#i dropped my clarinet reed-first only one time though :3

[uncanny-tranny]

*does a color guard routine I learned in middle school with my cane, hitting twelve people and injuring fifty when I toss it and fumble*

[edengarden]

BNHA CONCERT BAND AU BC IM A NERD

IF YOU HAVE ANY QUESTIONS OR REQUESTS OR HEADCANONS AKSJHD PLS ASK ME I LOVE BAND I LOVE MUSIC AND I LOVE THIS-

Izuku Midoriya:

Boy definitely plays a wind instrument. I’m assigning him clarinet

Wants to be first chair so bad, he practices so freaking much I swear

ALWAYS. IN. A. BAND. ROOM. with Iida and Uraraka. They’re always practicing

He’s so confused with music theory, please help him. He just,, WHY is it minor?? WHY IS THERE A SOLO WITH NOTHING WRITTEN?? WHAT DO YOU MEAN HE HAS TO IMPROVISE WITH THE CHORDS WRITTEN OVER THE BARS-

Ochako Uraraka:

ALTO SAXOPHONE-

She’s also comfortable enough to play 2nd or 3rd clarinet if needed, or even soprano saxophone

Doesn’t have her own instrument, she borrows from the school and she HATES the reeds, they’re crap. When someone gives her a good reed, she CHERISHES it.

In jazz band also! With the same instrument, but she doesn’t feel ready for solos so she’s usually 2nd or 3rd. Bro when she has to switch from swing to straight she ALWAYS forgets and it’s the band’s downfall.

Tenya Iida:

TRUMPET TRUMPET TRUMPET TRU-

And he’s one of THOSE trumpet players, by the way.

“Sir the French horns aren’t tuned” yeah, he has perfect pitch

Literally plays flight of the bumblebee as warm up. Or has his own warm up scales. Never practices right before practice though, he thinks it’s “too late” for that

Has his own trumpet, it’s silver with hints of gold/brass. Takes care of it RELIGIOUSLY.

He HATES having to blow out spit onto the floor, but dude what other choice do you have??

Momo Yaoyorozu:

Sweet angel 🥺🥺 she’s an oboe player

Definitely bought her own instrument

Sight reading MASTER. she instantly gets the key bro, it’s so rare that she forgets an incidental

Definitely leads sectionals all the time. And she does it WELL.

When people (*COUGH* BASSES*cough*) slowdown, she’ll sway to the beat in hopes that they’ll follow her

Kyoka Jirou:

Electric bass or contrabass, give her either and she’s good to go dude.

Also has perfect pitch and knows her music theory WAY more than a high school student should know. She’s a genius.

Her warm ups? Jam sessions with Hanta and Todoroki. She just shouts a key and they go. It’s usually jazz, she plays a pretty constant pattern, Todoroki tries to improvise but hanta takes over pretty quick-

Definitely in jazz band as well. Also in a school competition band (like singer and stuff), also a one-woman-band. She’s in so many bands dude.

Shouto Todoroki:

TENOR SAXOPHONE

Also has a background in flute bc his parents wanted him to have ~versatility~

Knows all the theory in his head, like he knows what’s going on, he just doesn’t know how to explain it

*false note* “sorry my instrument isn’t warmed up, it’s probably my reed”

Has plastic reeds. And reeds ESPECIALLY for jazz.

Oh yeah he’s in jazz band! Loves that he’s like, the only tenor saxophone so he gets all the solos

Rikidou Satou:

TUBA PLAYER IN DA HOUUUSSEEE

Buddy actually brings the tuba home to practice, he drags that thing AROUND.

Always. Slows. Down. But no one knows it’s his fault most of the time, they blame Sero-

Firmly believes in the “basses are the foundation of the orchestra” mindset, he’s so proud to be a bass

Kouji Kouda:

Soprano Saxophone, but can also handle clarinet if the need comes (he just loves the sound of soprano sax you guys)

DEFINITELY in jazz band, but as a Tenor Sax 2 bc he knows if he went as a soprano sax he probably would’ve gotten solos

Is it Momo’s oboe?? Is it Kouda’s soprano sax?? No one knows the different except those two and Jirou

Plays Shostakovich’s jazz suite no. 2 as a warm up

DEFINITELY A SWAYER. He just gets into the mood of the music and SWAYS.

