#paul logue

[mutalieju]

Finished Paul Jenkins run of Hellblazer on this reread.

It's... Okay? It has some great moments for sure (Constantine shitting out his alcoholism and guilt in a public toilet to make a clone of himself was great, the issue about John being an unreliable narrator was good... in general lot of the single issue stories are good like the one where john spirals because he accidentally killed his girlfriend's pet fish and hallucinates plane crashes etc, catastrophizing about it. )

Sean Phillip's art is good, Warren Pleece's less so, not enough gross and interesting visuals, no trippy disturbing imagery for the most part. Some of the stuff a more... experimental artist could have done more with. I feel like Pleece's caricaturish art style especially really undersold some of the body horror for example with the ghost with a hole in her head etc.

Dani is underutilized and underwritten, unfortunately. Jenkins does approach the racist aspects of british national identity in an earlier issue with the black woman who is not welcome in the fantasyland of british folklore but then it just doesn't come up with Dani at all until they visit her family in the US.

Underutilizing Dani is one of jenkins's main sins in this run tbh...

Just in general Jenkins has the tendency to play it safe so it doesn't take any big swings. Like lot of the time when white writers have talked about racism in Hellblazer it has been Bad but at least it was trying, even if it fell on its face. Jenkins on the other hand loves to play with concepts like royal bloodlines having mythical properties without stopping to consider the implications, all the while having supposedly sympathetic characters throwing slightly racist jokes around.

The same thing with female characters too. Apart from its nasty treatment of Ellie (which is bad!) the misogyny tends to be more subtle and come in the form of sidelining female characters, especially when it revisits older storylines.

It's still certainly better than most new 52 stuff John has been involved in. I liked how Jenkins wrote John's relationships with kids and how his guilt over Astra influences them. I really liked him becoming a godfather and being horrified by the responsibility.

I liked some arcs. I think Critical Mass is still my favourite of his.

It's nice to tie up the Astra stuff for sure and I enjoy the tone of the arc where it's hopeless most of the time including at the end despite handing out John a massive victory and bringing the Newcastle thing to a close.

As far as the supporting cast goes I enjoyed the guy who was addicted to personalities and summoning famous dead people to get possessed by them and also the epileptic grandma.

The run ends pretty weakly with a literal deus ex machina and while I think it works well especially as a setup for the next writer to take over it's not really earned.

[nerds-yearbook]

In 1903, the mutant Eugene Victor Tooms killed his first known set of five people, eating their livers, and then went into hibernation for the next thirty years. ("Squeeze", X-Files, TV)

[sinceileftyoublog]

Black Belt Eagle Scout Interview: Expanding My Vulnerability

BY JORDAN MAINZER

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

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

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

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

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

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

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

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

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

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

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

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

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

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

KP: Yeah. Being swallowed by it.

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

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

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

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

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

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

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

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

SILY: Is there anything else upcoming for you?

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

[clemsfilmdiary]

Runaway Bride (1999, Garry Marshall)

10/17/24

[genevieveetguy]

. I guarantee there'll be tough times. I guarantee that at some point, one or both of us is gonna want to get out of this thing. But I also guarantee that if I don't ask you to be mine, I'll regret it for the rest of my life, because I know, in my heart, you're the only one for me.

Runaway Bride, Garry Marshall (1999)

[angel-maldonado-enthusiast]

Confidence (2003), dir. James Foley.

[brokehorrorfan]

Zodiac will be released on 4K Ultra HD + Blu-ray + Digital on October 29 via Paramount. The 2007 serial killer thriller is based on Robert Graysmith's nonfiction books Zodiac and Zodiac Unmasked.

David Fincher (Fight Club, Se7en) directs from a script by James Vanderbilt (The Amazing Spider-Man, Scream 5-6). Jake Gyllenhaal, Mark Ruffalo, and Robert Downey Jr. star with Anthony Edwards, Brian Cox, Elias Koteas, Donal Logue, John Carroll Lynch, and Dermot Mulroney.

