#primo 60s psych

[zoeflake]

Ultimate Spinach - Mind Flowers (Subtitulada)

[stoneantler]

ao3 writing tag

Tagged by the delightful @iressails Thank you so much <3

Name(s): howevernot on ao3

Fandom(s): Multifandom (including Dark, Trust FX, Black Sails, and many more)

Where you post: ao3

Most Popular One Shot (by kudos): should've just held my tongue which is a post-canon Gravity Falls fic about sad old men trying to communicate. I have no idea why this one took off so much but I’m not complaining.

Most Popular Multi-Chapter (by kudos): Jessica Jones' Drinking Group for Fuck-Ups! This is exactly what it sounds like! It’s currently incomplete and I don’t think I’ll ever actually go back to it but it was very fun to write.

Favorite story you’ve written so far: Breathing in the Dark! It’s an apocalypse gap filler fic for Netflix’s Dark! I’m really proud of how it came out and I love the world I created. It’s the longest thing I’ve ever written and I learned a ton about my writing process by writing it.

Fic you were nervous to post: Cleanse us of our human skin. It’s a pre-canon Trust FX revenge fic where Primo goes through some shit and commits murder. I had a lot I was nervous about here. It’s set in Italy in the 60s. I’m not Italian and I was born way after the 60s. There’s also a lot of triggering content in that fic, which isn’t unusual for me, but I’d never written about animal abuse and I guess I excepted people to be mad at me? (they weren’t)

How do you choose your titles?: I’M TERRIBLE AT TITLES. I have a Masters in creative writing but I really don’t know how to title things to save my life. Almost all of my titles are an adapted quote from some poem/play/book. Sometimes tho there’s a phrase that jumps out at me when I’m revising as the title.

Do you outline?: Never. Well ok, that’s not quite true. Sometimes I talk through a idea with friends or outline a scene I’m struggling with in conversation. Otherwise, my approach to writing is ‘let’s poke this bit of dialogue/scene/image and see what comes out.’

Complete: 18 out of 21. I have two series in progress too.

In-Progress: I’m in between projects right now. I’m working on the POV!Noah fic for eternity is also full of eyes in the Dark fandom. I have a couple of non-smut Old Guard fics rattling around (as opposed to my completed and published TOG smut fics let our bodies lose all their loneliness and to make him ravenous). I’ve also written a couple random scenes for another Trust FX fic.

Coming soon/not yet started: I’m listening to TMA right now so I’m expecting to get possessed by a fic idea for it soon. I also have a couple of fic ideas for Dark that aren’t related to eternity is also full of eyes rattling around in the back of my mind.

Prompts?: I’m not sure what this means. Do I accept prompts? no. Do I work from prompts? no.

Upcoming work you’re most excited about: I’m working on a big visual art project right now and it’s taken up my entire psyche. I’m not capable of excitement for anything else.

Tagging: @deadendtracks, @caravaggiosbrushes, @agarlandoffreshlycuttears, @itsevidentvery, @empirics, @minor-mendings  and everyone else who would like to participate!

[tuseriesdetv]

Noticias de series de la semana: Reina Imelda

Renovaciones

Netflix ha renovado The Crown por una quinta y última temporada

Netflix ha renovado La casa de papel por una quinta y sexta temporada

Netflix ha renovado Sintonia por una segunda temporada

Epix ha renovado Perpetual Grace, LTD por una segunda y última temporada

Cancelaciones

Netflix ha cancelado Soundtrack tras su primera temporada

Noticias cortas

El reparto de Élite cambiará tras la tercera temporada.

Anthony Okungbowa (Kofu) y Bayo Akinfemi (Goodwin) serán regulares en la segunda temporada de Bob Hearts Abishola.

Fichajes

Se confirma que Imelda Staunton (Harry Potter, Pride) protagonizará la quinta y última temporada de The Crown.

Owen Wilson (The Royal Tenenbaums, Midnight in Paris) se une a Loki. Se desconocen detalles.

Marcia Gay Harden (The Newsroom, Damages) será la madre de Gary (James Roday) en A Million Little Things.

David Krumholtz (The Deuce, Numb3rs) será Bob Arum, adversario y posteriormente mejor amigo de Evel Knievel, en Evel.

Sarah Shahi (Person of Interest, City on a Hill) protagonizará Sex/Life. Será Billie Connelly, una madre de los suburbios que sale en busca de la chica sexy y soltera que era hace diez años.

Paget Brewster (Criminal Minds, Community) será recurrente en la segunda temporada de Blood & Treasure como la hermana Lisa, una monja de Roma.

Kelli Berglund (Lab Rats, Now Apocalypse) será Crystal, una valet (acompañante del luchador) de veinte años que desea competir como luchadora, en Heels.

Dulé Hill (Psych, Suits) y June Diane Raphael (Grace and Frankie, New Girl) se unen como recurrentes a la segunda temporada de Black Monday. Serán Marcus Wainwright III, presidente del fondo de becas afroamericano; y Corky Harris, esposa del congresista Harris (Tuc Watkins).

Mitchell Hoog (Hariet, The Devil Made Me Do It) y Belmont Cameli (My Evil Stepdad) serán Mac, el hijo de Zack Morris (Mark-Paul Gosselaar); y Jamie, el hijo de Jessie (Elizabeth Berkley); en el revival de Saved By the Bell. Haskiri Velazquez (The Birch) y Alycia Pascual-Pena (Moxie) también participan.

Harry Richardson (Poldark), Thomas Cocquerel (Escape Room 2) y Jack Gilpin (Billions) se unen como regulares a The Gilded Age. Serán Larry Russell, recientemente graduado en Harvard; Tom Raikes, un joven abogado de Doylestown, Pensilvania; y Church, el mayordomo de la familia Russell. 

