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alexannah · 5 years ago

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MLB: Season Three Reactions

***major spoilers in post***

Well, season three was an emotional rollercoaster, wasn’t it? And for me at least, bittersweet. Unlike seasons one and two, which I straight-up loved all the way through, season three had some very high points and some very low points for me.

My favourite episodes, in order: Oblivio, Startrain, Felix, Weredad, Reflekdoll

Least favourites, in order: Cat Blanc, Timetagger

Ladybug and Kwami Buster are weird ones because they kind of fit onto both lists, for reasons I’ll go into further …

At present I’ve only seen Startrain onwards once; the previous episodes I’ve seen twice, except Oblivio which I’ve watched a LOT, and Ladybug which I skipped through the second time. I’m still in shock after CB and psyching myself to re-watch the latter part of the season again. (Though honestly I’m not sure I’ll be able to face CB again for a while …) If one of my points below is invalid because I’ve forgotten something, please feel free to correct me. Politely.

Okay, I could do an entire post on Cat Blanc, but I’m going to wait until I’ve seen it again, and focus on the other stuff for now.

Issues I have with season three:

1) This thing in Kwami Buster about, if Ladybug and Cat Noir find out who each other are, they’ll have to give up their Miraculouses. Where did that come from??

For starters, it doesn’t seem to apply to the other superheroes. Rena Rouge and Carapace know who each other are, and they’ve still been able to help out. Or at least Rena has; I can’t remember if Carapace actually appears in season three, but I’m sure she was mentioned in Miraculer. And, though everyone knew Chloe was Queen Bee from the beginning, she was still in several episodes before they decided she couldn’t do it anymore, but that was because everyone including Hawk Moth knew who she was. And I’ve only seen Timetagger once, but didn’t Bunnyx know who Ladybug and Cat Noir were? If she knew, how can they still be Ladybug and Cat Noir in the future? Or do they still not know who each other are when they’re adults? (I’ve long been a fan of Doctor Who so I’m no stranger to time travel fandoms, but I have to admit I am really confused by MLB’s time travel ideology …)

At any rate, I’m concerned what this means for the ship future, and that it might write off all possibility of a reveal before the end of the whole show, because otherwise they would no longer be the title superheroes, ergo no show. And really it would be nice to see them as a couple/knowing who each other really are for at least a few episodes before the show finale! (Though I suppose there’s always fanfiction …) And them having to give up being superheroes as the price for knowing who each other are would kind of put a damper on the long awaited reveal.

So yes, that bit really annoys and confuses me. Which is a shame, because otherwise the episode was awesome! (If a bit confusing on the first viewing; I really do have to watch it again.)

2) Already mentioned the Bunnyx/future thing. I think that’s something else I’m going to have to address after watching again, because I found Timetagger really confusing …

3) Chloe. I started to like her as a character in season two, when she started this development of becoming a better person and a superhero. I liked how she stood up to Hawk Moth in Miraculer and refused to be akumatized. But then … Miracle Queen … I’m really holding out for a redemption arc for her as well in future seasons.

4) Future Hawk Moth. Already said I’m not going into the future stuff, but this is something I don’t need to rewatch it for. I’m firstly relieved that Gabriel isn’t still akumatizing people years from now, but I was kind of hoping he and Mayura would end up joining the heroes’ team at the end of the show. Now that doesn’t look possible (unless he gets a different Miraculous). Shame, because that had so many possibilities I will now have to satisfy myself exploring through fanfiction.

5) The ships in season closing. I have nothing against Luka and have warmed up a bit to Kagami since Ikari Gozen, but I’m actually bothered slightly less by the fact they look all coupled up now, than the fact that they shared André’s ice cream. So clearly what they say about his ice cream isn’t true after all, and I find that quite disillusioning!

Unless the writers plan to keep Adrien with Kagami and Marinette with Luka, but I don’t believe it. (Wait, sudden thought … Sabine said couples who share André’s ice cream will STAY in love forever. So maybe it doesn’t count if the couple isn’t actually in love/one of the couple is in love with someone else? I’m going to choose to believe that.)

Now I’m going to address the Ladybug ep. My issue with that episode wasn’t the Lila stuff, although it was admittedly painful to watch! No … I had the idea in my head (probably influenced by my own fanfiction ideas) that Gabriel and Nathalie actually liked Marinette—as much as they like anyone outside each other and Adrien. So the picking on her bit just felt so jarring to me, and I fast-forwarded it when I watched the episode the second time out of a desire to see the Gabenath stuff again.

And now finally … to the good stuff!

Shippy highlights:

I wish the shippiest episode for one of my OTPs didn’t have to be one I had a different issue with, but someone helpfully put together a video of all the Gabenath bits from the episode, which I will definitely be watching whenever I get a shippy craving from now on. (Unfortunately … I can’t find it in my likes right now … otherwise I would have credited whoever made it!)

And I don’t have a picture for it, but I was delighted by the first Luka/Chloe canonical hint in Miracle Queen.

I also liked the idea of Marinette being the next Guardian (though I really wasn’t prepared for that to happen yet!), Multimouse, learning more about how the peacock Miraculous works (since Heroes’ Day alone didn’t make it very clear), the character of Duusu, and the fact that the peacock has finally been fixed. I know that spells bad things for Ladybug and Cat Noir, but since there is clearly no force on earth which can stop Nathalie helping Gabriel, I’m very glad she’s no longer putting her life at risk to do so. (And the fact he finally put his foot down was a long-awaited moment and definitely a highlight of Ladybug.)

