#label sampler

[burlveneer-music]

VA - Q4 Statement, 2023 - a name-your-price sampler from Woodford Halse & related labels

Free/pay what you feel digital promotional sampler featuring physical and digital releases across Woodford Halse, Preston Capes and Fenny Compton. The purpose of this collection is to encourage our followers to investigate further the full WH/PC/FC catalogue by having tasty morsels from each release available in your collection without having to open your wallet. (Paying supporters also get unlimited streaming via the free Bandcamp app). Click on the links below to buy the full albums in digital or physical form (where still available). Includes excerpts from: October: The Xenakis Station by Audio Obscura audioobscura.bandcamp.com/album/wf-76-the-xenakis-station Changeable Depths by Greenshank woodfordhalse.bandcamp.com/album/wf-88-changeable-depths-2 It's Not Fine by Angeline Morrison fennycompton.bandcamp.com/album/fc3-its-not-fine November Above Inlets by Duolant duolant.bandcamp.com/album/wf-77-above-inlets Between Shadows And Lore by Pennycross Coven townandcounty-woodfordhalse.bandcamp.com/album/wf-75-between-shadows-and-lore I Don't Want To Worry You Unnecessarily by TVO and The Incidental Crack prestoncapes1.bandcamp.com/album/pct-15-i-dont-want-to-worry-you-unnecessarily December Penny - Original Soundtrack by Maya Hardinge & David Louis Zuckerman maya-woodfordhalse.bandcamp.com/album/wf-87-penny-original-soundtrack

[elizabethplaid]

morning note - aug 21, 2024

Placed my order for phone-friend's birthday gift (a book) this morning. When looking at my own wishlist, I felt that recurring paralysis of "Well, I don't need these things," being unable to treat myself or prioritize what would be best to buy first. (I did buy myself something, as well.)

I went through the same struggle back in May, as I have done many times over the years. It's easier to be patient with myself in recent years, thankfully. The best non-committal items on the list are mp3s, though there are some books on there, too.

Many years ago (2010?), @beegoould and @shaebay bought me mp3s for my birthday. I played the albums while I slept, during the years of bad nightmares and rough sleep habits. The music still holds an important place in my heart, reminding me of my friends each time I revisit it.

Hammock - "Chasing After Shadows... Living With Ghosts" (deluxe)

Jacaszek - "Treny"

Bonus shout-out to @ghoulnextdoor, as she recommended the albums, along with lots of other wonderful music.

[forthegothicheroine]

Tanith Lee Recs

Since Tanith Lee deserves to be known for much more than having been plagiarized, I thought I'd share some recommendations. She had a HUGE body of work, and I've seen it suggested that the reason she never became a household name in fantasy and science fiction is that she wrote so many things that were different from each other, rather than staying in one easily labeled niche. I've only begun to make a dent in her catalogue, but here's the stuff I liked the best.

Note: A lot of her stuff can be disturbing, and I can't remember everything well enough to give perfect trigger warnings.

Red as Blood and Redder Than Blood: These fairy tale collections are being talked about now for the title story, but my favorite is The Golden Ladder, an incredibly creepy and hot version of Rapunzel, or perhaps When the Clock Strikes, a horrifying beautiful take on Cinderella.

The Weird Tales of Tanith Lee: As you can see, I love her short stories. These are all the ones published in Weird Tales, which includes some of the above fairy tales (including When the Clock Strikes) but also Arthurian, steampunk and science fiction stories. It's a great sampler of all the things she could do.

Blood 20: One more short story collection! This one is (most of) her vampire stories, so I know you goths will like it! There are things erotic, fantastical and grotesque in here, but to me the most haunting is the tragically mundane The Vampire Lover.

The Secret Books of Paradys: In this series, an alternate history of Paris, bad things happen. Supernatural things, sexual things, horrifying things. And sometimes good things happen, such as a man saved by a Jewish sage an his beautiful daughter who then actually converts to Judaism.

The Secret Books of Venus: I've only read the first entry in this similar series about an alternate world version of Venice, but once again it leaves the reader feeling totally transported to this sometimes sinister, sometimes lovely place where romance and cruelty live next door to each other.

Vivia: This tragic medieval plague-influenced vampire story is maybe the darkest thing of hers I've read, but dear god can she paint a picture with words. Along with The Birthgrave (which I didn't like as much), George RR Martin definitely pulled a lot of Danaerys's story from the title character here.

Islands in the Sky: And now for something completely different- a children's book. I remember finding this at the library as a kid and wanting to cry when it was over, because it gave me an equal sense of wonder and happiness as The Lion the Witch and the Wardobe, which I hadn't known was possible and worried would never happen again.

...but if you're like me, you'll just see which of her books you find at the library and used bookstores. You may not love every single thing, but it will always be interesting!

