#paul shaw

[themonsterghost]

what is the dream what is the truth

[differenthead]

Volume 264

0:00:00 — "The Beginning" by David Rogers & Paul Shaw (1990)

0:03:53 — "On Air" by David Rogers & Paul Shaw (1990)

0:07:08 — "Dreamspeak" by David Rogers & Paul Shaw (1990)

0:10:51 — "Malibu Queen" by Alan Hawkshaw (1985)

0:14:06 — DJ

0:17:08 — "Improvisation pour Orgue et Saxophone #1" by Bertrand Eluerd (1990)

0:19:10 — "Our World 2" by Paul Williams (1992)

0:20:44 — "Cover Girl" by Ron Aspery (1985)

0:23:22 — "Valley of Mists (A)" by Keith Mansfield (1989)

0:25:28 — "Double Helix (A)" by Keith Mansfield (1989)

0:27:54 — "Palm Innocence" by Iasos (1983)

0:30:37 — "Dark (Kip's Tune)" (Edit) by Kip Hanrahan (1985)

0:31:17 — "Magical" by Anthony Phillips (1991)

0:34:11 — "First Light" by Milan Pilar (1993)

0:38:27 — "Dance of Medusa" by Milan Pilar (1994)

0:43:24 — "Digital Structures 24" by Milan Pilar (1990)

0:45:07 — "Raindance" by O Yuki Conjugate (1987)

0:52:01 — "Jump Monk" (Edit) by Don Alias & Michael Blair & Art Baron & Bill Frisell & Gary Lucas & Greg Cohen (1992)

0:53:36 — "Desert Mirage" by David Vorhaus (1993)

0:56:34 — "Sirens" by Steve Everitt (1994)

1:00:21 — "Nomadic 1" by David Hentschel (1990)

1:02:01 — "Manta Ray" by Eric Vann (1982)

1:03:46 — "Primordial Germination" (Edit) by Geinoh Yamashirogumi (1986)

1:05:45 — "Love Magick" (Edit) by Steve Roach & Robert Rich (1992)

1:09:14 — "Touch" by Steve Roach & Robert Rich (1992)

Stream

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[drawing-way-outside-the-lines]

➖ Mature content, 18+ ➖ check the trigger tags each time ➖      

Chapter 29 - Old Messages, pt. 6. Episode 2.

Andy: Sipped the water few times, then put it back on the floor, and laid down in Congo's nook, smiling satisfied I love you too, Congo, more than you know…

Congo: Smiled softly I'm starting to get a picture. He kissed Andy's nose gently Thank you for coming here tonight…

Andy: Smiled softly I'm glad I did, for several reasons…

Congo: Smiled warmly Tell me…

Andy: Well for one you changed your mind and didn't break up anyway… secondly, this amazing sex we just shared on so many levels… thirdly, you are finally starting to get that I really, truly, deeply love you smiled softly and also, because of this he leaned upwards and kissed Congo tenderly, then returned to his spot in the nook, caressing Congo's chest softly

Congo: Smiled warmly at Andy and started softly caressing his mohawk, digging his fingers deep into the light blue hair You are very precious to me… I hope you will come to learn that, if you don't already know.

Andy: He smiled warmly I do know Congo… I know very well… he sighed softly and snuggled his face somewhat against Congo's armpit, sniffing him in I love your smell, it's the best smell in the world… the smell of fresh cut wood, turpentine, bonfire, outdoors and a hint of sweat… but not a sour dirty kind of sweat, a warm sweet kind…well the smell of MAN basically…he sighed softly and felt the butterflies in his stomach swirl around like a tornado I always loved your smell… even when I was straight… I have sometimes in the past stolen a bit of your dirty work clothes, just so I could lay in my bed and sniff it… or hug it… he blushed bright red I don't even know why I tell you?… blushed even more Oh god! He hid his face in Congo's armpit Am I a freak?

Congo: Chuckled warmly Yes you are… but that's just one of the many things I love about you. And now I know where my clothes went chuckled softly it's alright, I'm happy I can give you some sort of comfort with my scent.

Andy: He chuckled shyly I'm so embarrassed!

Congo: Chuckled deeply Don't be… I think it's sexy he kissed Andy's hair softly

Andy: Smiled softly and yawned a bit

Congo: He smiled lovingly Are you tired Mr. Cullman?

Andy: He looked as if he was thinking of something, then chuckled shyly

Congo: Smiled bright What are you thinking of you little rascal?

