#jeremy kittel

[lady-janet]

Jeremy Kittel, Tamlin

Day 28 is our final instrumental version of the Glasgow Reel. This one has a strong, solid sound that I really enjoy.

[daily-chonny-jash-music]

FULL FIGHTER LIST:

Chonny Jash: Heart, Mind, Soul, Whole, Chonny Jash, The Announcer / The Narrator of The Fall of the House of Usher, Dr. Jekyll, Mr. Hyde, Dracula, Wilhelmina, Carmilla, Victor Frankenstein, Frankenstein's Monster/Adam, Roderick Usher, Madeline Usher (Mentioned) Hawkins, Billy Bones (Mentioned), Silver (Mentioned), Flint (Parrot) (Mentioned), Captain Flint (Person), Winston from 1984, Julia from 1984 (Mentioned) Big Brother (Mentioned), The entire cast of Mario 64 (Debatable), Tally Hall (Mentioned) (Very debatable), The Banana Man (Mentioned), Colonel PT. Chester Whitmore (Mentioned), Bung Vulchungo and the Zimbabwe Songbirds (Mentioned), The Man with the Skeleton Arms, K.K. Slider (Debatable), Steve-O, DJ Soup, Jesus Christ (Mentioned), All the people Chonny's covered (Debatable), and more that I've probably forgotten. Tally Hall: Joe Hawley, Rob Cantor, Zubin Sedghi, Andrew Horowitz, Ross Federman, Bora Karaca, Steve Gallagher, Casey Shea, Coz Baldwin, Jeremy Kittel, Marvin Yagoda, Joerilla, Jerk Chicken, AnonyMous, The Banana Man (Mentioned), Colonel PT. Chester Whitmore (Mentioned), Bung Vulchungo and the Zimbabwe Songbirds (Mentioned), Mr. Moon, Mary-Kate Olsen (Mentioned), Ashley Olsen (Mentioned), Andrew Sotry, The lil guys from Ruler of Everything, the other lil guys from Ruler of Everything, The big guy from Ruler of Everything, The Human from the early version of Ruler of Everything, The Toy Orchestra, Capitalists & Communists, A Cannibal, The Sacred Beast, The various monsters from Turn The Lights Off, The kid from Turn The Lights Off, A Lady (Mentioned), The Scarecrow, Nellie McKay, Simon, Stella, The Erlking (Mentioned), The Twin Towers (Mentioned?), All of the things mentioned in Black People White People (Mentioned), Francesca (Mentioned), Your Mother (Mentioned), A Wizard, A Witch, A Gnome, A Bridge Troll, Hot Rod Duncan, Aristotle, Minimall, Alice from Alice in Wonderland (Mentioned), the White Knight (Mentioned), the Red Queen (Mentioned), The Jabberwocky (Debatable), John from South Taiwan (Mentioned), God (Mentioned) (Debatable), Pluto, Haumea (Mentioned), Makemake (Mentioned), Eris (Mentioned), The entire cast of Mega Man 2 (Debatable), The entire cast of Mega Man 3 (Debatable), Alan Alda, Lemon, Pear (Mentioned), Hummingbird (Mentioned), The girl with daisy fingers (Mentioned), Someone's Grandpa (Mentioned), and more that I've probably forgotten.

Note: You can really take or leave the debatable ones.

[suna1suna1]

@shadamytober Day 25, "The Lake"

Shadow, an immigrant from another country, stays with a local family while he searches for a job; their oldest daughter Amy's idea of course.

