#blue zoiste

[autisticqueenorder]

only look at neptunite its my favorite

[art-heap]

25/11/17 20min sketch

Blue Zoiste looks so cool

[thesunlounge]

Reviews 292: Quiroga

For whatever reason, I feel a close kinship to the far-out sonics emanating from Napoli and among the many eclectic and adventurous artists working there, I am particularly zoned in on the productions of Walter Del Vecchio, otherwise known as Quiroga. With his label Really Swing and alongside a collection of like minded musicians and producers that includes the 291out collective, Dario Bass, Bop Singlayer, and Edizioni Mondo main-man L.U.C.A., Quiroga has created a wonderfully weird and completely unique universe, which, to paraphrase and expand on what I said in my review of Cups and Balls, mixes live instrumentation and sampling to explore the outer realms of library music, Italo funk, soul, chill-out, ambient, drone, and jazz fusion. And on Passages, the long-awaited full length from the artist released through Hell Yeah Recordings, all of these styles (and more) have been deftly woven into an immersive journey of paradise balearica. Riffed out expanses of stoner prog give way to laid back stretches of sun-kissed jazz, with sea foam pads washing over e-piano starscapes and cinematic orchestrations wrapping the heart in golden threads. Energetic house jammers break into funky keyboard freakouts, exotica textures morph and mutate through fourth world jungles, instrumental hip-hop burners sparkle with aquatic chill-out energy, and shimmering new age electronics ripple through interstellar oceans as the spirit is transported to some faraway dreamworld, one where all worries, anxieties, and fears melt away into a fantastical coalescence of Caribbean beaches, Hollywood sunsets, Mediterranean breezes, and Afro-cosmic jungles.

Quiroga - Passages (Hell Yeah Recordings, 2019) Passages starts with “Got Your Love,” which originally opened the B-side of Quiroga’s Vol 8 on Really Swing. Interstellar transmissions flitter while tribal machine toms interact with gurgling vocalisms. Aquatic squelches filter and flow as the drums pull away, leaving smeared out keys to hover, and as the rhythms drop back in, the vibe is like a dopamine kissed hip-hop instrumental, with cut-up breaks lead by jazzwise snares and claps rocketing around the spectrum. Voices diffuse in and out over layers of ambiance, resulting in a narcotic call and response of soulful cut-ups and spiritual falsettos. Synthesizer leads continue morphing joyously as the tripped out rhythms pull in and out, sometimes sucking the air away while ping-ponging electro oscillations fire amidst delirium voice layers. “Martinica Feelings” also comes from Vol 8 and features Luca ‘Presence’ Carini and Vincenzo ‘Warren’ Ciorra of the ever amazing 291out. Carini’s bass moves through romantic motions, sometimes pulsing low, other times slapping and quacking through zany prog ascents, while slow motion funk drums crush the air. Ciorra’s wah guitar traces hallucinogenic curlicues as pianos bang out midnight chords, and at some point, a delay soaked six string casts ethereal moonspells. Later, after a smashing drum and blazing synth passage, we break into a classical jazz guitar solo, all clean glassy perfection snaking amidst jangling tambourines and sensual bass slides. Harmonious mermaid choirs coo in the background while layered riffs execute magical conversations across the spectrum and there are these passages of beatless wonderment, with one seeing everything wash away as aqueous synth waves blow across the void, while another features gorgeous guitar webs floating above hand percussion vibrance.

At the start of “The Zoist,” synthetic wind blasts carry cyborg computations, equatorial arps flutter, and fat bottomed bass squelches ride on a lo-fi machine groove, with snare and kick cracking through spacey reverberation. Pads generate a calming glow and cut-up chime strands are threaded into the percussive panorama while Dario Basslino’s electric piano smears into starlight overhead. And as hissing voices raise hair on the back of the neck, the robo-basslines journey further and further into future funk fireworks. There’s a false ending that sets white noise whooshes and sunset pianos afloat amidst an ambient paradise, one that perhaps recalls film scores from the Golden Era of Hollywood. Then, as the drums work back in, conga accents and mechanized clicks mutate things into a low slung tropical house jam, wherein greasy basslines wiggle and slide, shakers push the body towards hypnosis, and pianos dance on sunbeams...the whole thing coming together and radiating that deeper than deep Moodymann glow. The B-side opens with “North Hollywood Witches” and its clippy kicks and snares stoking an ecstatic groove, with brass chords flashing and lowdown funk basslines slithering beneath the blaring flamboyance. Smoother than silk keyboard solos flow up and down the scale and cymbals and cowbells progress into strange electro patterns while the kick drum pulsates nervously. Wavering synth chords intertwine and the drums move into an irresistible swing, all setting the stage for what is surely the best synth solo all year…this monstrous and magnificent lead ripping through the cosmos and smothered in galactic delay, shredding ever towards the center of the universe and dripping layers of rainbow psychedelia over the stuttering machine funk jam out.