Tooru Hagakure:

Flautist!! She chose it as an 11 y/o bc it was a girly instrument but she really likes it lol

A mediocre player, she spends most of warm up with Mina tho, she thinks that she’ll get to warm up when she’s playing bc I mean— no one hears the flutes

Wanted to main the picolo for the sole purpose that it’s an Ear Destroyer. Aizawa heard the mischief in her voice and said no.

Sight reading?? What’s that?? She has no idea what’s going on, she just pretends to play and when she’s comfortable with the melody, she’ll just step in. NEVER notices key changes and signatures.

Yuuga Aoyama:

LASKHDSJ FLAUTIST!! Also clarinetist. He loves being able to stay where he is during practice even though he changes instruments it’s sort of funny

His cheeks get SO SORE when he plays clarinet though and he WILL complain.

“My flute is so heavy!” Kind of guy.

Definitely has his own instruments and takes GREAT care of them.

Wetting his reed with his saliva?? No, he plops it in a glass of water instead (the reeds are definitely his own, and expensive)

Tsuyu Asui:

Trombone gang bro.

Positions are burnt into her brain dude she’ll never go out of tune.

SO SMOOTH. SOOOO SMOOO- dude she plays so well?? It’s never spitty, but during jazz (yes she’s in jazz), if it’s a moody piece she KNOWS how to make it juuussssttt airy enough to be beautiful

Not that good with fast songs, but she makes up for her amazing ass vibrato and her range. GOD-LIKE RANGE.

Mashirao Ojirou:

FRENCH HORN!!!

Omg he plays like a king. And he’s so proud of being the ONLY one playing French horn, but there is PRESSURE, because a French horn is rlly tricky to tune dude. Have you SEEN it??

Always keeps his mouthpiece with him, as if he’s afraid someone will play his instrument?? Like no dude it’s good in it’s case but you do you I guess

He doesn’t stand out that much, but in the majestic pieces where he has a 5 measure solo?? He gives it his all and he pulls it OFF. Those moments are always the highlight of the piece

Mezou Shouji:

Bass clarinet!!

Once he managed to growl through bass clarinet and literally ALL the saxophone players were jealous AS FUCK

Buddy goes to a low E♭ like it’s nothing?? And then he goes up to like a high high C and you’re sitting there like THE FUCKING RANGE-

His warmups are like, quick scales and arpeggios. Bro he’s so steady when he plays and he could play for HOURS. Sore cheeks?? Don’t know her.

He so proud of being a bass clarinetist, but when he saw an octobass clarinet?? Aizawa better order one of those for him RIGHT. NOW.

Fumikage Tokoyami:

Baritone saxophone. Also lowkey really wants to learn bassoon because it’s such an old instrument

SKSKS he and Shouji sit next to each other, Tokoyami loves to read off of Shouji’s partition and create the WORST fourths you’ll ever hear. Even Midoriya told them to shut the fuck up once

In jazz band too!! Still plays bari sax

Such,, a good,, sound. So,, meaty,, and full,, and HOT. Bari sax is HOT!!

Plays moanin’s intro as a warm up. Search up the song. It’s bomb.

He loves to figure out new sounds with his bari sax. The Too Many Zooz type of sounds

Hitoshi Shinsou:

PERCUSSIONIST. Especially loves the bells, timpani, vibraphone and marimba.

He’s in the back judging EVERYONE. It’s so great for him, he gets to stand there and cringe and no one will know

Totally able to play 4 mallets like the king he is

Surprisingly enough, he’s rlly good in music theory. Like he could probably compose or transpose something no problem

Aizawa’s favourite, of course. Will ask him to sit in front while they play and circle the parts where he thinks something sounds off

Now that we’ve talked about the NORMAL band kids, I present to you,,, the gremlin band kids

Mina Ashido:

Percussionist as well!! She loves snares but you’ll see her pick up castagnettes even if y’all are playing something like Gymnopédie no. 3 she’s a bit confused but she got the spirit.