Specs and special features have yet to be revealed.

David Fincher's involving thriller tells the true story of the Zodiac Killer, a serial murderer who terrorized San Francisco in the late '60s. As the killer leaves behind clues to taunt the authorities, four men-Bay Area cops Dave Toschi (Mark Ruffalo) and William Armstrong (Anthony Edwards), crime reporter Paul Avery (Robert Downey, Jr.), and cartoonist Robert Graysmith (Jake Gyllenhaal), whose book served as the film's inspiration-become obsessed with bringing him to justice.

Pre-order Zodiac.

[royalarmyofoz]

Dear Community,

We are here asking for support and healing for KP (Katherine Paul) and her husband Camas Logue (Black Belt Eagle Scout) while they navigate KP's debilitating and frightening medical emergency.

Currently, KP is going through a diagnosis process with her neurologist based on symptoms and MRI results indicating relapsing remitting multiple sclerosis (RRMS) and we are requesting help from our community during this time.

After coming back from a North American tour earlier this year, KP’s health took a toll and the past few months have been a scary journey to navigate to find out answers for what is going on. She is currently seeing a top neurologist at the Virginia Mason Multiple Sclerosis Center in Seattle, WA, where she is undergoing more testing and will receive care. As per her neurologists instructions, she is to rest and focus on her healing and recovery as this is the most important thing for her right now.

This means that we will be unable to continue making music and going on tour for the time being. Since touring is our main source of income and we have incurred more out of pocket health expenses than normal, we are asking our friends and community to help us during this time of need so that we may be able to focus on KP’s healing for the foreseeable future. If you are able to contribute it would mean so much to us and give us the time and space to focus on KP's healing journey. We love our community so much and are thankful for the support and love from everyone.

[collecting-stories]

Has any one wrote a One Chicago and ER cross over fanfiction story? I would like to read one if there is

Talk about ER look at the stars through out the fifteen series of it !!!!!!

Ewan Mc Gregor, Kat Dennings, Kirsten Dunst, Sally Field, Octavia Spencer, Angela Bassett George Clooney, Linda Cardellini, David Schwimmer, John Stamos, William H Macy, Ming Na Wen, Ving Rhames, Rosemary Clooney, Kristin Davis, Abraham Benrubi, Jared Padalecki, Jeffrey Dean Morgan, Piper Laurie, Mary Mara, Lucy Liu, Red Buttons, Scottie Pippen, John Aylward, Alex Kingston, Glenne Headley, Maria Bello, Jorja Fox, Omar Epps, Harry Lennix, Jami Gertz, Lisa Nicole Carson, Clancy Brown, Chad Lowe, Gedde Watanabe, George Eads, Mariska Hargitay, Taraji P Henson, Mickey Rooney, Eva Mendes, Kellie Martin, Julianna Margulies, Mare Winningham, Cress Williams, Keiko Agena, Xander Berkeley, Julie Bowen, Jessica Capshaw, Mike Doyle, Teri Garr, Djimon Hounsou, Marlee Matlin, Eric Christian Olsen, Holland Taylor, Erik Palladino, Alan Alda, Erica Gimpel, Troy Evans, Martha Plimpton, Gabrielle Union, Shia Le Beouf, Anton Yelchin, Mitch Pileggi, Dakota Fanning, Liza Weil, Maura Tierney, Elizabeth Mitchell, Mark Valley, Nancy Kwan, Judy Parfitt, Wentworth Miller, Alan Dale, Chris Sarandon, James Cromwell, Jim Belushi, Eric Stonestreet, Josh Peck, Sherry Stringfeld, Noah Wyle, Eriq La Salle, Mekhi Phifer, Julie Delpy, Mary McDonnell, Michael Gross, Lisa Vidal, Khandi Alexander, Kal Penn, Christina Hendricks, Kim Raver, Don Cheadle, Leslie Bibb, Tom Everett Scott, Chris Pine, Josh Radnor, Crispin Bonham Carter, Aaron Paul, Eli Wallach, Lake Bell, Josh Hutcherson, Ed Asner, Jerry Trainor, Zac Efron, Bob Newhart, J K Simmons, Jessica Chastain, Rocky Carroll, Leland Orser, Donal Logue, Danny Glover, Ray Liotta, Cynthia Nixon, Josh Gad, John Leguizamo, Corey Stoll, Kristen Johnson, Ernie Hudson, Eamonn Walker, Serena Williams, Stana Katic, James Woods, Stanley Tucci, Amy Aquino, Busy Phillips, Joe Manganiello, Estelle Harris, Garret Dillahut, Lois Smith, Forest Whitaker, Parminder Nagra, Mae Whitman, Peter Fonda, Steve Buscemi, Thandiwe Newton, Rooney Mara, Ariel Winter, Susan Sarandon, Judy Greer, Alexis Bledel & Chadwick Boseman,