“Non dire notte” was released on Quiroga and Hell Yeah’s first collaboration, the Viaggio a Tulum EP, and again features Carini and Ciorra of 291out. Colorful tom fills and cymbal patterns set the stage, while a fuzzed out bass guitar drops weirdo doom riffs. Horror movie themes rain down from a stormy sky and huge tom fills push thunderous bursts of air before it all reduces to a haze of euphoric voices. The drums smash back in as Carini drops sludge funk bass sorcery and Ciorra’s guitars morph through delirious vibrato fx, coming out the other side like some sort of space age liquid.  At some point, things take a turn, with everything fading away in favor of a mutant acid lines and cymbals that blur into granular static. Then, as the sinister rhythm section returns to stomp druggily through lands of shadow, harmonious voices are reduced to a feverish fog, freakedelic guitar licks disperse into phaserwave hallucinations, and Goblin-style synths climb ever higher towards a blood red moon. The first LP ends with the fittingly titled “Africa Addio (Ode to Fourth World),” wherein woodwinds from various cultural traditions bleat and scat over a hand percussion panorama. The ethno-groove is given further shape by shining mallet tones until an unexpected breakdown, and once the propulsive drum energies re-emerge, a contrabass slips and slides through freeform motions while brass synthesizers cast spells of exotica. Electric pianos are used for percussive effect and dance along mesmerically with the spiritual percussion groove and throughout the track, I detect touches of Finis Africæ, though as if merging with a wilder sensibility recalling Art Ensemble of Chicago or even Sun Ra. In other words, it’s music for interplanetary jungle treks and astral adventures into the rainforests of the Congo.

“Città di Mare” first showed up on Quirago’s Cups and Balls, and here appears in edited form. The original introduction of pot-soaked drumming and 80’s prog sequencing is excised and Quiroga drops us straight away into world where soft waves of fusion synthesis create ethereal dreamscapes above a massive downbeat shuffle, here sourced by Aniello Gentile. Electric piano lullabies, again from Bassolino, drift peacefully overhead and low slung bass guitars dance around the fretboard as the groove progresses further and further into smokey lounge territory. A deeply emotional synth solo soars above expressive tom fills and vibrant cymbal and shaker patterns, with everything awash in vibes of mysterious twilight. It’s almost as if the synthesizer solo is trying to mimic the paradise scats of a 50’s jazz diva, with the track evoking some fantasy rememberance of 1940’s era big city nightclubs. The e-piano sometimes works itself into hallucinogenic vibrato waves, while at other times it backs down into sultry blues fantasias surrounded by narcotizing synth swells. And completing the classical jazz vibe, the song softly fades away on brush stroke snare rolls, cymbal taps, and pianos that seem too disperse into vapor. “Luzhin Defence” marries woodwind synthesis and kosmische sequencing to create a new age starscape, one where galactic wisps generate underwater ripples. Existence itself slowly modulates through layers of aqueous fog and at some point, sequences constructed from glowing crystals dance through the mix. It’s as if Quiroga is scoring a 90’s RPG, specifically an exploration of some faraway gemstone cavern, with synthesizers sounding like plucked strands of glass, cushiony basslines dancing, and french horns bluring into cloudform majesty amidst a hypnagogic tapestry of Reich-ian minimalism.

In C-side closer “Amori Proibiti,” echoing e-piano chords are awash in AOR melancholia and synthesizers trail laser liquids. The drums smash on a perfect downtempo groove, with subdued yet funked out basslines following in support. Occasionally, the electronics oscillate out of control and blast the mix with starshine tracers while elsewhere, increasingly romantic piano excursions see high notes blurring into midnight panoramas. Finger rolling conga rhythms join in as the drums pick up energy and after a vocal bass synth sings soft fusion harmonies, the rhythms reduce to a hand drum whisper while at the same time, strings swell amidst alien textures, resulting in a stretch of synthesized symphonic majesty. Later, after the mix squelches into silence, the beats crack back in, now surrounded by interstellar cloudforms…these deeply affecting synth layers evoking some orchestra of the cosmos. Side D opens with “Chiaia Sunset” and its new age arpeggiations cycling amidst wisps of galactic light. A bouncy house rhythm enters…airy and hypnotic…with claps cracking, rattling cymbal patterns tickling the mind, and basslines moving with emotional funk fluidity. The vibe continues growing impossibly hopeful, resulting in stretches of pure ocean dance mesmerism, wherein drunken synths whoosh across the spectrum, further enchanting the spirit. Then comes a piano solo that is so perfect as to almost defy description…a simple yet timeless ivory led dream exploration that I can only compare to Cantoma’s “Sea of Blue” (which is about as high praise as I can possibly give). It’s so easy to close your eyes and sway along to the sunset incantations and tropical house vibrations, especially as the pianos back into radiant chord themes while increasingly trancey electronics add touches of cosmic ecstasy. 

