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sinceileftyoublog · 11 days ago

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Jennifer Castle Interview: Recognize My GPS

Photo by Jimmy Limit

BY JORDAN MAINZER

I first came across Canadian singer-songwriter Jennifer Castle ten years ago, upon the release of her fourth album Pink City. Enraptured by its lush arrangements, I caught her live at the Hideout later that fall, only to watch her play the record front to back, with no breaks in between, on solely acoustic guitar, putting its awe-filled lyrics front and center. Ever since then, I've realized Castle is an artist who can do it all--she'd follow up Pink City with 2018's grief-stricken, expansive Angels of Death and 2020's unvarnished, semi-improvised folk record Monarch Season. And whenever she comes out with an album, it seems like it comes just when you need it, at the right time of year to boot. Alas, earlier this month, Castle dropped Camelot (Paradise of Bachelors), another autumn opus that finds something celestial in the earthbound.

On Camelot, Castle culls from the best qualities of her previous records. Unsurprisingly, it returns many of the same personnel, like members of her venerable backing band: guitarist Jeff McMurrich, who co-produced it, as well as drummer Evan Cartwright, bassist Mike Smith, guitarist Paul Mortimer, and vocalists Victoria Cheong and Isla Craig. Jonathan Adjemian, who played piano and organ on Angels of Death, bolsters the choogling mid-album highlight "Mary Miracle" and sweeping ballad "Fractal Canyon". Legendary composer Owen Pallett, who provided string arrangements to much of Pink City, does the same for dramatic ballad "Blowing Kisses", a song that, prior to Camelot's release, appeared in an episode of the third season of The Bear. In a sense, Camelot could be a good entry record for those unfamiliar with Castle's albums and performances. It's got a gentle guitar waltz ("Trust") and solo performance ("Earthsong") as well as expressive, upbeat folk songs (the title track, "Louis").

Yet, Camelot simply sounds bigger than Castle's prior music. That's partly attributable to her looser control of the band. For the first time, Castle played only acoustic guitar on the record, giving control of the piano and keys to Carl Didur. The band's mission to unlock the rhythms of the songs, like puzzles waiting to be solved, eventually sees them play up their 70's rock and country influences. "Lucky #8" finds something holy in dance. Backed by slide guitar from none other than Cass McCombs, Castle sings, “So just give the money to the dancers / While their hips go figure eight / And they entrance us with the answers / And we hope and pray the message ain’t too late.” "Full Moon in Leo", meanwhile, juxtaposes a psychedelic keyboard groove with saxophone from in-demand multi-instrumentalist Stuart Bogie, a strutting country tune with a hazy, flower power AM radio edge. It's one of a few times on the album where the song is self-aware. "I did not come here to talk about orange / And all of the things that have come up before us / And Florida and that warm catchy chorus," Castle sings, her free association-style rhyming giving you a front row to her state of mind. The song is a mix of absurd substance and style: At one point, Castle actually sings, "Big hair, don't care."

What's best about Camelot, though, is Castle's mere control of language. For one, she can write tongue twisters that make your ears itch. On "Earthsong", she sings, "Names are small, and names are games / And forces gain good ground / When light moves tat the speed of sound." On "Blowing Kisses", she declares, "I'm not a beggar to language any longer," and later follows it up with a well-timed obscenity that's a humblebrag statement of conquering: "I'm so fucking honored." On "Fractal Canyon", she sprinkles details of people who sound so mythical they have to be real. "I'm with Paul, who's speaking in an Irish accent / Him and I wear tiger eye, and that's no accident / I take comfort in the stripe, the stone of protection / From Daffodil Bill and the thrill of rejection." Whether or not you know who these people are, it's the line repeated over the song's verses that matters most: "I'm not alone here." In the world of music--from her backing band to the characters in her songs--the writer who often performs on stage by herself is anything but solitary.

I spoke to Castle last month over Zoom about how Camelot fits in within her discography, her writing and recording process, capturing negative human emotions, and stripping down her songs for stage. Read our conversation below, edited for length and clarity.

Jesse Harris' Camelot cover art

Since I Left You: The themes on Camelot alternate between the very real and tangible and the more cosmic and abstract. Can you talk about that interplay?

Jennifer Castle: I wonder if that interplay is always present with my songwriting, which tends to feel like an opportunity to travel great distances while, at the same time, tipping your cap to exactly where you are. In writing, it feels very beneficial for me to recognize my GPS, where I am at the moment, whether that's details, something very literal, or something very grounding that I can mention, I can take to ground the concepts, which often tend to try to transcend where I am at the time. I think both distances, the small, minute place, and the large, vast, potentially infinite spaces, are interesting to try to map out when I'm making a record.

SILY: I see that in all of your songs, but it did stand out to me on this record.

JC: I think you're right. There were definitely times when I was recording where I was trying to address larger orbits, larger spheres.

SILY: I might be a little bit taken by the sound of it, too, because your previous record was comparatively minimally arranged. What inspired your decision to make this a much fuller sounding record with a band?

JC: I think Monarch Season was more of a definitive decision than Camelot was. It's challenging for me to be as consistent in vibe as Monarch Season was. I [wanted] to make a record where I set a tone and [continued] that tone all the way throughout. I tour a lot solo because it's accessible, and people afterwards would come to me and say, "What record is like what you just did?" And I'd say, "I don't actually have one." I was always describing my records, saying, "Pink City has these arrangements," and "Angels of Death has a band," so I really made a decision to make Monarch Season the way it was. Camelot returns back to a natural musical sensibility where I like all different types of songs.

Monarch Season also came out right as the pandemic happened. I had made it while I was really busy touring. I stole away a weekend in 2019. It was released at a time when some people were in really still, quiet places, at home. It was seen as something bare and minimal, and collectively, we were going through something that was more essential or quiet. While I was going through those years, I was back to imagining all those great spaces I can take up. I envisioned the Camelot songs sounding the way they did before we even made them.

SILY: Some songs on Camelot do lend themselves to the way you play live, but others I'd be interested to see how you bring down to something more stark. Did you write the songs on guitar before fleshing them out?

JC: More or less. Maybe "Blowing Kisses" I wrote on piano. I think that might be it on this record. I just played acoustic guitar in my kitchen. My son was home a lot--he wasn't in school at the time--so I wrote them at home with my little life happening around me. I have distinctive memories of, not writing in lyric, but strumming out "Mary Miracle" and thinking, "What a funny tune!" It has a propulsion to it. I could already hear it. It's almost like it was already there and I was waiting to get to go and record it.

SILY: That's funny--I wrote down "propulsive" a lot when listening to this record. I love on "Mary Miracle" how you're ranting and you don't finish your sentence before you go back into the chorus: “And I want to know how you came to value / The practice of dragging by the hair those pals who / On their invisible crosses / Of their capitalist bosses / Who in the trash tossed out / That red beating thought that / That all is not lost and / That belief at all cost and...”

JC: I felt this record had a little bit of a breathlessness to it in general. It felt lyrically exhaustive. I don't mean that as a diss to myself, but it had a run-on-sentence aspect to it. Monarch Season, the songs were more lyrically refined or even taking a page from haiku. This one felt like the narrative always could have had one more thing to say. That even presented itself in the recordings and performances. They're wordy.

SILY: Were there any newfound aesthetic or instrumental influences on Camelot?

JC: I certainly have never just played acoustic guitar all throughout a record before. I gave the majority of the piano and keys to Carl Didur, and the rest to Jonathan Adjemian, who does the run on "Mary Miracle". I sat back and let us perform as a band ensemble. I hadn't done that consistently throughout a record before. I often perform bed tracks and build them, and maybe a handful of songs we'll do together, or there's more of a balance between built bed tracks and recording. Other than the two spare guitar songs that I play, [on Camelot,] we went in together. It has a cool ensemble feel, which I love, and I'd like to learn more about how to do that and trust that process.

SILY: That makes a lot of sense. For instance, I had never heard a song of yours ever quite like "Lucky #8" or "Full Moon in Leo", that give jangle pop and Dolly Parton/Emmylou Harris vibes, respectively.

JC: I don't know all of everybody's songs or catalogs, but I've gotten their downloads. I know the energy. Often, people are more taken back live when I share that, but I can embody the energy really easily. I don't know that I had necessarily put it on record before. Even "Sparta" on Pink City was built up from a really spare bed track. Songs that are more rock songs that I've made were more architecturally built. "Lucky" has flourishes, but we got it as a band together. Same with "Full Moon in Leo".

SILY: Even the songs you recorded as a band together have an aspect of restraint that's reminiscent of some of your earlier work: the calmness of the title track, the way "Louis" is built around the bass line.

JC: I always have a fairly funny joke with the people I'm recording with: I don't mean it literally, but I always say we're in a crew. It's kind of like Lord of the Rings. We all have to hunker down together, we all have to find the groove, and not many people get to have fun. Then, there'll be a moment where the bass gets to go for a tour, or maybe we hear something from the guitar player. There's lots of rock music where everybody is doing tons of stuff. If we're going to be together, I like us to hunker in together and hit the groove. That's more of a style I think I have.

SILY: I wanted to ask you about the following lines on "Trust": “Scientists insinuate / That facts are facts and lines are straight / Doctors say they can help / Then stoke you with the fear of death," and, “Church is good / church is great.” Are you bouncing back and forth in tone on those lines? Are you at all being facetious? From what perspective are you singing?

JC: I think that song was the last song we recorded. The band had never heard it. It wasn't even really a song before we recorded it, but I had a hunch it was maybe a song. That song starts with really basic human negative emotions we're all prone to and then scales it out to places where people are in a position of power. The way I think about it, you have the church, then the medical fields and science, then government. [The song] keeps going for places where power is played up. I think it's interesting that it at first links it to these basic human emotions we all feel. I didn't have something I was trying to get across in that song. I had a hunch it would be interesting to include something more paranoid and uneasy with this collection of songs, even though I wasn't quite sure how it would fit in. I thought that was kind of cool, in a resonant way.

I learn a lot about that song when I listen to it, too. I still have things to learn about it. I don't know where it's necessarily entirely coming from, or what it means. But I don't think it has a particular meaning. What I've gleaned is that what starts out in our tiny resonant selves can escalate. You can be in a massive position of power and just work from core human emotions, and those are the negative ones: cynicism, jealousy, anger. I'm not saying they're not good or that I've never felt them. I'm just saying they're there and they run through us. How do those work? At what place do they stop being within the cages of our own being, and more into what we think of as social and collective?