CANNOT READ SHEET MUSIC. Like notes?? No. She can do beats, just not notes. Let Shinsou figure out the ancient languages dude

Her and Hagakure don’t warm up, they just gossip together.

Did this to Bakugou more than once

SHE DROPPED SO MUCH EQUIPMENT LIKE HOW DID SHE NOT BREAK ANYTHING YET??

Denki Kaminari:

TRUMPET.

Buddy AIMS to have his spit land on someone sitting in front of him (rip Todoroki and Uraraka)

Thinks he’s cool because he plays trumpet, but he always loses count. God forbid Iida cant show up to practice because Kaminari will die

“Where are we? What are we doing? Which piece are we doing? Where are we starting?” Oh my god he’s so lost can SOMEONE please help him

Always gets in trouble during band camps dude. He and Sero are the Bad Brass duo

Eijirou Kirishima:

EUPHONIUM BABEY!! He thinks it’s so cool and he’ll get so insulted if someone calls it a “mini tuba”

DONT GIVE HIM SHEET MUSIC IN BASS CLEF HE HATES IT PLS JUST TREBLE CLEF

So!! Protective of his euphonium. His name is Johnny, by the way. He named his instrument.

When they finish practicing a piece, he’s the first to give feedback. Usually it’s good, like praises for classmates he heard and thought were really good!!

He’s so sweet. Willing to help others during practice and sectionals too!! It’s so sad that he’s literally on the other side of the room bc KAMINARI NEEDS HIS HELP-

Katsuki Bakugou:

Hehehe he’s a flautist. I’ve stood by this headcanon for like two years.

And he wants to be THE BEST. You never knew growling could be done through a flute until you met Bakugou.

CANNOT STAND slow pieces. He wants to go all out all the time, he always speeds up when the tempo’s slow.

Also in jazz band with what? Flute. Yeah, this is George Benson Time.

Will hit you with his flute if you ever think badly of him for playing flute. He’ll defend flute ‘till he dies.

Hanta Sero:

TROMBONIST!!! TROMBONE BABEY.

Will be so happy if he’s in charge of bass trombone?? Like yay??

Always wants to hit Bakugou’s head while playing.

Bro his playing style?? You know the like, lazy-ish trombone playing? But it’s just so full and smooth and heavy anyways? That type of shit.

In jazz band, he’s actually a natural at jazz, doesn’t practice that much so he’s like not even in a good position, buddy just slouches and sight reads.

I love Hanta sm guys I could talk abt trombonist!Hanta forever

[dustedmagazine]

Dust Vol. 3, No. 2

Moon Duo

Whether singles or groups, new or old, jazz or rock, 7"s or digital-only releases, or any number of other boxes you could wish to check, this installment of our Dust column probably has it. Bill Meyer, Jennifer Kelly, Derek Taylor, and Ian Mathers contribute short reviews on everything from long-toiling Oregonian saxophonists to bedroom producers from Ontario. Acts include Donovan Quinn, Moon Duo, Eye, DenMother, Crystal Myslajek, The Urge Trio, Mint Mile, and the Rich Hally 5.

Donovan Quinn—Dad Was Buried In His Leather Jacket 7” (Soft Abuse)

So you say you love vinyl? It’s one thing to extol the virtues of a broad black long player, but quite another to embrace the medium in its most concentrated form—the multi-song 33 rpm 7”. Donovan Quinn proves his love on four-song EP by glorying in the sonic squashedness that comes from cutting 13 minutes into 14 inches and then making said minutes so catchy that you’ll play it over and over, thus guaranteeing imminent decay. Backed by buds from 200 Years and Skygreen Leopards, he returns to the casual pop lope that he toned down in favor of country introspection on his last full-length solo record, Honky Tonk Medusa. Since Nikki Sudden is otherwise engaged, Dan Treacy remains a convalescent, and David Kilgour’s taking his time, it falls to Quinn to argue the merits of this stuff. Don’t fight him; he’s got four good answers right here.

