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dustedmagazine · 6 years ago

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Dust, Volume 5, No. 2

Abjects

It must have been the polar vortex, forcing Dusted writers to stay in out of sub-zero weather and coercing them to focus on records they’d been neglecting. That’s the most plausible explanation for this especially robust edition of Dust which covers black metal from Tunisia, free jazz from Chicago, desert blues from the Sahara and a punk band from all over the place. This edition’s contributors include Jennifer Kelly, Jonathan Shaw, Patrick Masterson, Ian Mathers, Isaac Olsen, Nate Knaebel and Bill Meyer.

Abjects—Never Give Up (Yippee Ki Yay)

Never Give Up by Abjects

Punk rock is the common language for this globe-hopping threesome, the singer/guitarist Noemi hailing from Spain, bassist Yuki from Japan and Alice, the drummer, from Spain. Their slash-and-bang aggression softens, just a bit, in tight, dizzy harmonies in cuts like the title and “Long Way to Go.” Others, including the single, “The Storm” stutter and swagger on hard staccato foundations, while sweetening the pot with all-hands vocals. This is basic stuff, executed with a certain amount of flair and skill and broken by occasional blistering, shreddy not-exactly-class-of-1979 guitar solos. All three members have spent time in the U.K. and have strong opinions on EU membership. Their “Fuck Brexit” rampages and rolls in rapid-fire repugnance, with a snarling tangle of guitars, a tom-tom fury of drums. You might hear hints of Reading Rainbow and Grass Widow in the vocal-centered cuts, but “Awake” is pure, four-slashing, garage punk, a la L7 and the Ramones, but with a tiny bit of an accent.

Jennifer Kelly

Ayyur — The Lunatic Creature (Sentient Ruin Laboratories)

The Lunatic Creature by Ayyur

“Lugubrious Fields” is the first and most interesting track on The Lunatic Creature, a new EP by Tunisian black metal act Ayyur. Like the other songs on the tape, “Lugubrious Fields” is driven by layered guitar riffs that crackle and buzz with anxious menace. Melody manages to cut through the guitars’ miasmatic fog, and vocals, supplied by bandleader and songwriter Angra Mainyu, growl and whither, emerging and disappearing back into the thick mix. Much of the track lingers at midtempo, held there by the riffs’ accumulated power. Don’t let the relatively exotic sound of the phrase “Tunisian black metal” fool or titillate you — this is pretty conventional stuff, evocative by turns of the USBM Cascadian movement and then of tougher, more orthodox acts like Aosoth (and it should be noted that former Deathspell Omega vocalist Shaxul provides drums on this record). But if midtempo black metal is your thing, this tape is worth a listen.

Jonathan Shaw

Dawn — New Breed (Local Action)

new breed by DAWN

Goldenheart was the record that put her on the map, Blackheart got all the attention and Redemption was the overly long attention-getter, but the more I listen to New Breed, the more I think this is the record Dawn Richard was meant to make. It’s not a pristinely polished pop production a la Goldenheart or anything Janelle Monáe’s done since The ArchAndroid (though it likely won’t surprise you to learn that Monáe reached out to Richard last year either because of or as an inspiration for the latter’s cover of “Pynk”), and it’s not the purely synthetic club constructions of Redemption or the Infrared EP; if anything, this is a little disjointed and sloppy – song transitions can be fairly abrupt and the sonic arc can zig and zag across R&B, funk, soul and pop with political sutures loosely keeping the theme. But it holds together just enough to be her most exciting album, and certainly the one with the most potential for a wider listenership than just futurist R&B enthusiasts. Put another way: It’ll be a travesty if you don’t hear “Dreams and Converse” playing from every bodega, bank lobby and beat-up SUV in five months.

Patrick Masterson

DenMother — Past Life (Counting on Downstairs)

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“Face,” the opening track of now-Fredericton (by way of Toronto) based DenMother’s new record both marks the end of a busy year (2018 saw releases in January, June, and here December) and exhibits a contrast that gets right to what makes Sabarah Pilon’s work under the name always compelling. The first sound you hear is a lilting melody of what sounds like a synthesizer trying to sing like a person; before too long, it’s joined and almost (but not quite) overwhelmed by a more obviously machine-based blare of sound, a thickly sliding, grinding tone. It might sound like those elements are incompatible, or that they wouldn’t mesh well with the song DenMother sings over them, but the result feels perfectly natural. And if “Face” makes for a great example of the kind of music DenMother’s been making for years now, Past Life also shows some new dynamics and approaches, whether it’s the bereft upright bass-and-voice intro to “All Black” or the more heavily textured, submerged songcraft of “Not a Likely Story.” Past Life features both, in the form of the guitar reverb and vocal refrain duo of “The Desert,” one of the starkest DenMother songs and, in the warmly embracing and emotional ambiguous “Fish Cars,” maybe the best example of her ‘classic’ sound in a year or two. Here’s hoping for a similarly active 2019 from one of Canada’s best hidden treasures.

