#my return to jam bands is approaching

[rachelminetti]

harkive 6.20.23

yesterday and today have been the same day, alone and not in the mountains. still reeling from bonnaroo, i still feel it it my legs. i need to wash my hair and unpack my car. i didn't realize i could stay up that late, fully sober and fully alone, guided only by a tentative schedule and unrestrained impulse. i just wandered around for 3 days, dirty and hydrated and thinking only about what was immediately happening and sitting in the grass and applying sunscreen often enough. there were no barriers between me and the environment i was interacting with, just me and the place.

i was mainly blown away by just how much incredible music i heard over the three days, like truly just top notch quality musicians. i get so used to small diy shows, lo-fi recordings (which has extreme merit! and is brilliant and genuine) that i am taken aback when i see musicians perform their craft, expertly. rina sawayama, cory wong, STS9, my morning jacket, etc. listened to a great podcast interview with alana rocklin, the bassist for STS9 on the drive home on monday, like truly such a talented musician. that show fully changed me, i was hypnotized and extremely awake. looking forward to getting into their discography and live performances, to hopefully see them again at 4 in the morning.

i wasn't sure what to listen to right away, if it would be overkill to relive that music immediately. but it's what i ended up wanting, so i leaned into that. drove to work yesterday listening to photo id by remi wolf twice. she is going to change pop music. i listened to some of her other songs, which i enjoyed so thoroughly live.

once i got to work i picked a random playlist i had saved on spotify and landed on stereolab-ish by andrew corbett. whoever you are, you did great.

enjoyed the phenomenal handclap band, queued up some dip in the pool. found a cool website (https://www.fondsound.com), read the retinae review, the o boy by salon music review, then listened to it on youtube.

put my june 2018 playlist on shuffle during lunch, i'm ready to listen to it again. it exists in an entirely different context now, outside of tampa, outside of 21. so much of it is so tied to that time, i was back at the stoplight at westshore after getting off the howard franklin during an afternoon storm again listening to earth by giraffage. in the backseat on the way to san luis obispo while listening to the right thing by james supercave.

i was working through some open tabs back at work, reading about STS9, hexstatic, ambient pop music, music from memory, the siket disc by phish. accidentally landed on that phish album while searching for quadraphonics on spotify (which i read about in a youtube comment on the salon music album). ambient phish forever.

proceeded back to rotation 24 on spotify, i've set myself up with quite the mix.

added dyslectic by amber #2 from the these are testing times compilation by 555 recordings to my suuuuuuuper lowkey playlist, only song they have on spotify, let's see if i can find anything about them online. found this album on discogs and youtube and not much else.

been listening to thalia zedek and her band. debbie friedman core, very dykey and safe. like driving through the vermont countryside on an overcast evening in september. that 2002 camp counselor turtleneck kitchen island type feeling i only know how to describe in those terms. reunion, redemption, an event planned via a months long email chain. her cover of you're a big girl now is very much worth a listen. like waiting in the parking lot after whitewater rafting, a long bus ride back.

i flipped through june 2018 and rotation 24 for the rest of the evening and then ended the night with dryfruit by sugar plant, a delicious summer evening record to seal off the day.

i'll be going through this rotation playlist for the next few days, diving deeper into minimum chips, color filter, god street wine, and sts9. enjoying this post bonnaroo connection to music again.

[peeweekey]

Sebastian likes frogs. Emphasis on the word likes.

He appreciates them, they do good for the environment. They eat up all the nasty flies that buzz around the mountain lake, too. He doesn’t have to worry about mosquitos snaking on his blood while he smokes. It’s just a plus that he finds them cool and interesting.

Which most people find weird. Sebastian thinks it’s weird that they find it weird. Frogs aren’t going out of their way to bother people.

Yes, he likes them. They’re his favorite animal, certainly.

But favorite is not enough for him to want to smooch a frog.

“Sam, I’m not gonna fucking kiss a frog.”

“C’mon! It’ll be like the movie!” Sam teases, insistently shoving Sebastian to the frog innocently sitting on a park bench. “Who knows, maybe it’ll be your very own froggy princess—”

“Didn’t the girl turn into a frog when she kissed it,” he shoots back, elbowing Sam backwards in the gut. The blond lets out an overdramatic hiss of pain, bent over and clutching his stomach. “Abby, back me up here.”

“I never watched that stuff,” Abigail shrugs, watching with amusement. She makes no move to help at all, comfortably resting against the wide wooden posts of a fence. “Watched a lotta cartoons though. Phineas and Ferb is my jam.”

“Not about the movie,” Sebastian grits exasperatedly. His brows knitting together in frustration “The frog.”

“Mhm, go on,” a cheshire-like grin on her face. “Kiss it, Seb. A big smooch right on its slimy mouth.”

Sam eggs him on, the pain of being elbowed magically disappearing. “Do it! Do it!”

Sebastian presses his lips tightly together. There’s no use resisting once Abby and Sam band together. They’re a force to be reckoned with like this—demanding and overbearing. Sebastian exasperatedly wipes a hand over his face, shooting the poor frog a sorry look.

Sam pushes him one more time, he gives him a stony glare in return. “Fuck—alright! Stop being so damn loud, you’ll scare it away.”

The frog in question croaks slightly, like it senses the trio talking about it. He gives it a wary glance.

As he slowly approaches, Sebastian can hear Abby and Sam’s satisfied sniggering behind him. They roped him into doing another stupidly outrageous thing for the umpteenth time.

He sighs, he really needs better friends.

Mustering up all his courage, he bends down, almost eye level with the frog, resting a hand on the wooden grain bench on where it’s perched upon.

He screws his eyes shut and goes for it.

Sebastian’s lips connect with the frog’s slimy, almost rough skin. So fast and featherlight that it can barely be considered a kiss. Cold against his lips. He pulls back immediately after, wiping any residue off his lips with the back of his hand.

The frog jumps, croaking with,what he assumes is, alarm.

“See?” Abby laughs, ruffling his hair good-naturedly. “No princess in sight. You didn’t turn into a frog either!”

“Man,” Sam snickers, patting him roughly on the back. Sebastian groans with every smack. “It would’ve been cool though, if you turned into a frog. We’d have a frog drummer in our band!”

Sebastian shoves his unruly friends off. “Yeah, whatever. Let’s get going. The frog is probably traumatized.”

“You can check that off your bucket list,” Abby teases, a smirk playing on her lips. “Kiss a frog before I die. We’ll tell the story for generations.”

Sam howls with laughter, Sebastian feels absolutely mortified.

Before the trio could make any move out of the park, a cloud of green smoke curtains the frog, so thick and so unusual. Sebastian unconsciously backs away from it.

“What—woah,” Sam says, more mezmerised than shocked at the green smoke pouring out of the frog Sebastian kissed. “What is that?”

“The fuck if we know, Sam!”

“Boys, boys, shut the fuck up. Look.”

Abigail points at the fog. It grows and grows, stopping and dissipating once the whole bench is covered with the green mist.

The frog is gone—disappeared into thin air. Instead, a not-so-frog shaped person sits. You blink up at Sebastian slowly.

Woah, woah.

He feels his heart accelerating—for all the wrong reasons. An unusual thumping sound that vibrates all throughout his body—his fingertips, his stomach, his toes. Where there should be fear and panic and definitely fear, Sebastian feels exhilaration.

You’re pretty.

It’s also pretty horrifying for him to think—and feel.

You blink slowly—a frog-like trait that cement his suspicions. You’re staring up at him as he stares back down at you, curious meets bewildered. “…”

His eyes are wide, scanning each and every part of your now not frog-like features. Sebastian feels cold sweat dripping down his forehead—a stark temperature difference to the heat in his cheeks. “Oh—oh shit.”

“Uhm… ribbit?”

-

Another thing he blames on Sam and Abby—his horrifying attraction you; the person, not the frog.

He checks that off his metaphorical bucket list, too.

[jasmines-library]

As a girl who listens to a lot of metal (all kinds, especially death tbh), I always try to find fics abt the batfams reaction to that, but there’s not a lot to find.

You think you could write that? <3 totally fine if you don’t want/can’t, it’s just such a small thing I think they’d be really interested in!!