Andy: Blushed bright red Nothing!

Congo: Tickled him Tell me!

Andy: Pouted his lips like a child No!

Congo: Tickled him again Tell me!

Andy: Laughed warmly No!

Congo: Laughed warmly and tickled Andy again Tell me or I wont stop!

Andy: Squealed loudly Alright alright! laughed warmly I thought, that I like the sound of Cullman-Shaw… or just Shaw…

Congo: He stopped laughing and looked at Andy with flickering eyes

Andy: Looked at Congo a bit worried Did I say something wrong?

Congo: Shook his head softly No….

Andy: Looked at him confused Then why did you get this weird look on your face?

Congo: He smiled softly It's hard to explain, but I can show you… wait here… He jumped out of bed and walked to his pants, grabbing his phone, smiling softly at Andy as he put the phone to his ear Hi dad… is Marius asleep? Yes, I know, but we needed more time…. thank you…. could you do me a favor? Could you get that thing I showed you, out of my desk in my room? The key is strapped on the side of the fireplace… Okay, good… I hate to ask you, but could you bring it here? Thank you. Just remember to take the path okay, so you don't fall…. he grunted slightly annoyed yes, I know your legs are fine, just do it anyway please so I don't have to worry… thanks…. see you in 10 minutes, just knock the door 3 times. As he hung up he smiled softy at Andy My dad will pay us a visit as I'm sure you figured. He grabbed the bag on the floor and brought it to the bed, placing it on Andy's lap We have a couple of apples, a pear and a banana… also there's two more bottles of water… if you want anything, just take it…he smiled softly and kissed Andy's forehead gently I'll just quickly jump in my pants at least… just wrap yourself in the blanket, you don't have to get dressed, he's not going to stay he winked at Andy Marius is sleeping, so that bought us some extra time…

Andy: Looked a bit questioning at Congo, then smiled softly and grabbed an apple, sinking his teeth into the green skin So is this where you and your dad slaughter me and hides me in the woods? He chuckled softly and took another bite

Congo: Frowned softly No silly…I think you have spent too much time amongst savage people…

Andy: Frowned a bit

Congo: He sighed softly I'm sorry… He searched through the bag and grabbed the other apple, taking a big bite, chuckling softly as some of the juice ran down his chin

Andy: Bit his lips softly Let me get that for you… He got up on his knees with a cheeky smile, crawling up on Congo's lap, planting one knee on each side of Congo's hips, grinding his butt a bit against Congo's groin area, as he grabbed Congo's jaw and tipped his head a bit backwards, licking the juice off Congo's chin, sucking his skin gently with a soft moan

Congo: Moaned softly and felt himself starting to get hard again Hold on… my dad is on his way… I would appreciate not having him interrupting us mid act, or having to answer the door with a boner! He chuckled softly

Andy: Pouted a bit then chuckled softly Yeah, okay, I actually agree. He smiled softly as he crawled off again, sinking his teeth into his apple I like licking your beard though, it tickles my tongue he smiled bright I think that could become a new fetish of mine, or should I say 'yet' another fetish of mine? He chuckled hoarse as he took another bite

Congo: Smiled softly I don't mind fetishes, I have quite a lot myself, but you already know that… I think we rounded them all that night on Facebook, huh? He chuckled softly an bit his apple again, continuing to eat the juicy fruit as he observed Andy with a warm loving gaze, once in a while stroking one of his cheeks or hands, then suddenly gets a bit startled as he hears 3 knocks on the door, making a sign to Andy as to keep quiet, but smiles relieved as he hears his dads voice from outside *I later changed the spelling to Paul, but wont spend time editing) Poul: It's just me… you can easily open…

Congo: Hurries over the floor and quickly opens the door, smiling warmly at his dad as he hands him a little black box Thanks dad, that's very sweet of you, please be careful on the way back as well… he bends forwards and kisses his dads cheek, but as he makes a gesture as to close the door, Poul puts a foot inside

Poul: I take it you plan to use that one now?

Congo: Nodded a bit

Poul: I would prefer to be present then, to make sure I get something valuable out of my sneaking around… May I come in?

Congo: Looked back at Andy to see if he was covered by the blanket, then slowly steps aside Sure dad… come in… I guess it's only fair since I dragged you into all of this mess…

Poul: He smiled warmly at Andy and walked straight up to him Don't get up son, I expect you aren't fully dressed under there he pointed casually at the blanket and chuckled softly as he winked at Andy I just wanted to take a look at you since it's so long time since I last saw you… what has it been? 2-3 years?