Jenny Gago (StartUp, Soutland) será recurrente en Deputy como Anjelica Reyes, madre de Paula (Yara Martinez).

Sarah Yarkin (Single Parents, Foursome) será recurrente en Motherland: Fort Salem como Libba Swythe, una ambiciosa joven de clase alta con un viejo rencor hacia Abigail (Ashley Nicole Williams).

Tireni Oyenusi se une como regular a Americanah. Será Dike, el hijo de Aunty Uju (Uzo Aduba).

Enrique Murciano (Bloodline, Without a Trace), Camron Jones (The Purge, Elephant Department) y Jessica Sula (Skins, Scream) sustituyen a Will Chase, Kevin Alves y Ashlei Sharpe Chestnut en los papeles del sheriff Kean, Bishop y Natalie en Panic. Kerri Medders (Alexa & Katie, SEAL Team), Bonnie Bedelia (Parenthood, Designated Survivor), Moira Kelly (One Tree Hill, The West Wing), Nancy McKeon (The Facts of Life, The Division), Rachel Bay Jones (Dear Evan Hansen, God Friended Me) y Bryce Cass (13 Reasons Why) serán recurrentes como Ruby Anne McDonough, amiga de Sarah y hermana de Riley; Anne, viuda que le da un trabajo a Heather (Olivia Welch) en su granja; Laura Kean, esposa del sheriff Kean; Jessica Mason, madre soltera de Dodge (Mike Faist); Sherri Nill; madre soltera de Heather; y Adam Lyons, amigo de Ray (Ray Nicholson).

Mather Zickel (Masters of Sex, Better Things) será recurrente en The Crew como Frank, el novio de Beth (Sarah Stiles).

Chance Kelly (Generation Kill, Aquarius) será recurrente en For Life como Cyrus Hunt, el poderoso e imponente alcaide de la prisión.

Kaley Ronayne (Gotham, Quarry) será recurrente en The Right Stuff como Dee O'Hara, enfermera de los Mercury Seven.

Sarah Minnich (Better Call Saul) será recurrente en Briarpatch como Ginger Galanti, reportera de campo para Channel 8 en San Bonifacio, Texas.

Rachel Boston (Witches of East End, Kidding) y Tim Chiou (iZombie, Living with Models) serán recurrentes en la tercera temporada de SEAL Team como Hannah, la mejor amiga de la infancia de Sonny (AJ Buckley); y Michael 'Dirty Mike' Chen, agente del equipo.

Jen Tullock y Zach Cherry (You, Living with Yourself) protagonizarán Severance junto a Patricia Arquette, Adam Scott y Britt Lower. Serán Devon, hermana de Mark (Scott); y Dylan, empleado de Mark.

Blake Harrison (A Very English Scandal, World on Fire) y Barbara Flynn (Death in Paradise, The Durrells) se unen a Kate & Koji, antes conocida como Kate and Kolo. Serán Medium, sobrino de Kate (Brenda Blethyn); y Councillor Bone, eterna archienemiga de Kate.

Zahra Bentham (Spinning Out) y Mouna Traoré (Condor, American Gods) serán recurrentes en Madam C.J. Walker como Nettie, esposa de Ransom (Kevin Carroll); y Esther, una joven artista que trabaja en la línea de productos de Sarah (Octavia Spencer).

John Douglas Thompson (The Bourne Legacy, A Most Violent Year), Patrick Murney (Seven Seconds, Public Morals), Ben Miles (The Crown, The Capture), James McArdle (Mary Queen of Scots, New Bloods), Sosie Bacon (13 Reasons Why, Here and Now), Joe Tippett (The Morning Show, Rise) y Neal Huff (Falling Water, Show Me a Hero) se unen a Mare of Easttown. Serán Carter, el jefe de Mare (Kate Winslet) en el departamento de policía de Easttown; Kenny McMenamin, el padre de Erin (Cailee Spaeny); Richard Ryan, profesor de escritura creativa; el díacono Mark Burton,  Carrie Layden, madre soltera y exnovia de Kevin (Cody Kostro); John Ross, marido de Lori (Julianne Nicholson); y el padre Dan Hastings, un primo de Mare.

Austin Crute (Daybreak, Booksmart), Nik Dodani (Atypical), Andrew Jacobs (Paranormal Activity: The Marked One) y Chlo�� Levine (The OA) se unen a la segunda y última temporada de Trinkets. Serán Marquise, nuevo amigo de Tabitha (Quintessa Swindell); Chase, rival intelectual de Moe (Kiana Madeira); Ben, el hermano mayor de Moe; y Jillian, nueva amiga de Elodie (Brianna Hildebrand).

Olivia Scriven (Degrassi: The Next Generation) será recurrente en Mrs. America como Liza Schlafly, la hija de Phyllis (Cate Blanchett).

Jim Klock (Cloak & Dagger, Green Book) será recurrente en The Underground Railroad como Tom Hardman, agente local de Indiana.

Pósters

    Nuevas series

FX encarga Redeemer, drama creado por Nic Pizzolatto (True Detective) e inspirado en 'The Churchgoer' (2019), novela de Patrick Coleman en la que el pasado y el presente de un antiguo pastor convertido en guardia de seguridad (Matthew McConaughey; True Detective, Dallas Buyers Club) colisionan mientras busca a una mujer desaparecida en Texas y descubre una conspiración criminal. Producida por Nic Pizzolatto (True Detective) y Matthew McConaughey (True Detective).