Metalhead

⛤⋅•⋅⊰∙∘☽⛧☾∘∙⊱⋅•⋅⛤

Note: As a metalhead, how could I refuse? Also Jason definitely listens to metal.

Word count: 0.7k

⛧ BATFAM MASTERLIST ⛧

⛤⋅•⋅⊰∙∘☽⛧☾∘∙⊱⋅•⋅⛤

You hadn’t really been paying much attention to what was happening around you. You had your headphones in and were tapping your hands and feet along to the drum of your music. It was turned up quite loud, so you didn’t notice Jason calling your name from across the Batcave as he returned from his patrol.

“Hello? Y/N?” Jason tried again but was still left with no answer as you continued to be absorbed in your music as you watched the screens.

Rolling his eyes, Jason moved closer, the sound of his footsteps resonated throughout the cave. As he approached you, he could hear the muffled sound of your music escaping your headphones. It was loud, with a distinct guitar sound playing overtop.

When Jason tapped you on the shoulder to gain your attention, you flinched slightly and turned around quickly to face him, hand reaching instinctively for the weapon at your hip. Though once you realised it was your only Jason you let your guard down and slipped your headphones off.

“Hey Jay. What’s up?” You asked him.

“I’ve been calling you.”

“Oh. Sorry.” You shrugged. “I was listening to my music. I guess it was louder than I thought it was. What can I do for you?”

“I was just going to ask you if you needed anything from upstairs.”

You pursed your lips in thought for a moment before shaking your head. “No, I’m all good thanks.”

Jason nodded.“What are you listening to anyway?”

You hesitated. It’s not as if you were ashamed of your music, it was just something you had never shared with them before. Between patrol and training, sitting and listening to music together wasn’t one of your priorities.

“...metal?”

“Metal?” Jason squinted. He hadn’t pegged you for being into metal.

“What?” You frowned, confused by his reaction. Worried what he was going to think.

“Nothing.” He hummed. “Just surprised me is all.”

Taking off your headphones from around your neck, you handed them to him. “Wanna listen?”

“Sure.” He placed them over his own ears and you pressed play on your phone. Soon enough he was humming along to the song.

“You know it?” You asked him as he tapped along to the drum solo on the chair.

“Oh yeah. They’re a great band.” Jay replied. “I wish you had told me you liked them sooner. We couldn’t have listened to them together.”

And you did. You and Jason began to listen to metal together quite frequently. Whether it was when you were training or if the two of you had some spare time in the evening. The both of you would sit and listen to it, sharing recommendations, seeing who could scream the loudest along to the vocalist or just jamming out together

It spread pretty quickly through the manor that you enjoyed metal. And although the others were less keen sometimes they would tap along.

Particularly Damian, who liked to imagine he was in some sort of dramatic fight from a movie whenever it played over the aux in the cave.

Dick and Tim were…less keen. They would listen to a few songs, but often would ask to change it to something a little less heavy.

Sometimes, you would catch Tim listening to it once in a while. It was one of his guilty pleasures. He even asked you once for recommendations ‘for a friend’.

Dick was an avid listener of rock music, so although he was not a huge fan of the heavier death metal, he found that sometimes his music strayed onto the cusp of metal but he wouldn’t listen purposefully to it.

Since they found out that you like metal, jamming sessions became a frequent, not just with Jay but with the rest of them too. And even Bruce would join in occasionally. Though, an effort was made to make sure that when Alfred was in the house it wasn’t too loud because none of you wanted to cross that bridge.

⛤⋅•⋅⊰∙∘☽⛧☾∘∙⊱⋅•⋅⛤

BATFAM TAGLIST:

@hearts4robs @aestheticdaisies @hell-o-kittys @xxrougefangxx @mamapucket @harleycao

⛤⋅•⋅⊰∙∘☽⛧☾∘∙⊱⋅•⋅⛤

[ughdoir]

꣑ৎ carmelo hayes

˚⋅insecurities get you a little bit more than comfort

˚⋅ contains black female reader, lowercase intended, insertion, major fluff, dirty talk, car sex, semi rough, semi public, unprotected sex (no glove no love), slapping, spit, orgasm, not much plot, girl in heat, self doubt.minors don’t interact

“pretty” is the way your boyfriend complimented you which felt like the twentieth time today. soft hands caressing your tanned legs placed in his lap as the faint smell of warm vanilla and cedar settled in the air.

upon a hill you both watched the pastel colors of the sky. the plum purple hue of the clouds covering the orange canvas with shades of light blue still visible as nighttime vastly approached.

a distinctive hum from his black camaro rivaled the slow jams playing from the radio sade’s kiss of life being a personal favorite of yours.

“what’s going on in that head of yours?” carmelo questioned his gaze softening as he noticed your detached stare and less boisterous personality.

you shrugged at the question not able to express your feelings. placing your empty cava bowl down by your foot and tasting your lemonade.

up until now today was perfect. from your coffin shaped full set to threaded eyebrows, and wispy lash install you felt complete.

not to mention his company and the swipe of his credit card at every service princess treatment was in full effect not that you complained.

but inadequate was the better word not because of your appearance but you lacked reassurance. the simple affirmation that you were enough to put your mind at ease.

“do you love me?” the question stung pulling at your own heartstrings as your mouth felt increasingly dry.

carmelo chuckled the weight of the situation going over his head as he thought you couldn’t be serious.

“of course. do you love me?” he responds a smile gracing his lips. eyes tender and gentle although failing to make you relax.

you couldn’t help but to roll your eyes an audible sigh escaping as you expected more. the air shifted uncomfortably around you as tears brimmed your hazel eyes.

it shouldn’t be this hard for a man to be vulnerable. begging for your partner to openly express his love with enthusiasm seemed like a chore.

carmelo turns towards you concern washing over him as the middle console adds for unnecessary separation his hand resting on your cheek as a single tear rolled down.

“come here.” his voice is deep as he adjusts the seat for room sliding it back and reclining for you to climb over the middle console. green sundress scrunched around your waist as you snuggle against him.

you spread your thighs legs resting on top of his as you shift your weight his hands coming to grip your waist securing you in place as if you would run away.

“you never have to question my love for you.” he’s firm lips trailing from your earlobe to your neck. as his finger toys with the band of your white thong.

the simple act leaving you flustered. in return you’re kissing his lips eagerly swirling tongues for dominance a fight you soon lose.

nestled together in the back of his car you’re riding his dick. panties and dress discarded as carmelo’s shirtless body is hot against the leather interior.

hands kneading your ass. swatting each time you swirled your hips. mahogany skin turning a deep crimson red with the way his plump lips sucked on your neck.

a snap back covering his shape up and fresh braids as you whimpered. the back seat of his camero leaving no room for this activity.

you’re a babbling mess being shushed as melo moves his hips slamming his length inside of you, his cock touching the spot that makes you dizzy.

“good girl let me take care of you.” he’s taking the lead and you comply head thrown back as you clench around him. wetness flowing down his legs onto the expensive leather.

at your best by aaliyah plays in the background the lyrics stimulating your surroundings as you questioned why you never had sex to music before.

the arousal peaking as you buried your face in his neck his name being being uttered a million times in the darkness.

“pussy so fucking good.” he breaths. the sounds of your cunt and ass slapping against him makes him crazy. mouth wrapped in yours as he spits you desperately swallowing in heat.

“daddy’s gonna show how much he loves you.” he’s spewing filth hands grabbing a handful of flesh as he cums deep inside of you.

the warmth rolling your eyes back as you orgasm cream sliding down his girth as you giggle lazily sliding next to him with a pout.

you lick the cum from his tip softly jerking him off with the same manicured acrylics he paid for earlier tantalizing him to another hard on.

“I’m in love with you because of your confidence, and your ability to appreciate the little things. you make me feel seen, and I’m sorry if I’ve done anything to make you doubt that.” the sincerity has you kissing his temple relived from what you felt earlier and ready for round two.

[rhapsodynew]

#history of rock music

On November 13, 1970, Syd Barrett's second studio album "Barrett" was released.

