#cowley club

[sinceileftyoublog]

Augustus Muller Interview: Synth Stories

Photo by Jimmy Fontaine

BY JORDAN MAINZER

For Augustus Muller of Massachusetts-via-Georgia electropop duo Boy Harsher, feeling the pressure gets results. Not for the duo's studio albums, mind you, but for the impressive number of film scores that he and Boy Harsher have been releasing the past few years. "Soundtracks are cool because you have 2-3 weeks to write them. You have to be prolific in that amount of time," he told me over the phone last month. "A record is going to take a couple years to finish, for the same amount of music...you don't have a lot of time to make a mistake." Looking at Muller's history as a creative, from his early days to his recently released scores for Cellulosed Bodies and My Animal, his spontaneous mindset has paid off.

Before he made music, Muller was an aspiring filmmaker, creating short films as a teenager, and attending film school. As he started making music for his own films, he realized her liked that part, too, and his career shifted. Of course, his project with film school classmate, vocalist Jae Matthews, took off, starting as Teen Dreamz and eventually becoming Boy Harsher, as the combination of her spoken word and his beats became more dance-oriented. Films were on the backburner, and it wasn't until 2020, when he teamed up with progressive adult film producer collective Four Chambers, headed by experimental pornographer Vex Ashley, that Muller released his score debut. Machine Learning Experiments (Original Score), comprised of distinct scores to two films (Orgone Theory, tracks 1-5, and Hydra, tracks 6-10), was released via the band's imprint Nude Club Records. In combination with the film's subject matter and Boy Harsher's usual minimal synth wave, the music fittingly sounded like a sort of dystopian cousin to the works the late Patrick Cowley made for John Coletti in the 80's. And early last year, the band released The Runner, which started as a piece of music but sounded to them so suited for the screen that they simply directed an accompanying short horror film.

Now, Muller has given us two more scores. Cellulosed Bodies is another collaboration with Ashley, structured similarly to Machine Learning Experiments in that it features two scores for two films, Crash and Automaton. What makes Cellulosed Bodies a standout in Muller's oeuvre is that the two scores that make it up simultaneously provide a cohesive whole and exercises in textural contrast. Both films deal with the relationships between bodies and machines, the former an homage to David Cronenberg's erotic body horror film of the same name, the latter exploring pandemic-influenced digital isolation and dependency. Crash uses all analog instrumentation, sounding appropriately tactile on the pulsating synthesizers of "Fur And Metal" the crispy, synaptic drum machines of "Perverse Technology", and the booming bass of "Shattered Glass". Automaton, on the other hand, doesn't abide by as many patterns, using more FM synths for its droning vignettes and metallic harmonics, notably oblique strings and organ synthesis on "Observation" and "Who Is In Control" and vocal samples on "Subdue Yourself". But whether taking a more traditional or contemporary approach, Muller exudes the same visceral quality from his compositions.

On Friday, Muller released his score for Jacqueline Castel's My Animal, which, like Crash, uses mostly hardware but has the same abstractly filmic quality as The Runner. If you didn't know it was a film score, you'd think it was just a standalone piece of instrumental 80s synthwave, as effective in the club as it is soundtracking horror romance. "Sanctuary" borders on stadium rock, layered with drum fills and arpeggios, while the combination of wincing synthesizer and shuffling beats propels tracks like "Transformation #1", "The Slots", "Outside the Rock", and "Something's Building". More simply, many of the record's tracks are heavy on vibes, with the music evoking exactly what the titles suggest: "A Soft Howl", or "Winter Drone". At this point, Muller and Boy Harsher have amassed a solid following for their studio albums, but all signs point to Muller--still an aspiring filmmaker, after all--becoming an in-demand name for helping filmmakers bring their corporeal visions to life.

Below, read my conversation with Muller, edited for length and clarity.

Photo by Jimmy Fontaine

Since I Left You: Describe the process of working on Cellulosed Bodies with Vex Ashley. Was the music made in tandem with the visuals or in response to them?

Augustus Muller: She'd send me a rough cut of what she was working on, and I'd write something to that. It was pretty loose. She cut around stuff. I would send something back, she'd send me notes, and edit around what I'd written. Then she'd send another cut, and we'd work on transitions and put finishing touches on it.

SILY: What's unique about this soundtrack as compared to others you've done?

AM: Compared to writing a feature film, there's a lot more space for music. Crash has no dialogue at all. With porn, the music can lead. I felt like I had full freedom with that. I could write a full track. With other scores, for narrative, you have to hide it under dialogue, so it's a different sound palette.

SILY: Are you often given the whole film without the score, and then you work around it?

AM: Yeah. For Crash and Automaton, there wasn't even temp music. I started from scratch.