#miraculous ladybug #miraculous ladybug season 3 #ml season three #adrien agreste #marinette dupain cheng #gabriel agreste #nathalie sancoeur #ladybug #cat noir #hawk moth #mayura #ml oblivio #timetagger #kwami buster #ladynoir #love square #gabenath

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monstersuburban · 5 years ago

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So, The Los Espookys Season One Finale

(Spoilers up ahead)

The group really can't function properly when it's split up, huh?

It was really jarring to hear Renaldo speak so much English this episode, but nice! His voice is just so friendly (as is the rest of him)

I like that the show introduced the importance of Renaldo's warm demeanor instead of showing it as only a weakness. The same with Úrsula's bluntness! A time and place for everything, one existing the best when supported by the other.

This take on the Don't Meet Your Heroes storyline was also very interesting. Because yes, Renaldo sacrificed a bit to meet Bianca Nova, only to have her treat him just as badly as the kids he used her movies to heal from. A yes, it was important for him to stand up for himself against her and for the sake of his own artistic integrity. But she's also going through her own issues, washed out and unpracticed as she is. She's given the chance by her friend to keep working upwards again, but not at the personal expense of others. Everyone has room for growth. (And we'll get back to that point later.)

Hearing Andrés and Úrsula banter a bit at the doctor's office was a nice moment. Just felt like mentioning that, the friendships all felt very whole and sweet this episode.

Andrés' backstory is... A lot sadder than it sounded at first. Of course there's the sadness in him realizing that he doesn't have some specific mystic purpose, but just the fact that his parents were so scared of his oddness that they put him up for adoption for a whole 5 minutes? So no cool back story, already questionable parents are even less likeable, and he's been chasing after what seems like nothing. That doesn't explain the naturally blue hair, magic, and water demon parasite living in him though

Also yay though canon naturally blue hair for Andrés!

His attempt at being sweet with Juan Carlos was, well, sweet and a little heart breaking with the reaction it got.

"She loves you too much, she won't do it right." Wasn't just Juan Carlos being a dick, but actual advice and truth when it comes to someone tying your corset.

Andrés wedding look? Stellar. Iconic. A spooky water king.

No really he looked beautiful

J Lo Tati! J Lo Tati! J Lo Tati!

Love that Andrés wanted to hear the hot goss right in the middle of his own wedding ceremony.

Imagine hearing at your wedding that the single pure and tender moment between you and your fiancé was orchestrated to manipulate you emotionally. Poor Andrés.

Tati and Juan Carlos was... Not what I was expecting to get out of this, but I'm not angry?

Tati's emotional speech (now that we know she has weird time vision) means that Juan Carlos actually winds up being a very loving husband to her. So... Good for him? He grows.

Tati knowing the future and perceiving time strangely explains so much of what she's done

All hail Tati ig

Renaldo head is back!!!! New best character love Renaldo head

Andrés cupping Renaldo's face in his hands

Renaldo picking Andrés up and spinning him around

The group hug!!!!!

Andrés breaking from his parents is for the best but boy is there going to be a learning curve for him but hey! At least he packed his single shadow swan.

Úrsula has 100% given up a Tati just to gain an Andrés

Juan Carlos so quickly falling for Tati's eccentricities after years of denying Andrés' is more sad than anything. I'll probably make a separate post about this, but what I have to say for now is that its oddly bittersweet. They were never a good couple and they both knew that. And as much shit as I give Juan Carlos, he really was being used on a similar level to Andrés. They've been together for so long that separation so quickly is going to hurt, but they both know that its what had to be done. Its just a lot to unpack.

And the gang is back together again, back at work, and so the world goes on.

A great finale but hhhhhhh I'll miss it

What we still need to learn about: Why is Andrés some water demon host and power incarnate, what's up with the Gregoria Santos project, and how the hell is Bianca Nova going to finish her movie?????

Overall a 10/10 season finale!!!!

#los espookys spoilers #los espookys #andrés valdez #renaldo le #Úrsula le #Tati le #i know that we got canon Tati and Úrsula last names this ep but now i can't find them!

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hello-french-canadian-cinema · 6 years ago

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Late to the Party - International Recognition of Quebec Cinema

In May 1939, the Canadian federal government created The National Film Commission (soon to be known as the National Film Board), to assist the Government Motion Picture Bureau. The purpose of the film commission was to “make and distribute films designed to help Canadians in all parts of Canada to understand the ways of living and the problems of Canadians in other parts.” During this time period, films were made by Canadians, for Canadians. As I mentioned in my last blog entry, filmmaking at that time included a lot of propaganda in order for the government to push their ideals onto their citizens. However, in 1950 the Canadian Parliament established The National Film Act, which was created “to initiate and promote the production and distribution of films in the national interest and, in particular, to produce and distribute films designed to interpret Canada to Canadians and to other nations.” (National Film Board of Canada.)

