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dustedmagazine · 3 years ago

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Dust, Volume 7, Number 8

Big Thief

Our August collection of short reviews contains more big names than usual with singles from Big Thief and Dry Cleaning, a digital compilation from Thou, live music from Obits and a side project from members of the Bats and the Clean. Never fear, there are obscurities as well, including an improv guitar player even Bill Meyer had hardly heard of, a Norwegian emo artist in love with Texas and a death metal outfit verging into psychedelia. Our writers, this time including Tim Clarke, Bill Meyer, Jennifer Kelly, Ian Mathers, Chris Liberato and Jonathan Shaw, like what they like, big or small, hyped or unknown. We hope you’ll like some of it, too.

Marc Barreca — The Sleeper Awakes (Scissor Tail)

The Sleeper Wakes by Marc Barreca

Odd connections abound here. One might not expect the usually acoustic-oriented Scissor Tail Recordings to make a vinyl reissue of an electronic ambient music cassette from 1986, any more than one would expect its maker to currently earn his crust as a bankruptcy judge. So, let’s just shed those expectations and get to listening. Unlike so many lower profile electronic recordings from the 1980s, which seemed targeted for a space next to the cash register of a new age bookstore, this album offers a profusion of mysteries that compound the closer you listen to them. It’s not at all obvious what sounds Barreca fed into his Akai sampler. Japanese folk music? Church chimes? A log drum jam? Tugboat engines? One hears hints of such sounds, but they’ve been warped and dredged in a thin coat of murk, so that the predominant experience is one of feeling like you’re dreaming, even if your eyes are wide open.

Bill Meyer

Big Thief — “Little Things” / “Sparrow” (4AD)

Little Things/Sparrow by Big Thief

Who knows how much more music Big Thief might have released in the last 18 months if the pandemic hadn’t tripped them up? Given the creative momentum generated by 2019’s UFOF and Two Hands, it’s fair to assume the band have plenty of music waiting in the wings. “Little Things” and “Sparrow” arrive with no sign of a new album on the horizon, so are probably being released to promote Big Thief’s upcoming US and European tour. Both songs clock in at around five minutes and handle musical repetition in different satisfying ways. Reminiscent of Fleetwood Mac’s “Everything,” but hyped up on caffeine, “Little Things” feels like an exciting new direction for the band. It cycles through its whirlpooling, modulated acoustic guitar over and over, the frantic little sequence of chords never changing; the interest comes from the ways in which the rest of the instruments bob and weave in the ever-shifting, psychedelic mix. “Sparrow” is a more traditional Big Thief song, sparse and sad. Its melancholic sway is enlivened by some beautiful wavering vocal harmonies as Adrianne Lenker paints a picture of a Garden of Eden populated by sparrows, owls and eagles, culminating in Adam blaming Eve for humankind’s fall from grace.

Tim Clarke

Simão Costa — Beat Without Byte: (Un)Learning Machine (Cipsela)

Beat With Out Byte by Simão Costa

Piano preparation often makes use of modest resources — bolts and combs, strings or maybe just a raincoat tossed into the instrument’s innards. By contrast, Simão Costa’s set-up looks like took all of the entries in a robotics assembly competition and set them to work agitating a snarl of cables that met the pirated telecommunication requirements for an especially crowded favela. But whether it’s twitching motors or Costa’s own hands doing the work, the sounds that come out of his sound remarkably rich and cohesive. He stirs drifting hums, metallic sonorities, and stomping rhythms into a bracingly immediate sonic onslaught.

Bill Meyer

Cots — Disturbing Body (Boiled)

Disturbing Body by Cots

Disturbing Body is the low-key debut album by Montreal-based musician Steph Yates, who enlisted Sandro Perri to produce. Where the songs are pared back to mostly just vocals and peppy major-seventh chords on nylon-string guitar — such as “Bitter Part of the Fruit” and “Midnight at the Station” — comparisons with bossa-nova classics such as “The Girl From Ipanema” inevitably arise. Where the tempo is slower, the chord voicings are less sun-dappled, and Perri’s arrangements call upon a wider palette of instrumental colors, the songs venture into more interesting terrain, calling to mind a less haunted Broadcast. There’s an eerie sway to the opening title track, backed by rich piano chords and clattering cymbal textures. Fender Rhodes and the light clack of a rhythm track give “Inertia of a Dream” an uneasy momentum. And forlorn trumpet, percussion and piano situate “Last Sip” at closing time in a forgotten jazz club. There’s something evasive yet subtly intoxicating at work here, the album’s ten songs breezing past in half an hour, leaving plenty of unanswered questions in their wake.

Tim Clarke

Dry Cleaning — “Bug Eggs” / “Tony Speaks!” (4AD)

Bug Eggs/Tony Speaks! by Dry Cleaning

A few months on from the release of their excellent debut album, New Long Leg, Dry Cleaning have put out two more songs from the same sessions, which are featured as bonus tracks on the Japanese edition. For a band whose unique appeal is mostly attributed to Florence Shaw’s surreal lyrics and deadpan delivery, it’s heartening to hear further evidence that it’s the complete cocktail of musical ingredients — Shaw plus Tom Dowse’s inventive guitar, Lewis Maynard’s satisfyingly thick bass, and Nick Buxton’s driving drums — that alchemizes into their winning sound. The verse guitar chords of “Bug Eggs” are naggingly similar to New Long Leg’s “More Big Birds,” while the instrumental chorus has a yearning feel akin to album highlight “Her Hippo.” Maynard’s bass tone on “Tony Speaks!” is absolutely filthy, swallowing up most of the mix until Dowse’s guitar bares its teeth in a swarm of squalling wah-wah, while Shaw’s lyrics muse upon the decline of heavy industry, the environment, and crisps.

