Bridge read as a meditation on the contingency of identity and the struggle for place within/outside social constructs that define acceptability and “taste”. On the other hand, sit back, push play and prepare to drift along with the ambient flow then be jolted from reverie by glitch and noise. Much like the world really.

Andrew Forell       

 Jacaszek — Music for Film (Ghostly)

Music for Film by Jacaszek

Music for Film collects the Polish composer Jacaszek’s scores for three movies — the 2019 documentary He Dreams of Giants, the 2008 project Golgota wrocławska and the 2017 film November. Haunted, evocative, disquieting and gorgeous, these ten soundscapes infuse the sounds of electronics, strings and samples with dread. “The Iron Bridge” turns sampled voices and slow throbs of cello into dance with death and memory, while “Liina” picks up eerie vibrations just out of focus, like a camera accidentally recording a ghost. “Dance” hurls electric bolts of tremulous sound—they sizzle with aftertones—then picks out a morose melody in plucked strings. All is dark, subdued, ominous but velvety, sensually smooth. Not having seen the films, I can’t guess the subject matter, but let’s assume there’s no laugh track.

Jennifer Kelly  

 Kontrabassduo Studer-Frey — Zeit (Leo)

Double bassists Peter K Frey and Daniel Studer has spent the better part of the 21st century performing as a duo, but they don’t seem to have felt pressured to rush out a recording documenting their music. This CD includes selections from 2004, 2007, and 2018 that were made at home, in concert, and in the studio. But despite the variety of sources and occasions, this album feels quite cohesive, which is a testament to integrity of their partnership. They rarely play similarly at any given moment, but their contrasting techniques and frequency ranges evince a balance makes even the tracks with contributions by clarinetist Jürg Frey and cellist Alfred Zimmerlin feel like the work of one massive, multi-bodied bass.

Bill Meyer

 Marlin’s Dreaming — Quotidian (Self-Released)

Quotidian by Marlin's Dreaming

The trick of putting soft, flickery voices in front of raging guitars is not a new one, but it’s still worth trying, especially as well as Marlin’s Dreaming does on “Outward Crying.” This sweeping, soaring, but fundamentally introspective tune blasts and blares in a sensitive way, the guitar noise parting like drapes for the singer’s disconsolate confession that he’s leaving this town. The town in question is Auckland, New Zealand, and you can certainly make connections to antipodal fuzz icons, especially the Verlaines. Yet there’s a bit of romantic swoon here in cuts like “Sink or Swim,” which links Marlin’s Dreaming’s diffident lo-fi pop with the baroque gestures of Roxy Music. This is the band’s second album and rather poised given their short history. Marlin’s Dreaming out loud in soft colors and blistering fuzz, and it’s a good one.

Jennifer Kelly

 Christian Rønn & Aram Shelton—Multiring (Astral Spirits)

Multiring by Christian Rønn & Aram Shelton

Some musicians stake their claim within a particular locale, and others tour the world. Alto saxophonist Aram Shelton’s done a bit of both. You could say he’s a serial resident; over the past couple decades he’s been based in Chicago, Oakland, Copenhagen, and now, Budapest. But his recording history lags behind him. His latest release is a cassette recorded in April 2018, and it stands apart from anything he’s done to date. Credit for that lies partly with his choice of partner, Danish keyboardist Christian Rønn. Rønn’s instrument here is a Wurlitzer electric piano, augmented with effects that play up its reverberant qualities, but played without much reference to the way people used to play the thing when it was omnipresent in the 1960s and 1970s. Instead of nailing down a groove, Rønn posts reverberant signposts that Shelton can snake through or lays out undulating surfaces that the saxophonist can sail over. Either way, Shelton plays with a darker and softer tone than has been his wont in the past, casting a pall of eerie foreboding over this gradually evolving music.

Bill Meyer

Snekkestad / Guy / Fernandez — The Swiftest Traveller (Trost)

The Swiftest Traveler by Snekkestad / Guy / Fernandez

Englishman double bassist Barry Guy (b. 1947) has been shuttling between free and composed musical zones for over half a century, longer than the similarly versatile Scandinavian reeds and brass multi-threat Torben Snekkestad (b. 1973) has been alive. Catalan pianist Agusti Fernández (b. 1954) traverses similar terrain. And all three shift fluidly between conventional virtuosity and astutely applied extended techniques. The trio’s rapport is so strong that one supposes that however the album got its title, it wasn’t the result of some musical contest. They’re builders, not destroyers. Still, the rapidity with which these three musicians move from event to event is undeniable. Sparse stasis morphs into quick runs up and down the keyboard; a dense, high-velocity onslaught transforms into intricate, three-part counterpoint. The quickness with which the music changes and the completeness that it expresses from moment to moment make this a very satisfying performance.