SILY: Why did you decide to release "Fur And Metal" and "Stretching / Invading" as the first tastes of Cellulosed Bodies?

AM: For this project, it's been difficult to explain to our fans and the world what it is. It's my solo music, but not an album, but an original score to porn films. People are blasting through social media, not really reading through the fine print. "Fur And Metal" was one of my favorite tracks from Crash, and I thought it was important to share something from Automaton, which is what "Stretching / Invading" is from. It's more of an ambient, droney track. It's good to show the range the album has.

SILY: It emphasizes the distinct textures and qualities of the scores, too. You used strings and organs on the latter.

AM: Yeah. It's two pretty different sounding scores. Similar subject matter--a techno dystopian future--but Crash was all analog gear and vintage hardware. It has that older sound. Automaton is a lot of FM synths to get these new sounds.

SILY: The final track, "Subdue Yourself", has vocal samples [from dominatrix Miss Marilyn]. Why did you choose to introduce voice at the very end?

AM: That track is not in the film. It's something I wrote and ultimately didn't use, but it's a song I really liked. I love Miss Marilyn's monologues, so I thought it was a cool thing to include in the soundtrack. Giving it context, like when original scores and soundtracks have clips from the movie in it.

SILY: Do you think this score holds up separately as its own piece of art? Can it be consumed and appreciated separately from the film?

AM: I think it really varies soundtrack to soundtrack. This one can definitely stand by itself. I'm really proud of the tracks. I think it's listenable. I was just listening to Vangelis' Blade Runner [soundtrack]. I had never actually listened to the LP before even though I've seen the movie a million times. There are a lot of instrumental tracks that must be so low in the mix in the film that when listening to the LP, it felt like I'd never heard them before. They're banging tracks!

SILY: Crash is a direct homage to Cronenberg's film of the same name. Have you ever called out an influence that directly in your music before, whether with Boy Harsher or your solo work?

AM: On tour, we're playing a "Wicked Game" cover. [laughs] But in terms of the Crash score, I watched [Cronenberg's film] and wanted to get Howard Shore's soundtrack channeled through me. I then realized, "I can't do this. Howard Shore's a genius. This is not my style." I just started playing some driving bass and went a totally new direction.

SILY: When I listened to your score for My Animal, I thought it was pretty banging itself. There are a lot of catchy tracks on there, like "Sanctuary" and "The Slots". These could be singles.

AM: I was writing with a lot of temp music. [Jacqueline Castel] was putting Boy Harsher songs in it as temp music. So I was channeling drum-driven material.

SILY: Do you think Boy Harsher songs work well within a film context?

AM: I think so. We've had some stuff licensed for films and TV shows. When I'm writing something, I know it's good when it feels visual, when it's evoking some imagery or takes me some place.

SILY: I feel like certain general aesthetics seem to fit films very well. What are some of your favorite film soundtracks or creative influences when making a soundtrack?

AM: Recently, that Jonathan Glazer movie Birth. Alexandre Desplat does that really tight chamber music. I like it because it's the opposite of what the scene is showing. It really changes the mood. That was really inspiring for me, to show what music can do for a film, to take a scene and transport it into a totally different vibe.

Abraham Marder and Nicolas Becker's [work on Sound of Metal]. I have to shout out Tangerine Dream's Sorcerer. That's such a powerful tool in the film. It really elevates all the emotions, but it's also an album I can listen to on its own.

SILY: Have you ever thought about curating a film's soundtrack, picking songs from other artists?

AM: Like Trent Reznor for Lost Highway? Yeah, I think I could do that.

SILY: It seems like you have that ear as a film and music fan.

AM: I just love putting music to visuals. That's how I got into music, making shitty short films as an 18-year-old. I was like, "Wow! This film got so much better with this music behind it." That's why I kept making music before making it on its own.

SILY: Are you going to make films again?

AM: I want to so bad. But it's such a privilege, and you need so much money. It's something I've been working towards for a while. I just need to find that opportunity for someone to trust me for a big chunk of change.

SILY: You could make the film and the music.

AM: That's what I dream about every day. Make the film, edit it, write the score.

SILY: Anything you've been listening to, watching, or reading that's caught your attention?

AM: I just saw Bottoms. It's really funny. A feel-good movie. I've been watching a lot of [Rainer Werner Fassbinder]. Somebody gave me a book on him, and I realized I hadn't watched a lot of his films. I watched Querelle, which was definitely a vibe. The Marriage of Maria Braun was really cool. I love genre films that are an allegory for something else. It's been fun digging into his movies.