Ian Mathers

Etran de L'Aïr — No. 1 (Sahel Sounds)

No. 1 by Etran de L'Aïr

In the decade or so since Tinariwen broke through in Europe and the US, there’s been such a glut of Saharan records that it’s easy to miss a real stunner when it comes out. Easier still when said stunner is by a budget wedding band from Agadez and released by the prolific boutique label, Sahel Sounds. If you also missed Etran de L'Aïr’s No. 1 when it came out last year, don’t wait any longer to pick up one of 2018’s most dopamine releasing LPs. Recorded live outside the band/family’s home in front of an ecstatic crowd, Etran’s music, with its flashy but oh-so-sweet interlocking guitar lines and unwillingness to let a good groove go to waste, sounds like a stripped-down, scrappy, North African garage rock version of Congolese soukous. After the throat-clearing first track, they never touch the ground. Pure pleasure. Highest recommendation.

Isaac Olson

Ex-Display Model— Ex-Display Model (Self released)

Ex-Display Model by Ex-Display Model

The fact that Ex-Display Model, as of their debut, sound a little bit like Fujiya & Miyagi isn’t a big surprise. Plenty of listeners tend to identify bands via vocalists, for one thing, and F&M’s David Best has one of the more pleasingly indelible voices in the field. And in fact, Ex-Display Model started out as a solo project for Best, before he started working with AK/DK’s Ed Chivers, so when the opening “Immaculate Rip” channels a tinge of F&M’s cool, sardonic electro-rock it’s hard to be upset by more of a good thing. But then the song channels a malfunctioning guitar pedal for a much more abrasive chorus, and this taut, sharply formed debut is off the races. Whether it’s adding Au Revoir Simone’s Annie Hart on the reflective, melancholy “Autopilot” or going slightly glam on “Swing of Things” (or, for that matter, doing one of the best straight Motorik homages in a while on “Torschlusspanik”) Ex-Display Model wind up distinguishing themselves easily from either parent project, while offering some tantalizing glimpses of where the project could go further, starting from this basis next time around. The closing title track channels the duo’s instincts towards both dense repetition and thrilling squall into a fine climax — display-ready or not, here’s hoping for more from them.

Ian Mathers

Foster / Young / Zerang—Bind the Hand(s) That Feed (Relative Pitch)

Bind the Hand(s) That Feed by Michael Foster / Katherine Young / Michael Zerang

Bassoonist Katherine Young and percussionist Michael Zerang first encountered New York-based tenor / soprano saxophonist Michael Foster when the latter musician came to Chicago to participate in the 2018 Exposure Series . Originally conceived as a residency to bring an out of town composer and a group of Chicagoan improvisers, that year the event played out as a sequence of encounters between local improvising musicians/presenters and their counterparts in other cities around the USA. Coming from different aesthetic corners and generations, they build out from common commitments to improvisation and extended technique. You can hear them figure out what works as the set progresses. Things start with a scrape and a rasp; Zerang loves friction, Foster sucks and gargles, and Young magnifies and distorts her instrument’s woody timbres with electronics. After an initial fractious dust-up, they pull back to explore micro-sounds, patient gestures and complementary contours. The trio collectively realizes such a fertile environment that it’d be a shame if they didn’t re-convene to see what else they can grow in it.

Bill Meyer

Hoover / “Hoover1” 12” (Nowt Recordings)

HOOVER1 by nOWt

No DC post-hardcore, vacuum cleaners or unloved blanket-bearing presidents need apply on René Pawlowitz’s latest alias, pardon, release as Hoover. The Frankfurt producer best known as Shed (but certainly willing to go by a number of other names — just look at that list) has recently been exploring throwback rave music as a style beyond his usual triangulation of techno, house and dubstep. Unlike the 12” he put out for XL as The Higher in November, which featured prominent vocals, brash synths and uptempo percussion experiments, the Hoover vinyl is a more restrained effort. For evidence, check the almost stripped-back feel of the a-side, which uses the common trope of a distended female vocal sample before an all-enveloping astral synth swoops in around a little before the two-minute mark. But that’s as far as he’s willing to wade into these waters – the percussion holds station and remains clipped. The half-stepping b-side, meanwhile, is a sumptuous after-hours burner that arguably does less than the a-side; it almost feels like a cut better suited for the Workshop crowd. Beautiful studies in sound design and mood both, but if you were looking for something a little, er, higher, Hoover’s probably not going to get you there.