Tim Clarke

Flight Mode — TX, ’98 (Sound As Language)

TX, '98 by Flight Mode

In 1998, well before he started Little Hands of Asphalt, Sjur Lyseid spent a year in Texas at the height of the emo wave, skateboarding and going to house shows and listening to the Get Up Kids. TX, ’98 is the Norwegian’s tribute to that coming of age experience, the giddy euphorias of mid-teenage freedom filtered through bittersweet subsequent experience. “Sixteen” is the banger, all crunchy, twitchy exhilarating guitars and vulnerable pop tunefulness, its clangor breaking for wistful reminiscence, but “Fossil Fuel” waxes lyrical, its guitar riffs splintering into radiant shards, its lyrics capturing those youthful years when anything seems possible and also, somehow, the later recognition that perhaps it isn’t. It’s an interesting tension between the now-is-everything hedonism of adolescence and the rueful remembering of adulthood, encapsulate in a chorus that goes, “Well wait and see if there’s no more history/and just defend the present tense.”

Jennifer Kelly

Drew Gardner— S-T (Eiderdown Records)

S/T by Drew Gardner

Drew Gardner has been popping up all over lately, on Elkhorn’s snowed in acoustic jam Storm Sessions and the electrified follow-up Sun Cycle and as one of Jeffrey Alexander’s Heavy Lidders. Here, it’s just him and his guitar plus a like-minded rhythm section (that’s Ryan Jewell on drums and Garcia Peoples’ Andy Cush on bass), spinning off dreamy, folk-into-interstellar-journeys like “Calyx” and “Kelp Highway.” Gardner puts some muscle into some of his grooves, running close to Chris Forsyth’s wide-angle electric boogie in “Bird Food.” “The Road to Eastern Garden,” though, is pure limpid transcendence, Buddhist monastery bells jangling as Gardner’s warm, inquiring melodic line intersects with rubbery bends on bass. Give this one a little time to sit, but don’t miss it.

Jennifer Kelly

Hearth — Melt (Clean Feed)

Melt by Hearth

This pan-European quartet’s name suggests domesticity, but the fact that none of its members lives in the country of their birth probably says more about the breadth of their music. The closest geographic point of reference for the sounds that pianist Kaja Draksler, trumpeter Susana Santos Silva, and saxophonists Ada Rave and Mette Rasmussen’s make together would be Chicago’s south side. Their dynamic blend of angular structures, extended instrumental techniques, and obscurely theatrical enactments brings to mind the Art Ensemble of Chicago, even though the sounds on this concert-length recording rarely echo the AEC’s. But it is similarly charged with mystery and collective identity.

Bill Meyer

Klaus Lang / Konus Quartett — Drei Allmenden (Cubus)

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Drei Allmenden (translation: Three Commons) treats the act of commission as an opportunity to create common cause. For composer and keyboardist Klaus Lang, this is a chance to push back against a long trend of separation and stratification, with musicians bound to realize the composer’s whim, no matter the cost. Invoking works from the 16th century, he penned something simple, flexible and open to embellishment. Then he pitched in with Konus Quartett, a Swiss saxophone ensemble, to get the job done. The three-part piece, which lasts 43 sublime minutes, amply rewards the submersion of ego. Lang’s slowly morphing harmonium drones and Konus’ long reed tones sound like one instrument, enriched by tendrils of sound that rise up and then sink back into the music’s body.

Bill Meyer

Lynch, Moore, Riley — Secant / Tangent (dx/dy)

Secant | Tangent by Sue Lynch, N.O. Moore, Crystabel Riley

Electric guitarist N.O. Moore is barely known in these parts. I’ve only heard him on one album with Eddie Prévost a couple years back, and the other two musicians, not at all. But on the strength of this robust performance, which was recorded at London’s Icklectick venue, it would be a loss to keep it that way. They combine acoustic sounds with electronics, courtesy of guitar effects and amplification, in an exceedingly natural fashion. Each musician also gets into the other’s business in ways that correspond to the one spicy suggestion made by one cook that elevates another’s dish to the next level. Susan Lynch’s clarinet and flute compliment Moore’s radiophonic/feedback sounds like two flashes of lightning illuminating the same dark cloud, and her vigorously pecking saxophone attack mixes with Crystabel’s cascading beats like idiosyncratically tuned drums. This is one of the first albums to be released on Moore’s dx/dy label; keep your eye out for more.