Lipsett

In the 1960s, Montreal born Quebecois director Arthur Lipsett started gaining traction beyond the province of Quebec for his avant-garde experimental filmmaking and sound techniques, and was backed by the National Film Board of Canada. “Regarded by some as the Film Board's "boy genius" during his early years at the NFB,' Lipsett was able to make "experimental" films that were widely distributed by the Board and shown-and awarded prizes-at American and European festivals. In 1964, for example, 21-87 was voted "most popular film" at the Midwest Film Festival in Chicago.” (Wees, 2007). 21-87 is an jarring short film, just clocking in over 9 minutes. Lipsett used scrap footage he found while working as an animator at the National Film Board of Canada and combined it with his own footage taken on the streets on Montreal and New York City. Various snippets of people talking, singing, chanting, as well as various types of sound, play over the images. It can be difficult to immediately gauge a meaning behind the film, typical of many avant-garde films of the 1960s, but the themes of humanity, machinery, death, and religion are routinely brought up. Between all of the footage shot by Lipsett himself, we see cadavers being cut open, robotic tools working, and a host of other strange images. The themes of humanity, institutionalization, family, innocence and death are all themes that have appeared in every movie I have watched while studying French Canadian cinema and are all themes I noticed in 21-87.

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21-87

Both Stanley Kubrick and George Lucas have named Arthur Lipsett as a role model. Kubrick asked Lipsett if he would create the trailer for his movie Dr. Strangelove. Lipsett, who suffered from mental illness and ended up committing suicide in 1986 at age 49, declined, and Kubrick directed the trailer himself, but acknowledged the influence Lipsett had over the style. “After his Academy Award nomination, [Lipsett] received a letter from British filmmaker Stanley Kubrick. The typewritten letter said, ‘I’m interested in having a trailer done for Dr. Strangelove.’ Kubrick regarded Lipsett’s work as a landmark in cinema – a breakthrough. He was interested in involving Lipsett. This didn’t happen, but the actual trailer did reflect Lipsett’s style in Very Nice, Very Nice.” (Perreault, 2012).

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George Lucas was so influenced by Lipsett’s film 21-87, that the title is reflected in various “Easter eggs” in much of Lucas’ work, including in A New Hope, where Princess Leia is trapped in cell 2187. Lucas also payed homage to many of the images featured in 21-87 by recreating them in his Star Wars films, such as the inspiration for C-3PO coming from a used car sales man dancing like a robot while wearing a light-colored suit in 21-87.

In 21-87, you can hear a man say that humans are nothing more than machines, followed by another man responding, “Many people feel that in the contemplation of nature and in communication with other living things, they become aware of some kind of force, or something, behind this apparent mask which we see in front of us, and they call it God.” “When Wired asked Lucas if this exchange was the inspiration for the Force, Lucas explained that it sort of was. It was “an echo of that phrase in 21-87.” But he added the caveat that, “similar phrases have been used extensively by many different people for the last 13,000 years to describe the life force.” (Young, 2018). Eventually, Lipsett was ostracized by The National Film Board as his films started to become “to weird.” Famous Scottish documentarian John Grierson, during a celebration of The National Film Board’s 25th anniversary in 1964, even reportedly remarked, "It has come to my attention recently that the Film Board more and more is becoming infiltrated with 'arty-tarty' types who intend to use the facilities which it offers for their own private purposes." (Wees, 2007). The documentary style films that had once helped to shape the cinematic landscape of Quebec, were becoming replaced by avant-garde art house films, and eventually feature length fictional movies.

“Michel Brault and Pierre Perrault’s landmark feature-length documentary Pour la suite du monde became the first Canadian entry in the official competition at Cannes, Québec films have regularly won prizes at international festivals and enjoyed some commercial success abroad. Mon Oncle Antoine won the top prize at the Chicago International Film Festival in 1971.” (American Review of Canadian Studies, 2013). In 1971, Mon Oncle Antoine was the first ever Canadian submission to the Academy Awards under the “Best Foreign Language Film” category, and since 1979, Canada has submitted a nomination in the “Best Foreign Language Film” category each year. While several films have achieved Academy Award nominations, only one film, 2003’s Les Invasions barbares by French Canadian director Denys Arcand, has won. The most recently nominated film was 2012’s War Witch by Montreal born director Kim Nguyen. All but two submissions (one film was filmed in Inuktitut, an Inuit language, and another film was filmed in Hindi) all have been Quebecois films.

Sources:

National Film Board of Canada. Mission and Highlights. November 21st, 2018. http://onf-nfb.gc.ca/en/about-the-nfb/organization/mandate/

Young, Bryan. “How a Canadian Short Film Inspired George Lucas to Make ‘Star Wars” SlashFilm. March 20, 2018. https://www.slashfilm.com/21-87-short-film-star-wars/]

Perreault, Catherine. “How Avant-Garde NFB Filmmaker Arthur Lipsett Influenced Kubrick and Lucas” National Film Board Blog. October 3rd, 2012. https://blog.nfb.ca/blog/2012/10/03/how-lipsett-influenced-kubrick-lucas/

Bachand, Denis, Desroches, Vincent, Loiselle, André, Santoro, Miléna. "Special Issue of the American Review of Canadian Studies on Québec Cinema." American Review of Canadian Studies, vol. 43, no. 2, 2013, pp. 157-190.

Wees, William C. “FROM COMPILATION TO COLLAGE: The Found-Footage Films of Arthur Lipsett The Martin Walsh Memorial Lecture 2007.” Revue Canadienne d'Études cinématographiques / Canadian Journal of Film Studies. 16(2):2-22. 2007.

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wineanddinosaur · 4 years ago

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We Asked 12 Wine Pros: Which Rosé Offers the Best Bang for Your Buck?

As bars and restaurants continue to navigate the coronavirus pandemic and reopening phases, VinePair asked the bartenders and drinks professionals below to provide a virtual tip jar or fund of their choice. More resources for helping hospitality professionals are available here.

Arming yourself with a supply of chilled rosé is one of the best decisions you can make during the summer. No matter its country of origin, rosé is consistently food-friendly and complements an array of summertime staples, while providing pairing possibilities for any season’s dishes.