[thoroughlycollected]

there are strange strange songs in here, also there are some bangers. i’ve never heard of any of these artists before. some of them are on spotify rn. many of them cannot be found in a quick, cursory internet search. i’ll have to try later to see what a deeper research dive unearths. i am going to make Tear House by M- 1 Alternative from their album Aviary (a song i cannot find online anywhere) my personality for the next week.

the week after that it’ll be Feurio! by Einstürzende Neubauten from the Rough Trade GMBH EP (which is on spotify).

[transxfiles]

picked up some weird little indie cds from the secondhand bookstore :] listening to some funky tunes

[fictionalred]

!FREE BANDCAMP MUSIC ALERT!

The record label "Artoffact" is putting their digital downloads up for free until the end of this week (exact date not given so could be the first or second of March).

Artoffact Records is a Canadian/Icelandic record label that concentrates on industrial, postpunk, heavy metal, and electronic music. [Wikipedia]

If you like those genres check it out, they have some great artists on board :) I can recommend starting with their 2023 en 2024 samplers to get a feel for which ones you like.

Link to the bandcamp FREE music: [bandcamp]

[helslastangel]

Speaking of Water Sign Junos...

We can come off as players (I'm a Scorpio Juno, see this label put on Cancer Junos a lot too. Pisces Junos get it often, maybe not on first sight but definitely over time). It's not always the case, but it often seems that way to those who have been left behind.

People with Juno in Cancer, Pisces, and Scorpio want commitment, probably more than anyone, but our choosiness hurts more than it helps. It's not wrong to choose wisely, but water sign Junos tend to have the attitude of sampling the entire buffet just to decide they're not hungry anymore and go home.

Usually, their best-case scenario is to stay true to themselves and stay single until the right time comes for their person to show up. To run with the example, that could be like our picky buffet sampler going home and one of their friends showing up with a meal they'd like (someone the friend knows well and can introduce to them).

People with Juno in Water signs do well with being matched to compatible people through friends and family, or getting with people who had the chance to observe them and vice versa for some time (neighbors, childhood/high-school friends, roommates).

↤ go back to the masterlist

[notafraidofredyellowandblue]

Flake (from about 0:04) reading for Drecksack evening 2024-10-18

Topic "His better half" which Flake first mentions is his wife, who everyone who knows them will say is definitely his better half, but then moves on to the actual subject of the reading: his keyboard ❤️

While doing so, he mentions a couple of nice side-notes (like Flake always does) like the disadvantages of playing with Rammstein

like wanting a little painkiller at the dentist only to be laughed at '....but you play with *Rammstein*!"

or people charging him to pay double for stuff because Bild wrote how many millions Rammstein earn, without mentioning the costs they have

or his place getting burgled because the tourdates are published so everyone knows when he's away (but his place is a bit of a mess anyway so he still doesn't know if something went missing)

has a little dig at guitarists who give their guitars a women's name, Flake names his keyboard just what it says on the label. Keyboards and samplers all have nice long names like Ensoniq EPS 16 Plus, not like guitars which are just called 'Gibson' or something.

When Flake got a real keyboard that he could take along to concerts, his dad got him an old violincase, a straight box, which fitted the keyboard perfectly. For concerts further away it also had room for a toothbrush and some underpants. After Flake got a new keyboard that was a little bit bigger, it still fitted the case, but there wasn't room for underpants anymore.

(After 20 minutes and turning another page he says "such a long text...who writes something like that" 😄)

His band (and himself) got a bit tired of the keyboard and got the idea of getting a sampler, with which you can take random noises and play them with the keys, at 0:30 he mimickes how a sampler works 😊

Flake loves music because it just exists in a moment, then it's gone, there's nothing left. Just air being moved in specific waves (at abt 0h32 he mimickes this) which create sound, it's there when you play it, and then it's gone, and evrything is back to how it was, but different because the music changed things. Just like a concert, it's there in that moment, but after that it's over and that's it, everything back to normal. Just like life..

The Ensoniq sampler was very complicated and you had to think of a whole lot of things to use it, and even had to take care to remove the bits you didn't use, because storage space on the device was very limited, for storage you needed floppy-disks (Flake says he sounds like opa before the worldwar talking about it)

At one show (0h36) Flake wanted to play his solo with a broken down micstand, but then the sampler didn't play any samples anymore...when he tried the old trick of turning the sampler of and on, it didn't even do that. At Rammstein Flake's sampler starts the sequencss at which the whole band takes direction to start songs, so when the sampler broke down, the others just stood there and waited (Flake chuckles mischievously at the memory) 😊 after that he got an external harddrive, and a UPS (in case electricity failed) and had to schlepp more and more stuff to shows, but nobody really noticed because by that time the guitarists had started to a (gear) competiton (bringing ever more stuff)

As there came more songs and Flake wanted to have them all on one sampler to avoid having to changes storage in between, he ran out of keys to put the samples on and often shifted an octave to different keys, until no key actually matched the right note anymore... at this point the band 'with soft pressure' to move with the timds and made him start using a keyboard device linked to an Apple notebook, and Flake was amazed how much music he could now play with the one keyboard. He had to redo all his samples, get used to playing this all new, and what was worst...because all the others in the band used a similar system and actually did understand it, they all felt they could help invent new samples and keyboardmusic, some even better than his own.

