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globalpattern · 5 years ago

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Interview with desert sand feels warm at night

bandcamp | twitter | soundcloud

1. Hi! Can you tell a story about how your project came to life? Were you making music before?

I’ve been making music now for about 9 years and I’ve really never taken it anywhere because I guess I’ve never had any sort of initiative or motivation to do so. I went through multiple phases of making random things but then last year, after discovering vaporwave and listening to many ambient and slushwave artists, I thought I’d give it a go and finally get my stuff out there. And I am so, so glad that I did as it’s been an amazing journey so far and its the thought of everyone listening to my music and appreciating it that really brought it to life.

2. Indeed, that's amazing how quick your stuff was recognized! Besides the music itself, do you think that's because of being part of the community? Or you have some secret of success =)

I can’t say I really have any secrets in regards with the music, apart from trying to be as unique as possible with both my artist name and my style, that grew over time. I do strongly feel that the community has played a huge role in my success, some of the people i have met and the widespread coverage that my music is received on makes the community one of the best to be in. Especially now, after big events like Electronicon, the community has never been more alive. I’m not one for advertising loads, and I think generally the reason I’m known is because of how close everyone is in the community and the good word of mouth that spread about my music which has brought most of my listeners. It still amazes me to this day that despite it being only a year, my following has grown to numbers I would’ve never expected nor imagined. It’s a privilege to be a part of.

3. Speaking of 100% Electronicon, would you perform live if there will be a possibility? Looks like vaporwave is not just "online microgenre" now and community is ready for all kinds of IRL interactions. If yes, what kind of sound could it be?

I would certainly perform live and I’m actually performing at the Aloe City Records concert that is going to take place at some point. Nothing is official yet but it seems very likely that this will happen, which will be exciting. To be honest, I have no idea what it would sound like, I need to play around with my sounds and try and create something super hypnotic yet energetic at the same time! We’ll have to see…

4. Guess it will be your original tunes, not sampled stuff, right? Speaking of which, do you think it's the future of vapor (in general) or your project? Or sampled vapor is not over yet?

Well, I thoroughly enjoy working with samples and really don’t believe that the future needs to be driven by original content. Of course, as people get more comfortable with making music, it is really refreshing to see some original works out there, and I’m looking forward to releasing my next original slushwave album later on in the year. However, all my albums apart from 水に流す and Tomorrow, 2096 are sampled material, and they have all been very well received, and I will continue to make sampled albums as well as the original.

5. Tomorrow, 2096 is quite different from your sound, you also did two gorgeous ambient works for Seikomart, yet looks like slushwave is your primary style, right? Which other styles you'd like to try?

Well, I interchange between ambient and slushwave frequently, even sometimes into nature wave and mallsoft-like areas. I think if I were to try and make a dedicated album to a particular style I would go for mallsoft, with proper mall background noise and taking inspiration from artists like 猫シ Corp.

6. Speaking of inspiration – what inspires you the most? Are there some things highly necessary, so to say, to make good vaporwave? Like being in love with certain time in the past or something?

I think to be passionate about something, you have to love something or do something regularly. All the music I sample I listen to quite a lot, as well as the many genres associated with my samples and hearing the way these are crafted and the way they affect my emotions really play a huge part in the inspiration for the project. Also, I would recommend listening to other artists who are doing similar things to yourself and think about how you could do that differently. Like with me, I listened to many hours of telepaths to gain a good understanding of elements in his music that made him successful, which I then tweaked and applied uniquely to mine. And it’s at the point where you have something that’s quite different and something that you are proud of, that you get the true inspiration to carry on with the project and really spend a lot of time on it.

7. That's definitely a good insight! And since you mentioned telepath, which albums are your favorites? And besides telepath and vapor in general, what are the three albums you'd take with you on a long trip through the desert?

アンタラ通信 is most definitely my favourite telepath album, also one of the first albums in vaporwave in general. I just love the etherealness and gentle swathes of otherworldly energy that comes through on that album, it’s a trip and a half.

Man, this decision was really hard, but the three albums I would take would be:

- t e l e p a t h テレパシー能力者 - アンタラ通信

- 譚詠麟 – 再見吧!? 浪��

- killedmyself - Backyard Cemetery: Revisited

8. If someone "outside vaporworld" asks you about music you're doing, how would you describe it? Do you think it's possible (for a complete stranger, so to say) to get involved with the genre now when there are so much history and levels of subgenres in it?

Funny you should ask that as I’ve been asked many times by my non-vapor friends about it. Generally, I just say its a type of experimental music as I don’t really want to waste my energy on explaining it as most of them won’t really care. However, if there were to be a stranger who did care, then I would gladly explain it to them. Whilst the catalogue of releases has grown significantly in recent years, there’s always a place to start, and there’s plenty of subgenre communities to be involved in.

9. That's pretty much same as me trying to explain why we release & listen to cassettes =) Do you collect tapes or vinyl? Are there specific ones any you'd kill to get?

I do have a collection but its nowhere near as substantial as some of the ones I’ve seen. I have a few Japanese ones I’m looking for but they are quite rare and only pop up now and again, but really I’m not particularly looking for anything. If the albums really good, I buy the physical. Simple as that.

10. Do you have a dream album or something which you'd love to do with this or any other projects? Or maybe even a dream of life which you can share? =)

Man, I have no idea what to say to this one. In the way I think about music, I don’t have set goals or set dreams that I aspire for and rather just create with what I’ve got and see what happens, and to be honest I am very proud of all my recent stuff and couldn’t have asked for more support from my fans and followers. I guess if there was ever a dream album with any possibility it would probably be a collab with t e l e p a t h or Brian Eno, and it would be the most chilled album ever.

September 16, 2019

▼ globalpattern.bandcamp.com ▲

#vaporwave #slushwave #ambient #vapor #global pattern #desert sand feels warm at night

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sinceileftyoublog · 5 years ago

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Sightless Pit Interview: Grave of a Dog, Song by Song Breakdown

From left to right: Dylan Walker, Kristin Hayter, Lee Buford

BY JORDAN MAINZER

The trio of The Body’s Lee Buford, Lingua Ignota’s Kristin Hayter, and Full of Hell’s Dylan Walker have some history. The Body and Full of Hell had released two collaborative albums, and Hayter’s appeared on The Body’s records. But Sightless Pit is a true distillation of each of these artists while simultaneously existing as its own entity. And to them, it’s not just a side project. Sightless Pit is, to Walker, “the next most serious thing I have” after Full of Hell. Earlier this year, he spoke to me over the phone of desperately wanting to apply what he’s learned from his experiences in his “will play anywhere” best-known band--mistakes included--to the new one that’s a little more picky. This isn’t to say that Sightless Pit’s debut Grave of a Dog is composed--quite the opposite. Many of the songs started out with a minimal canvas and took shape on their own, often due to the nature of the instrumentation. (They used no guitars and instead noise devices, drum machines, a baby grand piano, and a lot of samples, including a John Phillip Sousa sample.) But the essence of Sightless Pit, as Walker repeatedly told me, lies in contrast best enhanced by atmosphere as pure as the collaboration itself. Recorded with Seth Manchester (“He understands and finesses things in a way we couldn’t do with anyone else,” Walker said), Grave of a Dog is singular because it ebbs and flows and thrives in extremes.

Read on as Walker breaks down the album, song by song, cover to cover.

Since I Left You: Sightless Pit is a collaboration of three artists who have collaborated before in various ways. Why was this the right time to do this exact iteration and a full album’s worth of songs?

Dylan Walker: I don’t think the timing was intentional at all. A couple years ago, though, Lee and I finally buckled down about starting a band because he had studio time at Machines with Magnets. He started working on beats. Kristin was there, too. She did some synthesizer and piano accompaniments to the songs. It added so much to the record. At first, I think Lee just wanted her to be a contributor, as The Body do with all of their guests. But it just seemed so critical to me, what she contributed, even from the first batch of recordings, that we had to have Kristin in the band. I didn’t know her that well at point. I had never met her in person. We were really friendly with each other, and we liked each other’s music a lot. We kind of blindly asked her to be in the band, and she was super into it. What she offers is so much different than what I can do and what Lee can do. It made it into a more full-bodied project. The timing didn’t have anything to do with it, but it took us ages to make the record, since we were all on tour. Lee doesn’t fly, so he only recorded one time to make up the beats, and Kristin and I went up to Providence to finish the record last year around this time. It was kind of sketchy. We didn’t want to mess with anything Lee had done or lose his vision, but thankfully, Machines with Magnets is such a cool studio, we were able to finesse things into a shape we were all into. We had no idea how it was gonna sound, either. There weren’t really a lot of guidelines to go on, which made it a little difficult for me to envision where the record was gonna go. But that was the cool part about it. It was very organic.

SILY: Now, at this point, Kristin has released CALIGULA, her biggest record to date, and has garnered her a fan base similar to The Body’s and Full of Hell’s. The first track, “Kingscorpse”, just sounds like the answer to the question, “What would a collaboration between Lingua Ignota, The Body, and Full of Hell sound like?” First, you hear her, then you hear Lee’s beats, and then you hear you. It’s sort of like, “Boom, boom, boom,” this is exactly what it’s gonna sound like.

DW: Even early on, we kind of thought that would be the first song, but when things were more formally taking shape, we decided as a group that should be the first track. It just feels like an introduction, like a palate cleanser to me. It’s the most normal, on-the-nose song on the record. It’s really hard to think of these songs as singles, since the whole thing is different the whole way through. I feel like it’s meant to be listened to together, the whole way through, not as singles, though that’s kind of how things go nowadays. But yeah, it’s a great first song. It’s pretty straightforward and has everybody’s voice in it pretty equally.

SILY: “Immersion Dispersal” introduces some other elements of the aesthetic, most prominently drone. To what extent was that song on the record and the record in general influenced by ambient music?

DW: I think it had a heavy influence on the whole record. “Immersion Dispersal”, I’m actually listening to it right now so I can remember what happened, because it’s such a long process. Certain songs on the record are really driving and dancey and more out front with their aggression. “Immersion Disperal” has some groove to it, with Lee playing saxophone and Kristin doing some juggalo rapping, which is kind of a joke, I guess.

SILY: “The Ocean of Mercy” has chants that are direct references to ritual dancing.

DW: Kristin and I are really into this collection of paranormal recordings. A lot of the recordings are from the 60′s and 70′s. It has a lot of cool ghost artifact recordings. But this one is exorcism. We sampled that a little bit and wanted something that breathes and cleanses your palate. This track is my favorite one on the record. It’s meditative. It sinks into you. There are a lot of layers on the track, but they’re very subtle, so the track feels minimalistic to me. Some of these tracks are so intensely blown out and in your face, that something like this is a nice breath. A literal ocean of mercy. The track kind of made me laugh when we named it. It made a lot of sense.

SILY: “Violent Rain” has a sort of dystopian quality to it. Was that something you were going for there?

DW: Yeah, I mean, that’s the thing with a lot of these songs. When these songs are started, there’s no intention to them. We don’t know what they’re gonna sound like. We start them, and they take shape on their own. They dictate to us how they should sound. At least that’s the vibe I get every time I’m in there. We build these songs from the bottom up. So basically, we had a collection of beats from Lee, and Kristin played synths on top, and we basically find a hook or something that makes the song fit into what we’re trying to do for the record.

“Violent Rain” drum-wise reminded me of an old band Lee was in that Spencer [Hazard] from Full of Hell and I were really into called Dead Times. They were extremely blown out, minimalistic, industrial doom. It was so brutal. The more simplistic the beat is, the more it channels that old style. I’m a big fan of it. It’s kind of this flowy, moody synth song, but these brutal drums swell in and out. Kristin’s piano and solo performance on top of it is a nice contrast. I’m just one little part of this thing. I’m not the architect by any means. But one thing I made clear to those guys was I really wanted to exemplify the harsh contrast between the ugliest sounds Lee and I can make and these beautiful, grandiose, soaring sounds Kristin is kind of known for, I guess. She makes all kind of sounds, ugly and beautiful, but that stark contrast always excited me. This was an extreme case study in that.

SILY: On "Drunk On Marrow” and “Miles Of Chain”, your screaming becomes an almost gargle, even more so than I’ve ever heard from your voice. To what extent do you think you pushed your voice on this record?

DW: I hate to say this, but I don’t really remember if I pushed my voice any harder in particularly. I definitely wanted the vocals on “Miles Of Chain” to be pretty wretched, so I kind of went for it there. It’s where my style is kind of leaning in the future, even with Full of Hell. Maybe less emphasis in making sure I pronounce things properly and more emphasis on making the gurgliest, most disgusting-sounding vocals I can muster at the time. It has more pronounced feeling, and obviously it sounds grosser. It has more area where I can sit in comfortably. So I can really push myself in that direction more.

SILY: The second to last track, “Whom The Devil Long Sought To Strangle”, blew my mind composition-wise the first time I heard it. With the three of you, especially The Body and Full of Hell, I have to tell myself, “Nothing’s off limits,” but when the explosion of screeches and screams came about at the end of this song, I was still surprised.

DW: Yeah, it turned out pretty cool. The sounds all the way through the song on top of the drums, that’s Kristin playing with the strings under this baby grand piano. We just want to get sounds any way we can get them. If it creates this cool, atmospheric landscape, that’s exactly what they want. I want it to expand between unsettling ambiance, explosions, and nice, dancey beats. We didn’t intentionally go into it knowing what kind of contrast was gonna be there, and it kind of grew into its own thing. This record is really organic. I’m still truly wondering whether people are going to like it. None of us really know how to describe it, but it does feel like all three of us. I’m not too worried about it. If some people like it, that’s cool. I’m glad we made it.

SILY: Why did you decide to end it with “Love Is Dead, All Love Is Dead”?

DW: It’s just a depressing song. This whole record was about walking away from things you love. This song is just sad. It has almost like a hopeful note at the end, too. I think it’s really beautiful. It’s not just miserable and caustic. It’s dynamic. It’s not singular or just ugly. I didn’t do a lot on this track. I did some background noise for texture. The song is purely a Kristin performance. It has layers. It’s not ugly. It’s a beautiful sounding song. But it’s crushingly sad to me.

SILY: What’s the inspiration behind the band name?

DW: You know, I had that name in my name bank I keep in my phone for a long time. I wanted to use it for a Full of Hell song. It’s actually a location in an Elder Scrolls game. Pretty nerdy, but I was so struck by the wording. It felt so perfect. In terms of how this record sounds, too, it was pretty fitting. We were tossing around names, and it stuck with everybody. This hopeless, deep, unknown place.

SILY: What about the album title?

DW: “Grave of a Dog” was this incredibly sad title Lee had sitting around that he wanted to use for this band. We all really love dogs. I feel like “Grave of a Dog” is such a brutal, sad title. It’s dual-fold, too. It could be the grave of a dog, or the grave of a person not even worth a name. Overall, it’s just crushingly sad. That’s kind of Lee’s specialty.

I have a couple Corgis, and I’m a big baby about them. When I went on tour for the first time, I had really terrible separation anxiety. Every tour I’m going on added up, I’m missing a third of this dog’s life. Am I going to regret this when this dog passes, god forbid? It was worth it for me to be away from him for a third of his life, but it was really fucking with me for a couple years. It was this time sync crisis. There are a lot of different ways to interpret the title, though. I’m sure Lee could give you a whole different fucking explanation. There’s some anonymity to it, but also a very literal definition.

SILY: What about the album art?