Andy: Nodded softly I apologize Poul, life has just been crazy!

Poul: Looked back at Congo with a sad expression Yes, so I have heard. He looked back at Andy and tussled his mohawk Well, you are just as handsome as I remember chuckled warmly I see why my son is so in love with you. He smiled warmly, then stepped a bit aside, nodding softly at Congo Go on son…

Congo: He smiled a bit nervous at his dad, and stepped forwards, sitting down on the bed next to Andy, softly caressing his cheek, then planted both his hands on Andy's, caressing them softly Andy…. you know I recently asked you for advice on buying an engagement ring for Marius. While I was doing so, I was torn… so torn… cause there I was, buying a ring for the boy I undeniable love with all my heart, while my soulmate was dancing with another man. He looked down a bit sad I don't know why I'm this soft around my heart, I don't know why I ended up doing it, cause most days it just haunts me to drag it around, but I bought it anyway… I guess it was a romantic picture I needed to hold on to, of a better world, where you were mine… I thought about returning it many times, but never did. I guess it was all I had left to hold onto, a small hope in the dark, that maybe in an alternate universe we would be dancing together. And here we are. We made our alternate universe. I know you can't answer my question in real life, I know it can't be more than just a dream… but in this alternate universe he let himself slide down to the floor, getting on one knee, reaching the box towards Andy as he opened it, revealing a plain silver ring. Andy, will you marry me?

Andy: He stared a bit at the ring, as tears started forming in his eyes, shaking his head softly as a sob emerged from deep inside of him, then he threw himself at Congo's throat, chuckling between his tears and sobbing YES!!! Yes I will marry you in this alternate universe! There's nothing I would rather do! Also in the real world, if it was remotely possible! He sobbed on a bit more, then found Congo's lips, connecting them with Congo's, kissing him passionately, still somewhat chuckling between tears, and after a short while, he pulls back a bit, looking at the ring in the box

Congo: He smiled warmly with tears in his eyes It's just plain and simple, with a little heart on the inside, and then the engraving 'forever and a day'… It should fit your thumb, I know that's not optimal, but, I bought it like that, in case there were ever a chance for you to wear it… no one will think twice about a silver thumb ring. Maybe you could say you bought it at a flea market… or it belonged to an old family member? He smiled softly as tears starts running down his cheeks I love you… Thank you for making me the happiest man alive! He gently picked up the ring, then picked up Andy's hand, and gently sliding the ring on Andy's thumb, kissing it gently It fits perfect! He smiled satisfied and chuckled as he heard his dad sniffle his nose Are you okay dad?

Poul: Chuckled softly and nodded with a bright smile on his face I'm just so happy! Can I hug you two?

Andy: Nodded softly, more or less lost in proudly looking at the ring

Poul: Chuckled softly and dried his eyes, then made his way to the bed, bending down between them, wrapping an arm around each of their shoulders, squeezing them tightly I'm so happy! Congratulations! He planted a kiss on both their cheeks, then stood up again, tussling Andy's mohawk a bit Welcome to the family, son. I'm proud to have you!

Andy: He chuckled softly Thank you Poul, I'm proud to be here he smiled happily, so much that his eyes sparkled in the dimmed light

Poul: I better get back my dear boys, but… just before I leave, what would your names be, if you could marry in this world of yours?

Congo: He answered with a warm loving voice Cullman-Shaw..

Andy: He smiled softly No… just Shaw…

Congo: Looked at Andy a bit surprised No more Cullman?

Andy: He shook his head softly No… If possible, I would like to just be all yours. That would make me happy he smiled shyly

Poul: Sobbed softly

Congo: Smiled warmly at Andy, caressing his cheek softly I love you more than anything in this world. He got up slowly and walked to his dad, giving him a big hug, speaking in a soft soothing voice Dad… I need you to pull yourself together now and get back to the house. I'll be home before the break of dawn. He kissed his dads cheek softly I love you… thank you for being here, it means the world to me.

Poul: Nodded softly and took a deep breath It means the world to me too, son. He stepped aside and smiled happily at Andy Maybe one day soon, the three of us could sit down over dinner? -My treat he winked at Andy I'll see you, son. Take good care of yourself, and my boy. He padded Congo's shoulder softly and silently walked out the door.