SILY: "Trust" fittingly comes after "Some Friends", a song that deals with the complexities of friendship and interpersonal relationships. I feel like "Trust" is like "Some Friends", but amplified.

JC: ["Some Friends"] has betrayal right up front. Sometimes, I like to get the tough stuff out at the front of the record. I remember when I was sequencing Pink City, I was like, "We have to have 'Working For The Man' and 'Nature' up front." People were saying, "Put 'Sailing Away' up front!" and I said, "No, no, no, we gotta...introduce the spectrum of feelings that might be on the record." There are hurt feelings on "Some Friends". I hadn't really explored that too much. I don't think it's bitter, I think it's more hurt. When you're a writer, you can turn a phrase really quickly and cast it off as being bitter or cynical. I've done that a million times and probably still will. I like sharp wit. But I thought there was something sitting a little more complicated in those first couple songs.

SILY: On "Lucky #8", when you sing, “And I don’t want to lose ya / You’re my only audience / Nor will I abuse ya / By not making sense,” are you breaking the fourth wall and making a comment about obtuseness in songwriting?

JC: [laughs] I like the idea of breaking the fourth wall. It's another thing that would fall under the GPS context, making it suddenly very clear where your position is and where you're at, at the very moment. "Suddenly, I'm singing, and I'm looking directly at the audience." That song is an absolute run-on sentence to me. By the time I get to that place, there is a part of me saying, "Don't turn away yet, I'm trying to get somewhere." At the same time, I think there's me, the human, that wants to communicate so much, and me, as an actual person, I really struggle to communicate. I'm probably really obtuse on a good day when I'm in my kitchen. So I try to communicate really clearly in song, but at the same time, I believe song is like an abstract art. I like abstraction. I've even thought about that line but then thought, "Don't go out of your way to make too much sense if it doesn't serve the moment." Allow things to kind of be multi-faceted or have lots of ambiguity in them. I like that [songwriting is] an abstract art. I want [my songs] to live in spaces that aren't mine and minds and hearts that aren't mine, so I have to cherish abstraction on some level. I have that in common with a lot of people, that it's hard to communicate from our deepest wells of what we think and feel. As a writer, I stab away at it.

SILY: I also wanted to ask you about the album art. If I had heard the record first, or picked up the record in a store based on the art and listened later, I'd feel there was a definite contrast between the starkness of it and the lushness of the record. Was that an intentional contrast?

JC: I gave it all to Jesse Harris, a Toronto artist I admire. He has a severity to him. It's like he's carrying a sword. He cuts away everything in his artwork that doesn't need to be there. There's a very severe austerity to his work, and he's deeply funny. I offered him an opportunity to design the record. Lyrically and sonically, it's really detailed and rich, so I sent him the link to the record, and it wasn't too long until he sent me back the door. I was like, "Oh my god, what does it mean?" and then thought, "Okay, yeah, the door, I love it." [The cover] could have been baroque or a whole visual world to match. In that simple gesture, I think we got to go through the door, and from there, it unfolded. I don't want to speak for him, but I remember in the early days when we were designing it, he saw Camelot as a land he was referencing, like on an old board game like Snakes and Ladders, where you never know where you're ending up, where you can fall down and lose everything, or you can keep climbing and get somewhere. He saw it as a hard place to navigate and wanted to convey that, not to make linear sense of it but to know that there's a journey, or that somewhere, someone's trying to get somewhere. I love the door now. I think it's iconic for this particular record. It's so simple.

SILY: Have you performed these songs live?

JC: I'm just starting to. I performed "Lucky #8" a few times a few years ago when I was on tour with Godspeed You! Black Emperor, as well as "Louis". That's when Jeff McMurrich, who co-produced the record with me, heard them, and asked, "What are those run-on sentence songs you were singing?" [laughs] But I haven't played that many shows. I played "Trust" for the first time last week when I was in Halifax. I hadn't ever played it save for when we recorded it. I just started to play "Fractal Canyon". I've never played "Mary Miracle". They're just starting to come around now.

SILY: Is it just as rewarding as an artistic endeavor to bring the songs back down to their bare elements for an audience, as it was to make them in the first place?

JC: Yeah, it's kind of cool to start to get to know them. I've never played "Full Moon in Leo". I think a band is going to start to rehearse for some shows. That will be cool to hear them with a rhythm section and the vocalists. Me playing them solo is tender. It reminds me of where I was when I wrote them, which can be a really weird element of time-travel.

SILY: It puts you in the same headspace as their original inception. Does that help you connect more with the audience?

JC: I think it does. Catching it on these early incarnations is cool for the audience. You're really hearing something more becoming even if it has a recorded version. Years from now, I'll have played "Full Moon in Leo" dozens of dozens of times, and I'm sure it'll be great, but it'll be really cool to hear these songs start to come to life.

SILY: Are you planning on coming to Chicago?

JC: I'd love to! I'd love to come to the States. The UK is popping up, and Canada is popping up, but it's challenging with the visas to get over to the States. I have to trust, and if people want me to come, I always like to go. It just takes a couple of people, a festival or a promoter reaching out, and I can start to piece it together. But I don't have anything planned. It's challenging I can't just pop over [to Detroit]. I had to say no to a couple shows a couple weeks ago because they would have put me in that region. But it was last-minute, and these visas are very expensive. They take quite a long time to process, months and months. Hopefully, in 2025, I'll come to the States. It would seem weird not to. We are neighbors. [laughs]

SILY: Is there anything else next in the short or long-term for you?

JC: I'm just gonna be trying to get these [songs] up and running to tour. I have a couple shows coming up for the Winter Solstice I play every year. In terms of writing, just a little bit. I'm not taking a break, but I'm focusing more on how to present this music.

SILY: Is there anything you've been listening to, watching, or reading that's caught your attention or inspired you?

JC: I'm sure there has, but I can't really think of it right now. I'm mostly just getting outside and walking around. But I love my friends and the music they make.

Tour dates

12/20: Tranzac Club, Toronto, ON

12/21: Tranzac Club, Toronto, ON

1/22: The Artesian, Regina, SK

1/23: Handsome Daughter, Winnipeg, MB

1/24: TBD, Saskatoon, SK

1/25: CKUA Radio Performance Hall, Edmonton, AB

1/26: The Palomino, Calgary, AB

2/13: The Globe, Cardiff, UK*

2/14: St Luke’s Church at Queens Park, Brighton, UK*

2/15: EartH, London, UK*

2/16: Hare & Hounds, Birmingham, UK*

2/17: St Mary’s Creative Space, Chester, UK*

*with Jake Xerxes Fussell

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misswoozi · 4 months ago

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Just started listening to Seventeen and I've been a random lurker to your page. Had no idea Woozi was in this group until I saw him in a music video and it was like a light bulb went off in my head. I was like 'heeeeey I know that dude'

first and foremost, HELLO RANDOM LURKER! It's genuinely exciting when a new person reaches out to say hey lmao secondly, I am Elated that you saw Woozi, recognized him because of me and came and told me 😭😭 You kinda made my day, OP!!

I love Woozi!! so much!! more than the normal amount!! Seventeen is my ult group and Woozi is my ultiest ult to ever ult. in addition to being Seventeen's songwriter AND producer, Woozi is an immensely talented singer, dancer, performer and instrumentalist. he's written virtually all of Seventeen's songs as well as popular songs for other artists, he plays guitar, piano, drums and clarinet, he's good at sports, he's GORGEOUS, he loves his fans, he's well-spoken, he loves anime (more than most lmao he did a 5 hour V-Live once ranking 128 different anime series tournament-style) and he is adored by his members.

I hope you decide to slip into the Diamond Life and decide to stan Seventeen! if you do, and if you have ANY questions (no matter how small, I'm so serious), please stop by my inbox again! I hope I can speak with you again soon, Random Lurker!

#thank you for the ask!#it made me smile lmao

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eurovision-revisited · 4 months ago

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Eurovision 2005 - Number 47 - NOX - "Forogj Világ"

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Hungary returned for 2005 after a seven year absence from Eurovision - and it's immediately tempting to compare them with Ireland, at this point the most successful Eurovision country of all.

Both countries have brought acts that fuse traditional elements, including dancing, with more modern sounds. Both are in their first semi-final ever. The results were starkly different.

Hungary held a national final called Eurovíziós Dalfesztivál with twelve acts and a 100% jury selected outcome. The main voting was televote which selected five acts, but then the juries took over. The inverse of what normally happens in a super-final.

The winners were NOX. A duo consisting of singer Szilvia Péter Szabó and instrumentalist/dancer Tamás Nagy . They're a group that have always incorporated traditional sounds and dancing with their rockier tendencies. From the outset that dancing has been there and to give Tamás credit here, he's got some Flattleyesque élan about his high kicks.

The dancing and song are much better integrated than the Irish entry, with the sound of the shoes on floor becoming part of the percussion of the song. Szilvia joins in at the end as well as part of the troupe. This entire act holds together much better than the Irish entry. Forogj, világ! (Spin, World!) is an encouragement for the world just to get on with it, and throw whatever it can at Szilvia. She's got the remedy, she can take the knocks. She can sing and dance through whatever the world throws at here with a smile on her face, and without losing a step. I believe her too.

The jury in Hungary agreed, they won the super-final, albeit by a relatively narrow margin of six points. Them, in the Eurovision semi-final, they place a comfortable fifth despite following two very loud and showy acts.

For the grand final, they got drawn to be first on stage. The first time Hungary have performed and they're first up. I suppose that's a way of rewarding a returning country - and it didn't do them any harm. NOX finished twelfth. A satisfactory and perhaps slightly surprising outcome. It was good enough for Hungary to have the Eurovision bug again and they happily returned next year. The country that gave the world Riverdance were left languishing in the semi-final.

NOX continued to compose and perform their characteristic fusion of new and old. Even prior to Eurovision, they'd had four successful albums, and subsequently they've had another five. Tamás eventually left in 2009 with the rest of the band having some solo success and continuing to perform.

One last thing of note here - two of the entries in 2005 have now not only stood and sung. There's a show to be put on. That isn't a new thing by a long way, but it's notably how many entries in 2005 are now seeing choreography, staging, and spectacle as something that's almost as important as the song and the singing. A pointer for the future.

