#patrick loves music. he loves composition he loves instrumentation

[bloodmoonmuses]

stereo 127 | johnny suh

(for @lovesuhng !!! I hope you like it!!!)

genre: johnny suh x reader, college au, teacher's assistant! johnny, friends to lovers

warnings: none!

summary: johnny is your campus crush. he also happens to be the teaching assistant in your music history class. when you (innocently) ask for help on a project, you end up learning about more than just music.

You’re a bit obsessed with this guy who skates around campus- or the concept of him, more accurately. You don’t even know his name. All you know is that last semester, you (accidentally) memorized his schedule, resulting in you walking to certain classes a few minutes earlier than necessary to catch a glimpse of him. These glimpses were merely a blur, whipping past you like an apparition. He was a ghost to you, and you enjoyed being haunted by him. 

Your friends made fun of you for having a campus crush, arguing that it’s not real since you don’t actually know him. However, you honestly preferred the distance. Then, you could fill in the gaps in your knowledge with your own imagination. Admiring him from afar worked for a while- that is, until the start of Spring semester. 

When you saunter into your music history class, a random elective you took for fun, you’re met with the elusive Skater Boy. You knew he was tall, but he’s even taller than you’d imagined in your daydreams. You glance at him briefly, before going to take a seat at a desk near the back. 

Skater Boy chats with a few of his friends at the front of the classroom, then sits next to the teacher’s desk when the professor enters. You infer that he must be the teacher’s assistant. 

This was a big problem. Surely, you’ll fail this class now. There’s simply no way you’ll be able to focus. The breathy laughs that escape him are already distracting you to the point of being almost unbearable. His smile is so breezy, like a wave catching the wind. He looks just as cool here in the classroom as he does on his skateboard.

The underlying crush that lay dormant in you begins to boil, and you know it will soon bubble over, scalding everything in its wake. You couldn’t wait for the burn. In fact, you aimed to spur it on sooner. 

You make a concerted effort to pay attention to the professor’s spiel, pulling out your notebook to take notes. It's syllabus day, sure, but you want to look studious. The first assignment of the semester is to research the history of your favorite music genre. 

Despite your efforts to focus, your eyes drift to the stickers that adorn Skater Boy’s laptop: Patrick Bateman from American Psycho, an Arctic Monkeys logo and a cartoon surfboard. You want to know everything he likes and commit the list to memory. You want to sew his idiosyncrasies into a quilt and blanket him with your loving knowledge of them.

The professor introduces him as Johnny Suh- a third year music composition major. Now the ghost has a name.

—

You look at the office hours on the bottom of your syllabus. Johnny would be in office in lieu of your professor for the majority of the semester. Would it be so bad to pop in and ask him for help on the first assignment? 

While you admittedly feel silly, walking to the Arts and Humanities building looking a bit too gussied up, you swallow the nervousness. You stand in front of the room, reading the placard:

Professor: Dr. Moon

TA: Johnny Suh 

You knock on the office door. On the third knock Johnny says, “Come on in!”

Meekly, you enter. He’s too real, too tangible, in this small space. You’ve never been within touching distance of him. The prospect makes your fingers tingle. Professor Moon has an insane book collection, two bookcases spanning the walls opposite one another. The rest of the office is cluttered with a slew of instruments.

Johnny is wearing a backwards hat and quarter sleeve sweater. Your eyes graze the expanse of his forearms, then drift upwards. There’s a pen clipped to his collar and another in between his lips. It’s the most tantalizing pen you’ve ever seen. Finally, you make eye contact. 

Introducing yourself, you say, “Hi, my name is _____. I’m in the music history course.”

“Nice to meet you.!” He takes the pen out of his mouth, and your eyes follow it forlornly. That could’ve stayed. “How can I help?” 

Johnny gathers some papers, places them in a neat stack at the center of the desk, then sits on the edge of it.

“Um, I’m a non-major. So, I’m struggling a bit with the first assignment.”

Johnny nods understandingly. “Ah, the dreaded favorite genre assignment. What’d you pick?”

“Pop punk,” you say.

“Fascinating. You don’t strike me as a punk person.”

You shrug. “Grew up on it.”

“Have you been to the record store near campus?”  

You shake your head.

“It’s called Stereo 127. I think it would be cool to listen to some records and base your research on specific albums. Then you’ll have a clearer framework for when it’s time to write the paper.”

“Thanks. Um,” you clear your throat, “Would you mind… showing me?”

“The record store? Yeah, sure. No problem. Does this weekend work for you?” Johnny asks.

“Sounds good!”

—

Stereo 127 is densely packed with all sorts of records, mimicking the state of Dr. Moon’s office. There’s a classmate of yours named Jaehyun who’s keeping watch of the store. He walks around the shop, reorganizing things as he sees fit. As you peruse the albums, you’re peeking at Johnny over the records, trying to catch his eye. Unlike you, Johnny is actually scanning the selection, genuinely trying to help you.

“Let’s get the obvious ones out the way,” he says, holding a Blink-182 record. He’s somehow managed to track down a copy of their debut album, Cheshire Cat.  

“If Cheshire Cat is an ‘obvious’ pick to you, then I’m way out of my depth,” you confess.

“A little pretentiousness never hurt anyone,” Johnny replies. 

So far, you have a copy of Green Day’s Nimrod (which you’re quite excited about) and Paramore’s newest album. As the minutes pass, you get gradually more enraptured by the thicket of albums. Before you know it, you’ve accumulated quite a few records. After a bit, you sidle up to Johnny, peering over his shoulder to check out his picks. You spot a Yellowcard compilation record.

“This is more fun than I thought it’d be,” you pipe, turning to face Johnny. His face floods with fondness when he sees the stack of albums in your arms, caramel eyes warming you from the inside out. 

“Yeah, you have a good eye,” he retorts. “I’ve been meaning to check out a few other shops around town. Y’know. To compare selections.” He’s sputtering now, having fallen into a cough fit.

“You okay buddy?” you say, chuckling. You gingerly pat his back, holding back a full blown laugh as Johnny continues to cough.

He waves you off, but you pat his back once more for good measure.

“I’m good, I’m good,” Johnny says. When he regains his composure, he continues. “I was just wondering… Are you busy on the 27th?”

—

You’re sprinting across campus, eager to meet Johnny outside of the boys’ dorm. It’s been two weeks since you’ve last seen him. He’s leaning against the building as he waits for you, clad in a page boy cap (which he’s wearing backwards again) and tank top. You allow yourself a quick glance at his arms, immediately regretting it as your face heats up. When he spots you, Johnny waves excitedly, the width of his smile making your own double in size.

After your first excursion, Johnny had asked for your number (“in case you have questions on the assignment!” he had said). Since then, the two of you have texted occasionally, mostly about school.

The record store he takes you to this time is called The Boot. It’s less trendy than Stereo 127 and less organized as well. Most of the vinyls are in bins, withering at the edges and clearly sundamaged. Johnny says he comes here to find obscure records to spin during his DJ sets, not to necessarily hunt for additions to his collection. 

“So, you’re a music composition major?” you ask as you crouch down to sift through a box.

Johnny nods. “With a minor in photography.”

“Favorite camera brand?”

“Nikon for sure, but I mostly shoot 33mm film.”

“How pretentious,” you say.

“Oh, you love it.” This is true, you do love it. 

Johnny continues. “I found another record store for us to try out after this one.”

“Yeah, just text me whenever.”

—

You had finished your paper days ago, so the subsequent record store outing was completely unnecessary to a certain extent. Johnny had no choice but to admit that he simply wanted to hang out with you- though, he’s not complaining. 

The final record store you visit with Johnny is called WAYVE. This time, he picks you up in his car to take you there- a dinky pick up truck with a shitty paint job.

“Before we head out- “ Johnny reaches over, opening the glove department in front of you. His hand brushes your leg briefly.. He pulls out a CD case and places it in your lap.

“I made a playlist for you.” He can’t look you in the eyes properly. You’ve never seen him look this sheepish.

Johnny continues. “Not vinyl, I know, but I wanted to decorate the cover.” Taped to the front of the jewel case is a polaroid of you perusing records. In the photo, your brows are furrowed in concentration.

“When did you even take this, you weirdo?”

“A few weeks ago at The Boot. The lighting was nice.”

You’re practically buzzing with excitement when you get home, racing to put the CD in your busted boombox. The first song on the playlist is Going Away to College by Blink-182.

“I haven't been this scared in a long time

And I'm so unprepared, so here's your valentine

Bouquet of clumsy words, a simple melody

This world's an ugly place, but you're so beautiful to me.”

—

You got a B minus on the paper, which is better than you would've done without Johnny’s help. However, the project is the furthest thing from your mind. 

All you can think about is the lyrics of Going Away to College. You’re trying not to read into things, but Johnny wasn’t the most subtle. 

Maybe you should make a playlist for him. Or buy him a record. According to him, Johnny’s not a true collector- that was reserved for cameras. Maybe he’d appreciate it.

Johnny spots you walking to class (though he’s sure your next one isn’t for another half hour). He skates over to you, stopping right at your feet. You shriek, almost stumbling backwards.

“What the hell, Johnny?”

He dismounts his skateboard, holding it under his arm nonchalantly.  “Do you wanna hang out somewhere other than a record store?”

“Yeah. I’d like that.”

—

The skatepark is overstimulating in the best way. After trying (and failing) to teach you how to do an ollie for an hour, the two of you set up a picnic off to the side of the halfpipe. You eat kimbap off Johnny’s skateboard, using it as a little table.

“Sorry you got a B on your paper, by the way. If it’s any consolation, I didn’t grade it.” 

“It’s okay. I’d rather earn a B from Professor Moon than have your biased ass give me a higher grade than I deserve.”

Johnny places a hand on his chest, gasping dramatically.

“Um, what about academic integrity? I would do nothing of the sort!” he insists.

“Oh come on, you’re obsessed with me,” you say, half-joking. To your surprise, Johnny nods to himself, agreeing with you.

“Only a healthy amount though.”

When you and Johnny finish the kimbap, he scooches next to you. The sun is setting, oranges slowly darkening into a wash of deep indigo. You shiver as the sun dips beneath the horizon. Johnny places his jacket across your shoulders.

“Thanks,” you say.

“No problem.”

You place your head on Johnny’s shoulder.

“Um, and thanks for the playlist too. It’s really good.”

“Yeah?”

“It sorta had… a theme to it.”

Johnny suddenly pulls out from under you, leaving you to stumble around for a bit as you catch yourself. When he turns to you, he stares, caramel eyes pouring into your own. You feel warm in spite of the chilly breeze.

“I’ve never really been good with words,” Johnny confesses. “I figured I’d let the music do the talking.”

With that, he takes your face into his hands. He traces your features with the pads of his fingers- running them over your eyebrows, the lids of your closed eyes, your nose and, finally, your mouth. When he’s satisfied, he places a faint kiss upon your lips. 

He pulls back, caressing your cheeks with his thumbs. “I’m so glad my pretentious bullshit doesn’t give you the ick,” Johnny says.

“Only a healthy amount,” you say through a smile. 

Suddenly, you initiate another kiss, your lips crashing into his fervently. When Johnny recovers from the initial shock, you deepen the kiss further. He’s a patient kisser, never demanding too much or taking more than he’s given. This only heightens your hunger for him, throwing your arms around his neck to pull him impossibly closer. When the two of you come up for air, you linger with Johnny still in your embrace, his eyes crinkling at the edges with pure joy.

a/n: currently unedited + feedback is always appreciated! thanks for reading!

[swaps55]

Can you talk to me about why you put "I Bleed Stars" at the top of any playlist it appears in? Can you tell me what nerve this song hits?

Is it the chorus? Is it the repetition? Is it that tambourine?

Or even the cover art?

Can you just tell me more about the song from Mezzo's intro?

I love your playlists. They get me through my day, every day.

Ah, noticed my rather rabid obsession with this one, I see. XD

You just have no idea how awesome it is that anyone pays attention at all to the playlist. I do this component of Opus entirely for me, and am always delighted to find someone who actually listens to it, and downright giddy when someone asks about it. So...apologies for the novel below.

This is one of those songs that I wish I could shake people by the shoulders and just pour my feelings into their brain. It's both beautiful and maddening that music means so many different things to different people, because while that makes music so personal and unique in its experience, it means I can't really share the way this song makes me feel and have that be understood. (I have this same problem with Giants, from the Cantata playlist, which I listened to on repeat for probably a month.)

It grabbed me by the throat the first time I heard it and never let go. The chorus feels so intimately Sam, a lullaby with a sharp edge when it comes to his relationship with the stars. I hang so much star imagery on him, and the thought of him tumbling through space with only the stars for a witness to his death makes this hit for me in ways I can't really articulate.

Shepard is such a larger than life figure, and this song feels like it amplifies that mantle Sam wears. So few people see as a human being rather than a symbol, and the concept of bleeding stars feels so perfectly in keeping with Sam's particular brand of Shepard symbolism. Carl Sagan's quote "we are made of star-stuff," always sits in the back of my mind when I write Sam; in some ways he literally bleeds the stars he loves so much.

I did indeed send this song to legionofpotatoes when I did my rather embarrassing feelings dump about what I wanted to evoke with the Mezzo cover. The song thumbnail on Spotify - a woman ragdolling across the clouds - made me think of Alchera, and that hopeless tumble that couldn't be stayed.

(Fair to note there is some similarity between drums in this song and the drums in Giants, so maybe that has something to do with my incurable obsession with this song, ha.)

I wish I had more language for describing music - I am terrible at it - and utterly lack any technical knowledge about composition.

Worth noting that this almost wasn't the intro song for Mezzo - I thought really hard about making it "We Are Here For Each Other" by Patrick Scelina, who composed the intro song I used for Fugue. I liked the symmetry of starting this story just like I did Fugue - with an instrumental rather than something with words. But I couldn't resist "I Bleed Stars," so I compromised, and am currently intending to use "We Are Here For Each Other" to accompany a return to Alchera later in Mezzo.

[burlveneer-music]

Isaiah Collier - Parallel Universe - a hot direct-to-disc session for Night Dreamer, featuring Jimetta Rose on vocals

Multi-instrumentalist and composer Isaiah Collier connects with the divine ancestors on a transcendent Direct-To-Disc session, Parallel Universe. Chicago-based innovator and educator Isaiah Collier is opening up new dimensions in the jazzwise continuum. A saxophonist by trade whose multi-instrumental talents and compositional prowess have stretched the limits of the form, Parallel Universe represents a new chapter in Collier’s musical journey. Having already performed with a diverse range of musicians such as Chance The Rapper, Waddada Leo Smith, Chicago jazz royalty Angel Bat Dawid and his own band The Chosen Few, Collier’s latest work as a bandleader explores the shared musical heritage of the African diaspora with a sense of grace and assurance that belies his years. Embracing the risk and vulnerability that comes with the live process, Collier and his band tapped into the frequencies of improvisation that fired up so many of the most timeless jazz recordings. “Recording direct-to-disc gave me a really fortunate opportunity to experience what our musical predecessors almost a hundred years ago were dealing with,” he explains. Name-checking Sun Ra, Ras G, J Dilla, Fela Kuti, Miles Davis, Gil Scott-Heron, Whitney Huston, Aaliyah and Frankie Knuckles, the opening of track of Parallel Universe imagines a genreless musical lineage that resonates with the polyphony of stories his band bring to the table, from Chicago and beyond. Featuring gospel soul singer Jimetta Rose, AACM and former Art Ensemble of Chicago trumpet player Corey Wilkes, blues-rooted guitarist Michael Damani, regular collaborators Julian Davis Reid, James Russell Sims and Micah Collier, the 8-track album bristles with a sense of love and understanding between players at the top of their game. “Give me that feeling that makes me feel like I’m alive,” Collier enthuses. “People can tell when you’re taking chances. I know that’s what everybody is looking for.”  Saxophone, Flute, Vocals, Keys - Isaiah Collier Vocals - Jimetta Rose Keys - Julian Reid Bass - Micah Collier Trumpet -Corey Wilkes Drums - James Russell Sims Guitar - Michael Damani Kalimba - Ra Additional Vocals - Sonny Daze Recorded, mixed and mastered by Martijn Schouten Cut by Patrick De Looper at Artone Studio Produced by Sonny Daze Recorded at Artone Studio on Thursday 9th & Friday 10th March 2023

[dustedmagazine]

Dusted Mid-Year 2023, Part Two

Yo La Tengo

And we’re back with the second half of the alphabet—from Kookei to Yves Tumor.  If you missed it, check out part one here.  We’ll have the writers’ lists tomorrow.  

Kookei — The Incredible Hulk (H$G Studios)

Who picked it? Ray Garraty

Did we review it? No

Tim Clarke’s take:

Detroit rapper Kookei has a truly bizarre rapping style. He delivers almost everything in a hushed whisper, as if he’s right there inside your earbuds, sibilance sizzling, braggadocio booming. Though Kookei rarely wavers from this vocal approach, the production across The Incredible Hulk varies wildly in consistency and quality. Trap beats, synth stabs and rudimentary piano loops dominate the backing tracks, with cuts such as “Jackie Chan” sounding much more rich and polished, while others such as “Cousin Skeeter” and “Headshot Gang 2” bleed into the red, making for some wince-worthy distortion. Admittedly this stuff is no doubt supposed to be heard loud while high as a kite, so I can’t say I’ve been able to fully appreciate its intended effect.