[drawing-way-outside-the-lines]

In order of deepness:

tag the oc with a deep voice

[twixnmix]

Andy Warhol, Annie Lennox, Tommy Shaw, Frank Zappa, Paul Stanley, Frank Cody and Paul Shaffer at NBC Radio's "Live From the Hard Rock Cafe" in New York City, 1985.

[margowendice]

"Some men think the earth is round, others think it´s flat. It is a matter of capable questions. But if it is flat, will the kings command make it round? And if it is round, will the Kings command flatten it? No. I will not sign."

A Man for All Seasons (1966).

director: Fred Zinnemann.

[jedivoodoochile]

Andy Warhol, Annie Lennox, Tommy Shaw (Styx), Frank Zappa y Paul Stanley (Kiss)

[mclennonlgbt]

Midas Man review (with spoilers!)

Yesterday I had the unique opportunity to watch a biopic about Brian Epstein. Although the film is currently only available in certain countries, @pauls1967moustache organized a watch party, which I joined. Thank you!!!

"Midas Man" has many advantages. The main one is the leading male role: Jacob Fortune-Lloyd did a great job. He perfectly portrayed Brian's complex personality. He was able to convincingly present both his uncertainty and tremors, as well as his perseverance in promoting the Beatles. Eppy said with full confidence that his boys would be bigger than Elvis - clearly he believed it deeply, even when higher-ups in the music industry laughed in his face. Fortune-Lloyd also convincingly played Brian's emotions related to his sexuality. On the one hand, Epstein did not want to run away from his nature, but on the other - he was well aware that sex between men was a crime and could expose him to blackmail. In one scene, Brian's parents pressure him to be more careful because revealing his sexual orientation in the newspapers could discredit the family business and end the careers of the Beatles and other artists he manages. Brian, filled with guilt, apologizes to his parents for "causing them pain." I have been following this thread with interest and I am glad that it has not been omitted or trivialized.

Unfortunately, the love story disappointed me. It was very cliché. Brian met someone he quickly began to care about. Tex did not reciprocate his feelings, he just wanted to have fun and benefit from Epstein's influence. Ultimately, he left without saying goodbye, stealing money and documents. I know the real Brian dated some shady guys, but it wasn't portrayed very convincingly in the movie. Perhaps Edward Speleers, the actor playing Tex, failed.

How did the Beatles fare? Not bad, but... nothing more. I must praise Blake Richardson, who played Paul - his facial expressions were very reminiscent of McCartney's. Blake was very authentic, I felt like I was looking at Paul. I also liked Wallace Campbell as Ringo. Unfortunately, the remaining Beatles were exaggerated. I'm thinking specifically about George (played by Leo Harvey Elledge). John, on the other hand, lacked depth. I had the impression that he was just a cheeky kid who thought he was entitled to everything. The young Lennon had a more complex personality. Besides, Jonah Lees who played him almost didn't look like him at all xD Speaking of which, the wigs looked terrible in most scenes. I guess there wasn't enough budget for it.

I was surprised (in a negative sense) by the complete omission of an important thread in the history of the Beatles: Brian's infatuation with John. Whether or not Lennon reciprocated the feeling, it was largely Epstein's motivation to pursue the band. When we jumped from 1963 to 1964 and there was no mention of the trip to Barcelona, ​​I was confused. Instead, the creators decided to focus on a fictional romance between Brian and Tex.

The advantage of the biopic is that viewers have the opportunity to meet other artists that Epstein managed. In one scene, Brian proudly introduces us to Billy J. Kramer, Tommy Quickly and... Cilla Black (Darci Shaw). Brian and Cilla's relationship is definitely one of the most touching and adorable elements of the entire film. It is clear that the singer is Epstein's favorite, and not only in professional terms. They are simply a pair of devoted friends. From what I understood, Cilla knew about Brian's orientation and fully accepted it.

"Midas Man" is a decent movie, better than I expected. However, these are not the heights of cinematography. I had the impression that Brian was presented somewhat sweetly, as a person without flaws (perhaps his family took part in consulting the script?). I think a rating of 7/10 would be fair.