Inspired by The Lakes of Pontchartrain, by Aoife O’Donovan and Jeremy Kittel

[laocommunity]

From Relegation to Redemption: Can Hamburg's Rise Continue Against Stuttgart? Preview, Predictions and Lineups

From Relegation to Redemption: Can Hamburg's Rise Continue Against Stuttgart? Preview, Predictions and Lineups From Relegation to Redemption: Can Hamburg's Rise Continue Against Stuttgart? Preview, Predictions and Lineups Introduction After getting relegated to the second tier of German football in 2018, the former European champions Hamburg SV have been through a rollercoaster of emotions over the past couple of seasons. However, the 2020-21 campaign has brought renewed hope and optimism for the club and its fans, with the team sitting at the top of the 2. Bundesliga table after 24 matches. The next challenge for Hamburg comes in the form of a crunch clash against fellow promotion contenders VfB Stuttgart on the 7th of March, and this article will preview the game, make predictions, and provide expected lineups for both teams. Preview of the Match As mentioned earlier, Hamburg and Stuttgart are both vying for promotion this season and the outcome of their encounter this weekend could have significant ramifications in the race for the top two spots. Hamburg currently sit in first place, three points ahead of second-placed Stuttgart, but a defeat could see them overtaken by the latter. Given the importance of the match, the atmosphere at the Volksparkstadion is expected to be electric, even though it will be played behind closed doors due to coronavirus restrictions. Recent Form and Head-to-Head Both Hamburg and Stuttgart have been in good form leading up to this game. Hamburg have won four of their last five games and come into this fixture on the back of a 2-1 win over Jahn Regensburg. Stuttgart have also won four of their last five, including an impressive 5-1 victory over league leaders Arminia Bielefeld in their most recent match. When it comes to head-to-head record, Stuttgart have the upper hand, having won 42 of the 112 meetings between the two sides. Hamburg, on the other hand, have won 34, and there have been 36 draws. The last time the two teams met was in October 2020, when the game ended in a 3-2 win for Stuttgart. Injury News and Expected Lineups Both teams have a few injury concerns going into this match. Hamburg will be without some key players such as Jan Gyamerah, Gideon Jung, and Ogechika Heil. Stuttgart, on the other hand, have concerns over the fitness of Borna Sosa and Clinton Mola. Here are the expected lineups for the two teams: Hamburg: Daniel Heuer Fernandes, Tim Leibold, Jonas David, Stephan Ambrosius, Josha Vagnoman, Jeremy Dudziak, Amadou Onana, David Kinsombi, Sonny Kittel, Simon Terodde, Bakery Jatta Stuttgart: Gregor Kobel, Pascal Stenzel, Konstantinos Mavropanos, Waldemar Anton, Marc-Oliver Kempf, Wataru Endo, Orel Mangala, Daniel Didavi, Tanguy Coulibaly, Silas Wamangituka, Sasa Kalajdzic Predictions This is a tough one to call, as both sides are evenly matched and have a lot at stake. Hamburg will be buoyed by their position at the top of the table, but Stuttgart's recent form and head-to-head record in this fixture could give them the edge. I'm going to hedge my bets and predict a 2-2 draw, which would keep the race for promotion wide open heading into the final stretch of the season. Conclusion The Hamburg vs Stuttgart match promises to be a cracker, with both teams eager to secure a win and boost their chances of promotion to the Bundesliga. The absence of fans in the stadium is a shame, but it shouldn't dampen what should be an intense and fascinating encounter. Hamburg's rise from relegation in recent years has captivated the football world, and they will be hoping to achieve redemption by sealing a return to the top flight. However, Stuttgart will be equally determined to spoil their party and come away with all three points. FAQs 1. What happened the last time Hamburg and Stuttgart faced each other? The two teams played against each other in October 2020, with Stuttgart emerging victorious in a 3-2 thriller. 2. Who are the key players to watch out for in the Hamburg lineup? Simon Terodde and Bakery Jatta have been in fine form for Hamburg this season and could be crucial in unlocking the Stuttgart defense. 3. Can fans watch the match at the stadium? No, the game will be played behind closed doors due to coronavirus restrictions. 4. What are the chances of both teams getting promoted to the Bundesliga? Both teams are in the mix for promotion, with Hamburg currently in first place and Stuttgart in second. With just over a third of the season to go, it's impossible to say for certain who will make it to the top flight, but both teams will be hoping for a positive result in this match. 5. When and where is the match taking place? The game between Hamburg and Stuttgart is scheduled for the 7th of March and will be played at the Volksparkstadion in Hamburg. #SPORT Read the full article