Note that the work was generally in a hurry: the Floyd team continued to work on Atom Heart Mother, touring interfered with the studio schedule every now and then — there was simply no time to hone the songs, and Barrett himself, as we remember, was against long rehearsals. Sometimes haste led to serious mistakes — for example, one day Dave took home master tapes with two songs to listen and decide whether these options would be included in the album; the next day the band went to a concert, and Gilmore simply forgot to return the tape to the studio. As for Sid, sometimes they played absolutely magical things, and sometimes they were unable to give out anything meaningful at all (for example, the song Gigolo Auntie Gigolo was recorded only from the 15th time). He phrased his comments as if he were describing paintings rather than music: "Maybe we could make the middle darker and the end a little noonday. It's too windy and frosty right now."

I must say, the record begins intriguingly — with a long solo by Sid before the song Baby Lemonade ("A little bottle of lemonade" is an outdated expression). Subsequently, it turned out that Sid was just warming up — the solo had nothing to do with the song, David had already added it there, considering it quite suitable. The lyrics are full of extravagant phrases like "I sent you an iron cage by mail" or about "A watch washed in a washing machine" — but overall the song sounds pretty strong. The solo is simply brilliant — what kind of shape Sid could be in and how at ease he could play!

It is followed by a downright beautiful and almost Beatle Love Song, decorated with stylish Rick Wright keys - a love song in which there are no fabulous, witty or scabrous lines (except that "I'll lower my head and see what I see"). The musicians also succeeded in Dominoes, a meditative story about how Sid spends time with a certain girl, to whom the song is dedicated, playing dominoes. The song has a distinctly bluesy undertone — there is something of Doors in it - and besides, it is decorated with a reverse solo by Sid. However, everything is not so simple: it turned out that at some point Gilmore was so exhausted that he naturally felt like his roof was going away, and automatically started recording an almost finished song backwards. The next thing he remembered of that evening was Sid playing a delightful solo and never getting it right, and pressing the record button. That's how it was included on the album — because Barrett didn't squeeze out another note about it. Against this background, the fragment forgotten in the finished mix, where Sid clears his throat, is already taken for granted.

Alas, the feeling does not last long on the album, as if this time Sid's associates had found an approach to him and solid ground under their feet. It Is Obvious ("It's obvious") is an extremely loose song in which Sid plays exactly two chords and recites lines in an incredibly low voice, which still have a hint of something magical, but in general the text is saturated with longing and despair. Rats ("Rats") It grew out of jam, to which Sid came up with a somewhat manic text on the go. To be honest, maybe it would have been better if she had remained a jam. As well as the closing side of Maisie, there is another, now blues jam, over which Sid speaks, sniffles, giggles and makes other inarticulate sounds. All that can be said about this track is look at Sid playing the blues (which is not surprising, knowing the origin of the band's name), while Pink Floyd quite rarely turned to this genre.

Suddenly, on the second side (how many people got there), a quite tolerable Gigolo Aunt is discovered. The lyrics here, of course, are nothing more than sweet carefree nonsense, but at least it feels like a song. I would like to comb my hair a little and... but at least stop. Unless it's unknown why it's been going on for so long — is it really just to preserve the priceless fragments of Sid's game on film as much as possible?

Waving my arms in the air — well, while Sid is waving his arms in the air in another song, mine are sinking, because it's impossible to describe. This is a good preparation for a cute song about this and that, in which there is a minimum of certainty ("no one will strain too much, there will be many things that we can do") and the obligatory naive question at the end ("Why am I here? What is destined to happen?"), but no more.

I don't know if it's worth saying anything about the remaining recordings. I Never Lied to You ("I Never Lied to you") is another song about longing and separation, in which the musicians frantically try to play along with the author of the album, as if on the move. Wined and Dined ("Dined with Wine") is based on a cute riff that Sid handles quite confidently throughout the recording. Gilmore is known to play solo here. In general, we must admit that it is quite neatly recorded — the instruments complement each other well, and the omissions in their parts form a complete sound picture. The song Wolfpack ("Wolf Pack") Sid named among his favorites — perhaps the lyrics are really good, but the sound ... hug and cry. He is perfectly described by a comment from a certain fan of the song:

— Sid: Trying to sing normally — The pack in formation

— Little gremlin in a side head: thE PACK IN FORMATIIIOOOON!

Oh, Sid, which one of them is the real you?

And this piece ends with a song called Effervescing elephant ("Effervescent Elephant"). Here we must honestly admit that we have a brilliant text in front of us. This is an absolutely delightful fairy tale, quite in the spirit of Sid's enthusiastic English absurdity — but it also sounds like a demo at best; and it's great that Vic Savell played the tuba here. It was very convenient.

It's a painful feeling, isn't it?

Maybe it was worth choosing more or less finished things and putting together one of the two albums. Who knows? What is destined to happen?

So that's what happened when the talented English kid Syd Barrett returned to the studio to record some songs a few trips later. This time, Sid's own drawing is used on the cover — he painted these charming creatures a few years earlier during his studies. If you look closely, it turns out that all these winged creatures are beetles. On the reverse side, a picture of Mick Rock with the same Pontiac Parisienne is used. Interestingly, Mick Rock is not listed in the credits of the album, and in general Hipgnosis's involvement in this art is not noted anywhere, but pay attention to the inscription of the author's name and the album title on the backdrop! Practically Bond)

The album was released on November 14 and was met with restraint, if not coldly. He did not manage to become a little more afternoon, as poor Sid wanted. The album did not hit any charts and achieved nothing — the more surprising that even after such a result, Sid had to comment on rumors about the third album and new singles for some time (however, oddly enough, Barrett became more successful from a commercial point of view than Madcap). Answering reporters' questions, Barrett reasoned unexpectedly sensibly: he dismissed all rumors about the third album, saying that the songs for recording must meet a certain standard — and if there are a couple of decent ones on "Madman", then on the second album there are only echoes. Perhaps there is nothing more to add — after 1970, Syd Barrett did not record anything.

As for the rest of the Floyd's, Roger Waters, for example, continued his collaboration with Ron Gisin and recorded the soundtrack to the film "The Body" with him. In particular, there is a composition called… Breathe!

Let's just note that all four Floyd members took part in the recording of the final song — Give Birth To A Smile ("Give Life To a Smile"); this is the rarest case when one of the other band members went to participate in Roger's activities unrelated to the band (not to mention the whole band — by the way, the participation of David, Nick and Rick is not noted in any way in the design of the album). In general, we mention this work because we need to fix it: in 1970, the Floyd's, despite the release of the first album in the band's discography, which took first place in the charts, were engaged in very different things. Nick Mason, thanks to Ron Gisin, immersed himself in producing, Wright and Gilmore, too, but thanks to Sid. Gilmore, Wright and Waters wrote one track per year for their own band — the title suite does not contain many personal contributions from Floyd's band. So, while the others were producing, Waters wrote songs: there are four of them on Music from The Body — Sea Shell and Stone, Chain of Life, Breathe and Give Birth to a Smile. He also released a concept album in which the tracks merge into each other — and this album was even released on vinyl with a transparent anatomical mannequin on the cover.

Pink Floyd spent the rest of the year on endless, exhausting tours. Therefore, when they returned to the studio in January 1971 — it was time to make a new album — the four guys found that they had absolutely nothing to record.

[dustedmagazine]

Tim’s 2024: A Question of Focus

DIIV

The more time I spend listening to new music, the more I realize the extent to which my year-end list is largely dependent on the records I’ve chosen to focus on reviewing for Dusted. It takes time to listen to and digest music to the point where I find myself with something approaching insightful to say, which means I’m pretty discerning when it comes to choosing albums to review. There’s only so much time available to listen to new music, so it pays to focus the firehose of continuous new releases into a manageable stream. All of the following have necessitated repeat listens, not only in order to get my head around them, but also to get my head into them, to lose myself in their world. There’s been a hell of a lot of great music released this year; these are the records I kept returning to.

1. DIIV — Frog In Boiling Water (Fantasy)

DIIV’s third album, Deceiver, felt like a step up for the band, and Frog In Boiling Water is the band really hitting their stride, melding shoegaze, dream-pop and grunge into a heady, addictive brew that scratches the same itch that Loveless and Siamese Dream did when I was a teenager. Thick, complex guitarscapes such as “In Amber” and “Somber The Drums” characterize much of the album’s appeal, but it was the scouring, dread-soaked “Soul-net” that I replayed more than any song this year.