#esc 2005 #esc #eurovision #eurovision song contest #Kyiv #Kyiv 2005 #Youtube #national finals #Hungary #Eurovíziós Dalfesztivál 2005 #NOX #Szilvia Péter Szabó #Tamás Nagy

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musicarenagh · 6 months ago

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Cacophonous Harmony: My Satellite on Their New Single 'Denial' Have you heard of My Satellite band before?They have something that is quite special, with bright vocal lines meeting the rawer edge of ‘later indie pop’. In essence, the core of the group was Bryan Stage who is not only an incredible singer and songwriter but also an electrifying multi-instrumentalist. He later teamed up with Andy Marshall who played bass, guitar and keys plus Dan Grimes who completed the group as a drummer. These include influences such as Tame Impala’s psychedelic rock, Radiohead’s atmospheric brilliance and others. One can almost feel that symphony coupled with discord of their tunes. It sets up this dense, huge canvas of sonic ground. They recently released a track titled ‘Denial’ which comes from their forthcoming record, PERSON. The song touches on the raw emotion and all aspects of the first big fight that occur in most relationships. The whole album, which took nearly a decade to be completed, is, in fact, about the deepest questions of human existence. In this episode, I had the chance to talk with the man behind My Satellite, Bryan Stage, about what led him to create PERSON, how the music is written, and the long process that My Satellite went through to get to their current state. This was quite interesting as it provided information directly from the respective parties. Maybe I should tell you more about what we were talking about. .. Listen to Denial below https://open.spotify.com/album/3Zcqb3Fi22o447ekq2WkKW?si=zE1XqaZ4Q2yxIM21nyejhA Follow My Satellite on Facebook Spotify Soundcloud Bandcamp Youtube Instagram Songkick Tiktok https://mysatellitemusic.com What is your stage name My Satellite Is there a story behind your stage name? It was one of those mornings where the moon was still incredibly vibrant in the daylight and the song “Satellite” by Guster came to mind. “My Satellite” seemed the perfect fit with the tone of the music I was writing and my own personal fascination with space. I felt an immediate connection to that name and from that day on My Satellite was alive. Where do you find inspiration? Truly everywhere. I try to absorb as much art and information as I can so that when I’m ready to sit down and create, my tank is full of experience to draw from. What was the role of music in the early years of your life? I did a lot of singing as a child. My mom loved to sing to my sister and I when we were babies and her love of music rubbed off on me in a big way. She’s the reason why 80s pop has always held a special place in my heart. Are you from a musical or artistic family? Art and music were always around my family. My grandma played organ, my dad plays sax, clarinet and trumpet, my mom is an appreciator of art and enjoys china painting, and my sister is a dancer who also played piano and flute. The arts were never the single focus of our family life, we weren’t the Von Trapps, but they were a constant presence and held importance. Who inspired you to be a part of the music industry? One of my most distinct inspirational memories was my dad showing me the Woodstock documentary and seeing Hendrix perform for the first time. I had only been playing guitar for a few years and seeing this demi-god just destroy on stage at a pivotal moment in music history stirred something in me that has never gone away. How did you learn to sing/write/to play? Singing came very naturally to me so I was just fortunate to be gifted in that way. Of course, I’ve had to do a lot of work to improve and maintain my voice, but carrying a tune wasn’t something I really had to learn. I started playing guitar at 13 so I could join the youth folk choir at my childhood church. I was pretty much performing for people in church after only a few months of playing guitar which was quite the trial by fire. Needless to say, my inexperienced ass got burned a number of times during those performances. What was the first concert that you ever went to and who did you see perform?

My first big concert was seeing Rush. I know they can be a polarizing band to some, but it was a real privilege to see those three virtuosos play. I was awestruck by how good they were as a band How could you describe your music? I strive to create music that is an emotional experience. More of a description of the feeling of a moment than a linear story. It’s an evolving journey that takes you in and leaves you somewhere different than where you started [caption id="attachment_55627" align="alignnone" width="2000"] I strive to create music that is an emotional experience. More of a description of the feeling of a moment than a linear story.[/caption] Describe your creative process. For this album I typically brought some half-baked ideas into the studio and then Andy and I would put down layers and changes at it until the songs started to take shape. It began as a period of throwing everything we can at the song which was really fun and exciting. Then as we got past the tracking stage and moved into mixing, we started whittling away all the excessive layers to find the song’s final form. Wouldn’t say it was always the most efficient way to make an album, but it was really fun and creatively fulfilling What musician do you admire most and why? Bjork is usually top of mind for me. She has been consistently inventive all throughout her career and she’s the type of artist that puts out albums which have meaning and intention behind them Did your style evolve since the beginning of your career? Most definitely. I think you can very distinctly hear the evolution just within the My Satellite discography. But beyond that, I feel very fortunate to be someone able to evolve and grow my skills, my taste and my enjoyment of music as I get older, and to have a partner in Andy who feels the same. We refuse to be walled in by a style or genre Who do you see as your main competitor? I don’t see art as a competition. I love hearing how my fellow musicians are pushing the artform because it inspires me to push further with my music. Viewing creativity as a competition sounds like a miserable space to inhabit and, for me, would suck the joy out of music What are your interests outside of music? Movies, books, comedians, and hanging with my cat If it wasn't a music career, what would you be doing? Perhaps something in the film industry. I really love movies. https://open.spotify.com/artist/6B5njgeBecRQiu2dPxGdCV?si=tA9NlQYgS_KIvb1lADlnzA If you could change one thing in the music industry, what would it be? My main wish is that the industry wasn’t so greedy and exploitative of the artist. For better or worse we live in a world that is run by money, but it’s been baked into the entire history of the music industry that the artist, the one creating the very thing driving the industry, is constantly getting the short end of the stick. It’s unfortunate that something which can showcase and define the best aspects of what it means to be human, is run by an industry which has allowed humanities worst impulses to thrive What are your plans for the coming months? We’re going to keep grinding, promoting our new songs and playing live shows What message would you like to give to your fans? Thank you so much for sticking with us all these years! We love you and can’t wait to keep sharing more music and experiences with you!

#Interviews #Denial #DenialbyMySatellite #DenialfromMySatellite #DenialMySatellite #MySatellite #MySatelliteDenial #MySatellitedropsDenial #MySatelliteoutwithDenial #MySatellitereleasesDenial #MySatellitewithDenial

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if-you-fan-a-fire · 4 years ago

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Meet Jail Time Records, the collective running a record label from Cameroon's toughest prison.

More specifically, Douala Central Prison, which not only houses a string of Jail Time-affiliated rappers, producers and artists, but a permanent recording studio where hundreds of demos, instrumentals and fully-fleshed out tracks have been laid down since it opened back in 2018. It’s through this studio that a number of inmates (both current and former) have been able to hone their talents, refine skills – musical and otherwise – and experience creative enrichment seldom found within the system.

The project was founded by artist, filmmaker and teacher Dione Roach after living in Cameroon between 2017 and 2018, where she worked for Italian NGO, Centro Orientamento Educativo. As part of her work, she would visit the prison and deliver creative workshops. It was during this period that she first encountered some of the talented musicians and rappers incarcerated within. Roach then obtained financial support from Centro Orientamento Educativo to build a recording studio inside the prison – the first of its kind in an African jail. The goal was to offer a necessary creative outlet and birth something that could support the social reintegration of the inmates – offering a new focus, or even a career goal. Perhaps even change the narratives surrounding prison life in the process.

In January 2019, Steve Happi, who also goes by the alias Vidou H, joined the crew. As a multi-instrumentalist, sound engineer, producer and singer, Happi is Jail Time Records’ enthusiastic in-house producer and co-founder. When he met Roach, he was an inmate of Douala Central Prison. While inside, he managed the studio, its schedule, and recorded hundreds of songs spanning genres such as hip-hop, Afrobeat, gospel and more. He elevated his own craft too, picking up music theory and technical knowledge through experimentation but also necessity.

Over the past few years, Jail Time’s output has largely consisted of music videos. However, the label is now set to release its first album. Jail Time Vol. 1 is a genre-weaving, 22-track compilation that celebrates the scope of the artists involved and their unique perspectives. It’s raw, moving and built with the kind of resilience that can only stem from an environment that’s equally, if not more, intense than the music itself. Looking to the future, Roach and Happi have big plans for Jail Time. In the meantime, though, we caught up with them to reflect on the project’s beginnings, the studio and prison reform.

Dione, how did you cross paths with Steve?

Dione: As part of my NGO work I taught painting classes to the underaged detainees. Then I moved to the courtyard with the adults. I was organising some events with hip-hop dancers [who would] come and give some workshops and do freestyles. That’s when I met some of the rappers who were inside.

Steve: I wasn’t aware that people were building a studio inside the prison. Then, a friend of mine, who was also incarcerated, connected me with Dione. He knew that outside I was doing music. He told me, “You see the white girl coming inside prison? She’s building a studio here.” I went back to my cell for 10 minutes and he came running in and said she wanted to meet me.

How have your roles in the project changed over time?

S: At the start, she left me with these guys called La Meute Des Penseurs. I come from a hip-hop background, but I was more interested in researching singers or producers. That’s how the project became a little bit more open. We worked day and night – we didn’t even look at the time. To be honest, it was really the power of God, because we didn’t even feel the pain of it. We barely slept.

D: When I returned, they’d recorded more than 100 songs.

Is it fair to say this sort of project is somewhat rare?

S: Having a recording studio inside a prison? It’s so rare! That’s why, for me, it’s God’s plan. Even the media and journalists of Cameroon are wondering, how is it possible? Interest around the project is growing. You know, Cameroon, at this moment, is very political. It’s really delicate to have people inside prison recording.

D: Also, in general, there aren’t many organised creative activities. Art is not considered that relevant; it’s not given that much space. Things are changing, there are a few more galleries opening up and trying to really interact more with communities. But mostly everything is centred around – in terms of culture – the French Institute.

What were the early workshops like?

D: Before there was a studio, there was this rap collective. We would meet every day with the idea to make an album. There were maybe 10, 15 of them and there were daily rehearsals, open mic-style. I would give them books to write their lyrics in and brought in some mentors. Steve would teach sound engineering and production to whoever was interested, too.

How was the project received?

S: It was pure excitement. Being in prison is really difficult because you basically live in a square; most activities you are willing to do because everything is boring. There are different kinds of people here: people who come just to pass the time, and people who are really passionate about music. There are people who have talent, but they’re not wanting to build a career. There were a couple guys who came just to hear music, vibe, give advice. It was a bit of everything, like life!

How does a typical session work?

S: At the beginning, it was a problem because there was too much pride because, say, this one is not on good terms with the other one and they meet in the studio. I was kind of babysitting them, I really was. But we made a schedule to control the situation. You have to learn who works well with others.

Like life.