DW: That was my concept. We were having trouble with a direction for the artwork. When the record was shaping up, I was pretty excited about it. I was proud to be a part of it. I wanted art that was good. You could so easily shrug it off and do just about whatever. I didn’t want something like that to be just shrugged off. I thought it was so cool for the cover to be just entirely black, with the outline of the three of us shrouded. We had a friend shoot for us. The logo, even before we knew what this project was gonna sound like, the aesthetic I had in my head was very rococo, very gilded and flowery and lengthy looking. My friend Mark McCoy, who I’m such a fan of, did the logo. I wanted it to be extravagantly beautiful, and a great contrast with the ugliness of the music. I need to really get that logo out there as much as possible. It’s unique--I don’t see a lot that look like that.

The insert has some flower arrangements a friend shot for us. I wanted some warm color to contrast the blackness, but not on the outside of the record. The outside had to be essentially a black hole. That was the impetus for that artwork.

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

DW: I haven’t been able to watch movies or TV for a couple months now. I’ve been in this weird phase where I only watch YouTube. I’ve been watching really weird YouTubers, those monotonous, shit-talking people who just rant. It’s weird--it’s not entertaining, and I feel bad for my wife. There’s always some stupid fucking 40-minute rant video on where the guy is eating something disgusting and choking on it or throwing up or naked. That’s where I’m at. I’m only watching the most freebased form of whatever TV is. Straight up garbage.

I’ve been listening to a lot of Natalie Rose LeBrecht. I can’t even describe her--I don’t know where she’s from. But this record, Mandarava Rose, is so beautiful. It has a ton of instruments on it and is so soothing. I’ve been listening to a lot of Tony Molina. He’s a really great songwriter. His songs are extremely short, funny, and sad.

SILY: Full of Hell beat him by one spot in our top albums list of last year.

DW: That’s so sick. I’m glad you guys like Tony Molina, too. I was such a huge Ovens fan, first. It’s so crucial. But then I got into his solo records. There’s some loud stuff but a lot of acoustic stuff, too. It’s so interesting how short his songs are. He’s a punk dude, and it’s interesting to see how that aspect of punk translates to power pop songs. The leads are insane. He’s self deprecating in a way that’s not corny, just funny and sad. His records don’t wear out for me. I’ve also been listening to a lot of Stooges lately. Oddly enough, I randomly came across King Krule. I knew the name forever and never bothered to listen. I was listening to that record 6 Feet Beneath the Moon that came out a few years ago. It’s so sick. He’s so talented. It’s really fun to listen to. I’ve also been listening to a lot of hard, beat-heavy house music. There’s this label in England called NUXXE, run by the artists Shygirl and COUCOU CHLOE. I think they’re referring to it as post-club music, but it’s really noisy, with ignorant-ass beats.

SILY: Do you subscribe to any Twitch channels?

DW: I think Twitch requires too much intelligence to sign up for. YouTube has some serious weirdos. I don’t want to listen to guys who are intentionally trying to be funny. There are just some YouTubers I’ve been following for a long time that I’ve been really back into lately. I feel like in one way, it’s funny and dark to see these people pouring all this time into it, but in a totally serious way, I think it’s kind of beautiful that something like YouTube exists and gives a platform to people who might not have a lot of friends or have a healthy way to cope with the world around them or don’t like interacting with the world. Because YouTube exists, these people have a following of people that exist and that they can talk to. I think people undervalue it when they talk shit about weirdos that have 5,000 videos on YouTube of shit-talking. Nothing like this existed before for them. I may find it funny, but I refrain from ridiculing someone because they’re eccentric. I follow these people and see where their journey takes them. Every town’s got one. It’s pretty wild. There’s even a guy in the town next to me. He’s been doing it for a decade and reviews all kinds of stuff. It’s pretty incredible. I guess I have bad taste--I like boring, stupid shit like that. I’m gonna fly my flag and run with it: I’m a weirdo who watches other weirdos on YouTube.

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czeriahshiptank · 6 years ago

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Missed connection

Ok, so I started writing this during the Zelink month last August, but we lost my aunt and life in general caught up with me. I've been stranded home with the chicken pox for the last week and a half, so I finally had time so stop and finish this.

Needless to say that it wasn't how I had imagined writing this particular piece, but it kinda got away from me, and I now think that it's probably my best one so far. I really like it...

It take place in a Hyrule after BOTW, with some weird spirits tracks elements, imagine just a BOTW Hyrule but where the technology had evolved again after the game, kinda modern time Hyrule. I might have a few headcanon going on in there, I hope I doesn't bother anybody.

I listened to this Youtube channel during the writing (https://www.youtube.com/watch?v=hHW1oY26kxQ) and I think it grasp a lots of the general atmosphere I tried to convey, so don't hesitate to give it an ear during your reading.

As always, English is not my first language, so I apologize for any awful mistake I might have left, I've reread that a hundred time already and I can't see anything anymore...xD

Happy new year to everybody, and have a good read ! I hope to read in the comments your thoughts about this ^^

Note : cross posted on my own account on AO3.

That year, as it happen sometime, autumn arrived on a crisp summer night. One hour the air was heavy with warmth and sweetness and the next was ice cold and filled with the bittersweet taste of the end of something.

Weather in Hyrule was often like that, mostly on the far sides of the kingdom. The plain around the castle always seemed to have her own micro climate of soft breeze, shy sun and eventual rain, meanwhile the outskirt could go from year long frigid air of the Snowpeak, to the desertic warmth of the Gerudo valley.

But nothing ever felt like home to Link like the crisp and cold air of the Akkalan plains, so close in shape as the rest of the grand plateau but as if engulfed in a perpetual autumn late afternoon.

As much as he loved his job as Hyrule Train Track employee, he enjoyed it most when he was assigned here, in the Akkalan station. Most of his coworker were assigned to a certain place in particular and stayed there, or enjoyed running the trains all over the country while always going back home at the end of the day. Link wasn’t like that. He was a floater. They were only a handful of employee like him, never assigned to a task in particular, always changing affectation.

He hated staying in one place for too long, but he had to admit that this station near the University was his favorite one.

If you asked him, he would tell you it was because of the bright colors the tree leaves seemed to have all year long, from bright greens to dark reds. the low light of the sun on the long meadow, never high enough to make you feel like it was summer, but giving this eerie feeling of late autumn to the area all year long. He would tell you about the crisp air of the wind, sometime hot when it came down from the Eldin volcano, sometime full of salt when the sea would bring rain.

However, he would probably never tell you about his main reason to like the place.

In the very north-east of the province, you could find an old scientific facility. It was said that this place had been crucial in the defeat of the calamity, but that was hundreds of years ago and mostly history lovers would talk to you about that. It was only an hour away from Tarrey town, the capital of the region.

The place had probably changed a lot since that time. It was said that the only remaining piece was the giant telescope on top of it. The building was now surrounded by houses and smaller labs as well as the biggest university of the land.

The school was well loved by his students, as much for the history surrounding it that for the serenity that came with the area. It has a couple of coffee shop, the biggest library outside of Castle town and the kind of atmosphere you only see in movies, where everybody likes to study and all is good in the world. Like a Yuletide tale where the heroine find love at the end of the story.

Zelda kinda felt like she was the heroine of a bad movie like that, and if you asked her, she would tell you that she might have preferred not missing her last train home. But of course she had. Her last class of the semester had run late, the professor had gone on and on about the schism between the Sheikah and the Yiga, from all those centuries ago, and how it was believed that the royal family of that time hadn’t really made a good decision in making the Sheikah destroy all their technology. Zelda actually agreed with him, who knows how would be the scientific global knowledge if her ancestors hasn’t been so stupid. But as interesting that lecture had been, it had extended the lesson by a good thirty minutes and as a result made her missed the connection to the central tower which was the only way for her to go back home on time. She would have to wait for the 6.45 train on the next day and of course, had no way to go back to her small appartement in the campus since everything was closed for the Yule season.

She took in a long, meant to be calming, breath.

Part of her had always loved train station. Particularly this one. It wasn’t the huge ones you could find in big cities, engulfed in a shell of metal and glass. As claustrophobic in their metallic skull and ambient madness than liberating as the new travel prospect they announced. They always smelled like the end of something and the beginning of everything. The crowd and the noise, so overwhelming you just wanted to fall into the first train possible without knowing where it could take you, just hoping it would be an adventure..

The Akkala Faculty station was not like that. The station was situated just before Tarrey Town, which was the last of this line. It was composed of four docks, next to each other, and a small building to buy tickets and be safe from the weather.

It wasn’t in the middle of the city but slightly on the outskirt, just at the verge of the forest. If you squint along the east of the tracks, you could even see the ocean not so far away. It was always breezy, mostly in the evening, and most often misty in the morning. It has the kind of atmosphere you imagine when someone tells you a fairy tale filled with magic and weird places, the kind that gives you the chills and make you dream of sorceress and mighty heroes. The kind you see in these movies, where the two lost lovers meet and fall in love right next to the tracks before each leaving in a different trains.

Train station always made her think of sad love stories. Like the ones of the heroes of old, and the princesses also named Zelda. The ones where the princess send back her hero back in time to let him live his life, the one where he decide to leave all by himself, the ones where he died in her arms, and all she could do was to hope than in her next life they would finally be happy.

They're haven't been a hero for so many years, and even if the Royal Family kept the habit of calling their first born daughters Zelda, most of the links she met were the ones made on the Sheikahnet. Ganon, or the calamity, was just a memory, kept alive by Historian and old fear that it could always come back, but never really sure if it was a legend or reality.

She breathed out.

The sun was slowly going down, and there was no use staying outside now. No magic train would come and pick her up. She could only wait for the morrow. At least she had taken a couple of books with her.

Link loved reading strange stories on the Sheikahnet. Tales of liminal space, moments and places in time that did not really exist, but were there anyway. Feeling that anything could happen if you were attentive enough of your surrounding.

Like sometime in the morning, when from the corner of your eyes you could glimpse a fairy. Nobody ever believed him when he mentioned it as a kid, so he stop speaking about it, but it happened. A small light that would float on the verge of his consciousness when the light were low and the mist so thick you could cut it with a knife. He sometime dreamt about a moon about to fall, about great battles that happened here and somewhere else. Of big birds, one as red as the fire of Eldin, and another bluer than the sky above. He dreamt about fairies and princesses, sometime brunet, sometime as blond as the wheat he could see from the train windows. Sometime he dreamt he was dying, other time he dreamt that she was.

Most time he just dreamt of her. She was always the same even if she never bore the same face, and he was always himself even when he wasn’t.

He never talk to anyone about these dreams.

He loved the Akkala Faculty station most of all the places he knew. The weird feeling like he could meet anything, anybody from anywhere. Although at night, like right now, most of the time it was empty.

He hadn’t expected to see someone, let alone a girl, sitting on the bench inside the station, but here she was anyway. Long blond hair, falling on her laps, even as she put them back behind her long and fine hylian ears. She was reading a book and in the silence of the place he could hear a slow music being hummed. A lullaby of sort, one he had never heard before but was strangely familiar anyway.

She was familiar in that way strangers sometimes were, as if he had met her in another life, and maybe he had. He dreamt of strange life so often that he wouldn’t be surprised, and after all, he might have seen her on another day, in a train. She was familiar because somehow, he knew who she was, he had seen her, who hadn't? She was the crown princess after all, he recognized her. Everybody knew she was studying here. But he knew her, not in a gossipy way, just a true as saying he knew the grass was green or the sky was blue. He just knew….

“Excuse me miss, are you waiting on a train ? There isn’t another one before tomorrow…”

She hadn’t expected anyone to be there. The place was so small and quiet, she had never realized how much she had needed the calm before staying there for the last hour, alone with her book and the slow sound of the light rain falling on the glass ceiling of the station. His voice made her jump slightly, all taken as she had been by the story within the page of her novel, she hadn’t heard him coming closer. He was wearing the uniform of the Train Tracks, a green tunic, with golden boutons. A nice green cap over dirty blond hair and big blue eyes who were looking at her with a bit of worry.

“Yes, I know, I missed my last one and can’t go home because of the holiday. I was hoping of staying here for the night, is that a problem ? I can leave…” Now that he was closer, she could read his name embroidered in gold lettering.“...Link?”

The name was strangely familiar on her lips. And after all, it was. She study history after all, and if one name came back as often as her own, it was this one. It was quite a strange name to wear nowadays, less and less people named their sons after the heroes of old. Too much to bear, too dangerous, if the calamity was to come back, and their son was the one to go ? She could understand the predicament. After all, she herself was the most likely Zelda to be called upon if anything like that were to happen.

“Oh, no, don’t worry miss, you can stay.”

His voice was soft, almost inaudible. She had read that a lot of the heroes had been shy, silent, some says that a few were completely mute. She wondered if all the Link in the country were like the first one, if the name was implicitly making them take certain character. A name is a heavy burden to carry, one that most parent didn't really realize.

She looked at him and everything inside her was yelling that she knew him, but no word would come out of her mouth, his eyes were full of recognition and the fear was restraining her heart. The silence stretched for what seemed like years, when finally her throat allowed for the sound of her hope and fear to come out.

“Do I know you ?”

Could she know him? Yes she could, as true as he knew her without having a clue on how he did. He wanted to touch her, to feel the soft skin of her hand like all the other time he had met her. Sometime with a glove, sometime with fur. He knew her in a way he couldn’t understand.

His voice was silent in the back of his throat, memories of dreams too real, and realities that couldn't have been anything else but dreams. In this place where everything could happen, he had met her, and somehow, something in him told him it was impossible.

But here she was, Zelda, his princess, his everything in so many lives. It was unlikely, said the voice inside his head, that they somehow manage to meet for once without the hovering of an horrible future. But maybe it had happen, maybe this time they could just be themselves without the fear of imminent death and unshakable duty…

Maybe it was just a flicker of his imagination, maybe it was just him who felt the overwhelming need to wrap her in an embrace and never let her go. He wanted to say something, anything, try to make her feel what he felt…

“I think you do.”

They looked at each other for what felt entire lifetimes. All the one they could never be together, and some of the one where they were. They say that some kind of love transcend life time and maybe theirs is one of them.

One of Zelda favorite story was the one of the creation of this land. Strangely enough, it arrived almost unscathed to them when so many others were just like tree leaves, scattered to the wind, never to be heard again. It was said that it was the will of the goddess that her soul be reborn in a human girl, and her hero soul to follow hers until the end of time. And maybe it was what that was. She for sure wasn't feeling really goddess like right now, but the rythme of her heart was telling her that it was him.

Some things are just too hard to ignore, and the attraction she felt for this boy, no older than her, was unprecedented. Before that, she realized, she had been mostly going through her life like a lifeless puppet. Or maybe the goddess had just made everything happening to make their encounter possible.

Her mind was filled with so many memories that weren’t her own, it was almost hard to keep up. All the faces of the same man, so different were suddenly juxtaposing on the face of the one in front of her. That’s how she realized.

“Do you...want to have a coffee ? I think we both need a hot drink…”

The eyes and the voice, they had always been the same.

They ended up in the all night coffee shop next to the station. The place was about as empty as it could be, a few patrons here and there and a waitress who would have prefer another shift. The music was soft, the booth comfortable. Their hands were joined in the middle of the table and their hot coco discarded on the far side of the table for the last ten minutes. If you looked carefully, you could see the soft curl of three triangles softly shining on the back of their hands, another proof of what was happening, but too taken they were with each others presence, neither of them seemed to acknowledge their presence.