Kali Malone — Does Spring Hide its Joy (Ideologic Organ)

Does Spring Hide Its Joy by Kali Malone (featuring Stephen O’Malley & Lucy Railton)

Who nominated it? Jason Bivins

Did we review it? No

Andrew Forell’s take:

At three hours in duration, Swedish composer Kali Malone’s latest long form composition seems a daunting proposition. Based on Malone’s tuned sine wave generators, Stephen O’Malley’s guitar and Lucy Railton’s cello, Does Spring Hide Its Joy is an extraordinarily rewarding experience. Within the elemental drones, Malone conjures tectonic movement both sweeping and incremental. Microtonal changes feel enormous, the glacial pace focuses the ear on every imperceptible progression, every movement of bow across string and the shimmering harmonic interaction between the instruments. Recorded in early 2020, Does Spring Hide Its Joy reflects those early days of the pandemic when time seemed at a standstill and lethargy, dread and inertia slithered their way in. Three years on, this music resonates with the ongoing effects of those upheavals. All the terrible beauty is here and if you have the time to concentrate, Kali Malone and her collaborators provide a cavernous space in which to process. Very highly recommended and thank you to Jason for the impetus to listen. 

Natural Information Society — Since Time is Gravity (Eremite)

Who Picked it? Bill Meyer

Did we review it? Yes, Christian Carey said, “Whether the new collaborators will remain, or other players will join Abrams, Since Time is Gravity demonstrates that Natural Information Society is a durable creative enterprise.”

Bryon Hayes’ take:

Most of us at Dusted love Natural Information Society, and with good reason: Joshua Abrams and his ever-evolving ensemble know how to concoct a hypnotic brew. As such, it’s no surprise that this record made it to the top of someone’s list this year. If you were lucky enough to catch the latest incarnation of the group – swollen in ranks and named Natural Information Society Community Ensemble with Ari Brown – play live in 2022, you’d have an idea of what’s in store for you on Since Time is Gravity. Even though they might not have been playing this particular material, the large ensemble interplay featured here was definitely on display in the live setting, as was Ari Brown’s crafty soloing. It’s prudent to note that the songs are shorter in comparison to the marathon that was Descension (Out of Our Constrictions), but this is great because as a listener you get to follow the group along a variety of pathways. It will be interesting to see where Abrams takes Natural Information Society next, but you can be sure of one thing: we at Dusted will love it.   

Pile — All Fiction (Exploding in Sound)

All Fiction by Pile

Who picked it? Patrick Masterson

Did we review it? Yes, Patrick said, “All Fiction furthers that thinking, another reason this feels less like a leap and more like a carefully considered step toward further Piledom — the band’s flowing, peripatetic nature makes writing about individual songs less important than considering the whole.”

Ray Garraty’s take:

All Fiction is anemic enough to ask yourself: do they eat enough? Rick Maguire’s voice here sounds like he could use more nutrients and proteins in his diet. He kind of wakes up on some tracks, like “Poisons,” yet core of the album is that sad, melancholic material disillusioned middle-aged men write. It’s Radiohead-ish, it’s rock-ish and it’s… just flat? If it’s really what fiction is these days, I better stick with nonfiction. 

The Reds, Pinks and Purples — The Town That Cursed Your Name (Slumberland Records)

The Town That Cursed Your Name by The Reds, Pinks & Purples

Who recommended it? Christian Carey

Did we review it? Yes; Jennifer Kelly wrote, “Glenn Donaldson puts a louder, fuzzier attack behind his gossamer-wistful songs this time, amping up the volume for a set of darker, more desolate tunes.”

Jonathan Shaw’s take: 

It seems to me that Pitchfork gets something right about the Reds, Pinks and Purples: Jude Noel’s review of The Town That Cursed Your Name notes, amid a breathlessly positive assessment, that the band’s records “simply pick up where the last left off, like a series of Moleskines filled end to end.” That may be so, and the consistency of Glenn Donaldson’s songcraft likely provides a good deal of the band’s appeal—but do you really want to spend time reading a batch of someone else’s Moleskines? The Whole Foods grocery lists and the snatches of wood-shopped poetry and the paragraphs of winsome repining? If so, check out “Almost Changed,” the ninth track on The Town That Cursed Your Name, which doesn’t quite brood and doesn’t quite whine and doesn’t really seem interested in making anything change in the first place. To be fair, it’s very, very hard to find fault with this record’s compositions, the rhymes and the musicianship, which are like a May breeze, a Monet pastel or a warm cup of ginger tea—or all three at once, in someone’s comfy suburban sunroom. If that’s your situation, maybe you don’t want (or need) much of anything to change. Must be nice. Here and there, The Town That Cursed Your Name stirs from its state of cloudless repose to threaten some fuss. “What Is a Friend?” picks up the pace and thrums and hums with something like urgency. Then Donaldson sings: “Dodged your call from the jail / No birthday card in the mail, I always fail / Maybe you lost the plot / You could have offered an opening slot, it’s food for thought.” The inside-baseball, indie-rock vernacular and the literate metaphors dominate the record’s lyrical register. They are always clever and inevitably build an emotional tone best described as precious mopery. The music of the Reds, Pinks and Purples is pretty and precise, and it winces when the world gets ugly. Unfortunately, it’s an ugly world.

Cécile McLorin Salvant—Melusine (Nonesuch)

Mélusine by Cecile McLorin Salvant

Who nominated it? Jason Bivins

Did we review it? No

Bill Meyer’s take:

Cécile McLorin Salvant isn’t exactly beyond my ken. If, like me, you spend time reading and writing for jazz publications, her name and striking taste in eyewear are inescapable. However, having caught her some years back at the Chicago Jazz Festival, I was under the impression that she was a skilled but hardly innovative jazz singer, so I haven’t been trying to keep up. On a formal level, Melusine wipes the floor with that misconception. The material, which consists of original songs sung mostly in French and much older ones sourced from Francophone-adjacent cultures, is certainly not standard. Subtle production touches situate this recording in the 21st century without lapsing into pop pandering. And her singing, which is both technically unassailable and emotionally communicative, transcends any linguistic barriers. There’s a lot to appreciate here; thanks for the tip, Jason.

Tacoma Park — Tacoma Park (self released)

Tacoma Park by Tacoma Park

Who picked it? Ian Mathers

Did we review it? Yes, Ian wrote, “Tacoma Park manages the always-difficult feat of simultaneously reading as the heady product of multiple creative minds in deep conversation and yet fluid and confident enough in its own voice that the result still registers as singular.”

Tim Clarke’s take:

This self-titled duo recording by John Harrison and Ben Felton documents a fruitful pandemic collaboration, overflowing with possibility. With each track built around a handful of rhythmic and melodic ideas, the music is given plenty of air to breathe, plenty of time to evolve. Fingerpicked acoustic guitar and arpeggiated synths dominate the palette, then there’s some drums here and there, both live kit and electronic. At 68 minutes, Tacoma Park is a long record that meanders a fair bit, but it feels like it reaches an apex of sorts with “Circles As A Path As A Valley,” a nearly eight-minute exercise in cathartic layering. Beyond that point, drum-machine-driven tracks such as “We Lost Our Place, We Started Over” and “I Left My Wallet in the 90s” (great title) feel like starting points for another project entirely, or a postscript pointing towards recordings to come. 

Tørrfall — Tørrfall (Den Pene Inngang)

Tørrfall by Tørrfall

Who picked it? Ian Mathers

Did we review it? Yes. Ian wrote, “If there’s intoxication here, it’s the post-panic euphoria of a body running out of air; and if this is water music, it’s for currents deep enough they’ve forgotten what the waves are, if they ever knew.”

Patrick Masterson’s take:

In a way, I’m tor[r]n. Tørrfall’s “psychedelic water music” can at times feel languid and flowing as water is, so I see where both the band and Ian are coming from — but what I hear more over these four songs that all clock in between nine and 13 minutes is an alien drone, something elemental but not necessarily earthen. The key to that otherworldliness is Nils Erga’s synthesizer work and wordless vocals: Hovering like a UFO over the rubbery, at times counterintuitive basslines of Kristoffer Riis and Thore Warland’s rainshower percussion, Erga graces these tracks with an omnipresent ethereality that suggests terrain not entirely our own. The music can’t help but follow: Not quite jazz, not quite krautrock, not quite drone, not quite house or techno, Tørrfall skirts the fringes of each to make an entrancing, immersive sonic universe (calling it a mere world feels insufficient) all its own that, headphones or speakers, the louder you play it, the more unsettling it gets. I can’t imagine how these guys must translate live.

Wound Man — Human Outline (Iron Lung)

Human Outline by Wound Man

Who nominated it? Jonathan Shaw

Did we review it? Yes, Jonathan wrote, “The whole record is a barely contained bundle of nerves, electric, hardened, threatening to come completely undone. For those of us walking around in twenty-first-century cities full of anger, suffering and insanity, Human Outline feels infuriatingly apt, mad and full of madness. It’s a terrific record.”

Jennifer Kelly’s take:

In his review, Jon spends a fair amount of time considering which metal subgenre Wound Man belongs to, a subject that I can contribute exactly nothing to. I can say, however, that Wound Man grips and ravages, at slow speeds and fast ones. I like the blistered assaults of “Leashed,” mad forward surges of rabid energy that hurtle forward at mouth-foaming speed, then pull back abruptly, as if on a choke chain. “Punisher” does exactly what the title implies, disintegrating guitar tone into buzzing aggression with sheer force of speed and volume. These cuts are over before they get started—the title track, for instance, is 40 seconds long—but you’ll feel the impact in your gut and ear canal long afterwards.

Yo La Tengo — This Stupid World (Matador)

This Stupid World by Yo La Tengo

Who picked it? Bryon Hayes

Did we review it? Yes. Tim Clarke said of the closing track that it’s "a searingly emotional purge and soothing balm all rolled in one.”

Ian’s take:

These assignments really are actually selected randomly (there are slips of paper and everything!) but it so happens that not only was I already enjoying This Stupid World but that Bryon and I wound up representing Dusted’s Canadian wing at the Toronto stop of YLT’s tour for this record. We had tickets before I got selected to cover it here, even! As a moderate fan of the band (love some classic albums of theirs, have been sorta half-paying-attention to the new stuff for a while now), this is actually the first time I’ve really sat down and engaged with a new Yo La Tengo record in years. That means I can’t really compare it to the last couple, but it feels like I picked a good time to check back in. That closing track, “Miles Away,” might be my favorite song of theirs plus or minus a “Night Falls on Hoboken” (perhaps unsurprisingly, there’s some overlap in vibes there), but overall this is a packed and consistently great 48 minutes. The skronky ones go for it, the gentle ones do in fact soothe, and the deadpan yo-yo tricks on James McNew showcase “Tonight’s Episode” tickled me. To still make records as good as Painful, nearly 30 years after they made Painful? That’s a significant achievement.

Yves Tumor — Praise a Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds) (Warp)

Who nominated it? Patrick Masterton

Did we review it? No

Andrew Forell’s take:

Having been peripherally aware of Yves Tumor I was excited to hear Praise a Lord..., and when it hits it’s very good with Tumor coming on like a latter-day Prince. Their combination of alternative guitars, courtesy of producer Alan Moulder and swaggering RnB is compelling. “God is a Circle,” “Lovely Sewer” and “Operator” have a real edge and a sense of transgressive danger, but other tracks are weighed down by the everything-including-the-kitchen-sink operatics that plague Kevin Barnes’ most indulgent moments with of Montreal. Having said that, this is a really enjoyable, immaculate sounding record and you can’t help but be won over by Tumor’s charismatic performance and their willingness to take risks.

[sinceileftyoublog]

SPRINTS Interview: Personal to the Bone

BY JORDAN MAINZER

The first great album of the year came out five days into it, belying the post-New Year haze and bitter cold, walloping us into paying attention. Letter to Self, the debut LP from Dublin post-punk quartet SPRINTS, out via City Slang, is a tremendously assured collection of songs that the band describes as "to-the-bone" personal. They're led by singer-songwriter Karla Chubb, whose taut shouts, full-throated yells, and pained but deliberate lyrics match the utter tenseness of the compositions. She sings about her life, and topics ranging from depression and ADHD to sexuality and Catholicism, but without the overt autobiography that can plague even the most well-intentioned writers. Her singing sonically traverses the sinews of Colm O'Reilly's lead guitar riffs and bassist Sam McCann and drummer Jack Callan's brawny rhythm section. Each song is its own journey, and when they end, it feels like you've been holding your breath the whole time.

Though SPRINTS showed promise with their early material, they sound like a complete band with their debut. Working with Gilla Band's Daniel Fox in the studio helped them embrace the charged intensity that makes their live shows so thrilling. Letter to Self begins with "Ticking", the song that's been at the start of their live setlists, on which foreboding guitar, a double-tapped snare, and Chubb's chants build to a false explosion before the full beat truly drops. (Moments like this make it clear that the majority of the band are horror and sci-fi fans, but not necessarily obsessed with jump scares.) "Heavy" builds up similarly, with twangy guitar squalls and trilling drum fills, as Chubb asks pointed questions like, "Do you ever feel like the room is heavy?" before melismatic belting, lamenting that she's "watching the world go round the window beside me." Elsewhere, they combine the frankness of Fontaines D.C. with the cascades of Midwest emo ("Shaking Their Hands") and delve into swirling soundscapes ("Can't Get Enough of It"). As for Chubb, she knows when to scream; at her most full-throated, like on "Shadow Of A Doubt", she's a dead ringer for Courtney Love.

As much as SPRINTS' instrumentation purveys the spirit of their songs, Chubb is a deft lyricist, writing clever rhymes and cutting barbs alike. On "Cathedral", she chides the heartlessness of the Irish Catholic church when it comes to their views on queer folks like her: "He's singing from a hymn sheet, I'm singing for the others / They say I've gone cold while I'm sat drowning in the gutter." "Adore Adore Adore" bemoans the sexist double standards of the music industry, wherein anybody but a straight cisgender male is subject to only love or hate. "Am I everything you wish you had?" Chubb asks, "Or am I everything you detest?" Perhaps best is the album's closer, the title track, where Chubb honors her own ability to conquer trauma, generational and otherwise. "I can shake the leaves of hereditary," she sings, pronouncing the final word "he-re-di-tree" in a cheeky bit of wordplay, continuing, "I don't have to take the path that was carved out in front of me." On Letter to Self, Chubb and SPRINTS in general toss off a world of fear and shame in favor of self-love and acceptance.

SPRINTS plays Schubas on Tuesday night. Back in January, I spoke with Callan about Letter to Self, playing live, horror, and film scores. Read our conversation below, edited for length and clarity, and know the Irish band is excited to be in Chicago mere days after our raucous St. Patrick's Day celebration.

Since I Left You: One of the things I love about Letter to Self is that the instrumentation and the song structures engage the themes just as much as the lyrics do. Can you talk about creating a mood between words and instruments?

Jack Callan: That boils down to the songwriting process. It usually starts with Karla. It could be one riff on guitar or start with lyrics or melody. A lot of the time, and especially with the two opening tracks on the album, "Ticking" and "Heavy", from the get-go, we talked about building a literal feeling of anxiety. That's probably the case for most of the songs. We're trying to match the emotions of the music. The intensity of the song dictates the dynamics. It's quite natural: We all know each other so well.

SILY: As the drummer, specifically, you're at the forefront of toying with our expectations, especially on a song like "Ticking". You think it's going to explode into a rousing moment, but it pulls back. It eventually explodes, but there's a push-pull throughout.

JC: Yeah, absolutely, particularly with "Ticking". It's probably one of the oldest songs written on the album. We probably wrote it at the same time as the songs on our second EP. It didn't really sit well with those [songs], but we always knew we were going to come back to it. When we started properly planning for [Letter to Self], we knew it was going to be the opening track because it has such a slow build. You think it's going to kick in, but it doesn't. Live, we start sets with that, and it sets the tone nicely and builds the anxiety.

SILY: One of the most powerful things about Karla's lyrics is that she asks questions. "Do you ever feel like the room is heavy?" You don't know who she's talking to, but as a listener, it almost feels like she's talking to you. How do you feel about that confrontation when playing live?

JC: I think it's incredibly effective. The way Karla writes is very personal and vulnerable, but in a way it's not so specific you know exactly the circumstance what she's talking about.

SILY: The album title Letter to Self reminds me of a diary. It's a cliché album descriptor when writers say that a personal album is "like reading someone's diary," but this one truly is. If I were to pick up somebody's diary without knowing them, it wouldn't make total sense. I might be able to relate to vague feelings, but I wouldn't know the specifics they refer to. Do you think the record achieves an ideal level of abstraction?

JC: Absolutely. A lot of it was about dealing with those emotions or experiences. Since we've started out as a band, Karla's become more comfortable being vulnerable and open in her songwriting. Our first EP had some personal things, and our second EP was about the self and everyday life, but this is more to-the-bone personal. I think that felt very natural to Karla. There's an honesty to it. She's writing about her own experiences and how she feels about them.

SILY: How is playing the songs live from an emotional standpoint? Do you find yourselves in a similar headspace to when you recorded them, or do you let loose?

JC: I think the recording process, especially for Karla, was more taxing emotionally. Before recording, we rehearsed songs a bunch, and we messed around with demos for a while, but because the lyrics are so personal, putting down the tracks in the studio, that's when it hits you that the songs are going to go out into the world and everyone will listen to them. When you're in the studio, and there's no live audience, just us and Daniel Fox, our producer, it just feels a lot closer. By the time you get to the live set, the music isn't just ours anymore. People will interpret it any way they want. The live shows take on a life of their own, as well. It's more about the band at that point. The live shows have a lot of energy, a lot of fun. On stage, we've never really taken ourselves too seriously. We have a bit of a laugh, even when the subject matter is heavy.

SILY: Have the live versions instrumentally or structurally taken on a new life? Do you extend things or change things up at all?

JC: A little bit. Not as much with some of the album tracks yet, because we haven't been playing them as long. It's usually something that happens naturally. Some of the songs from the EPs we play differently. "Literary Mind" was recorded again for the album. It's is way faster than the original recording. We recorded it and started playing it live. How it is on the album is closer to how it is live.