I’m not sure but yeah, I have watched all 15 seasons of ER.

[olko71]

New Post has been published on All about business online

New Post has been published on https://yaroreviews.info/2024/01/will-hotter-heat-pumps-win-over-homeowners

Will hotter heat pumps win over homeowners?

Getty Images

By Chris Baraniuk

Technology of Business reporter

The first heat pumps Graham Hendra sold, about 15 years ago, weren’t very hot.

“To get 50C – that was quite hard,” says the former wholesaler, referring to the temperature of the water that these devices sent to radiators, known as the flow temperature.

Today’s gas combi boilers are typically designed for flow temperatures of around 50-60C.

The older heat pumps might have struggled to heat some homes adequately unless the homeowner decided to install larger radiators, for example. The increased surface area of such radiators helps transfer heat into the room.

But a new breed of heat pumps is emerging. Engineers have gradually improved the technology, meaning that heat pumps are now able to supply much higher temperatures, sometimes in excess of 70C.

A major change has been the rise of new refrigerants, including R290, or propane. This is the fluid that circulates inside a heat pump. In an air source device, the refrigerant captures warmth from the outside air, even on cold days. By compressing the slightly warmed refrigerant, the heat pump is able to increase the temperature and then transfer that heat into a property.

R290 is more environmentally friendly than older refrigerants so leaks are not as potentially damaging in climate change terms. Plus, it is up to 34% more efficient, which helps heat pumps supply higher temperatures without incurring severe efficiency losses.

Mr Hendra is now technical director at Genous, a firm that gives advice to homeowners on how to make their properties more energy efficient.

“We have a thing in our industry that I call ‘temperature anxiety’,” he says, likening it to the “range anxiety” that some consumers have about electric cars.

Getty Images

But the advent of hotter heat pumps means that such concerns are increasingly becoming irrelevant, he suggests.

It might take time to convince some, however. Paul Ciniglio, head of whole home retrofit at National Energy Foundation, a charity, is currently working on a project in Bicester covering more than 500 homes.

“We’re trying to get as many as a quarter of them to sign up to heat pumps but it’s proving really hard going,” he says. “There has been so much negative press.”

Some residents are sceptical the heat pumps will be hot enough, he explains, adding, “With the advent of this new refrigerant, it could be a game-changer.”

Among the firms offering R290-based heat pumps are Octopus Energy, a renewable energy company. It recently announced a heat pump called Cosy 6, which can heat water up to a maximum of 80C. In principle, homeowners could change their heating system over with little fuss, says Alex Schoch, head of flexibility. “Combi boiler out, heat pump in,” as he puts it. This could make heat pumps viable in a broader range of UK homes, which are notoriously poorly insulated in comparison with much of Europe.

Vaillant’s aroTHERM plus heat pump works in outdoor temperatures as low as -20C and can supply hot water at up to 75C, though to remain efficient it is best not to exceed 55C, according to the manufacturer.

Another company, Vattenfall, makes a heat pump that uses a different refrigerant, R744, or CO2. It can supply even higher temperatures, up to 85C. The company expects to install 300 in Europe this winter, mostly for housing associations.