Patrick Masterson

The Hunches — Same New Thing (Almost Ready Records)

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The popular narrative attributes the heavily scare-quoted garage rock revival of the early-2000s to bands like the Strokes, the Hives, and the White Stripes. Let me tell you something, no disrespect to Jack or Pelle, but that's just fucking dumb, and you should know that. It started right here and it pretty much ended here, too. The Hunches would get louder, artier, and weirder leading up to their demise in 2009, but these previously unreleased 2002 demos (some of which would appear later in revised form, while others are completely new to the world) find the band in a raw, feral state. Hart Gledhill sound sounds like he's about to cough up a lung and rip his heart out on every song, and guitarist Chris Gunn takes aim with rapid-fire KBD riffs, drags the listener through rusted shards of post-Stooges shrapnel skronk, and then offers the necessary first-aid in the form of chiming, downright melodic leads. Same New Thing shows that while everyone else was playing "Incense and Peppermints," the Hunches had been playing "Psycho" all along.

Nate Knaebel

Jovan Karcic—2015 (Scioto)

2015 by Jovan Karcic

Jovan Karcic played guitar in the agitated pop punk band Gaunt during the 1990s, and he’s currently sitting in on drums for the raucous punk band Scrawl. You might not expect his latest solo album 2015 to be as sleek and full-throatedly synthy as it is, or to recall the lush keyboard atmospheres of the Cure or the chilled funk syncopation of smooth R&B. But there it is, Karcic’s songs are gleaming, surging masses of synthethic sound, which slip from self-searching confessionalism into ambient reveries. 2015 looms much larger than your typical bedroom-recorded autonomous songwriter project, with brighter, more polished textures in service of its down-on-its-luck narrative. “Larry’s,” for instance, visits the colorless desolation of a mid-American tavern, the kind with pinball machines and pool tables and decades-old alliances scratched in initials into table tops. And yet it’s recorded in what might be the very opposite of kitchen sink realism, with booming dance-floor rhythms and thick layers of keyboard interplay and a 1970s Dire Straits-ish guitar solo erupting out of the interstices. “Lesserman,” later on, draws a contrast between the downbeaten “Lesserman” and the more successful “Betterman” who “eats breakfast with his kids, and looks them in the eyes,” and confides that, “today brings opportunities for joy.” Yet though the track intensifies when it gets to the “Betterman” verses, with massed vocals and additional electric keyboard parts, Karcic’s heart is with “Lesserman.” Maybe 2015 is “Lesserman” imagining an impossibly happy ending, lush, sweetened with keyboards, pulsing with a positive rhythm, while outside sleet needles down on dirty streets, and tomorrow is never a better day.

Jennifer Kelly

Eli Keszler — Stadium (Shelter Press)

Stadium by Eli Keszler

You need people to fill up a stadium, and this record sounds like just the tool to expand Eli Keszler’s audience. His past work has included kicking out the jams with Oren Ambarchi and wiring a pumping station for sound. They’re worthy endeavors, but not ones likely to pull a stadium-sized crowd, or even an audience like his recent mates Oneohtrix Point Never and Rashad Becker might draw. So Keszler has recontextualized his extraordinary percussive technique and his abiding concern with spatial sound by pairing them with more accessible sounds. The opening track “Measurement Doesn’t Change the System at All” (a claim that physicists could dispute) combines a creeping Farfisa melody and sprinting, undeniable groove. The vibraphone and bass drum on “Flying Floor for U.S. Airways” are magnified until they are as thick and plush as sofa stuffing; the patter of dryer drum and stick sounds manifests a clear focus point in an otherwise cloudy space. And while

“Fashion of Echo” begins with a typical Keszler gambit, using rapidly and precisely articulated shifts between the different parts of the kit to suggest a three-dimensional configuration in motion, there’s more forward momentum than in the past. Stadium sounds rather like something Aphex Twin might achieve if he took up the drums.

Bill Meyer

Kukuruz Quartet — Julius Eastman Piano Interpretations (Intakt)

Julius Eastman Piano Interpretations by Kukuruz Quartet

George Lewis’s liner notes underscore the precariousness of Julius Eastman’s profile. From promising beginnings as a performer and a composer of avant-garde classical music in the 1970s and 1980s, he spiraled into obscurity and homelessness and was almost forgotten. If not for the luck, if you can call it that, that the current concern with elevating under-heard narratives, for which Eastman certainly qualifies — black, queer, an extraordinary singer, an acutely challenging composer in an idiom more likely to borrow from people of color than to follow their lead — follows his death by only a couple decades, would he be totally forgotten? So let’s take the emergence of an album dedicated to his work by a European piano quartet as a good sign. Bright recording and exacting performances make this an easier listen that some of Eastman’s own performances, and the density made possible by the use of four grand pianos amplifies the archness of “Evil Nigger” and the spiritual aura of “Gay Guerilla.” Two less notoriously entitled pieces, a robust exercise in overlaid patterns called “Fugue no. 7” and a long, barely there exploration of the piano’s innards named “Buddha,” round out a set well worth hearing.