SILY: Do you have a favorite of the Letter to Self songs to play live?

JC: Probably "Cathedral". The start of that song is a bit scary, but the chorus is proper all-out headbanging. We've played it a little bit live, but not for that long.

SILY: I can imagine that's a cathartic song for you to play live. You're just pounding along.

JC: Yeah. Loud and fast.

SILY: What's the story of the cover art?

JC: It was a still taken from the music video for "Adore, Adore, Adore". During the video, there's a scene where Karla has been abducted and wrapped up in gauze. If you look closely, you may notice the thick eyebrows and mustache: I'm one of the abductors. There's a plastic bowl with water in it her head was being dunked into. The photo was taken from underneath.

SILY: Something not everyone would realize just listening to the album is how much all of you--except for Sam--love horror films and sci-fi.

JC: It was definitely a big inspiration for the videos in particular. It was thematically linked to the "Adore, Adore, Adore" video, but also just a bit creepy and weird.

SILY: Over the past 10 years or so, there's been a resurgence of artful horror films that aren't just genre pieces, that deal with a lot of the same themes on this record. They use an aesthetic to explore themes that might be traditionally explored in different genres. Do you have some favorite contemporary horror films?

JC: I'm definitely a big fan of Hereditary and Midsommar. They were a reference point, slightly thematically, and aesthetically as well. Slightly creepy but not slasher horror. Stuff that's unsettling. Especially with the music. It's not jump scares, just that slight feeling of, "I don't feel right about this."

SILY: Have you ever thought about trying film scoring?

JC: I would absolutely love that. I saw the original Suspiria not that long ago that Goblin did the score to. It's super weird. The film's amazing, but the score is incredible as well. When I saw it, I thought, "I could totally see us doing something like this." It would be a lot of fun.

SILY: I know Letter to Self just came out, but are you the type of band constantly coming up with new songs? Or do you have to sit down and dedicate time to it?

JC: There's constantly new stuff knocking around. There are already demos for what could be album 2. Even from [Letter to Self], there are plenty of demos that couldn't make it in the end. You do eventually need to find time to sit down all together and work on stuff. It's increasingly difficult as we're on the road so much, but we need to block in weeks throughout the year so we have time to do it.

SILY: Is there anything you've been listening to, watching, or reading lately that's caught your attention?

JC: I just finished Goodbye to Berlin by Christopher Isherwood. The last book I read was Carmilla by Sheridan Le Fanu, which came out 20-30 years before Dracula. It's similar, with vampires, but there's a lesbian love element to it. It's really good, only 150 pages. A lot of people reckon Bram Stoker stole a lot of his ideas for Dracula from it. There's a lot of what we now think of as vampire lore in it from what we [attribute to] Bram Stoker. There's a castle in vague Eastern Europe [in Carmilla], so he definitely lifted some ideas from it.

I went to see Spy Kids in the cinema last week. That was a lot of fun. I don't know why they were showing it, but it was a favorite of mine as a kid. I'm going to see Poor Things tomorrow.

[omegalomania]

i would like to hear more on the patrick vs brendon vocal ability discussion if you would maybe want to rant 👀 👀 (hshsgehdv also I've recently come to know that mr urie is Not that great of a Person so appreciate you for making that post <3)

all right so full disclaimer: the last time i had any notable vocal training was like about 10 years ago. i did get some vocal training but i have undergone hrt since then so most of what i did know is pretty useless since ive never taken the time to actually relearn my range. my understanding of this stuff is old and limited so if anyone whos actually up to date on this shit can weigh in thats always great. im doing this because im a salty mccuntnugget whos had too much honey jack daniels for one night and that apparently is what supercharges me to write emo bandmember cringe compilation posts. somehow.

this got long so im throwing it beneath a cut. click for more if you wanna read about one guy on the internet having Opinions about which of these two dudes sings better

so once again: this is MYYYY OPINION im not your mom you are free to disagree or whatever i literally do not care. but an anon asked so im going to answer. here we go.

FIRST NOTE. comparisons between patrick and brendon have been going on since the dawn of the fucking age but brendon his own damn self decided to act like patrick was copying him vocally so that means i can be as mean as i want cause he started it. we’re doing playground logic here cause this is my blog and i do what i want and also cause hes that much of a cunt.

so i want to start things off with a reminder that patrick stump did not set out to be a singer! he was not picked out of a lineup for his vocal ability. he mostly just wanted to write songs, and it was joe and pete who made a point of saying "no actually you should sing." and it takes patrick a while to actually grow into his range and gain confidence as a singer since his real love is composition. it's not until infinity on high in 2007 that you really hear him growing into his own as a vocalist and it's not until the hiatus/posthiatus that you really hear his vocal confidence.

brendon got to be the singer for panic because bassist brent wilson knew him in high school and he thought his vocal ability was top notch. the rest of the band agreed. it also took brendon a while to grow into his voice. in fact in the early days before panic actually took off (aka before ryan ross badgered pete wentz into signing a band of mostly high schoolers), people on old fob forums legitimately thought that brendon WAS patrick. old articles refer to panic as fall out boy clones for probably that reason.

brendon actually made his vocal debut on a fall out boy record, from under the cork tree (which was released may 5 2005, whereas panic's debut a fever you can't sweat out wouldn't release until september 27 2005). he does a little part in 7 minutes in heaven (atavan halen) on the chorus (he does the second "i keep telling myself, i keep telling myself i'm not the desperate type") and it's genuinely something a lot of people miss, because he sounds a lot like patrick here. later in 2008, this would happen again on 20 dollar nosebleed, which gave brendon a much bigger vocal part (again he splits the chorus with patrick) but in which their vocal inflections are very very similar to the point where a lot of people don’t realize he contributed vocals there.

so there are a lot of similarities, particularly when these two guys were still growing into their voices. it was during fob's hiatus that these started to diverge, and by 2017 they would be wildly different.

patrick readily admitted a lot that he never really intended to be a singer and it wasn't until infinity on high (2007) that he made a genuine attempt to be a singer in earnest. this reticence would often show live. it wasn't until the hiatus and then posthiatus that patrick, and also the rest of the band, had a consistent live presence imo. fob had a lot of infamously sloppy shows - fun to watch, but sonically kind of all over the place - and patrick wouldn't always be the most consistent vocalist. he'd be strong one night and breathy the next, and it wasn't until the hiatus that he started taking vocal lessons.

but the improvement really really shows now. patrick is a much more consistent and powerful vocalist posthiatus, and he's reportedly incredibly diligent in taking care of his voice. that's why you often see him making these kinds of faces in backstage videos; he's doing vocal trills, which are a specific kind of warmup that helps limber up the voice preshow. they look and sound a little silly, but warmups are important to make sure you dont damage your voice. patrick has specific warmup routines and also goes on vocal rest and doesn't do a lot of talking prior to doing a show.

so brendon does double shots before every show. i’ll be honest here i tried to do more research into what goes into warmup routines before panic shows but i Cannot deal with hearing this man talk about himself more than i already have tonight so if anyone else wants to source whatever he does. please do. i would not be surprised if he treats his voice fucking atrociously but even if he doesn’t...his upper register (which is basically his one party trick in live settings) is starting to sound awful strained on studio vocals as of 2022, which is not a good look.

i also want to emphasize that even if his technical ability took time to really come into its own, patrick has always been an incredibly emotionally versatile vocalist. from under the cork tree is really the first time you get to see this shine, where patrick swings from cocky tongue-in-cheek irony (our lawyer made us change the name of this song so we wouldn't get sued) to aching vulnerability (i've got a dark alley and a bad idea that says you should shut your mouth) to snarling anger and accusation [get busy living or get busy dying (do you part to save the scene and stop going to shows)]. factor in the bonus tracks and you get patrick at his most ruthless (my heart is the worst kind of weapon), his most raw and desolate (star 67), and a rare appearance of some borderline unclean vocals (snitches and talkers get stitches and walkers).

posthiatus this is even more apparent. save rock and roll in 2013 demanded an incredible depth of emotional and technical range, and patrick was noticeably a little gun-shy about actually committing to doing those kinds of riffs live, since he wasn’t sure he was going to have to perform those songs live. by 2018′s mania, i want to emphasize that you can actually HEAR patrick smiling in "sunshine riptide." on mania, you also have songs that demand a diverse range of tone and vocal depth: “stay frosty royal milk tea” is a snarling, punchy opening track that reminds you that patrick was a drummer first, but this is also paired with the eclectic edm-soaked “young and menace,” the crooning doo-wop style ballad “heaven’s gate,” the reggae-flavored “HOLD ME TIGHT OR DON’T,” and the closing track which, full disclosure, is probably one of my favorite songs of all time, “bishops knife trick.” and patrick pulls them all off! the best display of this was that he was able to do young and menace live in both its original incarnation and in the somber, stripped-down piano version.

also, as a note: fall out boy songs are really fucking hard to sing. the vocal range they demand is absolutely insane even if you’re not some drummer who got strongarmed into being a singer. the fact that patrick can replicate these vocals live and maintain a rich emotional diversity in tone is really, really noteworthy.

panic songs are also pretty hard to sing. they require a lot of vocal acrobatics, which was an ambitious thing for a band composed of mostly high schoolers when they started out. early performances were really rough because not only was brendon struggling, the rest of the band was struggling to perform songs live that ryan ross wrote on his computer lol.

so now is the part where i start drinking heavily so i can talk about brendon vocals. brendon has the technical talent, even if, like patrick, it took him a while to grow into it. but his emotional versatility is, imo, sorely lacking, and that was evident in early days but it would only get more glaring as time went on. a fever you can’t sweat out in 2005 had a lot of really intensely emotional moments and emotionally charged songs, but it took me a few listens to really grok that because brendon sings them all with the same upbeat energy. and you can put that down on him being an inexperienced singer still figuring his way around this whole “being a frontman” gig, but the trend actively continues and in fact gets worse over time. i think 2008′s pretty. odd. gave us some insight into this due to the pronounced vocal role that ryan ross gets on that album. he takes lead vocals on “behind the sea” and gives us some audible backing vocals throughout in a way that suggests to me that, on some level, the band was aware that they needed someone with more emotional range to counter brendon’s straight-on belting.

so it’s...kind of uncomfortable seeing brendon do said full on belting and also a borderline striptease dance to “camisado” live (which, for those not in the know, is a song ryan ross wrote about his life with his abusive alcoholic father). and i’m not gonna pretend i have any say in whether or not ryan was okay with something so ruinously personal being performed in that kind of way when he was no longer in the band, but it SURE does sit kinda weird with me!

cause brendon is a belter, and that’s just kind of his one mode. this really got more apparent after vices and virtues (2011), and too weird to live, too rare to die (2013), because there was a little more emotional range there. but that pretty much dies out after those records and brendon kind of has these two moods for everything released here on out: it’s either “i love weed” or “i love my wife” and there’s not a lot of range between. he doesn’t have much in the way of moderation. my one single experience in attempting to see panic live (in 2019, no less. it wasn’t a good time lol) was just kind of...relentlessly high-energy regardless of the song, because again, that seems to be brendon’s one setting. he frantically climbs the scale and hits really high notes to keep the energy up without ever actually letting it dial down at any point. it’s not about playing to the song; it’s about reminding the audience, constantly, of what a vocal powerhouse he is, at all times. this does nothing whatsoever to counteract how emotionally flat he is as a performer.

remember that point i made about the differences between patrick’s performance of the high-energy original flavor young and menace and its acoustic piano version? well, you get a superficially similar instance in brendon’s renditions of “this is gospel” in both its original incarnation and the piano version, but i want to point out the difference in tone here. or rather, the fact that there kind of isn’t one. contextually, “this is gospel” is a pretty somber song. it was written for and about spencer smith and his struggles with addiction before his eventual departure from the band, but it’s kind of hard for me personally to reconcile that with the way brendon vocalizes it, even in what is supposed to be a slower, more intimate rendition of it.

this got more glaring in 2018 on pray for the wicked, which gave us “dying in la” which...is i guess, brendon’s attempt at some tonal diversity on an album that was basically back to front “CHECK OUT THIS WILD PARTY I’M AT” but it doesn’t really go anywhere, imo. it builds to something, but...doesn’t actually resolve. i’m gauging this all on vocals, not lyrics, because that’s the point of comparison i’m making - lyrics are a whole other kettle of fish. it’s just like, the guy cannot dial back even for a second and as a result there is NO variation in the way he performs, studio or live. after it’s been long enough, it just kind of starts to wear at you.

another very telling difference is how different patrick and brendon’s backing vocals are. backing vocals by definition need to be much more restrained than if you're taking lead. here's patrick backing travie in 2010 - he's very understated here. distinct and audible, giving us some nice vocal harmonies, but he keeps the spotlight very truly and deservedly on travie. this is also true for studio vocals, like on the lupe fiaso track "little weapon" from 2007 in which patrick isn't even one of the vocal features. he's audible if you know what to listen for, but most of his touch comes from the track's production and composition. more recently, here's patrick doing studio backing vocals in 2017 for a cover of "same drugs" with matt nathanson. once again, he's very good at dialing things back because he's not the lead here and he knows it.

let's contrast this with the cover 2010 panic did of "skid row" from little show of horrors, wherein dallon is meant to be the lead. fortunately dallon manages to shine regardless, but it's...a little jarring that brendon is ostensibly meant to be the support here but vocally and stylistically is belting like he's front and center. another telling instance is this performance of “america’s suitehearts” featuring brendon. in fairness, both patrick and brendon sound pretty rough here since this is a hard song to pull off! but brendon is supposed to be pulling support, and he’s riffing like he’s center stage. and it’s not particularly good riffing either lol.

“what a catch donnie” is the most egregious example of this though. i’ve said this before, but brendon REALLY sticks out in a not great way on what’s supposed to be a soulful, honorary vocal feature. the rest of the fueled by ramen guys singing along are doing their guest spots in a very understated, tonally consistent fashion: distinct in their own rights, if you know what to look for, but definitely doing what they can to fit into the tone of the song. brendon comes barreling in singing DANCE DANCE like this is his fucking show, and it sticks out so badly because he’s doing nothing whatsoever to conform to the tone of the piece.

a couple more points of comparison that i personally find really interesting:

“one of THOSE nights” off of the cab’s debut album whisper war (sidebar: GREAT ALBUM. i miss this band so fuckin much man) features both brendon and patrick; brendon is heard doing the post-chorus, and patrick does the final bridge and can be heard on the final chorus. both of them are belting here, but patrick’s got a strong emotion that suits the finish without being too overpowering and also crucially doesn’t just stay...flat.

patrick actually does backing vocals on a couple other tracks on whisper war, like “i’m a wonder,” and in both that track and “one of THOSE nights” you can hear how much technical and emotional dexterity he has. the former has him belting and the latter has him doing a very restrained backing falsetto.

folie a deux era gave us two gentle lullaby pieces for pete’s first kid. the first is “lullabye,” the album’s hidden bonus track. the second is “bronx’s lullaby.” patrick does the first, brendon does the second. the first sounds very gentle and tender, and the second sounds...i mean, i can tell what he’s going for. but it just kind of sounds ominous to me. so basically i can see why most people will talk about the former and ignore the latter lol lol

did you guys know brendon was on broadway. im kidding im kidding he has literally not shut up about being on broadway and seems to have made that his tertiary character trait since kinky boots. anyway here’s brendon sounding like brendon on kinky boots and basically performing the song like any other panic song. here is patrick covering rocky horror and nailing tim curry’s part. i don’t have any live covers of patrick to have a more accurate point of comparison (he’s in his studio here so he had the luxury of picking the best take) but i just think its fucking wild that patrick wasnt the one of them to go on broadway. fucks sake man.

i COULD compare the two of these guys covering queen but that just seems mean because fob was doing a whole entire studio session and brendon was just doing it over zoom and nah im just kidding i really am that petty. anyway here’s fall out boy covering under pressure and patrick dueting with himself and managing to nail both freddie mercury and david bowie’s parts without losing his own distinctive touch. here’s brendon doing his cover of under pressure and thanks i hate it.

lastly, cause i did my fuckin research here. here are some vocal coaches taking notes on live vocals for patrick and brendon respectively. you might note that they have a lot more notes to give to the latter, a lot more cautionary tales about how much brendon pushes his voice. if they do have critique to offer patrick, it’s in regards to clips of his prehiatus performances (or for that one 2013 thnks fr th mmrs performance when he was sick lol).

the bottom line for me is that patrick, stylistically, just has more range and more versatility. he can do virtually any genre - dancehall, rock, pop, rnb, hardcore, ska, funk, and SO MANY FUCKING MORE - and he can still sound distinctly himself. and for me, brendon only ever sounds like he’s singing the same song in the same genre; molding the song to suit his tastes and his range, and not the other way around.

all right thats all ive got steam for. patrick has always been a much more distinct and capable vocalist in my opinion and it kinda sucks that general public opinion seems to favor brendon so heavily cause brendon’s basically only got one emotional setting and couches the fact that he has no vocal dexterity in a lot of high notes and everyone just eats it up. it’s a diverting tactic and it’s worked. but that kinda seems to be brendon’s m.o. these days since he’s trying to shake low opinion of him by drumming up controversy and writing a song about a dude who hasn’t been in the same band as him in 13 years so

[oldsmobile-hotdogs]

Stuff I’d Like to See When (manifesting) Seasons 2/3/4 Happen

These are just some things that would bring colour back into my life if they were included in future seasons of JATP. No big.

JULIE’S A WITCH. She has super crazy powers and so did her mom and that’s why the Molina women’s music is so fucking electric it’s because every performance is fucking imbued with force magic. She doesn’t have to like, learn the books or whatever, it’s more sorcerer-y than that, but like her spell focus is performance and I love that for her. Remember how she made the sun rise by performing Wake Up? Yeah <3.