And a spokesman for Daikin says that its Altherma heat pump, which uses R32 as a refrigerant, can reach 70C. The firm plans to launch a range of R290-based heat pumps in 2024.

Energy Systems Catapult

Independent non-profit Energy Systems Catapult has, since 2020, been testing 742 heat pumps, of varying models, across different housing types in England and Scotland. Daniel Logue, consultant, says that the R290 heat pumps included in the trial have performed well.

“When averaged over the course of a year, the R290 high-temperature heat pumps were performing significantly better than the R410A heat pumps, which is a refrigerant that’s being phased out now,” he explains.

These heat pumps were consistently able to achieve a coefficient of performance (COP) of around 3. That refers to the amount of heat energy produced, in kilowatt hours (kWh), for every kWh of electricity consumed. Based on current energy tariffs, for heat pumps to be competitive with gas boilers in terms of running costs, a COP of around 3 or higher is generally desirable.

Despite R290 allowing for improved efficiencies when supplying higher temperatures, you still get the best COPs when you run your central heating as low as possible, stresses Leah Robson, co-director of Your Energy Your Way, which installs heat pumps and solar panels among other technologies.

She adds that there are some limitations with R290-based heat pumps, such as the fact that they cannot be located near to air bricks or windows at ground level, to eliminate the risk of the liquid refrigerant, which is flammable, leaking into such areas.

Sue Beesley

Sue Beesley, a homeowner in Cheshire, had an R290 heat pump installed a few months ago. While not strictly necessary, she took the decision to change her radiators and keep flow temperatures to no more than 45C.

That means higher efficiency for her system overall. “What I’ve got now is a house with a very even temperature all the way through,” she says. The COP, in terms of her central heating, is staying near to 4, she adds.

More technology of business

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Heat pump performance is not really a significant barrier to adoption in the UK, suggests Mari Martiskainen, director of the Energy Demand Research Centre at University of Sussex Business School: “We have supply chain issues, we have skills issues.”

Around 72,000 heat pumps were installed in the UK last year – a far cry from the 600,000 per year target set by the government.

Mr Hendra, though, argues that a wider range of heat pumps and improved technology could entice more homeowners away from fossil fuel-based boilers. In his opinion, this is long overdue.

“We are appalling at heat pumps in the UK,” he says, pointing out that the UK was recently ranked 20th out of 21 European nations. “Which is truly embarrassing.”

Related Topics

Heat pumps

Technology of Business

Renewable energy

[watching-pictures-move]

Movie Review | Resident Evil: Welcome to Raccoon City (Roberts, 2021)

I think the comparisons to John Carpenter are a tad generous, and like 90% of modern movies, the lighting is garbage, but I have to hand it to the movie for being as stylistically confident as it is. The widescreen frame is put to consistently good use. There are moments like the oner from inside Donal Logue's car and the shootout lit by muzzle flares that find ways to meld stylistic flourishes to actual tension. (I should note that the latter was technically done earlier by Uwe Boll in Alone in the Dark to less acclaim, and I'd like to correct the record by pointing out it was a good stylistic touch there as well. Literally the only good stylistic touch there. But good nonetheless.) It's pretty obvious this was a COVID production, but I think the smallness and sense of depopulation work in the movie's favour.

All that being said, this has the unfortunate stench of a YouTube fan film stretched out to feature length. As nice as this sometimes looks, there's a ponderousness to the look that suggests it's trying really hard to elevate the trite source material. Aside from a few minutes of the fourth one which I picked up during a Steam sale, I haven't played any of the games, so the significance of a lot of this probably went over my head. But much of the dialogue here is a mix of callbacks and exposition that the mostly bland cast can't do anything to sell, beyond saying it slowly and awkwardly enough so you don't miss it. Probably the worst example is when Leon Kennedy and Jill Valentine introduce themselves to each other, followed by Claire Redfield loudly saying "We have to find my brother, Chris Redfield." And there are of references to relics of the '90s like chatrooms and Blockbuster as if characters are reminding each other what decade they're in. The only actors who emerge unscathed are Donal Logue, who gets some semblance of personality by being a gruff asshole, and Neal McDonough, who gets to chew some scenery in the climax.