Bill Meyer

loscil – Submers (Kranky)

Submers by loscil

Kranky continues their reissue program of Scott Morgan’s earlier work as loscil, bringing his second album Submers (originally released on CD in 2002) out on vinyl. loscil records tend to operate on two levels, with the immediate/visceral impact of his richly soothing and/or foreboding music (still, at this point, fairly summed up as “ambient dub”) working hand in hand with some sort of conceptual angle for both artist and listener to meditate upon. With Submers, it was submarines, including the Russian Kursk, which had recently lost all hands after a torpedo mishap during a naval exercise. While more recent releases have shown just how well Morgan can fold in the work of collaborators, on this record he’s working strictly from sample sources and composing using a custom-built sequencer, no synthesizers or acoustic instruments involved. The result is an enveloping, suitably aquatic sound world from the shimmering, gently pulsing opening track “Argonaut I” into a solid hour of engrossing deep sound. Morgan has continued to refine his work but there’s a reason Submers brought him to wider attention at the time - it’s still one of the highlights in one of the most solid discographies in ambient music.

Ian Mathers

Lucille Furs — Another Land (Requieum for Un Twister)

vimeo

The first thing you hear is a bassline borrowed from “Come Together,” the second a hazy overtone of keyboards and guitars. Lucille Furs, out of Chicago, are deep into a 1960s psychedelic lode, with hints of Love and the Zombies wafting through their low-key lysergic tunes. Slanty, surfy-toned guitar splinter the air in “Paint Euphrosyne Blue,” chortling organics burble up through the tune. It’s more emphatic than most of these tunes a fuzz-garage raver in line with Black Angels or the Allah-Las. Elsewhere the vibe is sleepier, but still enticing. While not exactly overstuffed—there are only five of them and the most exotic instrument is a mellotron—these songs feel plush and carefully arranged. Baroque garage pop isn’t really a category, but maybe it should be.

Jennifer Kelly

Murderer — I Did It All for You (Toxic State)

I Did It All For You by Murderer

With just an extremely short 2013 demo to their name, Murderer went recording and came back with this 15-tracker released in the dying days of December that picks at a scab of more than just straight-ahead garage vibes: There are the gentle chimes that color the margins of “Piece of Candy”; that lazy, burned-out surf riff on “Cowboy” and “Moonlight”; the creepy dreaming of “Juicy Fruit Dream”; the slightly overbearing keyboard flourish on “A Diamond Just for You”; the fact that there are four different tracks all called “Perfect” here; and so on. Featuring commanding drum work by Sam Ryser (also of Crazy Spirit and Dawn of Humans) and guitar and vocals courtesy Hank Wood of thee Hammerheads, the thing that came to my mind after a first listen was Pink Flag-era Wire, but the taut post-punk goes in enough different directions to get you racking your brain for better analogs from the turn of the ‘80s. “I need it to be perfect / I need it to be real / That’s just how I feel” each “Perfect” intones; in its own way, it certainly is that. Great album for the fuckin’ record reviewer in your life.

Patrick Masterson

Doug Paisley — Starter Home (No Quarter)

Starter Home by Doug Paisley

The title track of Doug Paisley’s Starter Home is the sort of perfect instant classic that most songwriters on the folk/country spectrum spend an entire career hoping they’ll write. While “Starter Home” and its autopsy of middle-class aspiration, repression and stasis could have been written anytime in the last 60 years, it has particular resonance ten years into a housing crisis that only the wealthy think is over. Nothing else here is as good as “Starter Home”, but “No Way to Know,” “Mister Wrong,” “Drinking with a Friend,” and “Waiting” come close. The other four tracks are all worth hearing at least once, too. Like Paisley’s previous records, Starter Home is a better-than-average folk record with a handful of knockouts. He’s going to have an incredible Best Of collection someday.