Willex duet. Not a ballad, but like something giddy. They’re in love and they dance and hold hand and kiss idk.

Rose and the Petal Pushers songs. I will not rest until I know what Rose’s compositional output was like pre-Julie.

Carrie redemption arc. She obviously has lots of feelings that deserve to be heard before being gently told that no one's trying to steal her spotlight.

Expansion of the found family. They have room for, like, 4 more in that garage, no problem.

More flashback footage to 1995-ish. Maybe we open on them again before cutting to just after the end of Stand Tall. Maybe they’re playing another Sunset Curve song. Maybe.

Booboo Stewart on the soundtrack.

More Jadah Marie on the soundtrack.

Official last names for Willie, Flynn, Nick and Bobby.

Names for Dirty Candy 3, 4 and 5.

Madison mentioned wanting episodes that are just denser in their song count and I could not agree more. A soundtrack thats like musical-length would be grand.

‘This Band is Back’s for Luke, Alex, Julie and Bobby/Trevor (post his redemption, which he deserves), and ‘Wake Up’/’Unsaid Emily’s for Alex and Reggie.

The boys run into more young people ghosts. They don’t have huge roles - they’re like tertiary - but they have like a hangout spot that isn’t evil af? And the boys + Willie can all go hang out there if they want and get some nice exposition from some quirky ghost kids. Some of them should be old as shit too.

Caleb has a boss. The boss is played by a theatre legend. Pick your fave. (I want Patrick Page. No I will not elaborate.)

Dirty Candy break up for like 3 episodes. All the girls, rightfully, want to front for a song and Carrie takes it as a personal attack because of course she does. Potentially this acts as a catalyst for the redemption arc bc honestly? Julie just thinks Carrie looks lost when she’s alone. They reunite before the season’s up and we get a song where they all have lines.

Reggie has a moment where he’s piecing together all the lore they’ve been taught about ghosthood so far and suddenly just this truckload of myth knowledge spills out of him, like, ‘If we were meant to be following the book of the dead we would have been finished ages ago because we haven’t been returning to our graves each night. But the dark room certainly wasn’t Elysium because it fucking sucked and I don’t remember willingly coming back for a chance at ultra-ultra paradise.’ and everyone’s just like, ‘...Where were you storing that?’ and potentially that’s when Reggie says he’s bi.

Possessed!Nick just slowly starts developing a better sense of style. More artsy hoodies, better-placed rips in the jeans, fewer badly-shaped hats (he can keep wearing hats, they've just gotta frame his head better), until someone (Flynn, probably) up and says like "something is seriously wrong with Nick. He looks like he's about to be interviewed for GQ." and thats when they realise.

We see Carlos do like a full Bella-googling-vampires thing except it's just "can sisters fall in love with ghosts?" and the info is just very poorly sourced Quora and Yahoo Answers posts.

They actually perform Home is Where my Horse is. The absolute madlads.

Flynn gets put in the band for a couple shows to just play the instruments that fill in the gaps. Like that guy in Yello who was in charge of tapes. Like, trumpet in the Middle 8, temple block drumfill into Chorus 2. She’s running across the stage but it’s fine. At some point she learns the harmonica. She’s vibing.

Add your own if you want ! I might add to this if inspiration punches me in the face

[jazzicology]

JAZZPRING!

This will seem topsy-turvy to those of you in the Northern hemisphere - but in New Zealand, Spring is just around the corner. And here at Jazzicology headquarters in Queenstown, we’re busy preparing for our Spring jazz gigs. Putting together a set on a specific theme is a great incentive to search for and learn new material. Here’s our ‘Jazzpring’ setlist with some notes on each. We’ve aimed for a mix of tempos and contrasting jazz styles. In amongst some old standards are some quirky additions: possibly the only song written from the perspective of a frightened tomato (Hang on Little Tomato); and a wonderful number that perfectly sets Shakespeare’s ‘It was a lover and his lass’ to a catchy melody and jazz chords – it deserves to be in everyone’s Spring set list. I was amazed how many jazz songs there are on topics relating to Spring – far too many to include in just one gig!

Joyspring. 1954 composition by Clifford Brown, jazz trumpeter and a key figure in the Hard Bop movement. The lyrics I use are by Jezra Kay. This is a super-fast-paced, up-beat tune. I discovered, rather too late for this gig, that there are also some wonderfully poetic lyrics by Jon Hendricks, a leading jazz lyricist who is responsible for the lyrics for many well-known jazz songs composed as instrumentals. You can read about Hendrick’s lyrics for JoySpring here.

You must believe in Spring. Composed by Michel LeGrand (1964), this song shares some features with his other, better-known compositions (Windmills of Your Mind; What Are You Doing For The Rest of Your Life). The chords and melody strike a reflective and melancholy, yet hopeful, mood. It is a truly beautiful number that I had not previously been aware of. I have been listening to Bill Evans’s instrumental version of it – it just incredible - and this vocal performance by Sarah McKenzie. It was originally called La Chanson de Maxence and was written for the French film ‘Les Demoiselles de Rochefort’. Looking at the original French lyrics, it is clear the English lyrics are not a translation; the song’s theme of Spring is entirely attributable to the authors of the English language lyricists Bergman and Bergman. Indeed, these lyrics are so well crafted that it is difficult to believe the phrase ‘You Must Believe in Spring’ wasn’t originally in Le Grand’s mind when he wrote it! Listening to various vocal recordings over the last few weeks, I discovered some additional lyrics that, as far as I can tell, appear only in a recording by Barbra Streisand. I don’t know who wrote them (possibly Streisand), but they seem apt for a troubled world, so here they are for other singers who may be interested in using them:

When angry voices drown the music of the spheres 

And children face a world that’s far beyond their years 

Above the darkest skies, The far horizons lie 

With all the reasons why you must believe in Spring.

Spring can really hang you up the most. Composer Tommy Wolf (1955), lyrics Fran Landesman. Spring isn’t all rainbows and daffodils – like all fun times of year, for those who are down or lonely it can serve to underline your own misery. The title of the song is a jazz twist on the opening line of T.S. Eliot's The Waste Land: "April is the cruellest month". My favourite version of this song is by Carmen McCrae – it’s like a masterclass in jazz vocals. I was surprised how difficult this song was to learn – and was relieved to find an entire blog written about it, claiming that the obscene number of verses and lyrics, and wide vocal range and unusual phrasings are clearly the work of someone who hates singers! Fortunately, I love a challenge.

Blue Skies. Irving Berlin (1926). Blue Skies is probably the best-known and certainly the oldest song in this set. Thelonious Monk wrote a Be-Bop number, ‘Suddenly in Walked Bud’, based on the chord progressions in Blue Skies, as a tribute to his friend, the jazz pianist, Bud Powell. The lyrics are a virtual who’s-who list of jazz greats from that time. Monk’s ‘In Walked Bud’ is an example of a jazz ‘contrafact’: where a new melody is laid over existing chords (in this case, Blue Skies). There are lots of examples of this in Bop from the 1940s, because it was a way for jazz musicians to create new pieces “for performance and recording on which they could immediately improvise, without having to seek permission or pay publisher fees for copyrighted materials (while melodies can be copyrighted, the underlying harmonic structure cannot be)”. Since the lyrics and melody for ‘In Walked Bud’ work perfectly well over the chords for ‘Blue Skies’ (apart from the bridge) I’ll incorporate elements of them into our performance.

It might as well be Spring. Composed by Rodgers and Hammerstein (1945) for the movie State Fair, for which it won an Academy Award for best original song. Many people have recorded this, but I’ve been listening to Ella Fitzerald and this lovely French version by (the aptly Spring-named) Blossom Dearie.

They say its Spring. Composers Bob Haymes and Marty Clark (1950s). With a melody and lyrics that are as light and floaty as a feather, this is a quintessential Spring song about being in love. Blossom Dearie appears to have been the first to record it, in 1957.

Nature Boy/Nardis. Composed by Eden Ahbez (1947). Nature boy is on Jazzicology’s set list – but with a twist! We will perform it using the principal motif from Miles Davis’ Nardis in both the Intro and coda. This was an idea developed by me and UK jazz pianist Sid Thomas, and you can listen to Sid and I performing it here. The ‘back story’ to Nature Boy is pretty interesting in its own right and can be found in a previous Jazzicology blog penned by Sid, ‘The one hit wonders of jazz’.

I love Paris in the Springtime. Cole Porter (1954). A classic recording of this by Ella Fitzgerald. However, I very much like this version, which has a Parisian café feel. This is a relatively simple melody to learn, with the chief challenge for the vocalist being the wide vocal range needed to change register.

Timeless Place. Composed by Jimmy Rowles in the 1970s as an instrumental (‘The Peacocks’) and recorded by him and sax legend Stan Getz in the 1975 album of the same name. The wonderful, reflective lyrics were added much later by UK jazz vocalist, Norma Winstone, and included on her 1993 album Well Kept Secret. This song is technically very challenging for a vocalist: the melody over the ‘bridge’ is a little non-intuitive and sits outside the harmony – it creates a tension which resolves into the main refrain. The word Spring appears nowhere in the song, but I’m going to justify its inclusion here because the lyrics include a beautiful formal garden with flowers and trees.

Double Rainbow. Composed by Brazilian jazz maestro, Antonio Jobim in 1970. This is one of his lesser-known numbers. It perfectly captures a spring garden, after a sudden rain-shower, with rainbows, puddles and a little robin hopping about. Actually, because the song is written in Portugese, the little bird in the song is a chico-chico, so robin is used as the equivalent in the English translation (maybe I should use a bellbird instead?). In Portugese, the title is Chovendo na Roseira (the rain is falling on the roses) and I perform it using first the Portugese and then the English lyrics – both are lovely, and the different languages each lend a slightly different feel to song.

Hang on Little Tomato. Music and lyrics by Patrick Abbey, China Forbes and Thomas Lauderdale and released on the Pink Martini album of the same name in 2004. For those who have gotten their tomato seedlings off to an early start, this the song you need to sing to them when they get planted outside. It’s a scary world out there for a little tomato. It’s a seriously cute little song, and a reminder that we all need to keep hanging on to the vine. The song title is apparently a reference to a Hunt's Ketchup ad campaign "Hang On, Little Tomato!" in a 1964 issue of Life magazine. (Is it a coincidence that Pink Martini’s named their own record label Heinz, I wonder?)

Hey Nonny No! Composed by UK jazz composer and pianist Sid Thomas, this up-beat, toe-tappin’ number captures the feel of Spring brilliantly and the melody and chords provide a fabulous setting for Shakespeare’s ‘It was a lover and his lass’ from As you Like it. You’ll be humming this one on the way home.

Seed Leaves. Another Sid Thomas composition, this one setting to music the poem ‘Seed Leaves’ by Poet Laureate and two times Pulitzer Prize winner Richard Wilbur. You can find the poem here. Anyone wishing to request the music for ‘Hey Nonny No’ or ‘Seed Leaves’ can contact Sid Thomas here.

Surrey with the Fringe on top. Rogers and Hammerstein, from Oklahoma (1946). Is it a little bit twee? Maybe, but hey – it is also very sweet. And it was a part of Miles Davis’ repertoire in the 1950s, so there’s no arguing with that!

Up Jumped Spring. Composed by US jazz trumpet player Freddie Hubbard in 1962, and included in his album Backlash. The lyrics were added later by vocalist US jazz vocalist Abbey Lincoln. This clip of the song being sung live by Audrey Silver is really worth listening to - what a confident, flawless performance.

So, there you have it: an eclectic Spring jazz set involving Shakespeare, tomatoes, rainbows, birds, toads, seedlings, melting snow, new love and a little sprinkling of melancholy. The lyrics in this set contain the words ‘isinglass’ and ‘yggdrasil’ – not words you hear every day – come to our gig on September 5th (assuming Queenstown is out of lockdown by then!) and see if you can spot them!

Other suggestions for Spring songs can be found here: 

https://jazz.fm/classic-jazz-songs-about-spring/ 

https://www.wrti.org/post/10-jazz-tunes-remind-you-its-spring

Nance Wilson

Nance Wilson is one half of Queenstown-based jazz duo, Jazzicology, together with pianist Mark Rendall-Wilson. 

Soundcloud: https://soundcloud.com/nance-wilson-trio 

Facebook: Jazzicology

[jazzviewswithcjshearn]

Connie Han: Iron Starlet (Mack Avenue, 2020)

Connie Han: piano & Fender Rhodes; Ivan Taylor: bass; Bill Wysaske: drums; Walter Smith III: tenor saxophone, Jeremy Pelt: trumpet.

When 23 year old pianist Connie Han released Crime Zone, her Mack Avenue debut in 2018 it caused quite a sensation.  For starters, she used the influences of Kenny Kirkland and Mulgrew Miller along with those of McCoy Tyner, Hank Jones and others to put her spin on the post bop music that young musicians made following the arrival of Wynton Marsalis.  Now, with her sophomore Mack Avenue release Iron Starlet Han shows growth from Crime Zone and also plenty of potential with expansions into other directions.  Here she mixes even more refined examples in the burnout style heard previously; head bobbing swing, expressive ballads. She uses her working trio, bassist Ivan Taylor and drummer/producer/composer Bill Wysaske, augmented by Walter Smith III (returning from the previous album) and  Jeremy Pelt on trumpet on select tracks in full quintet and quartet formations.

What in part and parcel makes this music successful and enjoyable is that it is road tested.  Han and Wysaske did not just bring in the charts for some of this very difficult music for a first time studio run down-- they played much of the material on the road, including a stop at New York's Jazz Standard last summer. The other common denominator is the Wynton, Branford, Terence Blanchard, Kenny Garrett, Kenny Kirkland and Jeff “Tain” Watts stream of playing the new compositions take their cue from and expand on.  It's all music that Pelt, and Smith III had also grown up on so it's a natural fit.  For musicians in their 30's and 40's, it's nearly impossible to not be influenced by albums the above named players made that boldly through their own lens blended the kind of energy found on the best jazz-rock and jazz-funk records, the defining Blue Note albums of the 60's, and some of the pivotal albums from John Coltrane, McCoy Tyner and Pharoah Sanders.

Han's interest in insistent rhythm and locking into a stone groove with Taylor and Wysaske announces the title track with powerful conviction.  The knotty theme has the striking use of piano and bass unison like that of “Southern Rebellion” on Crime Zone with abrupt thematic passages for Pelt's trumpet and winding unisons for Pelt and the pianist.  For Pelt's bravura solo, staccato eighth note jabs and legato tones incite Han's comping figures, prompting eruptions from Wysaske's drums.  Han's solo is brash, rhythmic acuity a defining feature; Taylor locked in his walk, Wysaske's short high hat chokes on the upbeat and swiss triplet figures in groups of five stoking the flames even more.  If the first four minutes of the album are a thrilling joy ride on the Audobon, then Wysaske's attractive “Nova”, the first tune to feature Han on Fender Rhodes electric piano shows how adept the pianist is at switching moods.  This is where the growth from Crime Zone really begins to shine through.  Pelt and Smith III play Wysaske's pretty melody as if they are skaters on ice, Han's Rhodes solo is filled with a warm glow, keen sense of space, and blues undercurrent.  Her playing on the coda under Wysaske's straight eighth ride brings about a feeling of melancholy letting the glowing “Nova” go.

“Mr. Dominator” a Hank Jones and Mulgrew Miller inspired lesson in hard swing,  is distilled here to it's essence from the lengthy versions the trio played nightly.  The pianist is sly, sultry and funky, freely using techniques of horn players in her improvisation ,while Wysaske sticks purely in service to the groove.  Ivan Taylor gets his say with a Wilbur Ware and Jimmy Garrison depth of tone, and a brief economical drum solo bring things back the funky, memorable melody. “For the O.G.”, dedicated to the late McCoy Tyner conjures up some of the feeling of the pianist's defining 1970's Milestone albums.  The pianist launches into the piece with determination, and her solo assimilates the innovations of Tyner wisely. Her use of the lick as a motivic device is dryly humorous, and her cadenza at the end demonstrates how much she loves and understands the Tyner style, but she uses the ground he broke to speak those lines in her own voice.  Sandwiched between the head and the pianist's solo, Wysaske's drum solo has judicious use of toms as a thematic component.

Eugene McDaniels “Hello To the Wind” originally taped by vibraphonist Bobby Hutcherson for his classic Now (Blue Note, 1970) and later reprised with the LA Philharmonic on the obscure Blue Note Meets The LA Philharmonic (Blue Note, 1977).  McDaniels' lyrics and the entire Now album, in light of our divided social climate,  and the general surge for change  are as relevant in the present as they were then.  Han's choice of chorused Rhodes and a Philip Glass like ostinato in the left hand, for the introduction with  textures later thickened by acoustic piano add emotional weight to the piece.  The deeply emotional current is further in her solo and Walter Smith III's tenor.  Wysaske's tender ballad “Captain's Song” an ode to a French bulldog, has a gently floating feeling and Han digs deeply into color in her solo, much as she does on the drummer's gorgeous “The Forsaken”; making all the note choices count.  Both “Boy Toy” and the closing homage to Wynton Marsalis' Black Codes From the Underground (Columbia, 1985) “Dark Chambers” mine the treacherous burnout territory once more, with the closing track in particular a marvel of focused intensity, and the rhythmic urgency found on the Marsalis recording.  Han takes zero prisoners in her solo, using motivic development to smart effect. Smith III, and Pelt go full steam ahead as well for a wonderful conclusion to an engaging collection.