[xmenshitposts]

do yall know how hard it is to think of 3 x-men with actual jobs

original under the cut

[themonsterghost]

is he really a bard if he doesn't have a slutty waist

[issela-santina]

British men paired up with American men:

bonus: (one is American, one is British, and one is both)

[geekcavepodcast]

That Christmas Trailer

That Christmas is a "series of entwined tales about family and friends, love and loneliness, and Santa Claus making a big mistake, not to mention an enormous number of turkeys!" (Netflix)

Based on the children's books by Richard Curtis, That Christmas is directed by Simon Otto. Curtis is onboard as writer and an executive producer. The animation is by Locksmith Animation. The film stars the voice talents of Brian Cox, Fiona Shaw, Jodie Whittaker, Lolly Adefope, Alex Macqueen, Katherine Parkinson, Sindhu Vee, India Brown, Zazie Hayhurst, Sienna Sayer, Jack Wisniewski, Rosie Cavaliero, Paul Kaye, Guz Khan, Andy Nyman, Kuhu Agarwal, Bronte Smith, Freddie Spry, Ava Talbot, Bill Nighy, and Rhys Darby.

That Christmas hits Netflix on December 4, 2024.

[drawing-way-outside-the-lines]

In order:

tag the oc that always gives reasonable, practical advice

[kevinpsb00]

That Wink

[medievalandfantasymelee]

I never realized exactly how many hot Sherriffs of Nottingham there were...

1) Alan Wheatly - The Adventures of Robin Hood (1955-1959)

2) Peter Cushing - The Sword of Sherwood Forest (1960)

3) Paul Darrow - The Legend of Robin Hood (1975)

4) Robert Shaw - Robin and Marian (1976)

5) Alan Rickman - Robin Hood: Prince of Thieves (1991)

6) Roger Rees - Robin Hood: Men in Tights (1993)

(And to think only two have been submitted...)

[dustedmagazine]

Dust Volume 10, Number 10

The Ex

October closes with a macabre flourish — blackened gardens, elaborate yard displays of skeletons, Halloween, the day of the dead, a terrifying American election.  We music lovers react in various ways, some turning to darker, more ominous musical textures, others seeking solace and distraction, still others ignoring the backdrop completely and listening to what they would listen to anyway.  And so, we gather another wide-ranging dust, spanning sounds inspired by a Bolivian earthquake, pogo-friendly snappy jangle, a crust supergroup, a celebration of the Ex’s 45 years in music, and much more.  This month’s contributors include Jennifer Kelly, Bryon Hayes, Bill Meyer, Jonathan Shaw, Christian Carey, Ray Garraty, Tim Clarke and Ian Mathers. 

Alma Laprida — Pitch Dark and Trembling (Outside Time)

Alma Laprida is an experimental artist and musician from Argentina, here playing a medieval stringed instrument—the tromba marina—through a 21st century array of effects pedals and an 18-inch subwoofer. The instrument, with its yards-long strings and vibrating bridge, is, by itself, capable of unusual sounds. Its natural timbre hovers between a cello and a trumpet. But fed through Laprida’s electronic rig, the sound turns harsh and ominous, blistering and dissolving into tones so low you feel rather than hear them. This album comes from a live performance at Bard College in 2023, taking as its subject Laprida’s experiences during an earthquake in Bolivia. In the long, “Trembling,” low, sustained vibrations make the air tremble, while trebly, metallic sounds skitter and rattle, like pots and pans clattering in the shock. A clock ticks in the foreground, steady on top of roiling, shifting undercurrents. “Vibra,” the other lengthy track, looses then subdues the tromba’s brassy sound, letting the echoes linger for long, not-quite-empty minutes. A corrosive blare interrupts, a foghorn in a world of mists and uncertainty, then clear string tones and its scratching echoes. Pitch Dark and Trembling distills an ambient unease into sound.

Jennifer Kelly

Artificial Go — Hopscotch Fever (Feel It / Future Shock)

This Cincinnati quartet produce a short, sharp brand of post-punk that induces spontaneous pogoing. Hopscotch Fever is Artificial Go’s debut, but it could easily be mistaken for an unearthed gem from late-1970s England with its snappy rhythms and chiming, angular guitars. Vocalist Angie Wilcutt (Corker) adopts an English accent as she sings charmingly, her lyrics unfolding in an energy-filled stream of consciousness that keeps pace with the bouncy backbeat of songs like “Payphone,” “Aphrodisiac,” and the band’s calling card “Artificial Go.” Cole Gilfilen (Corker, The Drin), Micah Wu, and Claudio Thornburgh round out the band’s lineup. Like a game of hopscotch, their churning jangle is a lot of fun but comes to a halt far too quickly. Hopscotch Fever is full of earworms. Its effervescent spirit lingers in our brains long after the music stops.  