S: Managing – that’s life, you know? Over time, it became more about who was willing. At first, everyone was really enthusiastic. Now, when they see the work behind it, they disappear. We have less people coming daily but we have the most passionate ones. That’s a beautiful part of the adventure.

What kind of genres crop up most frequently? Not just on the album, but in general. Is there anything that you hear more regularly?

D: There have been a lot of hip-hop artists, a lot of Afrobeats. There are less traditional artists but that’s something we want to work on; finding ways to merge electronic beats with traditional singing. And in terms of lyrics and themes, what the artists sing about is very varied. There are a lot of songs about mothers.

S: They miss their mothers too much, they are babies! [laughs]

I guess that’s like outside life, too.

S: That’s true. We have a lot of songs about mothers – even girlfriends. “We miss you, behind bars” or “Mother, I miss your good food, I just want to eat couscous, eru, plantain...”

- Jasmine Kent-Smith, “Jail Time Records is a collective and non-profit record label based out of Douala, Cameroon.” Crack Magazine. April 21, 2021.

Image is Dione Roach during a recording session / video shoot.

#douala #Douala Central Prison #jail time records #recording studio #record label #life inside #prisoner autobiography #words from the inside #musical performance #cameroon #interview #crime and punishment

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taleweaver-ramblings · 3 years ago

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Okay, so how would your OCs get along with this OC of mine? He's named Thaiv Carr, and he's terribly easy going, pretty optimistic, loves his people, and music, is the lead singer in a band that has yet to be named, and is very Chill

Pulling from the Celtic-ish Fairy Tale retelling crew for this one —

I feel like Poppy and Ivy would get along super well with him! They love music as well, though they're dancers rather than singers or instrumentalists, and based on your other comment, it might be a race to see who adopts who as an honorary sibling first.

With Jason Silver, a lot would depend on how Thaiv reacts to snarky comments, which Jason makes at everyone on principle. But secretly Jason probably likes Thaiv well enough and is a little jealous of how optimistic/chill he's able to be. It's definitely not the explosive relationship Jason has with a lot of other characters.

With Hayden, it would depend when in their timeline they met. Early-timeline Hayden thinks most non-religious, non-traditional music is frivolous at best, so automatic strike-out there. Later in the storyline, Hayden would be able to respect Thaiv's artistic effort even if he doesn't like the style, so they'd probably get along better (though I'm not sure they'd be great friends).

Ask me how our OCs would get along!

#this was fun #poppy #ivy #jason silver #prince hayden #asks answered #oc meetup ask #accidental spice

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thedragonemperess · 3 years ago

Text

JATP Big Bang Fic

Title: A Job On The Other Side

Artist: @bowtiesareavenged

Cheerleader: @flynn-flynnagan

Art Link: Here!

Tag List: @angelwiththeblue-box @almightygrasshopper @strangeradventures @nyxie75 @beansisarat7 @tronagon @welcome-to-gaytown @jatpbigbang

Summary: An AU where Julie gets a job at the HGC instead of the boys losing their stamps. While Luke comes up with a break-out plan, Julie finds out that Caleb isn't what he makes himself out to be.

Warnings: Suicidal Thoughts and Soul Stealing

Ships: There's some light Juke, Willex, and Rayleb, but nothing strong enough that it should be tagged as such

Notes: This took a really big turn from what I originally wanted it to be but it came out pretty well in the end! And hey, it isn't half bad! I wrote the last, like, 3,000 words today because I didn't have time to finish it at any other time, so a lot of it is unedited. I'm sorry for that, but I hope you enjoy, anyway!

Luke walked up to Julie and looked her in the eye, a million emotions running through all four of them. The jolts were too much, they were fading completely. Playing the Orpheum, something that they had all worked so hard for, ended up not being their unfinished business.

“No music is worth making, Julie, if it’s without you.”

“If that’s the case, then maybe I’ve been going about this all wrong.”

Julie whipped around, Caleb now standing behind her.

“You. You were the one that did this to them!” she yelled, no longer caring about if anyone else heard.

“Yes, yes, I know, I’m evil. But I have…..an offer,” he stated, stepping closer to her.

Julie stood her ground, looking up to him in order to keep eye contact.

“If they won’t perform without you, why don’t you all join me?”

“....What do you mean?”

Alex pulled himself up and leaned back against the piano, clutching his stomach with his right hand. “Don’t listen to him, he’s trying to trick you.”

Caleb ignored him and went on. “You get an afterschool job at the Hollywood Ghost Club and perform with them. Julie and the Phantoms can still exist, you just perform at my club on the side. So what do you say?”

Julie looks back over her shoulders to look at the boys. Reggie was still on the floor, not able to gather enough energy to move, Alex was leaning back over the piano in pain, and Luke was swaying slightly, standing up. She looked back up to Caleb.

“So they won’t disappear?”

Caleb shook his head.

“And you won’t come after any of our friends and family?”

“If that’s what you wish for.”

Julie hesitated to do anything else, but nodded.

“Deal.”

Caleb stuck out his hand and tilted his head slightly. “Shake on it?”

“No!”

Julie turned around completely to face the boys and Caleb retracted his hand.

“He’ll use his stamp on you, too. That’s how he gave it to us.”

Julie looked back to Caleb and glared.

“You never said anything about not being able to use my stamp,” he acknowledged, shrugging.

“We’ll work something out some other time, but for now, can you just stop their jolts for good? Please?” she gestured to the boys, panic starting to drip into her voice.

Caleb rolled his eyes. “Fine.” He waved his hand and the boys’ jolts stopped, forcing them to stand up straight. As Julie ran over to them, Caleb vanished.

That was a month ago. Now Julie was walking down the busy street alone, holding a white pair of dress pants, dress shirt, and black blazer over her right arm and a pair of knee high, black, heeled boots in her left hand. Things had gotten busier, yes, but she could handle it. Flynn hasn’t stopped bothering her about this and keeps going on about how it was a stupid thing to do, but what was she supposed to do? If she didn’t make the deal with Caleb, the boys would have faded from existence, and she couldn’t live with that fact knowing that she could have stopped it.

The HGC was open 24 hours with different performances based on the day of the week and time. On Mondays, Wednesdays, and Saturdays Julie and the boys would perform. Ray was a little confused on what this place even was, but after a quick explanation from the boys (specifically, Alex, because even though he may suck at lying, the others were way worse), he was fine with it. (“My friend’s uncle owns this incredibly exclusive club. It’s for really rich people only. He thought he would give our band a chance.”) He worried about her not having time for everything, but she assured him that it would be fine, and for the most part, they were. Things got a little hectic at times, but the boys and Flynn were able to help her through it.

Something that was great about working at the HGC was most of the other workers were performers, through and through. They all had different passions and talents. For every singer, there was a dancer, a magician, instrumentalist, acrobat, and more. Everyone was really welcoming, making it a really nice environment overall.

Caleb wasn’t half bad either. Yeah, he was a pretty terrible person, and she still hated him, but he was a good role model, all things considered. Or at least, that’s what she told herself. This entire situation could have been much better, should have been much better, but it wasn’t. Life didn’t go their way, but it was still better than it could have been. There were bright sides. The band’s popularity has grown exponentially, the boys can be made visible, Willie was freed (he still works at the HGC, though), and everything was looking up.

Julie looked around, making sure that no one was looking in her direction, before getting closer to the fence of the HGC. Just before the gate, there was a small opening. Reaching it, she ducked down, getting as low to ground as possible without getting her uniform dirty. Well, it wasn’t really a uniform, she was allowed to wear whatever she wanted as long as it was black and white. After getting through to the other side and brushing herself off, she looked around one more time. Finding that no one was watching, she turned to run to the back of the building.

The Hollywood Ghost Club was the most busy on weekends, so Julie had to try extra hard not to bump into or walk through anyone. The HGC was private property, and the events that went down there weren’t exactly scientifically possible (or legal). After she made it past the gates, multiple people appeared out of nowhere. There was something about the place that made anyone on the property, once inside the gate, became invisible to anyone outside of it, but it didn’t stop her from double checking, just in case. People wearing fancy dresses, some in colorful glitter, others in black and white, of all different fabrics, lengths, and shades. People in suits walked alongside the people in dresses, some more flamboyant than others. A lot of people here lacked creativity, which Julie had learned to decipher as other lifers. If the Hollywood Ghost Club has taught her anything, it’s to never be dull.

Lightly jogging, Julie swerved around the people, not wanting to figure out who was a ghost and who was a lifer. She looked down to the lavender, sparkly watch on her wrist, which read 4:55. Picking up her pace, she made her way backstage.

“Hey guys,” Julie waved to the others.

It was still early, so no one else was there. Luke was sitting on a small table that was supposed to be for props (the variety of performances in this place is insane). Reggie was laying down in a chair, his head hanging back over one of the arm rests while his feet hung over the other. Alex was sitting down the right way in a chair next to Reggie, messing with his drumsticks on his left arm rest. Willie sat across from him, his chair backwards so that his legs were around the back and his arms were crossed on top of the back, which he rested his head on.

“Hey, Julie!” Luke exclaimed, pushing himself off the table.

“Hey, Luke!” She looked around him to the others. “Hey, guys!”

“Hey, Julie,” they all said in unison.

“So, um,” Luke started, lowering his voice, “I have a new song I wanted you to look at. I only have the first verse down and I wanted some of your insight.”

Julie smiled up at him. He was bouncing, his eagerness clear on his face. He was almost like a puppy, with how much energy he had.

“Yeah, sure, I’d love to check it out, just let me change first.”

“Got it.”

Julie gave a small wave and then turned down a hall, looking for a bathroom. Luke watched her leave before heading back to his spot on the table.

“It’s terrible how she’s limited as to what she can wear. If she could wear anything, she’d be the best looking person in this place,” Luke commented, still looking forward.

“Hey, don’t let Caleb hear you say that,” Willie joked. “You don’t want to be jolted.”

“Nice try, Willie, but we can’t be jolted!” Reggie retaliated.

“Wait, why can’t you guys be jolted?”

“Because we don’t have stamps!!” Reggie exclaimed, oblivious.

“Wait, if you guys aren’t stamped, then how come you’re still here? Is Julie stamped?”

“Not that we know of…..” Alex trailed off.

“What does that have to do with anything?”

“It has to do with the fact that none of our souls belong to Caleb! We don’t have to be here! We can just walk right out of here, and he can’t do anything to scare us into coming back!! He doesn’t have any real power over us!!”

“I mean, he kind of does, he’s our boss,” Reggie countered, oblivious.