Sound:

Recorded at Sear Sound in New York City over two days in August, 2019 recorded and mastered by Chris Allen,  and mixed by Patrick L. Smith at Dennis Songs Studio in Los Angeles Iron Starlet is a significant upgrade in sound from Crime Zone. Well done acoustic jazz recordings have a particular matter of fact quality to them that Iron Starlet definitely has in that the instrument tonalities are natural and realistic, the relatively dry sound stage bear this out.  Han's piano shines on Focal Chorus 716 floor standing speakers, where it's midrange is one of it's strongest assets, and the stereo image of the piano is accurate to what is heard in real life.  The Fender Rhodes tones are particularly fat and luxurious, the Chorus 716's again excelling at mid range.  The upper end of Han's Rhodes work makes subtle use of Focal's patented inverted tweeter technology.   The high end of her Rhodes silky and smooth, with the way the instrument is recorded there is an pleasing bell like ping in the upper notes, reminiscent of Bob James' signature Rhodes timbre on his classic work.  Walter Smith III's warm tenor tone is captured attractively and Jeremy Pelt's rounded tone comes through without issue.  Ivan Taylor's bass tones in the phantom center channel are rendered accurately on the Chorus 716's where some speakers may have difficulty with tones that deep.  Finally Bill Wysaske's drums have the snare in the center image with ride cymbal on the right of center, high hat on far left, with splash and crash in the far left and right and tom drums far left and right.  The snare has resonance but is contrasted with a weird hybrid Tony Williams 70's type sound with a more deadened one for the toms.  As Wysaske is a lover of Steely Dan, this kind of tom sound is no surprise, but at first the subtle resonant-dead sound can take a minute to get used to. The deadened tom sound did appear on acoustic jazz albums in the 70's like  Frank Butler's The Stepper (Xanadu, 1978) so it wasn't uncommon then, but album's like Butler's often had strange mixes, as did a lot of acoustic jazz of the period.

Final thoughts:

With Iron Starlet, Connie Han has truly arrived.  This is very much a project of continued growth in an artist's journey.  The assured ness that informs a very specific area of the jazz universe is heard through each one of her compositions, those of Wysaske's, and the lone standard “Detour Ahead” . Han is a driven and unshakably confident soloist always ready to burn, but she also exhibits a level of restraint and sensitivity that further drives home her passion. She has a trio that makes challenging music quite accessible, and with the added gusto of Walter Smith, III and Jeremy Pelt, the ensemble delivers on a high level the very visceral music that helped shape and establish many musicians who came in it's wake. Iron Starlet also points to Han's further potential, perhaps a double live album to cap off the music presented thus far on her Mack Avenue releases,  an album with Kenny Garrett, Christian McBride and Jeff “Tain” Watts, or  even an album expanding on the cyberpunk themes the pianist loves with her ethos at the core, enhanced by more Rhodes, keyboards and funky rhythms in addition to searing swing.  The sky is the limit for Connie Han.

Music: 9/10

Sound: 9/10

Equipment used:

Yamaha RS202 stereo receiver

Focal Chorus 716 floor standing speakers

CD playback: 80GB Sony Playstation 3

Note: Jazz Views with CJ Shearn will now have a more detailed sound category offering audiophile insight into recordings as part of review thanks to upgraded equipment.

Key terms:

Sound stage: The audio depiction of the placement of instruments, as if one were to go see a play and see the position of the actors/actresses on stage, when a listener closes their eyes, they can see and hear the placement of the players and instruments.  The term stereo image can also be applied.  

Stereo imaging refers to the aspect of sound recording and reproduction of stereophonic sound concerning the perceived spatial locations of the sound source(s), both laterally and in depth. (source for stereo image definition: wikipedia)

[the-garbanzo-annex-jr]

The opening was cool. A percussionist came out and began playing the Space Infinity Drum. One by one, other Arkestra members entered the stage and began playing other percussion instruments followed by the woodwinds, brass, and strings. It built to a glorious, cacophonous noise. Then I started hearing melodies and harmonies within the cacophony. Of course, as I told myself, that’s impossible. This is just a wild mass of screaming wind instruments, strange strings, and random percussion . . . except for those harmonies and melodies that I kept hearing within the musical maelstrom. It was like a musical Zen koan. My brain continued this argument with itself for a few minutes – until – I was stoned. The music had gotten me high. I hadn’t smoked any dope, but there I was – floating. Or maybe I had achieved enlightenment, I’m not sure. But if this was enlightenment, it was far out man! This high lasted for about fifteen minutes, well into the first real (?) composition.

It should come as no surprise that this experience permanently cemented my love for Sun Ra. I attended other shows throughout the years, and although none of the other shows got me stoned, they did take me on “pathways to unknown worlds.” And the shows were always a great musical spectacle. The musicians were always decked in their space age costumes. During the course of a show, they would go through many moods, from primal drumming and chanting to electronic music that hadn’t even been invented yet, mixed in with extended improvisations and stretches of straight ahead jazz standards featuring Arkestra soloists like John Gilmore, Marshal Allen, Pat Patrick, Michael Ray and Ra himself. Choosing the standards must have been based on Ra’s mood on any given night. He would begin the song on piano, and the musicians would go through their sheet music until they found the tune he was playing. There would be interludes in which most of the Arkestra marched around the theater playing various percussion instruments while Ra remained in place, and the drummers stayed at their drums supplying the rhythmic template. The shows would usually go on for two or three hours. There was never anything better.

[breinersounds]

Dearest all, I hope the sudden change of the clocks and the gradual changing of the seasons are treating everyone with relative kindness. Personally, I tend to struggle with the weather and the lack of sunlight. But music helps. A lot. Especially this music. Ruth Garbus :: Kleinmeister www.ruthgarbus.bandcamp.com/album/Kleinmeister I’m not exaggerating when I say that I’ve been waiting for this album for years. Ruth opened for Battle Trance on a short string of dates in the northeast maybe 2.5 years ago..? Her songs, her voice, her enigmatic approach to harmony, and her granular attention to the timbral subtleties of her voice and her instrument moved me to tears more than once. I’m ecstatic that I can finally hear those songs again. Nicole Mitchell :: Maroon Cloud https://fperecs.bandcamp.com/album/maroon-cloud Nicole Mitchell is the new head of the jazz program at Pitt. And it seems like none of the musicians in Pittsburgh have checked her out. Fix that. Right now. This album (her newest as far as I can tell) is dark as hell but somehow still glitters. Nicole’s compositional sense is brilliant here. She writes for a small ensemble of virtuosos playing piano, cello, voice, and herself on flutes. The music sounds incredibly specific to me, with lots of worlds in which her band can improvise to great effect. I’m genuinely moved by this very special recording. Nick Dunston :: Atlantic Extraction http://outofyourheadrecords.bandcamp.com/album/atlantic-extraction Nick wrote and recorded one hell of a record. It happens to be his debut. But it sure doesn’t sound like it. The ensemble of double bass, guitar, flutes, violin/viola, and drums gives Nick a ton to work with. He pulls some really special sounds out of the group and each player individually brings a palpable urgency to the music. Really special music on Adam Hopkins’s new label Out of Your Head Records. Caroline Davis and Rob Clearfield’s Persona :: Anthems http://carolinedavismusic.bandcamp.com/album/anthems Geez this recording is awesome. Caroline’s sound on the alto is deeply layered. Velvety and plush even when applied with force (a description which, upon reflection, also applies to the compositions on this recording). The band executes a patient vitality that I feel like I can chew. Like in a cheesecake-y way where some of it gets stuck to the roof of your mouth. Laila and Smitty :: III http://kennywarren.bandcamp.com/album/laila-and-smitty-iii Kenny is one of those dudes whose life and whose trumpet playing seem to be the same. Apparently effortless, light and funny, and deeply thoughtful. He also makes me wonder “how the hell do you sing so nice without opening your mouth all the way?” I love this band’s first two recordings dearly and this newest installment just doubles down. So so so worth many listens. Hey also I’m playing music in places! ///// Thursday, November 7 at Enjoy Jazz Festival Ludwigshafen, Germany. VAX plays for Liz Kosack’s acceptance of the SWR Jazz Prize https://www.swr.de/unternehmen/kommunikation/pressemeldungen/Preistraegerinnenkonzert-SWR-Jazzpreis-2019-Konzert-mit-Keyboarderin-Liz-Kosack,swr-jazzpreis-2019-konzert-liz-kocack-100.html Anyone who knows this band knows it’s the most special artistic endeavor I’ve ever been a part of. One reason it’s so special is because Liz is an impossible genius. Devin’s great, too, I guess. But damn. Liz deserves this prize just as much as anyone has ever deserved anything. I’m literally glowing (though jet-lagged out of my brain) at the opportunity to play again with the group that demands that I be the most me. ///// Friday, November 8 Ziegra str 11 Berlin, Germany. Opener at 10pm. Then VAX. Then partaaaayyyyyy!! https://m.facebook.com/#!/events/3099296226812217?ref=m_notif¬if_t=admin_plan_mall_activity One night only in Berlin!! Pals Sam Hall and Julia Reidy (whose transcendent album brace, brace I wrote about a few months back) open the night at 10. VAX at 11. ///// Thursday, November 14 7-10pm at Kingfly Spirits Pittsburgh. https://m.facebook.com/#!/events/702867603547403 Bass legend and ECM recording artist Michael Formanek and his son, virtuoso reedist Peter Formanek, are bouncing around the country as a duo. Lucky for us they’re stopping in Pittsburgh for a night! Young gun Carter Freije is going to join us on drums to fill out the 4 piece 100% improvised. Gonna be a fun one. ///// Saturday, November 16 10am-noon at Jazz Gallery Milwaukee, WI. So so excited just to get to see my buddy Devin Drobka in Milwaukee in a couple weeks. The fact that we’re gonna play music and talk candidly about whether it worked or not is the icing on the cake. Duo concert and workshop with Devin the great. ///// Friday, November 29 10pm-1am at Con Alma Pittsburgh. I’m transcribing a bunch of my favorite never-get-played bangers from the early-mid 60s Joe Henderson Lee Morgan Kenny Dorham Wayne Shorter catalogues. This band is burninggggg!! Really excited to learn and play this music. Join us on Black Friday, yes? PB - tenor saxophone, arrangements James Moore - trumpet Joe Sheehan - rhodes Anton Defade - bass James Johnson III - drums See yinz out there! Best, Patrick

[myrecordcollections]

Stanley Cowell

New World

@ 1981 US Pressing

****

Stanley Cowell's "New World" - recorded in 1978, and released three years later - represents something of a transitional album for the pianist who co-founded the Strata-East record label with Charles Tolliver.

Cowell's instrumentation had always been about finding the right combination of instruments to create the right textures for particular compositions, whether his own or others. From the moment he burst out in 1969 with "Blues For The Viet Cong" (aka "Travelling Man") and then "Brilliant Circles" , he would embroider a piano trio base with a range of instruments - brass, winds, voices, vibes, strings - to find the instrumental palette to realise each musical vision; the roles of each instrument freely changing between lead and support; the tonalities veering between modal and the avant-garde as suited.

"Brilliant Circles", in particular, reflects the range of influences the pre-solo career Cowell had picked up as a sideman on various albums by Marion Brown, Max Roach and Bobby Hutcherson.

Cowell himself would move between (mainly) acoustic piano, rhodes and sometimes the african kalimba (or "thumb piano"). Some tracks featuring his kalimba have been heavily sampled over the years, notably several of his recordings of his track "Travelling Man" as well as "Smilin' Billy Suite" from the Heath Brothers' "Marchin' On" (1976)

Throughout the 1970s, Cowell would move back and forth between more intimate, piano-led sessions like the beautiful "Illusion Suite" (1972); the solo piano album "Musa Ancestral Streams" (1973) and the electric-acoustic solo album "Waiting for the Moment" (1977); and at other times would venture once again into larger instrumental electric/acoustic groupings on albums like "Regeneration" (1975) and the commercial RnB/jazz album "Talkin About Love" (1977).

In November 1978, Cowell indulged both sides of his musical personality by recording two albums. In the last few days of that month he recorded "Equipoise", a great trio album with Cecil McBee and Roy Haynes; but earlier in the month he recorded a larger group work, "New World" which I'm presenting today.

"Come Sunday" opens with solo piano, before church bells herald the entrance of a full vocal section ( Judy Lacey, Linda Mandolph, Robert Mandolph). Kenneth Nash's percussion enhances the trio of Cowell, bassist Cecil McBee and drummer Roy Haynes; with Nate Rubin and Terry Adam's strings enhancing the melodic lines of Cowell's piano.

The gospel-flavoured "Ask Him" features Cowell on both rhodes and piano, with the vocal chorus alternating words and chord backing, and Headhunters Eddie Henderson and Julian Priester contributing brass.

From gospel we move to calypso in the album's dud track, "Island of Haitoo", which not even Cowell's kalimba can save from a fate of bad-travelogue-library resort music. It really needs a video of a cartoon sun going up and down on a blue cellophane ocean .... hmmm move on ...

Up next is a new version of "Trying to Find a Way", first recorded by Cowell on "Regeneration" - he's commonly revisited the same songs across various albums, placing them in new configurations and styles. It's a fairly exuberant version, with the trio backed by full vocal chorus and strings, and features a bass solo by McBee. I do miss Cowell's synth and the vocals by Charles Fowkles and Glenda Barnes from the original, but it's still a good version - almost Steve Reich-ish in the vocal arrangements.

"El Space O" is the standout track, with Priester's growling trombone locking in with McBee's bass to create a platform for Cowell's extraordinary rhodes and prepared piano work, with a subtle wah-wah allowing the keyboards to wind in and out of answering melodies provided by Priester and Henderson. The brass build up in modal chords behind a honking sax solo by Pat Patrick, before embarking on Mwandishi-like wails that lead back to the main melody. A great piece.

The album finishes with the solo piano track "Sienna : Welcome to this New World", and reminds me that I can happily listen to Cowell play the piano anywhere, any time and in any context. "New World" was the last time that Cowell would work with such a broad ensemble of musicians - after this most of his work would focus on the piano.

[seimeiyuzu]

Yuzuru Hanyu- How popular he is in Japan?

David Fieldman

(Yuzu is popular all over the world, right?)

This text is touching and interesting: 

“Japan's hero Yuzuru Hanyu has two Olympic golds - and eight bodyguards

Bishōnen is a popular term in Japanese anime, meaning a beautiful young man whose appeal is universal. In PyeongChang, a bishōnen returned to the ice rink with grace and made history by sweeping the gold in men’s figure skating in back-to-back Olympics, reenacting a feat achieved 66 years ago.

The beautiful young man from a “different dimensional world,” also a term from Japanese anime, was Yuzuru Hanyu. At the 2014 Sochi Winter Olympics, Hanyu, considered the prince of figure skating, rose to the stature of king. And in the PyeongChang Winter Games, Hanyu, despite the obstacles placed in his path and is close to becoming a legend.

This is a Tencent Sports exclusive on the behind-the-scenes life of the “figure skating prince” who resurrected a 66-year history in PyeongChang. The charismatic Hanyu, who was instrumental in the upsurge in the popularity of figure skating in Japan, was undoubtedly one of the the saviors of the box office of the PyeongChang 2018 Winter Olympic Games, as well as the ‘cash cow’ of Japan’s sports sector.

Recreating a legend

The place was the Gangneung Ice Arena, the date February 17.

The ice was like a silver plate, giving off a bedazzling shine. Yuzuru Hanyu gracefully slid to the center of the silver plate, making the thousands of spectators at the site, together with his fans watching him perform on TV, catch their breath.

This was PyeongChang. The winner of the gold in men’s singles figure skating in the Sochi 2014 Winter Games was here to go for the second Olympic gold he had been long dreaming of. If he succeeded, he would reenact history after 66 years, becoming the sport’s first two-time men’s champion at the Winter Games since Richard Button of the United States in 1952.

Hanyu’s PyeongChang tour had a smooth start. In the short program on February 16, he stunned the audience by perfectly gliding to Chopin’s Ballade No.1. The zero-error performance fetched him a high score of 111.68, approaching his season’s best, 112.72.

After the event, Hanyu was deluged by Winnie-the-Pooh plush toys rained down on him by cheering fans. The number “111.68” instantly became the most searched word online in Japan. Figure skating fans across the world began to look forward to the birth of a legend. On February 17, when the free skating event would be held, would Hanyu make history?

In the free skating event, Yuzuru Hanyu chose classic Japanese music Seimei, the soundtrack from the film Onmyoji. It was a decision that he had made two seasons ago. Skating to Seimei, in every move that he made, even in every breath, Hanyu no doubt identified himself with the protagonist of the story, 10th-century astronomer Abe no Seimei, a character who was wise, valiant and ready to protect others.

“I am the onmyoji,” went the music, onmyoji literally meaning an embalmer. “If not me, who would be Seimei protecting the dead from evil spirits?”

When the music played, Hanyu’s delicate performance at the center of the silver plate was sheer magic, casting a spell on his audience.

He started with a quad Salchow, steadily landing on the ice on his right blade. It triggered a volley of applause. Most spectators did not realize that it was only one month ago that he had resumed training on ice and just three months since injuring his right ankle while preparing for the NHK Trophy.

A faultless quad toe loop followed. Then he made a triple Axel jump, which was also a success. After that, he reeled slightly while landing a quad toe loop but immediately steadied himself with competence, smiling.

After his final spin, Hanyu landed at the center of the silver plate and stood still. This was it! Then he clutched his fists, bent his head toward the ground and bowed to the stand. The judges showed their appreciation of his performance by awarding him a high score of 317.85.

Once the score of the last skater Shoma Uno was given, Hanyu clinched his championship with the highest tally. The brave but quiet young man burst into tears, murmuring “Thank you” in Japanese at the cameras.

‘A big heart under a lissome figure’

“In the past, I went through a lot, becoming almost like an amine book character that gets injured again and again. Even three month before the Olympics, I had a serious foot injury. I am a human being, not god. It was incredible how so much misfortune happened to me.”