Thankfully, the rosé market continues to grow, adding new and enticing options to try beyond the always heavenly Provençal rosés. And with the average price of rosé at less than $20, it’s the perfect wine for stocking up.

To help make your next backyard shindig a success, VinePair asked beverage professionals from coast to coast which pink wine offers the best overall value. Read on to learn about recommended varietals and emerging rosé regions to keep your eye on.

“I love to drink local, and here in Southern California, you can’t get more local for me than Santa Barbara. One of my absolute favorites is the rosé ‘Love You Bunches’ from Stolpman Vineyards. It’s 100 percent Sangiovese with tart cherry and mouthwatering watermelon flavors that will leave you with an empty bottle before you know it.” — Marianna Caldwell, Assistant General Manager and Sommelier, Cassia, Santa Monica, Calif.

Donate: The United Sommeliers Foundation

“The 2019 G.D. Vajra Rosabella Rosato is a tart and tasty rosé that retails just under $20. With crisp notes of strawberry blossom and cherry, Rosabella shines on its own or paired with a picnic in the park.” — Kaitlyn Gibbs, Beverage Director, Louie, St. Louis

Donate: Kaitlyn Gibbs Venmo

“2019 Gaspard Rosé. Made exclusively for New York-based natural wine importer Jenny + Francois, this quaffable rosé always hits the spot. Made in the Loire Valley of France from local grape varieties using sustainable winemaking practices, it is the definition of a crowd pleaser.” — Luke Sullivan, Head Sommelier, Gran Tivoli & Peppi’s Cellar, NYC

“La Vieille Ferme Rosé, made by the Perrin Family of Château de Beaucastel fame. This Grenache-Syrah-Cinsault blend is widely available and over-delivers at its sub-$10 price point. It’s a perfect weekday wine for any couple, and if you’re hosting a summer cookout for a large group, it’s available in box format, which brings the price down even more.” — Andrew Pattison, Beverage Director, Sushi Note, Los Angeles

“I first tasted Maison Noir’s ‘Love Drunk’ rosé years ago, and it’s never been far from my mind since. André Mack — the founder of Maison Noir, and the first African American to win the title of Best Young Sommelier in America — has created the platonic ideal of a rosé: zippy, fresh, with enough complexity but not too much. After all, don’t you just want to drink?” — Jamie Harrison Rubin, Former General Manager, Ambra Restaurant Group, Philadelphia

Donate: Jamie Harrison Rubin Venmo

“Las Lilas Vinho Verde Rosé from Portugal is one of my faves. A blend of indigenous varieties, this rosé is light and bright, bursting with juicy red cherry and floral notes. This wine makes me think of the beach, and the best part? It retails at around $8.” — Etinosa Emokpae, Wine Director, Friday Saturday Sunday, Philadelphia

“Domaine Maestracci ‘E Prove’ Rosé 2018. When talking about valuable and high-quality rosé wine, Corsica is always my first thought. High level of production, just as [good as] the Provençal neighbors, lesser known and more affordable, and above all, a touch of distinctiveness that you would expect from [such] an independent land as Corsica. Located in the northwest of the islands, between the Monte Grossu and the Mediterranean Sea, the family-owned Maestracci estate produces this refreshing and delicate yet deep and elegant rosé from traditional grapes of the islands: Niellucciu, Sciaccarellu, and Grenache. I strictly recommend it with the classic Corsican bouillabaisse [Provençal fish stew]. — Mariarosa Tartaglione, Head Sommelier, Ai Fiori at The Langham, NYC

Donate: Mariarosa Tartaglione Venmo

“Rosés from the south of France, specifically Provence, are probably the most widely celebrated, and many international vintners model their juice after this style. Clean, bright, crisp, tangy — all the zing of a mineral-driven white wine, with the lifted texture and berry profiles of a light red. Domestic and other New World rosé tends to be a lot more fruit forward and a little fuller on the palate, more melon and bubblegum notes, and occasionally a lactic quality, almost like fruit-at-the-bottom yogurt. Some of my personal favorites are from Spain in Basque Country: Txakolina (pronounced cha-ko-lee-nah) is often white, but the producer Ameztoi makes a sensational rosé style called Rubentis. It’s like the strawberry limeade of wine with a touch of prickly effervescence and without the sweetness.” — Kyle Pate, Sommelier, Tinker Street, Indianapolis

“Commanderie de Peyrassol, Côtes de Provence Rosé. This wine was a staple on the list every spring and summer at a former restaurant I worked with, and with good reason. The estate is located in the heart of Provence, and the first recorded harvest took place in 1256. Madame Rigord began to bottle and sell the wine in 1981. She wrote a book titled ‘Le Dame de Peyrassol,’ which discussed her role as one of the only women being at the forefront of winemaking at the time. The wine is such a classic and still remains to be so unassuming while over-delivering in a category that has become synonymous with marketing and brand recognition. Their farming and vinification practices are organic — no fungicides or pesticides are used in the vineyards. The wine expresses each and every vintage while still remaining complex and clean.” — Madeline Maldonado, Beverage Director, da Toscano, NYC

“For the last few years, Forlorn Hope’s ‘Queen of the Sierra’ Rosé has been at the top of my list for quality-to-price ratio. Matthew Rorick and the team at Forlorn Hope are making characterful yet accessible wines using natural principles, and their wines are a great introduction to new-school California wine for those unacquainted. Bright, zippy, with strawberries playing against a refreshing salinity, this unfiltered rosé will appeal to natural wine drinkers, while also pleasing fans of more conventional wine with its energetic freshness. I love fuller-bodied rosé, and this medium-bodied offering is an accessible way to dip one’s toes into expanding their rosé horizons.” — Brendan Biggins, Beverage Director, Grand Army, Brooklyn

Donate: Food Issues Group Venmo & Service Workers Coalition. Brendan also suggests two resources for groups providing wine training to BIPOC and LGBTQ+ communities, here and here.