And while I'm not a fan of the Paul W.S. Anderson movies, those at least move along at a decent pace, while this jerks from one set piece to the next, presumably building them around callbacks without much sense of how to stitch them together. That being said, the things this does well make me think I'd like it more if it came out fifteen years ago or so, at which point it likely would have been shot on film, better lit and had at least some practical effects. This actually feels like the 2021 equivalent of a movie I would have caught on the Scream channel during my high school days and logged on to the Rotten Tomatoes forums to post "Cool flick, especially the car scene and the shootout, 7/10" and posted a fresh tomato emoji or "This" underneath a bunch of other posts saying how much better it was than the Anderson movies. Now, I'm older and wiser, and have warmed up to the bozo nu metal style that was de rigueur in those days, and realize that both this and the Anderson movies are kinda lame, and that the best zombie video game adaptation is actually House of the Dead, where characters stand around and shoot at oncoming zombies light-gun-style, or Resident Evil: Apocalypse, where a character is introduced ass-first and fires wildly into a crowded police station and headshots all the zombies. Yeah, I'm all about quality cinema these days, although if somebody else had posted this back in the day, I'd probably have replied with a rotten tomato emoji.

[audiofuzz]

HEAR: Electro-Pop | Able Machines - “Evidence”

  We are really excited about this duo. We had a listen today and the electro-pop perfection is magnificent. The music is catchy and fun. Take a listen to “Evidence” above and read more about them below: Los Angeles-based electro-pop duo Able Machines announces their futuristic self-produced sophomore album Digital Precision due out September 29 and available for pre-order now. Alongside the announcement, the pair share the first taste of the project with "Evidence" out now and its accompanying cinematic, self-directed video. With its Swedish pop influence, the latest track defiantly chooses self-love over a toxic relationship. To celebrate the LP release, able machines will perform live at their official album release show in Los Angeles at Gold Diggers on September 6. Tickets are available now here. Digital Precision, the forthcoming self-produced second album by able machines, moves into uncharted emotional and musical territory for the pair. “I think for both of us, writing this album was a cathartic purging of emotions,” says vocalist Tay Côlieé. “Each song is a little glimpse into the inner workings of our brains and how we navigate the tangled dynamics of angsty love.” Over a varied set of 12 tracks, the project allows the duo to strikingly expand their sonic universe using punchy, futuristic production and timely, thoughtful lyricism–written and produced entirely by the two artists in Los Angeles. With their second album, the pair is able to expand on the work they've made and experiment with their influences. Côlieé says, “Stylistically, this second album gave us an opportunity to dive deeper into developing our sound. We had fun pulling elements from our background in different musical genres — like my love of Fiona Apple and Elliot Smith, Linus’ punk/metal upbringing and then melding all that into the electropop sphere.” The majority of Digital Precision was mixed by SethEarnest (Tessa Violet) and mastered by Paul Logus (Anthrax, Notorious B.I.G.). "Evidence," out today, is an empowering, Swedish pop-influenced earworm with an irresistible baseline and dreamy vocals. Côlieé says, "We wrote this as sort of a response to breaking out of toxic relationship patterns and realizing your own worth." The album was already written when the track made its way into their lives, but they saw something special in it and dropped everything to record it.Côlieé adds, "Musically, it’s our tribute to our favorite Scandinavian artists." The track's accompanying self-directed video is a cinematic CSI-style take on the song as the duo step into character as detectives, doing research and collecting evidence investigating a toxic ex. Dotson says, "It was the perfect opportunity to put our 3 “band chihuahuas” in the video as the K-9 Unit. We found an old audio parts manufacturing lab in East LA and it was the perfect location for our crime lab." The plot-based video posed new challenges, like having to recruit multiple characters other than themselves for the first time. Côlieé adds, "The production had so many moving parts, rather than just Linus and I winging it, we had so many opportunities to plan and add little Easter eggs in every scene — like hiding our song lyrics in the love letters and having our logo appear in subtle places.” Watch: "Evidence" (Official Music Video) Rising duo able machines is made up of Tay Côlieé and Linus Dotson who met when Côlieé was perusing Craigslist in search of musical gear and stumbled upon a “wanted” ad posted by producer Dotson. Dotson, professionally known as Linus Of Hollywood, has made a name as a diverse songwriter and producer, working with a range of artists including The Charlatans UK, Bowling For Soup, Diddy, Cheap Trick and Smashing Pumpkins. He’s also a member of Santa Barbara pop/punk legends Nerf Herder, who are best known for writing the theme song for popular television show, Buffy The Vampire Slayer. Côlieé first began acting as a teenager and later moved into music as a ghostwriter for Capitol Records, co-writing hits for major pop titans including Ariana Grande and Camila Cabello. The group's first single, “Secrets and Lies” was written on the afternoon they met, and fueled by a matched passion and palpable artistic chemistry, able machines was born. Of their boundary-pushing sound and remarkable self-sufficiency, The HYPE Magazine wrote, "The duo tauntingly toys with the normal boundaries of pop music, often coupling their catchy melodic music with dark lyrical imagery while self-producing their own visual content, music videos included." Today, coming off of a successful Japanese mini tour, able machines is ready to re-introduce themselves with their second body of work that spans a vast musical soundscape and sees the two plunge into emotional depths like never before. The bouncy, Swedish pop-inspired "Evidence," is out everywhere now. The sophomore LP by able machines, Digital Precision, is due out September 29 and available to pre-order now. Celebrate the LP at the official album release show with able machines live in Los Angeles on September 6. Tickets are on sale now here and merch is available here. Connect with able machines on Instagram, Twitter, YouTube and TikTok and stay tuned for more from the rising duo. Read the full article