[firstfootingscotland]

On Islands and Improvisation

(View from the airport at Benbecula, Uist)

It looks as though we’re about to land on the beach as the small dual propeller plane wafts us over Uist. As we descend towards the runway, just a narrow strip of land from the water, I can see the island dotted with silvery lakes, the white sand turning to darker earth as you move inland, and the spine road of the island with its proprietary bulges. Later, I find myself very grateful my driver knows these passing places well as we careen towards the hall where I’ll be teaching step dance. We pull off to take in a quick view over the water, the place my hostess says has the best cell reception, and look west towards the sea, towards North America. Here, I get the sense that the island is what all are answerable to.

In the opening of her piece on gender and sexualities in traditional ballads, University of Winnipeg Women’s and Gender Studies professor Pauline Greenhill mentions both the literal and figurative transportive quality of islands:

“When I was a young woman, the Mariposa Folk Festival was an experience freedom and separation, requiring bus and subway travel from my parents' apartment in Don Mills, and then a ferry across Toronto Harbour to the Toronto Islands. To spend a sunny summer weekend away from the suburbs, surrounded by trees, water, and music was to be literally and figuratively transported to other historic and symbolic locations. It was probably at Mariposa that I first heard "transvestite," "warrior-maiden," "female-sailor," or, as I call them, cross-dressing ballads, likely sung by strong women folksong-revival performers…” (1)

For Greenhill, traveling to the Toronto Islands to hear traditional songs about warrior-maidens or cross-dressing sailors at the Mariposa Folk Festival allowed her to hear these ballads not only as conventional narratives of binary gender and heterosexuality, but also as somehow suggestive of other modes of being... Of other desires, other ways of existing outside of a presumed two-gender system; ways of life that are somehow queer, somehow beyond the limits of normative.

I’ve been thinking a lot about islands. Over the past seven months of the First Footing residency, I have had the pleasure of working on three different Scottish islands: Lismore for a weekend of music and dance workshops organized by Kae Sakurai, the Isle of Skye for a weeklong step dance course organized by Sabhal Mòr Ostaig, and South Uist for a weekend of classes for singers and dancers coordinated by Ceòlas. While each island presented its own ecological richness, I’ve been wondering broadly about the correlations of teaching, performing, and especially improvising on islands.

As long as I can remember I have made a habit of improvising in performance. In the weeks leading up to my first paid gig at the leafy Saline Celtic Festival still held annually in Michigan’s breezy early summer, I remember meticulously scribbling sequences of steps on many multicolored sticky notes. I adhered these to the dresser in my room so I could follow along as I practiced dancing. From my musician collaborators, I had received the names of the tunes that would be played, their meter (jigs, reels, hornpipes, etc.), and the number of times they were to be played. I noted all this information studiously. I so desperately wanted to be prepared.

However, when it came to rehearsing with the musicians for the show (Jeremy Kittel, Sean Gavin, and Michael Gavin), my folder of adhesive-backed paper couldn’t have seemed more arbitrary. Listening and responding felt so much more relevant, so much more useful. I abandoned my scrawled steps that day. Drawing from the footwork sequences in the moment, pulling steps from many percussive dance styles including Irish step dance, Canadian stepping, Appalachian clogging, and tap dance, I could better hear nuances of melody, timing, dynamic and phrasing than if I were actively working to recall a pre-arranged set of steps. (2) Perhaps I just didn’t rehearse my stickies enough. In any case, this way of creating dance has been at the center of my work ever since. Whether performing onstage with a band, teaching a workshop (its own kind of performance!), or presenting a solo dance show, I find myself returning to improvisation as a technique. Even when working alone in a studio in recent years, I tend to improvise, film the improvisation, and watch it back to see what worked and what didn’t. Sometimes I’ll forgo the camera and rely on mental notes as I’m dancing; mentally marking what feels interesting, what feels irrelevant, what feels pleasurable, and then trying to repeat, omit, expand upon this material on the next attempt. In performance, I’ve found this method of public extemporization allows me a tremendous amount of autonomy to respond to other bodies, to sound, to the haptic nature of my feet brushing the floor, and to the specifics of place as I perform.

