#land water sky

[mohamedzunaid]

#Photography_by_Zunaid #landscapephotography #land_water_sky #HarmonyOfNature #shades_of_grayscale #fineart #artphotography #blackandwhitephotography #photographyskills #MonochromeMagic #monochromephotography

[pommegrantaire]

Rayllum but make it a Mermaid AU 💙💜🌊

[pettyoddity]

extraterrestrials

[chick-it-out]

Can you draw peace? or if that is too much, some nice water.

maybe!! let's spend a moment with green heron

[jazzymini]

𖦹⋆✧°.🫧magical earth, sea and sky🧚🏽⋆｡˚

[chillydownhere2]

Good morning, everyone 😊

Source Me laf@ilyF ❤️

[skyloftian-nutcase]

Embrace

Zelda woke to am embrace.

It was... lukewarm. Cold initially, and soaking wet, but with hot breath on her shoulder, with shivering muscles and a foggy mind and desperate strength holding her close.

What was...? The last thing she remembered was...

Blinking to get water out of her eyes (water? Why was there water?), Zelda turned her head to see dirty blonde hair plastered to wet skin and clothes, she recognized the light blue immediately, the sword on his back.

"Link...?" she breathed.

When--how did she get home? She'd swallowed the secret stone, and--

Link held her tightly, and Zelda's eyes stung with tears as she laughed.

I'm home.

[o-link]

VENICE IN A MIRROR - Venice, Italy par Patrik Seiler

[calochortus]

VENICE IN A MIRROR - Venice, Italy by Patrik Seiler Via Flickr: When I'm travelling to a place and have my camera in my luggage, I often have a few pictures in my head that I want to take. Sometimes I succeed and sometimes I don't. But I'm always surprised at the spontaneous motifs that appear when you just walk through the neighbourhood with your eyes wide open. Like this mirror, for example, which was leaning against a wall in Venice and in which the backdrop of the lagoon city is wonderfully reflected. It's definitely worth getting down on your knees for and in front of it.

[christinatravel]

Serene Azure Escape: A Beach Symphony of Tangier

Click the photo for more pics

[ipessimist1]

You are my sun, and I am your moon. Find your way to me across the skies, the land and the oceans and meet me at dawn.

[mohamedzunaid]

In the captivating world of coastal monochrome photography, nature unveils a mesmerizing spectacle where the sea, shore, and sun converge in a timeless dance of light and shadow. Here, the flowing water delicately paints enchanting patterns upon the sand, while the sunlight casts its radiant glow, forming another layer of intricate design. Against this dynamic backdrop, a solitary mountain stands as a silent sentinel, bearing witness to the ever-changing drama unfolding before it each day. In this enchanting tableau, the harmonious interplay of elements creates a scene of captivating beauty that invites the viewer to lose themselves in the timeless rhythm of the coastal landscape.

#Photography_by_Zunaid #landscapephotography #land_water_sky #HarmonyOfNature #shades_of_grayscale #fineart #artphotography #blackandwhitephotography #photographyskills #MonochromeMagic #monochromephotography #seascapephotography #seascape #fineartphotography

[swan2swan]

I wholly forgot about Sammy's subplot in "The Leap" that poor girl had to deal with EVERYTHING TRYING TO KILL HER.

[sinceileftyoublog]

Black Belt Eagle Scout Interview: Expanding My Vulnerability

BY JORDAN MAINZER

Katherine Paul began the Black Belt Eagle Scout set at Pitchfork with whispered singing. As “My Blood Runs Through This Land” progressed, the song a standout from their third album The Land, The Water, The Sky (Saddle Creek), Paul’s singing transformed into a wail, albeit muted by her own guitar distortion and Camas Logue’s mighty drums. Fittingly, Paul’s voice never seemed like it was at the center. It was there, telling her stories, but always equal in sonic and emotional importance to her surroundings. Sometimes, the neighboring elements were symbolic, like the guitar solo of “My Blood Runs Through This Land”, “emulating [her] ancestors running,” as she told me at Pitchfork. (Paul is Coast Salish/Swinomish, raised in the Swinomish Indian Tribal Community in LaConner, Washington.) Other times, they were perhaps coincidental, as when she sang about being “engulfed by beauty” on “Don’t Give Up”, right as her singing was overwhelmed by the swirling of Logue’s drums, Nay Wilkins’ bass, and Claire Puckett’s guitars. No matter what, the set was a masterclass in tension and ultimate expressiveness, the songs exponentially louder than their studio versions. With every repetition of “Need you, want you” on Mother of My Children’s “Soft Stud”, the guitars bellowed with mammoth force, the crowd whooping in approval. It was breathtaking.

