#cherry cheeks

[omegaremix]

Omega Radio for September 25, 2021; #285.

Loss Leader: “Stickman”

Infinity Land: “Harvest Lane”

Off!: “Holier Than Thou”

Cherry Cheeks: “Boxes”

Bummer: “JFK Speedwagon”

Purling Hiss: “City Special”

PUP: “Plea Form A Cat Named Virtue”

Vincas: “I’m Taking You To Hell”

The Vacant Lots: “Confusion”

Hieress: “All Ends”

Fuckemos: “Do You Want To Dance”

Die 116: "Chastity 101”

Cherubs: “Example Maiden Japan / Devil’s Food”

Birds Of Maya: “Please Come In”

Yvette: “Contact High”

Vile Creature: “Paperdoll”

Thirdface: “Villains!”

Spy: “Exceptional American”

Soldiers Of Fortunes: “Nails”

Rid Of Me: “Myself”

Oi Boys: “Sur La Place”

J.R.G.C. “Rainbow”

Glassing: “Burden”

Dining With Dogs: “Killing Machine”

Cherubs: “Lazy Snakes (Skewed)”

Baratro: “Seamless Narrative”

Deluxe garage, noise rock, lo-fi, and screaming volume.

[ourladyofomega]

[dustedmagazine]

Dust Volume 9, Number 11, Part 1

Niecey Blues

Where did the year go?  Seems like only a week or two ago, we were scraping together a list of albums we had somehow missed out on in 2022.  Now we’re about to do it again, I suppose, and the number of misses seems to grow larger every year.  Still, we’re still shoveling away at what 2023 has brought so far—nouveau shoegaze and Vangelis synths, Michigan rap and free-improvised vibraphone.  Check out this month’s Dust, the next to last for 2023, for music you might have overlooked.  Contributors include Jennifer Kelly, Bryon Hayes, Ian Mathers, Bill Meyer, Andrew Forell, Ray Garraty, Justin Cober-Lake, Alex Johnson, Jim Marks, Christian Carey, Patrick Masterson and Tim Clarke. 

Like last month, we'll be doing this in two parts, here's the second one.

Bedroom Eyes — Turned Away (Ala Carte)

Bedroom Eyes, from Boston, balance the churn and drift of shoegaze. This fourth LP (the last was in 2019) floats cool, slow-moving melodies over rackety barrages of feedbacked guitars and drums. Whether cuts like “Around” are still or in furious motion is an open question. It depends on where you focus. The title track manifests itself out of the slow buzz of feedback, bits of singing, guitar and percussion taking form out of a vibrating soup. It sounds, to me, like Simply Saucer or maybe the Telescopes, submerged by fuzz, suggested rather than stated. “Brood” runs harder, the guitar notes bending with volume like MBV’s did, but the singing remains untouched and serene. If it’s calm on the surface, that’s because Bedroom Eyes is paddling furiously underneath.

Jennifer Kelly

Cherry Cheeks — CCLPII (Total Punk)

Cherry Cheeks, from Portland, Oregon, crank a wired, anxiety-ridden garage punk, the short, sharp shock of guitar stabs running through nattering bass lines and the tremulous whinge of keyboard sounds. This second LP captures their rattled energy with more force and clarity than the debut. You can hear the negative space between bursts of aggression. And yet, the sound is much the same, an aura of dread punched up until it seems to dance. “Switch” is maybe the best cut here. It cuts and jabs in antic motion, organ dopplering off from a sing-along chorus. “Explode” is nearly as pop-slanted, hopping up and down on speed, but catchy. Cuts like “Data” and “Ad Shark” make fewer concessions to anthemic-ness, but prickle and clamor with antsy sarcasm. The future is bleak, but maybe kind of fun?

Jennifer Kelly

Buck Curran — The Long Distance (Obsolete Recordings)

Buck Curran is so interconnected with the guitar, it’s easy to forget that he plays other instruments. The Long Distance shows off his skill as a synthesist. Sweeping, Vangelis-like melodies are the focus of these poignant hymns, which rest upon a foundation of sizzling analog modulation. Emotions run deep on these recordings. Leveraging reminiscence as his muse, Curran called to mind familial and foundational memories, channeling them into these moving passages. Particularly effective is “Morning Song with Lucia,” on which he adds a lovely guitar melody inspired by his daughter. The pieces are relatively short, but Curran beefs up the length of the album by offering alternate versions of some tracks. Each take offers a unique emotional angle, and the subtleties evoke an echo-like effect. The Long Distance is a surprisingly pleasant shift in oeuvre from this talented instrumentalist.  