I found myself improvising on all three of the Scottish islands I visited during my residency. On Lismore, Kae Sakurai and Mairi Campbell hosted a public acoustic show in the village hall with performances by weekend instructors and attendees. There, with the lights low, I found myself rising from my seat in the circle of chairs amidst islanders and students to dance with Mairi, Janet Lees, and Kath Bruce playing Kath’s stately tune, Albert’s 90th. Mine was the first dancing body to enter the circle, an act which felt imbued with its own symbolic magic. As the tune unfolded, I found myself tracing big shapes, hoping to usher in a sense of “eventfulness,” a term Irish queer theorist Michael O’Rourke once ascribed to my movement after seeing a performance. On Skye, Malin Lewis and Hamish Napier both invited to join them in the midweek concert at Sabhal Mòr Ostaig. With Malin, I donned tap shoes to accompany their highland pipes for a set of gleefully acrobatic original 7/8 compositions while with Hamish, I wore a softer pair of leather shoes and used sand to meet him in the breathy, sibilant soundscape of his whistle-playing and Innes Watson’s dexterous guitar work. On Uist, I presented a 45 minute solo performance that included improvisations, songs accompanied by dancing, dances accompanied by diddling, and percussive dance that needed no accompaniment at all. All of these performance situations relied on improvisation as a compositional strategy - a mode of danced connection to islanders and islands.  

View this post on Instagram

A post shared by Sabhal Mòr Ostaig (@sabhalmorostaig) on Apr 10, 2019 at 9:18am PDT

(Hamish Napier, Innes Watson and I perform Hamish’s composition Huy Huy! at Sabhal Mòr Ostaig, filmed by Sophie Stephenson)

In a recent talk at Boyer College, dancer, dance scholar, and chair of African-American studies at Duke University Thomas F. DeFrantz articulates that there is queerness to the process of improvisation itself. He examines the act of improvising through the lens of black performance, especially jazz:

“That’s how jazz works. You have to be able to imagine outside of what happened before…and it’s going to be super queer to get to the place where it’s going to be interesting as an improvisation….queerness as I’m trying to think it through at the heart of improvisation, is a willingness to resist the normativity that produced what that was. Then you’re trying to improvise outside of there. You’re trying to go to a queer space or through a queer methodology to flip the beat or change the rhythm.” (3)

Thomas’ words (as they so often do) strike a deep chord for me. When I’m dancing and improvising, I’m responding to sound, to my own body, or to a fiddle tune without the script of “what comes next.” Improvisation requires an imagination beyond what we know. It’s audacious. It’s cheeky. We dare to dream that there could be something else, something more beyond what we have just experienced. Thinking broadly, when we imagine a life outside of what the norms of heteronormativity and binary gender offer, this is where marginalities enact themselves, where space is made for diverse populations, where queering occurs.

Islands themselves also seem predisposed to this kind of queering. I met fellow queer people on Lismore, Skye, and Uist, however, I’m not so much referring here to individual identities of the island’s inhabitants but rather, as Greenhill states, islands’ “symbolic locality” as places that are set apart, imbued with beyond-ness. Indeed, islands are set apart, surrounded by an ever-changing, infinitely diverse, unquantifiable bodies of fluid (what could be more queer?!) “Island time” as it’s referred to on Uist - the convention of events occurring in their own time, on their own terms, or when folks arrive - also seems to connect to queerness, especially the interpretation of queerness suggested by Judith (Jack) Halberstam in their book In a Queer Time and Place: Transgender Bodies, Subcultural Lives: “One of my central assertions has been that queer temporality disrupts the normative narratives of time that form the base of nearly every definition of the human in almost all of our modes of understanding.” (4)