Bryon Hayes

Black Toska—The Orphan (Self-Release)

The Madrileño goth punks in Black Toska return with six more haunted, synth-swathed, night visions, revisiting a sound Dusted described in early 2023 as “like John Spencer without all the arch theatricality or Rocket 808 in less of a growl and more of a croon.” If anything The Orphan is even more ominous than Dandelion was, with corrosive guitar sound tripping a hole in “Little Dead Bird” and a fever-dream unease percolating through “The Only Thing We Need.” The best cut is the title track, intimating baroque dangers its flowers-of-evil flare of wah wah and mannered vocal melody. “Who can steal a baby?” asks Victor Garcia, his elegant, jaded voice hemmed in by wild surges of electrified dissonance, as you’re left to consider that bad things—and compelling music—flourish in the shadows.

Jennifer Kelly

Paul Bryan — Western Electric (Paul Bryan Music)

The title might cue you to ponder your power situation, but the intent is more oblique. Bassist-programmer-producer Paul Bryan took Sonny Rollins’ Way Out West, an exercise in restriction that happened to open doors of conceptual opportunity for everyone who was feeling confined by the piano’s roll as the chord cop of bebop. But Bryan, whose cv. includes production and arrangement work with Jeff Parker, Josh Johnson, and Aimee Mann, is a plugged-in kind of guy, so his restriction involved writing the material on a little Yamaha keyboard and recording it with a trio comprising Jay Belleroe on drums and Josh Johnson on alto sax. Since you can’t completely separate a studio dude from his gear, there’s some processing and programmed drum, which results in the album having a soft jazz-funk feel that is uncluttered, but hardly minimal. Western Electric is the answer to a question that few might ask; what if you subtracted the guitar and the layered production from Jeff Parker’s New Breed?

Bill Meyer

CPC Gangbangs — Roadhouse (Slovenly)

CPC Gangbangs is back after a long hiatus and not a bit tamed. The Montreal garage punks with ties to Les Sexareenos and Spaceshit flared out in 2007 and reappeared (some of them) as Red Mass. But 17 years later and without explanation, they bash and slam and clatter again, serving up two covers and one original, all flayed and confrontational like it’s the rock-is-back aughts all over again. CPC Gangbangs jack up Louisiana swamp rock “Going Back to Philly” on agitated city-boy jitters. They blast through “Rock ‘n Roll Enemy #1” from the SF proto-punks Crime with furious intent. They haunt Bo Diddley’s grave site with a rackety beat in “Roadhouse.” It’s referential but never reverent, well-informed but never studious, good stuff.

Jennifer Kelly

Deadform — Entrenched in Hell (Tankcrimes)

Sort of stupid to reference the notion of “supergroup” in relation to a subgenre as witheringly anti-commercial as crust, but Deadform hits all the right notes, as it were: three dudes who have Oakland’s concrete ground into their bodies, and who have played crucial roles in bands as storied as Dystopia, Stormcrow and Laudanum. Dino Sommese (of Dystopia, and also Noothgrush and Ghoul) has the most recognizable name, for listeners beyond the Bay Area and outside of crust’s stinky, dirty milieu, and he pounds the skins and hollers with energy belying his 50-some-odd years. But all the players (including Brian Clouse and Judd Hawk) are all in. Entrenched in Hell doesn’t move beyond crust’s characteristic properties: lotsa nasty metal-tinged guitar parts, some sludgy yuck clotting up the bloodstream, the smell of filthy dreadlocks, and so on. It’s a heavy record, the second half of which hits especially hard. Check out “Peacekeeper” and especially “Fetid Breath.” Then pick yourself up off the dank floor of whatever squat you passed out in and play the tunes again.

Jonathan Shaw

Efterklang — Things We Have in Common (City Slang)

Danish post-rock band Efterklang has been releasing recordings for 20 years, as well as producing an opera in 2015 and making music through core members’ side projects. Things We Have in Common is the culmination of a trio of albums, beginning with Altid Sammen (2017) and continuing with Windflowers (2021). This time out, the group doesn’t eschew its characteristic experimentation, but several of the songs evince a gentle, art pop vibe, particularly “Plant” on which singer/cellist Mabe Fratti guests, “Getting Reminders,” with Beirut and “Animated Heart,” featuring the choir Sønderjysk Pigekor. Efterklang on its own is persuasive too. “Shelf Break” has an artful use of vocoder against oscillating synths and abundantly syncopated percussion. “Leave It All Behind” combines whispered vocals, keyboard arpeggiations, sustained sine tones and a drum thwack on alternating beats. Taken as part of the trio of recordings, Things We Have in Common is its hopeful conclusion.