[trevlad-sounds]

Sleep Space 9

07.10.2024

Please Close Your Eyes-Heaven On The Fourth Floor-00:00 Kosmischer Läufer-Die Weisse Rose-02:29 Kilometre Club-Blah Andy-07:36 Desolate Horizons-Each Star Whispers with Hope-08:44 Metric System 1981-Down To The Sea-11:01 Navaja Opinel-Neighbours Don’t Like Fentanyl-13:09 Neil Cowley Trio-Death of Amygdala-16:05 Ian Hawgood-i drove through the night-20:13 Elinch-grau eight-21:41 HEAVY AXE-TOMORROW-25:12 anthéne-by design-30:22 Mint Deluxe-Pomerau-36:01 Paper Relics-Time To Start (Album Version)-42:24 Glåsbird-Infinite Cloud-46:48 dynamo-human color-51:02 Djane Ki-An Eyelid in my Ear feat. Innocent but Guilty-56:05 little forest-glow-59:17 James Bernard-Californian Swells-1:02:28 Far away Nebraska-Verso un nuovo giorno-1:07:20 Gollden-make me feel-1:12:08 zakè & Tyresta-Departing Day-1:14:44 Ann Annie-Drift Creek-1:18:44 Ed Herbers-Splashdown-1:23:08 Rjania-Lost On Panthallassa-1:27:04 The Green Kingdom-Forgotten Futures-1:31:01

[nando161mando]

"As the world around us becomes increasingly grim—thanks to the cost of living crisis, rampant gentrification, and the looming threat of ecological collapse—spaces like the Cowley Club become more crucial than ever. We provide an alternative to the oppressive structures that are being imposed on us, showcasing different ways to organise our lives. This isn’t just about having a place to hang out; it’s about creating a resource for the movement, a space for people to come together, socialise, and plan for change." https://freedomnews.org.uk/2024/10/09/cowley-club-interview-every-community-can-benefit-from-a-social-centre/

[trevlad]

Invisible Club 29

04.09.2024

Intro 00:00 Silentwave–TAMATEBAKO 01:19 Actress–Pluto ( a 2 ) 07:35 gribbles–And Where Did You Come From 10:14 Mike Dickinson–Feedback 14:14 Pulselovers–Cleeve Hill 18:32 Veryan–Cross Hands 21:13 iNFO–Resolute 25:28 Fabio Borgazzi–Marcia Stonata 3 31:36 Gravité–Elation 33:05 Einseinseins–Graf Zahl 36:38 Neil Cowley Trio–Garden of Love 38:59 Site Nonsite–Moss Garden 42:18 The NRG–Megadog 47:29 Hverheij–In the Outland 54:36 Beefus B–Little Funk Hammer Stuttered as a Child 57:00 Onepointwo–Throbbing Motor Lifeforms 59:30 Outro 1:03:07

[spyramy]

When I learned that ZA/UM had a studio in Brighton/Hove, I got thinking about some of the seaside areas on Martinaise, and took some pictures as I walked up the coast to Rottingdean.

Brighton and Martinaise have a fair amount in common (and a lot not in common). There's a Harbour in Shoreham down the coast, a large amount of fading, crumbling infrastructure and one of the largest drug/alcohol problems in the country. What struck me most was Joyce Messier's story about how Martinaise was 'built' by the ruling class as a holiday destination.

Brighton, at earliest recognisability, was a 16th century fishing village known as Brighthelmstone. It grew it's population into the 17th century, but saw economic decline into the 18th, and was then overhauled by the ruling classes as a 'health resort'. A move which brought wealth into the city, and built a grand Victorian seafront, boardwalk and (now burnt down) pleasure pier.

Brighton also has no shortage of memorials to absurd royal figures. Chiefly the Royal Pavilion. Serving as much as a monument to a monarch's profligacy as to their greatness. Much like a certain exploding horse statue.

In the 20th century, due to its fading appeal as a resort, and the effects of the wars, the city became popular with artists, bohemians, communists and anarchists across the economic spectrum. A notable 1930s Anarchist called Harry Cowley still has a mutual aid organisation/bookshop/social space/anarchist club named after him on London Road. It's economic decline dipped lowest in the 1980s (like many places under Thatcherism). The exploitable fashionable nature of its history has now led to it being a hugely expensive place to live in the UK, as well as being service industry based and for those residents who don't work for the one or two global companies with offices here, financially crippling. It's also a mishmash of absurd uber-rich empty developments, studded into a town of rotting buildings, slum landlords, massive homelessness, and stretched to breaking drug and alcohol services.

At my former job at a now sadly liquidated karaoke bar on a troubled street in the gay village, we used to call Brighton a city of lost souls.

As you walk across the cliffs, or look out over the sea towards the offshore wind farm, in the rays of a clouded dusk, you can sometimes feel the tension of the city dissipate. The rough edges between what this place was, what it has been, what it is now, and what it may become seem to soften slightly towards one another, like begrudging neighbors over long decades.