“Viaggio a Tulum” introduced me to Quiroga’s weird and wonderful world, as the track was first released by Hell Yeah back in 2017. We cruise on a hip-hop kissed house beat, with slapback snares carried by kicks, woodblocks, shakers, and cut-up tambourines. Oceanic synths cycle through each ear and a voice repeats “good”, bringing a perfect touch of summer anthem magic while squelching leads dance over sequential bubble clouds. Oscillations soar overhead and laser blasts mutate as a polysynth dazzles with neon melodics, which move in counterpoint to the booty shaking bass progressions. The stereo field is alight with pointillist keyboard patterns that circle toward the stars and all the while, string synth orchestrations bathe the body in spiritual warmth. The drums wash out at some point, leaving behind shakers and rimshots, and after whooshing blasts of sonic shimmer obscures all vision, we drop into funky fried fusion brilliace, with e-pianos dancing like Herbie Hancock, bass notes sliding into subsonic growls, and angel voices swelling into ethereal dissonance. And like in “Got Your Love,” Quiroga crafts a soulful call and response, with voices sourced from who knows where repurposed into a vibrant and jammed out vocal house climax. Closer “Bava” also comes from the Viaggio a Tulum EP and two years later, the track is a mysterious and otherworldly as ever. It’s like exploring an underwater cavern, wherein everything is smothered in hiss. Rhythmic clacks smear into drone psychosis and feedback voices scream as alien sonics bubble in from the depths, with Quiroga reveling in pure abstraction and making the enigmatic choice to conclude his epic journey of fusion kissed balearica with a futuristic experiment in musique concrète.

(images from my personal copy)

[sassheliosazuras]

(and the last one) drop a kitten on my muse: 😾 - Giant jackass cat, no love unless treat, don’t pet (lmao, so basically like Inibri in cat form xD)

Thanks for the ask @chivalin!  Needless to say Zoist was horrifically heart-breaking for Sass, so putting all his attention to helping furry mini-inibri was good for him. And for this little jackass cat also. ;D

   When Sass first heard the yowling of an injured creature, it was just after fighting off a group of possessed militia in an abandoned New Adasta warehouse. 

As he knocked the last imperial unconscious the pained yowling only grew more desperate. Sass made his way over to some knocked over crates. Using the force the Jedi lifted them all off the ground carefully. Which uncovered a hissing and growling bluish Tooka cat. 

Who as the chiss came closer growled and attempted to swipe at Sass’s outreached hand with his own broken paw. 

“You poor creature! Come on little one lets get you to Doc and get you patched up.” Despite the young Jedi’s calming words, the Tooka merely backed up fur on end still hissing and spiting. 

“Okay! Okay!”

 Sass exclaimed backing up to calm the terrified animal down a bite. Though the Tooka-cat still glared at him in suspicion. Which was justified when with a wave of his hands had the animal topple over into a heavy slumber. Quickly he scooped him up against his sleek armored chest. 

“Doc can you read me? I’ve got someone I want you to take a look at.” Sass asked into his mouth piece and he hurriedly made his way back to the landing zone. It was time to leave as evident by all the ships and transporters currently blasting off into the sky around him. 

“Master! Time to get the hell outta here!” Kira shouted at him leaning in the doorway with a few huddled figures pressed close behind her. Making his way quickly into the ship Sass gave a reassuring smile to the rescued slaves as Rusk and Tee-seven were busy removing their shock collars. Kira only gave him a curious glance at seeing what he held in his arms before both of them made their way to the cockpit.

 “Lets get out of here before the imps take too much notice.” At this Kira gave him a nod before hurriedly getting into the co-pilots seat as Sass put in the launch sequence and as they spend off into space. 

Both Jedi felt a terrible force chasing them as they left the frozen planet. As they hovered in orbit readying the hyper-drive, Sass chanced a glance down at the planet below them. 

He truly wish he hadn’t as he saw a blast wave of death was encompassing the entirety of Zoist in that moment. 

“Oh Gods.” The chiss whispered horrified.

 “We can’t help them now! We have to GO!” At this Kira punched in the hyper-drive, and with tears rolling down both their cheeks, the ship spend off into republic space. Fleeing the death and darkness behind them. All the while Sass clutched at the still living creature to his chest, desperate to feel the life force of anything against the wave of death that was echoing across the force.

~Several Days Later~

   In a small Coruscanti apartment in the upper levels, statues of past famous Jedi and bookshelves lined the interior-walls. However the floor was a different matter as a very much awake and healed Tooka-cat was doing it’s best to escape the clutches of the Jedi behind it.