With all these electronics, when a loud bang happened on stage or a huge pyro or light went on, sometimes the computer froze and had to be elaborately restarted which took it's time. Maybe that's the reason why you can see Flake dancing or walking around on stage so often.

In the end all the electronics failed too often, and the Ensoniq got too old (like Flake himself he says) so he bought a Nordstage organ, two of them, both having the same sounds on it so he can choose which to use. Problem with that one is that everyone has it, you see it everywhere, like a Volkswagen Passat car, everyone has it, it works, but you'd rather have something different.

(0:43) Imagine saying that about your better half, Flake realises he is a lot better off with his wife 🌺

(couldn't help doing a little 'take'...i miss his podcasts)

[bluwavez]

GUILTY is the first FULL ALBUM by NOAH SON, released unannounced on March 12th, 2025, by OFFBEAT RECORDS, the indie sublabel of Mydol Labels. The album has a 12-track track list, all written, produced, and composed by Noah himself.

The album, originally slated for a 2019 release, was shelved by Mydol Entertainment due to a scandal involving Noah and his manager, Lee Hyerim. Despite teasers, promotional gigs, a reality show, and a sampler being posted, Guilty would never be released, becoming the most infamous piece of Mydol's lost media.

Until today.

Released with no promotion and no fanfare a day before "SMACK" Noah's solo debut single was supposed to drop, the internet caught aflame once the album was discovered by sirens who had been waiting years for this album.

Upon its initial slated release, the album only had six songs. The additional six songs were added to the track list while two songs from the original track list, iBLOOM and THE RIZZ, were seemingly removed.

TRACK I. GUILTY is the title track of the album. The track, with the accompanying video that was filmed nearly six years ago. The lyrics and music video showcase a toxic relationship between an older woman and a younger man. The sensual choreography, in juxtaposition to the uncomfortable lyrics, gives the audience an uncomfortable yet captivating listening and viewing experience. Guilty explores the toxic, destructive side of love where power, manipulation, and emotional entanglement blur the lines between passion and harm. The song portrays a relationship where one person knowingly deceives, manipulates, and controls the other, all while acknowledging their own guilt. 

TRACK II. CROOKED is one of GUILTY's most iconic and sought-after tracks. It blends punk rock and hip-hop elements with an emotional, rebellious energy. Fans have been trying to leak the song since 2019 but have often come up empty. At its core, "Crooked" is about heartbreak, loneliness, and self-destruction. The lyrics express the emotions of someone who feels abandoned and lost, choosing to lash out and act recklessly rather than confront their pain. It captures the feeling of masking sadness with wild, chaotic behavior, partying, acting out, and pretending not to care when, in reality, they’re deeply hurting.

TRACK III. DROWNING was not on the original track list but was recorded in 2020. The song explores being consumed by someone through love, lust, or obsession. Its lyrics reflect the feeling of losing control and the metaphor of water symbolizes emotional, physical, and mental overwhelm. The song balances pleasure and danger, portraying the intoxicating yet suffocating nature of such deep connections, creating an intense and hypnotic experience.

TRACK IV. EYES, NOSE, LIPS is another track from the original album that fans have been trying to leak for years but to no avail. "Eyes, Nose, Lips" is a gut-wrenching breakup song about regret, longing, and lingering love for someone who is no longer there. Noah reminisces about a past lover, remembering every detail of her eyes, nose, and lips because he can’t let go. The lyrics are filled with regret and self-blame, as he admits he couldn’t hold onto the person he loved. He doesn’t just miss them; he worships their memory, almost as if they were the most beautiful and irreplaceable thing in his life.

TRACK V. KEYCODE is a song about a private, intimate moment between two lovers. Noah invites his partner to escape the noise of the city and join him on UN Village Hill, a real upscale neighborhood in Seoul known for its luxurious, secluded vibe. The lyrics create a sense of exclusivity and indulgence, making it feel like a private getaway. It’s romantic, a little seductive, and effortlessly cool. Though this track is specific, it has left fans speculating who Noah is referencing and if there's someone special in his life, as it was not originally on the GUILTY tracklist in 2019.

TRACK VI. SHE LOVES ME, SHE LOVES ME NOT was one of the original tracks on the Guilty album from 2019 and was successfully leaked in 2023. The song is about the emotional push and pull of an uncertain relationship. The lyrics explore the agony of mixed signals. One moment, she seems to love him; the next, she feels distant. He’s trapped in an endless cycle of doubt, longing, and obsession, trying to decide whether her feelings are real or fleeting. The song’s childlike title contrasts with its intense, mature emotional turmoil, making it even more heartbreaking.