They had talk about their lives, how for all this time it has felt like something was missing. For the first time Link told someone about his dreams, and Zelda about her own. They spoke endlessly about their families their works, the school. How freeing conducting a train was, and how much a single jar could teach you about your own civilisation.

It felt like no time at all had pass when Zelda realized the first ray of light had started to appear by the large window of the shop. The clock was announcing 6 o’clock, and it was almost time for her to catch her train. They had taken the time to exchange slate number, and as Zelda was dragging him to watch the sunrise on the tracks, the incomprehensible need to tell him she loves him was overwhelming.

How could she just say that to someone she barely knew, if her mother were here she would probably scold her like the teenager she acted like. But when her eyes fell once again into his, it was like the whole world was lit on fire.

She didn’t know him, yet, but her soul did. And if you can’t trust the very soul of the goddess to find true love, then who could you trust ?

She was surrounded by light and Link had never seen anything as beautiful as her right now. The whole evening was surrealist, but even him couldn’t have invented a plot like that for a dream he hasn’t been asleep to have. For all time, the mere concept of Soulmate has seemed somewhat preposterous to him. Not something someone like him could ever hope to have. Even with the dreams. So many of them finished with despair and sadness that he never thought that he would meet her, and live to tell the tale, even less enjoy her mere presence, here, in his favorite place of the world, with her in his arms.

But here she was, and together they were.

Well, she had to leave soon enough, but they knew the real them now, and texting was a thing they could do. Meet up somewhere else and get to know the them from this lifetime, after getting to know all the them from before. They could go on dates, learn to love each other, and spend the rest of their life, knowing that they would never be truly ever appart for long.

Maybe the next one won’t be as nice and peaceful as this one was about to be, but he knew they would be together.

Finally the train arrived, he listened to the sound of the wheels, grinding against the tracks, smelled the smoke of the chimney concealing them from the crowd starting to mass around them. Even now, they felt alone, just the two of them. Neither of them could say which one went for it first, but when their lips met, if was like a hello and a goodbye. The happiness of the start, followed by the bittersweetness of the separation.

It was a promise of more to come.

The ring of the train called them back to reality and Link dutifully brought them to her wagon, helping her with her luggage before dropping a last short kiss on her lips, followed by one on her hands.

“Your highness, I’ll text you when I arrived in Castle Town on the weekend.”

She could feel the blush on her cheeks, she curtsied.

“I’ll be waiting” she paused and winked at him, “Even if I sure hope you will text me sooner.”

He smiled at her and she swear it could have eclipsed the sun.

He watched as the train left the station, too slowly and too quick at the same time. Once it had disappeared, his gaze got lost in the forest surrounding the area. The leaves, as green as her eyes, and red like the blush the hard wind had left on her cheeks.

Yes, Akkala University Station was definitely his favorite assignation.

#zelink #zelink month 2018 #very late entry #missed connection #love story #fanfiction #fic #mywriting #star crossed lovers #zelda botw #zelda breath of the wild #zelda spirit tracks #modern time hyrule

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yoursongpodcast · 7 years ago

Audio

For 'Tell Me About Your Song' #82, Jeana Marie DeLaire of Great Gale talked about her song 'Dunes', which is from their album 'Somewhere Moving'.

Somewhere Moving by Great Gale

In the course of our discussion, we touched on the following topics:

The Great Gale of 1815

Bar Harbor, Maine

Acadia National Park

MXR Carbon Copy delay pedal

Provincetown

If you're interested in hearing another version of 'Dunes', Great Gale also recorded it as an NPR Tiny Desk contest submission.

You can hear more of Great Gale's music on Bandcamp, iTunes, and Spotify, and you can also find them on Tumblr and Facebook.

The 'Tell Me About Your Song' icon was designed by Shaenon K. Garrity.

If you want more information about your host, Jacob Haller, then check out my web page, my facebook page, or my twitter account.

'Tell Me About Your Song' on iTunes - rate and review us!

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Episode Transcript:

[EXCERPT FROM 'DUNES' BY GREAT GALE PLAYS:]

And I know where you're going, and I know where you've been, so what is it that gets you by? Do your terrors come when you close your eyes? What is it that gets you by? Do you sleep on through the night?

JACOB: Hello, and welcome to Tell Me About Your Song, the podcast where I talk to musicians and songwriters about a song they've written. Today's guest is Jeana Marie DeLaire of the band Great Gale, and the song she'll be talking about is named "Dunes", from her album 'Somewhere Moving'. Where would you like to start with the song?

JEANA: I think I'll start by talking about my band name, "Great Gale". Though I wrote the songs on 'Somewhere Moving' before Great Gale really came to life, I do all of my shows under the name of Great Gale, whether I'm doing a solo show, or performing as a band with my drummer Jeff and our guitarist. So the band name, Great Gale, is actually named after a hurricane that happened in the eighteen hundreds, that hit New England very hard, and Providence in particular, and so I think that Dunes, which is really motivated by self reflections and nature -- Great Gale (the band name) is definitely as well. This is the most requested song that I have defin-- not that there's many of them. Definitely the song is often requested. I've even had another local musician cover it, and put it on their demo, and it sounds totally different, but it's definitely really flattering that someone felt that inspired by the lyrics to do that, and I really love that the song has sort of become something much bigger than my own experience. Again, it has, I think, almost overly simplified lyrics in many ways. It really doesn't have that many lyrics. Most of my songs tend to be, I think, overly verbose, but this one is very succinct, lyrically. So I've really loved kind of seeing it take on a life of its own in many ways, and even take on different melodies from different people that are singing it, and just mean so many different things to different people. I think what stays the same is the emotion behind it, but the actual lyrics -- they're so open to interpretation. I often moved a lot growing up, and I definitely think that that has influenced me in a number of ways, many positive ways. One way that can oftentimes be perceived as negative is, I don't always feel like I know the social ropes, when it comes to, like, group interaction, and so I've had an interesting perspective, especially at the time that I wrote this. I was in a new city, a new town, a very isolated town, and I was going through this process of meeting new people, and it actually went really well -- I really left that area with a ton of really close friends -- but I've always had sort of this, like, over-analyzing thing that I do in groups, and in social settings, so I think that Dunes really is a song that -- it's the culmination of that aspect of my life. The space of the song was so motivated by my surroundings in Bar Harbor. So, I was attending college in Bar Harbor, Maine -- which, for those that don't know, it's on Mount Desert Island, so off the coast of Maine. and it is actually an island, and it's about six and a half hours from Providence area, where we're based out of. Mount Desert Island is really quite rural, and it's home to Acadia National Park, which is a beautiful gorgeous park. It's crazy packed with tourists in the summer, but in the winter, and the rest of the year, really, all you really hear is the ocean, and the wind, and peepers -- especially when it's peeper season, they're all over -- and the blackflies, and just different parts of nature that -- It's either incredibly calm and quiet, or, depending on your headspace, it's very loud. Though I'd lived in some rural places when I was quite young, I had never lived on an island off the coast of Maine, which was just drastically different, so I think that really, really, heavily influenced the space present throughout the whole song, and it definitely also influenced the process I was going through at the time of really reflecting a lot upon my life, and the life of my good friends, and ... so being sort of like surrounded by nature at the time, I think it's really present in the song, for sure. This song was very different from my normal lyrical writing process. So I wrote it in, I want to say it is 2010, perhaps 2011. So I wrote the lyrics to that song early into attending college there, and it was definitely sort of a culture shock for me, because I had primarily lived in more urban areas, so I wrote the first few words really, really late at night. I had just gotten a typewriter for the first time ever in my life, as a young college student. I had just gotten back from a party, and I had been going through a lot of really intense self-reflection, and a lot of changes really abruptly happened in my life at that time, so it was probably, like, 1:00 or 2:00 in the morning, and I had just gotten back to my dorm room, and I had this new typewriter, and I was definitely a little intoxicated, and I started typing out the chorus lyrics. So the chorus lyrics actually came first.

[EXCERPT FROM 'DUNES' PLAYS:]

What is it that gets you by? Do your terrors come when you close your eyes? What is it that gets you by? Do you sleep on through the night?

JEANA: It was probably weeks until I actually noticed that I had done it [laughs] and then had remembered it, so I found it on my desk, and started to tie in parts of short stories that I had been writing, and restructuring it to make it sound more, like, poetic and cohesive. Usually my writing process is much more organized than that. Usually I sit down and write sort of an outline of a song, and it's actually generally poetry that I write, disconnected from the music. That one, I had the chorus, and I saw it written out, and I immediately had some chords that I had been working on that I applied to it. So I really wrote, like, the syllable structure, and the melody, to chords that were already there. So it all kind of happened at once.

JACOB: Had you done a lot of songwriting before then?

JEANA: I had, but I think -- I want to say that Dunes was one of the first songs that I really completed. I definitely had written a lot of partially completed songs before, but nothing that I had actually played out, and Dunes was the first that I knew I wanted to finish it. I knew that I wanted to play it out.

JACOB: What do you think it was about it?

JEANA: I think that it really represented not only a lot of what I was going through, sort of, emotionally and spiritually in my life, but also musically. So, at my college I took some fingerstyle guitar lessons from a really amazing classical guitarist by the name of Kevin Morse -- he is just amazing -- and I was studying jazz guitar, as well. So, that song, though it doesn't sound like jazz or classical style guitar at all, it really ties in a lot of the stuff that I was learning. It is finger-picked, and the chord voicings are -- There's a lot of sevens and there's, like, a 9 in there, too, so I think that I was really excited about the musics and felt like I just needed to get those words out. The goal of the song, I think, has ultimately been to be sort of minimalist, and really play with the space of the song, and I found a really interesting way to do that was to apply a lot of effect pedals. I primarily play acoustic guitar right now, but I have more of a background in lead guitar, and I'm really into, sort of, like, ambient style lead guitar. And so when I started Great Gale as an acoustic guitarist, I kind of struggled with finding ways to still be able to make really weird, bizarre, spacey sounds, and I think Dunes is an example of where I still used a ton of reverb, a little bit of delay, a little bit of tone modification... I use the Carbon Copy delay pedal a lot, and it has a tone modification button, which kind of creates all sorts of dissonance, and that, matched with with reverb, really creates a lot of noise that tends to linger, and also creates this thing that happens, where the tonality of the song almost blends together, and while it's really just a few chords, because it's it's finger picked like that, the notes tend to carry over into one another, and, yeah. And I really tried to play with the overall meaning of the song, and having some of the bizarre sounds sort of symbolic of the overall meaning, too.

[INSTRUMENTAL INTRODUCTION TO 'DUNES' STARTS PLAYING]

JEANA: The beginning of the song is probably the best example. It starts with the really heavy sort of percussion sound, with really ambient guitar, and I'm privileged to work with Jeff Castelli -- he's the other member, other full-time member of Great Gale. He's also the main producer. We did the recordings all on our own, and Jeff is sort of a leader on that front, and he's really great at bringing in bizarre sounds, just in general. [laughs] It's like his favorite thing to do. So, I think that, right away, the song starts out with a lot of tension, and the overall song -- I guess I should just start talking about the meaning; maybe that would tie it in better. The overall meaning is sort of about our internal reflections on our life, and, like, the things that have gotten us there, and how we all have our different paths that we walk, which are often influenced by by the people that we have in our life. So starting this song with that sort of tension and abrupt drums, with the backdrop of really ambient guitar noises, I think it's a good example of that.

[EXCERPT FROM 'DUNES' PLAYS:]

I'll stop for just a second, to watch the cop cars drive by over the dunes of Provincetown, where your father's ashes lie.

JACOB: In the lyrics, are you referring to real life things?

JEANA: Yes and no. [laughs] So there's some that play on really clear experiences that I've had, and others that are definitely more of, like, metaphors. So, the first few lines about the dunes over Provincetown: I had a really tight, core, group of friends in my adolescence and my teenage years, and we would often take an annual trip to Provincetown on the Cape, and one moment that really struck me, in my adolescence, was sitting at a beach late at night with my friend, whose father had passed away (and I got his permission to talk about this story for the podcast) -- his father had passed away when he was very young, and his ashes were spread over the dunes, which are no longer there because of weather, but the dunes were there at the time, and I just remember, sort of, taking in all of these life experiences that I've had with this group of friends, and it was, sort of, like, towards the end of high school, and it was one of the last summers that we had together, so I knew that I wanted to eventually reference that in the song, and that experience really opened up the song, and sort of paved the way for everything that follows in lyrically within it.

[EXCERPT FROM 'DUNES' PLAYS:]

... Over the dunes of Provincetown, where your father's ashes lie. And I know where you're going, and I know where you've been, so what is it that gets you by? Do your terrors come when you close your eyes? What is it that gets you by? Do you sleep on through the night?

JACOB: Have they heard the song?

JEANA: They have heard the song. I remember they came to a show -- Actually, when I played it with the Novi Giants, before Great Gale, even, I remember being very nervous, because I knew that I was going to play this song, and I had mentioned it to them, and I think I had even sent them a recording, or maybe I had just sent them the lyrics, but I was still nervous. I think that, as humans, we often try to avoid dark subjects, instead of talking about them, and I don't always think that that's the healthiest way to process. So I think this friend, in particular -- He's my friend Eli, and we're very close friends. We've been friends for years. Us in particular, we have a pretty dark sense of humor with one another. So I took his word for it that it was going to be OK, and he heard the song, and he actually was super happy about it. I think he's the type of person that really appreciates talking about things, and our trips to Provincetown were really important, I think, to both of us, in a lot of ways, because it was always when -- It was at a time where both of us were kind of going through a lot in our adolescence, and those trips, sort of, meant a certain freedom for us. So, I think that being able to sing about the sort of dark emotions surrounding that sense of freedom is important for both of us. Getting back to, sort of, the overall meaning of the song: It definitely is a lot about the changes that I've gone through personally, but what it really is, most of all, is just that moment that you have when you start to realize that the people that you're surrounding yourself with aren't necessarily making the choices that you want to make. And, so, it's really about realizing what that means, and developing that, more for yourself. So the chorus:

[EXCERPT FROM 'DUNES' PLAYS:]

So what is it that gets you by? Do your terrors come when you close your eyes?

JEANA: It's realizing that, not only are you feeling that, but, in fact, everybody probably feels that, at one point. So, it's just that kind of thought of, like, we're all here doing this again. Who actually wants to be here? What are you actually doing when you're alone? What are you thinking?

[EXCERPT FROM 'DUNES' PLAYS:]

And hear the howling of the pack who've come to take you in to the place to lose and win, and start again. To the place to lose and win, and start again.

JACOB: And then, the second verse, there's "the howling of the pack coming to take you in" -- like, the obvious thing would be to say, like, peer pressure, but..