Bill Meyer

Maco Sica / Hamid Drake Tatsu Aoki & Thymme Jones—Ourania (Feeding Tube)

OURANIA by Mako Sica / Hamid Drake featuring Tatsu Aoki & Thymme Jones

Ourania is named for the muse associated with astronomy in Greek mythology, and the album has an aim for the stars quality. In 2020, Chicago’s Mako Sica lost not only the chance to play concerts, but one third of its number. Core members Brent Fuscaldo (electric bass, voice, harmonica, percussion) and Przemyslaw Krys Drazek (electric trumpet, electric guitar, mandolin) could have just hunkered down with their respective TV sets. Instead, they booked themselves three other musicians who make rising above circumstances a core practice. The duo convened at Electrical Audio with Hamid Drake (drums, percussion, Tatsu Aoki (upright bass, shamisen), and Thymme Jones (piano, organ, balloon, trumpet, voice, recorder, percussion), rolled tape for a couple hours, and walked out with this album. The 85 minute-long recording (edited to about half that length on vinyl, but the LP comes with a download card) exudes a vibe of calm, even beatitude, with twin trumpets and Fuscaldo’s echo-laden, nearly word-free vocals weaving though a sequence of patient grooves like migrational birds on the glide.

Bill Meyer

Mar Caribe — Hymn of the Mar Caribe (Mar Caribe)

Hymn of the Mar Caribe b/w Rondo for Unemployment by mar caribe

Some musicians burn to make something new; others generate attention-getting sounds designed to maximize the potential of their other earning activities; and others, well, they just want you to sway along with their version of the good sounds. Mar Caribe falls into that last category. This Chicago-based instrumental ensemble has spent most of the last decade maintaining a robust performance schedule, and it would seem that recording is pretty much an afterthought; a photo of the test pressing for this 7” was posted in May 2019, but the release show didn’t happen until August 2021. Sure, COVID can be blamed for part of the delay, but one suspects that mostly, these guys just want to play, and they didn’t bother to stuff the singles in the sleeves until they knew when they’d next be leaning over a merch table. The titular suspends anthemic brass and pedal steel over a swinging double bass cadence, and if there was a moment during the night when the band invited the audience to pledge allegiance to their favorite drink, this is what they’d be playing while they asked. Guitars lead on the flip side, whose busy twists and turns belie the implied laziness of the title, “Rondo For Unemployment.”

Bill Meyer

Mint Julep — In a Deep and Dreamless Sleep (Western Vinyl)

In A Deep And Dreamless Sleep by Mint Julep

These songs traverse a hazy, dreamlike space, diffusing dance beats, dream-y vocals and synth pulses into inchoate sensation that nonetheless retains enough rhythmic propulsion to keep your heart rate up. “A Rising Sun” filters jangly guitar and bass through a sizzle of static, letting tambourine thump gently somewhere off camera, as voices soothe and reassure. “Mirage” pounds a four-on-the-floor, but quietly, angelically, like a disco visited through astral projection or maybe a really rave-y iteration of heaven. There’s an ominous undercurrent to “Longshore Drift,” in its growly, sub-bass-y hum, but glittering bits of synth sprinkle over like fairy dust. This is indefinitely gorgeous stuff, ethereal but surprisingly energizing. Dance or drift, take your pick.

Jennifer Kelly

Monocot — Directions We Know (Feeding Tube)

Direction We Know by Monocot

Directions We Know is an LP of free-form freak-outs generated by an instrumental duo that includes one musician who you might expect to perpetuate such a ruckus, and one that you might not. The more likely character is drummer Jayson Gerycz, who may be known for keeping time with the Cloud Nothings, but has shown a willingness to wax colorizing in the company of Anthony Pasquarosa, Jen Powers and Matthew Rolin. The happy surprise is Rosali Middleman, whose singer-songwriter efforts have kept her guitar playing firmly in service of her songs. She doesn’t exactly abandon lyricism in Monocot, but the tunes serve as launching ramps for exuberant lunges into the realm of voltage-saturated sound. On “Ruby Throated,” the first of the record’s four extended jams, Middleman lofts rippling peals over a near-boil of drums and churning loops. By the time you get to “Multidimensional Solutions,” the last and longest track, her wah-wah-dipped streams of sound have taken on a blackened quality, as though her overheating tubes have burned every note.

Bill Meyer

Obits — Die at the Zoo (Outer Battery)

Die At The Zoo by Obits

Few aughts rock bands held more promise than Obits. The four-piece headed by Hot Snakes’ Rick Froberg and Edsel’s Sohrab Habibion emerged in 2005 with a stinging, stripped-back, blues-touched sound. Froberg’s feral snarl rode a surfy, twitchy amplified onslaught, that was, by 2012 a finely tuned machine. I caught one of the live shows following Moody, Standard and Poor at small club in Northampton the same year this was recorded (so small that I was sitting on a couch next to Froberg, oblivious, for 20 minutes before the show), and what struck me was how well the band played together. The records sound chaotic, and that was certainly there in performance, but the cuts and stops were perfect, the surfy instrumental breaks (“New August”) absolutely in tune. At the time this set was recorded in the Brisbane punk landmark known as the Zoo, the band was near the peak of its considerable powers—and regrettably near the end of its run. Die at the Zoo is reasonably well recorded, rough enough to capture the band’s raucous energy, skilled enough so you can understand the words and hear all the parts. It hits all the highlights, blistering early cuts like “Widow of My Dreams,” and “Pine On,” the blues cover “Milk Cow Blues,” and later, slightly more melodic ragers like “Everything Looks Better in the Morning” and “You Gotta Lose.” The guitar work is particularly sharp throughout, its straight-on chug breaking into fiery blues licks and surfy whammy explosions. It’s a poignant reminder of a time when American rock bands played ferocious shows halfway across the world (or anywhere) as a matter of course and a fitting eulogy for Obits.