A fishing village. A health resort. An artist's commune. A neoliberal grind.

I know you could draw connections between Revachol and any city in Europe. Possibly the world. That's the beauty and genius of the writing. But I'm grateful for the chance to reflect on my city, re-examining it through this lense has allowed me.

Finally. The Smallest Church in Saint-Saïns is based on the song The Smallest Church in Sussex by Sea Power who were Brighton based for a long time. And describes the Seven Sisters, a nearby chalk cliff formation which I, and most others who live round here, have walked.

I would often go there

To the tiny church there

The Smallest Church in Sussex

Though it once was larger

How the rill may rest there

Down through the mist there

Toward the seven sisters

Toward those white cliffs there

I would often stay there

In the tiny yard there

I have been so glad here

Looking forward to the past here

But now you are all alone

None of this matters at all

[lucius-the-sinful]

Song Poem Challenge

Rules: Put your entire song collection on shuffle, then write down the first line from each of the first ten songs that pop up to create a poem. Then dedicate the poem to the blorbo or OTP that it most reminds you of!

I saw @bhaalbaaby do this and it looked like fun ! <3

Galethor/Mitch:

Bound, bound, bound by flesh Don't take this the wrong way Here we stand You know who it is, coming around again Wake up, middle of the night Nobody really cared, so it never really mattered Run to the place under the palm trees I want you out of my mind The I.V. and your hospital bed I wish we'd started in the rain

Nihil by 3TEETH

Someone New by Hoizer

Seperate Ways by Eva Under Fire (Cover)

POP/STARS by K/DA

Girl Who Cried Wolf by Numblife

Identity by grandson

Run by Michael Barr

Out of My Mid by Luxe Agoris, Jesse Ian

Camisado by Panic! At The Disco

July by Betcha

Galethor:

Darken the city, night is a wire Cross over and turn Bury me softly in this womb Have you got color in your cheeks? Honey, why you calling me so late? I'm tired of being what you want me to be I'm not the kind that usually hesitates Sulfur on your breath I can only sleep once I'm too tired to think Everyone's watchin' to see what you will do

Hungry Like the Wolf by Duran Duran

Lullaby by Low

Down In A Hole by Alice in Chains

Do I Wanna Know? by Arctic Monkeys

Lips of an Angel by Hinder

Numb by Linkin Park

No Good by Battle Tapes

Granite by Sleep Token

Anything by an Unkindness

Working for the Weekend by Loverboy

Zafir:

Can't you see, I'm easily bothered by persistence? I got those jet pack blues Sovereignty up on a hill Give me a spade, and I'll give you a hole She eyes me like a Pisces when I am weak I have never known peace Dance with me the gallowdance I saw the light fade from the sky I'm taking everyone out for a ride, I promise it won't take long Oh, did I lose the words

Walk by Pantera

Jet Pack Blues by Fall Out Boy

Glory by Friday Pilots Club

On The Railroad by The Longest Johns (Cover)

Heart-Shaped Box by Nirvana

In a Week by Hoizer and Karen Cowley

Gallowdance by Lebanon Hanover

The Last Goodbye by Billy Boyd

Give Me An Answer by Low Roar

Feel the Same by Battle Tapes

[musicmoreweirdthangood]

Patrick Cowley, 198?: "Lumberjacks in Heat"

Unpublished until 2013, this box set shows the legend of the early gay club scene at his more experimental, like this eleven-minute track (sadly just an instrumental) that seems to have grown out of some 70s prog rock

[sossupummit]

One of UK’s longest running social centres, the Cowley Club is Brighton is structured as a members-run co-operative ~ Interviewed by Zosia Brom ~ Can you tell us about who you are and how it all started and what are your activities? We are the Cowley Club, a social centre in Brighton, we’ve been around The post Cowley Club Interview: “Every community can benefit from a social centre” appeared first on Freedom News.

[karolsai]

Drake - Take Care ft. Rihanna

Flo Rida - Good Feeling

Katy Perry - Wide Awake

Kelly Clarkson - Stronger (What Doesn't Kill You)