Bill Meyer

Moon Duo—Occult Architecture Vol. 1 (Sacred Bones)

Occult Architecture Vol. 1 by Moon Duo

The first of two in a set for 2017, Occult Architecture Vol. 1 plumbs the mind-cracking properties of gnostic repetition. Like Ripley Johnson’s other project, Wooden Shjips, Moon Duo employs tight circling riffs of guitar and drums to crack through expectations. “Cold Fear” hammers relentlessly at a four-note riff, a catch like a heart murmur syncopating its inexorable forward motion; you can’t listen without paranoia, claustrophobia angst, and yet the airy vocals, the throbbing synthetic keyboards (that’s the other half of the duo, Sanae Yamada) murmur of escape. Most times, Moon Duo seems to distill whole rock songs into a single measure, refracted into a million repetitions as through a funhouse mirror.“Creepin’” vamps a blues rock riff into oblivion, transforming heat and friction and diesel dust into something otherworldly. Only “White Rose” is given the room to stretch its limbs, unfurling in distended guitar scrawls and buzzing drone, past measures that spin by like telephone polls on a long haul towards the horizon.

Jennifer Kelly

Eye—Other Sky (Ba Da Bing)

While New Zealanders can’t really claim a lock on free form noise rock, they sure know how to do it right. Eye has lineage on its side; drummer Peter Stapleton has played in Dadamah and the Terminals (caveat – my old label Roof Bolt put out a Terminals record 20 years ago, but no, I can’t sell you one), guitarist Peter Porteous in Empirical, and synthesist Jon Chapman in Rory Storm and the Invaders. But it’s what they do with their heritage that makes this stuff register. “Tension Cue” starts things off with a juggernaut of forward driving beats and low register rumble that sounds rather like someone listened to Mission Of Burma’s cover of “Heart Of Darkness” and said “this is nice, but a bit too cluttered,” and then set about making things right. “Black Lightning,” on the other hand, layers sizzling percussion, butterfly electronics, and guttural fuzz into a remorseless build-up and discharge of energy. With music like this, longer is better; the tracks that work less well are the ones without room to stretch.

Bill Meyer

DenMother—Blood: A Memoir (Self-Release)

Blood: a memoir | 2016 by DenMother

Canadian electronic singer-songwriter DenMother spent much of this decade under the radar amassing what was quietly one of the most impressive oeuvres out there. But along with geographical changes (Toronto to the Maritimes, most prominently) and personal turmoil, she pulled her work down and went into hibernation. Luckily the end of last year saw a return, with edited versions of older releases once again on her Bandcamp account and this new release, giving an account of a difficult year. As always the production is somehow lushly minimalist, hazy and harrowing, with DenMother’s frequently echoed and distorted vocals weaving in and around its surroundings. Blood: A Memoir is definitely a welcome return for those of us who have been following her work, but it also makes a fine starting point for the uninitiated. Here’s hoping for more this year.

Ian Mathers

Crystal Myslajek—Circadia LP (Water Wing)

Circadian rhythms are the 24-hour cycles that we enact or disrupt as we go through our days or louse up by jumping time zones. But what do you get when you drop the n? Is Circadia a place? Sure sounds like it, but I defy you to find it on a map. The act of making something new with a small omission corresponds quite nicely to the act of making a new song that someone might, against the tides of nostalgia and glut, actually want to hear. Crystal Myslajek mines a very different vein here than she did a couple years back with the trio Brute Heart. She plays piano and coos a few syllables across the six tracks on this LP; somber and ruminative, her keyboard figures bring to mind Peter Jefferies c. Last Great Challenge in a Dull World. Bolstered by a hint of brushes on drums and the very occasional swell of a bowed string or a twisted synth knob, Myslajek’s music evokes an icy, late-night vibe that offers a clue to the album’s name and acknowledges one of music’s powers — to freeze a day.