“Thibaud Boudignon is one of my all-time favorite producers in the Loire Valley. His rosé of mostly Cabernet Franc is bone-dry but has beautiful fruit and a really amazing salinity. Boudignon is practicing biodynamics in the Loire, and this direct-press rosé just over-delivers.” — Theo Lieberman, Beverage Director, 232 Bleecker, NYC

Donate: 232 Bleecker Gift Cards

“POP 300, Rosé of Pinot Noir, Napa Valley, Oakville, Calif. 2018. This is a rare and delicious rosé made with grapes from arguably the most famous vineyard in Napa Valley: To Kalon Vineyard. Yes, you read that correctly. There is Pinot Noir planted in To Kalon Vineyard. Winemaker Luke Russ has had access to this fruit for a little while now and is producing small lots of this delicious summer sipper. Notes of underripe cranberry and cherry intermingle with aromas of fresh red flowers. The palate is satisfyingly juicy with a lightning bolt of freshness on the mouthwatering finish.” — Carey Vanderborg, Sommelier, PRESS Restaurant, St. Helena, Calif.

Donate: Feed Our Families – Boys & Girls Clubs of St. Helena and Calistoga

The article We Asked 12 Wine Pros: Which Rosé Offers the Best Bang for Your Buck? appeared first on VinePair.

source https://vinepair.com/articles/12-best-quality-rose-brands-price/

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johnboothus · 4 years ago

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We Asked 12 Wine Pros: Which Rosé Offers the Best Bang for Your Buck?

Donate: The United Sommeliers Foundation

Donate: Kaitlyn Gibbs Venmo

Donate: Jamie Harrison Rubin Venmo

Donate: Mariarosa Tartaglione Venmo

Donate: Food Issues Group Venmo & Service Workers Coalition. Brendan also suggests two resources for groups providing wine training to BIPOC and LGBTQ+ communities, here and here.

Donate: 232 Bleecker Gift Cards

Donate: Feed Our Families – Boys & Girls Clubs of St. Helena and Calistoga

The article We Asked 12 Wine Pros: Which Rosé Offers the Best Bang for Your Buck? appeared first on VinePair.

Via https://vinepair.com/articles/12-best-quality-rose-brands-price/

source https://vinology1.weebly.com/blog/we-asked-12-wine-pros-which-rose-offers-the-best-bang-for-your-buck

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isaiahrippinus · 4 years ago

Text

We Asked 12 Wine Pros: Which Rosé Offers the Best Bang for Your Buck?

Donate: The United Sommeliers Foundation

Donate: Kaitlyn Gibbs Venmo

Donate: Jamie Harrison Rubin Venmo

Donate: Mariarosa Tartaglione Venmo

Donate: Food Issues Group Venmo & Service Workers Coalition. Brendan also suggests two resources for groups providing wine training to BIPOC and LGBTQ+ communities, here and here.

Donate: 232 Bleecker Gift Cards

Donate: Feed Our Families – Boys & Girls Clubs of St. Helena and Calistoga

The article We Asked 12 Wine Pros: Which Rosé Offers the Best Bang for Your Buck? appeared first on VinePair.

source https://vinepair.com/articles/12-best-quality-rose-brands-price/ source https://vinology1.tumblr.com/post/624979446963781632

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stormyrecords-blog · 7 years ago

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new arrivals 8-9-17

this week's tunes at noon is pretty special - Michael Malis trio with Jaribu Shahid from the legendary Griot Galaxy on bass - and it's free!! free music in the park in downtown dearborn. music starts at noon on thursday - don't be late!!! you don't want to miss this one!! items in stock thursday aug 9th, 2017