Jennifer Kelly

A Place To Bury Strangers — Hologram (Dedstrange)

Hologram EP by A Place To Bury Strangers

A Place To Bury Strangers returns with a new rhythm section and renewed focus on the elements that made its version of revivalism the loudest if not brashest of the New York aughties. Sarah and John Fedowitz on drums and bass join Oliver Ackerman on the five track EP Hologram which is the most concise and vital APTBS release for a while. For all the criticism of copyism thrown at the band since their early days, APTBS has always been as much about Ackerman’s production skills and feel for texture as musical originality and the songs on Hologram sound fantastic at volume. Beneath the sonic onslaught of fuzz and reverb, not a brick is misplaced in this intricately constructed sonic wall. True “I Might Have” is pure Jesus & Mary Chain and “In My Hive” a Wax Trax take on Spector but Hologram is an endorphin rush of guitar driven noise bound to make one forget the world, if only for a while.

Andrew Forell

Praises — EP4 (Hand Drawn Dracula)

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Jesse Crowe’s work as Praises has been ongoing since 2014, but has shifted in tone, instrumentation and emphasis since then. While the first two EPs have more of a full, rock band feel, the third one and 2018’s full-length In This Year: Ten of Swords took things in a more electronic, sometimes industrial direction. It was an even better fit for the rest, probing creativity evident in Praises’ work, and 3/4s of the new EP4 are in a pleasingly similar vein. The echoing, ringing denunciations of “We Let Go” and “A World on Fire” are fine examples of Praises’ existing strengths, but the opening “Apples for My Love” is immediately captivating in a very different way. Gauzy and rapturous, it’s a reverie that keeps the satisfying textural detail of the other songs but turns them to different ends. It’s not something that was missing from Crowe’s work before — again, the other tracks here are also very good — but a reminder that what Praises has shown before is not the extent of what they can do.

Ian Mathers

The Sundae Painters — The First SP Single (Leather Jacket)

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“This is a supergroup, is it not?” someone asked the Sundae Painters bassist Paul Kean on social media last year, to which he responded, “Some may choose that title. We prefer superglue.” Kaye Woodward, his wife and longtime bandmate in both The Bats and Minisnap, takes the lead vocal on “Thin Air,” one of the pair of A-sides found on their new band’s debut seven-inch. From the outset, Kean’s unmistakable bass playing and Hamish Kilgour’s (The Clean/Mad Scene) drumming lock into a psychedelic march, with the other instruments weaving like kites above, vying for position on the same breeze. “You fight your way down/You fight your way up/You wait for the dust to settle,” Woodward sings. A few gentle strums cut their way through the parade, and a guitar calls out gull-like from above, before everything trails off as if something potent has just kicked in. On the flip side, “Aversion” has an old friend-like familiarity to it, soundwise (if not lengthwise) sitting somewhere between VU’s “The Gift” and “Sister Ray.” Things begin a little stand-offish, though, like you’ve interrupted a guitar pontificating to a rapt audience — it turns its head to look you over, falling momentarily silent, before picking right back up where it left off. Kilgour’s spoken vocals join the conversation, as the song builds towards a groovy kind of fever pitch. “You look a little stoned,” he says, before responding to his own observation. “Well me I’m a little bit groggy/But it ain’t too foggy/I can see some way of getting out of here.” By this point, both guitars (played by Woodward and Tall Dwarfs’ Alec Bathgate) are full-on screeching and howling, and as the song sputters to a sudden finish, our man’s left waiting for someone to buy him “a ride out the gate.”

Chris Liberato

Thou — Hightower (Self-released)

Hightower by Thou

Hightower is the latest in a string of digital compilations from Thou, most of which collect songs that have been previously released on small-batch splits, 7” records and other hyper-obscure media that briefly circulated through the metal underground. You might be tempted to pronounce that a cynical cash-grab, but Thou has posted Hightower (along with previous compilations, like Algiers, Oakland and Blessings of the Highest Order, a killer collection of Nirvana covers) on their official Bandcamp page as a name-yo’-price download. Thanks, band. Beyond convenience, Hightower has an additional, if a sort of inside-baseball, attraction. The band has re-recorded a few of its older songs with its latest, three-guitar line-up. Longtime listeners will recognize “Smoke Pigs” and “Fucking Chained to the Bottom of the Ocean,” which already sounded terrifyingly massive back in 2008 and 2007, respectively. The expanded instrumentation, new arrangements and better production give the songs even more power and depth, all the way down to the bottom of the effing ocean. Yikes. And there are a few additional touches, like K.C. Stafford’s clean vocals on “Fucking Chained…,” which provide an effective complement to Bryan Funck’s inimitably scabrous howl. Rarely has being pummeled and feeling bummed out been so vivifying.