JEANA: Yep. It's definitely peer pressure. And it's interesting, I've had -- Some people, a lot of times, will hear the song, and they really, I think, can relate to the simplicity of the chorus. I don't typically write music in a way that's super typical for songwriting, and it's definitely not pop style. Like, honestly, it's everything that my music instructor told me not to do, about writing music, is what I tend to do. So I think Dunes is -- Definitely you can see that kind of style of writing in the song, but it definitely has a chorus that repeats many times, and I think is very relatable, so I've had a lot of folks hear the song, and offer their own analysis of it, and I've heard "peer pressure" -- that definitely was my intention when I wrote that line -- but I've also heard some people represent that, to them, it means more of like their own inner voices and their own insecurities. And I think that those two things are really connected. So I really enjoy hearing people's different ways of relating the song back to their own life. There's also a really intentional shift in, sort of, the sound of the song, which is present in both the guitar and the kick drum, in particular. The kick goes from, I think it's on the 2 in most of the song, and it goes right to the 1 of each measure, and the chords actually change. So it's mostly in A minor, and then when that comes out of -- I guess you could call it a bridge, sure -- the little instrumental break -- it goes from a G, and the G's only in the song a few times, so every time it's there it is quite dramatic, and then it actually swaps the A minor to F, and starts in F, and it's no longer an F7; it's now just an F major chord, just a normal F major chord. So I wrote that part of the song to sort of sound like it was the uplifting part, sort of like the "coming to terms with yourself," and this long process that we continuously do throughout our lives of self-reflection. So it's a, like, happier time where it's, like, "OK. Some of us aren't here any more, but we're all, like, finding our own paths," and it's definitely very, I guess, existential, in some ways, because there is, like, the acceptance of, sort of like, -- I don't want to say, like, depression, but I think of -- there's an acceptance of mortality, I think, in that part of the song as well, so it's definitely part of that existential quest of figuring out who we are, and what we're really here for, and if it's okay if we're doing it alone, and who we are when we're by ourselves, and who we are when we're in a group.

[EXCERPT FROM 'DUNES' PLAYS:]

And I know the roads been long. Some of us have lost our ways. What is it that gets you by? Do your terrors come when you close your eyes? What is it that gets you by? Do you sleep on through the night?

JACOB: In that instrumental section we're talking about, like, the way that it switches from the beat being on the 2, to it being on the 1, is it skips a beat.

[EXCERPT FROM 'DUNES' PLAYS:]

And I know ...

JEANA: The drummer, Jeff, he's really into, sort of, experimental drumming, and beat styles like that, so that was definitely his input there, and I really loved the, sort of, dissonance that it created in the song, and once I was finally able to do it successfully in practice, we started adding that in.

[EXCERPT FROM 'DUNES' PLAYS:]

What is it that gets you by? Do you sleep on through the night? One day we all will fall.

JEANA: I definitely wrote it when I was in a bit of a dark place, so, for me, at the time, it was meant as kind of a dark, like, "This is pointless, because how can we -- We only go so far, and then, you know, we all die!" It's definitely, like, incredibly dramatic, and sort of something that I think a lot of adolescents go through, and I was quite young when I wrote it. But I think that it can also be viewed in line with that, like, F, more major, feel, is kind of coming to terms with what we have and who we are.

[EXCERPT FROM 'DUNES' PLAYS:]

One day we all will fall. One day we all will fall. One day we all will fall.

JEANA: So you'll hear throughout, somewhere, moving throughout those recordings, Jeff tends to -- his backup vocals tend to be very, like, panned backwards, if you're listening in earphones, and have a lot of reverb. Oftentimes, they'll have delay on them, too, and they'll be, sort of, like, very low-fi, and almost overly compressed, and that's definitely intentional. I think that he had just done it -- I think he might have even done it by accident in one of the mixes. It might have been an accident, or it might have been very intentional. I'm not totally sure -- but I remember hearing it, and just being super into that kind of editing for the backup vocals, so it remained very consistent in all of the 'Somewhere Moving' recordings, and, for me, it kind of represented almost, like, this ghostly voice, that just comes back, and returns, in all of the songs, and a lot of the songs are definitely about watching some friends go through things like drug addiction, and go into recovery, and some of them not necessarily make it into recovery, at the time that I was writing them, so I think that it's sort of representative of literally, like, ghostly figures, and this, like, impending doom that is sort of there. Much of the song is just, is so -- It's quite dramatic, lyrically and instrumentally, so I think that it was -- It just felt like a very fitting ending, for it to sort of go out with really playing on space. So, it actually -- though it's technically quieter and softer because the instruments cut out -- it really just, like, gets under your skin, in a way that I wanted to try to to play with. And the beginning of the lyrics start with a pause, so I thought would be interesting if the end started with sort of an extended fade out on that line.

[EXCERPT FROM 'DUNES' PLAYS:]

One day we all will fall.

JEANA: A lot of the songs I tend to write, and -- I'm not super connected to them, because I think that songwriting is just a really fun process, and you can sort of write things, and leave them, and kind of move on. But Dunes, in particular, has been one that I've kinda kept close. So there's different lines that I've gone back to, and either have a different meaning when I hear it again, somehow, or just stick out in a different way that they hadn't before. So, I think when I first wrote the song, the opening lines -- "I'll stop for just a second" -- were sort of the big thing that I thought about, and I -- When I play it live, I tend to play with the space afterwards. It's not always to time, so I'll sort of extend it out -- again, to play with that tension, which is much easier to do live than in the recording. So, I think that because of the sort of playful nature of the opening line, that I can have with the audience -- That line used to stick out a lot for me. That's what I mostly thought about. But it changes. I definitely think that "the howling of the pack" line is one that I often go back to, as well. And I see folks singing along to that. I've been to a few Great Gale shows, which always means a lot to me when I see people actually singing along to songs.

JACOB: So, if people would like to hear more of your music, what should they do?

JEANA: They have a few options. They can go to GreatGale.bandcamp.com to see all of our works up there -- and those are all self recorded works. They can also go to iTunes and Spotify, coming very soon, so by the time that this is edited, they should be able to find it: "Somewhere Moving" by Great Gale on iTunes, and you can also check in with our tumblr: GreatGale.tumblr.com, and find us on Facebook.

JACOB: Great! And my name's Jacob Haller, and I have my own music, which you can find on Bandcamp or at music.jwgh.org, and I also have a couple of other podcasts and various projects I'm working on, that you can find at jacobhaller.com. I'm going to put together, you know, some show notes with links to Jeana's website, and various other things we've talked about, and you'll be able to find that on yoursongpodcast.tumblr.com (spells it), and I guess, with all that said, we're going to go out by listening to the song we've been talking about in full: "Dunes", by Jeana Marie DeLaire of Great Gale, from her album 'Somewhere Moving'. Thanks for listening.

['DUNES' PLAYS IN FULL. YOU CAN FIND THE LYRICS ON GREAT GALE'S BANDCAMP PAGE.]

JEANA: Yep, that was way more articulate, but, definitely. Great. Yup!

JACOB: Didn't feel articulate! [laughter]

JEANA: That was, I think...

#Jeana Marie #Jeana Marie Delaire #Great Gale #Dunes #Provincetown #jwgh #Tell Me About Your Song #TMAYS #songwriting #interview #podcast #music

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fallenloverecords · 7 years ago

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Interview: Harvey Waters

Hi lovers! Here at Fallen Love headquarters we periodically interview people that we adore in order to shine a spotlight on our wonderful pop planet. We post all those interviews right here for your education and enjoyment.

Harvey Waters is bedroom pop musician Danny Keyes from Benton Harbor, Michigan, USA. Fallen Love head Harley e-mailed some questions to Danny. Fallen Love Records: From 2015 to 2017 you recorded and released music as Garbage Water. What prompted the name change and what's the backstory behind the new name? Danny: The name change was a bit impulsive. A lot of people thought Garbage Water was a band so I liked Harvey Waters better 'cause it was more of a character or personality that I could mold into anything I wanted. I still haven't decided exactly what I want the Harvey Waters moniker to be. I've had the name for a while. I don't really know where it came from. Also with this new record I felt like it's much better than anything I've ever released before and just a different thing altogether so the name change more than anything was just a fresh start separating me from Garbage Water. FLR: All the Garbage Water releases were self-released. Why did you decide to hook up with Drunk With Love Records for the new album? D: I remember I stumbled upon Ryder Eaton's Peach Pit and just instantly fell in love with it and everything the label was doing. I was also at a point in my life of finishing up high school and just really wanting to get my music off the ground. So I was e-mailing every small label I could with nothing really to show them, just trying to get in contact. I was also friends with Jame at the time who released Town under the name Kitchen on Drunk With Love in January and I was a huge fan of their music. Jake e-mailed me back a couple days after I first e-mailed them and said they said really enjoyed my sound and we have just been talking back and forth ever since. FLR: Use three adjectives, one verb, and two nouns to describe your new album I Drove Your Car In A Dream Last Night. D: I would have to say layered, honest, and hitting. FLR: What's your favorite song on the album and why? D: Hmm... I would have to say "Strange." It was one of the first ones on the album I finished and it was one of the first songs I felt sounded exactly or almost exactly how it sounded in my head, which was a really cool thing to witness. I also just feel like it has a lot of energy and is just a fun song to listen to. FLR: Do you enjoy playing live? D: Playing live, especially full band, is probably one of my favorite things to do ever. Feeding off the energy of my bandmates is such a visceral experience to me. I really love it. I used to only play solo, just because it was so hard for me to find people in the area, especially drummers. Benton Harbor really isn't aware of the DIY scene. I remember I played an open mic once and played some ambient guitar loops and noise to end a song and this middle-aged lady compared me to Ed Sheeran.

youtube

FLR: Do you like to swim? D: I guess as much as the next person. I live really close to the beach so I go a lot. I am not a fan of sand. FLR: Have you ever had a celebrity encounter? D: Like has anyone ever recognized me from my music? Kinda? I was at a house show in Kalamazoo once and a kid knew my music from my YouTube covers of Alex G and Joy Again and stuff that got somewhat popular. That also happened when I went to a Joy Again concert by Sachi and Arthur who play in the band. I don't think anyone has recognized me as Harvey Waters or Garbage Water, or at least never approached me. FLR: What's one question you've never been asked in an interview that you would love to be asked someday? D: My top five favorite fonts. FLR: And finally, what does 2018 look like for Harvey Waters? D: Just trying to book as many shows as possible. Hopefully moving out to Grand Rapids in July and just continuing to write and record music. Harvey Waters on Facebook Harvey Waters on Twitter

#interviews #Harvey Waters #scouting report #bedroom pop

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componentplanet · 5 years ago

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Best Tech Gear for Working From Home

If you’re headed home to work and haven’t done it much previously, there are some tech items worth thinking about. Here are some that we at ExtremeTech find particularly worth considering, in addition to a couple of obvious items like an external monitor if you’re working with a laptop.

Quality Conferencing Speaker

While your office may have a good setup for participating in conference calls, your home office probably doesn’t. Speaking as a journalist who listens in on several virtual press conferences a month, I can easily tell when one of the presenters is trying to make do with their laptop’s built-in microphone, their phone, or a cheap webcam. In my case, I have both a nice Logitech 1080p webcam perched on my monitor and use a speakerphone for audio-only calls.

Currently, I’m testing a review unit of eMeet’s M2 conference-friendly speaker ($199.99).

It is a UFO-shaped design, with a solid build featuring a machined-aluminum chassis. Playback is a definite step above any smartphone I’ve used, but the unit’s real strength is a set of microphones surrounding its edge that give it a 360-degree sound field, coupled with audio processing that allows for speaking at various distances and helps filter out background noise. You can use it via Bluetooth, via the supplied audio cable, or using the included wireless USB dongle. I’ve had good success with it for both voice calls and with Skype. Especially if you have more than one person at your location on a call, it is a lot better solution than having everyone hunched over the same smartphone trying to be heard. It isn’t a true speakerphone, though, so if you need a model that is also a phone on its own, you need to look elsewhere.

If you don’t want to shell out for a dedicated conference speaker, remember that in a pinch you can use a Google Home or Mini or some other voice-assistant appliances as a speakerphone. I’ve kept a Google Mini next to my home office machine for just that reason. Speaking of Google, I’ve been experimenting with leaving my Pixel 3 on Record while I’m dialed in. That gives me a decent transcription of the call that I can use to backstop my notes. There are also specialized call recording options for various applications. I’ve used Amalto Call Recorder with Skype successfully. The free version has a time limit on call length, though. (Also remember that different states have different laws about recording phone calls.)

Audio Headset

A speakerphone isn’t always the best solution. For starters, unless your keyboard is really quiet, if you type during calls you’ll be really unpopular (this is another thing that happens on a surprising number of press calls). Or, if you aren’t the only one working from home, you may not have the option of blaring your calls out of a speaker. Finally, with a quality headset, the microphone can do a better job than most speakerphones. Particularly when on a call with non-native English speakers, I find using a good headset especially helpful. In my case, I own a Jabra Evolve 40 ($115)

that I’ve found a reasonable compromise between a decent price and good quality audio.

Monitor Light

Particularly if you need to work in the same space as other family members, lighting your work area effectively without disturbing them can be a problem. Simply sticking a desk lamp next to your computer typically spills the wrong amount of light in the wrong places. Fortunately, a dedicated monitor light is a great solution.

My favorite is the ScreenBar

family from Benq ($99-$129). I’ve been using the original for several years. It provides a targeted, dimmable, light source from its location on top of your monitor. I use it to light my keyboard and any documents I need while I’m working. Their newer Plus model adds a desktop control, which I find more convenient than using the touch controls on the bar itself. It also has a very cool feature where its ambient light sensor adjusts its output to provide you with a constant level of overall illumination.

Fail-Over Plan for Your Internet Connection

The internet is an amazing thing — when you can get to it. At the office, your company probably has a system of fallbacks to keep everyone connected if an ISP has an issue. At home, you probably don’t. Depending on your location and budget, there are a few possibilities for setting one up. The simplest might be to get a phone plan that allows you to use your device as a hotspot and comes with enough bandwidth that you can work over it. Or get a dedicated hot spot device with a data plan.

If you’re likely to be working from home long-term, though, it might be worth investing in a second ISP connection. In our case, we have a fairly-fast primary connection over Comcast, with a slower backup over AT&T. The two are plugged into a Synology RT2600ac Router ($199.99)

that supports automatic failover. Most of the time I second-guess whether we need to pay for two ISPs, but once every month or two it pays for itself when we can work even when our primary connection is down for a few hours.

Exercise Gear

It’s really easy when working from home to become something of a couch potato. Going for walks is great, but it isn’t always to make enough time. Going to a gym is traditional advice, but if you’re staying home to avoid excessive contact, it may not be the best option.

Obviously there is a nearly unlimited selection of home exercise equipment, but one I have found particularly compatible with working at my home desk is an under-desk “cycle.” With a decent one, you can dial in the resistance. More expensive models will also keep track of your distance. I have a relatively inexpensive model — a Stamina InMotion E1000 (I paid $89.99, now it’s $104.99)

that so far has worked well. Keep in mind that you’ll need a high-enough desk to allow you to cycle under it.

Cooking Tech

I read an article recently from a journalist who found himself confined to home and bemoaned how much he was spending on food delivery services like Postmates and Doordash. For me, that totally misses out on one of the biggest advantages of working from home — it is much easier to cook for yourself and your family. For starters, you can probably cook dinner in the same time you usually spend commuting. Plus, you can get a head start on meal prep during the day, and even experiment with meals that require a long time to cook.

Assuming you’ve already got some type of stove and oven, for me the most valuable “next” cooking appliance is an Instant Pot. The newest versions, like the Duo Evo Plus ($109)

that I own, can slow cook, sous-vide, pressure cook, and more. If you want to get a little more exotic and have the budget, check out our reviews of the Brava Oven and Cinder Grill.

Keep Your Receipts

You may be able to expense your work-from-home gear costs. Expense report processor AppZen reports that around 6 percent of COVID-19 expense reports filed so far have been for work-from-home expenses. Even if your employer doesn’t cover them, you may be able to file them as deductions on your income as Employee Business Expenses. Of course, if you are a freelancer or run your own business, then there is a good chance they are deductions you can take directly against your business income.