please pardon our rush on this promotion - the mogwai promotion does not start until aug 22nd. we will have these cool seven inches with coupons available on that date. thank you for your patience. MOGWAI Party in the Dark seven inch $2.00this is a special coupon to get $2 off the full length new MOGWAI lp that comes out in early September. limit one per customer, you can buy this record, hear som eof the new lp, and then use the coupon inside for $2 off the full length when it is released on september 9th 2017. what a fun promotion!! we will have the full length lp and box set for the release date in early sept. LOCKWOOD, ANNEATiger Balm / Amazonia Dreaming / Immersion LP $31.99Black Truffle presents a new issue of Annea Lockwood's classic 1970 tape piece "Tiger Balm", unavailable on vinyl for over thirty years, accompanied by two exquisite unreleased works for percussion and voice. "Created while Lockwood was living in the UK, the side-long 'Tiger Balm' is a singular work within the cannon of tape music. Inspired by research into the ritual function of music, the piece explores the possibility of evoking ancient communal memories through sound. Breaking entirely with the dynamic language of the musique concrète tradition, Lockwood uses a select palette of mainly unprocessed sonic elements chosen for their mysterious and erotic characteristics (a purring cat, a heartbeat, gongs, slowed down jaw harp, a tiger, a woman's breath, a plane passing overhead), presenting at most two sounds at once. As one sound flows organically into the next, their shared characteristics are highlighted, opening a space of dream logic and mysterious associations between nature and culture, the ancient and the modern. The B side presents two pieces for percussion recorded here for the first time. 'Amazonia Dreaming' (1987), performed by Dominic Donato, uses unaccompanied snare drum and voice to evoke the nocturnal soundscape of the Amazon rainforest. Unorthodox techniques and materials (marbles, chopsticks, a plastic jar lid) transform the snare into a resonant field of sensual textures. 'Immersion' (1998), performed by Donato and Frank Cassara, is a slow-moving exploration of gentle beating tones, performed on marimba, tam tams, and gong. Like the other two works presented on this LP, it provides captivating proof of Lockwood's belief in the complexity that deep listening can reveal within seemingly simple sounds" --Francis Plagne. Comes in a deluxe gatefold sleeve with archival pictures and liner notes by Annea Lockwood; Includes the score to "Amazonia Dreaming"; LP design by Stephen O'Malley; Mastered and cut by Rashad Becker at Dubplates & Mastering. MCPHEE & ANDRE JAUME, JOENuclear Family CD $16.992016 release. Multi-instrumental master Joe McPhee and his longtime colleague, French saxophonist and clarinetist André Jaume, joined forces for this studio recording in 1979 that was prepared but never released. It is primarily structured around pairs of tunes by Charles Mingus, Thelonious Monk, and Duke Ellington (or Billy Strayhorn), adding Ornette Coleman's "Lonely Woman" for good measure. The results are stunningly intimate and show the twosome's capacity for creative interplay at a fairly early stage in its unfolding. Mingus's "Pithecanthropus Erectus", which was performed by a larger group on Topology (1981), gets pared down to its essential walking-bass-ness, while Monk's "Evidence" is taken apart, and solo spots by both men are as riveting as one would expect. Part of Corbett vs. Dempsey's ongoing historical effort to unearth and reissue McPhee's important discography, this previously unknown recording will delight existing fans and make new ones. NURSE WITH WOUNDDark Fat 3LP BOX $59.99Triple LP box set of Nurse With Wound's 2016 release Dark Fat. Dark Fat is a celebration and documentation of ten years of NWW shows, but to call Dark Fat a live album is far too simplistic. It is an entirely new recording constructed by combining the most interesting moments of the past decade into unique tracks. M.S. Waldron is to thank as he is archival commandant of the NWW oeuvre, and since 2006 he has recorded every single thing. He has recorded all the live shows, sound-checks, rehearsals, off-stage events, and even covertly recorded the private conversations of the band. These recordings have been studiously and lovingly crafted into a unique sonic tapestry by Waldron and Steven Stapleton with delicate embroidery and filigree added by Andrew Liles and Colin Potter. This is now spread over six sides of luxurious vinyl and encased in a box with a gatefold insert, all featuring the art of Steven Stapleton aka Babs Santini. Listen in the Dark and soak up the Fat. SUN RA & HIS ARKESTRAMy Way Is The Spaceways LP $18.992017 repress. "Fourth volume of spoken word wisdom -- direct from Saturn! The Music Is Like A Mirror / My Way Is The Spaceways / The Music Is A Sound Image / Music Is A Vibration" GALACTIC EXPLORERSEpitaph For Venus CD $17.99Mental Experience present a reissue of Galactic Explorers' Epitaph For Venus. Another album from the Pyramid label shrouded in mystery and produced by Toby Robinson in Cologne, circa 1974. Kosmische and head sounds with plenty of Minimoog, analog synths/keyboards, effects, loops, tape manipulation, treated percussions, etc., courtesy of Galactic Explorers, an electronic, minimal, ambient krautrock trio featuring Reinhard Karwatky (Dzyan). Take a trip to the inner regions of your mind, see ancient solar systems forming, and listen to cosmic winds and vibrations while sine waves of pure bliss will give you total peace of mind. RIYL: Terry Riley, Popol Vuh, Sand, Peter Michael Hamel, Tangerine Dream, Baba Yaga, Cluster, Cozmic Corridors, Brainticket. 