Ellie Goulding - Lights

Kings of Leon - Use Somebody

OneRepublic - Counting Stars

OneRepublic - All The Right Moves

The Killers - Mr. Brightside

Keane - Somewhere Only We Know

David Guetta - She Wolf (Falling to Pieces) ft. Sia

David Guetta - Titanium ft. Sia

Swedish House Mafia ft. John Martin - Don't You Worry Child

Avicii - Levels

Avicii - Wake Me Up

Calvin Harris - Feel So Close

Calvin Harris - I Need Your Love

Jay Sean - Down ft. Lil Wayne

Flo Rida - Club Can't Handle Me ft. David Guetta

Nelly - Just A Dream

Owl City - Fireflies

The Script - Breakeven

Iyaz - Replay

Usher - DJ Got Us Fallin' In Love

Alicia Keys - Empire State Of Mind Solo

B.o.B - Nothin' On You ft. Bruno Mars

B.o.B - Airplanes ft. Hayley Williams

Taio Cruz - Break Your Heart

Eminem - Love The Way You Lie ft. Rihanna

Eminem - Like Toy Soldiers

Rihanna - We Found Love ft. Calvin Harris

Rihanna - Man Down

Beyoncé - Best Thing I Never Had

Beyoncé - Crazy In Love ft. JAY Z

Beyoncé - Sweet Dreams

Adele - Rolling in the Deep

Adele - Set Fire To The Rain (Live at The Royal Albert Hall)

Usher - OMG ft. will.i.am

Nelly Furtado - Say It Right

Lady Antebellum - Need You Now

Leona Lewis - Bleeding Love

Alicia Keys - No One

Alicia Keys - Try Sleeping with a Broken Heart

Keane - Everybody's Changing (Alternate Version)

The Killers - Read My Mind

Radiohead - No Surprises

Green Day - 21 Guns

Razorlight - Wire To Wire

White Lies - Farewell To The Fairground

The XX - Intro (Long Version)

Chase & Status - End Credits

Robyn with Kleerup - With Every Heartbeat

Parra for Cuva ft. Anna Naklab - Wicked Games

Ne-Yo - So Sick

Amelia Lily - You Bring Me Joy

Daniel Merriweather - Red

Warrior - Listen to the Beethoven

Moby - Go

Massive Attack - Unfinished Sympathy

Massive Attack - Teardrop

Lily Allen - Somewhere Only We Know

Marlon Roudette - New Age

Mr. Probz - Waves

K-Maro - Femme Like You

Anna K. - Vecirek za koncem

John Newman - Love Me Again

Mariah Carey - I'll Be There

Ed Sheeran - I See Fire

Capital Cities - Safe And Sound

Tinchy Stryder - Number 1 ft. N-Dubz

Calvin Harris - Summer

Lil Wayne - Mirror ft. Bruno Mars

P!nk - Dear Mr. President

Sharon Van Etten - Our Love

Neil Cowley Trio - Sparkling

Coldplay - Magic

Bat For Lashes - Daniel

Agnes Obel - Dorian

Radio Citizen - El Cielo ft. Bajka

Marlon Roudette - When The Beat Drops Out

Within Temptation - Edge of the World

Blue Foundation - Bonfires

Myslovitz - Sound Of Solitude

The Strokes - Someday

Band of Horses - The Funeral

Beirut - Santa Fe

Bonobo - Kiara

The Naked And Famous - Young Blood

COCO MBASSI - Iwiye

Ballaké Sissoko - Maimouna

Ibeyi - River

Matt Monro - Yesterday

Ambulance LTD - Sugar Pill

Alt-J - Something Good

PUKAEA - 3D meditation

Alphabeat - Fascination

Aygo - Firestone (Gliwil Remix)

Years & Years - King

Calvin Harris - Pray to God

Anna Naklab feat. Alle Farben & YouNotUs - Supergirl

Tove Lo - Habits (Stay High)

Felix Jaehn - Ain't Nobody (Loves Me Better)

Robin Schulz - Headlights [feat. Ilsey]

Birdy - People Help The People

Regina Spektor - Laughing With

[boricuacherry-blog]

For Vince Aletti, a young music critic in New York, Mancuso played a lot of music he didn't know about. The biggest music magazines at the time - Rolling Stone, Creem - were dominated by coverage white rock-and-roll acts. Aletti, who grew up outside Philadelphia, preferred R&B and soul music, and he carved out a niche writing about major artists in those genres, such as the Jackson 5 and Mary Wells. Then he began going to the Loft.

Mancuso was an antiques dealer and music fanatic when he opened the club in his twenties. He had grown up in Utica, New York, and set out for Manhattan in his late teens, immersing himself in the hippie counterculture of the East Village. In 1973, Aletti published a piece in Rolling Stone called "Discotheque Rock," which is often considered the first major piece to shine light on what had been an underground phenomenon. The following year, he began writing a weekly column for Record World, a music-industry trade magazine. He wrote the column for five years, reviewing hundreds of records along the way and serving as a witness to a series of evolutions in dance music. In 2009, DJhistory.com published his columns as a book, which, like the column itself, was called "Disco Files."

In 1977 he wrote a tribute to the dj Jimmy Stuard, who had just died in a fire at the Everard Baths, in Manhattan. The pages of "Disco Files" are filled with the names of others - Larry Levan, Sylvester, Arthur Russell, Patrick Cowley - who also died young, casualties of a disease that few understood. As AIDS spread, the early disco community was decimated.