 Particularly if that meant knocking over every single decorations and lamp…..Every single lamp. 

“Ini!!! Sweetling it’s time for your medicine!.” At this the furious yowling only grew more so as the cat was cornered in the kitchen. 

Still those large ears did perk up in interest as Sass held out with one blue hand covered in large scratches, a particularly temping piece of juicy banta meat. 

“Hey, ini, ini, ini! Come sweety, its spicy banta heartstring! Your favorite.” At this Sass clad only in trousers stayed perfectly still on his knees, with his hand out stretched as the newly dubbed. ‘Ini.’  Cautiously strode forward inching closer and closer to the treat with narrowed yellow eyes firmly on young chiss for any movement. To which Sass dared not even breath, till Ini was licking at the stripes savoring the taste. 

Then quickly the tooka-cat made a grab for the meat, still even as he grasped his prize with his serrated teeth and made a run for it, Sass was even quicker still. Pressing a kolto-shot into a furred rump earned him another swipe and a hasty retreat onto the kitchen rafters. 

“It’s was for your own good!” Sass yelled out. This was meet with a decorative plant being pushed off the top of the fridge. He caught it with a chuckle and the force. Adding a mental note to nail everything down later. Sass stretched his tone body out with a yawn having been tired out from the hour long chase around the apartment. 

Making his way into the back bedroom the Jedi landed with a loud. 

‘Ploop.’ Onto the king sized bed. 

With the wave of the hand, the lights were dimmed and shades pulled down, downing out the bright sunlight. Sass closed his eyes willing himself to sleep. Which may have worked if not for the sound of the door creaking and a dip in the bed. Opening one ruby eye in a squint he could make out his cat licking it’s paws near his feet. 

It paused noticing his attention. To which Sass closed his eye and feigned sleep again. This caused Ini to go back to cleaning his sapphire colored-tainted fur quite thoroughly. He only stopped when loud snores could be heard coming from Sass's mouth. Pausing he checked the chiss over making sure Sass was truly asleep. 

Nipping a bare toe bore no reaction. 

So finally satisfied Ini began to rub his cheek and body against the sleeping Jedi’s and to give all the cuts and scratches dealt earlier a couple of licks. 

Happy only when the chiss was thoroughly marked with his scent just like everything else in the apartment, only then did Ini hop off the bed to find that one lamp that was somehow was still standing despite the Tooka-cat’s best efforts.

[psychicmedium14]

8 Stones And Crystals Every Empath Should Have In Their Home

Empaths are the most energy sensitive people on earth. They are unique, intuitive, and often influenced by the actions of others. Many have learned over the years of their lives how to protect and defend themselves from the energy fields of others, but a little help can’t hurt. Crystals are great for an empath to keep in their spaces. Each one has a unique impact on your spirit energy. 8 Crystals And Stones Every Empath Should Have In Their Homes: 1. Amethyst: Amethyst is a protection stone. It enhances spiritual awareness and attracts positive energy. At the same time, it repels negative energy, both spiritual and ethereal. This is also a good stone to have inside of your vehicle. 2. Blue topaz: Blue topaz is an important stone for an empath because it helps you think clearly and communicate your desires to the universe. It also helps you see the big picture and relieve tension caused by your social, work, or love life. 3. Fossils: Not quite qualifying as a stone or crystal, fossils are still important to the well being of an empath’s space. While the organic matter hat made up these animals are long gone, the energy signature is still present. Fossils keep an empath grounded and strong, while reminding that energy is fluid and all things will inevitably change. 4. Jade: Jade is a popular stone for lovers, and it should be for empaths too. It helps balance the sometimes opposing energies of partners and prevents too much personal harm from being done during quarrels and spats. 5. Lapis lazuli: Lapis lazuli is another stone of protection, but with more of an influence on spiritual growth. It helps you remain objective and not take the actions of others too personally. This is a great stone for the office or workplace as well, as it helps keep your head clear and your energy unbound. 6. Turquoise: Turquoise is the ultimate anti-negativity stone. It dispels negative energy from your space while creating a stronger bond between your body and your energy field. This stone is special because a little bit goes a long way. A small piece can fill an entire home with soothing energy. 7. Unakite: Unakite is a lesser known stone, which makes it all the more important to have in your crystal arsenal. Unakite helps balance your emotions and brings your spirit closer to the other side, keeping you connected to passed loved ones who check in on you from time to time. 8. Zoiste: Zoiste is also uncommon, and it’s perfect for the more artistic empaths. It helps promote individuality, creativity, and most importantly, connectedness to others. Many artistic empaths become introverted and try to shut others out. Zoiste reminds our spirits that human contact isn’t just important, but also fun.