“Really, Reg?” Alex asked in disbelief. “You can’t be that clueless.”

“What? Caleb is our boss! He’s in charge of us while we’re here! Sure, he can’t force us back here- ohhhh.” He paused in realization. “You guys are saying that we should just leave him.”

“Yes, Reg!! That is exactly what we’re saying!! Caleb doesn’t have any control over us anymore!! There’s nothing that he can do without the stamp to make us stay!! We can leave!!” Luke repeated, pushing himself off the table, again, in excitement.

“Uh, Luke, I get where you’re coming from, but there’s something that you’re forgetting,” Alex interjected.

“What is it?”

“He still has Willie.”

“Well, we can fix that! We just need to get to the bottom of what else can get rid of the stamps and use that to get rid of Willie’s!!”

“Maybe it’s true love,” Reggie offered, mindlessly.

“Reggie, this isn’t a Disney movie, a true love’s kiss won’t just fix everything.”

“I mean, it’s worth a shot if all else fails,” Willie defended with a laugh.

Alex took a double take. “Wait, what?”

“I mean, true love doesn’t have to be romantic, and you guys are kind of like brothers to me at this point. And an act of true love doesn’t necessarily have to be a kiss..”

“Oh. Oh. Okay, I just-- I thought you meant-- Because I was gonna say--”

Luke put a hand on Alex’s shoulder to stop him. “Dude, stop. You’re only embarrassing yourself.”

“Got it,” Alex responded, lowering his voice.

“But yeah, like Willie said. We can do this!! We might even be able to get rid of everyone else’s stamps as well!! We could overthrow Caleb!!”

“But some people genuinely like being here. Wouldn’t that be unfair to them?” Reggie pointed out.

Luke nodded and rolled his eyes. “Okay, maybe not overthrow him, but anyone that wants to would be able to escape him!! We could give them hope!!”

“But doesn’t he know where Julie lives? Couldn’t he take Carlos, or Victoria and use them as leverage?” Willie offered.

“Or Ray!! He could use Ray as well,” Reggie quickly added.

“Come on, guys!! They’re the Molinas!! They’d be damned if they let some old ghost with a glitter addiction beat them!! You’ve seen what Carlos and Tia have in store in the case of a ghost!! And they’ve learned from us!! Not to mention, Ray wouldn’t let anything happen to his family, even if it was the last thing he did!! And we got the Riders on our sides!! Maybe even the Wilsons and Danforth-Evans as well, if push comes to shove!! Caleb doesn’t stand a chance!!”

The three of them nodded. The Molinas and their friends were a force to be reckoned with. If you dared to mess with one of them, chances are you’d end up regretting it. Even an otherworldly being like Caleb would be in for a bad time.

“See? There’s nothing realistically stopping us from leaving!!”

He glanced behind him at the table before jumping on it with a loud thud, startling the others to their feet.

“I say we revolt and start a revolution!! Stand in our own power!! Sing our own songs!! Write our own lyrics--”

“Don’t we already do that?” Reggie asked, cutting him off.

“It’s symbolism, Reg,” Luke informed him before getting back to his speech.

“As I was saying, we need to step into our greatness and stick it to the man!! Now, WHOSE WITH ME!!!”

“WE ARE!!”

“No, you are not!!”

Julie walked down the hall, on the way to a bathroom she could change in. Sure, she could just use one of the countless dressing rooms there are in this place, but the extra privacy that she was given in the bathroom was comforting to her. In such a busy place, it was nice to be alone with her thoughts. Especially before a performance, when she needed it most. The further she strayed from backstage, the fewer people she passed, and the fainter the noise of the people in the club became. It was like a scene in a movie, she thought, where the dialogue and background noise slowly disappeared to be replaced by the next song in the soundtrack.

It was fun to think of life like a movie sometimes. Or a musical. Breaking out into song while doing a regular task, or being a bit too over dramatic about a dropped ice cube mixed things up. It made things more fun. Thinking of a conversation-cut-short as a cliffhanger or the always dreaded next day of school as the next episode. Setting an alarm to one of her favorite songs to make it her theme song. Random moments of dead silence like the credits. It was weird, in hindsight, but she made it work. It became so natural that it wasn’t strange. Then again, nothing in her life was exactly normal. Julie laughed at the thought. The word normal has basically lost its meaning. She’s in a ghost band, working for an evil ghost, at his magical jazz club. At this point, she wouldn’t be surprised if she woke up in the morning and found out she could fly.

Julie was completely lost in thought, now walking around the building aimlessly. She was humming a random tune to herself, no specific song in mind. This place was like a maze, so easy to get lost in, and forget about telling the time. She was just going over her conversation with Flynn at lunch (who is still not very happy about the whole Caleb thing) when she heard someone speaking from another room. It was unusual, to say the least. She snapped out of her mindless state enough to figure out which room the talking was coming from, and get closer to it. After finding the door, which was left ajar, she leaned in to listen.

Was this smart? No, absolutely not. She should be going on with the band any minute, or at least, that’s how it seems, but that was in the very back of her mind right now. At the moment, she was focused on what that voice was talking about.

The voice sounded stressed, panicked, even. But it also sounded familiar. She couldn’t put her finger on it. She tried to lean in closer, opening the door slightly more.

“I can’t keep doing this with them. They’re too smart for me to trick! They’re performances have lured many ghosts out here. Many naive, young ones. Isn’t that enough?!”

“No, Covington! I need their souls!! That girl--”

“Julie.”

“Is too powerful. And she’s getting stronger. And the boys are getting too....too....too reckless. I can’t wait much longer, Covington.”

Caleb! That’s who the voice belonged to! But wait. Who was the other person? And why were they speaking to him like that?

“I need more time!”

“Well, you don’t have more time. Get the girl and her friends, or else you’ll be in the same position they just got out of.”

“Wait--!!”

Before Caleb could say anything else, the owner of the other voice disappeared, making him slam his fist down on a hard surface.

“God damn it!!” Caleb yelled to noone, before flopping down in a chair.

Julie could hear him mumbling, but couldn’t make out the words, so she tried leaning in further, opening the door wider, if ever so slightly. With all of her weight on the door, she ended up pushing too far, causing the door to swing open and for her to stumble into the room. Unable to find her balance, she fell forward landing on her hands and knees.

Caleb barely gave her a glance, his head buried in his hands.

“Hey, Julie,” he acknowledged her, his voice muffled.

Julie looked up at him, pushing herself to her knees and then standing up. She brushed herself off before taking a look around the room. The floor was a gray carpet that looked far too clean to be anything other than something out of a commercial. The walls were a lighter shade of gray, almost completely empty. In the middle of the right wall, there was a fireplace with a flat screen tv above it. It made her wonder if it was fake or if she had somehow made it to the top floor while lost in dreamland. In the middle of the room, there was a black marble and glass coffee table. Around it, there were a pair of velvet, ocean blue hairs and loveseats. To the right of her, there was a minibar. The countertop looked to be made of black marble as well, with barstools in front of it. Above the cabinets was a white and metallic blue clock O.n the other side of the room, a giant glass window stood between her and a balcony that looked like it could fit 50.

“Uhh, hey, Caleb,” she responded, her voice raising at the end. “Um, what was going on in here?”

“It was nothing, just my boss getting to me.”

“Your boss?”

“Yes, my boss. Things right now are....complicated.”

Julie walked over to the loveseat diagonal of where Caleb was seated and sat down.

“What happened?”

Caleb looked over at her through his fingers for a moment, trying to figure out whether or not he should tell her. He sighed, moving his arm to his armrest, his hand now laying on the side of his face, holding him up.

“He wants you and your friends’ souls, but most importantly yours. You guys are all pretty powerful, but you are......something else. He keeps berating me with questions and requests and demands and updates and you guys keep outsmarting me and if I don’t follow through with this, I’ll be put back in the black room, or have intense, continuous jolts, or worse. It’s not like I don’t deserve it, but that doesn’t take away from the fact that I don’t want it to happen,” Caleb explained, looking in Julie’s direction but seemingly staring off into space. He let his guard down, anxiety creeping into his voice.

Julie didn’t know how to answer at first. Caleb had been a jerk to her and her friends, but has given her quite a few opportunities here at the club that she wouldn’t have had otherwise. But how much of a price really is selling your soul? Is it like in the movies, or does it follow a certain religion? Where would she even go after death? And what about the others?

But Caleb looked so.....scared. He was never like this. He always had a cool, overdramatic, posh, demeanor. Seeing him like this was like looking at a completely different person. And, as much as she hates to admit it, she’s started to like him during the time she’s spent at the Hollywood Ghost Club. Yeah, he’s evil, but he wasn’t so bad. And now he might not even be evil?

“I’m sorry, Caleb. But I don’t.....I don’t want to give up my soul. I want to be able to crossover and see my mom again when I die.”

“I know, that’s the problem. If I can’t convince or trick you into giving me your soul, then I’ll fade from existence and he’ll take matters into his own hands.”

Julie sighed. No one should be in this situation.

“We’ll find a way to figure this out. I promise,” Julie reassured Caleb, nodding her head. She looked him over for a second, thinking her next move through.

“Eh, what the hell?” she thought to herself, before enwrapping Caleb in a hug.

Caleb tensed, looking down at her and holding his arms out at his sides. Slowly, he wrapped his arms around her in return, giving her a small pat on the back.

“Thank you.”

Julie retracted, reaching up to push a few stray strands of hair out her face.

“It’s no problem. I mean, it all adds up. It is kind of weird how most of the people here aren’t scared of you. I mean, don’t hate you? Wait, no. That’s not what I-- I don’t--” Julie started to panic, but relaxed when Caleb shook his head and waved his hand, brushing it off.

Caleb glanced at the clock above the bar while he did so, checking the time.

“We’re gonna be late for the opening. I’ll teleport out, you change here, and get back to the stage as soon as you’re done,” Caleb ordered, getting ready to leave.

“Wait!”

Caleb stared at her, expectantly.

“I, uh, I don’t know how I got here. Or my way back,” Julie explained, shyly, holding her left arm.

Caleb sighed, nodding.

“I’ll go wait outside. When you’re done, we’ll walk back together.”

Julie smiled, quickly separating her clothes as she picked out what to put on first.

“Thank you! I promise this won’t happen again.”

Caleb gave a small smile, quickly hiding it and heading out the room, giving Julie privacy.