(Working with singers during the Ceòlas song and dance weekend, photo by Lowenna Hosken)

On the final day of the Ceòlas Song and Dance Weekend, brilliantly curated by Dance Officer Lowenna Hosken, I found myself improvising amidst my dance students as we worked with participants who had been studying Gaelic song with Fiona MacKenzie. The song students, seated, would sing traditional puirt à beaul (literally Gaelic “tunes from the mouth”) as we listened in, standing close, attempting to find gestures that would imitate their Gaelic syllables. While I had encountered many of the specific puirt repertoire in my work with Mary Ann Kennedy and the Campbells of Greepe, the act of composing repeatable footwork for the dancers in the moment was both thrilling and daunting. It happened blindingly fast, and the speed of the workshop facilitated a kind of insouciance that helped me stave off any imposter-syndrome anxiety about my own (in)ability to understand Gaelic or the gravitas of bringing traditional song and percussive dance (back) into conversation. “What was that phrase again?” “Could you sing it slower?” “One to many beats there.” “Yes, that’s it.” I constructed a phrase, taking a moment to work with the dancers who joined in with abandon. Soon we were moving together and all were smiling. “They’ve got the Gaelic in their feet.” “You can hear the words!” Eschewing the Derridean notion of false binaries, we endeavored to enact a blurring of our ostensibly separate traditional art forms: a performative slippage, a synesthetic blending of mediums in which the dance could be heard and the song could be seen, enacting a trans-­linguistic, anatomic translocation from the island of one body, to the island of another. And as we moved and sounded together, I smiled to myself thinking about islands and about the way improvisation enables intimacy, if we dare to imagine.

(Awaiting the Oban ferry on Lismore in March 2019 with participants of the Lismore Music & Dance Weekend)

First Footing is a collaboration between dancer and dance researcher Nic Gareiss, the Traditional Dance Forum of Scotland, University of Edinburgh Moray House School of Education, and the School of Scottish Studies with support from Creative Scotland. For engagement opportunities check out the First Footing website.

(1)  Pauline Greenhill, "Neither a Man nor a Maid": Sexualities and Gendered Meanings in Cross-Dressing Ballads, The Journal of American Folklore, 1995, p. 156 (2) The abandonment of these charted steps was the beginning of me feeling uncomfortable with using the word “choreography” for my work. In Antje Hildebrandt’s 2013 video, “The End of Choreography,” she reminds us that choreography is literally “dance writing” in Greek. While I enjoy writing about dance, I personally feel far more connected to the words performer, dancer, or improviser to describe what I do when I’m dancing.

(3) Thomas F. DeFrantz, Dance Studies Colloquium, Temple University, Boyer College, February 19, 2019, Uploaded April 25, 2019

(4) Judith (Jack) Halberstam, In a Queer Time and Place: Transgender Bodies, Subcultural Lives, 2005, p. 152

[mitjalovse]

The combination of classical and popular can be in all sorts of shapes as we've seen. However, I believe many mostly understand this as something in the vein of an orchestra supporting a musician, though we should also include the cases, such as Fleet Foxes, in our discussions here. While the group I mentioned doesn't resemble Sting doing his own covers with the backing of the large ensemble of players, one does get a taste of what would have happened, had these violin quarters decided to work within the field of indie rock. I know, I know, the band does get to be called chamber pop for a reason and the latter term should be seen as another edition of mix between the classical and the popular. True, this one's much different than Sting doing his self-covers.