2. The Smile — Cutouts (XL)

It’s been a good year to be a Radiohead fan, with two albums from The Smile, a solo tour from Thom Yorke, and a book of photography from bassist Colin Greenwood. The Smile’s Cutouts, the second of the year’s two albums, balances head-nodding guitar intricacy with zone-out synth jams. Compared to January’s Wall Of Eyes, it feels like an embarrassment of riches on the songwriting side.

3. Loma — How Will I Live Without A Body? (Sub Pop)

Emily Cross, Jonathan Meiburg and Dan Duszynski took a bit of a left turn on their second album, Don’t Shy Away, veering into more synth-focused art-pop territories. It didn’t always cohere, so it’s a relief that Loma have returned to what they do best on album three: stark, haunted indie-rock with plenty of atmosphere and gorgeous songs.

4. Luke Temple and The Cascading Moms — Certain Limitations (Western Vinyl)

Following his diversion into Arthur Russell-esque beat-drift under the pseudonym Art Feynman, Luke Temple returns to releasing music under his given name and recruits new band The Cascading Moms. Their chops are razor-sharp and the songwriting swings between languid and impressively funky.

5. Jessica Pratt — Here In The Pitch (Mexican Summer)

I’d not paid much attention to Jessica Pratt before this year, but Here In The Pitch’s combination of classic 1960s wall-of-sound production and simple but affecting songwriting really won me over. In some ways it feels like a more digestible cousin of Cindy Lee’s colossal Diamond Jubilee. “World On A String” and “Empires Never Know” are especially stunning.

6. Jon Mckiel — Hex (You’ve Changed)

2020’s Bobby Joe Hope was Jon Mckiel’s low-key breakout with its combination of found-sound tape loops and affecting songwriting. Hex digs deeper into more abstract territories that feel dark and dejected yet sweetly hopeful.

7. Winged Wheel — Big Hotel (12XU)

To my mind, shoegaze is at its best when the whole surge of sound feels like it could collapse at any moment. What keeps Big Hotel on the rails and piledriving forward is the twin-drum attack of Fred Thomas and Steve Shelley. The swirl and burn of the music’s relentless momentum feels like trying to take refuge in a wildfire, cooled by the balm of Whitney Johnson’s airy vocals.

8. Rosali — Bite Down (Merge)

This one was a common pick on our mid-year lists, and for good reason. Bite Down strikes a sweet balance between the melodic songwriting of my personal Rosali favorite Trouble Anyway, and the shaggy jams of her backing band Mowed Sound.

9. Nilufer Yanya — My Method Actor (Ninja Tune)

Single “Mutations” pulled me in with its intricate guitar and bass work, the tumble of toms, and Yanya’s disaffected purr. My Method Actor mines this seam thoroughly, approaching mid-tempo indie-rock with an artisan’s attention to detail and some achingly beautiful arrangements.

10. Body Meπa — Prayer In Dub (Hausu Mountain)

Much like Winged Wheel’s Big Hotel, Prayer In Dub throws the listener into a dense, swirling guitar-bass-drums soundscape of intricately shifting layers. The playing is absolutely stellar, especially from drummer Greg Fox, and sounds amazing when loud.

10 more in alphabetical order:

Cindy Lee — Diamond Jubilee (self released)

Ned Collette — Our Other History (Sophomore Lounge)

Corridor — Mimi (Sub Pop)

English Teacher — This Could Be Texas (Island)

Horse Jumper Of Love — Disaster Trick (Run For Cover)

Itasca — Imitation of War (Paradise of Bachelors)

The Smile — Wall of Eyes

Svaneborg Kardyb — Superkilen (Gondwana)

Wand — Vertigo (Drag City)

Xiu Xiu — 13” Frank Beltrame Italian Stiletto with Bison Horn Grips (Polyvinyl)

[fishnoodles]

Nikolai Fraiture: Different Strokes

Strokes bassist Nikolai Fraiture returns with a new band, Summer Moon. Julian Marszalek gets his skinny tie on

Mirror of an interview from Bass Guitar Magazine, by Kate Puttick (?), published August 23, 2017.

Nikolai Fraiture, bassist with New York rock’n’roll aristocrats the Strokes, is explaining his relationship with his instrument. For him, bass is a never-ending journey where points of interest and spots of scenic beauty determine where hegoes to next – and though he’s uncertain of the final destination, the experience is about constant learning, experimentation and application.

“I’m definitely becoming a more adventurous musician,” he says from a cold and snowy New York City. “In the beginning I knew that it was going to take time to get there; you don’t get there overnight. I knew that you’d have to lay down the foundation and know what you’re doing. You have to walk before you run, and right now I feel like a long-distance marathon runner. You might want to sprint in the early days but you find out that there’s so much to learn that you have to keep going.”

With the Strokes on an extended hiatus, Fraiture’s ongoing musical journey – along with a desire to keep busy – has led to the formation of indie supergroup Summer Moon. Initially featuring members of Au Revoir Simone and the Like, the new band has settled on a line-up that includes Uh Huh Her’s Camila Grey on keys and vocals, guitar by Noah Harmon from Airborne Toxic Event, and Jane’s Addiction drummer Stephen Perkins, with Fraiture holding down the low end and providing the vocals.

Crucially, the bassist views this as a band rather than a solo project and, as evidenced by debut album With You Tonight – which encompasses indiepop, electronica and heads-down rockers – that’s a difference that yields results.

“I got back from LA last night where I was playing with the band. We’re now writing and jamming and working out our parts together, as opposed to me coming in with the album which was mostly done,” he explains. “Now it’s a lot more collaborative, with more of a band feel.”

It’s a situation that’s left a deep impression on how Fraiture applies his skills. With the album demoed at home using a drum machine, locking in with Perkins has not only changed his playing but also how the new songs, with their variety of styles, are approached.

“Playing live with a drummer beats any other process. You can hear that in the music and the feeling and the tone,” he enthuses. “Having other people in the room is essential to creating something that is living and breathing. The pinnacle of drum and bass parts, for me, is getting a groove from unconventional beats. I’ve played in a pretty straightforward rock band, but over the years it’s developed into something that rhythmically isn’t just kick-snare. Working with Stephen Perkins, experimenting with drum beats is very much his thing. We’ve just spent the whole of the last weekend working out how to develop a groove – but not in a typical rock way.”

Not that it’s been plain sailing. Singing and playing bass at the same time has presented Fraiture with a number of challenges, but that’s just the way he likes it. “I don’t want to make things simpler for myself when I’m writing for Summer Moon – and that’s part of the fun,” he states. “There were a number of rhythmic things that I had to focus on when I was putting the bass and the vocals together. I don’t like to feel too comfortable, as I need the challenge. I want to push my limits to see where I go overboard, and then bring it back to where it feels good for everybody.”

It’s a refreshing take from someone who’s been playing bass for over 20 years. He was given his first bass, a Mexican Fender Jazz bought from a pawnshop in Connecticut, by his grandfather when he graduated. He started playing with future Strokes Julian Casablancas, Nick Valenti and Fabrizio Moretti several years later, and while that experience helped him get to grips with his instrument, Fraiture also credits his bass tutor for widening his musical horizons.

“My teacher in New York was called Buddy Booker: he was like a life guru to bass players. He was essential to my development and I owe a lot to him. I was into bands like Nirvana and Pearl Jam when I started playing, but he really opened up my eyes to a lot of other styles of playing.”

It was these other styles that introduced Fraiture to bassists as disparate as Weather Report’s Jaco Pastorius, the flamboyant Bootsy Collins, and the hard drive of the Funk Brothers’ James Jamerson, all of whom left an indelible mark on the young bassist.

“Obviously, that stuff isn’t all over our albums, but elements of those artists seep through,” explains Fraiture. “The most challenging part is deciding when it works and when it doesn’t. Once I started experimenting, then bass playing became really fun. When I first started playing it was much more straightforward rock and easy to pick up. It was bands like Nirvana who first made me want to pick up the instrument, but then you dive deeper into the history of the bass.”

He continues: “I love that film Standing In The Shadows Of Motown. The Funk Brothers played relentlessly, night after night, in bars in Detroit and then the following morning they’d be in the studio. There was that constant exposure, playing together and experimentation. That was the great thing with the Strokes; we all learned our instruments together. I think that’s the best way to learn, as well as keeping it going.”