Talking about this made him feel lighter. Weirdly, lighter. Of course, he shouldn’t be talking about this with a 16 year old. Especially not the 16 year old that he’s been specifically ordered to steal a soul from. Even then, just talking about it briefly had helped. It felt like a curse had been lifted, ironically.

Caleb lean’t against the wall, closing the door as he stepped to the side.

That girl had too much hope. He had known from the moment he made the deal with that man he was doomed. Sometimes you have to go through with something to realize how bad of a mistake it was, and this was one of those times. He was doomed. The moment they had become entangled with the club they had written their fate, too. They might have been able to outsmart him, but there was no way they would be able to outsmart nor outpower him. At least, not yet. Julie still needed training, and there wasn’t enough time for him to teach her how. Yet, here he was, thinking that maybe he could figure this mess out. Maybe they could all get out of this.

The door opening made him stand up straight.

“I’m ready.”

Caleb nodded, silently and started walking back to the club, leaving Julie to fall into step next to him.

“No, you are not!” Julie yelled, grabbing the others’ attention.

The boys looked at Julie, startled by her sudden entrance and confused by her objection.

Luke gave her a saddened look. Julie nodded her head towards Caleb, who was standing behind her. Luke ‘ohed’ silently, looking away.

“Do I dare ask what’s going on?”

“That depends on how much you heard,” Reggie replied, who had shied away, behind Alex’s chair.

“Only the end. Something about ‘sticking it to the man.’ I’d be careful about that, by the way. I do still have some leverage over you guys.”

Julie rolled her eyes while the others glared at him.

“Now, get ready. You guys go on in five minutes.”

With that, Caleb walked out onstage, putting on a cheery voice.

“Sorry about that! We’ve been running a bit behind schedule, tonight. I see some glazed eyes out here tonight,” he threw his cane to his other hand and the music started, “Let’s see if we can change that.”

As his speech blended into song, they had stopped listening.

“Wait, so that means you’re with us, right? And you were just saying no because he was there?” Luke asked, still standing on the table.

“No? Look, something happened. Caleb isn’t that bad? It’s hard to explain. I’ll have to tell you guys later. But for now, we’ve gotta get ready to go on.”

The boys looked at each other with a mixture of confusion and worry. What had happened to their Julie that made her side with Caleb all of the sudden?

The door to Caleb’s office slammed shut. Caleb froze. His time was up. The light dimmed and the room went cold. This was really it. He had put it off for so long, finding ways around it and surviving (if you could really call what he was doing ‘surviving’). But now it is finally gonna end. He deserved it, didn’t he? He should have stayed dead the first time; he didn’t deserve to live. Then he was given a second chance. He could have made things better; help others instead of himself! But look at where he ended up; doing the exact same thing as he was doing before: Hurting others for the sake of himself.

“Where are their souls, Covington?” his boss asked, raspily.

Caleb took a deep breath, standing up straight. He tried to sound confident, but his failure was evident at his shaking.

“I don’t have them.”

The man appeared in front of him, eyes glowing white. You couldn’t really say he was appearing as a man, though. He appeared to be a black cloud, making up a silhouette of a man. In place of his eyes were two glowing, piercing, white dots that seemed to be staring into his soul. At least, if he still had one.

“How. Come?” the figure asked, his voice booming.

Caleb gulped. “The girl - Julie - outsmarted me.”

The figure let out a deep, maniacal laugh. It bounced off the walls, surrounding Caleb. He backed into the door, fear now clearly showing on his face.

“I’ve given you a lot of time for this, Caleb. I’m afraid,” the figure lifted up a part of his shadow, appearing to be his arm, “I can’t afford to give you anymore.”

The figure stepped closer, shooting his arm out in front of him and into Caleb’s chest. Caleb curled into a ball against the door, turning sideways, trying to save as much time for himself as possible. When nothing happened, he looked back down at himself, confused as to what had changed. He looked over to the ghostly figure across from him, who seemed just as confused as he was.

“WHY ISN’T THIS WORKING?!?” he yelled out of frustration.

He tried again. Caleb flinched, but it was for nothing when nothing changed once again. The figure glared daggers at him, causing Caleb to shake even more. The figure lifted up his arm to himself, closing his fist suddenly and tightly. A realization came upon him.

“You no longer have your stamp.”

Caleb looked down at his wrist, pushing up his sleeve. Sure enough, the glowing outline of the stamp that would usually appear when prompted didn’t appear. He pulled down his sleeve quickly, hiding his wrist. He looked back up at his boss, who had stepped closer.

“Fine. There are other ways to take you out. More fun ones,” he stated, deepening his voice, moving closer to him, ever so slowly.

Before Caleb could get away, he grabbed him, teleporting them both away.

“Hey, have any of you guys seen Caleb?” Julie asked the others, who were relaxing backstage.

“Why does it matter? This place is better without him, anyway,” Alex asked, laying down on a couch, his head in Willie’s laugh, twirling his drumsticks.

“He hasn’t been here all week. I’m getting worried.”

“Why worry? He sucks,” Luke asked, not looking up from his song book.

“Yes but….he doesn’t? I think something bad might have happened to him.”

“What did he do to you that you care about him all of the sudden?” Luke looked up, shaking his head.

Julie took a deep breath before relaying her and Caleb’s conversation. She shouldn’t be worrying herself over what was probably nothing, but it wouldn’t hurt to ask around. And she couldn’t hide this from her boys forever, so this was a good opportunity to confess.

“What? Come on, Julie, he’s gotta be lying! He’s trying to trick you into giving him your soul!” Luke exclaimed, getting up from his seat and walking up to Julie.

“Yes, maybe, but he seemed genuinely scared, and--”

“Julie, he’s an actor! He’s lying! There’s no way--”

“I saw him. I saw his boss there, too. The conversation only happened after he had disappeared,” Julie blurted out, stopping Luke from continuing.

Willie, Reggie, and Julie pushed open the door, trying their best to ignore the noise being made behind them. Inside the room was Caleb, sitting in a corner, leaning against the wall. Julie and Reggie rushed over to him, while Willie stayed at the door.

“Caleb! Are you okay?” Julie asked, kneeling down in front of him.

Caleb lolled his head, looking in the duo’s direction, not being able to completely focus on either of them. There were no physical signs of injury, seeing as he was a ghost, but it was clear that he was hurt.

“What--” he sucked his teeth, wincing, “are you guys doing here?”

“Getting you out of here! The others are fighting off your boss right now. He is not a nice guy. He puts you to shame, really,” Reggie explained quickly.

“Come on, help me get him up,” Julie told Reggie.

The two of them lifted his arms and helped him stand up, although he was basically being dragged due to the major height difference between them all.

“How…..how are you able to touch me?”

“I’ve learned quite a bit since you’ve disappeared. Now come on, we’ve gotta get you out of here and finish dealing with your boss.”

They had finished him off. Whether he had crossed over or simply didn’t exist anymore, they didn’t know, but he was definitely gone. The Hollywood Ghost Club still stood, although it was now empty. A handful of ghosts stayed behind; some wanted to take care of it until it was performance ready again, while others didn’t want to leave what had grown to be their home behind. Those who wanted to leave, left. No one blamed them; that place held as many bad memories as it did good, if not more.

Julie and Flynn were explaining the situation she had been in to Ray, Carlos, and Victoria. Caleb was here for the time being, so the boys could become both solid and visible to the others. At first they had thought that was an idea better saved for another time, but Reggie was bouncing at the thought of being seen, and Alex had wanted to talk to Victoria for a while now, so they had decided that once Caleb cleaned up a bit, however he was gonna do that, they would meet each other, officially.

“......Julie, are you doing okay? Do you need to start seeing Dr. Turner, again?” Ray asked, stepping closer to her.

“No, Dad! She’s telling the truth! These ghosts really do exist! I have the proof!” Carlos defended Julie, stepping forward and in front of her.

“I thought the same thing at first, but these ghosts are real! They’re really nice, too!! You’d love them,” Flynn stated, nodding.

Ray looked around at everyone. When he landed on Victoria, she shrugged.

“I don’t know what to believe! All I know is that this house is haunted, and if they’re all saying they know the ghosts, maybe they’re telling the truth?”

Ray sighed, crossed his arms, and smiled. “I guess, if you’re telling the truth, it won’t be so bad. I mean, they brought music back into your life, I’d be crazy to kick them out.”

Julie grinned, running over to give him a hug. “Thanks, Papi!”

Then, she ran over to the stairs, and called up to them. One by one, the four boys descended the stairs, lining up at the bottom.

“Dad, Tia, this is Luke, Reggie, Alex, Willie, and-- Where’s Caleb?” Julie asked, cutting herself off.

“To hell if we know!” Luke exclaimed, ignoring the others staring at him.

“He’s gotta be here, somewhere. I mean, we wouldn’t be visible, if he wasn’t, right?” Reggie pointed out.

Just then, Caleb appeared in front of them with a puff of purple smoke. He was wearing his classic purple suit, save for the jacket.

“There you are! You may have not been the one behind everything, but you’re still on thin ice. You can’t just do that!” Julie reprimanded him.

Caleb rolled his eyes, nodding. “Yes, yes, I’m very sorry. Now, would you mind telling me who hot stuff over here is?”

Julie glanced at where Caleb was looking, and quickly looked back at him. “You mean my dad?!”

Caleb ignored her, walking up to Ray. “Hi, do you know how much a polar bear weighs?”

“No…??” Ray answered, confused.

“Enough to break the ice; I’m Caleb,” he said quickly, sticking out his hand.

Ray absentmindedly took it. “Ray…”

“Do you mind if we take a picture? To prove that angels really exist, of course.”

“I--”

“No! No, no, no. No. You can come over whenever you want and help mend your relationships with this family, but flirting with my dad is OFF LIMITS, you got that?” Julie ordered, rushing to stand in between them.

“Yes, yes, whatever you say, Julie,” Caleb replied, winking at Ray before walking away.

As everyone started chattering and getting to know each other, Flynn and Julie talked about the situation.

“Do you think this is a good idea? For them to be visible?”

“Absolutely not. But they’re happy, and that makes it all worth it.”

Flynn nodded, turning her head to look at Julie. “You know this is gonna cause a lot of trouble, right?”

“Yeah, but we’ll handle it together. Right?” Julie asked, turning her head to face Flynn in return, raising her first.

“Right.”

Flynn fist bumped her in return.

“Double Trouble back at it again!”

“That is not our band name!”

“It doesn’t have to be our band name! It just has to be our name!”

Julie cracked a grin.

“Alright.”

“Yesss! Now I don’t need to trash the new t-shirt design!” Flynn celebrated, clenching both her hands into fists.