Jonathan Shaw

Tropical Fuck Storm — Deep States (Joyful Noise)

Deep States by Tropical Fuck Storm

Fueled by exasperation as much as anger, the new album by Melbourne’s Tropical Fuck Storm rounds on the myriad ways in which the world has become a “Bumma Sanger” as leader Gareth Liddiard puts it on the eponymous song about COVID lockdown. A roiling meld of psychedelic garage garnished with elements of hip hop and electronic noise it’s close in method and mood if not sound to another Australian provocateur JG Thirwell whose Foetus project girded maximalist surfaces with rigid discipline. If the Tropical Fuck Storm sought to mirror current conditions, they succeed but lack of clarity in both production and intent makes Deep States a frustrating experience. Backing vocals from Fiona Kitschin (bass), Erica Dunn (keys and guitar) and Lauren Hammel (drums) leaven Liddiard’s blokey pronouncements and there are some good sounds and biting words but the band’s determination to overelaborate and underdevelop musical ideas makes this album seem like a lost opportunity.

Andrew Forell

Marta Warelis / Carlos “Zingaro” / Helena Espvall /Marcelo dos Reis — Turquoise Dream (JACC)

Turquoise Dream by Marta Warelis, Carlos "Zíngaro", Helena Espvall, Marcelo dos Reis

Turquoise Dream documents an example of an encounter that is a mainstay of avant-garde jazz festivals, in which out of towners mix it up locals that they may or may not know. This particular concert, which took place at the Jazz ao Centro Festival in 2019, is one such encounter that deserves to live past the night when it transpired. It featured three stringed instrument players who live in Portugal and a Polish pianist who is based in Holland. But they don’t sound like strangers at all. Violinist Zingaro, cellist Espvall, and guitarist dos Reis blend like flashes of sunlight reflecting off of waves, adding up to a sound that is bright and ever-changing. Warelis, who is equally resourceful with her head under the lid of her piano as she is at the keyboard, adding fleet but substantial responses to her hosts’ quicksilver interactions. The result is music that is resolutely abstract but closely engaged.

Bill Meyer

Wharflurch — Psychedelic Realms ov Hell (Gurgling Gore)

PSYCHEDELIC REALMS OV HELL by Wharflurch

Wharflurch is just plain fun to say — but there are at least two ways in which the name also makes sense for the band that has chosen it: it has a bilious, nauseous quality that matches the vibe of the pustulent death metal you’ll hear on Psychedelic Realms ov Hell; and if you separate the words, you can conjure a sodden, rotten wooden structure, swaying vertiginously over a marshy expanse of water, which is filled with alligators and decaying organic material. Imagine that sway, and that stink, and then imagine yourself collapsing into the viscous fluid, soon to be gator chow. Sounds like Florida, and that’s exactly from whence Wharflurch has emerged. Which also makes sense. Is Wharflurch’s music “psychedelic”? Depends on what you hear in that word. If you want to see hippies dancing ecstatically on a verdant, sun-drenched stretch of Golden Gate Park, then no. But if you have spent any time in the warped, dementedly distorted spaces that psychedelics can open (less happily perhaps, but very powerfully), then yes. Wharflurch likes to accent its meaty riffs and muscular thumps with weird flutters and electronic effects that frequently have a gastric, flatulent quality to them. The saturated and sickly pinks and greens on the album art do a pretty good job of capturing the music’s tones. So do the song titles: “Stoned Ape Apocalypse,” “Bog Body Boletus,” “Phantasmagorical Fumes.” Still game? I’m sorry. But I’ll also be standing right there next to you, on that wobbly, lurching wharf, watching the gators swim near.

Jonathan Shaw

Whisper Room — Lunokhod (Midira Records)

Lunokhod by Whisper Room

That the title of Whisper Room’s fifth album is taken from Soviet lunar rovers makes a certain sense, given how potentially frustrating it might have been for the trio to be working at such a distance. Generally their other records are recorded live, in one room, seeing Aidan Baker (guitar), Jakob Thiesen (drums) and Neil Wiernik (bass) exploring simultaneously, hitting whatever junctions of psychedelic/shoegazing/motorik sound come to them. With Baker in Berlin and travel understandably limiited, this time they recorded their parts separately, layering them together (and bringing in sound designer Scott Deathe to add the kind of pedal processing their sound engineer normally does live). The result certainly sounds as collaborative as ever, seven seamless tracks making up nearly an hour that makes the journey from the friendly, clattering percussion of “Lunokhod01” to the centrifugal ambience of “Lunokhod07” feel perfectly natural. Even though it explores just as much inner and outer space as Whisper Room ever have, there’s something very approachable about Lunokhod that makes it one of their best.

Ian Mathers

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izakayamontreal · 4 years ago

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news-chhondomela · 4 years ago

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yeskintonmontrealcitationsblr · 4 years ago

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kintonramenvancouver · 4 years ago

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kichessarjilian · 7 years ago

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Autumn Classic Full Recap - Sept. 21, 2017

It’s been more than a week since Autumn Classic wrapped up and I figure I ought to do a full recap of each day. I didn’t catch all events (a girl has to eat at some point!), and this will be very Yuzu-centric, but read on if you’re interested in my little anecdotes.