At the press conference after the award ceremony, Yuzuru Hanyu said he had turned his own life into a passionate anime.

Born in Sendai in Japan, he still remembered the painful impact of the horrifying tsunami and earthquake that hit northeast Japan. Even on that joyful night when he successfully defended his championship in PyeongChang, he remembered the trauma.

“There was no water, electricity or gas,” he recalled.

What devastated him was the loss of the ice rink in Sendai. To a figure skater, losing his training ground means losing everything.

He had no choice but to turn to his primary school teacher in Yokohama. When he left Sendai, he cried and told his teacher: “I am tired. Is it possible for me to continue my career as a figure skater?” Since then, his teacher began taking him to compete in every game across the country to provide him with training opportunities. It was the support of the audience and ice rink operators that made him succeed in Sochi.

In Sochi, Hanyu realized his dream of winning an Olympic gold in figure skating. After that, he claimed two silvers in the World Championships in 2015 and 2016. In the 2017 World Championships, he stunned the world once again.

“A lonely king.” That was how Hanyu was seen among the global figure skating community before the 2017-2018 Olympic season.

However, fate never allows superheroes an easy and straight path to success.

During a practice session for the NHK Trophy on November 9, 2017, Yuzuru Hanyu injured his right ankle while attempting a quad Lutz.

On November 10, 2017, Hanyu missed the NHK Trophy. December 14 was the day he was supposed to return to practice on the ice. However, it was announced that the skater was suffering from inflammation of his Achilles tendon and ankle bone.

On December 24, the Japanese Olympic Committee released the list of figure skaters for the PyeongChang 2018 Winter Games. Yuzuru Hanyu had made it to the list with his impeccable performance. The others chosen along with him were Shoma Uno and Keiji Tanaka.

When Hanyu became injured, his fans across Japan went to the Go’o Shrine in Kyoto, a poplar shrine in Japan for those seeking good health or to ward off bad luck, to pray for his recovery.

Finally on January 16, 2018, the good news that Hanyu had resumed practice on ice came from Toronto, Canada, where Hanyu lives and practices. It was less than a month before the opening ceremony of the PyeongChang 2018 Winter Games on February 9.

On January 13, Hanyu did his first practice on the official ice rink after arriving in Gangneung. During the 40-minute session, he made 21 jumps, eight of which were quads including the toe loop and Salchow. But he could execute only five of them successfully. On January 15, he did his free skating item to the accompaniment of the Seimei soundtrack. This was the first time he did a quad in front of the world media after the NHK Trophy accident.

Until 8:30 a.m. on February 17 when the free skating competition was held, he had not decided on the final composition and whether he should perform his best but the most difficult move, the quad loop. In five hours, he performed his full set of free skating moves, which included three kinds of quads for safety reasons, changing the quad loop planned in the beginning to a quad Salchow.

Even though he won, his right foot had not fully recovered. When jumping on the podium, he carefully avoided landing on his right foot. At the press conference, he expressed his appreciation of the people who had extended a helping hand to him over the past years. However, he didn’t say whether he would try to be the figure skating champion three times in a row by taking part in the Beijing 2022 Winter Games.

“I will have surgery and get my injured foot treated,” he said.

A perfectionist’s regrets

“I love that powerful heart under his enchanting appearance,” Japan’s Sankei Shimbun’s figure skating correspondent told Tencent Sports in PyeongChang. Yuzuru Hanyu is “a real different figure from a different dimensional world,” the journalist said.

“NO MISS!” “111.68 points!” “Perfect!” On February 16, after the men’s singles short program, these entries made their way in quick succession to the list of Japanese hot words on Yahoo. After the free skating, Hanyu had been saying repeatedly that he had failed to come up with a zero-error performance. “I still have too many shortcomings,” he said with regret.

But within 24 hours of February 16, his performance was described by the Japanese media as being “zero error,” “perfect,” and even “top-ranking,” which must have been the perfectionist’s revenge for his lapses in Sochi four years ago.

“I know the taste of the Olympics.” “I’m going to avenge myself for the Sochi Winter Olympics tomorrow,” Hanyu said animatedly many times during interviews after the men’s short program.

The 2014 Sochi Olympic Winter Games saw the 19-year-old crowned in his Olympic debut. He performed gracefully and calmly, garnering the highest score in the men’s singles short program at the Winter Games (101.45). However, in free skating, he was slightly nervous and made some mistakes. So his performance could not be described as perfect. Though he finally defeated Canadian Patrick Chan, who had bagged three consecutive world championships, Hanyu said after the Games that he was not satisfied about his performance, even “very depressed.”

The night at Sochi revealed Hanyu’s perfection complex. He admitted that he wanted to know “the taste of being a real champion.” “No matter when and where in the future, I will have a perfect interpretation with zero error like Evgeni Plushenko did.”

After the Sochi Olympics, Hanyu published his autobiography Blue Flames II, in which he further explained his “ideal.” The reason why he held Plushenko as his idol and hero was that the Russian never lost in any contingency or won on the basis of a miraculous one-time victory. Hanyu was obsessed with being supreme and invincible.

In this book, Hanyu shared a rarely shown old photograph. It was of him standing before a Christmas tree, a personable young boy with a touch of melancholy in his eyes.

That was the winter of 2004. The nine-year-old was obsessed with Plushenko, showing his admiration by even having a retro mushroom haircut like the Russian’s.

The young boy was fascinated by the idol’s performance in the Salt Lake City 2002 Winter Olympic Games though at that time, Hanyu was only seven years old. Five years later, when he took part in the Japan Junior Figure Skating Championships, he looked to carry himself in the graceful style of Plushenko.

Hanyu moved up to the seniors at the age of 17. Whenever he met the Russian emperor of figure skating, Hanyu would quietly consult Plushenko on the secrets of the quad jump or the Biellmann spin. Plushenko always encouraged Hanyu, saying, “Beat me!” “Overtake me!” In Sochi, Plushenko was injured in an accident before the short program, but he accidentally witnessed the rise of the Japanese figure skater.

“Perhaps I used to be his idol, but now, Hanyu is my idol. He is a genius!” Plushenko remarked.

On hearing that Hanyu was injured before the PyeongChang 2018 Winter Olympics, Plushenko, by then a loyal Hanyu fan, rooted for him, firmly believing Hanyu could retain his title.

After Hanyu succeeded in defending his title, Plushenko, who won the Olympic gold medals twice but could not defend his championship, sent his best wishes, saying, “I am proud of Hanyu! He is amazing.” When Hanyu was asked at the press conference whether he had finally overtaken his idol, he replied modestly, “I am still far behind.”

Winnie-the-Pooh

To what extent can a sports star’s popularity impact certain events and the development of the related economy? Hanyu is a sterling example.

In PyeongChang, Hanyu was undoubtedly the hottest and most sought-after name.

Figure skating has a tradition of the audience throwing plush toys at the end of a skate. After his performance on February 16, his favorite cartoon character Winnie the Pooh began to rain down on him.

“This is not rain, it is hail! A storm!” It almost turned the Gangneung Ice Arena into a sea of plush toys, making even veteran sports journalists from all over the world speechless.

Hanyu, Asia’s first Winter Olympic champion in men’s singles figure skating as well as the youngest Olympic gold medalist in that category, won the title of “Japan’s most favorite male athlete” in 2017 by virtue of his formidable strength, winsome appearance and the support of his large number of fans worldwide.

On February 11, Hanyu was mobbed by a large number of fans as soon as he arrived at Incheon International Airport. The next day, during his first official public training, Hanyu stayed at the ice rink for only 15 minutes, but attracted more than 100 reporters. Half an hour before the training, more than 50 cameras from 15 television stations from around the world were in place, and the latecomers didn’t even have a place to stand.

On the third day, Hanyu held a press conference. The conference hall, which could accommodate 100 people, was crammed with more than 150 media outlets, and the crowd spilled over into the corridor. Such spectacular scenes have long been a commonplace for the Japanese media. In the summer of 2017, Hanyu’s new season programs disclosure conference held at his perennial training base in Toronto, Canada, attracted dozens of Japanese media outlets all the way from the other side of the globe.

In the short program on February 16, Hanyu made his official appearance for the first time since disappearing from the public for 100 days due to his injury. His fans from Taiwan, South Korea, Vietnam and Japan turned the stadium into his home court and showcased a magnificent cosplay.

“Hanyu has fans all over Japan, and even the world, from all genders and ages. There are also spontaneously formed fan clubs in countries like Italy and Russia,” a loyal fan of Hanyu said.

In PyeongChang, there was a feeling of family solidarity among his fans though they came from all over the world.

On the day of the short program, a girl from Taiwan got up at 3 a.m., left her hotel at 4, and began to line up to see Hanyu’s official training from 5. During the break, she got a surprise gift - a Winnie the Pooh plush toy, given by Hanyu’s fans from the Chinese mainland.

After the special press conference, journalists from the BBC, Japanese television stations and Chinese media outlets began to interview each another, turning the conference to a “global fans (journalists) meeting.” In order to interview Hanyu, media outlets worldwide, including the BBC and Reuters, sent Japanese-speaking journalists.

Entourage

On February 17, when the press conference for the gold, silver and bronze winners was held, after the 30-minute question answer round, it was finally time for the photo session. As photographers flocked to the champions, Hanyu swiftly pushed aside the nameplates and water bottles in front of them, then put his arms around Shoma Uno and bronze winner Javier Fernandez of Spain, flashing his signature ingenuous smile.

It was not just removing the nameplates and water bottles for photographers’ cameras; it was the manifestation of his natural character, unpretentious and spontaneous.

He doesn’t regard himself as someone special, even though crowned double Olympic champion.

How does Yuzuru Hanyu win so many fans across the world? One small gesture may hold the answer.

While 1,000 readers may have 1,000 interpretations of Hamlet, Yuzuru Hanyu has one universal evaluation. The Hanyu reporters met in PyeongChang was an icon who regarded himself as an ordinary person, a heartthrob who was humble and polite.

After the short program on February 16, a photograph taken by the Japanese media went viral among Chinese online users, who exclaimed, “Hanyu is so wonderful!” It was during the interview of Hanyu’s fellow skater Shoma Uno. Hanyu sought to avoid taking away the limelight from Uno and to avoid the cameras, the Sochi gold medalist, the most shining star on that day, bent down and literally crept away from the stage, smiling shyly when he stood up finally.

And in another gesture, after the short program, Hanyu gently picked up a strawberry cake from the sea of Winnie the Pooh bears. “I will eat well, save energy and prepare for the free skating tomorrow,” he said. At the press conference, he considerately looked after Shoma Uno, who sat next to him, quietly telling him, “Don’t be nervous.” From time to time, he also helped Uno adjust his headphones which was relaying the simultaneous interpretation.

Every time Hanyu attended a press conference after a competition, he would always show consideration for the reporters who had been waiting for a long time and rush to meet them. “Please give me a minute,” he would say, bending down to remove the blades still attached to his boots. Then he would look at the media with a smile, and begin to answer every question seriously and sincerely.

“I cannot compare myself with Plushenko or Uno,” Hanyu said, calmly responding to the overwhelming applause he received after winning his second Olympic gold.

“Uno is three years younger. It seems I am in a slightly awkward position. Rather than competing, I would like to enjoy skating for as long as possible and hope other top skaters come up with more perfect performances,” he added.

His clear vision and crystal-transparent soul has won him numerous fans.

Unlike other athletes, Yuzuru Hanyu came to PyeongChang flanked by eight bodyguards. To ensure Hanyu’s safety, the Japanese Skating Federation had specifically requested the Japanese Olympic Committee to accord him “the highest Olympic privileges.”

Yuzuru Hanyu was the only athlete who came to PyeongChang with bodyguards. When his flight landed, he himself was taken aback by the treatment. As some foreign media commented, it was like escorting some invaluable gem.

Besides bodyguards, the Japanese Olympic Committee also arranged a press officer and a professional nutritionist team exclusively for Hanyu. The nutritionist team was formed in 2012 with professionals from the Japan Institute of Sports Sciences to ensure Hanyu took sufficient nutrients to be able to undertake the high-energy practice sessions. To the best of this writer’s knowledge, Yuzuru Hanyu is the only winter sports athlete who enjoys the privilege of having a press officer exclusively for him. Previously, only Kosuke Hagino, Japan’s competitive swimmer, had such a press officer. Even the famous Japanese footballers Keisuke Honda and Shinji Kagawa did not have such a privilege.

His popularity is also reflected in The New York Times. After the short program, a New York Times reporter grabbed the opportunity to interview Hanyu at the media section. In an unprecedented move, the media officer of the Japanese delegation permitted the reporter to ask two questions.

It was not the first time that Yuzuru Hanyu made headlines in The New York Times. The first time was in the Sochi 2014 Winter Games when the 19-year-old won the gold in men’s figure skating, creating a sensation among his fans worldwide. Later, the magazine hailed him as “Michael Jackson on the Ice.”

Box office hit

After Yuzuru Hanyu won his second Olympic gold, Japan’s All Nippon Airways (ANA) immediately put up an advertisement featuring him on Japan’s largest website Yahoo, saying there must be some reason for his power, like the reason ANA was the ideal airline for everyone.

When Yuzuru Hanyu claimed the gold in the Sochi 2014 Winter Games, he signed up with ANA as his sponsor, and endorsed Procter & Gamble products and Sendai Tourism. His fee for shooting a single advertisement rose to 50 million yen ($470,000) and recently, to 80 million yen ($752,000), equaling the fee of famous Japanese female figure skater Mao Asada.

On 2017 New Year’s Eve, Yuzuru Hanyu debuted on television as the judge of the 66th NHK Kohaku Uta Gassen, or Japan’s New Year singing contest. This further increased Hanyu’s popularity in Japan, giving him the potential to overtake Japanese tennis player Kei Nishikori in popularity in the future.

The charismatic Hanyu is not only the cash cow of Japan’s sports sector, but also the savior of the box office of the PyeongChang 2018 Winter Games.

As a result of his overwhelming popularity, anything he does not only affects the mood of his fans around the world, but also impacts the organizers, sponsors and suppliers of every major figure skating event. Hanyu’s withdrawal from the NHK Trophy, the ISU Grand Prix and Japanese national championships because of his ankle injury caused direct losses for these events.

Within 48 hours of his withdrawal, the rating of NHK Trophy’s prime time broadcast dropped sharply. The average rating declined to 6.7 percent from the 16 percent in the previous year, when Hanyu was the champion. In December that year, the ISU Grand Prix held without Hanyu also witnessed a decline in rating from 17.6 percent in the previous year to 14 percent. The sales of the sport’s derivatives also suffered.

Under such circumstances, Hanyu’s fans, eager to watch the brilliance of the figure skating maestro again, could only pin their hopes on the PyeongChang 2018 Winter Games.

Since the beginning of 2018, the South Korean media had been reporting that Yuzuru Hanyu may not compete in the group games or the Pyeongchang 2018 Winter Games revenues may face a bleak prospect as a result. However, the International Olympic Committee answered this by presenting a clip, titled Yuzuru Hanyu, who is your opponent? on its official television station, which was well-received. Obviously, the purpose was to increase the revenue of the PyeongChang 2018 Winter Games.

According to previous reports by Lanxiong Sports, a Chinese online sports industry services provider, only 61 percent of Pyeongchang 2018 Winter Games tickets -- or 655,000 -- had been sold by the end of December 2017. However, the organizing committee said tickets for figure skating sold out as early as March 2017, bringing in revenue of 680 million South Korean won ($637,800).

During the Pyeongchang Games, over 10,000 Hanyu fans came to Gangneung, where the figure skating events were held. The 2,000 tickets sold out within hours of being up for sale.

“Hanyu’s remuneration is expected to rise by 1.5 times at least, if not be doubled, after he won the gold in PyeongChang,” a journalist from Asahi Shimbun, one of Japan’s largest daily newspapers, told Tencent Sports.

Although new figure skaters will come to the fore one after another, the emergence of the next Yuzuru Hanyu is still a distant possibility. Will Yuzuru Hanyu take part in the Beijing 2022 Winter Olympic Games? It depends on whether his injured right ankle fully recovers in the coming years.”

www.quora.com

[dustedmagazine]

Dust Volume 6, Number 13

Trees

It’s four in the afternoon and already getting dark, a foot of snow on the way. One year is nearly over — and yes, we’ve got some essays on that coming up after the holiday break — and another one is taking shape in our inboxes, mail chutes and hard drives. But for right now, let’s take another look at 2020, doubling back on the records that caught our ears without exactly fitting our schedules, the ones that almost got away. Here are the usual free improvisations and long drones, hip hop upstarts and cowpunk also-rans, a harpist, a cellist, a tabletop guitarist and at least one stellar punk record that has us hoping for sweaty live music again in 2021. Contributors this time included Bill Meyer, Bryon Hayes, Andrew Forrell, Patrick Masterson, Jennifer Kelly, Jonathan Shaw, Arthur Krumins, Ian Mathers and Ray Garraty, heck let’s call it a quorum, and see you again in the New Year.

Mac Blackout — Love Profess (Trouble In Mind)

Love Profess by Mac Blackout

Mac Blackout owes his surname to his membership in the Functional Blackouts. That’s a garage combo that was once the subject of an article about how they’d been banned from various venues on account of the destructive chaos of their live performances. But you can’t do that forever, and nowadays Mac’s a painter and solo recording artist. His latest sounds are unlikely to make anyone want to put a chair into the mirror behind the bar, but they might send you flipping through your record collection, looking for the sounds that you and he have in common. Love Profess opens with a burst of piano-pounding, sax-overblowing free jazz, but that lasts for about nine seconds before it gets swallowed by some John Bender-worthy synth throb. Give “Wandering Spheres” a couple more minutes, and Mr. Blackout goes full La Dusseldorf on us. By turns spacy, spooky and seriously compelled to vent nocturnal loneliness, this half-hour long LP is both as familiar and as unknown as a well-shuffled deck of cards.