TRACK VII. TEARS! is a new addition to the GUILTY tracklist, featuring a heavier sound. The prominent lyric, “I feel better when I let myself sink deeper, deeper / I feel better when I let myself see clearer, clearer,” reflects how society makes individuals feel inadequate, prompting them to create barriers for protection. The song opens with a solitary noise before the guitar kicks in, drawing listeners into the emotional depth of the lyrics. It ends abruptly, illustrating the struggle of getting stuck in a loop and the liberation that comes from breaking free.

TRACK VIII. HATE/LOVE is about the complicated relationship with the city he calls home. He explores the contrast between feeling connected and alienated at the same time, much like his personal journey with fame, identity, and growth. The lyrics describe the beauty and loneliness of Seoul, highlighting how it’s both a place of warmth and cold indifference. He talks about how living in the city has shaped him, but at times, he also feels drained and lost in its endless pace. HATE/LOVE is a new track and quickly became a fan favorite for the introspective lyricism and how it showcased Noah's diversity when it came to rapping.

TRACK IX. ILLA ILLA is about hitting rock bottom and finding the strength to move forward. Noah uses the imagery of the sea to represent his pain, isolation, and eventual healing. He describes himself as drowning in sorrow, with waves pulling him under. The phrase "illa illa" is a melodic, almost childlike chant, symbolizing a subconscious cry for comfort, like a lullaby he sings to himself in the midst of despair. The lyrics also progress from being consumed by sadness to slowly accepting and learning to live with the pain, like waves washing away his past and carrying him toward something new.

TRACK X. LIKE ACID is a poignant exploration of grief, faith, and love, presented with raw honesty. The gentle acoustic opening sets an intimate tone for Noah's vocals, which carry the emotional weight of the lyrics. He delves into themes of religious doubt and the search for meaning in tragedy. Vivid imagery and introspective questioning reveal a vulnerability that resonates deeply, especially in lines like "Divinity says, 'Destiny can't be earned or returned'" and "I look for the truth in the back of your hand."

TRACK XI. FILE20171405 is a heartfelt plea for a lost love to return, filled with regret and longing. Noah reflects on the haunting memories of an ended relationship, wishing for just one last encounter, even if only in a dream. There’s a profound sense of helplessness and nostalgia, as he realizes the past is unreachable. The title itself, "FILE20171405" adds to the mystery and personal nature of the track. What happened in 2017? Who was this song for? It feels like a diary entry left open-ended.

TRACK XII. PALETTE FT. CHLOE is both Noah and Chloe's personal reflections on growing up, changing tastes, and becoming more comfortable in their own skin. They wrote the song together, making her the only other credited artist on the album. The lyrics are almost diary-like, listing small but meaningful preferences, how he now likes long hair, bright colors, and the little joys of life, showing how their mindsets have evolved. Rather than clinging to the past or fearing the future, he confidently says, “I got this” proving he's at peace with himself. The song beautifully captures the transition from youth to adulthood, where you stop caring about what others think and start embracing your true self.

TW // UNDERAGED RELATIONSHIPS + GROOMING

Filmed in 2019, Noah is considerably younger looking, being just 20 at the time of filming. The video primarily takes place at a school, seemingly depicting a young girl, played by an at the time 20 Chloe Lee of VENUS, having a crush on Noah. The first half of the MV is pretty innocent, the pair exchanging glances, Chloe blushing when she talks to Noah, them brushing hands as they sit together at their desk. It's very Kdrama-esque, very pure, very innocent, but Noah becomes more and more distracted by something off camera.

It isn't until halfway through the seven minute video does the music cut and it's just Noah silently working alone in a dark classroom. Only the sound of his pen dragging against his paper can be heard then the sound of heels echoing through the empty classroom until a teacher, played by renowned soloist and actress Myrah, comes into frame and sits beside Noah.

Their age difference is stark when they're side by side, adding to the unease of it all. She rests her head on his shoulder and squeezes his bicep. He stops writing and the only sounds that can be heard are their breathing. Noah stares ahead for a moment, clenching his pencil tighter in his hand before turning his head towards his teacher, resting his hand over hers.

"Is this wrong?" He would ask. Myrah looks up at him, moving her hand from his arm to his cheek, a repeating visual throughout the rest of the video.

"Do you feel guilty?" She'd ask, making the music pick back up at the chorus.

The rest of the video is a mix of scenes between Noah becoming more distant with Chloe and peers his age and of him and Myrah sneaking around always at night. By the end of the music video, Noah is walking down the school hallway alone in his school uniform with his head down. He passes Chloe and his former friends as he walks towards Myrah's class where she stands at her open door waiting for him gleefully. Chloe watches with a look of sadness and conflict on her face as if she wants to follow him. However, when Myrah shuts her door, Chloe just watches her do so, staring at the shut door for a moment before she's pulled away by her friends.