Or, if you want a glimpse of what I saw you can just go through my 2017 Autumn Classic International fancam playlist.

I took a red-eye flight to Montreal and landed early Thursday morning and met up with some friends when I landed around 8 AM. This left me enough time to get to the first senior practice session for ladies and caught most of the competitors. One of the first things I did was hung the banner I made for Helsinki (which they never put up during Worlds), but I later moved it. There were quite a few banners already hung up and probably 95% of them were for Yuzu.

For the ladies the two top competitors were Mai Mihara and Kaetlyn Osmond. I fully expected Osmond to win here, but that Mai may have a chance to take the title if she skated clean and Kaetlyn didn’t. I’ll write more on the ladies SP at the end as it was the first senior competition to take place on Thursday.

Next came senior dance practice and I only stayed for the first group as I was getting hungry. Canada’s top three dance teams were all competing at this competition so the results were pretty predictable for dance, but it was fun to see the debut of new programs.

After taking a break to get food at the Tim Horton’s nearby we hung around the lobby looking at some sample garments that were on sale and noticed there were quite a few people standing around the staircase and realized they were probably waiting for Yuzu to arrive, so we tried to sit down on one of the nearby benches to see if we can wait and see him arrive as well but we got shoo’d away saying that area was only for skaters. To give you an idea of the increase in amount of people at the event, last year 4 of us were able to stand in the lobby and we did see Yuzu enter from the front door. That’s when I made this fun GIF:

This year, Autumn Classic did more official ticket sales through Event Brite (although it seems like they never figured out how to do the QR code scanning), the year before you emailed someone to reserve your ticket. I think the fact that they did official ticket sales, and that Yuzu wasn’t going to be at Skate Canada this season, and all his other events are so difficult to get tickets to spurred many fans to go to Autumn Classic this year.

Anyway, we made our way up the stairs and waited around with the crowd. At one point I counted 80 people within my field of vision just standing around waiting, you can see the size of the crod in my photo. We probably waited about 45 minutes (some were waiting even longer) and later I heard one of the girls on the stairs say he wasn’t coming in Mandarin so the crowd dispersed. I’ll just mention that it was pretty hot in Montreal so standing in this spot was both warm and sunny. We did see Misha (welcome back!) and Brian walk through, when Brian came by everyone got excited. I had joked before that with the size of this crowd that I felt Yuzu probably wouldn’t just waltz through the door like last year and that he would probably come in from the back.

As Brian was talking to the staff below I thought they were making arrangements for Yuzu to enter, but I couldn’t really hear much - in retrospect Brian probably WAS a decoy because as soon as I walked back in the rink, who else was there but Yuzu doing image training near the Kiss and Cry during the pairs practice!

After Yuzu disappeared back into the halls we promptly took our seats again, after having eaten (and having coffee, since I barely slept during my red-eye) and gotten a chance to stretch my legs I was more than ready for the men to start their practice sessions.

This is where my memory starts to blur a bit as I’m not entirely sure which men practiced their SP and which practiced their FS on this day. So here are some cursory comments on the free skates:

Javi: I'm not a fan of his free skate ending with The Impossible Dream, choreography was fine, some nice moments.

Misha: Delighted he decided not to retire last season!

Andrew and Jordan Dodds: I will admit I can’t tell the two apart and constantly mix them up (I kept wondering if they were twins).

Harry Mattick had an “entertaining” routine to Nightmare Before Christmas.

It was nice to see Daisuke Murakami back on the ice, even if his results here weren’t great. He sure does love his permed hair.

Keegan Messing has good speed, he definitely has niche in terms of the type of programs he skates to that may not resonate with me, but he has a great energy.

It was nice to see Nam Nguyen getting back on his feet, he looks much better than when I last saw him in Boston.

One of the skaters had a Schindler’s List/Rachmaninoff FS, it was an odd mix of music.

So onto Yuzu, I think I mentioned that news of the sore right knee came out as I was enroute to Montreal via Vancouver and I was pretty nervous for him, I wasn’t sure how simplifying his jump content was going to work out. His first practice was a pretty mixed bag in terms of jumps, he looked VERY awkward forcing himself to do 3Lz and 3Lo at the beginning of Seimei in the first practice, he looked like he had to visibly pull out of rotation early, but had great height. He popped some jumps and also had some issues with the axel. It did feel like he was conserving energy this day and taking it a bit easier than I usually see him in practice. As for Seimei, he didn’t do a full run-through but I love the little changes to the movement and the step sequence. We’ll have to see if they change things up though as he only got a level 3 for his step sequence in the free. His overall body language in the program has more commitment than before and it definitely feels more polished, the jumps in the second half in particular feel linked together. I did see him set up for the first jump in Ballade no. 1 with a 3Lo at first, and then a 4S, so I knew he was probably going to do a 4S instead of a 4Lo in the SP (this was later confirmed by Japanese media).

At one point, Yuzu basically did a besti squat around nearly half the rink. Turns out he’d include this in his new cool-down routine and it looks very cool and elegant! I love watching Yuzu practice, you get to see him move in a way you don’t always get to see during competition. I highly recommend you try to see him live and go to watch practice if you get the chance.