Moreover, Booker infused Fraiture with a deeper appreciation of his chosen instrument. “What I really love about playing the bass is the marriage between rhythm and melody,” he elaborates. “You build that bridge for the music and that’s something that I really enjoy. With a guitar, I just don’t get that power that you get when you lock in with the drums and the melodies are floating over the top of that. That’s what I enjoy the most.”

As Fraiture’s experience has grown steadily over the years, so has his rig: “I now play a ’58 reissue Fender Precision: live I play that through an SVT-810. Over the years I’ve added the REDDI, which I use for live and recording because it’s got a really smooth tone to it. A few years ago I added the MU50 pedal, which I mainly use for compression. It’s a great balance of tone and not being too in-your-face, but you can still hear everything. I’ve also been using an EHX Microsynth on the later Strokes releases.”

As Fraiture reveals, the seeking of new directions has led him to some unexpected equipment destinations and results. “For some of the Summer Moon album, I’ve been using the Tony Franklin fretless Precision bass. I love it!” he says. “I’ve been playing it for quite a while – I used it when the Strokes covered ‘Walk On The Wild Side’ and we played it live with Lou Reed. Obviously, it’s a different beast and a little bit more challenging. It forces you to play in the feel. I like the fact you’re never quite 100 per cent on pitch. That gives a little bit of a human touch to the music, which is always nice. It was an honour for me to play with Lou and replicate the tone of that bass-line, because the original was a mix of stand-up bass and electric. With the fretless I did my best to bridge the two into one instrument. It impressed Lou and he gave me an approving look!”

Above all, Fraiture stresses the importance of having fun with different musicians: “It helps with the creative process. It’s cool to play in a different way and in a different setting.”

He’s right: every journey should be fun. Which way are you headed?

Summer Moon’s album With You Tonight is out now.

Info: www.summermoonband.com

[thebowerypresents]

Phosphorescent Say(s) Goodbye to Summer

Phosphorescent – Webster Hall – September 20, 2024

Numerous cities have great live-music scenes, some of which, with self-branded monikers like “Music City,” “Live Music Capital of the World” or “Chicago,” claim to be No. 1. But nowhere in this country — and I’d wager the world — is a better place for live music than New York City. There’s always something terrific going on that you can’t get to because of something else terrific that you can. So, it’s understandable if you weren’t in the East Village on the last Friday of summer, but on that night, the very best live music in the very best city for it was Phosphorescent at Webster Hall.

Touring behind the eighth Phosphorescent studio offering, this year’s Revelator — the first in six years and just the second since 2013’s universally acclaimed Muchacho, one of that decade’s defining albums — former Brooklynite Matthew Houck opened the show with a solo acoustic Phosphorescent set, beneath 12 muted blue lights and with smoke billowing behind him, like a campfire conjuring paying tribute to the last vestiges of summer.

With a guitar and a simple “Let’s just get into it,” he played nine songs from across his catalog, beginning with C’est La Vie’s “C’est La Vie No. 2” and closing with Aw Come Aw Wry’s rarely played “Endless, Pt. 1” and “Endless, Pt. 2” — happily chatting along the way. After mentioning that the upcoming Paul Schrader movie he’d scored comes out next year, the acclaimed screenwriter and director, a noted fan of the band, shouted down from the balcony that it arrives “on December 6th.” And before playing Pride’s “My Dove, My Lamb,” Houck offered, “Just a few more and then Phosphorescent are coming out, and they’re really good.”

The full-band set launched with the new LP’s title track, its opening lines — “I got tired of sadness / I got tired of all the madness / I got tired of being a badass all the time” — earning an enthusiastic crowd response. It was Phosphorescent backed by Phosphorescent: Dominic Billett (drums), Jack Lawrence (bass), Jo Schornikow (keys), Ricky Ray Jackson (guitar/pedal steel) and Scott Stapleton (keys), with a fiddler and saxophonist liberally subbing in and out. (“We got some extra folks tonight because it’s New York City.”)

C’est La Vie earworm “New Birth in New England” was a highlight, the band several times feverishly working the song toward a crescendo just to back off and return to the chorus, taking a turn toward what seemed like would be a metal finish only to — again — retreat to the chorus and then fully jamming away the tune’s conclusion. Stapleton, who’d unleashed his headbanging-worthy mane from beneath a white cowboy hat, let his hair fly in tandem with the music's increasing intensity, like some sort of a follicular metronome (#fakejambands).

They closed the set with a cover of “Blue Eyes Crying in the Rain,” made famous by Willie Nelson, and a pair of Muchacho standouts, the driving “The Quotidian Beasts” and the ethereal “Song for Zula,” Houck, his voice a raw nerve, stalking the stage and pointing out enthusiastic concertgoers.

The increasingly boisterous audience cheered for more and Phosphorescent returned for the cosmic-country “Ride On/Right On” (Muchacho), “Los Angeles” (Here’s to Taking It Easy) — shouted out from the crowd and emphatically punctuated with “I came to Los Angeles to goddamn die” — and then finishing with “Down to Go” (Muchacho), the line “The kids of summer, don’t we glow” particularly resonating with autumn swiftly approaching. —R. Zizmor | @hand_dog

Photos courtesy of Toby Tenenbaum | @tobytenenbaum

[ashleyfableblack]

Dressed For Success- A Eternal Courtship PRIDE Month Jam

"Mom, what're you doing?"

"Be still." Thorax' shawl floated about his head, wreathed in the green flames of his Queen-mother's magic. Her sabre-like fangs scraped against her chitinous lips in irritation. "You never have been able to get this right."

His violet eyes watched in stupified awe as she levitated a broach to clasp the rainbow material to his cavara as she tugged the fabric about. Back and forth she adjusted, snug here, loose there. "You DO want to look like you know how to dress yourself for your royal consort tonight, don't you?"

Thorax blinked twice. Yes. This was still happening. He knew Twilight had talked with her wife about respecting his new relationship with Spike but had NOT expected this outcome. "He's my boyfriend, Mom. And yes, I do." He shrank slightly as she paused to regard his tone. Even now, in his thirties, one look from her serpentine eyes and the Lovebug prince was a grub again. He gave a sheepish grin of his comparatively tiny fangs. "Sorry." Chrysalis returned to her ministrations with a huff, grumbling to herself in silence. Sometimes Thorax was glad he was never able to hear the hive mind. "But I thought you hated Spike?"

"When did I ever say that?" Her lips curled slightly with the utterance as she wove a band of blossoms between the beads around Thorax neck. He had to consider the question. She was right, technically she never had said anything of the sort. Though she had been very quick to interpose herself between them at nearly every opportunity. She placed a crown of flowers between his antlers and began adjusting it for a properly regal touch. "You're a twit. He's an insolent twit. You're perfect for each other."

Both eyebrows rose until they were almost encircling his horn.

"P-perfect…?"

The Queen lowered her gaze from the wreath of flowers. Her forked tongue flickered as she finished dabbing a final bit of her silken webbing to keep it in place to her exacting specifications. Her emerald snake eyes regarded him with an almost eerie quality he was not accustomed to seeing from her- not for anyone but Twilight. He could see something approaching a smile crossing her fangs, annoyed, but still, a smile. "Yes. I said it. Don't let it get to your foolish head."

He chuckled. It wasn't quite the more traditional pony-style family he had wanted but it wasn't only about what he wanted. She was trying. He was trying. Twilight was trying and wasn't that was family was all about? Through all the hardships, they found a way to keep trying. It was a family. His family. He lurched forward to clasp his lime-berry hoofs around his mother's shoulders, grinning ear to ear. To his surprise she barely recoiled. "Thank you, Mom. Happy Pride Month."

The queen rolled her eyes. She draped a forelimb around her wayward offspring with a flicker of her tongue. Tasting the air around him she sighed. Most creatures wore their emotions on their sleeve but Thorax sprayed his about like a garden hose. He really did love her. Shielded behind her nitwit offspring's field of vision, she let her smile grow just a bit brighter. "Yes. Yes. I'm wonderful." She broke the embrace, straightening herself and re-adjusting his crown once more with yet another dab of sticky spittle. "Now, go talk about friendship and make macaroni pictures or whatever it is you do."

The Lovebug prince beamed. His smile was bright enough to guide ships at sea as he practically pranced his way to the reading-room door. He paused in his bouncy gait for the grim visage of the twin guards framing the door. The spiky, elite soldier-caste changeling guards on either side regarded him in silence as Chrysalis voice crisply cut the air.