[cbjustmusic]

Tonight’s tribute to Leonard Bernstein at the Kennedy Center’s Millennium Stage. Some truly awesome performances by:

Teddy Abrams, Conductor, Piano and Clarinet Morgan James. Vocals Michael George Maliakel, Vocals Amber Iman Moorer, Vocals Jeremy Kittel, Violin Harrison Hollingsworth, Violin, Bassoon Nate Farrington, Bass Gabe Globus-Hoenich, Drumset

[thebowerypresents]

No Paul Simon, No Problem at Live from Here with Chris Thile at Town Hall

Live from Here with Chris Thile – Town Hall – October 26, 2019

In any superhero movie, there’s always a scene when the protagonist is badly injured but the wound mysteriously heals as if nothing had happened at all, letting the audience know the character isn't a mere mortal. The audience at Town Hall on Saturday saw their hero take a licking when the scheduled main guest for this week's Live from Here taping had to cancel due to illness. The fact that the guest was Paul Simon would lead you to believe the blow would be fatal. But as regulars know, when it comes to a night of entertainment, Chris Thile’s program is no mere mortal and by the end of the show, a delight of music and more, genre hopping of the nth degree and a supporting cast of A-list talent, it was as if nothing unscheduled had happened at all.

The show was anchored by the more-than-adequate guests, particularly the legendary Mavis Staples, who inspired the crowd with her gruff gravitas, singing a pair of songs from her newest album, We Get By, in both the first and second sets, getting a rousing ovation from the audience, as well as a giddy Thile, after each one. Rachael and Vilray brought a dose of old-time radio with their updated vocal pop-of-yore sound, at one point Vilray whistling a melody while a siren outside the theater joined in, New York City almost literally singing along, the kind of magic you might find at a Live from Here performance. Beyond the guests, everyone in the house band each found moments to shine, from bassist-musical director Mike Elizondo doing his best Bootsy Collins during the weekly birthday segment to drummer Joey Waronker leading the band through a highlight cover of Atoms for Peace’s “Stuck Together Pieces” to Gabriel Kahane’s interludes of songs he’d written to various tweets to a host of fiddle solos from Jeremy Kittel.

The show’s second set featured the entire ensemble showing off their superpowers, Rachael Price elevating a cover of Jefferson Airplane’s “White Rabbit,” Staples delighting the room with her take on Talking Heads’ “Slippery People,” and the host, Thile, hypnotizing with some that’s-not-human! mandolin playing. Another tall building leaped in a single bound for Thile and his Live from Here crew, who saved the day once again, no red cape necessary. —Aaron Stein | @Neddyo

[larryland]

A Weekend of Musical Roots at PS21 Join PS21 in celebrating the musical traditions that find new life in the hands of today’s best artists, from swinging jazz with Aaron Johnson and an all-star cast of musicians on July 12 to the seamless blend of genre-bending styles from two-time Grammy-nominated fiddler and violinist Jeremy Kittel who brings his new group Kittel & Co.

[nofatclips]

Third of May / Ōdaigahara by Fleet Foxes from the upcoming album Crack-Up. Video by Sean Pecknold & Adi Goodrich.

[lady-janet]

The Ballad of Tam Lin in Song: a master post

Alastair McDonald, Tam Lin

Anne Briggs, Young Tambling

Anaïs Mitchell and Jefferson Hammer, Tam Lin (child 39)