Julie laughed. It was definitely gonna be a mess, but it will all be worth it as long as her family is beside her.

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drwcn · 4 years ago

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are there modern mdzs aus where jiang cheng is a classical opera singer? i would love to see him in a fancy costume, being dramatic on stage to an adoring audience

:OOOOO I have never come across this au before but that would be SO FUN

All three of the Jiang children took up careers in some kind of art, much to the initial displeasure of their parents. JFM and YZY eventually came around and became supportive. (Well, wwx is not technically a Jiang, but the Jiangs adopted him, so he’s legally one of them).

Yanli is trained as a professional ballet dancer and is a prima ballerina at Yunmeng Ballet Company (like the Bolshoi).

WWX is a composer and works on some pretty epic scores for big budget movies. He plays the flute himself, well, dabbles really, self-taught. XD He saw one of those make your instrument from vegetable youtube videos when he was 12 and sculpted his first flute out of a carrot and that jump started his entire career. ^.^

JC, much to shock of absolutely everyone became a classical opera singer. (Idk if you were looking for Chinese Opera or Western Opera, idk if it’s even possible to be both, but let’s say it is.)

Jiang Cheng started out as a youtuber, just recording himself singing. He is massively self conscious so he only put his audios out there. Jiang Cheng found out early on that he has an unusually wide range and could sing both western and chinese opera. Because his voice so unique, his fans are itching to find out who he is! WWX, being a shit (but with the blessing of Jiang Yanli), “accidentally” shares one of Jiang Cheng’s youtube posts with a picture of himself and Jiang Cheng on twitter.

Jiang Cheng becomes a s e n s a t i o n, receives professional training, and goes on to do many, many shows.

Nie Huaisang is a sought-after make up artist who does Jiang Cheng’s make up before every show. NHS show cases Jiang Cheng’s best features, and Jiang Cheng just looks SO GOOD in every photo shoot.

Nie Huaisang has his own make up line.

The Lan brothers are known as the Two Jades of Gusu, famous traditional chinese instrumentalists.

WWX is introduced to LWJ during a collab for a xianxia movie.

The production team starts to approach Jiang Cheng to see if he’d be interested to star in a movie instead of doing stage work.

Jin Zixuan is an awkward rich boy but also Jiang Yanli’s secret admirer.

No deaths, just art.

#cql #the untamed #jiang cheng #Anonymous #corie replies #corie fics #cql ideas

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passionate-reply · 4 years ago

Video

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Are you tired of Great Albums being about music people have actually heard of? Do you want me to just go ape shit, and review obscure minimal wave cassettes from the 80s? Admittedly, Oppenheimer Analysis’s New Mexico is one of the most famous weird minimal wave cassettes, and for good reason: it actually holds up quite well as an album! Come check out what all the fuss is about. Transcript below the break.

Welcome to Passionate Reply, and welcome to Great Albums! Today, I’ll be talking about a very cultish cult classic, and an album that’s one of the definitive works in the very underground scene of so-called “minimal wave”: New Mexico, the only full album released by the duo “Oppenheimer Analysis.” The band’s namesake was actually lead vocalist Andy Oppenheimer, who became acquainted with instrumentalist Martin Lloyd at the 1979 World Science Fiction Convention, where the pair bonded over speculative fiction, Midcentury graphic design and propaganda, and the work of early British electronic pioneers like the Human League. 1982’s New Mexico was these two’s first recording as a group, but Lloyd did go into it with one credit--the year prior, he and David Rome of Drinking Electricity released a double A-side, featuring the jumpy, playful instrumentals “Surface Tension'' and “Connections.” They referred to their act as “Analysis,” making it feel very much a part of the Oppenheimer Analysis story.

Music: “Surface Tension”

Oppenheimer, meanwhile, was a true outsider artist, making a living as a nuclear science writer without any substantive musical background. While not all minimal wave is “outsider music,” and not all electronic outsider music is minimal wave, there’s certainly a correlation there. Oppenheimer’s reedy, somewhat strained voice lends New Mexico the punkish charm that only utterly untrained vocalists can offer: a vessel that cracks and buckles as it fails to contain the raw emotion within.

Music: “Martyr”

The addition of a singer is one major distinction between New Mexico and Lloyd’s earlier compositions, but they’re also very different in tone. As I said earlier, the “Analysis” instrumentals are sort of light-hearted and sprightly, a bit reminiscent of the jazzy synth experiments of artists like Jean-Jacques Perrey and Gershon Kingsley. New Mexico is substantially darker and more gothic, as befitting an LP that’s at least partially a concept album about the nuclear age.

Music: “The Devil’s Dancers”

While nuclear anxiety is an indispensable theme of the album, it’s never a suffocating one that makes it feel horribly antiquated to modern ears. It’s a very aestheticized rumination on nuclear themes, that never jumps up and hollers, “bombs are bad!” Take, for example, the track “Radiance,” probably the best-known track on New Mexico...to the extent that any of them are that well-known. It’s one of the album’s most languorous, atmospheric moments, and paints a vividly desolate picture of ground zero after a detonation, with its fluttering, delicate, but ultimately frigid synth flourishes.

Music: “Radiance”

I think my favourite part of “Radiance” is actually its lyrical turn: an atomic blast isn’t like the radiance of a thousand suns, but rather, vice versa. The latter is the one that’s merely theoretical and dwells in the realm of poetic license, whereas the former is a historical fact that we all have to contend with. “Radiance” is quite solid, but in many ways it’s a pale imitation of the title track, a seven-minute sprawl that works exquisitely as a kind of musical landscape painting:

Music: “New Mexico”

Painfully evocative, with an eerie, almost yearning undercurrent, “New Mexico” is easily the track that feels the most grand and epic. I would really have loved for it to be given more of a place of honour in the tracklisting, possibly as the closing track, but it’s wedged somewhat awkwardly in the middle of the second side. I suppose we can’t expect quite as much from a gonzo underground mail-order cassette release, though. At any rate, while “Radiance” and “New Mexico” are absolutely about atom bombs, they remain very emotionally intimate--almost torturously so. A lot of the other tracks are less about the bomb itself, and more about the rise of “Big Science” in the Midcentury consciousness in the wake of the Second World War--chiefly, “Men In White Coats.”

Music: “Men In White Coats”

As in “The Devil’s Dancers,” Oppenheimer happily accepts the role of an evil or insidious narrator here, and sells us this megalomaniacal perspective with aplomb. A lot of early 80s synth, minimal wave and otherwise, is characterized by more deadpan vocalists, but I can’t stress enough how much Oppenheimer’s piercing lead vocals bring to this album. It’s perhaps the most critical on the tracks that delve into more traditionally emotional topics--chiefly, the standard romantic love numbers. Take, for instance, the harrowing, neurotic “Scorpions”:

Music: “Scorpions”

I’m certainly a fan of the title “New Mexico,” which just ties together all the right connotations. First and foremost, New Mexico is a place--a place you can visit. And this is one of those albums that really wants to ground you in a narrow and specific sense of place, a sonic landscape. New Mexico is mostly empty desert, large tracts of which have been government land even before it started being used more intensively for military research in the 20th Century...most famously, of course, on nuclear weapons. I like to think that the name also suggests novelty and recency of place. We are, after all, entering a “new” world, defined by the advances of science, and the upending of earlier ideas about the world.

The representation of the album art for New Mexico that I’ve been showing you is actually the imagery of the 2010 reissue of the album, which I’ve chosen because I think it’s a bit better known, and I simply prefer it, personally. The most striking thing about it is this colour--a ghostly green, that instantly evokes the common imagery of atomic phenomena. Radiation doesn’t really glow green, of course, but, like everything else about the album, it’s clear that this choice is meant to be a reflection upon the greater cultural imaginings and social impact of the Atomic Age, so I think it’s a perfect fit. At the center of the composition, we see a figure, head bowed and face shaded to provide some sense of anonymity, reaching a hand towards the side of his face in a gesture that’s almost reminiscent of using a cell phone at first glance. What exactly he’s up to is as unclear as his identity. Between the modernist styling of the architecture to his left, and his antiquated attire, the image is quite suggestive of a Midcentury setting. But the real narrative angle here comes from the right side--several figures are approaching that central character, possibly in hostile pursuit. Espionage gone wrong? A desperate attempt to silence a whistle-blower? Much like the music, there’s an ambiguous, mysterious, but also menacing ambiance to this cover.

For historicity’s sake, I’ll also discuss the original cover of the homemade cassettes of New Mexico. As we might expect from the nature of this release, it’s a fairly simple graphic, featuring a nude woman whose full-figured body type, popular on pin-up models, and short hairstyle convey that Midcentury aesthetic almost as well as her clothed counterpart on the reissue. Our eyes are naturally drawn to her exposed breasts, where they meet a pair of radiation warning signs censoring her nipples. A simple image, but a deeply perverse or twisted one. Is it a kind of union between the vulgar, crass profanity of pornography, and the depravity of atomic weapons? Is it a visual representation of the way Oppenheimer Analysis have beautified the nuclear landscape, conflating man’s inhumanity to man with something voluptuous or pleasurable? This cover is at least as complex a symbol for the album as the reissue one is. And while it’s easy to dismiss it as lowbrow, I think it’s worth noting how the salacious or saucy aspect of it would have helped it fit in with other underground cassettes of its era, many of which had lurid or provocative imagery.

Of course, this discussion of the differing incarnations of the album is a natural segue to addressing the release history of New Mexico. The story of Oppenheimer Analysis is deeply entwined with that of New York-based Minimal Wave Records, founded in 2005 by Veronica Vasicka, a radio DJ fascinated by underground electronic music. The label specializes in making obscure, self-published works like New Mexico widely available in digital form, so that more music enthusiasts can get a chance to hear them. Without her, I myself might never have heard this album, and certainly wouldn’t be in a position to make a review like this! Vasicka felt strongly about the artistry of Oppenheimer Analysis, and gave the honour of her label’s first-ever release, “MW001,” to a self-titled EP compiling several of the tracks from New Mexico. Later, in 2010, when she was able to rerelease New Mexico in its entirety, she gave it the honourary designation of “MW001D.”