Christian Carey

The Ex — Great! / The Evidence (Ex Records)

In 2024, the Ex are celebrating their 45th year by putting out their first new music in six years. It’s just two songs on a 45-rpm record (although they’re also throwing a celebratory shindig in Amsterdam and Mechelen late in November). Not many bands last 45 years, and of those that do, it’s pretty rare for them to put out work you’d want to hear as much as the songs that first drew you into their camp. The Ex are not a common band. The quartet of Terrie Hessels, Andy Moor, Arnold de Boer, and Katherina Bornefeld are still engaged with the moment; the words to these two song address current realities with a combination of elliptical expression and blunt veracity. They’re still engaged with each other, locking into these tough, intricate, but fat-free tunes with combustible chemistry intact. And they’re still tuned into the joy and outrage that’s infused their work across four and a half decades. That’s pretty rare.

Bill Meyer

Jill Fraser— Earthly Pleasures (Drag City)

Electronic composer Jill Fraser has been making music for commercials and films, as well as performing New Age pieces live, since the 1970s. Earthly Pleasures is her first album release in a while. It demonstrates her versatility with vintage gear such as the 1978 Serge Modular synth and newer resources such as Ableton Push 3. “When We Get to Heaven” is a ten-minute long track that uses these resources to make a diaphanously appealing arrangement. “Amen 1” and “Amen 2” are more aphoristic, the first with clouds of harmony and a sci-fi sounding ascent, the second with sparking bell timbres, oscillating percussion, sampled voices, and a fluid keyboard part. Earthly Pleasures closes with “I Stand Amazed,” with trebly, widely spaced synths. Fraser has suggested that the theme of this album is, “What happens to our music when we die?” History suggests that mileage varies, but while she is earthbound, one hopes Fraser has more recordings to share.

Christian Carey

Häxenzijrkell — Portal (Amor Fati)

German maestros of bummer black metal Häxenzijrkell are back with another slab of downtempo musical maelstroms, engineered to drag you into a terrible, soul crushing void. That description and the band’s sonic profile sound a lot like blackened doom, but somehow the music on Portal scans as straight-up black metal — at least to this reviewer’s ears. The best tracks are at the end of the record: “Assiah” and “Aeon” drone, churn and distend like the effects of some of that legendary brown acid, which we aren’t supposed to eat. There’s nothing especially lysergic (to invoke that too-trivially used term) about the textures or production of Portal. It’s more the nightmarishness of the tunes, the mechanical edges on the band’s sound, the taste of something metallic at the back of the tongue — all that stuff accumulates, alongside the deliberate, glacial progress of the songs. Soon that glistening, awful wall of ice looms over you. You can see your face on its glassy surface. You know it’s a bad idea to stare, but you can’t help yourself. It’s excruciating. It’s entrancing. You are through the Portal.

Jonathan Shaw

Boldy James & Harry Fraud — The Bricktionary (Boldy James / SRFSCHL)

The Bricktionary is the fourth Boldy James’ tape this year and apparently not the final one. The producer Harry Fraud has also been too busy lately, spreading himself too thin. The good news is that Boldy is good even on generic beats (probably half of his output has been on some unknown guys’ production). It’s the kind of street music which never forgets that it’s an art and not a report card. The best track here is “Shadowboxing.”

Ray Garraty

Danny Kamins — Retainer (Sound Holes)

“Solo Horn,” declares the J-card art, and it does not lie. This tape presents Texan Danny Kamins playing sopranino and baritone saxophones at home, alone. It would appear that he spent his lockdown time developing his circular breathing. On the small horn, his examinations of patterns that subtly vary and throw off flurries of orbiting overtones feels like an homage to Evan Parker’ solo soprano work. Parker got there first with such authority that he has made it hard for other people to do it and not simply sound like him. Kamins sounds great but doesn’t quite overcome the challenge of differentiation. The baritone is another matter. Kamins sculpts massive ribbons of tunneling, rippling sound to consistently compelling effect.