24-bit domain remaster from the original tapes; Insert with liner notes by Alan Freeman, head boss at Ultima Thule and author of The Crack In The Cosmic Egg (1996). AREL, BULENTElectronic Music 1960-1973 LP $24.992017 repress; LP version. Bülent Arel's (1919-1990) work occupies a special place in the history of electronic music, with one thing being certain: Arel's work is still fresh, groundbreaking, and it always look outs for the next adventure in sound. Sub Rosa present a collection of his works here as part of their Early Electronic series. Bülent Arel was a Turkish-born American composer of electronic and contemporary classical music. He was also a devoted teacher, a sculptor, and a painter. From 1940 to 1947, Arel studied composition, piano, and 20th century classical music at the Ankara Conservatory. In 1959, Arel came to the US on a grant by the Rockefeller Foundation to work at the Columbia-Princeton Electronic Music Center. By that time the center had just started out under its director Vladimir Ussachevsky. During Arel's work in Princeton he also met Edgard Varèse, with whom in 1962 he worked on the electronic sections of Varèse's Déserts. Frank Zappa lists Arel as a key influence. Today's electronic music - whether it is Autechre's Confield (2001), Aphex Twin's Selected Ambient Works Vol. II (1999), or Squarepusher's Do You Know Squarepusher (2001) - builds upon a solid foundation which Bülent Arel helped to pave. Wire #403: Sept. 2017 MAG $10.50"Lichens, 21st century polymath Robert Aubrey Lowe talks patching up modular synths, vocalising doom metal, and acting the part. Meanwhile, inside the issue... Peter King, New Zealand lathe cutter to the likes of The Dead C, Lee Ranaldo, Acid Mothers Temple, and No-Neck Blues Band. A report on composers who require musicians to throw their bodies as well as their souls into their performances, including Michael Baldwin, Celeste Oram, Louis d'Heudieres, Alwynne Pritchard and others. Plus: Invisible Jukebox: Sparks; Epiphanies: Maggi Payne; Inner Sleeve: Ryoko Akama; Global Ear: Algarve; Unofficial Channels: Pop Not Slop." HIRO KONELove Is The Capital LP $18.99"Love Is The Capital the debut LP by Hiro Kone, the recording alias of Nicky Mao. The album is a follow-up to the incredibly well received Fallen Angels cassette, bringing with it some of Mao's most emotionally and politically driven work yet. It is Hiro Kone's long coming opus, examining a number of all-too-relevant themes: capital, the state, egoism, anxiety, and steadfast optimism. The eight songs on Love Is The Capital highlight Mao's austere, politicized techno battling for the greater good. Songs are visceral meditations of rhythm, noise, and melody in the vein of Pan Sonic, Chris & Cosey, Muslimgauze, and Kangding Ray. The sounds were often recorded in scenes of isolation, whether physically or emotionally. 'Infinite Regress' was during a trek with RLoveoxy Farman (Wetware) up to the sleepy, upstate NY town of Palenville. There, frozen in a cabin with the most DIY of recording booths, Mao recorded Roxy's vocals and what would be the track that would put into motion the entire album. 'Less Than Two Seconds' was written in a single afternoon in late December 2015 when it was revealed that the grand jury had declined to indict the police officer who shot to death 12-year old Tamir Rice. The taut techno, industrial minimalism, and aural upheaval is embedded in tracks 'Rukhsana' (featuring Drew McDowall, formerly of Coil & Psychic TV, on modular synthesizer), 'The Place Where Spirits Get Eaten,' and 'Less Than Two Seconds,' an emotionally wrought blitz of serrated Monomachine tones flanked by timeless recordings of essayist, poet, and social writer James Baldwin. Mao ventures deep into heady, prismatic runs of hypnotic techno, on 'Don't Drink the Water' and 'The Declared Enemy.' On opener 'Being Earnest' and 'Love is the Capital,' foreboding motifs brood their way back into the narrative. Still, the album maintains a sense transformation, burdened with an alien tension- the awareness of an impending and necessary collapse. And what may come next." MOON DIAGRAMSLifetime Of Love 2LP $29.99"Lifetime Of Love is the debut album by Moon Diagrams, the solo recording project of Deerhunter co-founder and drummer Moses John Archuleta. Recorded in Georgia (Atlanta and Athens) and Manhattan (East Village) over a 10-year period, Lifetime Of Love finds Archuleta processing various stages of love, loss, and regeneration via forlorn pop, minimal techno, and weightless experimentation. Throughout each of the 8 songs, Archuleta follows fits of inspiration or moments of chance. By lifting samples from thrift store-sourced LPs, removed from their sleeves and chosen at random to find loops and textures, Archuleta lets the unknown happen naturally, but still confined to a specific set of boundaries. 'Bodymaker' and 'Nightmoves' feature Archuleta's earliest solo recordings, captured between the release of Deerhunter's 2007 breakout LP Cryptograms and 2008 LP Microcastle. The two songs also show Archuleta's willingness to venture outside of the taut, mesmerizing drone rock of his main band. The chilling, ambient techno of 'Nightmoves' perfectly foils and compliments the broodingly sullen but sincerely beautiful shuffle into the dark. In 2012, Archuleta decided to pick up his recording activity, challenging himself to make a solo album. Locking himself in his practice space and using only the spare instruments laying around, Archuleta would enter fugue states in recordings. This period yielded a disparate mix of sonic sketches, from eerily bucolic choir recordings ('Playground'), dusty art-pop ('Moon Diagrams'), and infectiously jubilant dance pop ('End of Heartache'). For the final period, Archuleta found inspiration after an extended stint in Berlin, estranged from his friends and family. But Archuleta used the relative isolation to take in the city's dark energy, eventually returning home to finish the album with a newfound sense of resolve. Subtly grandiose and quietly epic, the album explores a nascent beginning, a morose middle, and a bittersweet, optimistic end." ADI GELBARTPreemptive Musical Offerings To Satisfy Our Future Masters LP $30.99For his next release on Felix Kubin's Gagarin Records, multi-instrumentalist Adi Gelbart delivers twelve Preemptive Musical Offerings To Satisfy Our Future Masters. With a spiraling musical complexity reminiscent of film scores, BBC Radiophonic Workshop, library music, criminal swing, Russian vitamins, tinnitus' twist, abstract jazz and musique concrète, Gelbart surpasses himself this time by augmenting his palette of instruments to the extent where he becomes a small orchestra. "The Source" of his musical identity plays "The Message" of synths, broken organs, harpsichord (!), double bass, horns, cymbals and crispy drum machines. It's a "Spacetime Reverie," where "Tsuburaya" blows "Leaves For