The video was praised for the performances by Noah, Myrah, and Chloe, as well as the cinematography showcasing the decline in Noah's mental health the further his relationship with his teacher went on using the lighting and colors of the scenes to depict this shift. Though the video disturbed most, it's been highly praised for touching on such a controversial issue.

CROOKED was clearly filmed much later, persumedly in 2023 judging by Sena and Finn's hair colors, and on a old digital camera by Noah himself. It's really just a fun music video where Noah goes to a MYDOL party and they all go crazy. Every Mydol artist was featured in this video from Venus girls to DoubleTake members, even the CEOS, Son Jinhwa and Kang Jihan, made an appearance once or twice.

Fans loved the video for it's raw yet fun look into the inside of the company as well as how a Mydol party went down or least glimpses of it. Notable scenes include Sena putting on makeup in her bra, Finn lighting Ezra's cigarette with his own cigarette, Junseo of Doubletake just being there in general caused buzz but specifically the clip of him laughing with Taewan in his lap, Klara putting big ass goofy looking sunglasses on Jinhwa, Kiwoo sitting in the corner with a bored expression on his face as a party rages around him, Noah lifting Chloe over her head and her laughing her ass off (never before seen with a man around), and the last scene where the entire company recreates the SKINS UK promo poster.

The music video, released with an announcement unlike GUILTY, would hit 10 million views in 24 hours and is regarded as a fan favorite amongst Mydol fanbases.

Well, it wasn't easy or legal!

OFFBEAT RECORDS, run by the youngest and least controversial Son brother, Daniel Son, has no legal rights to GUILTY or any of Noah's work. Daniel just has access to MYDOL's files and wants to see his nephew succeed. It took a lot of debate, a lot of "what if we just do it?" and a few shots for Noah and Daniel to actually start plotting how they were going to release GUILTY after five years on the shelf.

The original plan was for no promotion. Just drop the album, post the MVS, and pretend nothing happened, but they both knew that wouldn't happen. Once fans caught wind of the album, MYDOL would take it down for a full 24 hours but would inevitably put it back up when they realized how much profit they were going to gain from this. It always boils back down to money for Son Jinhwa once you shove his pride out of the way.

This would spark debate amongst fans on Noah's privilege in MYDOL as he can seemingly do whatever he wants and get away with it. Is it the nepotism?

Of course, it's the nepotism.

This instant of contract breaching with no consequence once again would earn Noah the title of "MYDOL's spoiled brat" a title that is also extended to Baebi on occasion.

The public reception to GUILTY would be the entire reason why the album would stay up and overshadow the release of SMACK.

GUILTY would climb the charts, sitting pretty at the number one spot on BUGS for two weeks before falling to number five. The music video would gain 4 million views in the first 24 hours, which Sirens say is because they were never notified of its release. SMACK would hit it's peak at 20th on BUGS before falling off a week later.

No cared about smack. People were foaming at the mouth for Guilty. Which is why just two weeks after it's release and into the SMACK promotion schedules, MYDOL announced GUILTY would be getting a full promotional run with music show appearances, variety show promotions, and even giving Noah his own variety show "LUNCH BREAK" where him and another idol go on their "lunch breaks" and essentially talk shit for a solid hour.

Notable guests on LUNCH BREAK included Chloe of Venus, Ezra of DeepDive, Cash of Project X, acclaimed soloist Chouka, former Stray Kids member Cleo, Junyeong of Moth Signals, and many more. Lunch Break's ratings would surprisingly skyrocket, leading to an announced second season, coming out later this year.

WATCH LUNCH BREAK'S BEST MOMENTS HERE!

Overall, GUILTY was a success like it was predicated to be in 2019, but now even more so.

idols mentioned ... @venusvity + @hausofanya + @outk4sts + @smokends + @pretty1npnk

[prettyoddfever]

The Only Difference Between Martyrdom And Suicide Is Press Coverage was not a single...

The Only Difference was not P!ATD's first single (despite whatever Wikipedia currently says). It was just the first full song that was posted on the band’s purevolume during the marketing campaign in August – September 2005 leading up to the release of AFYCSO (more info in this post).

So the band finished recording in late July and then played their first show on August 12th. In the meantime, the album’s cover art and tracklist were revealed around the start of August. Then on August 8th fans were spreading the word that there would be a new song on P!ATD's purevolume at midnight, which was The Only Difference. That was the very first full song we got... up until that point there were only the 4 demos.

PETE'S CONTRIBUTION TO THE LYRICS:

Fans already knew that Pete Wentz helped with lyrics on AFYCSO. On August 16th Pete answered a question on FOB's Q&A that asked if "I aim to be, your eyes, trophy boys, trophy wives" was a line he wrote in the new P!ATD song, and Pete replied "that would be indeed."