Bryon Hayes

Great Lake Swimmers — Uncertain Country (Pheromone Recordings)

It is a very white Canadian thing to wonder whether our regional equivalent of Americana should be called Canadiana or just folk (or maybe folk rock? indie folk?). Regardless of our typical dithering over local identity, Tony Dekker’s Great Lake Swimmers have been a mainstay and exemplar of the form for 20 years now. They’d be forgiven for resting on their laurels (or around here… pinecones?) but the restless, quietly gorgeous Uncertain Country doesn’t take anything for granted. Whether adding choral vocals on the graceful “Moonlight, Stay Above” or whipping up a surprisingly dense churn on the title track, the band’s eighth album is a showcase of what they do well. The effect is perhaps most powerful on songs like “Riverine” and “Swimming Like Flying” that feel equally at home in the concert hall or sung en masse around a campfire.

Ian Mathers

The Invisible Hands—The Big Minute (Abduction)

The Big Minute, the third official release by the Invisible Hands, comes a full eight years after its predecessor. Yeah, that is one big minute. Blame it on COVID, a revolving drummer’s chair, and the fact that Alan Bishop, the one American in this Cairo-based band, has a lot of other irons in the fire. The LP’s crisp, slightly trippy sound, and wide-open but particular repertoire establishes the Invisible Hands as the biggest fish in a very small pond; can you name any other Egyptian psychedelic garage bands from with a thing for 50-year-old soundtracks? I thought not. While Bishop’s aesthetic clearly points the way, this is a band. For every one of his signature moves, there’s also a moment when it’s Cherif El Masri’s encyclopedic guitar licks, Ayawasqa’s scrappy Arabic singing, and Adham Zidan’s arrangements and production that sells the song. If you have read this far, yeah, you should give it a minute. 

Bill Meyer

The Inward Circles — Before We Lie Down in Darkness (Corbel Stone Press)

Scottish composer Richard Skelton’s previous work as The Inward Circles involves subjecting clean recordings of strings to all nature of electronic and physical destruction to portray decay and environmental collapse. On his first album in six years, Skelton manipulates a six-second fragment of Baroque recorder music taken from the run-out groove of a battered 50-year-old vinyl recording. From this already degraded source he builds haunted soundscapes that to tap into something primordial and timeless. To call them drones does a disservice to the depth of nuance and detail in Skelton’s music. He captures something elemental within layers of sound built like geological strata trapping a record of growth and death, of destruction and recovery. Before We Lie Down in Darkness is a powerfully evocative elegy to the earth and warning to its inhabitants.

Andrew Forell

Lando Bando — Family Business (The Hip Hop Lab Records)

The Hip Hop Lab’s CEO Lando Bando brought together Michigan rappers close to his studio for this tape. Family Business showcases the state of things in Michigan. That state is not great, by the way, but it’s not bad either. Quite a lot of clumsy rapping on here, and a few cuts should have been left out. Still, it shows that all three ShittyBoyz members are in excellent shape, and Lando deserves our highest appreciation for scoring not one but two Rio da Yung Og’s verses. The highlight here is “Dirty Pop,” an unexpected collaboration between Rio and StanWill on a Danny G beat.

Ray Garraty

Lau Nau – Aphrilis (Beacon Sound/Fonal)

Finnish composer Lau Nau (also known as Laura Naukkarinen) tends to make slow-moving music, but, this year at least, she makes it fast. Aphrilis marks her second release of the year, following spring's 5 x 4. She spent years developing that release, focusing on equipment (Buchla 200 modular synthesizer) and time-signature (5/4). With Aphrilis, she returns to a meditation on time and place (something her past field recordings have captured so well) through mostly acoustic instrumentation. The album opens with “April,” as both instruments and vocals suggest the opportunities of that month's bright beginnings. The mood continues into “Kielet on viritetty tuuleen,” with Hermanni Yli-Tepsa's violin providing the linear guide through the accessible yet intricate composition. The album builds off these initial expressions, settling into a sense of home that remains expansive, the unusual instrumentation — including celesta and jouhikko among other unnamed “various instruments” — maintaining a very specific sound. Múm's Samuli Kosminen produces, and the fit makes sense even as Lau Nau captures a melodic ambience in a specific setting, adding flow while mixing synthetic and acoustic sounds. The album closes with “Seitsemäs taivas,” which might mean “seventh heaven” but sounds more like the start of autumn, tracing an emotional arc throughout Aphrilis. The belief in hope lingers, the brightness reshaped into an iterative composition that finally yields to something colder but never foreboding.