Netflix ha encargado diez episodios de una serie de acción real adaptación del anime One Piece. Creada y escrita por Steven Maeda (Lost, The X-Files).

Netflix desarrolla la primera serie creada por Daniel Sánchez Arévalo (Primos, Diecisiete), una emocionante historia de amistad y superación.

Netflix encarga Jaguar, ambientada en los años 60 y centrada en Isabel Garrido (Blanca Suárez; Las chicas del cable, El internado), una joven española que logró sobrevivir al campo de exterminio de Mauthausen y se une a un grupo de agentes en busca de justicia usando Jaguar como alias y destapando a cientos de nazis refugiados en España, entre ellos Skorzeny, conocido como el hombre más peligroso de Europa.

Apple TV+ encarga Physical, dramedia ambientada en los años 80 en una comunidad costera en el sur de California que sigue a una mujer (Rose Byrne; Damages, Bridesmaids) que sufre por su condición de ama de casa y encuentra el camino hacia el poder a través del mundo del aeróbic. Escrita y producida por Annie Weisman (Desperate Housewives, Suburgatory).

Apple TV+ encarga una comedia musical protagonizada y producida por Cecily Strong (Saturday Night Live) que sigue a una pareja de mochileros que quieren revitalizar su relación y descubren la ciudad mágica de Schmigadoon, donde todos actúan como si estuvieran en un musical de los años 40, y que no pueden irse hasta que encuentren el verdadero amor. Escrita y producida por Cinco Paul y Ken Daurio, guionistas de Despicable Me y The Secret Life of Pets. Producida por Lorne Michaels (Saturday Night Live, The Other Two).

Amazon encarga The Hospital, comedia de animación sobre dos doctoras alienígenas especializadas en enfermedades raras de ciencia ficción. Una de ellas desafía el protocolo y contrae una enfermedad de otra dimensión y deberán encontrar la cura antes de que el universo sea destruido. Escrita y producida por Cirocco Dunlap (Man Seeking Woman, Russian Doll). Producida por Natasha Lyonne (Russian Doll) y Maya Rudolph (Forever).

Amazon encarga dos temporadas de Fairfax, comedia de animación para adultos sobre cuatro amigos de instituto que buscan la relevancia social. Creada y producida por Matt Hausfater (Undateable), Aaron Buchsbaum y Teddy Riley.

Showtime desarrolla Memory, drama basado en la serie coreana sobre un abogado al que le diagnostican Alzheimer y se ve obligado a enfrentarse a sus errores pasados y a su peligroso futuro mientras intenta sacar a la luz una conspiración farmacéutica que podría salvar su vida y su carrera. Escrita y producida por Michael Saltzman (Sneaky Pete, Murphy Brown). Producida por Aaron Kaplan (Santa Clarita Diet, The Mysteries of Laura).

Movistar+ desarrolla una serie sobre la vida de Miguel Bosé. El cantante colabora con los guionistas mientras escribe su autobiografía, que será complementaria a la serie. La idea es tener tres temporadas de ocho episodios cada una. La primera se centraría en su niñez, la segunda contaría su crecimiento artístico y personal en Londres, Nueva York, Francia, Italia o México, la parte más desconocida, y la tercera mostraría su éxito como artista y el cumplimiento de sus sueños.

Netflix encarga ocho episodios de In From the Cold, thriller de espionaje internacional con un toque sobrenatural en el que una madre soltera americana (Margarita Levieva; Revenge, The Deuce), durante sus vacaciones en Europa con su hija, es obligada por la CIA a enfrentarse a su pasado como espía rusa y producto de un experimento de la KGB que le dio habilidades especiales. Escrito y producido por Adam Glass (Supernatural, The Chi).

Luz verde directa en ABC a The Big Sky, protagonizada por la detective privada Cassie Dewell y la antigua agente de policía Jenny Hoyt, que buscan a dos hermanas secuestradas por un camionero en una autopista de Montana pero descubren que no son las únicas chicas desaparecidas en la zona y trabajan contrarreloj para evitar otro secuestro. Escrita y producida por David E. Kelley (Big Little Lies, Ally McBeal). Basada en 'The Highway' (2013), libro de la saga de C.J. Box.

ITV encarga cinco episodios de Viewpoint, drama que sigue un procedimiento de vigilancia policial en Manchester y explora si es posible observar las vidas ajenas con verdadera objetividad. El detective Martin Young, con sus propios traumas y sentimientos de culpa, ha de vigilar al principal sospechoso de la desaparición de una maestra de escuela, su novio, pero teme estar proyectando su soledad y su remordimiento. Creada por Ed Whitmore (Silent Witness, Manhunt) y Harry Bradbeer, director de Fleabag o Killing Eve.

Netflix encarga diez episodios de Country Comfort, comedia multicámara en la que una joven sureña aspirante a cantante de country (Katharine McPhee; Smash, Scorpion) pierde el control de su vida personal y toma un trabajo de niñera de los cinco hijos de un tosco vaquero (Eddie Cibrian; Take Two, CSI: Miami). Ricardo Hurtado (School of Rock, Malibu Rescue), Jamie Martin Mann, Pyper Braun, Shiloh Verrico (Lingua Franca, Crown Vic) y Griffin McIntyre (Return of the Mac) interpretarán a los niños. Creada por Caryn Lucas (The Nanny, Miss Congeniality).

Netflix y Canal + Francia encargan doce episodios de On The Verge, dramedia escrita, producida y protagonizada por Julie Delpy (Before Sunrise, 2 Days in Paris) que se centra en cuatro madres de Los Ángeles que se enfrentan a retos con sus matrimonios, carreras, familias e identidades y fijan este punto de su vida como una oportunidad de reinvención. Producida por Nick Hall (Looking, Enlightened).