Bill Meyer

 Ross Birdwise — Perfect Failures (Never Anything)

Perfect Failures by Ross Birdwise

Vancouver-based electronic improviser Ross Birdwise rails against spatio-temporal norms. The concepts of tempo and rhythm are malleable in his universe. Architecturally, Birdwise is Antoni Gaudí, working in fluid lines to build incomprehensible structures. With Perfect Failures, he leaps even further away from the orthogonal grid of musical construction, dissolving beats into grains of sound. The warped rhythms found on Frame Drag are divested in favor of an approach that more resembles electroacoustic composition. As a matter of fact, the title track comes on like a digital recreation of a piece of classic musique concrète. Birdwise avoids venturing into purely ambient territory yet borrows some signifiers from the genre: keyboard melodies, elongated tones, washes of sound. He overlays these seemingly innocuous elements with crashes of noise, oblique jump cuts and hyperkinetic sequences, constantly forcing us to shift focus to make sense of his soundscapes. The febrile nature of the music is what intoxicates, but the discordant melodies are what enthrall.

Bryon Hayes

 C_G — C_G (edelfaul recordings)

C_G by C_G

Belgium-based French electronic artist Eduardo Ribuyo (C_C) and Israeli drummer Ilia Gorovitz (Stumpf) join forces on C_G, a one-take collaboration of molecular machine noise and improvised percussion. It opens as a slow creep, Gorovitz playing minimal rhythms that sound like someone walking through the pre-dawn streets of an awakening city. Ribuyo accretes whirrs, cracks and electrical pops to evoke the dread of a night not over. On “Normalising Cruelty,” for instance, the discomfort builds, the drums tumble in flight, the noise intensifies. The relative conventionality of the percussion tracks seems intentional and serves to focus attention on the granular details Ribuyo conjures from his machines. Think the experiments of similarly minded Mille Plateaux and Raster Norton artists. When played through headphones at volume, its full queasy Room 101 buzz and grind squirms most effectively into the brain. Easy listening this is not, but if and when home gatherings resume this would be an ideal way to clear the house.

Andrew Forell

  Che Noir — After 12 EP (TCF Music Group)

If you’ve been paying attention to hip-hop in the last few years, Buffalo’s Griselda camp has dominated the “old heads” conversation away from whatever the kids are vibing to on TikTok. But there’s life away from an Eminem partnership, and not just in the form of Benny the Butcher: Witness Che Noir, who has been on fire throughout 2020. After starting off the year with the 38 Spesh-produced Juno and following it up with the Apollo Brown-produced As God Intended, Che’s closing things out with this self-produced seven-song EP that covers a wide range of territory without dipping into tales of street hustling, just the age old struggle to get some respect. “Hunger Games” is an early highlight that shows her chemistry with Ransom and 38 Spesh, while she completely takes over in speaking to the times on “Moment in the Sun,” which is the clear emotional highlight of the EP. Amber Simone’s pleading chorus on closer “Grace” is another stylistic turn and closes things on a high note. The last words you hear are Simone’s as she sings, “Imma go get it”; the lingering effect is that you know Che Noir is already showing you as much. Miss this one at your own risk.

Patrick Masterson 

 Cong Josie — “Leather Whip” b/w “Maxine” (It Records)

Leather Whip / Maxine (AA single) by Cong Josie

Frankie Teardrop rides again in this smoking synth punk single from Australia’s Cong Josie. “Leather Whip” is about as menacing and minimal as synthesizer music gets, braced by the hard slap of gate-reverbed drums and a claw-picked bass sound (maybe electronic?) and Cong Josie’s whispery insinuations. “Maxine” is just as stripped, with blotchy bass sound and swishing drum machine rhythms framing a haunted rockabilly love song. It’s very Suicide, but isn’t that a good thing?

Jennifer Kelly

   Divine Horsemen — Live 1985-1987 (Feeding Tube)

Divine Horsemen “Live”1985-1987 by Divine Horsemen

With Divine Horsemen, Chris D of the Flesh Eaters had a brief but memorable run in vivid, gothic, country-tinged punk. This disc commemorates two red-hot live outings from 1985 and 1987, the first at Safari Sam’s in Huntington Beach, California, the second at Boston’s The Rat. A sharply realized recording shows how this band’s sound fit into the cowpunk parameters set by X, with strident guitar clangor and hard knocking rock rhythms (the ax-heavy line-up featured in this recording included Wayne James, Marshall Rohner and Peter Andrus on guitars, the Flesh Eater’s Robyn Jameson on bass). The secret weapon, though, was the ongoing and volatile vocal duel between the front man and his then-wife Julie Christensen, a classically trained soprano with an unholy vibrato-laced belt. You can hear how she transformed his art by comparing the Flesh Eater’s version of “Poison Arrow” with the one here. It’s as aggressive as ever, musically, and Chris D. is in full florid, echoey, goth-punk mode. Christensen, however, is molten fire, letting loose cascades and flurries of wild vibrating song. There’s a scorching, stomping romp through the vamping “Hell’s Belle,” and a lurid rendering of mad, howling “Frankie Silver,” and, towards the end, a muscular take on the Stones’ “Gimme Shelter.” Christensen later made a mark as one of Leonard Cohen’s favorite backup singers, and Chris D is still knocking around with a reunited, all-star Flesh Eaters, though there’s some talk of getting this band back together as well. I’d go.

Jennifer Kelly

 Dezron Douglas & Brandee Younger — Force Majeure (International Anthem)

Force Majeure by Dezron Douglas & Brandee Younger

Harlem harpist Brandee Younger and bassist Dezron Douglas faced down New York’s early months of quarantine with a series of live broadcasts recorded in their apartment on a single microphone. This document of intimate resilience collects highlights of the Friday ritual. Younger and Douglas perform covers of spiritual Jazz, soul and pop songs as well as the delightfully titled original “Toilet Paper Romance.” The music is so close you feel the fingers on the strings and frets. Younger’s harp playing is a revelation, pianistic on John Coltrane’s “Equinox”, pointillist yet robust on his “Wise One” which they dedicate to Ahmaud Arbery. Douglas provides vigorous and sympathetic accompaniment and his solo rendition of Sting’s “Inshallah” is a tender tough exploration of his instrument. Along the way there are lovely versions of pieces by, amongst others, Alice Coltrane, Kate Bush and Clifton Davis. Douglas closes with the words “Black music cannot be recreated it can only be expressed” and Force Majeure demonstrates that the same goes for humanity and creativity.

Andrew Forell

Avalon Emerson — 040 12” (AD 93)

040 by Avalon Emerson

It’s been a big year for Avalon Emerson, who started 2020 prepping a move from Berlin to East Los Angeles and ends it back home stateside with an almost universally acclaimed DJ-Kicks entry to her credit. This three-song 12” for the label fka Whities is a nice way to close out a triumphant year, illustrating her penchant for bright melodies and percussive detail. “One Long Day Till I See You Again” is a welcoming slice of beatless percolation to close; “Winter and Water” leans heavily on rhythmic tricks in the middle. That makes A1 “Rotting Hills” the ideal lead as a balance between them. There may not be so obvious a gimmick as a Magnetic Fields cover, but that makes it no less valuable for showing what Emerson can do. Call it one more fluorescent rush.

Patrick Masterson

 End Forest — Proroctwo (Self-released)

Proroctwo (The Prophecy) by End Forest

For some of us, the fusion of folk music forms with crust and metal mostly issues in obscenities like Finntroll (yep, a Finnish band that makes folk metal songs about…trolls) or in politically toxic, Völkisch nationalist fantasias. But some bands get it right; see Botanist’s remarkable work, and see also End Forest, an act just emerging from Poland’s punk underground. Singer Paula Pieczonka employs a traditional Slavic vocal technique that roughly translates to “white singing” — but before you get creeped out by any potential fascist vibes, please know that the “whiteness” at stake in the phrase is purely an aesthetic value. And her voice is really great, open and soaring. “Proroctwo (The Prophecy)” has the sweep and drama of a lot of contemporary crust, and all of the genre’s interest in symbolic violence. The lyrics envision a future wrought and wracked by social conflict, a coming conflagration of torn bodies and of piles of dislodged teeth housed in some horrific archive of viciousness (that’s quite an image). It’s harrowing stuff, big guitar chords accented by sitar and flute. The track is available on Bandcamp, along with several inventive remixes by Polish musicians and DJs, like Tomek Jedynak and Dawid Chrapla. End Forest indicates that a full record is forthcoming sometime in spring. Looking forward to it, y’all.

Jonathan Shaw

 Lori Goldson — On a Moonlit Hill in Slovenia (Eiderdown Records)

On A Moonlit Hill In Slovenia by Lori Goldston

Goldson creates movement and tension in an arresting way with a rough-hewn approach to the cello. This could be a good entry point to her solo work, which is varied and bridges the gap between DIY attitude and elevated levels of musicianship and considered approach. The flow of her playing here evokes the almost brutal scrape of the strings, which gives a welcome texture to the melodic squiggles.

Arthur Krumins

Hot Chip — LateNightTales (LateNightTales)

The LateNightTales series of artist-curated mixes has seen a fair bit of variation over the years since Fila Brazilia first took up the torch in 2001, which makes a certain amount of sense; how we spend our late nights can differ wildly, of course. Hot Chip’s instalment in the series hits some of the expected notes (at least one cover, in this case a deeply moving one of the Velvet Underground’s “Candy Says” they’ve been playing since Alexis Taylor and Joe Goddard were in high school together; a closing story track, in this case Taylor’s father reading a bit from Finnegan’s Wake) and otherwise depicts the kind of late night Dusted readers might be more familiar with than most; one where a clearly voracious and eclectic listener is keeping their own private party going just for another hour or so, but always keeping things just quiet and subtle enough to not wake up anyone upstairs. The three other, non-cover new Hot Chip tracks all make for standouts here but there’s plenty of room for accolades, whether it’s for the smoothly groovy (Pale Blue, Mike Saita, Beatrice Dillon), the more avant garde (Christina Vantzou, About Group, Nils Frahm) to just plain off-kilter pop (Fever Ray, PlanningToRock, Hot Chip themselves). The result works as both a wonderful playlist and a survey of the band’s sonic world; and it does work best when everyone else is in bed.  

Ian Mathers

Annette Krebs Jean-Luc Guionnet — Pointe Sèche (Inexhaustible Editions)

pointe sèche by Jean-Luc Guionnet, Annette Krebs

Annette Krebs and Jean-Luc Guionnet recorded the three long, numbered tracks on Pointe Sèche (translation: Dry Point) over the course of three days at St. Peter’s Parish church in Bistrica ob Sotli, Slovenia. Location matters because this music couldn’t happen just anywhere; Guionnet plays church organ. Krebs was once part of the post-Keith Rowe generation of tabletop guitarists, but since 2014 she has abandoned strings and fretboards in favor of a series of hybrid instruments called konstruktions. Konstruktion #4, which appears on this record, includes suspended pieces of metal, a handful of toy animals, a wooden sounding board, vocal and contact microphones and a couple touch screens that manage computer programs. While both musicians have extensive backgrounds in improvisation, this recording sounds more like an audio transcription of a multi-media collage. Guionnet plays his large instrument quite softly, extracting machine-like hums, brief burps and dopplering tones that flicker around the periphery of Krebs’ fragments of speech, distant clangs and unidentifiable events. The resulting sounds resolutely defy decoding, which is its own reward in a time when so much music can be reduced to easily identifiable antecedents.

Bill Meyer

 KMRU — ftpim (The Substation)

ftpim by KMRU

If you happened to catch Peel, Joseph Kamaru’s wonderful release on Editions Mego in late July, but haven’t paid attention before or since, early December’s half-hour two-tracker ftpim done for (and mastered by) Room40 leader Lawrence English is a Janus-faced example of the Nairobi-based ambient artist’s power. As Ian Forsythe put it in his BOGO review of both Peel and Opaquer, “Something that can define an effective ambient record is an ability to disintegrate the perimeter of the record itself and the outside world,” a line I think about every time I listen to KMRU now. “Figures Emerge” feels more immediately accessible to me as a relatable environment where the gentle, pulsing drone is occasionally greeted by sounds outside the studio, while “From the People I Met” is more difficult terrain, a distorted fog of post-shoegaze harmonic decay — no less interesting, but perhaps more metaphorical in its take on the outside world. (Or not, given how 2020 has gone.)

Patrick Masterson

  Paul Lovens / Florian Stoffner—Tetratne (Ezz-thetics)

Enough years separate drummer Paul Lovens and guitarist Florian Stoffner that they could be father and son, and Lovens membership in the Schlippenbach Trio, and Lovens role as drummer in the legendarily long-running Schlippenbach Trio establishes him as an august elder of free improvisation. But the partnership they exhibit on this CD is one of equals committed to making music that is of one mind. Whether matching sparse string-tugging to purposefully collapsing batterie or burrowing sprung-spring wobbles to an immense cymbal wash, the duo plays without regard for showing us one guy or the other’s stuff. The point, it seems, is to how they imagine as one, and their combined craniums generate plenty of imagination. They operate in a realm close to that occupied by Derek Bailey and John Stevens, or Roger Smith and Louis Moholo-Moholo, but their patch of turf is entirely their own.

Bill Meyer

  Mr. Teenage — Automatic Love (Self-Release)

Automatic Love by Mr. Teenage

Melbourne, Australia’s fertile garage punk scene has squeeze out another good one in Mr. Teenage, a Buzzcockian foursome prone to short, sharp riffs and sing-along choruses. A four-song EP starts with the title track, whose arch talk-sung verse erupts into rabid, rip-sawing guitar, like Devo meeting the Wipers. “Waste of Time” piles palm muted urgency with explosive release, with a good bit of the Clash in the crashing, clangor. “KIDS” struts and swaggers in a rough-edged way that’s close to the violence of early Reigning Sound or Texas’ Bad Sports. “Oh, the kids these days,” to borrow a phrase, they’re pretty good.

Jennifer Kelly

 Nekra — Royal Disruptor (La Vida Es Un Mus)

Royal Disruptor by Nekra

Remember punk shows? Remember half-lit, dusty basements and fully lit, dirty kids? Remember your sneaker soles sticking to scuffed, gummy linoleum? Remember greasy denim battle jackets and hand-drawn Sharpie slogans? Remember warm beer (watery domestic suds in cans and cups) and cold stares (angsty bravado and bad attitude for its own sake)? Remember anarchists arguing with nihilists, and riot grrrls arguing with rocker boys? Remember people laughing and people smoking and people shouting and people spitting, all without masks? Remember the anticipation that crisps the air when the amps switch on? Feedback from the cheap-ass mic stabbing your ears? Beefy dudes elbowing through the press of flesh? That volatile, stomachy mix of happiness and truculence? Those warm-up thumps of the bass drum and the initial strums of crackling guitar? Remember all that? For the time being, in the United States of Dysfunction, here’s the closest thing you’ll get: an EP of feral, fast punk songs that sound like they’re happening live, right in front of your face. Thanks, Nekra — I really needed that.

Jonathan Shaw

 Neuringer / Dulberger / Masri — Dromedaries II (Relative Pitch)

Dromedaries II by Keir Neuringer, Shayna Dulberger, Julius Masri

Yes, Dromedaries II is a sequel. It follows by three years a debut cassette which was sold in the sort of microquantities that 21st century cassettes are sold. So, it’s more likely that you have heard another of the bands that the trio’s alto saxophonist, Keir Neuringer, plays in — Irreversible Entanglements. While the two combos don’t sound that similar, they share a commitment to improvising propulsive, cohesive music that will put a boot up your butt if you get in the way. While IE focuses on supplying music that frames and exemplifies the stern proclamations of vocalist Camae Ayewa, the trio plays instrumental free jazz that balances individual expression with collective support. Neuringer, double bassist Shayna Dulberger and drummer Julius Masri play like their eyes are on the horizon, but each musician’s ears are tuned into what the other two are doing. The result is music that seems to move in concerted fashion, but usually has someone doing something that pulls against the prevailing thrust in ways that heighten tension, but never force the music off track.

Bill Meyer

Kelly Lee Owens — Inner Song (Smalltown Supersound)

One of the distinctive things about Kelly Lee Owens’ marvellous debut LP a few years ago, as noted here, is that it felt so confident and distinct that it could have easily been the work of a much more seasoned producer. That impression, of a deftly skilled hand at the controls and a keen artistic sensibility and taste shaping it all, certainly doesn’t recede on Inner Song, whether it finds Owens homaging the grandmother who provided support and inspiration (“Jeanette”), gently but firmly rejecting unhealthy relationships (the utterly gorgeous “L.I.N.E.”) or teaming up with John Cale to make some bilingual, deep Welsh ambient dub (“Corner of My Sky”). And that’s one pretty randomly chosen three-song run! Owens continues to excel at both crafting gorgeous, lived-in productions and maybe especially with her handling of voices (her own and others), and she’s comfortable enough in her own skin that if she wants to open up the album with an instrumental Radiohead version (“Arpeggi”) she will, and she’ll make it feel natural, too.  

Ian Mathers

San Kazakgascar — Emotional Crevasse (Lather Records)

Emotional Crevasse by San Kazakgascar

You won’t find San Kazakgascar on any map, but give a listen and you’ll know where this combo is coming from. Geographically, they hail from Sacramento CA, where they share personnel with Swimming In Bengal. But sonically, they are the product of a journey through music libraries that likely started out in a Savage Republic and sweated in the shadow of Sun City Girls. They likely spent time in the teetering stacks of music collections compiled in a time when the problematic aspects of the term world music were outweighed by the lure of sounds you hadn’t heard before. More important than where they’ve been, though, is the impulse to go someplace other than where they’re currently standing. To accomplish this, twangy guitars, rhythms that straighten your spine whilst swiveling your hips, bottom-dredging saxophone and a cameo appearance by a throat singer who understands that part of a shaman’s job is to scare you each take their turn stepping up and pointing your mind elsewhere. Where it goes after that is up to you.