Vasicka is the one responsible for coining the term “minimal wave” to describe the subgenre she was interested in, and, fifteen years later, I think it’s safe to say it’s had some staying power. While it may be a bit vague and subject to individual interpretation, that’s a problem all genre labels contend with, and I think fans of minimal wave ought to be proud that this term was at least coined by a passionate and dedicated fan, who made her favourite music more accessible to everyone, as a labour of love. It’s also not the only genre term to come about much, much later than the music it seeks to describe. At any rate, New Mexico will always have a place in the minimal wave hall of fame, and it’s a genre-defining work, if in hindsight. The stylistic hallmarks of New Mexico are, for better or for worse, now also those of a whole movement: harsh, tinny rhythm machines, strident synth lines, anxious, unmannered vocals, and technological themes.

But what actually happened to Andy Oppenheimer and Martin Lloyd? In light of the renewed interest in their work in the 00s, they actually got back together for a bit, releasing some archival material from the 1980s and laying down a handful of new tracks, very similar in style to those on New Mexico. Lloyd passed away suddenly in 2013, but Oppenheimer has remained interested in keeping their ideas alive. He’s been performing live as well as putting out new music, first as “Touching the Void,” alongside Mark Warner of Sudeten Creche, and more recently as “Oppenheimer Mk II,” with Mahk Rumbae of Konstruktivists.

Music: “You Won’t Disarm Me”

Something that I think really stands out about New Mexico, especially when compared to a lot of other small-time minimal wave releases, is that it’s a very consistent quality throughout. As you might expect with an underground genre, a lot of the music to choose from is varying degrees of amateurish and clunky, and it’s arguably better to listen to Minimal Wave compilations than the LPs that exist. New Mexico is an exception, though, and doesn’t have any particularly weak tracks. The favourite tracks cited by fans of the album tend to vary pretty widely. My top pick, though, is the album’s opener, “Don’t Be Seen With Me.” It’s a perfect marriage of dizzying, spiraling synth runs, and one of Oppenheimer’s most frenetic vocal performances, that creates a masterful portrayal of being swept up in infatuation with somebody you really shouldn’t be fooling with. That’s all I’ve got--thanks for listening!

Music: “Don’t Be Seen With Me”

#music #great albums #album review #album reviews #minimal wave #minimalwave #coldwave #minimal synth #oppenheimer analysis

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orghanabolir · 4 years ago

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On Stage

Minii naizuud, I write once again of my exploits on the stage. I rehearsed, and rehearsed, and rehearsed even more so that I might perform to my best. I made many mistakes in my rehearsals. I believe this effort was rewarded, for I saw many dance along with me when I sang. Though I am content with my work, I shall work ever harder in these days away from the Steppes.

Many were the performers on the stage at the Talley. I was excited to see so many different types of performers: instrumentalists, singers, dancers . . . it was a varied group, and I was honored to be among them. There were other Xaela performers as well. Aa! Their tribes should be proud of their efforts this night. (I must admit, I do not know if they be Steppe Xaela, or Eorzean born . . . yet I am sure their ancestors watch over them either way).

This was but my second time singing in Eorzean, but I hope my words were strong and clear. My first song was one I found which made me think of my own experiences in battle. My second was a song of longing to live for the moment, as who knows what the future might bring? I know not if the words and meaning meant the same to others as they do to me, but I did my best to serve the will of the songwriter.

The Talley has found a new and larger home, but the sense of friendship and welcoming is unaltered. I hope they were pleased with my work.

I met a Miqo’te woman named Miss Vylette who complimented me on my performance after the show. It was startling to hear such remarks from a stranger. Dusk Mother forgive me, but I enjoyed it perhaps more than I should. It is best to be humble. Then I saw the hearthmistress of the Shroudrose in the crowd, which was a surprise, but not so surprising as the fact that she remembered me from visiting her tea shop! I do not generally feel that I make an impression on people in my day to day life. Perhaps it is because Lambchop was with me when I visited. Lambchop makes an impression quite often.

I have been asked to sing at a Xaela festival in Reunion on the Steppes. I am concerned that some from my tribe might be there. Should word get to my parents about my singing and dancing . . . But I could not say no when asked. I must decide now what Xaela songs I will perform. And others spoke to me as well about performing. I find myself feeling confused about many things quite suddenly. I do not know how to reconcile these two worlds in which I live with one another, and I do not know where to turn for advice.

Sain yavaarai, minii naizuud. I shall retire for the day now, and contemplate the future.

(Thanks to @xivriftdancer and @mugishalffull for the screenshots! And thanks to @tenebrous-xiv for letting Orghana perform!)

#ffxiv #ffxiv rp #balmung #balmung rp #crystal data center #oghanabolir #tenebrous-xiv #vylette-elakha #fair-fae

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sinceileftyoublog · 3 months ago

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Evanston Folk Fest Saturday: 9/7, Dawes Park

Sierra Ferrell

BY JORDAN MAINZER

Every musician I watched on Saturday at the Evanston Folk Fest grappled with, directly or indirectly, what folk music means in 2024. I knew going in, given the prestige of the musical lineup and speakers in the interview tent, that the festival would not be one that casts off "folk" as a mere aesthetic, visual or instrumental. Indeed, even if many of the booked musicians didn't fit the general schema of the folk genre, they abided by its most important tenet: music not just by the people but for the people, independent of level of expertise.

From left to right: Oliver Bates Craven, Ferrell, Matty Meyer, Geoff Saunders, & Joshua Rilko

Headlining the night was Sierra Ferrell, a singer-songwriter from West Virginia whose unique mix of bluegrass and Latin-influenced arrangements (and, yes, wild outfits) have allowed her to garner steadily increasing crossover appeal beyond her initial viral rise. Earlier this year, she released her fourth studio album Trail of Flowers (Rounder), which managed to widen the spectrum of her sound while emphasizing--let alone not losing--her idiosyncrasies. On standout fiddle jam "I Could Drive You Crazy"--Ferrell's proclaimed greatest relationship skill--you can hear crowd chatter from a show she did on a previous New Year's Eve. Such noise was almost perfectly replicated on Saturday, as Ferrell's band (multi-instrumentalist Oliver Bates Craven, mandolinist Joshua Rilko, bassist Geoff Saunders, drummer Matty Meyer) led off with the song's melody to welcome her onto the stage. As she waltzed on, revealing her poofy pink dress and feathered-and-flowered hair, done up like an Appalachian Björk, her fans did indeed hoot and holler.

Ferrell

Likewise, no matter the studio sheen of Trail of Flowers (or "Fox Hunt" being thumping enough to soundtrack an NFL cut to commercial), live, its songs fit seamlessly into a set that seemed intimate despite the large crowd. Album opener "American Dreaming" has found a second life as a song to be played near the end of the show, a crowd singalong due to its catchy melody and commonly felt story of a person unable to sit still. For touring musician Ferrell, who started out as train-hopping, van-dwelling, busking nomad, the only difference now is she can better afford nightly lodging. When performing, her unmistakably raspy voice takes even sharper twists and turns: During "Chittlin' Cookin' Time in Cheatham County", she occupied the shrillness of Joanna Newsom, flutters of Josephine Foster, and barroom gurgle of Tom Waits from moment to moment. Later, during Kris Kristofferson's "Me and Bobby McGee", but in the style of its most famous iteration by Janis Joplin, you half-expected Ferrell to do a Joplin impression. She has the skills, but instead, she made it her own, a true folk singer who can sing a song from the collective consciousness, but not showy enough to discourage others from joining in.

Rilko

Craven, Meyer, Farrell, & Saunders

Craven, Meyer, Farrell, Saunders, & Rilko

Hiss Golden Messenger

Midway through his solo set, Hiss Golden Messenger's MC Taylor let the crowd know he was going to do a cover of a folk song. "I was a folklorist in my former life, so I feel qualified to play it," he quipped. The song was Grateful Dead's "Bertha", and it received such rapturous applause that Taylor joked he should have led off with it. First, Taylor's always qualified to play Dead songs. His venerable band has been interpolating "Franklin's Tower" into Lateness of Dancers bop "Lucia" for years, and he's beginning to release live recordings on his Bandcamp page at the pace of a certain band that was oft-bootlegged. More importantly, though, at this point, Hiss Golden Messenger has developed a catalog of contemporary folk classics. As soon as Taylor came on stage, introduced by Evanston mayor Daniel Biss, an eager crowd member requested "Sanctuary", to which a chuffed Taylor requested patience, replying, "We'll get there!" As Hiss Golden Messenger studio songs and full-band performances expand in length and sound, they always sound good stripped down, too, from newer tunes like "Shinbone" to favorites like "Biloxi". Of course, it's the biggest treat to hear songs from acoustic masterpiece Bad Debt, an album he'll play in full next month at SPACE. Taylor gave the Evanston Folk Fest crowd a preview of what's to come with "Balthazar's Song", a tune that could make you melt on the coldest day of the year.

Hiss Golden Messenger

Mayor of Evanston, Daniel Biss

Willi Carlisle

And then there was the artist who, perhaps expectedly, most reckoned with the idea of what folk music means, Arkansas-based singer-songwriter Willi Carlisle. Sure, some of it was tongue-in-cheek, asking what an upper-middle-class Chicago suburb was doing deciding what constitutes a folk festival, but for the most part, Carlisle framed folk music as being in constant battle with that which represents an existential threat to, well, regular folks: capitalism, empire, and the patriarchy. Carlisle is a captivating storyteller and musician, reciting his poetry at a breakneck pace and ad-libbing, too, switching between banjo, fiddle, guitar, and a capella. I'm glad he's released a taste of what his shows are like with Tales From Critterland (Signature Sounds), which features three of the many songs he played on Saturday, plus their proper introductions: "The Arrangements", inspired by and dedicated to his and all bad fathers, "Critterland", which came from his attempt to live in an intentional community, and Steve Goodman's "The Ballad of Penny Evans". It was that last one that was the song of the day on Saturday, perfect for time and place. Let's acknowledge the elephant in the room: Goodman's best known in Chicago for writing the song that plays at Wrigley Field after the Cubs win. The crowd at Evanston Folk Fest was likely more familiar than is the average Chicagoan with Goodman's penchant for writing incredibly moving and righteous songs, but for those who weren't, Carlisle's show-stopping version of Goodman's anti-Vietnam War ballad surely gave them the chills. On Tales From Critterland, Carlisle explains how Goodman lifted the melody from a song about slavery, sung from the point of view of the slaveowner, repurposing a great melody for a song with complete opposite levels of morality, an exercise in the evolution of songs. On Saturday, Carlisle simply dedicated his performance to all the Palestinians murdered by a despotic Israeli government. It was a moment that most spoke to folk music's true power, that of "This machine kills fascists" protest, an ability to foresee unfortunately everlasting societal ills, and a dare to hope for a better world.

Carlisle

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