[chrisryanspeaks]

HEAR: Electro-Pop | Able Machines - “Evidence”

  We are really excited about this duo. We had a listen today and the electro-pop perfection is magnificent. The music is catchy and fun. Take a listen to “Evidence” above and read more about them below: Los Angeles-based electro-pop duo Able Machines announces their futuristic self-produced sophomore album Digital Precision due out September 29 and available for pre-order now. Alongside the announcement, the pair share the first taste of the project with "Evidence" out now and its accompanying cinematic, self-directed video. With its Swedish pop influence, the latest track defiantly chooses self-love over a toxic relationship. To celebrate the LP release, able machines will perform live at their official album release show in Los Angeles at Gold Diggers on September 6. Tickets are available now here. Digital Precision, the forthcoming self-produced second album by able machines, moves into uncharted emotional and musical territory for the pair. “I think for both of us, writing this album was a cathartic purging of emotions,” says vocalist Tay Côlieé. “Each song is a little glimpse into the inner workings of our brains and how we navigate the tangled dynamics of angsty love.” Over a varied set of 12 tracks, the project allows the duo to strikingly expand their sonic universe using punchy, futuristic production and timely, thoughtful lyricism–written and produced entirely by the two artists in Los Angeles. With their second album, the pair is able to expand on the work they've made and experiment with their influences. Côlieé says, “Stylistically, this second album gave us an opportunity to dive deeper into developing our sound. We had fun pulling elements from our background in different musical genres — like my love of Fiona Apple and Elliot Smith, Linus’ punk/metal upbringing and then melding all that into the electropop sphere.” The majority of Digital Precision was mixed by SethEarnest (Tessa Violet) and mastered by Paul Logus (Anthrax, Notorious B.I.G.). "Evidence," out today, is an empowering, Swedish pop-influenced earworm with an irresistible baseline and dreamy vocals. Côlieé says, "We wrote this as sort of a response to breaking out of toxic relationship patterns and realizing your own worth." The album was already written when the track made its way into their lives, but they saw something special in it and dropped everything to record it.Côlieé adds, "Musically, it’s our tribute to our favorite Scandinavian artists." The track's accompanying self-directed video is a cinematic CSI-style take on the song as the duo step into character as detectives, doing research and collecting evidence investigating a toxic ex. Dotson says, "It was the perfect opportunity to put our 3 “band chihuahuas” in the video as the K-9 Unit. We found an old audio parts manufacturing lab in East LA and it was the perfect location for our crime lab." The plot-based video posed new challenges, like having to recruit multiple characters other than themselves for the first time. Côlieé adds, "The production had so many moving parts, rather than just Linus and I winging it, we had so many opportunities to plan and add little Easter eggs in every scene — like hiding our song lyrics in the love letters and having our logo appear in subtle places.” Watch: "Evidence" (Official Music Video) Rising duo able machines is made up of Tay Côlieé and Linus Dotson who met when Côlieé was perusing Craigslist in search of musical gear and stumbled upon a “wanted” ad posted by producer Dotson. Dotson, professionally known as Linus Of Hollywood, has made a name as a diverse songwriter and producer, working with a range of artists including The Charlatans UK, Bowling For Soup, Diddy, Cheap Trick and Smashing Pumpkins. He’s also a member of Santa Barbara pop/punk legends Nerf Herder, who are best known for writing the theme song for popular television show, Buffy The Vampire Slayer. Côlieé first began acting as a teenager and later moved into music as a ghostwriter for Capitol Records, co-writing hits for major pop titans including Ariana Grande and Camila Cabello. The group's first single, “Secrets and Lies” was written on the afternoon they met, and fueled by a matched passion and palpable artistic chemistry, able machines was born. Of their boundary-pushing sound and remarkable self-sufficiency, The HYPE Magazine wrote, "The duo tauntingly toys with the normal boundaries of pop music, often coupling their catchy melodic music with dark lyrical imagery while self-producing their own visual content, music videos included." Today, coming off of a successful Japanese mini tour, able machines is ready to re-introduce themselves with their second body of work that spans a vast musical soundscape and sees the two plunge into emotional depths like never before. The bouncy, Swedish pop-inspired "Evidence," is out everywhere now. The sophomore LP by able machines, Digital Precision, is due out September 29 and available to pre-order now. Celebrate the LP at the official album release show with able machines live in Los Angeles on September 6. Tickets are on sale now here and merch is available here. Connect with able machines on Instagram, Twitter, YouTube and TikTok and stay tuned for more from the rising duo. Read the full article

[krispyweiss]

Cinderella Guitarist Jeff LaBar Dead at 58

Jeff LaBar, former lead guitarist for Cinderella, has died at age 58 of undisclosed causes.

In announcing LaBar’s death, surviving band members Tom Keifer, Eric Brittingham and Fred Coury said it is “unimaginable that one of our band brothers has left us.”

“Heavy hearts cannot begin to describe the feeling of losing our brother Jeff,” they wrote. “The bond between us over decades of creating music and touring the world is something that we as a band uniquely shared. Those memories with Jeff will be forever alive in our hearts.”

Cinderella broke up in 2017 after releasing four albums between 1986 and 1994 and scoring hits such as “Nobody’s Fool” and “Don’t Know What You Got (Till it’s Gone).”

In remembering the guitarist, Paul Logue of Eden’s Curse called Cinderella “one of the first rock bands I got into as a teenager and a band of my live bucket list,” while Scorpions lamented his LaBar’s death at such a young age.

”Our hearts and prayers go out to his family and friends,” the German band said on Facebook. “RIP, Jeff.”

7/15/21

[kbox-in-the-box]

John Constantine is one of those comics characters that I grew up with, so it was fun to revisit him for this /Film profile.

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Oblivion by The Winery Dogs from the album Hot Streak