And the speed at which disco became a get-rich-quick phenomenon influenced popular perception of the genre for decades to come.

[trevlad-sounds]

Invisible Club 34

09.10.2024

Intro 00:00 Binaural Space–Fractured Beyond Repair 01:17 The Qualitons–Lil’ Bonch 05:57 Receptor Modulator–The oldest model 10:12 Natureboy Flako–Numero Cien 17:33 Scanner–Beginning of an Unknown Century 20:03 Sean Ono Lennon, Devon Hoff, Yuka Honda, Michael Leonhart, João Nogueira, Mauro Refosco, Ches Smith, Johnny Mathar-Starwater 25:30 Cate Brooks–Void Patterns 32:57 Bit Cloudy–Coronation Crack 35:40 Floating Points–Vocoder [Club Mix] 38:46 Pulsliebhaber–Galerina Marginata 46:14 Matt Berry–I Cannot Speak 50:00 Neil Cowley Trio–Adam Alphabet 52:34 Prairiewolf–The Meander 55:48 Cory Wong–Sell By Date 59:29 Furii–Ilk 1:03:58 Hayden Pedigo–Some Kind of Shepherd – Live 1:07:46 Outro 1:12:52

[kiwi-rocks33]

everybody in the club goes crazy when Tramlines by Neil Cowley comes on https://youtu.be/FXGxa75brJY?si=WRwAPtV3f2vlzPAv

[hmgn3]

24-March 散財記録

02(sat) ・"Remembering Every Night" Original Soundtrack (2024, CD) ・Aksak Maboul / Charles F. Bleistift EP (2020, used 7inch) ・Stumbleine / Spiderwebbed (2012, used LP) ・Cat Stevens / The Songs From The Original Movie: Harold and Maude (2007, used LP) ・Barbara Morgenstern / The Grass Is Always Greener (2006, used LP) ・Ilkae / Bring Extra Dragons (2004, used LP) ・士魂 si-con 003 (2000, used 12inch) ・Tales From The Hood (The Soundtrack) (1995, used LP) ・The Melody Four / Love Plays Such Funny Games (1983, used 10inch) 03(sun) ・NNAMDÏ / Please Have a Seat (2022, used LP) ・Okay Kaya / SAP (2022, used LP) ・Bernice / Eau De Bonjourno (2021, used LP) ・Uma / The Moth and the Dove / Bel·li (2021, used 12inch) ・Neil Cowley Trio / Touch and Flee (2014, used LP) ・RASA / Optic Realities (2003, used 12inch) ・Homelife / Flying Wonders (2002, used 2LP) ・Putting the Morr Back in Morrissey (2000, used LP) ・Rhys Chatham, Jonathan Kane & DJ Elated System / Septile (1998, used 12inch) ・Rhys Chatham & Martin Wheeler / Neon (1997, used 12inch) 04(mon) ・BMX Bandits / Kylie's Got a Crush on Us (1993, used 12inch) ・Codona / Codona 2 (1981, used LP) 05(tue) ・Jepeto Solutions / Jepeto Solutions (2017, used 7inch) 08(fri) ・The Melody Four / The Melody Four? Si Señor! (1985, used 10inch) ・Fraunhofer Saitenmusik / Gegen Den Rhythmus Der Zeit (1985, used LP) 11(mon) ・Youth Stand Up / Youth Stand United (2020, used LP) ・Fausto / A Preto E Branco (1989, used LP) ・Karel Vlach Mit Seinem Orchester / Vom Land Der Polkas (1971, used LP) ・Milt Jackson and the Hip String Quartet / Milt Jackson and the Hip String Quartet (1968, used LP) 13(wed) ・Manonmars / In Colour (2020, used LP) 14(thu) ・Yasu-Pacino / SPY VS SPY REMIX (2016, used 7inch) 16(sat) ・Amina Figarova / Road to the Sun (2019, used 2LP) ・Repeat Pattern / rp (2013, used 12inch) ・Lee Buddah / Primat Midi (2000, used LP) ・Femi Kuti / Shoki Remixed (2000, used 12inch) 17(sun) ・Alpha / Pepper (1998, used LP) 19(tue) ・L. Jacobs / Enthusiasm (2021, used LP) ・Riki Hidaka / Poetracks (2014, used LP) ・Mice Parade / What It Means to Be Left-Handed (2010, used LP) 22(fri) ・三沢洋紀 / MISAWAHIROKI2 (2022, used LP) ・VAGABOND cinema pops arkestra / Promotional Only (from outer space) (1997, used 10inch) ・Carole King / Fantasy (1973, used LP) 24(sun) ・tenniscoats / Music Exists disc 2 (2015, used LP) ・Ron Everett / The Glitter of the City (1977, used LP) 26(tue) ・Tony! Toni! Toné! / Thinking of You (1997, used 12inch) ・Teca & Ricardo / Cadê O Povo (1976, used LP) ・Gerry Mulligan / Night Lights (1963, used LP) ・Corky Hale / Gene Norman Presents Corky Hale (1956, used LP) 27(wed) ・PS5 / Unconscious Collective (2021, used LP) ・cLOUDDEAD / Dead Dogs Two (2004, used 12inch) ・Hermann & Kleine / Kickboard Girl E.P. (2000, used 12inch) ・Paquito D'Rivera / Why Not! (1984, used LP) 30(sat) ・Satan Club / Satan Club (2022, used LP) ・Cid Rim / Material (2017, used LP) ・Richard Devine / Lipswitch (2000, used 2LP) ・Tirez Tirez / Story of the Year (1983, used LP) ・Sambôa / Sambôa (1983, used LP) ・Infinite Sound / Contemporary African-Amerikan Music (1975, used LP)