The Land, The Water, The Sky is inspired by Paul moving back to the Swinomish Reservation on which she was raised, as well as her metaphoric personal journeys. The record contains love songs of varying recipients: her surroundings (“Nobody”), her immediate family (“Spaces”), her local queer community (“Sčičudz (a narrow place)”). This time around, she worked with some notable collaborators on the record, like multi-instrumentalist Takiaya Reed of excellent Melbourne doom duo Divide and Dissolve, who co-produced the album, and Mount Eerie’s Phil Elverum, who sings on “Salmon Stinta”. Though Paul played many of the instruments on the record and certainly led its expanded instrumental palate, its instrumentation and production was not a one-person affair like her previous two albums. Many artists find working by themselves intimidating; in contrast, for Paul, opening herself up to other musicians in this way was a key part of her growth in confidence. Ditto for playing live. “I have a really amazing band,” Paul said. “We’ve grown so much...for most of the year, we’ve been on the road non-stop, so we’ve learned how to work through certain sounds and passages together.”

Paul and I sat outside the festival press tent (as JPEGMAFIA boomed in the distance) to discuss The Land, The Water, The Sky, playing live, her writing process, and Divide and Dissolve. Read our conversation below, edited for length and clarity.

Since I Left You: You have three albums already and a somewhat limited set time. How do you decide what songs to play at a festival?

Katherine Paul: I really wanted to play a lot of the new album, but also bring in some of what I felt are the heavy hitters from my previous album. [Songs] that make the set flow. I tried to put some of the new singles in the set, and some that are the favorites in the previous albums. Since you’re playing to a lot of new people, too, something that keeps the energy up.

SILY: I definitely felt that with what you chose to play. I had never seen you live and wanted to come in green, so I didn’t watch any videos, and your set was definitely louder than I expected, in a great way. There was a lot of play with dynamics and catharsis and release. Are you feeling those emotions on stage?

KP: Yeah, I mean I feel like we kick it up a notch, and I like to rock out. For this show, I played on an amp I don’t normally play out of, and I loved it. I kind of want to get one. I love playing loud guitars. [laughs]

SILY: When you play live, do you find yourself in a similar headspace to when you wrote the songs? Are you trying to channel on stage what inspired you to write them in the first place?

KP: I think about what they mean to me, which is maybe a similar thing. I think about why I play certain parts. When I play “My Blood Runs Through This Land”, the guitar solo is supposed to emulate my ancestors running. It’s raw and beautiful. I think about that and put my feeling and playing into those thoughts. I like to make a connection to what the song means to me when I play it.

SILY: On the record, you did a lot of the instrumentation yourself. Do you find adapting the songs to the stage, with a full band, just as rewarding as writing and recording them in the first place?

KP: I’m still learning. That’s what I’m realizing. Sometimes, my natural instinct is to play them how they sound on the recording, but lately, I feel like I want to put a jam in there. [laughs]

SILY: You played “Don’t Give Up” right before playing “Indians Never Die”. In interviews around the release of Mother of My Children, you were talking about “Indians Never Die” and the idea of always taking care of the land. When you sing on "Don’t Give Up”, “I was only seventeen, I was only seventy,” is that a similar sentiment?

KP: “Don’t Give Up” has a lot of writing about my mental health and taking care of myself, having that knowledge that we’re still growing as people and trying to figure things out, whether we’re seventeen or seventy. That’s what those specific lyrics mean, but I think that could tie into, by taking care of myself, I’m taking care of the connection to where I’m from.

SILY: I also like the phrase on the song, “engulfed by beauty.” It suggests being almost overwhelmed by nature, and it works with the heavy reverb of the music.

KP: Yeah. Being swallowed by it.

SILY: Have you gotten to see anyone else at the festival?

KP: I got to see snippets here and there: Vagabon’s one and a half songs, Weyes Blood, Big Thief, yaya bey. I wanted to see Julia [Jacklin], but I couldn’t. Her set was so short. There was a lot of running around, getting food, getting situated.

SILY: Do you like the new Divide and Dissolve record?

KP: I haven’t heard it yet. I’m waiting for the right time to listen to it. I know it’s out, and I want to listen to it when I’m at home on a walk. When I heard the previous record, I was just gutted. So I want to listen to this one walking around in the woods or something.

SILY: Apart from the specific stories and changes in your life that inspired The Land, The Water, The Sky, is there anything else unique about it as compared to your first two records? And how is it a continuation of them?

KP: There are still those glittery sounds within the pop genre that pop up. The uniqueness comes with expanding my vulnerability as a songwriter, having different people play on it. It shifted my perspective of what my songwriting can be. Before, I was more afraid to take risks and do different things, but now, I feel better about it--almost encouraged.

SILY: Are you the type of songwriter always writing, or do you have to set periods of time for you to sit down and do it?

KP: I definitely have to set time aside to do it. I have so much going on in my life. [laughs] It’s hard to always be writing.

SILY: Is there anything else upcoming for you?

KP: I’m working on a mini tour documentary with Evan Atwood, who did the photo [on the front cover of] the album. We’ll have some live recorded versions and filmed versions on the songs. This coming winter, I’m just going to write music and figure out what’s next.

[strawbebearts]

Pokemon Challenge 2024! Pangull family.

Find the rest of the Te'Roa set in my master post!

[computerexploder]