Justin Cober-Lake

MJ Lenderman — And the Wind (Live and Loose!) (Anti- )

Not exactly starched and buttoned-up to begin with, Jake “MJ” Lenderman and Co. come out even more ragged and rangy on the new live album And The Wind (Live and Loose!). The 15 tracks, recorded at gigs in Chicago and Los Angeles, are drawn almost exclusively from last year’s Boat Songs and 2021’s Ghost of Your Guitar Solo, and aren’t so much reimagined in front of their audiences as revved up and deepened. A few telling moments: Lenderman’s voice finds a lower pit of wistfulness in the sighing line “I know why we get so fucked up/I do” from “TLC Cagematch”; “Knockin” – in its third recorded iteration – gets an extra few roaring seconds and snarling decibels added to its big, heart-on-sleeve conclusion; the heavy drum fills and pugilistic blasts of guitar that end “SUV” veer closer to chaos. The band’s showcase, though, comes near the end on an extended jam of “You Are Every Girl To Me,” where the players, led by the points of light spinning off of Xandy Chelmis’ pedal steel and shredding lead guitarist Jon Samuels, rip out any remaining seams before easing back down for Lenderman to make introductions. And if you haven’t met them yet, And The Wind is a good place to start.

Alex Johnson

Mac J – I  Shoulda Been Dropped This (TrueStoryEnt)

Mac J’s been lazy lately. His recent tapes sound as if he’s only put one third of his talent in his music. I  Shoulda Been Dropped This, sadly, is no exception. He’s desperately trying to make his sound more mainstream and less street. Instead of crazy punchlines, witticisms and gritty reality, we get banalities and half-assed street ballads with Mac J on Auto-Tune almost on every song. It’s a wonder how “Engine Ina Trunk,” his track with another California resident Philthy Rich, even made it to this tape. It’s the old good rapping-his-ass-off Mac J, hungry for rhymes and punching you in the guts with every line. Except for this song, he shouldn’t been dropped this. 

Ray Garraty

[punkrockmixtapes]

Cherry Cheeks - Go Outside

[stupidnamerequirements]

You are my hero. I need T-shirts of some of these

sometimes I like to doodle cat girls while listening to new punk bands :)

[mymelodic-chapel]

Cherry Cheeks- Cherry Cheeks (Egg Punk, Garage Punk) Released: September 21, 2021 [Total Punk Records] Producer(s): Kyle Harms

[canisalbus]

You mentioned dog beauty standards - what would they be? What would the ideal dog look like in their time and place?

I think a few common human beauty standards can be applied to dog people as well. Symmetrical features, balanced proportions, cleanliness, good health, good teeth, good posture, pleasant voice and confident gait.

In Vasco's and Machete's setting, men are expected to be athletic but youthful, have enough muscle definition to appear virile and sculptural but also retain some natural curves. An ideal woman is delicate and feminine but also full-figured, soft bodied and robust enough to bear children. Failing to appear vital and lively is a huge minus.

Fur is immensely important in dog world. Length and color doesn't matter but it should be dense, lush and shiny and obviously be free from dirt, odors and parasites. Beauty-conscious dogs with dark fur try to avoid having their coats bleached by the sun. Mange is greatly feared as it almost always comes with public shunning and loss of social status.

Dogs don't have much exposed skin but it too should appear healthy and smooth. Softer paw pads and glossy, neatly trimmed nails signify high standard of living.

In this particular time and place, slightly rounder and softer facial features are favored. Big, dark and round puppy eyes are seen as particularly beautiful. Symmetrical face markings are desirable, but some dogs become known for their unique and visually striking patches and spots. Vibrant and warm colors are generally more praiseworthy than more muted shades and fur dyeing isn't unheard of, but it takes a lot of time and effort to maintain and is too costly for most dogs. Tail standards vary between different types but carrying it high is usually seen as an attractive trait. Thickly furred and well groomed tails are well liked. Ear cropping and tail docking is a tradition comparable to body modding in some communities, although at this time most people that practice it are peasants and commoners.

[aprilblossomgirl]

Whose magical power is it really? You're so good at using it.

Cherry Magic Thailand (2023-2024) Episode Nine | Dir. X Nuttapong Mongkolsawas

[gunsatthaphan]

thank you @ cherry magic for not cursing the 11th week 🥹🫶🏻

[deathsmallcaps]

Captain America: Brave New World (CABNW) analysis

This movie is all about themes of rehabilitation, hope, and not allowing your past to define your future.

Sam is redefining the mantle of the shield, and reclaiming his independence. Since reaching adulthood, he has worked as part of the military, or in a major team, and always besides super powered people (not that he was the only regular human in the Avengers, but you know). And now Sam gets to herald a new age of modern values of rehabilitation.