Bill Meyer

     John Sharkey III — “I Found Everyone This Way” (12XU)

Has Sharkey mellowed? This early peek at the upcoming solo album from the Clockcleaner legend and Dark Blue proprietor suggests a pensive mood, with liquid jangle and surprisingly subdued and lyrical delivery (albeit in the man’s inimitable hollowed out and wounded snarl). But give the artist a power ballad if that’s what he wants. The song has a graceful arc to it, a doomed romanticism and not an ounce of cloying sentiment.

Jennifer Kelly

 Sky Furrows — Sky Furrows (Tape Drift Records/Skell Records/Philthy Rex Records)

Sky Furrows by Sky Furrows

Sky Furrows don’t take long to match sound and message. As Karen Schoemer drops references to SST Records and Raymond Pettibone, bassist Eric Hardiman and drummer Philip Donnelly whip up a tense groove that could easily have been played by Mike Watt and George Hurley. Mike Griffin’s spidery, treble-rich guitar picking is a little less specifically referential, but does sound like it was fed through a signal chain of gear that would have been affordable back in the first Bush administration. The next track looks back a bit further; Schoemer’s voice aside, it sounds like Joy Division might have done if Tom Herman had turned up, pushed Martin Hannet out of the control room before he could ladle on the effects and instead laid down some space blues licks. Schoemer recites rather than sings in a cadence that recalls Lee Ranaldo’s; pre-internet underground rock is in this band’s DNA. The sounds themselves are persistently cool, but one drawback of having a poet instead of a singer up front is an apparent reluctance to vary the structure; it would not have hurt to break things up with some contrasting passages here or there.

Bill Meyer

  Soft on Crime — “You’ve Already Made Up Your Mind” b/w “Rubyanne” (EatsIt)

7'' by Soft on Crime

These Dublin fuzz-punks kick up a guitar-chiming clangor in A-Side, “You’ve Already Made Up Your Mind,” which might have you reaching for your old Sugar records. Sharp but sweet, the cut is an unruly gem buoyed by melody but bristling with attitude. “Rubyanne” is slower, softer and more ingratiating, embellished with baroque pop elements like flute, saxophone and choral counterpoints. “Little 8 Track” fills out this brief disc, with crunching, buzz-hopped bass and a bit of guitar jangle under whisper-y romantic vocals. It’s a bit hard to get a handle on the band, based on such disparate samples, but intriguing enough to make you want to settle the matter whenever more material becomes available.

Jennifer Kelly

Theoxinia — See the Lapith King Burn (Bandcamp)

See the Lapith King Burn by Theoxenia

Students of Greek mythology will grasp it right away, but in the internet age, it doesn’t take anyone long to figure out that when you name your record See the Lapith King Burn, you’re casting your lot for better or worse with the party animals. The Lapiths were one side of a lineage that also involved the considerably less sober-sided Centaurs, and the two sides of the family had a bloody showdown at a wedding that has been taken to symbolize the war between civilization and wildness. Theoxinia is Dave Shuford (No-Neck Blues Band, Rhyton, D. Charles Speer & the Helix) and his small circle of stringed instruments and low-cost repeating devices. If you were to dig through his past discography, it most closely resembles the LP Arghiledes (Thrill Jockey) in its explicitly Hellenic-psychedelic vibe. But, like so many folks in recent times, Shuford has decided to bypass the expanse and aggravation of physical publication in favor of marketing this LP-sized recording on Bandcamp. If that fact really bugs you, I guess you could start a label and make the man an offer. But if fuzz-tone bouzouki, sped-up loops and unerringly traced dance steps that will look most convincing when executed with a knife between your teeth and the sheriff’s wallet poking mockingly out of the top of your breast pocket sounds like your jam, See the Lapith King Burn awaits you in the realm of digital insubstantiality.

Bill Meyer

 Trees — 50th Anniversary Edition (Earth Recordings)

Trees (50th Anniversary Edition) by Trees

This boxed set presents the two original Trees albums from the early 1970s, The Garden of Jane Delawney and On the Shore, with the addition of demos and sundry recordings from the era. Here the band took the UK folk rock sound emergent at the time and drew it out into its jammy and somewhat arena rock guitar soloing conclusion. It’s good to have all of this in one place to document the myriad ways that Trees wrapped traditional material into new forms and with a bracing, druggy feel.

Arthur Krumins 

 Uncivilized — Garden (UNCIV MUSIC)

Garden by Uncivilized

Guitarist Tom Csatari presides over NYC-based large jazz ensemble known as Uncivilized, whose fusion-y discography stretches back a couple of years and prominently incorporates a cover of the Angelo Badalamenti theme from Twin Peaks. This 27-track album was recorded live at Brooklyn’s Pioneer Works space in 2018 with a nine-piece band, who navigate drones and dances and the multi-part Meltedy Candy STOMP, a sinuous exploration of space age keyboards and surging big band instruments. Jaimie Branch, who lives next door to Csatari and was invited on a whim at the last minute, joins in for the second half including a smoldering rendition of the Lynch theme. It’s damn fine (though not coffee). Later on, Stevie Wonder gets the Uncivilized treatment in a pensive cover of “Evil,” led by warm guitar, blowsy sax and a little bit of jazz flute.

Jennifer Kelly

 Unwed Sailor — Look Alive (Old Bear Records)

Look Alive by Unwed Sailor

Johnathon Ford, who plays bass for Pedro the Lion, has been at the center of Unwed Sailor for two decades, gathering a changing cohort of players to realize his lucid instrumental compositions. Here, as on last year’s Heavy Age, Eric Swatzell adds guitars and Matthew Putnam drums to Ford’s essential bass and keyboard sounds. Yet while Heavy Age brooded, Look Alive grooves with bright clarity, riding insistent basslines through highly colored landscapes of synths and drums. The title track bounds with optimism, with big swirls of synth sound enveloping a rigorous cadence of bass and drums. “Camino Reel” is more guitar-centric but just as uplifting, opening out into squalling shoe-gaze-y walls of amplified sound. Ford, who usually leans on post-punk influences like New Order and the Cure, indulges an affinity for dance, here, especially audible on the trance-y “Gone Jungle” remix by GJ.

Jennifer Kelly

 Your Old Droog — Dump YOD Krutoy Edition (Self-released)

Dump YOD: Krutoy Edition by YOD

American rapper Your Old Droog has been releasing solid music for years. He never had ups for the same reason he never had downs: he never left his comfort zone. Dump YOD Krutoy Edition (where “krutoy” stands for “rude boy” or “badass”) may be his breakthrough album. He always kept his Soviet origins in check, and here for the first time he draws his imagery from three different sources: New York urban present, Ukrainian folk and Soviet and post-Soviet past (even Boris Yeltsin makes an appearance). In this boiling pot, a new Your Old Droog is rising, among balalaikas and mean streets of NYC, matryoshkas and producers with boring beats, babushkas and graffiti writers.

Ray Garraty

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10 Figure Skating programs I love

With the FS off-season--and all related drama revelations--in full bloom, what better time to look back on beloved programs new and old.

Here are ten outstanding pieces (singles disciplines only) from the last couple of seasons that I managed to find online. I feel a bit guilty about not having put in Marin’s Romeo & Juliet. :(

10. Wakaba Higuchi - Skyfall (FS)

The best FS performance of the 2018 Worlds! I must admit I wasn’t a big Wakaba fan until this season. In my prejudiced view, I considered her too rough around the edges. Then she rolled out this season’s programs and I was sold. What’s more, she owned her FS - a mix of Bond music including Adele’s Skyfall - more than any other of her competitors. From her sleek dress to her cool final spin, Wakaba makes a case for a Bond girl movie starring her. And if her electrifying performance is any indication, it’ll be one to remember. The choreography unleashes all her power while funneling it in purposeful and creative ways, never letting the tension disperse. The crazy fast 3Lz3T may be her main weapon, but it’s the step sequence that steals the show.

9. Patrick Chan - Dear Prudence/Blackbird (SP)

I couldn’t skip over Patrick, our newly retired King of Skating Skills. Dear Prudence/Blackbird by The Beatles signaled his last great season and a return to form. A very good return, despite his jump ailments. If anyone can measure up to 60s pop rock, it’s Patrick with his effortless, flowing, confident skating. His classic elegance and somewhat old-fashion charm seem to recall a bygone idyllic spring. These are songs about inner awakening and struggles; about finding a place you belong. They seem to reflect Parick’s journey to reinvent himself. At the same time, Dear Prudence is about the beauty of nature: "The sun is up, the sky is blue, it's beautiful,” and it’s the pure feeling of connection to the music that stays with you.

8. Javier Fernandez -  Malagueña (SP)

Another great skater on his way out. Coming into Helsinki as the defending World champion, Javier managed to skate this short program cleanly in its two-quad glory. For me this is his finest, most sophisticated SP to date. (I welcome the absence of comical elements.) Certain programs can only be performed to their fullest potential when given another season to grow, and Malagueña is a perfect example. It’s all about getting into character, making every movement count. Obviously, having Javier perform the flamenco - choreographed by a Spanish ballet director - and go the extra mile on every element really adds to the authenticity of the program. His effortless skating is just a rung below Patrick and Yuzuru. This is what an energetic and mesmerizing skate looks like!

7. Mao Asada - Ritual Fire Dance (SP/FS)

If Mao can’t make you love figure skating nobody can. All my favorite skaters use their bodies as silent musical instruments and Mao is the leader of the pack. Her musicality, arm movements, footwork, versatility, attention to choreography and emotional projection are absolutely unmatched. In what turned out to be her swan song, all her best qualities shine through. Portraying a mysterious black bird, Mao transformed the piano version of Manuel de Falla’s ballet with her charismatic, soft interpretation. Every step and turn, every detail of the performance appears uninhibited yet polished. She has reached a level of fluidity and complexity where jump errors no longer detract from the overall quality. Also, I love the ponytail.

6. Boyang Jin - Crouching Tiger, Hidden Dragon (SP)

Boyang is one of my recent favs despite there being room for growth in his skating and other components. Beyond the excitement of watching a young skater evolve, I think he has great potential in every area and will just get better with time. His jumps are already prodigious, his performances iconic. Underlying this program is the idea to present a more complete (and serious) version of B for the Olympic season as well as blend in Chinese elements. Unfortunately I don’t think he got the recognition he deserved. Infused with the right mix of composure and energy, this is an atmospheric character-based program that wonderfully shows his refinements in interpretation and control of edges. That step sequence is *fire*.

5. Carolina Kostner - Ne Me Quitte Pas (SP)

A very sophisticated and adaptable lady. At 31 and having lived through many system changes, Caro brings new meaning to the word “veteran” in singles skating. She first hopped under the spotlight with her stunning jumps, but stayed on the stage until today thanks to her masterful skating prowess and evolving artistic “voice”. Her effortless glide and changes of speed/direction are done on the deepest of edges; her arms move like a painter’s brush. Every movement of hers is flowing, full of love for what she does. And rather than a competitive spirit, it’s the emotions and experience she brings to her performances that keep her in the sport. As Lori Nichol said, this short program allowed Caro to be the athletic and sensual woman that she is.

4. Yuzuru Hanyu - Ballade No.1 in G minor 3.0 :) (SP)

Yuzuru knows how to start off the Olympic season with a bang: breaking his own WR in his first performance at the Autumn Classic. A horifically difficult piano composition, Chopin’s Ballade No.1, with its dramatic chords, abstract motifs, dynamic rhythm and interwoven themes running from subtle to stormy, seems to fit our agile FS King like an elegant glove. Over the years, Yuzuru gave us not less than three different and perhaps equally iconic interpretations of Chopin’s favorite music. This particular one is all about the aura and intricate details. Every element is blended with the music. The final jump combo comes out of nowhere. This emotional peak then transitions into the StSq which is majestic in its smoothness; it rumbles and flows together with the fiery chords running down the keyboard. All doubts are resolved yet the mystery persists. Nothing can be added or taken away--this is perfection.

3. Satoko Miyahara - Madame Butterfly & The Planets/Princess Leia (FS)

I adore Satoko’s skating, despite her imperfections (read: jumps). The world needs skaters like her, whose elegance, musical flow, precision, and subtle presentation touch your heart. Her body lines and layback spin are gorgeous; her multidirectional skating effortless. (That reverse Walley into the Salchow!) Satoko is a strong character performer. I loved her Goddess/Princess Leia FS from 2016/17, how original the choreography was and how engaged and fast Satoko seemed. It’s such a difficult piece to skate to yet she managed to showcase different sides to her. This year’s M Butterfly was, given the circumstances, a safer skate, but her emotional projection only increased. Her showing at the JNats was the finest in that regard. Butterfly’s anguish and suicide seem to become Satoko’s own struggle with her injuries. But the piece ends with a spin to the dreamlike yearning of Un bel di vedremo, as if we’re witnessing both Butterfly and Satoko’s rebirth.

2. Kaetlyn Osmond - Edith Piaf (SP)

IMO, to her belong the two best ladies’ performances of the 2018 Olympics. With Edith Piaf Kaetlyn has finally found an iconic short program! You can tell when a skater is truly feeling the music and looking happy while on the ice, and this program has accomplished just that for K. We meet a French young lady, sauntering down the streets of Paris, wanting to be noticed by someone special. Accompanying her is the voice of Edith Piaf, who sings Sous Le Ciel de Paris and Milord. The program has it all: purposeful choreography, powerful skating, sensitive interpretation of music, ease of movement, the speed going into her huge jumps. Her outgoing character just floats up so naturally. Thanks to her charm, K could indeed give Cotillard a run for her money.

1. Yuzuru Hanyu - Hope & Legacy (FS)

During the 2017 Worlds, Max Ambesi proclaimed this as Hanyu’s best skate, and also the best skate in history. I couldn’t agree more, even if everyone has their own favs. It was an inconsistent season before Hanyu had surpassed himself to skate clean a program massive in ambition and complex in expression. It was as if he’d become an ethereal nature spirit. He was the air, wind and water contained within the melody. He made himself appear weightless and effortless on the ice, seemingly not needing any strength to execute any of the elements. A dreamlike aura surrounded him. I just love how the program highlights his natural musicality and attention to detail. My favorite part: the serene StSq followed by the 3F as the music rises.

Bonus: Alena Kostornaia - Stella’s Theme (FS)

What a talented Junior we have! In her first international season Alena has shown she has nothing to fear from the Seniors. Her charisma, skating skills, and arm movements are those of a fairy. Her jumps are spiced up with steps/transitions. Her spins sizzle with creativity. Nothing feels rushed or incomplete. I challenge anyone to watch her lyrical, immersive performances and experience “backloading” done right. :)

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Story You May Have Missed

Hollis Gentry III

Hollis Gentry

San Diego's music community was dealt a major blow on September 5, 2006, with the passing of jazz icon Hollis Gentry, 51. Saxophonist Gentry had survived a roll-over car accident in September 2004, which fractured his jaw and caused serious facial damage, preventing him from playing his instrument; he was hospitalized for nearly three months. Sadly, he never fully recovered and could no longer play, but things took an even worse turn when he was diagnosed with cancer just two months before his passing.

Gentry went to O'Farrell Middle School and Crawford High School. In 1969, he and Carl Evans, Jr., founded local funk band Power. In the early 1980s, the pair founded the jazz quintet Fattburger. A few years later, Gentry departed to form his own band Neon, though he remained a part-time member of Fattburger up until he was unable to play his instrument any more.

Hollis Gentry's Neon released its first album on the Nova label in 1989. While Gentry kept a slightly lower profile during his post-Neon years, until the time of his accident he was a perennial presence at numerous clubs and festivals, as well as at the occasional recording session and tour. He appears with guitarist Larry Carlton on the video Larry Carlton Live at the Montreal Jazz Festival, taped in 1990.

Gentry took home a San Diego Music Award in 1996 for Best Jazz Artist and contributed to many local recordings. Anyone looking for a complete set of his recordings will need copies of albums by Patrick Yandall, Gomango Invasion, Planet Groove, Doug Robinson, and Robin Henkel, to name just a few. There are enough guest appearances out there for a good-sized box set.

Neon would eventually fade, but Gentry (as Hollis Gentry III) released a solo album -- For the Record -- in 2001. Dizzy's owner Chuck Perrin has the distinction of having Gentry's last recorded performance as part of his 2005 album, :44 of Love.

-- by Bart Mendoza for San Diego Troubadour, used with permission

Gentry attended O’Farrell in Southeast San Diego in the 1960s, the middle school where evidence of his unusual talent first became apparent.

“My mother could probably best tell you,” remembers Veronica West, Gentry’s sister, “but he started out trying to play drums in the fourth grade at Knox Elementary. When he got to middle school, he knew what he wanted to do. He said that he really wanted to play the saxophone.”

After O’Farrell, Gentry transferred to Crawford High School. A protégé of jazz sax legend Cannonball Adderley, Gentry cofounded smooth-jazz group Fattburger in the 1980s. A fixture on the local jazz club circuit with his band Neon, Gentry toured with Larry Carlton and David Benoit, among others. In 2004, a near-fatal car accident cost him the ability to play saxophone.

Gentry died of cancer on September 5, 2006 at the age of 51.

On February 24, 2011, Social Advocates for Youth (SAY) San Diego and the O’Farrell Community School in Skyline hosted a dedication concert on campus to name their auditorium after Gentry. *Reposted article composite from the San Diego Reader Online Archive. No date or editor attached to story.