Starz ha encargado ocho episodios de Run the World, comedia creada y escrita por Leigh Davenport (Boomerang) y Yvette Lee Bowser (Dear White People) que sigue a un grupo de amigas negras que viven y trabajan en Harlem y luchan por dominar el mundo. Protagonizada por Amber Stevens West (The Carmichael Show, Greek), Andrea Bordeaux (NCIS: LA), Bresha Webb (Marlon, Grey's Anatomy), Corbin Reid (How to Get Away with Murder, Valor) y Stephen Bishop (Imposters, Being Mary Jane).

Hulu encarga Tender Is The Night, limited series adaptación de la novela de F. Scott Fitzgerald (1934), que cuenta la historia de un joven psiquiatra que tiene un problema con el alcohol y las chicas jóvenes. Escrita por Nina Raine.

Fechas

La séptima temporada de Endeavour se estrena en ITV el 9 de febrero

The Pale Horse se estrena en BBC One el 9 de febrero

The End se estrena en Sky Atlantic el 10 de febrero

La segunda temporada de The Split se estrena en BBC One el 11 de febrero

La cuarta temporada de Man With a Plan se estrena en CBS el 2 de abril

Broke se estrena en CBS el 2 de abril

El estreno de The Baker and the Beauty en ABC se retrasa del 6 al 13 de abril

Tráilers y promos

Better Call Saul - Temporada 5

The Plot Against America

Home - Temporada 2

Narcos: Mexico - Temporada 2

Las chicas del cable - Temporada 5a

L'amica geniale - Temporada 2

P-Valley

Good Girls - Temporada 3

The Split - Temporada 2

La línea invisible

Endeavour - Temporada 7

[cheaplongsleevepromdressessale]

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[koufax73]

New Post has been published on TraKs

New Post has been published on http://www.musictraks.com/the-bronze-bananas.html

The Bronze Bananas, "The Bronze Bananas": la recensione

The Bronze Bananas sono una band romagnola di quattro elementi (Giunx – Voce e chitarra, Flowers – Chitarra e cori, Nati – Basso e cori, JJ – Batteria) attiva dal 2014. Con un repertorio di musica inedita dai tratti 60s, ma con sonorità completamente originali, spaziano dal rock and roll al pop, dal beat al rock psichedelico. A maggio 2016 iniziano le registrazioni del loro primo disco ufficiale presso lo studio “COSA BEAT ” di Franco Naddei a Forlì (FC ), disco di cui pubblicano subito il singolo e video “Watching the rain”.

The Bronze Bananas traccia per traccia

Il pezzo di apertura, Dreaming, chiarisce già i tratti della band e delle sonorità del disco: ritmi e modi, per lo più, sono avvolti da un’atmosfera vintage, in cui si innestano alcune eccezioni momentanee.

Anche più movimentata e frizzante Many ways, con coretti e ritmetti d’epoca. Più cupa One night stand, che concede maggiore spazio alla chitarra, con tratti anche acidini. Nobody’s child alterna inglese e italiano su ritmi morbidi. Più cupi i toni di Controtempo, che segue vie melodiche e sceglie un testo del tutto in italiano.

Più beatlesiana e ridanciana The woman for me: anche qui parte tutto dalla chitarra e dagli atteggiamenti un po’ rockabilly. Pizzichi di elettronica diffusa in Fool, con qualche particolare psichedelico, mentre Billy the Psycho amalgama le sensazioni psych con elementi più pop, ottenendo opposizioni in chiaroscuro.

Tranquilli ma ritmati i passi di Watching the rain, ancora alle prese con la modulazione di sensazioni, con un panel di influenze che va dai Keane ai Supertramp. Contorni soft pop quelli di Sunshine, che poi si allunga in impreviste code finali. Il disco si chiude con un’appropriata Goodbye Song dai toni folk/country.

Esperimento curioso e divertente, quello di The Bronze Bananas, che lasciano un buon sapore in bocca senza voler andare molto al di là del puro intrattenimento.

Se ti piacciono The Bronze Bananas assaggia anche: (AllMyFriendsAre)Dead

[rockandrollportlandor]

DAZZLESHIPS RECORDS - “Raised by Women”