Gamera" while "He Who Speaks Through Pyramids" walks through "Echoville" with "Dust" on his shoes, contemplating the "Birth Of Alpha" after "The Big Sleep." While humming to songs of the second moon, the "Harpsichord Automata" leads "The March Of The Thinking Machines" to a blissful silver big bang. The LP comes in a beautifully designed sleeve with cover artwork by Berlin-based German illustration star Benedikt Rugar, who has contributed to newspapers such as The New York Times and Spiegel, as well as numerous animation film festivals. A download card is included with the purchase of the record. KING BUCKNOR JR. & AFRODISK BEAT 79African Woman LP $26.99Hot Casa present a reissue of King Bucknor Jr. & Afrodisk Beat 79's African Woman, originally released in 1979. African Woman is a fantastic Afro-beat album from the Fela Anikulapo Kuti disciple and Kalakuta Republic member. A sublime spiritual and political session recorded in 1979 at the EMI studio in Lagos, Nigeria. Arranged and self-produced, Kingsley Bucknor's second album, hopelessly obscure and impossible to find, ranks alongside the best Afro-beat albums in history. At the age of 19, King Bucknor Jr., also known as the Black Isaiah of Africa, released his second album backed by a 16-piece band called The Afrodisk, and ten background singers. Two long and hypnotic grooves with all the Afro-beat ingredients: fluid and complex drums patterns, strong horns, female voices on chorus, strong lyrics, beautiful keys, and horns solos. Essential for all Afro collectors and music lovers. Vinyl replica; Remastered by Carvery (UK); Includes inner sleeve with an interview. RAINFOREST SPIRITUAL ENSLAVEMENTFallen Leaves Camouflaged Behind Tropical Flowers LP $24.99Marking six years of Rainforest Spiritual Enslavement's cultish, elemental output, Dominick Fernow (Prurient) gives the project's first ever release a vinyl pressing for the first time, coiling up two extended tracts of impure, unnatural gloom ranking amongst his most cherished works. Fallen Leaves Camouflaged Behind Tropical Flowers was originally released on tape in 2011 in an edition of 59. When RSE was first conceived with Fallen Leaves Camouflaged Behind Tropical Flowers in 2011, the project was shrouded in a veil of mystery which left many fiends guessing to its provenance -- it seemed too far reduced to be identified as Fernow's work, but also didn't easily resonate with anyone of Hospital Productions' usual suspects, instead holding a unique line of stygian slow techno that sounded like some our bleakest, febrile fantasies come to life. Soon enough RSE's creator and navigator was indeed revealed to be Fernow, and the project became regarded among his most prized golems by those in the know, not least because it was starkly defined in contrast to his myriad other pseudonyms -- Vatican Shadow, Prurient, Christian Cosmos, Force Publique Congo, and so on -- by dint of its perceived restraint and glowering minimalism. Perhaps because of that stringent, meditative asceticism, the hypnotic grip of RSE has remained undiminished and perhaps as strong as ever on this new vinyl edition, where the predator heartbeat and keening tonal groans of "Life Would Transform" sound more pensive and narcotically effective than ever, and the borderland industrial chug and clag of "Skull Covered In Moss" seems to be seated deeper into its dank gloom, emulating a location recording of a burial-by-mud in some godforsaken no-man's-land, with lurking parakeets and mechanical birds awaiting their turn on your soon-to-be carrion. RIYL: Coil, Demdike Stare, Prurient, Brian Eno / Jon Hassell's Fourth World (1980). Remastered by Paul Corley; Cut at Dubplates & Mastering, Berlin. Edition of 500. OMAR KHORSHID AND HIS GROUPLive in Australia 1981 LP $25.99This is the first live concert recording ever issued of legendary Egyptian guitarist Omar Khorshid and his group. It features tracks recorded during his 1981 tour of Australia, including live versions of songs that grace his various LPs recorded for Lebanese and Egyptian labels during the 1970s with one phenomenal tune, "Al Rabieh," being exclusive here as never before issued in any form. The sound is surprisingly great for a live cassette recording and the band is as sharp and monumental as ever, with stunning instrumental performances throughout, including an extended improvisational rhythmic exchange between percussionist Ibrahim Tawfiek and Omar's electric guitar on the epic track "Sidi Mansour." This record is loaded with Khorshid's signature microtonal Arabesque surf guitar elegance darting atop the backing band's brilliant accompaniment, and the tones of organist Fouad Rohaiem sound raw and abrasive, as though it were still 1973. The album has even more nostalgic (and tragic) significance as these shows would be his last; a car accident claiming Omar's life within 72 hours of flying back to Cairo from Australia. Mohamed Amine, Khorshid's lifelong friend and member of his group from 1975-1981, recorded these tracks and provided the photographs that embellish the beautiful gatefold jacket that accompanies this LP. Collected and researched by Khorshid historian Hany Zaki in Cairo, this unbelievable treasure is now available for the world to behold. Limited edition LP release in a full-color gatefold jacket with exquisite photos from Mohamed Amine's personal archive and informative liner notes by Hany Zaki. TUNES AT NOONevery thursday at 12 noon in dearborn city hall park at the corner of michigan ave and schaeferone hour of free music - bring your lunch and enjoy some fun in the sun!! 8/10 Michael Malis TrioMichael Malis is a pianist and composer based in Detroit, MI. Malis bridges the gap between original composed, complex material and the spontaneity of improvisation. His trio (piano, bass, drums), featured on his latest album, has toured in the United States and Canada, and in September 2016, they performed at the Detroit International Jazz Festival. 8/17 Viands "Viands is a spontaneous collaboration between two auteurs of Detroit's underground music scene: Joel Peterson and David Shettler. The music they create is a deep, reflective and fearless alternate-reality keyboard meditation that draws on the pair's broad musical vision to explore new vistas.

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