At the end of practice Daisuke sort of came up behind Yuzu and put his hand on his back, it was a very “there, there” type of gesture, which again, worried me a bit given the knee news, but it came off as a a big brother type of interaction. As Yuzu left the rink he bent down to touch the ice as he normally does when he enters and leaves the rink. Only this time, he seemed to linger there a couple seconds longer than usual, which again, made me a bit nervous.

And that was it for practice! I ended up skipping the junior short programs in order to get dinner and returned part-way into the senior ladies free skate. I missed Courtney Hicks so I can’t comment on her SP, but here are some general comments:

Elizabet Tursynbaeva had a clean-ish SP, and immediately after Rin Nitaya skated to the same music, but with lyrics. Elizabet has recently taken to trying tanos and rippons with her jumps, I’m not sure I love the end result.

Mai Mihara skated a clean SP. I liked this program when I first saw videos of it from the summer shows. In person I think Mai’s delivery of the choreography needs more sharpness and commitment, I don’t think she’s fully comfortable with the movements yet and it does affect the performance and execution somewhat. I’m sure she’ll work on this and hopefully bring the program to the next level.

Kaetlyn Osmond skated her Edith Piaf SP again and scored 75. This is a great program for her and she easily deserved her first place, but I wish they had done some fine tuning for this program. I think it was identical to what I saw at Skate Canada and Worlds last season. As this is a repeat program I’d like her team to focus on bringing it to the next level and sharpening it, otherwise I’m not sure how much higher she can score with it.

Things ended pretty late and we were in for another early morning to get good seats for practice, which meant a night of little sleep! The story of these skating trips for me are averaging 4-5 hours of sleep, eating unhealthy fast food and searching for fresh fruits and vegetables, and being indoors for over 12 hours in a day and going back to my hotel room to darkness and getting totally thrown off by what time it is. Day 2 and the epic SP recap to come later!

#aci2017 #2017aci #yuzuru hanyu #kaetlyn osmond #mai mihara #misha ge #javier fernandez #recap #girls got to eat #but a girls also got to sleep #i wish they made it easier to see everything

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easyfoodnetwork · 5 years ago

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With Online Spreadsheets, Mutual Aid Networks Are Keeping People Fed During Coronavirus

Luuuusa/Shutterstock

Across the internet, home cooks are finding ways to provide meals for others

“Please list any particular cuisines that you are used to cooking (e.g. Somalian, Italian, Vegan)?” This line came near the end of a volunteering form I filled out a few weeks ago, and it made me pause: My kitchen has all the essentials for Chinese, Italian, Thai, and Japanese cuisines, but could I make a convincing or comforting katsudon for someone who grew up with it? Can something I cook be both filling and uplifting if its eater doesn’t know who made it? As a volunteer for the East Bay Mutual Aid Network, I will soon be cooking meals alone in my apartment to be delivered to unknown people in need around me. Other volunteers are matching aid volunteers with aid requests, and I will be tasked with no-contact delivery. I might never meet the person or family receiving my help, but I’d love to make them mushroom risotto.

It’s increasingly difficult, from the insides of our homes under shelter-in-place orders or social-distancing recommendations, to see the organizing happening across the country as COVID-19 penetrates our communities. But a quick dive into some public Google Docs reveals thousands of living spreadsheets with dozens of contributors at any moment, all coming together to provide mutual aid — a term from anarchist circles for community-provided care and support.

Signal chats with hundreds of texters, email chains, Zoom calls, and Google spreadsheets keep running tabs on who is offering to volunteer and who is in need, matching individuals and organizations. These mutual aid organizations are hoping to get essentials like food and groceries into the hands of not only those who cannot physically shop themselves, but people who are now out of work and cannot afford necessities, especially considering the steep prices of grocery delivery. Mutual aid organizations are creating new foodways of radical empathy.

The vast majority of these networks, whether formal spreadsheets or more informal Facebook groups or as the result of neighborly conversations, are seeing people make grocery runs on behalf of immunocompromised or otherwise vulnerable neighbors: “I am in need of eggs bread and milk [...] by the time I can get a ride to the store the shelves are empty,” reads one very common request out of Sacramento. The New York City-based United Against Coronavirus has a grocery delivery spreadsheet in which city residents can list their needs and anyone can sign up to bring supplies to their doors. In Seattle, the Mutual Aid Solidarity Network had to close requests for grocery delivery on March 20 to give their volunteers time to fulfill all requests.

Yet COVID-19 seems to be affecting us in waves. First come the blanket economic effects: the layoffs, the closures, the unending demand to meet rent. And then, as more people fall ill and more people find themselves in need of a social safety net, the needs switch from financial aid to home-cooked meals. These meals provide one less thing to worry about for those still holding stressful and potentially dangerous jobs at grocery stores and restaurants. For so many of us struggling with depression now, home-cooked meals — whether by family or strangers — make us feel cared about; foods can help us feel less alone.

In hard-hit Louisiana, New Orleans Mutual Aid Society volunteers are prepping around 60 meals per day, mostly for out-of-work African-American residents. Each volunteer prepares five servings and is connected with another network of volunteer drivers; the cooks never get to meet their diners. Home cooks practice basic sanitary measures, aware that there is no evidence of transmission of COVID-19 via food. Still, delivery volunteers wear masks and gloves and practice social distancing during their home-cooked drop-offs.