We’ve only scratched the surface here, so please let us know in the comments any tech items you find helpful for working from home.

[Image Credit: David Cardinal]

Now Read:

ExtremeTech’s Top Tips for Working From Home

COVID-19 Pushes Steam to Record Number of Active Users

AT&T, Comcast Offer Improved Internet Access in Wake of COVID-19

from ExtremeTechExtremeTech https://www.extremetech.com/computing/307436-best-tech-gear-for-working-from-home from Blogger http://componentplanet.blogspot.com/2020/03/best-tech-gear-for-working-from-home.html

#Best Tech Gear for Working From Home

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a-dead-starwars-account · 8 years ago

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@damereyevents summer exchange: for @strong-bottle-of-jyn

Aaaaand here it is!!!! Yoooo damerey buddy!!!!

You asked for a fic about scavenger!poe and pilot!rey (ooooohh)! lol and because I love all my damerey and my damerey buddies I also made a little gifset to go with it :D

I have to admit, it’s been years since I last wrote a serious fanfic so forgive me if my writing’s a bit rusty (and if the style feels childish it must be because while making the fic, I was reading the young kids’ version of ROTJ by Tom Angleberger — I highly recommend, it’s fun! hahaha). And this story has no title yet...hmm, would you like to do the honors? :) Hoping to hear from ya soon!!!

Summary: Poe Dameron has made a decent living as a scavenger on Yavin 4, but a chance encounter with two Resistance fighters may finally bring him to his destiny to fly with the greatest heroes of the galaxy. Maybe dreams do come true.

Words: 4,903 ( i kno it’s short :( )

Edit: the title for this fic is "You Need a Scavenger" lol!

“Oh no. Oh no. Oh no,” Finn gaped at the mess of a ship he just came out of, “This is bad. Real bad.”

“Damage report?” Rey, still stuck in her blue jumpsuit-sans-helmet, peered at the smoking wishbone ship before sharing a wince with her best friend.

Ordinary people would have accepted their death at the hands of an endless jungle.

But Rey and Finn weren't ordinary beings.

Running on instinct, the duo scouted the area for something useful (that wasn't another gigantic tree). Finding nothing but endless greens, they decided to to immediately set up camp by their downed vehicle.

“Another dinner of tasty rations,” Rey grumbled at her veg-meat as Finn chuckled, opting instead to take a nap on his sleeping mat.

“Good night, peanut.”

“Sleep tight, Finn.”

- -

The fourth moon of Yavin wasn't particularly a competitive market for junk and it suited Poe perfectly fine. Besides, the farm being tended by his father could sufficiently feed them both; his scavenging was nothing more than a hobby that happened to bring extra credits to the table.

After setting up his father’s breakfast, Poe and his droid BB-8, headed off on his self-constructed landspeeder for their next salvaging adventure.

“So, where are we off to today?” Poe turned to his round companion who beeped and chirped animatedly, “Hmm… yeah buddy maybe we should take a break from scouring the abandoned Rebel base and try our luck on something else. Scan around for unusual readings.”

The droid responded by making annoyed noises, “Yeah yeah, I know I'm too obsessed.”

Dee-deet! Dee-deet! Poe’s scanners were picking up a mass of potential scrap ahead of him. Slowing down his speeder, he pulled out his quadnocs to take a peek. He could see smoke lightly dissipating from a hidden cockpit. The magnified image made his heart leap. It was a real, functional Y-wing!

Never in his life did Poe drive his speeder with utmost urgency. It was one thing to stare at holoimages of fancy ships or pick around distended parts for selling. But to catch a whole, real (REAL!) starfighter? He felt like the luckiest man in history since Han Solo's legendary win in a game of Sabacc (of course Poe knows about Han Solo! Poe’s probably a walking encyclopedia of the Galactic Civil War). His mind raced with possibilities and ideas.

I should try the sublights on this thing.

Maybe I could bring home a nice helmet from this too.

Will BB-8 fit the astromech slot?

I can finally know the feeling of flying a bomber!

His imagination was cut short by a blaster bolt that almost singed his favorite jacket. Filled with panic, he didn’t realize that the pilot might still be alive!

“Who's there?!” screamed a bold, male voice. Poe could hear the rifle being prepped for another shot.

“I mean you no harm!” Poe quickly answered, hands up in the air, “I… uh… saw your ship! And I uh… came to offer my services!” His mind was nimbly threading a legitimate excuse, “You see, I run a small business of fixing stuff and selling parts. My house is just a few klicks away.”

The pilot must have been a little desperate as he lowered his blaster and moved closer to Poe's position.

Dark complexion, clean haircut, and very determined eyes. Complete trooping gear and a classy flight jacket.

The man, bearing a brawny build and an equally assertive stance, inspected Poe to ensure that he wasn't hiding any weapons. But what he wasn't counting on was the stinging electric shock delivered by BB-8 on his ankle, “Ow!” he stumbled and grunted.

“Hey buddy, it’s okay. I was about to score a job,” Poe intervened before his loyal companion could send another shock current on the man. The reassurance caused BB-8 to roll backwards and bow his domed head in apology, a light ‘dwoooo’ sound echoing his speakers.

Deciding to play friendly, Poe helped the stranger up, “I'm Poe. Poe Dameron.”

“Finn,” he responded, “You said you could fix our ship?” the man inquired.

“I gotta take a look at it first, of course,” Poe replied. True, he had to assess the damage. But his true motivation was the chance to see and touch a real Alliance vehicle. He just had to pull out all his tricks for this chance!

Finn, Poe, and BB-8 approached the Y-wing in haste. And as Poe was about to get his first touch of the ship, a gloved hand grabbed his forearm.

“What do you think you're doing?” growled a female voice this time, mezzo-soprano, (and obviously very angry).

Her air of authority placed Poe in a state of partial paralysis. He slowly looked up to see a fair and regal face, sprinkled with dust and slightly tanned. The upper part of her blue flightsuit was unzipped to reveal a worn, sleeveless, gray undershirt (and immaculately toned arms). Poe dared to look into her hazel eyes and gulped. If Finn felt like dealing with an elite shocktrooper, the girl was probably Lady Vader.

Nevermind that the girl’s gauntlets were dripping grease on his favorite jacket.

“I'm uh, Poe. Poe Dameron?”

“And?”

“He wants to help fix the ship,” Finn intervened, hoping to defuse his friend’s aggression.

“As you can see, I can handle it myself,” the girl replied, oozing with sass. She pointed a Pilex driver at Poe, “And no offense, but you look like a scruffy scavenger about to steal my ship.”

Damn, caught so fast. Maybe I should have listened to Dad and shaved.

“You'll need parts though,” Poe adroitly picked himself up from the girl’s tripping wits, “I sell! And, I can see that your coolant’s leaking. We could work on that.”

The scavenger’s right. She huffed, “I do need some more bonding tape.”

“Hey, I can get you some new parts for that instead!” Poe exclaimed, “My finds will fit well with an Alliance classic like your bomber.”

Of course the girl had her doubts, but after a silent deliberation within herself (actually, it was just one long sigh), she relented.

And they all got to work.

- -

For the next few days, Poe learned a couple of things from his new customers.

1. The girl's name was Rey - and she was probably ranked as high as Captain, based on how Finn addressed her.

2. Rey and Finn were probably Resistance agents, scouting around the sector until they got hit and landed here.

3. They were in a hurry to fix their long range comms. But so far, no luck.

4. Kes Dameron, Poe’s dad, came down to see what they were up to and offered some koyo melons from their homely ranch. A warm, ambient environment ensued.

5. Finn did most of the talking (he was a very friendly chap when you got to know him). Captain Rey on the other hand, was a quiet sort of buddy.

6. But Rey has a very special heart for machines. She bonded with BB-8 instantly while making a lot of technical remarks about Poe’s landspeeder. (Of course Poe took lots of notes! Had to learn more about this girl - I MEAN LEARN FROM A REAL PROFESSIONAL STARFIGHTER PILOT).

7. Also, this meant that Poe's sly attempts to sell his worthless junk (as he usually did with unknowing offworlders) didn't succeed under Rey’s watchful eye.

8. Nope, a shaved face didn't help his cause either.

“25,000 credits?! This is a rusty 30-year-old U-wing thrust engine!,” Rey frowned at the chunk of metal being put down by Finn and Poe from the landspeeder.

“On the contrary,” Poe began, shifting his gears into salesman-slash-Galactic Civil War expert mode, “I believe this lovely piece of vintage was part of Operation Fracture, which — ”

“ — was the mission to uncover and stop the Death Star,” Rey supplied, “and if my memory is intact, most of Blue Squadron’s U-wings met their grave on Scarif.”

Poe was flabbergasted. It was perhaps, the first time he was caught spindling a lie about history. Finn simply chuckled and patted BB-8, “Sorry Poe-my-good-man, but Rey is a hardcore geek when it comes to these things. Girl knows her stuff.”

“Look Poe, we’re not museum collectors. I need functional thrusters if we are to make it as far as Mandalore,” Rey explained.

BB-8 chirped something in response.

“You need the money for what?” Rey raised her eyebrows and began crossing her arms.

“Don't listen to him,” Poe panicked, realizing what his droid had just said, “Okay...look...we can go to my usual hauling areas and find another thrust engine.”

“You know if you were so bent on signing up for the New Republic Starfighter Corps, you could join us in the Resistance! I can gun for you if you like! I'm actually a big deal in the Resistance and I am pretty damn sure that I am one of the best gunners out there,” Finn grinned, pumped up with excitement.

But Poe nervously chuckled and cleared his throat, “Let's not get carried away guys. Now wanna go check out that old Rebel base?”

- -

Many would have thought that the Rebels took everything with them when they evacuated the Massassi temples on Yavin 4, and that graverobbers would have nothing left to salvage from the ancient rocks.

But Poe Dameron was a persistent one.

Driven by his deep desires to rediscover his deceased mother, an ace of the Rebel Alliance, he poured all his efforts on uncovering concealed caches, cracking codes, and absorbing whatever intel was left behind. What lacking information he needed, he sought through Holonet searches when he visited the main town. Sometimes a family friend, a retired veteran Duros pilot he fondly called Uncle L’ulo, shared what he could to the eager boy. Along with Kes Dameron, they reminisced Green Squadron’s finest moments when Lieutenant Shara Bey, Poe’s mom, did the wildest heroics in the name of freedom and justice.

The secret outposts found by Poe were stashed with enough supplies and parts to sustain a lost platoon for 5 standard years. Though they couldn’t find a good set of thrusters, Rey and Finn were admittedly impressed. BB-8 also helped set up temporary long range communications through an old terminal, so that Finn can report to Resistance High Command.

Meanwhile, Rey and Poe decided that they could build their own thrust engines from the spares. The two tinkerers were quiet for the duration of their work — Poe was determined to help his new friends get going while Rey began contemplating on the idea of acquiring another useful recruit. She knew that the Resistance needed more manpower, but at the same time their job required a deep sense of commitment and utmost loyalty, qualities Rey wasn't sure that Poe had (For one, Rey knew a lot of skilled people who were nothing more than mercenaries). Still, she decided that a little probing might help around.

“Why do you want to be a starfighter pilot?” Rey inquired while fiddling with her toolkit.

She could sense the emotions brewing beneath the scavenger.

Sentimentality.

Compassion.

Belongingness.

Poe tilted his head, scrunching up his face a bit as he continued to work, “Mostly because of my Ma, I guess,” he picked up a hydrospanner and inserted it into a damaged slot, “She flew for Green Squadron while my Dad served under the Pathfinders.”

Rey nodded in understanding. She also began installing some bolts.

“How ’bout you, Captain... uh, why did you want to be a Jedi?”

If Rey was surprised, she didn't show it. (Actually, she was. But of course she's better than that.)

“What makes you think I’m a Jedi?” she calmly challenged his query.

Poe shrugged, still engrossed in his work, “I saw your lightsaber clipped next to your belt. The only time I saw that kind of thing was on a holo of Luke Skywalker in his X-wing attire.”

Rey couldn't help but grin. He's an observant one. Good. “Let’s just say it's also tied to family.”

Poe nodded.

Silence ensued. But, it was comfortable kind, knowing that they stood on the same ground and were somehow, drawn to the same endless stars above them (How did assembling thrusters become such a dreamy setting?). Before they knew it, only a few couplings were left to be installed.

“Finn’s not done yet, is he?” Poe mused.

“I’ll tell you a secret — that boy has a rather colorful love life,” Rey mischievously replied and they shared laugh, “If I have to place a bet, it’ll be on one of those sisters he befriended on the maintenance crew…”

“Must be tough love.”

“Maybe if you join our ranks you'll give him some competition,” Rey joked.

“Nah. My old man needs me here,” Poe shook his head.

Rey was about to respond when Finn came back with BB-8. He seemed more relaxed after that long chat with the base.

“Hey Rey, General Organa wants to talk to you,” Finn bent down, positioning himself to take over her work. The captain quietly stood up and accompanied BB-8 back to the terminal.

“General,” Rey curtly greeted Leia Organa with a nod.

Leia on the other hand, continued to stare dotingly at Rey, as though her compassion could be transmitted all the way from D’Qar to Yavin 4.

“Rey, I wish I could tell you to take your time but — ”

“Time is of the essence, I know,” Rey sighed, rubbing her forehead, “I'm doing my best to fix the ship and I swear we’ll be on track to Mandalore before you know it.”

“No, that's not it,” Leia explained, “We're picking up First Order transmissions. They're in your area, trying to find a Force-sensitive tree. Several TIEs have been dispatched. They might also be the group who shot you down.”

“A Force-sensitive tree?”

“I know Luke had given one to the Dameron family. Finn says you've made contact with their son?” Leia asked.

“Yes.”

“Make sure the First Order doesn't find it,” came Leia's swift order.

“But what about the emissary to Mandalore? We have to coordinate with them soon,” Rey frowned, unconvinced by the tree’s importance.

“Finn says that Poe Dameron is seeking enlistment with us. And I know his parents well, especially his mother. Recruiting him is as good as finding our contact in Mandalore,” Leia replied, her voice driven by conviction. Rey could feel ripples of the Force flowing between them. Leia's natural intensity as a commander not only made her an effective leader, but also an undeniably strong presence in the Force.

Like Master Luke. Like Ben. And all those lost Jedi.

Memories of pain flushed her into a deep silence.

And Leia of course, was able to pick up on it, “I know it's so hard to place trust on people. Especially after what happened to your father…” her voice began drifting, her own emotional struggles reflecting that of Rey’s.

But unlike an amateur such as Rey, Leia was firm in resisting her grief. Decades of experience brought her that ability to endure, “I had once entrusted my life to Shara Bey and I did not regret it. And if Poe is anything like his mother — or even his father, you will not hesitate to seek his help.”

“Yes ma’am.” Rey, suddenly stoic, affirmed.

Leia sighed. At least she is trying, “May the Force be with you.”

- -

“So, you like our little scoundrel of a princess?” Finn jabbed at Poe.

“Wh-what?” Poe stuttered.

“Oh come on! The only time I saw that kind of look was when Rey got to fly the Falcon!” Finn continued to tease, “And believe me, I’ve been through a lot of fodder with that gruffy girl and it's definitely been an adventure of a lifetime.”