Note: normally, I don't even mention people's identity clusters in my reviews, because 90% of the time it's irrelevant to the music. However I wanted to preface this review with some of my thought about women in indie music, because this is a compilation which does stop and explicitly acknowlege the contributions of its musicians as women. By 2018, female musicians haven't just carved out a place for themselves in indie music--they're its driving force, and probably the only thing preventing the entire genre, which was for so many years dominated by white cishet collegiate and post-collegiate men, and which had never recovered from its brief heyday of dominance in the 1990's, from disintegrating into total irrelevance. This isn't to say that women in "the scene" are any less subject to the violence, offenses, and injustices that women have been subject to throughout human history. Going by the stats on assault, we have to assume that most male sexual assaulters continue to be protected in all social circles, even as many others are called out. Every manner of irritation still comes at women in indie circles. Seasoned musicians are given unsoliticed tips, male reviewers overtly or subtly focus on the artist's appearance over her music, and womanhood is frequently perceived as a genre unto itself, as the old maxim decries. The maginalization of women and, more broadly speaking, femme performativity in indie music isn't just bad for equity/equality, it's bad for music itself. And likewise, feminism is as important a practice in aesthetics as it is in politics. I don't want to miss out on a great experience of new music because I'm too busy staring at the ass of the person making it, or, on the other end of the spectrum, puffing up my ego because I fancy myself so enlightened to be enjoying this woman just for her music. I just want to hear the music, not myself. I hear myself all fucking day long. And I really hope I'm not rare in the world of indie rock, and the world generally. Women can shout until their voices give, but if men aren't going to finally let them into the spaces they're banned from, both physically and psychologically, and commit to cease a whole range of violent thought and behavior toward women, ranging from mere dismissal of their minds to actual murder, nothing's going to happen. Feminism is a task for everyone, and you don't have to march in a single protest or call out a creep online or whatever to do good work. The struggle in your own head, and how it plays out in small ways, might be your own greatest work. Or maybe, if you're Hunter Skowron of Dazzleships Records, you'll put out a compilation of some of Portland's choicest woman-fronted bands, and donate all the proceeds to Raphael House, a local non-profit providing a safe haven from domestic violence. Skowron has assembled a diverse collection of some of the choicest woman-fronted bands Portland's indie rock/pop scene has to offer. Though the excellent sequencing might make it less apparent, these artists have little to do with each other within the indie pop/rock spectrum and probably won't be together on the same compilation if it had a different theme, but this only makes it all the more interesting of a listen. It opens with the dark horses Skull Diver, who've generated signicant buzz since their arrival without--at least it appears to me--relying on the kind of neopotism we all know about... I know them best for their dirgey tragic numbers, but this tune, "Bad Star", feels more like Depeche Mode. Nonetheless, it still drenches you with the Skull Diver house mood of melancholic defiance, and it's a great way to open the record. Mini Blinds comes next, shrinking the paranoramic picture frame of Skull Diver to something more akin to an 18 inch cathode ray TV, a sound more like classic 80's and 90's indie pop. There's a bittersweet quality in singer Beth Ann Dear, and while song sounds kind of cute at first, the angst can be felt quietly rumbling beneath the surface. The title, "Happy" feels ironic, but I might be picking up the wrong vibes. Cat Hoch comes next, offering up a surprising pure pop tune rooted in very 80's-sounding synths, radically different from her early solo material, which was 60's-rooted, meandering, guitar-based psych pop well-suited to driving through the desert. This new track, "Say You Love Me", is bouncy and charming--you could almost imagine Jane Fonda using it as a background track for one of her aerobics videos. But what's most interesting is how Hoch's ethereal, almost completely breathy voice, a strength of her music from day one, has mostly remained the same in this new environment, where it's so different from what Cyndi Lauper, Madonna, Debbie Gibson might do over such a backing track. It's a little lighter and freer than the old Hoch, but it retains a lot of that wide-eyed mystical aura, making for an oddly delightful confection. Natasha Kmeto comes next, one of the more high-profile artists in a city whose best acts are often content to never venture beyond the West Coast. "Your Girl" is a primo piece of contemporary electronic pop dreaminess that gives me the impression of a glacier slowly melting, becoming grander and grander as its heart shrinks more and more. It's the kind of song you listen to in your car when you're heartbroken, outside your ex's house to get the last of your stuff and you just can't go in because you're sobbing. Okay that was random, anyway... Rilla, a group I've been personally familiar for several years due to connections with the Toads, contributes "Side Sleeper", an excellent example of their unique sound, strongly focused on instrumental interactions between the two guitars and bass that remind me so much of the perky melodicism of 8-bit video games, but without the stiffness--actually, Rilla can be quite romantic, and this song is one of those. Voices, almost ghostly, drift in and out, abstract commentary on the web woven by the guitars. They're excellent at structuring songs, departing from verse-chorus-verse and often making it seem like the tunes have more parts than they really do. Call it sleight of time. Johanna Warren takes us on another 180 with a self-probing folk song, which feels to me, sonically at least, like a complement to the Natasha Kmeto song two tracks ago, but in an acoustic instead of electronic mode. Warren's voice lingers on each syllable of her lyrics, compelling as much with her phrasing as the pensive fingerpicked guitar and spooky piano notes do, and most of all the negative space that engulfs the song like mist. DANDAN returns us to the realm of synths with a mostly instrumental track that sounds like music in a groovy retro-futuristic lounge on the planet Saturn. I wonder if this band is familiar with Dick Hyman and his album "Moon Gas", because I'm getting hard vibes in that direction. Next is one of the best Blackwater Holylight, "Sunrise", which I've described in my recent review of their first album. Laura Palmer's Death Parade, whose frontwoman Laura Hopkins is also a member of Blackwater Holylight, brings of the rear of her other band's song, contributing "Scrollin". Driven by a harsh, spikey electric rhythm guitar, it's a tune of romantic frustration, building in tension as Hopkins increases the vulnerability and resentment in her voice before it trails down in abject defeat. Her lover is gone, leaving her to be "destroyed by the light of [her] phone", a thoroughly modern sort of misery. A quicky and satisfying piece of songwriting. Haste brings up the energy a bit with "Let's Play with Ourselves", pushed along by a modified "Be My Baby" or maybe "Maps" beat, bobbing up and down for the most part on two chords (save for a bridge), like a little boat at sea. Singer Jasmine Linee Wood delivers a sleepy but heartfelt performance playing off the bands's rhythm section provides the consistent pulse, conveying maybe the purest expression of melancholy on an album that seems suffused with that emotion. Sheers, on of the city's most mysterious and unique pop acts, closes the album with her harp-driven song "An Occasion", offering a fine example of her jazz-inflected curiosities. I've also written about her music at length recently, so I won't repeat here, except to say it's a major highlight of this album. It's really a perfect closer to this overcast hashish dream of a record, which should be a welcome companion to get you through the rest of this Northwest winter. As I said, melancholy is the predominant note mood-wise in this collection, but there are so many flavors and states of it that it doesn't really feel as monochomatic as you might think. How good of a represenation of women musicians in town is it? Fuck if I know. I do know every song is great, and every song was made by women, so take that for whatever, in the end, it really means. AN ADDITIONAL NOTE: This is a long meditative post because I've reached the end of a year in which I promised to center bands and artists who were not white, cishet, or male. I ended up, due perhaps to a lack of adventurousness on my part and Portland indie rock's already poor diversity, mostly writing about white cishet women, but regardless of who I was writing about I ended up appreciating all the more the contributions of non-white, non-cishet, non-male folks in our music community. Mostly, I wish i had written more of anything on the blog this year, but you know how shit goes. In 2019 I'm going to go back to writing about whoever moves me regardless of identity cluster. Restricting white cis men didn't didn't feel any different, mostly, but maybe it's not supposed to. It's probably true that I wrote about a bunch of people I would have put on the back burner, and that's pretty good.