In his home kitchen with his baby looking on, David Brazil has been focusing on cooking New Orleans staples: red beans and rice, traditionally eaten on Mondays. He’s hoping to make food that’s “nutritious, flavorful, and not boring.”

“One of my basic questions is, ‘Would I eat this? How can I make this in a way people are gonna like?’” he says. “I’m vegetarian, but I add smoked sausage because people really like the flavor.” Other volunteers in the New Orleans network have even made KFC-style coleslaw with pulled pork, packaging it all in single-use clamshells before they disappear out the door.

Justice Singleton, another volunteer in New Orleans, wants to cook for the people of the city who have nourished her with so much “spirit, music, and food.” “As a person of color with respiratory issues, I didn’t know any other way to avoid this virus and volunteer my time,” she says. “Volunteering to cook is an absolute joy and distraction from the world at large.”

While there is no evidence of coronavirus transmission from food or food packaging, some mutual aid organizations have decided to avoid distributing home-cooked meals out of extreme caution. But Brazil believes that the risk of contracting the novel coronavirus from food packaging “pales in comparison to the risks of being black in America.” African Americans are contracting the virus and dying at disproportionately higher rates. Home-cooked meals can provide real support and a sense of solidarity for communities deeply affected by the disease.

For volunteers, the instinct to get into the kitchen is also helping unhoused peoples, whose need for pre-cooked meals is more crucial than ever. The COVID-19 crisis has meant that community groups serving homeless or curbside communities have needed to shift their meal preparation from on-site to inside the homes of volunteers to maximize social distancing. Dayton Andrews with the United Front Against Displacement in Oakland says this means switching from outdoor barbecue gatherings to large-batch pasta and soups cooked in volunteers’ kitchens, then distributed at large campsites, many under overpasses, in West Oakland, California.

Before March, hardly any of these spreadsheets, Facebook groups, or Signal chats bringing people together existed. Mutual aid has long been central to the missions of many radical activist groups, such as Food Not Bombs, which has been cooking and distributing meals to the hungry for 35 years, and is adept at identifying needs in communities not covered by established charitable organizations such as Meals on Wheels or homeless support groups. Now that such nonprofits are expecting a dramatic surge in need in the coming weeks, this new wave of mutual aid organizing hopes to catch some of the millions more who will suddenly find themselves in serious need.

I have decided, through texts with a network of engaged friends in the Bay Area, that if the chain of mutual aid can somehow get a steady supply of flour to me, I can pump out sourdough loaves, bagels, and English muffins to be distributed through our own support network for the duration of the quarantine. Last week, I had a strange sense of pride and communion pulsing through my fingers as I kneaded Montreal-style bagel dough. Who in the East Bay is going to eat these?, I thought. I really hope it helps them get through another rough morning in self-isolation. I thought of the empty bread shelves at the supermarket, and how my work was going to become someone’s staple, not a treat. I felt useful.

I’ve already done a bunch of porch swaps with friends and internet acquaintances, packaging loaves in zip-locks with nitrile gloves, leaving them on my steps, and finding homemade super-dirty martinis (my favorite) and funky tepache in return. I will start to cook for three — not just me and my partner — and leave out the meals on others’ stoops with the same care and delicacy as with my swap friends.

Others are approaching mutual aid from the grow site. At a drop-off point in West Oakland, Anders Olson of Olson Farms is now placing boxes of fresh produce as part of its new “socially-distant CSA.” On Friday mornings, the boxes are free for whoever needs them. “Even with social distancing,” says Olson, “people are getting to know their neighbors and communities more than ever, and we are realizing that the more apparent the crisis becomes, the more dependent we will all be on each other.”

Brooke Marino, an Oakland resident and community organizer, has taken up Olson’s distribution of free seedlings as well to promote community resilience. She hopes that she and her housemates can grow a surplus to distribute to neighbors in need in the coming months.

The extraordinary organizing happening online and at our doorsteps to reroute food to those in need are clear examples of what Rebecca Solnit in A Paradise Built in Hell calls “the possibility of paradise” in times of disaster. If there’s one bright spot to this public health crisis, it is the potential shift in what people see as politically possible — and radical foodways are one.

On a recent Zoom call with the Mutual Aid Brigade in Milan, Marino says the fellow organizers’ grocery drop-offs are a lifeline in the utterly locked-down city, and that inspires the work on the ground in Oakland: “It’s sobering to see where we could be in the coming months, but this is an unprecedented opportunity to organize our communities.”

Brittany Helena Young is a writer and PhD candidate in geography living in Berkeley, California.

from Eater - All https://ift.tt/2Kjl2Ht https://ift.tt/2Vp519b

Luuuusa/Shutterstock

Across the internet, home cooks are finding ways to provide meals for others

Brittany Helena Young is a writer and PhD candidate in geography living in Berkeley, California.

from Eater - All https://ift.tt/2Kjl2Ht via Blogger https://ift.tt/2xNRQWv

#Blogger #cooking #Eater #food #recipes

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