THIS SONG WAS NOT A SINGLE:

The Only Difference was used in several places that promoted P!ATD this fall, like these samplers. Here's an example e-card too:

Some fans heard this song on their local radio in August. But some radio stations had resorted to playing demos like It's Time To Dance earlier that summer too... the band was just popular and there wasn't much to use yet.

So this song still wasn't a single even though John Janick used it for promotional purposes. Here’s a moment in 2008 where Ryan explains how John Janick had wanted The Only Difference to be a single (“he wanted this song to be a single, and I always said no... and it never was”).

so I'm confused why Wikipedia currently says this:

Rolling Stone did put The Only Difference as #84 on their list of 100 best songs of 2006. And some international magazines had it on a list of best singles. But I don’t remember that song being treated like an actual single.

The band made it very clear in January 2006 that IWSNT was their first single. That was the media hype around it too! Here’s part of a Big Cheese interview from that month where Ryan talked about why IWSNT was chosen:

Big Cheese:I Write Sins Not Tragedies isn’t an obvious choice for a debut single in terms of immediacy. Why this and not, say, ‘Time to Dance’? Ryan:“The label wanted to choose the first single on the record, but that seemed like too safe a thing and we didn’t want to go that way. We wanted to take a chance. We’ve talked about bands like Pink Floyd, that band wrote the records they wanted to write and they were huge. That’s where we want to be. We don’t want to have to craft the perfect single. We don’t want to have to compromise.”

(Not wanting to compromise was kind of a key theme in Ryan’s approach with the band). The point is that I remember there being 4 singles announced for AFYCSO. But It’s Better If You Do was definitely labelled as the second single. Lying Is The Most Fun was called the third. The band said that Build God would be the fourth & final single from their first album.

[covid-safer-hotties]

Reference archived on our website

Published in 2023. Proof positive that just breathing spreads covid over a large area. Mask up. Ventilate. Clean the air.

Summary Background Effectively implementing strategies to curb SARS-CoV-2 transmission requires understanding who is contagious and when. Although viral load on upper respiratory swabs has commonly been used to infer contagiousness, measuring viral emissions might be more accurate to indicate the chance of onward transmission and identify likely routes. We aimed to correlate viral emissions, viral load in the upper respiratory tract, and symptoms, longitudinally, in participants who were experimentally infected with SARS-CoV-2.

Methods In this phase 1, open label, first-in-human SARS-CoV-2 experimental infection study at quarantine unit at the Royal Free London NHS Foundation Trust, London, UK, healthy adults aged 18–30 years who were unvaccinated for SARS-CoV-2, not previously known to have been infected with SARS-CoV-2, and seronegative at screening were recruited. Participants were inoculated with 10 50% tissue culture infectious dose of pre-alpha wild-type SARS-CoV-2 (Asp614Gly) by intranasal drops and remained in individual negative pressure rooms for a minimum of 14 days. Nose and throat swabs were collected daily. Emissions were collected daily from the air (using a Coriolis μ air sampler and directly into facemasks) and the surrounding environment (via surface and hand swabs). All samples were collected by researchers, and tested by using PCR, plaque assay, or lateral flow antigen test. Symptom scores were collected using self-reported symptom diaries three times daily. The study is registered with ClinicalTrials.gov, NCT04865237.

Findings Between March 6 and July 8, 2021, 36 participants (ten female and 26 male) were recruited and 18 (53%) of 34 participants became infected, resulting in protracted high viral loads in the nose and throat following a short incubation period, with mild-to-moderate symptoms. Two participants were excluded from the per-protocol analysis owing to seroconversion between screening and inoculation, identified post hoc. Viral RNA was detected in 63 (25%) of 252 Coriolis air samples from 16 participants, 109 (43%) of 252 mask samples from 17 participants, 67 (27%) of 252 hand swabs from 16 participants, and 371 (29%) of 1260 surface swabs from 18 participants. Viable SARS-CoV-2 was collected from breath captured in 16 masks and from 13 surfaces, including four small frequently touched surfaces and nine larger surfaces where airborne virus could deposit. Viral emissions correlated more strongly with viral load in nasal swabs than throat swabs. Two individuals emitted 86% of airborne virus, and the majority of airborne virus collected was released on 3 days. Individuals who reported the highest total symptom scores were not those who emitted most virus. Very few emissions occurred before the first reported symptom (7%) and hardly any before the first positive lateral flow antigen test (2%).

Interpretation After controlled experimental inoculation, the timing, extent, and routes of viral emissions was heterogeneous. We observed that a minority of participants were high airborne virus emitters, giving support to the notion of superspreading individuals or events. Our data implicates the nose as the most important source of emissions. Frequent self-testing coupled with isolation upon awareness of first symptoms could reduce onward transmissions.