Steve was also a man of hope, but he (as a white man) fought the Other: fascists and aliens. AKA, unredeemables (in the short term) and nonhumans. He was from WWII; while the full truth of the matter is that the USA did not join the war out of altruism and a wish to save oppressed peoples, I personally feel glad that the USA was able to help out in those matters. I feel our part in the war was justified when it came to stopping multiple genocides. Many people also feel this way, and hold WWII up as this bastion of ‘justified’ wars. Many feel it’s okay that Americans went to Germany and Japan and started killing people, because they were doing it first.

Same thing with alien invasion storylines. I love Steve, but the only person he is MCU-canonically pursuing rehabilitation for is Bucky. He has different values as both a survivor of WWII, a witness to the explosive growth of fascism in the early 1900s, and a white man. Sure, Steve grew up disabled and Irish(-American) in the early 1900s, but he was also a blue eyed blond haired American man who shows no trace of an Irish identity on screen. Steve is a hopeful, principled and angry man.

Meanwhile, Sam grew up being othered as a Black child and then man, joined a war that was never justifiable (never confirmed what war he was in but no war the USA has perpetuated in the 2000s, if not even earlier, has been justifiable), and then continually had to be an examplar wherever he went. Except for possibly War Machine (I’m not sure where he fits in), Sam was the ONLY Avenger of Color. Ever. (And the only one from a more rural area)

And yet Sam always chooses hope and kindness. He has it rough - as the only Avenger of Color, he had to always choose others needs over his own. He and Isaiah Bradley (another person restored by Sam’s rehabilitative justice <3) discuss the weight of that. Bradley points out time and time again that Sam doesn’t owe the world his kindness, his willingness to be a hero, his health and well-being. After all, Bradley got fucked over for doing the right thing, a Steve-type thing, in a Black body. But Sam decides to push on anyway.

I’m not saying Sam isn’t angry. He deserves to feel angry, he has as much right to the emotion as any other human being. But every single goddamn time he can, he chooses to be kind. He chooses to believe that people can find worth again. And that takes a strength of will that is frankly insane. PLUS he does it without a consistently optimized body.

And he chooses to be kind to Ross, of all people. Ross, who is clearly trying to be a changed man in the events of the film - but still a man who imprisons innocents and whose first instinct is to pick fights with nations who own nuclear weapons.

But Sam still reaches out to him. Still helps Ross meet Betty while Ross is in prison. Is the better man, every goddamn time.

Hell, they even represent what changes Sam could herald for the fate of the United States, and even the world, visually. In Ross’s panic as the Red Hulk, he destroys the White House*, a symbol built by slave labor. And under Sam’s tenure as Captain America, it will be rebuilt - along with what a hopefully better United States of America.

I love Sam Wilson, and I am SO excited to see his future as Captain America.

*and possibly also the Washington Memorial? I know he goes by but the detail slipped my mind. It also was built with slave labor. Some might quibble and try to claim that the obelisk was built by skilled stonemasons, but many many many enslaved people were extremely skilled laborers. So there is a huge chance that the stonemasons were enslaved. And even if they used completely white/free Black stonemasons, the quarried stone was mined by enslaved people. So yes, it was built by slave labor.

(Also I think it’s cool that Sam’s getting his own villains like Serpent and Leila Taylor made an appearance? She was basically his only canon love interest EVER**, and she hasn’t appeared since the 1970s. I think it’s still possible that he might be given a male LI or they just never pursue that angle of the character, but at least she and Sam have a relationship built on at least some respect and personal chemistry. Unlike Steven and Sharon.

Personally I’m more of a fan of Samsteve or even SamJoaquin than SamBucky, but that’s just mostly because while he’s grown on me in the last few years, I’m not really a Bucky fan. Samsteve probably won’t happen because of the stupid time travel thing (though who’s to say they didn’t at least have a fling? Plz?) but SamJoaquin could happen! I wasn’t sold on Joaquin right away - his sunny personality was tripping my betrayal alarms in my movie expectations brain - but I am glad to be wrong. I’m excited to see him as Falcon again once he heals up!

**There was a werewolf princess lady? But she literally never came back. Which disappoints me because I thought she was funny (I read her issue) and really unique. She was human but had a device to specifically control werewolves? And they do exist in the MCU, thanks to Werewolf by Night…

I LOVED the dogfight scene. Great body work on Anthony Mackie’s part, interesting background, awesome moves (cutting through a plane with a wing? Punching and pulling a pilot out of their plane and letting the rest of it just fall?? Sam and Joaquin together???) and fucking BOMBSURFING

[meep-meep-richie]

this is how the Lokius hug should´ve gone

[lasagna-bagnata]

[slutpoppers]

Lady Gaga's new single DISEASE Out Now!!!

[themintman]

The badge seller but small lmao

LITTLE GUY!!!!