Poe frowned. They began to tow the newly-constructed thrusters back into the speeder.

“I know she likes to look tough. Have you seen how she likes to be scruffy and show off her guns and all? She wants folks to respect her. And I guess I can't blame her for trying to live up to an inherited reputation…” Finn began rambling, immersed in his discourse of his best friend.

“But I know, deep in my gut, that you’ll be good for her,” Finn continued, “I've seen her rip a gundark with her bare, muddy hands and I was there when she wore silvery garments and stole glances from everyone in a senator’s party. Of course the other pilots like Jess and Karé love her with all their being. But she needs another kind of friend, a relatable one. Someone who also memorizes all the skirmishes after the Battle of Hoth. And can re-wire a navicomputer with eyes closed. Someone who knows what it’s like to be a child of a legend. And if these docs are right, your Mama was one helluva pilot,” Finn wriggled his eyebrows, waving a datapad in front of Poe.

The scavenger just gaped at him. Somehow, Finn’s datapad had just downloaded all of Lieutenant Shara Bey’s Alliance records. Not just Shara’s but Kes Dameron’s files too.

“You know when Leia treats us all Resistance babies like her own children you get access to many amazing things,” Finn winked.

“Now if you’re trying to lure me to join — ” Poe began shaking his head.

“I don't know what’s stopping you either.”

“Dameron!” shouted Rey's voice. The young Jedi was jogging towards them with BB-8 rolling in the same quickened pace.

“The tree. Where is it?” Rey grabbed Poe’s collar.

That gesture must have terrified him because he froze in place.

“Whoa, calm down Cap. What did the General say?” Finn patted Rey’s shoulder.

“The First Order is here, looking for a tree that Master Luke gave to Shara Bey. We need to protect it at all costs,” Poe and Finn could feel the panic seeping among them.

The tree. From Luke Skywalker himself.

Poe's mind was running in circles, remembering how his parents revered the damn plant. How he was made to personally care for it when he accidentally burned it in a hurry to finish his chores, many years back.

He flicked his comlink, contacting his father.

Shhhhhhssssshhhh. Static.

If his comm was jammed, that meant the First Order was here. On this moon. On their backyard.

AND HIS FATHER.

The trio (plus BB-8) hurried back to the homestead.

- -

Kes knew that he'd never outgrow the instincts he’d bred as a SpecForce soldier. So, when he saw an indiscriminate man heading straight for the Force-sensitive tree, he immediately grabbed his old blaster from a hidden compartment. Setting up for a snipe shot, he quietly aimed at the thief.

Pffoooowpsh!!!

Ah, that satisfying hit meant that he was still a true Pathfinder.

Kes slowly moved towards the incapacitated man, inspecting the thief's gear. There were network sensor jammers in one pocket and other tools similar to former Imperial Security Bureau agents. He could also hear at least two speeders within his area, one he identified as Poe's and another that was probably the burglar’s reinforcements. Making a wild guess, he ducked before a second thief tried to shoot him, and then fired back.

He missed. And the second man accelerated his vehicle, retreating back into the forest.

“Dad!” Poe, along with BB-8, hurriedly approached his father.

Kes raised his thumb up before gesturing to Rey and Finn to catch the escaping intruder.

Rey immediately took over the controls of Poe's ride while Finn readied his rifle.

Poe glanced back at them, hoping that Rey would take care of his baby.

“I’m okay, son. I’m okay,” Kes grinned cockily. Sometimes his boy was such a worrier, like Shara secretly was back years ago.

“Was it the First Order, Dad?” Poe peered at the dead body.

“Definitely,” Kes nodded, “I knew they'd be after the tree one day. It was Skywalker’s last request from our family to keep it safe.”

“Dad…I...”

Kes couldn't help but give his son a rather wrinkly smile. He could read Poe and all his hopes and fears like plain Aurebesh.

And he knew exactly what he had to say to give his kid a final push. “Destiny calls us. The Force, even. That's why I wounded up serving under General Solo back on Endor, why your mother flew alongside Luke and Leia. We decided that we couldn't allow innocents to suffer. Now you have to make your choice. Will you help them too?”

“But what about you? Who's going to take care of you?”

Kes boisterous laughter filled the air, “I'm tougher than I look, son. Your old man still has that Pathfinder spirit,” he pounded his chest proudly. He shifted gears and mellowed the mood, “Poe, I know you’re worried for me but I'll be fine here. Shara used to think that way, too. Afraid that she couldn't stop flying once she got into her green flightsuit and left you behind.”

He held his son's face, looking into his eyes that was so much like his wife's — that same soul yearning to explore the heavens, “You'll know when to fight and you'll know when to back down. We've raised you to be smarter and tougher so that one day you could take your place in this universe,” he slipped a data chip into Poe's hand.

The launch codes for Shara’s old A-wing. An old ship, long hidden beneath a tarp, parked half a klick away.

A beauty waiting for its reawakening.

“I give you my blessing, son. It's been a long damn time and now you should quit holding yourself back!” Kes laughed again, “Who knows our small family might get one helluva pilot as daughter-in-law again!”

Poe palmed his face, recently cleaned of facial hair (also done to secretly impress the Y-wing captain). His dad was too quick of a thinker sometimes.

- -

With the infinite obstacle of trees, Rey can only steer the speeder so much. That was probably the seventh time she had to avoid the blaster bolts from hitting their borrowed ride.

“Are you ever going to fire back, peanut?!” Rey exasperatedly whined at Finn.

“I'm trying!” Finn grumbled back.

“What ever happened to the Resistance’s best gunner…” Rey muttered, slipping a grumpy joke as she usually did during troublesome times like this.

“I heard that!” Finn shot back, simultaneously hitting the thief's motivators.

The speeder in front of them was yanked out of the route, but the man luckily escaped. He continued running towards a pair of strange-looking TIE fighters (probably modified).

“He's going to fly out!” Finn pointed at him.

“I know that!” Rey screamed back. With a blink of an eye, she stopped the speeder and leapt in the air with her activated lightsaber.

Finn shook his head, but realizing that their Y-wing was only a junction away, he drove back to their campsite to re-install the new thrusters and maybe, get going.

He’d seen Rey make miracles and hopefully, they wouldn't need their dysfunctional ship to take chase on those pristine TIEs.

But being not much of a mechanic himself, he was probably the one who needed to make a miracle.

- -

Rey effortlessly deflected the blaster shots from the thief, who was backing away and nearing his ship.

This agent is crippled by his fear.

Rey threw her saber at his ship's twin ion engines, a smirk forming on her face.

You’ve got no escape this time.

Catching back her blade like a boomerang, she Force-pushed the thief into a tree, knocking him unconscious.

She turned to the other TIE fighter, not realizing that the pilot inside had prepped his ship for take-off and had began gunning her. She continued to deflect its strong bolts until one blast hit an enormous branch, which was about to topple her. Rey rolled out of the way and unfortunately, it allowed the TIE to escape.

Panting, she regretted her failure immediately.

Luckily though, Finn was able to pull a bit of a miracle. Their battered Y-wing was floating in front of her, cockpit opened.

“Let's test-ride this new thing!!!” Finn cheered. Rey smiled back and gracefully jumped to her seat. Following the TIE ahead of them, the Y-wing began to hit the skies.

Apparently, it was going to be harder than expected.

“You did not recalibrate this thing, did you?!” Rey groaned, the wishbone-shaped fighter jerking despite her focused controls. The TIE was now flying farther away.

“Well we were in a bit of a situation. I had to hurry!” Finn retorted.

Rey muttered a few things before resetting the guns and cannons. Finn, working in tandem, immediately tested his aim.

PPPANG!!! PPPANG!!!

Well, at least their guns are working.

Now it was a matter of reaching their target. But the TIE suddenly tumbled itself backwards.

“It’s behind us!” Finn warned.

“Deflector shields up!!!” Rey flicked a few buttons, wanting to pivot her stubborn fighter around to hit it and end the day.

The Y-wing whined in protest. Rey was trying her best to stabilize the gyroscopes. Finn knew that if she didn't do it fast enough, they'd be dead toast.

But suddenly, the sensors showed another ship approaching, hitting the TIE on their tail!

“Wooohooo!!!” Poe whooped, opening the comm channel to the Y-wing.

“Poe!!!” Rey and Finn exclaimed in relief. BB-8 was also beeping happily in the background. The droid was excited to be part of the adventure.

“I'll get him off your backs. And prepare to fire! His shield’s too strong for an old A-wing gun,” Poe advised.

The A-wing began baiting the TIE to follow him.

Poe yanked the controls and the old ship yielded to his maneuvers smoothly. A-wings were extremely nimble, and the TIE fighter (an unusually different model, Poe mused) had a hard time catching up with his swoops and barrel rolls. He dropped his ship too sharply, feeling the wild rush turning his insides. And then, he suddenly pushed his stick the opposite way.

No way could the jerk follow that crazy path.

Rey had somehow anticipated the path and soon, the Y-wing was onto the TIE’s trajectory.

“Clear shot, Finn!” Rey queued.

Her friend carried out the orders suavely and the TIE was swiftly blown to pieces.

The new friends hollered together. It was a memorable first victory.

“Now what?” Rey grinned at the comm, still hearing Poe’s laughter.

“I’ve brought some cargo with me and we can do repairs when we land on Mandalore,” Poe suggested.

“You sure?” Finn gasped excitedly, enjoying that their mission was going to proceed so instantly.

“Alright, sending coordinates to you,” Rey smiled to herself. Maybe the three of them were complete adrenaline junkies, after all.

The two rebel ships zoomed into hyperspace.

- -

The Resistance transport was up in their sights, already beginning its landing cycle.

“Hey, don't be nervous,” Finn patted Poe on the back.

How could he not be nervous?! Poe was finally meeting Leia Organa in the flesh. The Princess of Alderaan was a living legend among young dreamers like him. And Poe wanted to leave the best first impression for his long-time idol.

“Don’t worry. General Organa is like a mother to all of us,” Rey winked and Finn just rolled his eyes.

The door opened and the refined woman, despite wearing practical work clothes, was as elegant as the holoimages Poe had seen back home. The troops escorting her dispersed, giving the trio enough leeway to approach the General.

Poe finally understood what it was like to face an icon that seemed to innately exude strength from her mere appearance. It was a familiar feeling, one he had encountered back a few days ago when he tried to steal a Y-wing from a powerful Jedi and her fierce friend.

Leia immediately met eyes with Rey and embraced her warmly. Letting go, Leia looked at Finn and firmly gripped his arms with the same tenderness.

The duo ushered Poe towards Leia and the formerly confident junk dealer turned into a bashful boy.

Leia understood, gently placing her hands on his shoulders (and perhaps imparting some of her fortitude on the newcomer), “Welcome to the Resistance, Poe Dameron. I see that you take after your mother.”

She turned to her followers and said, “Now we have a lot to talk about and we already have jobs lined up.” Resistance personnel and other delegates began following General Organa towards the Sundari city proper.

And that left Rey and Poe alone. (For some reason, Finn was inside the empty transport, probably having his own errands to do with BB-8. )

Maybe Finn’s comming his girlfriend again, Rey thought to herself.

Poe was looking at his old, black-brown boots. The poor guy must still be in shock after meeting Leia. It wasn't uncommon for people to be starstruck after meeting the Princess-turned-General.

Rey grinned, deciding to do something. Besides, she hadn’t thank Dameron for saving their skins back in Yavin.

She slowly wrapped her arms around him. It still startled Poe, since he reflexively lifted his arms in defense. But he slowly relaxed when reality sank in.

Oh, but he's definitely blushing too.

Sometimes even Rey surprises herself (by tuning down her sulky attitude from time to time).

“I think your mom would have been proud of you,” she whispered softly.

A small smile formed on Poe’s lips.

And inside the Resistance transport’s compartments, Finn and BB-8 secretly shared a thumbs up.

END.

#prsummerexchange17 #damereyevents #strong-bottle-of-jyn #damerey

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wombatlogic · 8 years ago

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.defrag

a surreal experimental adventure game by ForgottenDawn (https://rpgmaker.net/games/9142/)

a review

defrag what?

.defrag is a minimalist/surrealist game, drawing some influence from Yume Nikki and its ilk (.flow) while having a more concrete storyline. (Once again, a disclaimer, I still haven't gotten around to playing Yume Nikki so my perspective could be lopsided. Either way, it's got a stark, black/white/noise feel and soundtrack to match. The project is near completion, with just a few polish items missing, and total playtime is somewhere at 3-4 hours.

This review should be mostly spoiler-free, covering the 1.3 preview release.

Story

The player character of .defrag is a humanoid figure, nameless and mute. While some friendly computer monitors give you some hints at the story as you're birthed into the world of noise, there's very little background and the world of .defrag exists mostly outside of any reality, sort of a standalone universe. Your character's lack of identify cements this.

I was a little worried in the first zone - The Aether. With a literally faceless protagonist, randomy "noisy" environment, and no clear goal in sight, I wandered around a little bit, then luckily found my way out. The rest of the game is roughly broken into zones, each with some memorable characters, multiple lines of dialog, and visually distinct designs. At this point, the game is open-ended. I personally wandered around, talked to everyone in sight (once), and started to piece together the premise of .defrag: the world is under assault by a "noise virus" with varied and unclear effects.

.defrag is a pure walking simulator, in that the only gameplay is traversing the world and talking to its residents. Luckily, the residents are a diverse set of folks. The character design is fun. Most of the everyday NPCs have their own consistent personality, and while the writing's never laugh-out-loud funny, it's enough to keep the player interested. The areas without NPCs are definitely less engaging. The major characters (mostly the aptly-named Blob and JIM THE GOD OF DEATH AND DESTRUCTION) have multiple expressions too, which adds a lot. The other major character is unseen, and your only form of contact with this mystery person is a series of signs which slowly grow from informative ("Junkyard ->") to narrative ("If I see one more turn, I swear to god...)

Eventually, once exploration is over, there's a series of not overly noteable fetchquests, but the game ends up turning linear. New areas (the Radio Tower, Purge Hospital) open up, there are some plot twists, and eventually a very thrilling buildup and finish where the game takes on some horror elements. The pivotal "loss of control" moment happens around Purge Hospital, where .defrag switches from open world to closed world, the pacing kicks up a notch, and the game turns genuinely unsettling. It's a very tight and well-executed second half.

Pacing

...and then, there's a whole other half of the game? This is probably the weirdest part of .defrag and its biggest flaw, in my opinion anyway. For reference, here's a graph of my interest in the game as time progresses, roughly to scale over the four hours I played:

Notice that big flat portion after the climax? After the player visits every area, after the big mystery of .defrag is solved, after every character shows their true colors... then a whole new set of characters show up? There's two new sets of quests? And none of these quests actually expand on the world of .defrag or its mystery. While the new characters are all as fun as those in the first half of the game, they're simply irrelevant. The thrill is gone (there's no plot past this point, let alone plot twists) and the exploration is gone (no new maps, either). What's left? Character interaction, which is enjoyable enough, it's just not enough to make this part interesting. The second half of the game is empty content.

Some of this is compounded by the mechanics .defrag uses to move the player from one plot point to the next. Most of the gameplay is "character A requests you to talk to character B," followed inevitably by "character B requests you to talk to character A." The other half of the gameplay is "character A talks vaguely about character B," after which the player is supposed to psychically determine that new dialog options have opened with Character B. Just because Bill mentions Blob, I'm supposed to know to talk to Blob again? This is the cause of the "wandering" segments on most of my graph -- new options had opened somewhere but I didn't know the where. This is compounded by the open-worldness of .defrag -- it's possible to explore places before the fetchquest series requires it. For instance, I was told to find The Hub... immediately after previously talking to every Hub denizen.