[bowenoke]

got my new bottle of my regular cologne today and since the gift giving season is rapidly upon us I am going to share my favorite perfumer with you all in case you've got young adult book nerds or dnd players who already have a library card and too many dice but who haven't quite figured out what they wanna smell like on your list: wylde ivy

They've got collections (w/ sampler sets, if you're looking for gifts) based on:

Edgar Allen Poe (smell like coffee and leather. It's not labeled unisex, but ymmv; i have a midnight dreary + this castle by the sea which have notes of leather/coffee/smoke + stone/salt/wood/sage. The other scents in the collection lean floral, sweet and fruity. Kind of a gender maximalist collection. For your coolest friend.)

the Concept of Adventure (my favorite, both for myself + for giving gifts to people who like games and stories with sprawling maps- wayfarer. unisex collection)

Ren faires (unisex, and also one of them has notes of corn?? apparently??? so)

3 different types of ocean/sea sets, not counting Wayfinder which has some sea-adjacent scents

Halloween AND Jack's Woods (spooky!) (stone cairn my beloved) (some are unisex, some are not)

Omens (some are unisex, some are not, but more importantly you can smell like the number 13)

Flowers :) (least unisex of the ones I'm featuring but tbh I'm guessing most of you aren't shopping for exclusively transgender + nonbinary people)

Tbh most perfumes/colognes dont make great gifts for my friends, because a lot of them are still figuring out their shit, the perfume scents aren't well explained, or the obviously gendered scent isn't gonna work. Instead i can get either a full bottle of Fun Space perfume or a sampler of 5 bottles of Rock Themed Perfumes. You can make your own sampler of their entire stock or a premade themed set. It's fun to walk out the door going "i smell like an old map :)" and they've so far been a hit as gifts. Also you can choose to smell like smoke and corn. And I think you should choose to smell like smoke and corn, if given the option

[creepyscritches]

My therapist gave me a great reframing of something I'd been thinking abt recently! I had a uh :) tumultuous childhood :)c and since like, god, idk 5 or so I'd always been kind of a loner either by choice or by circumstance. It's not really a unique situation for kids and I've always been a little off-put by the notion I was "more mature than kids my age". Especially since I knew a lot of kids through my childhood that were similar to me and none of us were really "mature" as adults defined it when it was just us kids (moved around a lot so I had a sampler platter of peers).

This all to say, I shared that I was still a child, I had a child's developing mind, and I still had a child's needs whether or not they were apparent. One of the biggest things is I never learned uh I guess "social play" because I never had social connections that were stable until I was like 16 or 17. My mother also agreed that I just never really "played" like other kids (instead I was reading 400 - 500 page books at 6 years old and preferring puzzles to the jungle gym). The answer that is always floated in general for kids like this is "you're somewhere on the spectrum, duh" which, even if true, is reductive to children's development AND dismissive of environmental factors that affect neurodivergent and neurotypical children without discrimination. I MIGHT be on a spectrum but I'm not really interested in finding a label - - just knowing myself! And I know! This was more linked to environmental factors than anything that can be tidily wrapped into "neurodivergent kid experiences". Other kids I knew like me were not always ND - - kids are sophisticated adapted learners, so they LEARN their environment as NT or ND either way.

Anyway, I have convoluted thoughts on it all and my therapist just like stabbed thru the ice and said:

"It sounds like as a kid your play was playing as an adult. Would you agree?"

And my mom and I just kinda leaned back and thought like jesus? Yeah I guess? At 5 I began to stifle emotions bc I was mimicking adults and was trying to not be another squeaky wheel during a really hellish time for us. It wasn't until I was 25 that I began to process emotions, even more recently did I begin to process non-judgementally. I didn't learn how kids play with each other bc I was mostly given opportunity to just play as an adult. :/

Idk it's part of a greater realization that I'm learning how to be a social animal and how to participate in social play in my late 20s. It's really nice to feel part of a pack for once, but kinda crazy that I missed these major interpersonal milestone experiences at critical ages. Thank God I took the college exams at 12 though, that sure made up for it huh. Idk maybe that's why it's been a learning curve as I play around w the kids in my life rn. "What do kids even do?" no wonder I ask that bc I am just now doing kid stuff too!! Turns out kids are great and just want to be genuinely engaged with when they share :) I'm an adult playing as a kid and it's nice!