Bill Meyer

The Urge Trio—Live at the Hungry Brain (Veto)

Snapshot of a single musical set recorded at Chicago, October of 2015, Live at the Hungry Brain teams Swiss reedist Christopher Erb with reedist Keefe Jackson and cellist Tomeka Reid, two of the city’s vanguard improvisers. Erb and Jackson overlap on tenor saxophone with each bringing secondary horns to stage as well. A vibrant and vacillating contest of conflating and contrasting tones and textures ensues for much of the 33-minute duration. Dry and bristling reed pops percolate with brittle pizzicato. Overtones and harmonics born of pursed embouchures and cantilevered strings float and flitter in the air like bio-luminescent fireflies. Jackson’s bass clarinet takes on the moistly gurgling properties of an amphibian pond dweller while Erb mimics the loquacious faux-speech of a tree-perched avian of unknown origin on soprano. Vintage European free improvisation is an obvious antecedent with a section mid-performance where Erb almost sounds like Brötzmann in his coarse, leather-lunged cadence, but any semblance of imitation ultimately seems incidental. These are three players comfortable in a common musical tongue derived from the moment and separate from any established language.

Derek Taylor

Mint Mile—The Bliss Point (Comedy Minus One)

The Bliss Point by Mint Mile

The late, great Silkworm continues to spin out offshoots, first the wonderful but (understandably) morbid Bottomless Pit, now Mint Mile, which is just as raucous and wounded, but somewhat less constrained by personal history. Both Tim Midyett and Andy Cohen play prominent roles in the project; Midyett’s reedy tenor, plus the layers and layers of six-string sound, give a strong whiff of Silkworm. But there are other players, too, Matthew Barnhart and Howard Draper from Tre Orsi, Jeff Panall of Songs:Ohia and Justin Brown of Paillard. Four of six of participating musicians play some variety of guitar, at least part of the time. “City of Speed Traps” blisters and roars with a quintessentially late-1990s heaviness, taking its slow time to let dissonance and distortion bloom, while “Bellflower” flirts with country rock in its acoustic and lap steel (that’s Draper) tones, though a very loud variety of it. “Park,” the best of the lot, rattles its cage with a kind of flannel-shirted, five-o’clock- shadowed belligerence in line with another Chicagoan guitar band, Eleventh Dream Day; its clanking bass line and slashing guitars convey pure hurting resilience (“Whatever gets you by,” indeed.) The four-song EP closes with “Youngold,” a mostly acoustic outing, lit by lovely arcs of steel guitar (Justin Brown this time), but while quieter, the song aches with urgency. Lifers all, still at it, and it still matters.

Jennifer Kelly

Rich Halley 5—The Outlier (Pine Eagle)

“Deserve’s got nothing to do with it.” Clint Eastwood was talking about frontier justice, not jazz, when he uttered those words in Unforgiven, but they still apply to folks like Rich Halley. Pushing 70, he’s an authoritativetenor saxophonist who writes sturdy tunes and holds together a band that grasps his concepts. He’s done the work to build an audience, playing small joints in the Oregon woods and for a number of years organizing the Penofin Jazz Festival, which brought folks like Fred Anderson and Tony Malaby to the Pacific Northwest. But living in Oregon never elevated any jazz musician’s profile, so no matter how much good work he does he seems not to get much notice. Will it mean much to you to say that this record is a standout amongst Halley’s oeuvre? Maybe it’ll mean more to say that the front line of Halley, trombonist Michael Vlatkovich, and baritone saxophonist Vinny Golia make vibrant multi-color weaves out of Halley’s tunes, and that bassist Clyde Reed and drummer Carson Halley (son of Rich, which can’t hurt) ably bridge the lurching funk prescribed by Julius Hemphill back in the 70s with a tumbling, free-flowing pulse. Let’s just say that if you check out his work you’ll be allotting just deserts to a fine, under-recognized jazz man and also doing yourself a favor.

Bill Meyer