Luckily, there are mitigating factors. Towards the endgame, characters offer to warp you to your destination. More importantly, there's a Speed Hax item that ups the walk speed, so retraversing areas isn't all that painful. I definitely would've quit without this item. It's a godsend from the developer and plenty of other games could take the hint. There's also a fast transport system to warp from one zone to another but for whatever reason, this system only unlocks in the second half, when there's no longer a reason to revisit zones. It's a pointless reward at that stage in the game.

All that said, as soon as the player reaches the Radio Tower, there's about an hour where everything is purposeful, well-paced, and well-executed. It's ironically the most restrictive part of .defrag, but this game is so much better when you know your purpose rather than backtracking through zones looking for one.

Aesthetics

The first thing that jumps out about .defrag is that it's monochrome for the most part, and it has sort of a glitchy aesthetic, etc, which is all fine and I enjoyed the game's visuals mostly. But seriously, the most striking thing about this game is its amazing sound design. The BGM is 80% noise, 20% conventional soundtrack. The noise parts vary from inoffensive to oppressive and powerful. Radio Tower especially is about three times more intimidating than it has any right to be thanks to its sound. While it's not much to listen to on its own, playing .defrag without the sound on would be a huge mistake.

https://forgottendawn.bandcamp.com/track/the-radio-tower https://forgottendawn.bandcamp.com/track/the-reveal-part-i

(Some of my favorites, free listening at Bandcamp)

(oh and for what it's worth, the part of Yume Nikki I'm most familiar with is its OST and I'd say .defrag is a worthy rival)

The conventional pieces only show up around the climax, and while once again, they sound average removed from the context of the game, they work fantastically well where they're positioned. The final areas start to layer ambient melodic components on top of the noise, and then finally there's true affecting, orchestral pieces for the climax. It's a powerful constrast. Combine this with the minor SFX throughout the game (footsteps, doors, hospital ambiance) and I can safely say .defrag's biggest asset is its sound.

Back to the visuals -- they work. The mapping is fine and varied between zones. Some areas are prettier than others. I especially enjoyed the wireframe sculptures of The Garden and the futuristic feel of The Hub. The glitchier areas of the game (The Aether, The Plant) weren't as fun, and some were uninteresting due to level design more than visuals, for instance, the hold-the-left-arrow-key Junkyard or infinitely-looping cellar areas outside The Hub.

As mentioned before, the character visuals are spot on though. I only wish more characters were present in the first half of the game, because in the first half, apart from the wireframe NPCs, expect the only faces to be Blob and Jim. Luckily Blob is very... expressive.

In conclusion...

.defrag is fascinating and for the most part, fun. The half a game that comes after .defrag is superfluous not fun. While there are a few mixups caused by the exploration elements in the first half, it's ultimately a unique and engaging experience. What I'd want from a .defrag 2.0 is its postgame content tucked into its first half. Most of the problems in the first half are what-do-I-do where-do-I-go problems that probably can't be solved without killing the fun that is exploring the world on your own, but more content there would definitely cut down on the "Wandering..." moments. The second half can be cut entirely and I'd recommend anyone looking to play .defrag (you should), just quit after leaving Purge Hospital. It's a quirk of the game that it can be "ended" at any time after the climax, so consider the rest very (VERY) optional.

In fact, there's one exact moment I can pin down as what feels like the "real" conclusion to .defrag. It's a scene in the hospital just after the climax where the player finally learns the fate of their predecessor, the person who placed all those signs around the world. If the low points of .defrag are backtracking through environments looking for someone whose dialog changed, then this is the high point: haunting use of sound, a well-told story, a discovery, and an emotional kicker. Play this for the good stuff.

#rpg maker #surreal #horror #game reviews #yume nikki #.flow

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noiseartists · 5 years ago

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Naruzko: Groovy ambient synthwave from Russia

Naruzko are three pieces experimental ambient trip-hop project from Kupchino, Saint-Petersburg, Russia. They present themselves as follows:

‘We are just ordinary people from a residential area. We go to work, sit at night on the Internet, we hate everyone and everything. We blame anyone, but not ourselves. We are just ordinary people, like everyone else. We are ordinary - like you.’

The band’s lineup is:

Konstantin Datkunas - guitar, voice

Dmitriy Afanasiev - bass, effects, laptop

Sergei Tumanov - drums, effects

Their music work to date is:

Вероятность как прах | Probability as dust, LP, October 2015

Пороки нашего времени | Vices of our time, LP, March 2019

What is your music about?

Our music is what we get after we add sounds that we like. It’s like a process of putting different layers of sounds one above another, till the moment when you hear how they work all together and you like it. This is our mood at a certain moment of time.

For example, today I came up with a drum set, which we sort of put under the mix, as a background. A week later the bass parts came to my head, under which we put some rhythmic noises. It is something new and unusual, always.

Music for us is a struggle of interests, attitudes and compromises, of which my team and I put together the plot. Lyrically our music itself is about loneliness that surrounds us from every sides. About hopelessness in trying to get rid of it. Every song of NARUZKO is telling the great tragedy of a little man which reflects on different topics.

Perhaps this might help listeners to associate themselves with it and understand where in this world you are at this very moment.

What are your goals as an artist artistically/commercially?

We think that if our music pleases someone and comes out to certain masses and when we notice that our listener will demand a continuation from us, we will provide it. We would love to read comments about our work and I would love to collaborate with our listeners as one big team.

It's very cool when you have a huge team that can enjoy the process as well as it gives you energy to grow and move on! Such commerce would be really pleasant to everyone. We are aiming and we are trying to create something honest and understandable to many, and most importantly not to deceive ourselves. And then we would repeat it again, and again, and again... and once again…

Who would you want as a dream producer, and why?

Dmitry: Honestly, I didn’t think about the producer and I can’t say for sure if he will spoil our views and our music or, on the contrary, will get something out from us that will increase a number of listeners and raise our interest and in general our quality of performance. However, I’m very certain that movement is a necessary “tractor”, which will pull the composition. Anyway, there is a very important condition, without which this composition will crumble at full speed - one wave with the musicians.

Kostya: I grew up with Nine Inch Nails music - I would be interested to work with Trent Reznor. With the young Trent, from times of the album Pretty Hate Machine, but the main thing is that I don’t want him to interfere much in the process and not interfere with the guys. Otherwise, somehow I did not really think about it.

Sergei: I don’t think we need one. We came from experimental music environment and I work with this field most of the time. I believe that we have to gain our own experience and knowledge in whatever we are doing as NARUZKO as well as whatever is happening around us and this is our production.

What are you trying to avoid as a band?

Mmmm, probably avoid the lack of time for everything. We have pretty much limitless amount of ideas, but the time is our brake, which is constantly on.

Bloody time... who invented it after all?! You have to always be in a hurry, you have to hurry to live, hurry to rest, hurry to enjoy, hurry to invent.

Life is a race against time, slow down and immediately you begin to be late in everything and everywhere. People, you must learn how to forget about time, it should not exist at all in a happy life. Also, despondency and self-repetition. All that you see in your music if you often go to rehearsals or recording your ideas.

Explain your songwriting process.

We think that every person, if he is not a robot and not a zombie, has thoughts that he or she expresses in various ways. We can write music, writing it in any accessible way. Most often this happens like this - damn, what a cool synth, you need to twist it, it is very in tune with our mood now, and then we distort it so that it resonates with our auditory receptors.

Then we take any other instrument and weave it into the mix. When everything gradually gathers into a heap, we meet all together and then break our creation to pieces, only instruments and notes remain. Then we all spontaneously shake it all up, find the general mood and add up again.

Very often, we compose on the go and write to a portable recorder. Kostya writes a new lyrics, and we all come up with a new basis for it, which Dmitry later carefully transfers to the mix.

Then we listen to a finished track and change something again. This is a very good feeling when all of us are really enjoying with the result.

Why do you make the music you make? Is it in you? Is it your environment?

It’s better to say briefly. This is another way to take a break from everything. Music in our case is a rest. And this is a boundless imagination and constant development.

Each new track is received with even more experience and quality, you see these metamorphoses, you can correct them and get “high” from the writing process to the final result.

Describe your palette of sound.

Noise and deep surround sounds. Synthesizers with dozens of effects and distortions. Live bass and deep electronic bass. Live and distorted sound of drums and electric guitar. Yes, there is everything.

We completely removed all the boundaries from our sound. Each track can vary greatly in style. New albums will have a new palette of sounds and instruments every time. We ourselves do not know what will happen next. This is the key.

You are from Russia, what are the advantages and inconvenients?

Russia is a country with unlimited possibilities, if of course you are not lazy. Here you can achieve a lot, or you can go into the outback and slow down your entire life.

At the moment there are all the possibilities to do your favorite thing on a global level with “the world quality”.

Of course, there are inconveniences, but where are there not?! You just need to turn them into amenities, or learn how to not to notice. A person can adapt to any conditions, especially if this person is a creator.

Find Naruzko here:

facebook

bandcamp

Youtube

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joneswilliam72 · 6 years ago

Text

A conversation with Boy Harsher: "We wanted to convey this sense of desperate longing, while running away."

Provocateurs of darkwave splendor, Jae Matthews and Gus Muller are Boy Harsher, a burgeoning act currently carving out an image as leading voices within the recent renaissance and reimagination of darker synth music. Wielding a chaotic formula that marries brooding synths with intoxicatingly danceable beats, Matthews and Muller’s art attempts and succeeds in capturing emotional instability, while allowing listeners enough room to dance their worries away.

Despite their musically synthetic exterior, Boy Harsher is a grassroots act in the purest sense. In fact, Since The 405 last spoke with Boy Harsher, they started up their own label, Nude Club Records, which they’ve already reprinted their two prior releases, and now, their sophomore album Careful.

In line with everything (for the most part) Boy Harsher previously produced, Careful sees Matthews and Muller more in tune with who they are as musicians, and of course, as a couple. Reflective of overarching and overwhelming grief, Careful cleans out the skeletons from the duo’s closet and somehow manages to exude a sense of hope amid the brutally honest accounts of romantic dysfunction and strained familial ties. It is no secret that we here at The 405 have been unabashed fans of the dark-minimal wave duo for a while now, so getting the chance to speak to Jae and Gus again was a no-brainer.

Fresh off their European tour and now gearing up for their U.S. venture. I spoke with the duo from Northampton, Massachusetts to break down their alluring new album, southern-gothic literature and the evolution of their relationship relative to their musical evolvement.

----------

In another interview, Jae, you mentioned that you’d love to go on tour with Deftones, but it would be very uncomfortable. Why was their album so important for you?

Jae Matthews: I grew up in a very small, rural town in upstate New York, so the music I had access to was whatever came out of KRock (Utica, NY). Deftones’ White Pony was in heavy rotation in 2002—lol it took a couple years to make it up North, plus it really resonated with me. I felt so alone during that period of my life, and found companionship in music. Now, White Pony just feels so classically teenage—both raw and tender, but I definitely still listen to it.

Aside from the music that you have consumed in your lifetime, are there any pieces of literature, movies, fashion designers or anything of that nature that have influenced the way that you express yourself through your own art?

Jae: The first big moment for me was with Raymond Carver - his writing really got me. I spent many years trying to write that way. Later, I started reading a lot of southern gothic, starting with Flannery O’Connor, then moving more contemporary to Harry Crews and Larry Brown. I felt a kinship to the south—my father once lived there and talked often about North Carolina and Florida and Alabama. But I had never been - so those narratives fed into the place and my desire to wind up there.

Augustus (Gus) Muller: Filmmakers like Terrence Malick and early David Gordon Green had a big impact on myself and Boy Harsher. They convey such a heavy beautiful atmosphere. Particularly the narration. Hearing the narration in films like George Washington and Days of Heaven really changed how I thought about telling a story. There’s this beautiful ASMR quality to them too.

Outside of the dark wave, industrial and even cold wave genres, who are some artists and bands we should all be looking out for?

Jae: Lately I’ve been getting into that contemporary minimal-ish folk country stuff, I really appreciate this Joshua Tree based musician Itasca, our friend Daniel Bachman,the last Weyes Blood album Front Row Seat to Earth—although her split with Angels in America will always be my favorite. I’ve been totally intrigued by Orville Peck. If I am in a certain type of mood, I just want to listen to this shit and pretend I’m living fifty years ago. I romance some idea of desert living, with country music in-house bands.

Gus: Divine Weight by Alex Zhang Hungtai and Deep Listening by Pauline Oliveros, Stuart Dempster, Panaiotis have been big for me recently.

youtube

What’s the inspiration behind the label name, Nude Club Records, and when did you decide it was time to release your own music on your own label?

Jae: I made a zine years several years ago entitled Nude Club. It was a collection of my friend’s art, writing and conversations. It’s the name we kept coming back to when consider all the ideas for this imprint.

What are some difficulties you’ve faced starting a label?

Jae: It’s a petty thing, but I always find typos, like after printing two hundred shirts or 500 records. It’s crazy! I cannot BELIEVE we keep missing them.

Gus: It’s just doing a million things at once. It can be overwhelming.

Can you take us behind the decision of releasing ‘Face the Fire’ as the “first taste” per se from your new album?

Jae: The melody behind ‘Face the Fire’ felt very athemic to me, so I ran with that feeling. The lyrical content evolved into this “pushing through” narrative, that action feeling. We were talking about the look of To Live or Die in LA, the giant red sunset, the dry heat. So I tried to create this story around your imperfect self, your vice, your hateful qualities, and that acceptance, while imagining it within that setting. That process probably only makes sense to me, but there ya go.

Gus: It’s a nice fade into the album. We haven’t released music in a while, so wanted to ease back into it with a nice slow burner. Also, the narrative we developed in the music video really reflects a lot of the narrative and sentiment of the record, so it was nice to have a strong visual aspect as well.

In the music video for ‘Face the Fire,’ there are scenes involving someone strolling lost on the beach, while there are others moments where the individual tosses themselves on a bed. Can you dive into how this video reflects the song and why did you choose this specific still from the bed scene as the album’s cover art?

Gus: When we were writing the song I always pictured a burning sunset on the beach. So we just riffed off of that. We both started to see similarities with Larry Brown’s novel Fay. So we based the narrative around the runaway. We wanted to convey this sense of desperate longing, while running away.

youtube

Are there any creative challenges when making art with your significant other?

Jae: The benefits are immense, you’re fully connected and a part of this intimate, trusting bond. Feeling this way in the studio is the reward. But it can also be real painful if your relationship isn’t faring well. It’s easy to take things personal, and the stakes to just become higher and higher. Most of the first two releases detail a lot of the pain and angst that Gus and I went through in during a rather rocky period. We’re more patient now. So I guess the music also becomes so reflective.

Gus: It’s very involved. We’re learning to be more patient with ourselves and also putting limits on how much we work. We need to leave enough time for ourselves.

It says in the album press release that your chaos made the project vulnerable and invariably lead to momentary destruction. “Jae had ‘careful’ tattooed across her back while Gus fried his speakers.” At that point, it mentions that you were not on “speaking terms.” That sounds pretty chaotic, but I’m a little confused about what happened. Would you mind diving into that particular moment for a bit of clarity?