Benjamin Zephaniah, Tam Lyn Retold

Bill Jones, Tale of Tam Lin

Bob Hay, Tam Lin

Broadside Electric, Tam Lin

Cast Iron Filter, Tam Lyn

Catriona MacDonald and Ian Lowthian, Tam Lin

Coyote Run, Tam Lin

Current 93, Tamlin

Daniel Dutton, Tam Lin

Davey Arthur, Tam Lin

Drake Oranwood, Tam Lin of the Elves

Elephant Revival, Tam Lin Set

Ewan McColl, Tam Lin

Fairport Convention, Tam Lin

Fiddler’s Green, Tam Lin

the Forgetmenauts, Tam Lin

Frankie Armstrong, Tam Lin

Gillian Grassie, Tam Lin

Ian Page, Tam Lin

Jeremy Kittel, Tamlin

Joe Jewell, Tam Lin

Kathleen Yearwood, Tam Lin

King Chiaulee, Tam Lin

Maranda James, Janet

Makaris, Elliot Cole & Fiona Gillespie, Tam Lin

Mediæval Bæbes, Tam Lin

Mike Waterson, Tam Lyn

Molly Pinto Madigan, The Ballad of Tam Lin

Mrs. Ackroyd Band, Tam Lin

Pentagle, Tam Lin

Pete Morton, Tamlyn

Raising Gael, Tam Lin

Seamus Egan, Tamlin

Steeleye Span, Tam Lin

Steeleye Span, Thomas the Rhymer

Tania Elizabeth, Tam Lynn’s

Tempest, Tam Lin

Trent Wagler and the Steel Wheels, Tam Lin

Tricky Pixie, Tam Lin

note: I haven't listened to all of these retellings myself, but I'm working down the list. Please let me know about any broken or incorrect links you find. And please do make suggestions for any songs I might have missed.

[nobody-knose--archive]

grading tally hall songs based on how well they hold up when your earbuds are broken and you can only hear the right channel:

taken for a ride: mostly it's just quieter and i constantly get the impression i'm missing out on stuff whether i am or not. bonus point allotted for missing out on joe's part at the end specifically. 6/10 banana man: i don't miss the vibrato. i do miss some of the harmonies. being able to hear the melodica & warbly guitar when they appear is nice. 4/10 mainly because i already dislike this song be born: the fact that right off the bat i can hear something different with the guitar is a marker of how well i know this song more than anything else. the jeremy kittel fiddle doesn't deserve to be this quiet & neither does zubin. 5/10 the bidding: the intro could be mistaken for that of the pingry ep. unfortunate. also, the guitar at the end is easier to hear. 7/10 because bora & ross aren't there. i miss them just apathy: at first the acoustic guitar's absence is very easy to miss and then the actual verses start and it's like. this is half of a song. 5/10 this is half of a song spring & a storm: i didn't want you whispering into my ear anyway, joe. i would like to know what you did with the little kids, joe. 8/10 ah these are some lovely peaceful rain sounds- oh god oh fuck the drums the whole world & you: this song is always perfect. wonky harmonies make it more perfect. 10/10. greener: i know for a fact this would be worse as the 2005 version but this isn't the 2005 version so it's pretty okay. 9/10 i don't know what to say haiku: to quote myself at an earlier date: rob’s lonely And alone & joe is stuck in the void again (but what else is new?). 6/10 literally every song is worse without zubin two wuv: this song is just different in most ways i can't call it bad or lacking it's just different. wonky, even. 9/10 honestly i wish it had more differences hidden in the sand: fuck dude that sand sure can hidden. 7/10 13: reminds me of a ytp but if a ytp had the budget for audio panning. 5/10 like 13 already doesn't have much to offer and you take away half of the only vocals? what's even the point good day: oh lord andrew your masterpiece has been ruined i'm so sorry. where are the sounds? the wonky shenanigans? 4/10 look how they massacred my boy ruler of everything: i know this song's audio channel shenanigans inside & out, but i don't even need to, really. 5/10 so it can match with 13 welcome to tally hall: this feels the most relevant place to say i know there'd be a lot more missing in the 2005 versions for all of these songs but that's too much tally hall for me to listen to in one day. 7/10 the glass breaking sound is gone - &: literally the entire keyboard part is gone. like it may have been a silly little organ synth but it was organ-ic enough in my heart. 5/10 wow a perfect split it's almost like it's 5/10ths good & 5/10ths evil. that'd be silly though no way it's real you & me: *starts listening* something is missing isn't it *fiddles with earbuds* ah yes the entirety of zubin sedghi. 7.8/10 too little bassist out in the twilight: huagh 1/10 the trap: zubin sedghi jumpscares are the only valid kind of jumpscare. 3/10 i mean objectively this is worse but it's also really funny like this. plus hasn't everyone been curious about listening to it like this at one point fate of the stars: (1st part) on one hand, you miss out on an entire arpeggio. big l. on the other hand, that guitar strumming fucks. (2nd part) it feels less cavernous. (3rd part) more guitar is not a fair trade for less harp. 3/10 if you're going to listen to fots then you ought to go all out sacred beast: the song that inspired me to do all this because while it is lacking in some ways, i think the stronger acoustic guitar gives it an interestingly different sound. 8/10 worth checking out a lady: conjures imagery of a universe where tally hall is more not-rock band musicians than rock band musicians. 10/10 this is kind of just a different song who you are: reminds me of live performances of this song. that's a good thing. 8/10 it's like. not that different man you: i forgot there's string instruments in this song. 9/10 andrew really moved past audio channel differences after 2005 huh misery fell: it's easy to not notice any differences till the chorus buildup but that doesn't mean there aren't any! 7/10 it's interesting to see my suspicions confirmed on this album having less audio channel shenanigans than mmmm never meant to know: i'm frantically hurrying from place to place searching for the guitar's counterpart but it's nowhere to be found it's gone 5/10 turn the lights off: like the only place it's notable anything's missing is that bridge/breakdown part & the periodic background chanting and even then it's not a big deal. i'm weirdly disappointed. 7/10 hymn for a scarecrow: if you don't think this song sounds terrible and incomplete without andrew on piano then get out of my house. 4/10 one shouldn't have to choose between the weeping guitar & cascading piano in the breakdown cannibal: i mean this is a zubin song. why not play the bass more than anything else. the acoustic guitar is still there kinda. 6/10 i'm grooving