[toskarin]

hi toskarin!

i am kind of new to noise/industrial acts like HEALTH and was wondering if you had any recommendations for adjacent artists or music styles. (i do like Slaves of Fear and Rat Wars a ton but do not want to make myself sick of them immediately lol) thank u!

here's some quick recommends along with what to expect of them! to make getting a handle on them easier, each name links to an album, and I'm not necessarily sticking hard to genre here

consider these a sampler to see which directions you wanna branch out in. some of these are admittedly kind of insane pulls that only make sense through the lens of "these are somehow adjacent in my head"

MIND | MATTER - french dark industrial

Years of Denial - goth industrial with some EBM mixed in, often vocal

downy - post-rock, but oftentimes noisy enough to bleed into being 'gaze adjacent and nearly noise rock. very chill

Merzbow (with caveat) - you probably know Merzbow if you've dipped even a little into harsh noise, but Merzbeat (the album I linked under the name) is honestly pretty accessible and not at all indicative of Masami Akita's broader body of work. if you enjoyed GET COLOR, you might like it

王子健 - psychedelic dark folk. only really has one album readily accessible afaik, but it's a good one

Maenad Veyl [WARNING: this album art is a photo of surgery] - industrial, but gets a little blendy. check out VEYL, the label he runs, for more like his stuff

Credit 00 - kind of a blend of everything as far as electro goes, but definitely industrial as well

の子 - although they're more lo-fi nowadays, their debut album (released under their own name) is extremely noise rocky

HOLY FAWN - post-rock with some blackgaze stirred in

[randomvarious]

Today's compilation:

Do You See 2000 IDM / Electro

Alright, back on some electronic shit for today. Here we have a 12-inch sampler from a little, short-lived label out of the UK called deFocus, which was run by Clair Poulton, a woman who first cut her teeth at Aphex Twin's own Rephlex label before launching a label of her own called Clear; and then after Clear closed up shop, she started up this one.

Do You See represents the first of two 12-inch releases that showcased the type of music that deFocus' roster was cooking up at the time at the turn of the millennium, which happened to be mostly different shades of IDM. Some of it was fused with an old school electro vibe too though, like "Touched," which was by a group called Aphelion, and "Mystery One," which was by Mystery, whose own identity (or identities) appears to've indeed been a mystery! Both of these tracks come with pretty standard electro backbeats, but their respective vibes seem to be diametrically opposed to one another—"Touched" has a chemically icy whimsiness to it and "Mystery One" seems to be more interested in plumbing the depths of hell 👹. (And for more Aphelion, you can also check them out as Replicant on the breathtakingly chill, 10-plus-minute beaut' from 1996 that is "Analiz.")

But while those are certainly both two pretty sweet tunes, I don't think that they really hold a candle to another type of IDM that's on here: the more emotive kind that likes to surround all those pecky and glinty, rhythmic IDM bits with captivatingly fluffy clouds of melody and lush synth pads. Plus One's "Mayday," which was written by Plus One himself, but actually produced by the one and only legendary IDM duo of Plaid, is one such example, as it first supplies old and dramatic, cinematic string work, but progressively floods the remainder of its track with a beautiful blend of electronic, intertwining synths that sound significantly much more sci-fi-modern. You think that this song's hitting its creative peak at about a third of the way through when it adds its first new synth to pair with all these strings, but it actually has multiple more levels to ascend through, which is definitely gratifying, but doesn't even seem all that necessary, given that it's already achieved its status as a chief highlight of this record once that first new synth is poured in in the earlier going! 😌

And then for a song that appears to mix some of the electro vibe with that lush and lovely synth work, we have the pretty sublime "Commuter Love" by CiM to close us out. It's not nearly long enough, but in a similar way to Mystery's "Mystery One," it too has a bit of a sinister underlying synth to it, but in this song's case, the light of the trancey twinkling stabs that arrive soon afterwards seem to do a lot to neutralize much of that darkness.

So every track's a highlight on this one as deFocus puts forth an IDM statement here that looks back on the past with a deliberate eye on elements of electro, but seems to have its other eye trained on the future too. And when you have a pair of eyes that appear to be looking in completely opposite directions from one another, then I guess what you can say is that their combined eyesight is definitely, well...deFocused (<_>).

Check out my post from earlier this year on Two You See too, which also has an alternative hip hop track by Jon Tejada on it that features abstract rap veteran Divine Styler.

Highlights:

Lackluster - "Starcell UK" Aphelion - "Touched" Plus One - "Mayday" Mystery - "Mystery One" CiM - "Commuter Love"

[records-of-records]

“Today Is Bargain Day - A Collection Of All Star High Fidelity Recordings” 1956

Essentially a EmArcy/Mercury jazz label sampler, this 69 year old album sounds fantastic! Some really solid stuff on here! It’s also worth owning for the cover shot of Chicago’s Maxwell Street in 1955. Looks like that street market puts my local street market to shame!

The Clifford Brown and Max Roach track was my primary draw here. I’ll pick anything with Clifford Brown on it if the price is right!

Clifford Brown also features on “Lullaby Of Birdland” even though it’s (rightfully) Sarah’s show.

Hope you enjoy some of what I feel are the highlights of the album! I’ve been neglecting my jazz albums for a while so it was nice to hear this with fresh ears this morning.