[readitreviewit]

"The Paper Palace" by Miranda Cowley Heller - A Review You'll Love Are you looking for a book that has it all? Secrets, love, lies, and a summer beach house? Look no further than "The Paper Palace," the Reese's Book Club July '21 pick and an instant #1 New York Times bestseller. If you're not convinced yet, let me tell you why you should pick up this book. First of all, this book has already sold over 1 million copies worldwide, so you know it must be good. But what makes it so great? Well, it's a deeply emotional love story that unravels secrets, lies, and a very complex love triangle. Nail-biting and magnificent are just a few of the words used to describe this book. The story takes place on Cape Cod over the course of a single day in August. Elle, a fifty-year-old happily married mother of three, wakes up at "The Paper Palace," the family summer home she's been visiting all her life. But today is different. Last night, she and her oldest friend Jonas had sex with each other for the first time, all while their spouses were chatting away inside. Now, over the next twenty-four hours, Elle must decide between the life she has with her beloved husband, Peter, and the life she always imagined with Jonas. As the book progresses, we learn about the experiences that have led Elle to this day, and we arrive at her ultimate decision with all its complexity. Tender yet devastating, "The Paper Palace" considers the tensions between desire and dignity, the legacies of abuse, and the crimes and misdemeanors of families. But it's not just Elle's story. The book also explores the lives of her family and friends, and how their actions and choices have affected each other over the years. It's an irresistible placement of a complicated family in a bewitching place. Overall, "The Paper Palace" is a page-turner that will keep you hooked until the very end. It's a story of summer, secrets, love, and lies, and it's definitely worth the read. So go ahead and grab a copy, you won't regret it. Don't miss out on the opportunity to experience the gripping story of [book title]! Click the link to buy the book or get a 30-day free trial of Audible and listen to it on the go. Trust us, you won't regret it. Start listening now! Price: [price_with_discount] (as of [price_update_date] - Details)

[c-40]

A-T-3 341 Boogie Round-up Pt.1

My first round-up of what writers have recently begun calling post-disco, in reality it's just electronic disco, synth boogie, dance, or club music, there's a smidge of high energy from Sylvester at the end of this batch too

Radiance featuring Andrea Stone - You're My Number 1 (Dub) mixed by John Morales & Sergio Munzibai

Black Gold - C'mon Stop one off single for Prelude from Arlene Gold and John Robie - also long version on b-side

The Jazzie Ladies – Blowin' Your Mind another one-off for Prelude, this one is a collaboration between Wayne Brathwaite and Stanley Hurdle. The Jazzie Ladies were Hurdle's younger sister and a kid from the neighbourhood who once dated Hurdle's brother

Unique - What I Got Is What You Need (Dub) Producer Deems Smith's Unique had a few releases on Prelude. What I Got Is What You Need is mixed by Nick Martinelli & David Todd

June Evans - If You Want My Lovin (Inst.) a very expensive 12" which has been threatened with a 7" reissue anytime soon

Sylvester - Tell Me (Remix) the remix of 1982's Tell Me on Patrick Cowley's Megatone Records

Sarah Dash - Low Down, Dirty Rhythm written and produced by Patrick Cowley before his tragic death late 1982

David Astri - Dancing Digits (Dance Mix) nobody knows anything about David Astri - Brighton's Soft Rocks reissued the inferior album version a decade or so ago, the dance mix is a different beast

Jackie Genova - Work That Body edit of Gwen Guthrie's Dance Fever, not at cover as vocals are by Gwen and the track is by Sly And Robbie just odd to be released under the name Jackie Genova to cash in on the aerobic craze

Sylvester - Trouble In Paradise (Remix) tremendous remix of Trouble In Paradise from Sylvesters Call Me album

[darkwithasharpenededge]

Another day, another book: A review of The Paper Palace by Miranda Cowley Heller

Rating: 83/100

Summary: Book club bait, down to the pretty descriptions, the structure, and the ambiguous ending. Consider me fucking baited, I guess, because I gave this one four stars on my spreadsheet. As always, SPOILERS.