[krispyweiss]

Song Review: Chris Thile, Armand Hirsch and Jeremy Kittel - “The Art of Fugue” (Live, Feb. 22, 2020)

Bach is back and “Live From Here.”

Mandolinist Chris Thile, guitarist Armand Hirsch and violinist Jeremy Kittel performed two selections from the composer’s “The Art of Fugue” on the Feb. 22, 2020, broadcast of the public-radio program. And while trio hurtled Bach’s work through the centuries and rendered it through new instruments, they also stayed true to his score.

The effort that went into to doing so is apparent on the musicians’ faces as they read music and perform seamless countermelodies while deep in concentration. The elation they exude when finished must be some combination of sweet relief and sweeter accomplishment.

Grade card: Chris Thile, Armand Hirsch and Jeremy Kittel - “The Art of Fugue” (Live - 2/22/20) - A+

3/10/20

[muddyfatty]

Chris Thile and our band play Frank Zappa's "Let's Move to Cleveland" on our February 8, 2020 show. The band: Chris Thile, Mike Elizondo, Armand Hirsch, Jeremy Kittel, Abe Rounds, Brett Williams

[actualbird]

Playlist: that moment when u almost slip in the bathroom

OKAY SO MY THOUGHT PROCESS HERE IS LIKE. something funky at first to represent the naivete of not watching your step. and then something intense when you almost slip. and then your drunk like experience afterward having cheated death.

Minor Swing by Mike Block, Rushad Eggleston and Jeremy Kittel

Black Ice by Too Many Zooz

Drunk by Sungazer

[the-yellowist]

And I’m back. Everything went fine, I think, so it’s back to business as usual. Today isn’t anywhere near bad, but it’s one of those do-nothing quiet days and it’s sort of boring, so it’d be great to have something folk-y, easy listening, and wasn’t sad like most of it seems to be.

Oh, look at this. I found it. Song of the day is Be Born by Tally Hall and Jeremy Kittel.

Tally Hall is full of nerds and I love them all. Most of their songs are so out there I get a Beatles-esqe vibe. Definitely worth a listen. This song is a bit more traditional, but some of their stuff is really out there.

“I suppose you're quite content in your swimming pool All you pink-skinned babes are the same And you can't stay forever young So get out here and see the sun You're only six inches away from becoming one “