Bill Meyer  

 Various Artists — Quilted Flowers: 1940s Albanian & Epirot Recordings from the Balkan Label (Canary Recordings)

Quilted Flowers: 1940s Albanian & Epirot Recordings from the Balkan Label by Canary Records

The word “Balkanized” has the dubious distinction of having acquired extra-regional meaning, to the point where it now signifies a whole divided into smaller, mutually hostile regions. But some of the Balkan musicians who moved to New York City pulled together to play on each other’s gigs and recordings. The Albanian multi-instrumentalist, Ajdan Asllan, who ran the Balkan record label, partnered with musicians from Greece and Bulgaria on both a musical and business level, and kept the company running into the LP age. This collection pulls 11 sides of instrumental and vocal music that originated on his home turf, but if your ears have previously pricked up in response to rural music from Greece or Anatolia, you will want to hear this stuff. A pair of clarinets or a violin usually carry the melodies, sometimes chased by sharp-pitched vocals that spread out in ragged but lusty unison, and always carried by unevenly accented rhythms articulated by vigorously strummed stringed instruments.

Bill Meyer

 Otomo Yoshihide & Chris Pitsiokos — Live in Florence (Astral Spirits)

Live in Florence by Otomo Yoshihide & Chris Pitsiokos

Live in Florence documents a meeting between Otomo Yoshihide on guitar and turntables and Chris Pitsiokos on alto sax and electronics at the Tempo Reale Festival in Florence, Italy. This was the final date of a six-day European tour by the duo, and they’re primed from the first crackled sputters and blasts. The two thrive on these sorts of boundary-crushing forays and their seven short improvisations careen along with frenetic, brawny energy. The two deploy jump-cut pacing and shredded attacks from piercing overtones and feedback to frayed overblown sax and turntable crackle to manically angular reed lines and searing electronic bursts to chafed sax amplifications and thundering rumbles. Even on pieces where they start things out a bit more subdued, the two quickly ratchet up the intensity with torrid, barely-controlled vigor. There’s a slight respite on the sixth piece, with Otomo’s chiming guitar harmonics laying a resonant field for Pitsiokos’s breathy chirps and bent tones but even here, they arc to waves of feedback and skirling reed fusillades by the end. The final piece starts with shattered electronics and spitting reeds and mounts into bellowing din, exploding to the finish of the exhilarating 37-minute set.

Michael Rosenstein

[enigmaphenomenon]

The “Tifa lied to Cloud so she’s horrible” shit is getting so old. 

1. Tifa didn’t know Cloud was at Nibelheim during the burning. 

2. Cloud had memories of the Nibelheim burning which confused Tifa because she thought he wasn’t there. 

3. There was all this talk about Cloud being a puppet and not being the same Cloud that Tifa lived next door too. 

4. Tifa’s intentions have been called an act of kindness by SE and her reasons for not talking were “out of goodwill” 

5. If Tifa had a perfect memory and told this Cloud who was accurately reciting incidents that happened in Nibelheim that he was never in Nibelheim what would that have accomplished? He either wouldn’t have believed her or it would have caused his mental breakdown to happen sooner. 

6. If the truth had come out sooner, Cloud would have just surrendered himself over to Sephiroth sooner. 

7. Cloud himself says that he was able to continue on because of Tifa’s support. 

8. The context of the story and Tifa’s motivation is completely removed and simplified into “THE BITCH LIED!!!!!!!” without taking into account the narrative or context in a shallow attempt to paint Tifa as a manipulative liar to fill an even shallower hatred of her (Fucking fight me.) 

9. Let’s remove all context and narrative and bring up how Cloud lied to everyone in the game, and that Aerith also lied. Let’s completely remove the context and hate them because “THEY LIED!!!!!!” Oh, it doesn’t work like that? You mean there’s context? You mean it’s unfair to hate these characters for lying because of extenuating circumstances that were taking place? 

10. Shit that has been said about Tifa’s actions: 

The reason for Tifa’s kindness While subtle, Tifa is attentive towards Cloud, asking if he fought with Barret and offering him a drink. Behind this seems to be a desire to ascertain Cloud’s condition, as he has been somewhat odd since they were reunited. These feelings are revealed during Tifa’s monologue before she wakes up in the Shinra Junon office, which was added for the International version.-FF7 Ultimania Omega, pg. 70

Tifa’s flashback The flashback seen before Tifa wakes up was added to the International version.