[spettrorec]

Angelo Bignamini + Cristiano Carosi opening: Resonancedj 

29 dicembre 2017, in concerto alla Casa del Popolo, via Marzabotto 2, ore 19:30 ANGELO BIGNAMINI Musicista di Lodi provincia. E’ batterista nella rock-psych band The Great Saunites, chitarrista nel progetto acustico Billy Torello, “smanacciatore” nel progetto impro-elettronico Lucifer big band, sperimentatore ed improvvisatore nel duo Filtro. In questo suo nuovo esperimento in solo egli focalizza la sua attenzione sui piccoli, insignificanti ma decisamente pregnanti suoni della realtà quotidiana, reinventati, dosati e ridistribuiti su porzioni cicliche di nastro, a declinare una sua personalissima e visionaria “non musica”, in cui fruscii, battiti, oggetti, respiri vanno ad incastrarsi in una rappresentazione mosaicata, distorta ed ansiogena della realtà circostante. Ne è un esempio esemplificativo il collage sonoro di “Ants and Orchids” (.phonographiq, 2017), opera per tape loops, field recordings, smartphone e cetra da tavolo. Di poco successivo è “Decay” (Luce Sia, 2017), raccolta di suoni industriali per cassette loop auto-costruite ed effetti. https://phq-art.bandcamp.com/album/ants-and-orchids https://soundcloud.com/angelo-bignamini/decay-side-a-excerpt http://www.sodapop.it/phnx/angelo-bignamini-decay-luce-sia-2017/ CRISTIANO CAROSI (Roma, 1982) “Botanica” è il primo lavoro pubblicato da Cristiano Carosi utilizzando il suo vero nome. Il passaggio a questa nuova fase è anche un ulteriore "spogliamento" dell’idea di composizione come relazione tra oggetti sonori esistenti, ricerca di intersezioni e incastri con l'aiuto di macchine di sintesi ed effetti/nastri utilizzati a mò di diaframma nelle mani di un fotografo che impressiona la sua pellicola. “Con i miei filtri centellino quel che ascolto che registro e che suono, delle parti, suoni in coppie, le riproduco e ne osservo la crescita d’insieme, le lascio prendere i propri spazi e tempi, doso i flussi in modo da mantenere degli equilibri o creare squilibri, lasciare vuoti e silenzi che entrano nel dialogo”. Ha inciso due dischi con il gruppo shoegaze Sea Dweller e fa parte del progetto CYMBLS in cui mescola psichedelia con un approccio sperimentale al materiale sonoro tra minimalismi ed elettronica primordiale. Con il suo progetto solista HERBAL RESEARCH elabora brevi studi di decomposizione e collage sonoro da campionamenti, sintesi elettronica e strumenti acustici incisi nella serie “Sound Non Sound” per la Upside Down Recordings, etichetta che cura personalmente e per la quale stampa i propri lavori e quelli di altri artisti che orbitano attorno alla sperimentazione sonora attuale tra cui Nastro, Filtro, Julien A.Lacroix, Angelica Castello. https://upsidedownrecordings.bandcamp.com/album/cristiano-carosi-botanica-udr-17 https://upsidedownrecordings.bandcamp.com/album/herbal-research-sound-non-soundtape-n-2-electronic-voice-flute-and-time-treatments-udr12 https://soundcloud.com/cristianocarosi RESONANCEDJ Alessandro Ciccarelli meglio noto come “Resonancedj” (talvolta usa altri alias come “Eternalsun1” oppure “Theraveman”) nasce per caso a Palermo nel lontano ‘78 . Ascoltatore onnivoro di qualsiasi suono , segue con attenzione e grande passione le diverse scene musicali e culturali europee (soprattutto Anversa , Berlino e Londra) che frequenta dalla fine degli anni ’90 . Pur facendo parte della generazione “cassette” sviluppa una smodata passione per i vinili di cui è collezionista appassionato e instancabile (possiede circa 20000 pezzi). “Turntablist” (per turntablism si intende l’arte di suonare i giradischi come strumenti usando tecniche come lo scratch e il beat juggling) nonché Producer , Resonancedj ha uno stile di djing “analogico” spesso influenzato dal Funk-Soul , dal Rock anni ’60 -‘70 , dalla Disco anni ’80 ma non manca di cogliere spunti creativi nell’ambiente che lo circonda, come quando ad esempio traffica con il “Circuit Bending” (con Circuit Bending s'indica l'arte di modificare in maniera creativa, attraverso semplici cortocircuiti , apparecchi elettronici a basso voltaggio o strumenti elettronici alimentati a pile, come giocattoli (il più famoso tra questi è il “Grillo Parlante” dalla Clementoni), tastiere , batterie elettroniche , allo scopo di generare suoni inediti e curiosi, creare nuovi strumenti musicali e generici generatori di suono). Durante i suoi 14 anni di attività ha partecipato a diversi progetti multimediali , compilation , installazioni , nonché condiviso la consolle con artisti di fama mondiale ( Pendulum , Kaos , Goldie , Benga , Qbert ) . Appassionato di fotografia e Vjing , interpreta una sorta di passione feticistica per i vinili dando luogo spesso ad installazioni eclettiche e visionarie frutto delle sue esperienze in giro per il globo . La sua musica si potrebbe definire “contemporanea” , “emancipata” , “anti-stress ad ampio spettro” e non solo… il futuro deve essere ancora scritto ! https://www.facebook.com/resonancedj1 Organizzato da Associazione Culturale Ikigai e Spettro Records. Inizio concerti ore 19:00. Ingresso gratuito.