Bill Meyer

Seiji Murayama / Jean-Luc Guionnet — Balcony Inside (Ftarri)

Multi-instrumentalist, graphic artist, composer, improviser, film-maker, etc.; Jean-Luc Guionnet is a confirmed polymath. On Balcony Inside he and frequent collaborator Suijiro Murayama perform a duet for church organ (Guionnet) and snare drum, cymbal and voice (Muriyama). But it might be more accurate to say that they play with space. There’s the apparently capacious interior of the Taborkirche, which Guionnet represents with massive chords that beat against the walls. And there’s the space inside your head, which is likely to be rearranged by Muriyama’s horror-movie-victim cries and emphatic, elastically rhythmic beats. A seasonal suggestion: pipe this music loudly out of your house on Halloween, and keep a tally of how many are drawn by these massive sounds and how many avoid your house.

Bill Meyer

The Necks — Bleed (Northern Spy)

It’s impossible to guess where The Necks might head next, whether live or on record. Their new album, Bleed,is a single 42-minute track that unfolds patiently in an episodic fashion. There are no conventional rhythms from Tony Buck; instead, he punctuates the space with chimes, bowed cymbals and snare and tom rolls that suggest something ominous is about to happen. Sparse, sustained piano notes from Chris Abrahams are left to hang in the air — listen carefully and you can hear breathing in the room — or Abrahams switches to organ and projects pulsing clusters of notes into stereo space. In an unexpected turn, an electric guitar appears, with accompanying tube amp hum. Lloyd Swanton’s bass is largely absent, save for occasional isolated octave plucks, or some ominous bowing. When the piece coalesces in its final stretch with two piano chords, bass and guitar, the music is begging to continue in this vein for at least twice as long as it does but is cruelly cut short. That’s The Necks for you: always expansive, always surprising, always tapping into music’s eternal potential.

Tim Clarke

Rich the Factor — The North Face Whale, Vol. 3 (WE MFR)

We mostly listen to Rich the Facc’s music because of his gruff voice. The North Face Whale, Vol. 3 is another sample of his voice. The big mistake would be to try to pay attention to what he’s saying on these songs. It is some usual nonsense about how he’s “on money mission, not on dummy mission.” Even after dozens of replays no song off this tape stays in memory. But it’s fine. You have only one question: how is The North Face Whale, Vol. 3 any different from Vol. 1 and Vol. 2?

Ray Garraty

Colin Andrew Sheffield — Moments Lost (Sublime Retreat)

Sound source resonates with subject on this brief minimax (a 3” CD embedded in a 5” plastic disc) CD made by Colin Andrew Sheffield, an electronic musician who resides in Austin TX. Sheffield’s preferred method is plunderphonics; he mines his own media collection for sounds to be procured and (most of the time) processed into music of his own. Moments Lost is a soundtrack made from soundtracks. Sheffield has marshalled a mass of samples from movies, mostly string passages that imply moments of pause, reflection, transition and loss, and layered and sequenced them into a 20.33” sequence of sounds daub association and reverie like a painter might daub paint. Played at low volume, it could be your next go-to ambient recording. But if you spend time listening closely, perhaps while peering at the sleeve’s stills from a film that Sheffield played along with the music when he first presented it at the Molten Plains Festival in Denton in 2023, you might find your physique and consciousness sinking deep while you hit the play button over and over.

Bill Meyer

Chelsea Wolfe — She Reaches Out to She Reaches Out to She (Loma Vista)

Considering Chelsea Wolfe hasn’t put out a solo LP since 2019’s Birth of Violence, and that was basically a folk record, casual fans may well wonder what kind of upheavals led to this very different seventh album. On a personal level there have been plenty (sobriety, relationships changing, learning to live alone, etc) and that combined with additional pandemic time spent working on the demos led to Wolfe going in a more electronic direction and deliberately seeking an outside producer (Dave Sitek of TV on the Radio, many others) to transform the songs. The result is further in a darkwave/trip-hop direction than the already protean Wolfe has previously gone, and also one of her most consistently engaging records. Whether on the noisier, spikier bursts of “Whispers in the Echochamber” and “Eyes Light Nightshade” or the more delicate likes of “The Liminal” and “Place in the Sun,” there’s a beautifully sung and relentless Gothic vibe to the whole thing that’s extremely satisfying. Wolfe may well choose to move on again after this, but it’ll be a bit of a shame if she does.

Ian Mathers