Characters: Elle is the type of character that many people will hate, because she's cheating on her husband. I liked her enough to tolerate nearly 400 pages in her head, though she's certainly not one of my favorite characters I've ever seen. However, I liked neither Jonas nor Peter. The flashback and present day scenes seemed determined to make Peter come off in the worst light possible so that the reader will side with Elle when she ultimately makes her decision (Elle and Peter argue ALL THE TIME, like ALL THE TIME), but Jonas doesn't look much better, and there's no real reason to side with him other than the history between him. He doesn't exactly come off as Prince Charming. Most of the characters in this book were the kind of people I'd despise in real life, but fortunately this was a book and I like reading about people I'd hate. Also, the story seems determined to make Gina bitchy in order to make the reader feel less bad about wanting Elle to break up Jonas' marriage, but it basically left me wondering why Jonas and Gina were even married.

Format: The book bounces between present day and past segments. Most of the past segments were relevant to the plot, although some were not and probably could have stood to have been cut. Kill your darlings and all. I liked the format, but I'm pretentious and like that kind of thing.

Prose Quality: The writing is fairly pretty. I have read so much sparse prose since I started writing these reviews that just about anything could enchant me, so perhaps I shouldn't be trusted. Anyway, I enjoyed it.

Romance: I already mentioned that I disliked both Jonas and Peter. I don't know what else there is to say. My preference was for Elle to stay with Peter, because it would create the least disruption in her family, and I didn't think that she would be able to create a stable relationship with Jonas. Not that her relationship with Peter seemed all that stable, they argue throughout basically every scene they're in, and most of the good parts of their relationship were conveyed through telling rather than showing. They seemed more comfortable in their relationship than actually in love.

Sex: Sometimes the book felt like it was trying to meet a sex quota, for the bored housewives in their book clubs. I'm a lesbian and used to the sex in books not being to my taste, but it still managed to make sex read like a description of the wallpaper. None of the sex scenes were long or particularly detailed, and I'm not sure if I'm complimenting the writer's wallpaper descriptions or bashing her sex scenes or both. It's possible I'm doing both. As far as I remember, Elle is only described as having finished once.

Plot: Elle cheats on her husband, Peter, with her childhood friend, Jonas. She has been infatuated with Jonas for a long time, but they were parted in the wake of their murder? manslaughter? of her stepbrother who raped her. Jonas is the only person who is aware that she was raped by her stepbrother. I personally think that if Elle had told Peter about the rape and about how she and Jonas killed him, I think that would have helped her get past a lot of the negative feelings she was having about her marriage, but what do I know about communication. The whole plot is about Elle deciding which man to choose in the wake of her infidelity, combined with flashbacks to past events.

Ambiguous Ending: The ending of the book is slightly ambiguous. The consensus (both from me and from a google search) seems to be that she chose Jonas at the end of the book, but there's still an element of doubt. Book club bait shit! I would have preferred to know more clearly I think, but I suppose it's not that kind of book.

The Rape: This books contains rape and sexual assault. Slightly more than necessary, I think, and it really comes out of nowhere at first. (In the first fifty pages you find out that the narrator's mother was assaulted by her stepfather as a child, in a little more detail than strictly necessary. I do think that this was relevant later, especially the very specific detail of the narrator's grandmother slapping her mother when she literally saw it happen, but I was still VERY blindsided by the scene when it appeared). I applaud this book for not exceeding my personal thumb for "number of violent rapes by strangers" a work of fiction is permitted to have, because after all violent stranger rape is the coward's way of trying to make your female character interesting. I also applaud this book for letting her kill her rapist. And one more round of applause, for having her mother believe her. I do think the author should have cut the irrelevant catcalling scene though. We get it, she's sexualized too young, irrelevant catcalling scene was still irrelevant.

Peeing: Now for something lighthearted, a funny quirk of the author's that I noticed was that Elle pees a lot. There is a LOT of page space compared to literally every other book I've ever read dedicated to Elle peeing. She also pees outside a lot. I can't believe I'm mentioning piss in a review again.

Final Verdict: I actually did enjoy this book, but it's DEFINITELY not for everyone. I love pretentious books about insufferable people being insufferable, as a pretentious insufferable person myself.

Review Word Count: 965