[robertkstone]

Exclusive: Tesla Model 3 Long Range First Test

Tesla’s product unveilings are notoriously wild nights. If you’re with the press, you’re outnumbered by a rooting section of invited owners who show up psyched, chic, and ready to party. Hors d’oeuvres waft by every 15 seconds. A rock beat pounds away, the lighting in nightclub mode. When Elon Musk finally takes the mic 90 minutes late, his halting improvisation only adds to the edginess. But he’s preaching to the faithful, and they don’t care if he’s polished or not.

In the case of the Model 3, Tesla engaged in a moment of stagecraft genius: a real-time reservation counter appeared on the screen behind the three cars rotating on their turntables. In the hall, the press watched as the number rocketed. People were lining up at Tesla stores to place reservations; the Tesla website was bogging down. The number passed 100,000, then 200,000. By the next morning, it was the talk among complete strangers in Starbucks lines that some new car had gotten 400,000 orders in one night. Suddenly, the Model 3 was a celebrity on wheels, injected into the middle of the general public’s consciousness.

It’s now 19 months later. The scene: The arid Hyundai-Kia Proving Grounds. There’s no rock soundtrack; the only lighting is the orange ball of blazing sun overhead. The test team of road test editor Chris Walton, associate road test editor Erick Ayapana, and myself is eying this jackpot of a car with anticipation and wariness. Without its surrounding hurricane of hyperbole, our very-early-build production Tesla appears oddly alone without its rooting-section entourage. There’s just it, us, our instruments, and these asphalt surfaces.

Walton goes first and tapes a 1-inch-square GPS antenna to the Model 3’s glass roof. Beneath the glass, Chris knows his best acceleration run will happen with the motor cool and the battery nudging 100 percent charge. There’s no Ludicrous launch mode available here—just old-fashioned stamp-the-pedal-as-hard-as-you-can. Chris double-checks that the Vbox and the laptop are recording—its lights are blinking just so—and secured by cinch strap. He collects his thoughts, looks ahead, pauses—and then kicks the floor. Pressed to the road by its tail-heavy (48/52) weight distribution, the Tesla surfs away on a steep, 307-lb-ft wave of torque. A 4.8 second 0–60-mph time pops on the screen, then the acceleration rate slightly fades as aerodynamics reel back against the motor’s 271 hp and Walton flashes past the quarter mile: 13.4 seconds and 104.9 mph. “The torque is certainly impressive,” Chris says, “but I wonder if its acceleration seems exaggerated by the absence of engine noise to distract you from it.”

Is this good? Bad? It’s better than expected. The single-motor Tesla Model S 60 we tested last year (which was upgraded to a 75-kW-hr battery via an OTA update, the same battery size as this Model 3’s) runs a 0–60 in 5.0, two-tenths slower (which carries over to its quarter of 13.6 seconds at 103.5 mph). On the cooling laps between his acceleration assaults, Chris inserts emergency brake stops—his best in the Model 3, at 119 feet, is essentially identical to the 121 for the Model S, which is 532 pounds heavier that stands on 0.4-inch-wider rubber.

Chris returns from the quarter-mile and hands the car over for figure-eighting. I fit a different set of Vbox data loggers, slide the seat back for my 6-foot-1 size, tune the steering wheel into place with its tilt and scroll thumb wheels, toggle the stalk shifter down a tap for D, and whir toward the first corner. Nine times out of 10, this first brake application and steering cut says most of what I need to know; up ahead are loopy black tire marks where a few notable sport sedans have already half-spun. As the arc of orange cones appears on the right, I straighten my ankle into the brake pedal. The 3’s nose barely sinks, I can lower it like a micrometer, as I’m gauging my stopping rate to within a foot or two. Very precise braking. The car’s low battery location, fast steering, and firm springing give it a go-kart quality, and it quickly points to the right with a fraction of the expected body roll. On most laps it relaxes into a mild understeer, 0.87g cornering stance. But a few times I chuck it in and use its 3,902 pounds to rotate into brief drifts. Its lap is a crisp 25.7 seconds.

This is a very digital car to drive: Brake, dial in one single steering angle, wait for the corner to end, and tidily accelerate. Most sedans are a conga line of steering corrections and throttle stabs. After thinking about it, perhaps just the Porsche Cayman and Boxster and the Honda Civic Type R that were on hand today drive this precisely.

Each night after sunset photography wraps, Erick and I take turns babysitting the car, tethering the Tesla to a lonely Supercharger in a Mojave, California, parking lot. As the clock approaches midnight and the 75-kW-hr battery closes in on 100 percent charge, there’s time to think. How does the Model 3’s performance stack up?