"My son…"

The tone was one he had not heard in years but was still all too familiar with. Not the marshmallow-soaked-in-honey doting wife of his good friend, Twilight Sparkle, nor the shrewd yet amiable tone of the regal Queen Chrysalis Sparkle of New Canterlot. This was the Hive-voice of THE Queen of The Swarm, the irresistible, unrelenting force which consumed all. The young prince nervously turned to face her. Her crown of antennae had extended, the outward expression of her wordless connection to and indomitable control of the Hive Mind. The blue tips shimmered with the same gnawing cold as the unnatural darkness within the slits of her snake eyes.

"Anything beyond second base and he gets fed to your cousins." She grinned a cold, hungry smile. From behind him he heard the two guards hiss. Suddenly he became very aware of the unsettling feeling that half the objects in the reading room had been watching his every motion and were simply awaiting the command of their Queen-mother to pounce and devour him.

He smirked. "Yes, Mother."

In her own way maybe, she was trying. Just like a real family.

[horseshoehate]

Phishing for Good Wizarding Weed

a\n: Here is part 1 of my Phish, Harry Potter, and Lord of the Rings fan fiction mashup! Please enjoy.

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Voldemort had heard rumors of a powerful wizard with an even more powerful stash of weed. He had been tracking Gandalf's movements for weeks, waiting for the right moment to strike. Finally, he found him at a Phish concert in a remote corner of the wizarding world.

As Voldemort approached, he could see that Gandalf was indeed carrying a large bag of weed. Gandalf was dancing with the spunions near the middle of the pit, Page side.

"The bloody fool dares to share the sacred magical plant with these muggles?" Voldemort scoffed to himself.

He snuck up behind Gandalf and attempted to grab the bag, but Gandalf was quick to react. He spun around and shouted a powerful spell, sending Voldemort flying backward. Gandalf returned to dancing to what was turning into a very solid and funky Cities.

But Voldemort was not one to give up easily. He rose to his feet and drew his wand, ready to unleash a powerful curse. Gandalf was prepared for this, and he drew his own wizarding staff. The two wizards locked eyes, each waiting for the other to make the first move. Voldemort started by attemting to hit Gandalf with the cumming curse, which would have left Gandalf vulnerable to further attacks, but Gandalf easily parried it.

As the wizards fought, a stray spell from Voldemort's wand hit Trey Anastasio, turning him into Evil Trey. Evil Trey immediately started playing dark and twisted versions of Phish songs, causing chaos in the crowd.

The rest of the band was caught off guard by the sudden transformation of their bandmate, but they quickly sprang into action. They began playing an intense and frightening version of "Harry Hood," channeling all their energy and magic into the music. The song, despite its evil tone and message, seemed to invigorate Gandalf and made him more powerful. The two wizards continued battling.

As the song reached its climax, Gandalf and Voldemort continued their fierce battle. Spells were flying everywhere, and the two wizards were evenly matched. But then, Gandalf saw an opening and seized the opportunity. He cast a ball slapping hex, which landed a direct hit. Frozen in shock and pain, Voldemort could scarcely react.

Gandalf then cast a powerful spell that sent Voldemort flying into the air, far away from the concert. At last, the Phish fans were saved from the wicked wizard weed poacher.

With Voldemort defeated, Gandalf and the rest of the band turned their attention to Evil Trey. Despite his evil deeds, Evil Trey was still a talented musician and his music captivated the crowd. Gandalf decided it was best to let the rest of the concert play out.

After the show, Gandalf met Evil Trey backstage in order to thank him. Gandalf asked Evil Trey how he felt, to which Evil Trey responded by pretended that he was not evil. Deciding not to press any further, Gandalf bid his friends goodnight a departed to his van in the parking lot.

Gandalf made a note to follow Phish for the rest of tour in order to keep an eye on Trey. He wanted to see what kind of awesome jams they would get from Evil Trey. They would certainly be dark and scary as they were entrancing, though he didn't want to let it play out enough to do any permanent damage to the band.

By the end of the night, the concert had ended on a somber note, with the audience left to ponder the strange events of the night. While Evil Trey may have been left evil, the power of Phish's music had once again saved the wizarding world and Voldemort had been defeated in the end.

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pt 2: https://www.tumblr.com/horseshoehate/713631500463226880/gandalf-follows-evil-trey-on-phish-tour?source=share

[dancing-to-architecture]

11 of 1001 - (officially 1.09% of the way through!)

Today's album: Talking Heads - More Songs About Buildings and Food (1978)

I love me some Talking Heads, but i don't know this album too well (that i know of).

My mom was pretty big into new wave, but this was not one she had.

Thank You For Sending Me An Angel -

Okay i know I've heard this somewhere, likely in the intro to an indie movie or something, but i know this one. Weird lyrics, but i dig it.

With Our Love-

Fun fact: the rising guitar riff is the exact sound of anxiety. Then again, the whole song is (probably?) about the horrorshow that is navigating teenage relationships, so that's... likely why.

The Good Thing-

I want the amount of confidence he had in The Good Thing. Also, i really like how playful the guitar work is here.

Warning Sign-

Underwater synth drumming. Kinda funky. Sounds like he's singing through a toy microphone.

...oh shit. it's an overdose song. It's a really good overdose song, but damn when i got what was going on, the realization of it hit me like a truck.

Very disorienting at the end.. makes sense, though.

The Girl Wants to Be With The Girls-

I mean, that's a lesbian anthem, right there.

Found a Job-

This is a weird one, but, you know what? if it works for Bob and Judy, good for them. Seems a bit manipulative, but if everybody's on board, then go for it.

Also, the "minute and a half long funky as fuck outro" is something more bands should try.

Artists Only-

Oh hey, "how i approach art", didn't see you there.

Kinda dreamy in a strange way, i really dig it. This song begs for a way too artsy video.

I'm Not in Love-

Feels kinda like post-extremely bad breakup depression moping more than anything, tbh.

Return of the minute and a half long funky as fuck outro, though.

Stay Hungry-

Okay, a song this aggressively horny should NOT come right after I'm Not In Love. Bad album layout, imo.

At this point my wife said she'd "never thought of Talking Heads as a jam band before", and yeah they did some meandering on this album.

Take Me To The River-

Well, i know THIS ONE. my dad had one of those goddamn singing fish. He (and he alone) thought it was the very peak of comedy.

oh Jesus, this song is 5 MINUTES LONG?

And dude, I'm sorry you didn't get laid at 16, but damn, neither did i. Sorry, this song (fittingly) just makes me want to drown myself. Never been a fan, and i still kinda want to smash that fish with a sledgehammer.

The Big Country-

Kinda feels like it's about the town i grew up in. Quaint and simple small-town...

...and I wouldn't live there if you paid me. (and not just because it's still full of radium. Like, superfund site level contamination.)

Twangier guitars than i would have expected, but not out of place, considering the topic.

Overall, not bad, but definitely not my favorite Talking Heads album. Had a few songs i really enjoyed, a few that just felt like panic, a bunch i don't care much about one way or the other and will likely not revisit, and one that might be a bit more of a sore spot than i had previously thought.

Favorite Track: either Artists Only or Warning Sign. Both are really good in very different ways and i can't decide.

Least Favorite Track: Take Me to the River.

[aimsrhythm]

The Quiet Melody of Mornings. . .

"Somewhere between the hum of the espresso machine and the soft morning light, I found a quiet melody, one that didn’t need instruments to feel like home."

The soft clinking of cups and the steady hum of conversation filled the air as Aimee stood behind the counter of the inn’s small café. It was early morning, the kind of hour where the small town still felt half asleep, and the sun was just beginning to spill through the wide windows, casting golden light across the tables. The aroma of fresh coffee wafted around her, a comforting scent she’d come to associate with the gentle start of each day.

Aimee moved quietly, preparing another cup of cappuccino for one of the regulars. Her hands worked almost instinctively, muscle memory guiding her every move as she frothed the milk to perfection. Her eyes drifted to the familiar scene unfolding before her, the couple sitting by the window, sharing soft whispers over their pastries, the lone traveller with his nose buried in a book, and the elderly woman who always came in for a warm cup of tea after her morning walk along the beach.