Jae: Gus and I broke up, in a rather extreme and dramatic way. But, we still had a show to play, actually an event we curated called Cry Fest. We wanted to play the show, but we couldn’t be around each other— so we didn’t plan a set or anything. I asked a friend to tattoo my back, and while I let the vibrations kinda travel through my vocals, I don’t think I was really saying anything. I was crying, and screaming. Gus was somewhere else in the room—making a huge amount of noise and threw a lit candle. I am sure it was overwhelming to witness our mutual breakdown. Also, the cops came and we got a noise violation.

Can you talk about the significance of the spoken or sampled interlude ‘Crush’ to the rest of the album?

Gus: The ambient tracks have always been important us. That’s how we started. It’s also reflects our live sets. ‘Crush’ was a track that start as that simple drone we made, we liked it and wanted to expand on it, while he sound bytes are found recordings.

Speaking of the track L.A., as someone from the L.A. area and I tend to forget what I love about the place sometimes. As someone who has played there numerous times, what is the draw of the city for you?

Jae: We love L.A.; our fans in L.A. are incredibly enthusiastic and warm. I’ve always felt really connected when we play there. Every time we go I fall in love with someone, it must be the place—it’s just totally foreign and embraces this false sense of possibility.

Gus: L.A. represents a fantasy for us.

You’ve moved from Georgia to Massachusetts in the past and it seems to have done your career well. Do you ever foresee yourselves moving on from Massachusetts to a place like New York or L.A. in order to launch your careers even further?

Gus: We benefited a lot from being close to New York. It’s such a strong music community and definitely helped us get a leg up. I’m starting to accept I’m not a city person. We spend a lot of time in cities touring, and I really like the split lifestyle.

Jae: We talked about moving to LA. But I think we both realized that we really thrive in an environment that is isolated, more anonymous. I really appreciate my solitude.

youtube

I’m not sure if it’s meant to be ambiguous, but who is Jerry in the track ‘The Look You Gave Jerry’?

Jae: Specifically, Jerry is my stepfather, who passed away two years ago—right in the midst of writing this album. And Jerry is also my father, who died when I was sixteen. This song attempts to process this cyclical grief, the way that these losses have hurt me and my family. The “look” in the song is this phenomenon that my mother described—her inability to forget the look of her husband as he left her—just really heartbreaking stuff.

Jae, it is mentioned in the album’s press release that trauma of losing someone is almost in tandem with your understanding of love, how have the emotions of losing someone helped inform your understanding of love?

Jae: I can’t say that it’s made me steely or anything. Maybe just realistic and tired. The fear of natural abandonment and death allow me to expect that loss.

Has the recording setup remained the same?

Gus: Not really. Same laptop and horrible speakers. We got a few new synths which have contributed a lot, but the set up is still very minimal.

It seems your music is a manifestation of your tumultuous but very loving relationship which is reflective in the sometimes chaotic yet melancholic sound, is it possible that as your dynamic evolves, the music will reflect that as well?

Jae: It’s certainly possible. We’ll continue to make music that feels right!

You mentioned in a recent interview that all our your songs represent a different location, even though the latest releases have a more rural influence. Can you maybe go through which locations are reflected in a few of the tracks?

Jae: We move every couple of years and the music tends to reflect the different settings. The first two albums feel completely drenched in southern heat and lust, where the latter two—to me at least—have more of a nostalgic cold presence, much like the Northeast.

I've been to one of your shows in L.A., and they are hypnotically hectic and seems to play off that small packed atmosphere well. As Boy Harsher garners more recognition and gets to play bigger venues, how do you foresee this project maintaining that chaotic intimacy that has become synonymous with your shows?

Gus: Our music definitely is designed with intimacy in mind. We’re going to just keep doing what we’re doing and see how it translates into bigger spaces. I could never see us getting a drummer or anything like that, but who knows!

from The 405 https://ift.tt/2HefxKN

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joementa · 7 years ago

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I Plan On Seeing The Killers At Least Three Times Next Year. I Wish It Was A Lot More Than That.

When I get into a band or musician, I go all in. I try to get my hand on every piece of recorded music that’s available. I’ll do research about the band’s influences, and usually check out some of the albums too. I’ll read old interviews. And of course I will go see them live. When it hits me the most, just one show won’t do. I will need to see them EVERY time they are in my area, and sometimes I will even fly to go see them. For some reason, it’s very difficult for me to put a limit on what I’ll do to get that unique feeling at a show.

This is something I’ve been experiencing this summer with The Killers. I had wanted to see them for over 10 years but for one reason or another, it just never worked out. But I knew, based on both their music and its similarities with other classic music, that they would put on a great show. Plus I saw a Brandon Flowers solo show in 2015, and it was incredible. So I knew that whenever I did get a chance to see them, they would have to clear a very high bar I set for them in terms of my expectations.

I first saw them this summer in June, going to back-to-back shows. I haven’t looked back since. The shows somehow exceeded my expectations. I’m all-in now. When those shows were over, I told myself that I would be seeing them as many times as possible going forward. There have been many times when I’ve discovered a band, and in that same time period they’ll announce a new album – and usually when a musician puts out a new album, they’ll tour to support it. And that’s what’s happening for me with The Killers. I’ve been listening to them A LOT this summer, and I was stoked when I heard they were releasing a new album on September 22, called Wonderful Wonderful.

Just as I expected, they’re going on tour to support it. I was a little nervous when I first saw the American tour dates, as the beginning of the year can be a pretty busy time of year for me. But I was determined to make it work, even if it meant going to just one show. After calming myself down and doing some research and planning, I was able to find at least 3 shows that I’ll be able to go to (weather permitting, of course), with an outside chance of getting to 2 more.

The first is going to be in DC at The Anthem. This is a new venue, and I cannot wait to check it out. I’ve been to a bunch of shows in DC before, at a variety of venues, and the shows are always great. The crowds rock. And the venues are some of the best-run venues I’ve ever been to (and I’ve been to A LOT of venues). Of the DC venues that I’ve been to, three in particular really stand out - 9:30 Club, the Lincoln Theatre, and Merriweather Post Pavilion. That should come as no surprise, because they are all run by the same management company, I.M.P. And guess what? The Anthem is run by I.M.P. too! That is GREAT news if you’re a live music fan like me. Knowing that I.M.P. runs it is essentially a stamp of approval. Side note: here’s a nice article about I.M.P. from this week’s NYT.

The second show will be at Madison Square Garden. Do I actually need to provide details for why I’m excited to see The Killers at this venue? I don’t think so. That place gets LOUD and The Killers know how to rock a venue. Cannot wait. Oh, and just when I thought it couldn’t get any better, I realized I’ll be in the PIT for this (as well as for every other show on the tour). There’s no way this won’t be fun.

The last show is going to be in The Killers’ hometown. Yep, Vegas baby. At the MGM Grand Garden Arena, a venue I’ve wanted to go to but never made it happen. I’ve been to Vegas once before, but it wasn’t for anything music-related, so there’s no doubt in my mind that my next trip, which will be significantly shorter than my first time there, will be significantly more fun. Rocking out with The Killers, in their hometown, in the pit. I can’t pass that up!

So that’s three shows on the books, but honestly I wish it were more. I wish it was three hundred shows. Three million shows. It’s a limitless amount, really, because the joy I get at my favorite shows is limitless. My favorite shows are rock shows, where you can sing and fist pump all night, and where it’s the odd person who DOESN’T do that. The Killers do a great job at putting on those types of shows. You can tell that they’ve studied the great musicians of the past, but in no way are they copying or recycling the past.

Another band that does that really well is The War On Drugs. I’ve been a fan of theirs for a few years now, and it’s been nice to see them make some noise over the years. They really deserve it, because they approach music the way classic bands do. They work really hard, putting in effort in both the studio and the road. The first time I heard them was in 2011, with their second album Slave Ambient. I’ll never forget listening to it, hearing and feeling all of the influences that I just knew they had to have. I remember thinking, “there’s no way these guys weren’t influenced by Bruce, Dylan, Neil Young, Tom Petty, etc.” As I researched the band, I discovered that I was right. Yes, I’m patting myself on the back about that one.

The War On Drugs have a new album coming out on August 25, called A Deeper Understanding. I haven’t heard anything from it yet, but I expect it to be like their previous albums (i.e. great). All of their music is worth checking out.

I would also recommend reading two recent articles about the band and its lead singer and songwriter, Adam Granduciel. Here’s an article from the NYT: https://www.nytimes.com/2017/08/09/arts/music/war-on-drugs-a-deeper-understanding-interview.html. There also is a great article in the August 2017 issue of Uncut. I unfortunately cannot find a link to it online, so you will have to find it for yourself. It’s worth buying, in my opinion.

Both of these articles are fascinating reads. It’s interesting to learn about Granduciel. In many ways, he is very similar to the classics, and not just in terms of his sound or approach to songwriting. He is a music obsessive, learning the deep catalogs of his favorites. He is also a studio obsessive, putting in countless hours in the studio just to get the right sound. And it seems like he sometimes struggles with being satisfied with his own work. That can be a good thing, because it can keep a musician hungry and prevent them from getting complacent. Plus, Granduciel is a huge Bruce fan. You can’t go wrong with that!

Tour dates to The War On Drugs’ tour can be found right here. I haven’t seen them since December 2011 at the Bowery Ballroom in New York City, so I am really going to try to catch a show on this tour. They put on a great show. That should be expected. If you’ve got the talent, which they do, and you study and learn from the greats, which they clearly do, then you would expect it to translate onstage too.

Just like I knew it would be a given that The Killers put on a great show. There’s just no way they couldn’t. While I’m waiting for their shows, I’ll be enjoying new and old albums, and of course getting to a bunch of shows in the meantime. I hope you’ll be doing the same! And hopefully you have the chance to see The Killers. You won’t be disappointed. Maybe you’ll be at one of the shows I’m going to! I’m really excited for those shows in a few months. Three might seem like a lot to some people. And while I am no doubt happy and thankful to be able to go any show, it’s not nearly enough. It never is.

#music #live music #concert #the killers #brandon flowers #bruce #springsteen #dylan #neil young #tom petty #the war on drugs

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songbyrddc-blog · 8 years ago

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Get hip to the Heart and Soul of Songbyrd, SWEET EARL GREENE! The silky-ass neo-soul group got their start in the Music House way back in 2015, and we’ve been happy to host them several times since, including a spot on our ADAMS MORGAN DAY 2016 celebrations.

We’re proud to share their first-ever recording, Live at Songbyrd, gleaned from their December ‘16 SB appearance! Check out the music right here, and read our interview with the band on their formation, inspirations and more!

SWEET EARL GREENE plays Songbyrd this Valentine’s Day with AARON ABERNATHY! Get tix here.

Who performs in Sweet Earl Greene? How does each member affect the group's sound?

The core of the band right now is Christian Dutilh (vocals and keys), Rhys Tucker (drums), Austin Powell (guitar), and myself (bass and guitar). However, the lineup expands and contracts depending on the kind of event we're playing. We were playing consistently with our friend CJ Thomas on saxophone until he moved to Canada. Another buddy, Richard Kranich, joins us on percussion sometimes too. In addition to flexibility, this keeps the music fresh for us. We generally don't play a song the same way twice, and we like to improvise a lot. Adding new instruments or changing players lets us reinvent songs and mix things up.

Our musical backgrounds vary, but stylistically we all meet comfortably in an R&B/soul/funk setting. The ear candy of Christian's rich voice and my groove-oriented approach to music naturally beckon these styles. I think these are among the first elements a listener grasps onto when they hear us. On bass, I tend to play with relentless conviction. By contrast, Rhys has a tight yet laid-back, Mac DeMarco-esque demeanor on drums, which provides the 'mellow' vibe to our sound. Austin has the deepest jazz background of us, raising the median level of musicianship in the group. He has a sharp ear, and a knack for hearing what is missing and filling it in perfectly. His guitar solos are very lyrical and tasteful. I also play guitar on some songs (lately more often than bass), and that's my chance to experiment. I like to bend the rules and ruin the framework sometimes. I'll go for ambient textures, or I'll intentionally play against the rhythm or out of key to create a layer of the music that transcends the instruments delivering 'the song.' In sum, I make weird noises.

–Nick Cruz

What inspired you to form the group? Who are some of your musical heroes?

Two things inspired the idea for this band in my head. First, I used to work with Will Rast and manage his band the Funk Ark. Will is an extremely talented keyboardist from the D.C. area who currently plays with Antibalas. He has a smaller project called the Will Rast Organ Trio comprised of him, my jazz teacher Greg Loman on guitar, and Matt Tebo on drums - all of them absolute monsters on their instruments. They'd jam on funk standards for a couple sets and really light it up, holding nothing back. The gig was simple, the results were destructive and massive.

However, becoming utterly lethal at my instrument isn't what I set out to do with Sweet Earl Greene. What really inspired me about seeing the organ trio play was the casual and candid nature of it. It was like watching the Harlem Globetrotters play a round of pick-up basketball. This is what I wanted. Regular time devoted to music I could visit with my friends to play whatever or however our hearts wanted to that day.

This idea began cooking around the time Songbyrd was opening. They were calling themselves a Music House, so I approached Alisha Edmonson (co-owner) about having a 'loungey, neo-soul, baby-making music' kind of band play regularly upstairs by the bar. I figured a regular gig like that could give the band some backbone in the beginning, and we could help bring new people to the recently-opened spot. Alisha was into it and the band has been playing regularly since.

As far as musical heroes go, there is no one greater than the Roots to me. Talk about inspiring.. their commitment to excellence in everything they do has continued to inspire me for over a dozen years now.

–NC

What is your favorite part of performing before an audience? How has your show changed over your time as a band?

I think for us anytime we play music, we're in it for the pure enjoyment of it. Performing before an audience really ups the ante, though. The increased level of intensity and attention that comes with playing in front of people can create some really nice and unexpected musical moments. Personally, it also provides an opportunity for me to really appreciate the talents of my bandmates. It's in these moments, when someone is particularly going at it or if we're all just really feeling it, that I'm having the most fun.

I'd say our shows have become a lot tighter over time as we get more cohesive and grow as musicians. And we're starting to develop our own unique sound. Initially, we played a lot of very true-to-form covers of songs that we dug a lot. Since then, we've spent a lot of time free-form jamming, sometimes devoting entire practices where we'd play a single song or idea for upwards of half an hour, before moving on to another. By the end of those marathon explorations, we'd often discover ideas that were much more interesting and build on those to create new songs or new ways of playing old songs.

–Rhys Tucker

What is your take on the current DC music scene? How does SEG fit?

It's been cool to be a part of and cool to discover new avenues for experiencing music. From the big venues to small bars, from pop-ups to house shows, I think there is a growing number of ways to go take in live music, as well as opportunities for musicians of all levels to get out there and play. And as I see more local shows, it's great to discover the wide variety of sounds out there.

We started playing super casually during happy hour upstairs by the bar at Songbyrd, and since then have branched out to all sorts of different spots, which has been fun. As for our sound, we've definitely got that soul thing going, but it's getting weirder. And weirder is good.

-RT

What can showgoers expect from your show on 2/14 with Aaron Abernathy?

Expect to hear a few soulful jams and to hear the energy ebb and flow as we go. You'll hear plenty of instrumental improv as well as some familiar vocal-driven music. We never play a song the same way twice so there will definitely be some exploration happening onstage.

-Austin Powell

#songbyrd #dc music #adams morgan #adams morgan day #live music #interview #sweet earl greene

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