The iconic BMW 330i—everybody’s favorite yardstick (actually, about 2 inches shorter, 1.5 inches narrower, and 0.5 inch lower)—is similarly priced to this full-boat, glass-roof, every-feature Model 3 Long Range (after deducting its tax incentives). In the nearby comparison chart, the Tesla betters the Bimmer in several metrics. And to better illustrate this, I’ve added (scaled) bar graphs to some selected categories to indicate each car’s advantage (a bar means better—whether it’s cheaper or faster or bigger, the bar’s length suggests how much so).

For instance, the Model 3 is 0.7 second quicker to 60, stops 4 feet shorter from that speed, and has a 0.4-second-quicker figure-eight lap, and its lateral grip is only 0.1 g behind despite hauling 365 extra pounds sideways. There’s more power and torque, it’s steering’s way quicker, it’s shorter on trunk space, and after tax incentives ($10,000 in its most popular market state (California), its as-tested price winds up about $1,000 more. (It’ll be interesting to repeat this graphic for the Model 3’s anticipated $35,000 basic version versus a loaded Accord or Camry.) Although our real-world 103.7 combined mpg-e measured by Emissions Analytics (89.7/128.2 city/highway) lags behind the EPA’s official 126 overall, the Tesla still eats its energy at just a quarter of the BMW’s pace.

Did I say energy? You haven’t lived until you’ve carried a bag of the fish special back from Primo Burgers—and dined in a Model 3—because there are only to-go orders after 10 p.m. Horseradish sauce and vinegar dipping cups balance very nicely on the center armrest, by the way. Not exactly the hors d’oeuvre trays at a Tesla introduction. But the horseradish is OK, and Brubeck is playing on the car’s internet radio. It’s not bad company.

2017 Tesla Model 3 (Long Range) POWERTRAIN/CHASSIS DRIVETRAIN LAYOUT Rear-motor, RWD ENGINE TYPE 3-phase internal permanent magnet electric motor BATTERY TYPE Liquid-cooled lithium-ion POWER (SAE NET) 271 hp TORQUE (SAE NET) 307 lb-ft WEIGHT TO POWER 14.4 lb/hp TRANSMISSION Single-ratio transaxle AXLE/FINAL-DRIVE RATIO 9.0:1 SUSPENSION, FRONT; REAR Control arms, coil springs, anti-roll bar; multilink, coil springs, anti-roll bar STEERING RATIO 10.3:1 TURNS LOCK-TO-LOCK 2.0 BRAKES, F; R 12.6-in vented disc; 13.2-in vented disc, ABS WHEELS, F;R 8.5 x 19-in flow-formed aluminum TIRES, F;R 235/40R19 96W (M+S) Continental ProContact RX DIMENSIONS WHEELBASE 113.2 in TRACK, F/R 62.2/62.2 in LENGTH x WIDTH x HEIGHT 184.8 x 72.8 x 56.8 in TURNING CIRCLE 38.1 ft CURB WEIGHT 3,902 lb WEIGHT DIST, F/R 48/52% SEATING CAPACITY 5 HEADROOM, F/R 40.3/37.7 in LEGROOM, F/R 42.7/35.2 in SHOULDER ROOM, F/R 56.3/54.0 in CARGO VOLUME 14.6 cu ft TEST DATA ACCELERATION TO MPH 0-30 2.1 sec 0-40 2.9 0-50 3.7 0-60 4.8 0-70 6.1 0-80 7.7 0-90 9.6 0-100 12.0 PASSING, 45-65 MPH 2.1 QUARTER MILE 13.4 sec @ 104.9 mph BRAKING, 60-0 MPH 119 ft LATERAL ACCELERATION 0.87 g (avg) MT FIGURE EIGHT 25.7 sec @ 0.74 g (avg) CONSUMER INFO BASE PRICE $45,000 PRICE AS TESTED $57,500 STABILITY/TRACTION CONTROL Yes/Yes AIRBAGS 8: Dual front, front side, f/r curtain, front knee BASIC WARRANTY 4 yrs/50,000 miles POWERTRAIN WARRANTY 8 years/100,000 mile (/120,000 mi w/Long Range Battery) IFTTT

[koufax73]

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Black Angels: due date in Italia

The Black Angels tornano in Italia per due date esclusive promosse da Radar Concerti. La psych crew statunitense, originaria di Austin (Texas), porterà sui palchi mondiali – fino all’Italia – Death Song, il nuovo album, in uscita il prossimo 21 aprile per Blue Horizon Records e anticipato da un primo singolo, Currency: https://youtu.be/qryaZmxdK1A

Una vera e propria istituzione della scena new psych rock americana, The Black Angels, ora in una solida formazione a quattro (con Alex Maas, Christian Bland, Kyle Hunt, Stephanie Bailey). Nati nel 2006 e dopo il successo di Phosphene Dream e i due ultimi Indigo Meadow e Clear Lake Forest EP sono pronti a infiammare la scena con quel rock psichedelico di matrice anni 60 immortale e trascinante, vicino alle atmosfere vintage dei 13th Elevator Floor e al wave-rock à la Black Rebel Motorcycle Club.

Un nome preso a prestito dai Velvet Undergroud (dal brano The Black Angel’s Death Song) che sembra voler arrivare al suo pieno compimento con questo nuovo album. Capitanati dal morrisoniano Alex Maas, i texani The Black Angels presenteranno in sole due date, il 7 giugno alla Latteria Molloy di Brescia e l’8 giugno al Locomotiv di Bologna, il loro catartico e coinvolgente show.