It was a peaceful rhythm, one she had grown to appreciate in a way she hadn’t expected. This café, with its mismatched chairs and shelves lined with seashells, felt like an extension of her home. Every morning felt like a new chance to create a space where people could pause, take a breath, and enjoy the simple comforts of life.

The bell above the door jingled, and Aimee glanced up to see a group of young tourists, probably in town for the weekend, entering the café. They looked around, taking in the cosy atmosphere, and she smiled as one of them, a girl with windswept hair and wide eyes, approached the counter.

“Good morning! What can I get you?” Aimee asked, her voice soft but welcoming.

“Morning! Um, could I have a latte with extra foam, please? And maybe one of those blueberry muffins?” the girl asked, her smile shy but warm.

“Of course.” Aimee nodded, setting to work. She could feel the girl watching her, the way people often did when they first arrived at the inn’s café. There was something about the place that seemed to make travellers pause, as if they were catching a glimpse of something familiar yet new.

The girl hesitated for a moment before speaking again. “This place is really nice. It feels. . . homey.”

Aimee looked up, her heart warming at the comment. “Thank you. It’s been part of my family for a long time. My parents run the seaside inn, but I help out here in the café.”

The girl nodded, looking around as if trying to absorb every detail. “I can tell. It feels like one of those places where you could just sit for hours, you know?”

Aimee smiled, a soft laugh escaping her. “Yeah, that’s kind of what we hope for.”

As she handed over the latte, the girl’s eyes caught on a small photo tucked behind the counter. It was an old picture of Aimee and her bandmates, all grinning wildly, holding their instruments as if they were rockstars at a sold out concert.

Renee (guitar), Isla (bass), Sienna (vocals), and Aimee (drums).

“Were you in a band?” the girl asked, curiosity flickering in her gaze.

Aimee nodded, her smile tinged with nostalgia. “Yeah, I was. We played together all through high school. It was a special time.”

“That’s so cool. Do you still play?”

“Every now and then,” Aimee said, her voice softening as memories of late night practices and beachside jams filled her mind. “But these days, I’m here more often, helping out with the inn.”

The girl smiled, taking her latte with a grateful nod. “Well, it seems like you’re making people happy here too.”

Aimee’s heart swelled at the simple yet heartfelt compliment. “I hope so. Enjoy your drink!”

As the girl joined her friends at a nearby table, Aimee returned to her work, but her mind lingered on the exchange. It wasn’t the first time someone had noticed the band photo, and each time, it brought a rush of memories back. She loved music, she always would, but here, in this café, she’d found a different kind of rhythm. One that was quieter, yes, but filled with its own kind of joy.

She wiped down the counter, glancing around the café once more. The sun had risen higher now, bathing the room in a soft, golden light. The morning rush would soon be in full swing, but for now, there was a calmness that settled deep into her bones. It was in the clinking of cups, the murmur of voices, and the steady hum of the espresso machine.

Aimee took a deep breath, letting the familiar routine guide her.

For now, this was enough, but she couldn't help the excitement bubbling within her at the thought of her friends gathering once more to share music and laughter.

Her fingers already reaching for her phone to call the groupchat-

[musicarenagh]

Unveiling the Artist Behind ‘Show Me The Gold’ Holly Roseanna The music of Holly Roseanna literally shakes you up with an explosion of power and soul that just cannot be ignored. Her latest jam "Show Me The Gold" mixes appeal with an infusion of Scottish hip hop that will make you love the flavour of Holly's witty, tongue-in-cheek approach. With every piece of the music you experience, you discover a person whose heart and mind are in everything she does, putting lyrics that linger even long after the last song ends. Holly's "Prima Donna" EP was directly form a time that she spent looking inwards and figuring herself out. Through her songs she touches on all the ways relationships, ups and downs, break ups and resilience can get to her. 'Holly's music is driven by bold female fervor and teeming with splashes of fury and silliness, to which she adds an electrifying flair. Within this exclusive interview, Holly lets us look at the creative process by which she operates, the music influences that shape her sound, and the directions in which she intends to move. She returns to her earliest memories of using music as a family tradition and leads us through the way leading to her personality development over all the years through multiple collaborations. And now fasten your seat belts as we remove the covers of what makes Holly Roseanna a real live tick - the songs of her stories and the passion that drives her every step. It's time to be touched by Holly's bright spirit as she not only will sing through her songs, but also reveal her life story. Listen to Show Me The Gold (ft. Empress) below https://open.spotify.com/track/2sl9AZqZ0bjelqiXqk4IUm?si=91e88ff5c18b4abe Follow Holly Roseanna on Facebook Spotify Youtube Instagram Tiktok What is your stage name Holly Roseanna Is there a story behind your stage name? Roseanna is my middle name! My mum and dad were massive fans of the band Toto, hence the name Roseanna. Where do you find inspiration? From other artists! I usually feel inspired to write something after hearing something I love by another musician. What was the role of music in the early years of your life? My first introduction to music was singing to The Sound of Music when I was little. Then I started to ply the Cello when I was in Primary School. Once I learned to play guitar at 14, the rest was history and songwriting came fairly naturally to me. Are you from a musical or artistic family? The musicial genes are strong in my family. My dad is a fantastic guitarist, my uncle is a bassist and my auntie plays the violin. My grandad was a fantastic singer and so was my great-granny - she even sang for the Queen! Who inspired you to be a part of the music industry? My family have always been very supportive and have always encouraged me to get out there and share my music with the world. [caption id="attachment_55242" align="alignnone" width="2000"] My family have always been very supportive[/caption] How did you learn to sing/write/to play? I taught myself guitar and went to piano lessons for a few years to try and learn some music theory – which I wasn’t very good at! I prefer to play by ear. What was the first concert that you ever went to and who did you see perform? My first gig was Jack White and the Raconteurs at the Edinburgh Corn Exchange when I was 16. I was in love with him at the time! How could you describe your music? This EP is angry and sassy with a touch of silliness! Describe your creative process. I normally start off my songs as an instrumental piece before the lyrics come. I normally write a bassline, then drums then add in chords and then any other embellishments until I have a groove. Occasionally I will start off an idea for lyrics – I decide what the mood for the song will be (i.e energetic, sad, a ballad) then I’ll take it from there and try to create a soundscape which suits the theme. What is your main inspiration? Writers who write about unusual and interesting topics, rather than just stereotypical songs about love and heartbreak.

What musician do you admire most and why? Kate Bush and Andre 3000 – some of their lyrics are real poetry and very interesting – they both know how to think outside of the box and are hugely musically talented too. Did your style evolve since the beginning of your career? Yes, definitely, when I first started off, I wrote girly love songs on the acoustic guitar. I find that style a bit cringey and embarrassing now! Who do you see as your main competitor? I try not to compare myself to other artists as we all have a totally different set of circumstances. I compete with myself all the time though! What are your interests outside of music? I love pole dancing and making stained glass art. If it wasn't a music career, what would you be doing? Music is only a hobby for me and I have a full time job in events management! What is the biggest problem you have encountered in the journey of music? Not having enough time – if I had more time to excel in my skills I’d be a better artist for it. https://open.spotify.com/artist/498kl8ymY7RsvM3RHCjTvA If you could change one thing in the music industry, what would it be? It doesn’t pay particularly well, that’s for sure! Why did you choose this as the title of this project? I chose the title ‘Prima Donna’ to reflect the heavy and sassy nature of the tunes. I feel like a Prima Donna when I sing them. What are your plans for the coming months? I have a few gigs coming up with my cover band, Siren, and I’ll preparing for my next release! Do you have any artistic collaboration plans Not on the horizon, but for this release I really enjoyed collaborating with Empress who’s an amazing Scottish hip-hop artist and rapper. What message would you like to give to your fans? I hope you all love the EP and stay tuned for some more music which will be released very soon!

[jupiterscythe]

LONG POST AHEAD

My drummer will always be one of my best friends, and the privilege of creative collaboration for over 10 years now remains one of my favorite feelings. Honored to have stood in his wedding, and I'll be damn sure he stands in mine.

It's been heartbreaking to retire our original band that we've worked at for just over a decade, and I've been taking it pretty hard. I truly wanted to pursue a career as a live musician, and that's not to say I hadn't! Damn proud of the countless shows and festivals we played in the states.