Cloud says that it has been 5 years since they last met when it should be 7, and while saying he was involved in the Nibelheim incident, he has an understanding of it that clashes with reality. Here we learn that Tifa has felt something wasn’t right with him ever since they met again, and has been dealing with him while she holds back her worries. Also, the reason Cloud was suffering from mako poisoning when Tifa met him again was due to being overexposed to mako during Hojo’s Sephiroth Copy experiments in the Shinra Manor. -FF7 Ultimania Omega, pg. 170

She was reunited with Cloud during one of AVALANCHE’s activities, and invited him to join the organization in order to watch over him after finding many strange aspects in his speech and behavior. -FF7 10th AU, Tifa’s profile.

Out of goodwill for Cloud, she didn’t voice out her personal thoughts. There, her suspicions about Cloud, whose strange speech and conduct conflicted with facts from the past, also . . . . -FF7 10th AU, Tifa’s profile.

11. Shit Tifa said from the actual game in 1997: 

Tifa: Actually, it's been seven years. You got your wish and joined SOLDIER, quit after the Sephiroth incident, and now you're a mercenary... You told me a lot about what happened after you left Nibelheim... But... ...Something's wrong. I felt there was something strange about the things you talked about. All the things you didn't know that you should, And other things you shouldn't know that you did... I wanted to make sure... But then I heard... you were going far away... And I didn't want that... ...I didn't know what to do. So, I thought I needed more time. And that's why I told you about the AVALANCHE job. I wanted to be with you, watch you.

12. Shit Cloud said from the actual game in 1997: 

Cloud: Why are you so scared? Don't worry about me. I'm all right. No matter how confused I am, I'll never believe a word that Sephiroth says. It's true that sometimes I can't figure out who I am. There's a lot of things muddled up in my memories. But, Tifa...... But you said, 'Long time no see, Cloud' right? Those words will always support me. I am the one you grew up with. I'm Cloud of Nibelheim. No matter how much I lose faith in myself, that is the truth. That's why you shouldn't be so scared. No matter what anyone else says to me, it's your attitude that counts...

13. Shit Sephiroth said in the game: 

Sephiroth: Five years ago you were... ...constructed by Hojo, piece by piece, right after Nibelheim was burnt. A puppet made up of vibrant Jenova cells, her knowledge, and the power of Mako. An incomplete Sephiroth-clone. Not even given a number. ...That is your reality.

Sephiroth: Cloud... Don't blame Tifa. The ability to change one's looks, voice, and words, is the power of Jenova. Inside of you, Jenova has merged with Tifa's memories, creating you. Out of Tifa's memory...... A boy named Cloud might've just been a part of them.

14. What happened to Cloud after this: 

Hojo: Ha, ha, ha... this is perfect!!! It means that my experiment was a complete success. What number were you? Huh? Where is your tattoo?

Cloud: Professor Hojo... I don't have a number. You didn't give me one because you said I was a failed experiment.

Hojo: What the--? You mean only a failure made it here?

Cloud: Professor... please give me a number. Please, Professor...

Hojo: Shut up, miserable failure...

15: According to Tifa, Cloud was never in Nibelheim during the burning and has no way to verify that this Cloud she’s interacting with is her childhood friend, who recalls the Nibelheim incident despite not being there. She has no way to know if he’s the Cloud she knows from childhood or if he is what Sephiroth says he is. A clone built in a lab with a name of a boy who “might have existed in Nibelheim” 

So the logical thing to do is go “Hey Cloud, you were never in Nibelheim 5 years ago.” as early as possible right? That’s the most logical and practical thing to do, nothing bad would have happened, right?

16. Cloud is the real Cloud from Nibelheim, and WAS actually there during the burning and actually DID witness the massacre. Tifa telling Cloud he was never there would have accomplished nothing but crumbling Cloud’s psyche sooner. 

17. The lifestream scene in the game involves Cloud and Tifa AND the player uncovering the truth of what REALLY happened and that Cloud IS the Cloud from Nibelheim and not a puppet built in a lab like Sephiroth said. 

18. Cloud regains his true self, thanks to Tifa and can rest easy knowing that he is not something created in a lab and is actually a real human being. 

VII - The night before the final battle Thanks to Tifa, Cloud regains himself, and before the final battle with Sephiroth, without using words, he confirms with her that their feelings match.-FF 20th AU, pg. 394

19. If your response is “BUT TIFA LIED!” you either did not play the game, do not understand the story, or want to nitpick Tifa’s character as to why she should be hated and this is the best you can come up with. 

20. If anyone reblogs this with some longwinded bullshit as to why Tifa is a liar or why she’s horrible, congratulations you will be arguing with yourself. (You should probably acknowledge Cloud and Aerith as “liars” as well, but I know that won’t happen as this is a shallow attempt to shit on Tifa’s character so other characters are naturally exempt from the same standards)