Our vocalist previously left to pursue a career in the military, and we respected his choice, so we all agreed to divide vocal duties, as we can all sing well, and both I and the lead guitarist could do harsh vocals. But then our 2nd guitarist (one of my friends for over 20 years) decided to ghost us and fuck off with nary a reason or excuse when we had a 2nd wind with shows upcoming, and finishing recording our first full length, and it stalled our progress.

By the time we found a great replacement and started practicing again, covid happened and that led to more stretches between writing and practice. On and off the last couple years, we've tried, but it was a couple days ago, our lead guitarist confided in us that he couldn't enjoy it because of what our friend did to us, and especially him in terms of money and gear. He lost a friend, and a creative partner. They both had the same understanding and approach to theory and composition, and they wrote lots of great material together. It's because of that hurt that our lead gets a bitter taste in his mouth when we play the old songs, and without that same mind to bounce ideas off of, it was just making him sad. It was sad to hear, but I'm glad he trusted us enough to confide and respected us enough to tell us personally. It was all mutual. The drummer and I both agreed that it wouldn't be the band without him, so we all agreed to officially retire the project. We're all still close friends and still talk regularly. I'm still very close to our old vocalist as well since he's returned from the military. But our drummer is still one of my best and closest friends. First guy I ever jammed with, and I want no other drummer behind me, because we have such a natural chemistry together.

We jammed a couple times last month, and now that the main project is over, we're starting up a new project and incorporating multiple genres. I've had a handful of riffs I wrote the last few years, and after demoing them, he loved em and sees potential. We're gonna go look at some new gear Sunday, and for the 1st time in awhile, I feel like I can turn this negative energy into positive and focus on creative expression as an outlet. You gotta take a few bumps before you get to swing back, and I have a fire in me again. I've gained lots of confidence as a musician, and I'm optimistic about the next chapter of my music career

[wyrmwoodstar]

now i rarely reply to posts, especially because ls dunes are the last people i need to stand up for lol but i felt kind of weird, because this has a lot of really good points i agree with and just a couple i don't. first and maybe main one is:

i doubt that ls dunes was created as catering to a fanbase, as many people tend to insist i do think tucker was genuinely going to jam with friends, and subsequently the members were worried about the future of their own, so to say, sphere of work. which can be deduced from early interviews not because i'm such a big fan of good faith readings, but because they're not so slick to create appearances, sorry. but it didn't and COULDN'T go the same way as their early projects started. they have vastly different social resources, vastly different networks and marketing methods. you can't recreate the experience of your youth if you're going at it as if nothing has changed (could it be actually better with different approach? maybe possibly)

second thing, follows out of first:

sure they could switch to midsized venues instead of small ones to combat the fact that the fanbase is overgrowing their initial plan very fast, especially with the way they approach mm advertising. they could've played bigger shows in europe and avoid chaos at some venues. but i will present a hypothetical. what if. and only what if. shit costs money. these are successful musicians but it's NOT like their accounts tell us they can easily throw shit into this band without expecting returns, and not keep a day job. tucker for himself seems to have a sweet and cushy middle class thing going on… where he seems to be aware this is made possible by big successes, partner support and having a good industry name to pick up jobs after quarantine. not saying poor frank iero needs my lunch money, i just imagine this might be problematic despite having connections.

so it feels like their desire to combine informal approach with using their actual weight backfired. dunes to me is a middle aged guy band equivalent of a huge dog that still wants uppy, only less endearing.

while i am probably reading too much into a more personal post and you might've not meant it literally there's third thing which is also important to me, and that is.

no amount of fatigue or annoyance in separate parts of this fanbase can predict how well this band does in foreseeable future? i'm sure some are pissed at dunes rn, but surely in no universe "i dislike band's current activity" means "this band will keel over soon". maybe that ties to the first point i've made. i AM kind of tired of bits and pieces and don't follow updates closely because of that. yet these 30 micro batches of t-shirts or vinyl, or 10th teaser a month seem to be aimed at a local audience. which is rich for me to say on a predominately american website, i live on another end of the world, but if a local band i liked started playing around with limited edition bullshit i'd probably feel warmer about them than dunes. and i'm judging by response other fans have to this.

damn this is not a very well structured post.

TLDR: yeah to most of that essay, but a) i doubt it's such a complicated scheme b) none of that means they will pull a plug on it or get worse

the phenomenon of ls dunes should be studied and i mean this

[practicalsolarpunk]

Preserving the Harvest: Apples

It wouldn’t be fall in my part of the world without apples everywhere. My two favorite ways to preserve them are apple butter and applesauce, both with lots of cinnamon! If you’ve only ever had store bought applesauce, please, do yourself a favor and make a small batch yourself, it is so much better!

First things first: what kind of apples?

We want baking apples, ones that don’t have a lot of juice. Jonagold, honeycrisp, and winesap are my preferred varieties. I’ll sometimes mix varieties, if I don’t have enough of one for a whole batch.

If you live within a reasonable distance from an orchard, go there and ask about seconds. These are the ones that have some damage and aren’t going to store for very long. They’re usually a bit cheaper!

Apple Butter

(Makes 5 pints)

14 apples

3 3/4 cups brown sugar

1/2 cup of cider vinegar

1 tbsp. + 2 cinnamon sticks

Sprinkling of ground cloves

There’s a few ways you can approach this: on the stove, in the oven, or in an electric roaster. I’ve done all three, and I think my preferred way is the roaster, mostly because it can hold the most at once*!

Peel, core, and quarter the apples. Put them in whatever you’re using and cook until soft. Press through a sieve or food mill. Add in remaining ingredients and cook on medium (350°f) for three or so hours, until it’s thick enough to mound up on a spoon. Remember to fish out the cinnamon sticks, if they end up in a jar, they could make it too cinnamon-y, supposedly. (I don’t think there’s any such thing, but others apparently do.)

Now can it! Jars, lids, and bands should be washed and checked for chips and flaws beforehand. Jars should be heated to near boiling or boiling, lids should be warmed slightly.

Ladle the butter into the jars, leaving 1/4 inch headspace. Put the lids and bands on and return to the water bath. Bring to a boil and process for 10 minutes.

[photo id: a line of wide mouth pint mason jars, filled with dark brown apple butter.]

Applesauce

Apples

Water

Cinnamon

Peel, core, and quarter the apples. Place in a pot with just enough water to keep from burning or sticking. Cook over medium heat, lowering it if necessary to keep from boiling over.

When the apples are soft, add some cinnamon, less than you think you’re going to want. Mash the apples, or run them through a sieve or food mill. I prefer to leave some chunks, but others prefer a smoother sauce.

[photo id: a silver stock pot on a black cooktop. The pot is nearly full of pale, mashed apple.]

Taste it. Add more cinnamon if you want. Yay, it’s done!

Now, this can be canned or frozen, it works well either way. For freezing, just allow it to cool, then put it in containers suitable for freezing, mark it with the date**, and freeze!

For canning:

You’ll need jars, lids, and rings, washed and checked for chips or flaws.

Heat the jars in a pot of water. When you’re about 5 minutes out from canning, heat the lids slightly in a small pot on the stove. The goal is to warm them - the water should not even simmer.

Once everything is good and hot, it’s time to can! Ladle the sauce into the jars - a wide funnel specifically for canning is super helpful! - leaving about an inch of headspace. Put on the lids and rings and back in the pot of boiling (or close) water we go! Process in boiling water for 20 minutes. Don’t start timing it until it’s boiling.

Now, you can leave your jars in the pot to cool after they’ve processed, or you can take them out. This is one of those things that people seem to have very strong opinions about, but I’ve done it both ways without issue. The important thing is to leave them alone as much as possible for 24 hours, to make sure they seal.

[photo id: a line of mason jars filled with brown applesauce.]

*I use the recipe as guidelines and double or triple it. This works with butters because they are just cooked down, we’re not trying to get a jelly-like texture. I don’t recommend doubling with jams and jellies.

**it’s so important with preserving to label everything! This makes it easier to rotate through foods, using the oldest first!

Canning resources:

https://www.healthycanning.com/wp-content/uploads/USDA-Complete-Guide-to-Home-Canning-2015-revision.pdf

https://www.freshpreserving.com/canning-101.html