Isaac Olson

Manuel Troller — Vanishing Points (three:four)

Vanishing Points by Manuel Troller

Rock dynamics shape the music that Manuel Troller makes with Schnellertollermeier. In KvG’s Bottom Orchestra, he shifts nimbly from chamber music to free improvisation to shattered chanson. But when the Swiss guitarist plays solo, it’s all about the possibilities of his gear. Troller could not get the tones he gets without a plugged-in signal chain; with it, his sounds range from feathery cirrus to fractured granite. He uses delays to freeze moments of motion, sometimes to subject them to examination and other times to use chunks of digital stutter as building blocks. This description may sound a bit clinical, but Troller has a knack for turning sound into experience. Sometimes this record feels like flight, other times like you’re stumbling around in a dark and cluttered factory space, but it never feels like a guy just fiddling with his strings and boxes.

Bill Meyer

Jamila Woods — “Zora” single (Jagjaguwar)

LEGACY! LEGACY! by Jamila Woods

The Zora Neale Hurston quotation I keep returning to in listening to the second single from Jamila Woods’ sophomore full-length Legacy! Legacy! is, “I love myself when I am laughing … and then again when I am looking mean and impressive.” The 29-year-old Chicagoan is exuding confidence from every pore on this three-minute track, luring you from the soft power of “I tenderly fill my enemies with white light” to the leveling of “You will know never everything, everything / I will never know everything, everything” to the outright ascension of “I may be small, I may speak soft / but you can see the change in the water.” In a word: Recognize. The gorgeous harp flourishes, sparsely echoing synths and dusty groove of the beat, accompanied with backing vocals mixed to accentuate rather than overwhelm Woods’ lead, further illustrate who is running the show here. As Hurston also once said, there are years that ask questions and years that answer; for any doubters left after 2016’s Heavn (and aren’t there always a few), May’s Legacy! Legacy! should firmly weed them out. Get ready.

Patrick Masterson

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jazi-j-sims · 7 years ago

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THE DELGADOS - In My Purse Challenge

"What's up guys it's Demi & Deidre here with another videooo!" Demi said with her usual vibrant, dramatics of elaborate gestures and goofy facial expressions. It was normally the intro to Demi and Deidre's YouTube videos but Deidre secretly couldn't stand it.

Deidre slightly rolled her eyes and hoped that Demi didn't pick up on it during the video edits or better yet, their 2 and a half million subscribers didn't take notice. Matching her sister's smile she looked straight into the camera and quickly added "So we've been getting a lot... scratch that... A WHOLE LOT... of requests to do the "In My Purse Challenge" and today we have a surprise for y'all. Demi and I have decided to include our mom in the mix."

"Yeah boy!" Demi said as she pumped her fists in the air. "We're also adding a twist, we want you guys to comment whose purse is most like yours, whose purse you like the best... WHATEVER... and the one with the most comments is the winner. Of course I already know y'all gonna pick your girl" Demi smirked as she used both her thumbs to point at herself.

"Yeah whatever" Deidre scoffed, this time elaborately rolling her eyes. "So anyways the two losers will be the winner's slaves for a whole week!" "AAAAND because we always wanna include YOU our clan we're giving away custom made monogrammed t-shirts with your family name to the first 10 people to comment! So without further ado -"

"LETS GET THIS PARTY STARTED!" Deidre and Demi shouted in unison.

"Delgado-Fan-Fam-And-Clan this lovely lady here is my clone!" Deidre stated while Demi, dancing like Carlton from The Fresh Prince of Bel-Air, softly sung Isn't She Lovely a bit off key.

Aisha chuckled as her daughters flanked her. She quickly struck a pose and the girls followed suite.

"Okee jokes aside this is our lovely mama" Demi said "As some of you may know she's the editor-in-chief at Delgado Bazaar fashion magazine, a judge on Project Catwalk, stylist to the stars and she's the brains behind a lot of our subscriber fashion giveaways. Yup all that and she still finds time for us and our little brother... ooh and Dad!"

"Because she's dun-duh-duh-dunnn... SUPER WOMAN!" Deidre states gesturing her hands as if she's about to take flight. Demi starts humming Alicia Keys's Superwoman. "And because you're so awesome and inspiring -"

"AWE-SPIRING" Demi cuts in.

"You get to go first!!" Deidre finished with a grin.

"What?!" Aisha says "Well ok but let me warn you there's A LOT in here..."

*few minutes later* "Whoa!" Deidre said as her mother finished emptying all the contents of her handbag unto a glass table on one of the balconies, overlooking their pristine back yard and the desert skyline. "You weren't kidding; your bag looks like a hoarder's paradise mom!"

"Yup, that's what happens when you're a working mom."

"It's like you got a little bit of everything in there." Demi added as she scanned her mom's stuff.

"Sure do" Aisha replied. "I've got gadgets for work, toilettries, credit cards, money, makeup, Snacks for Asaud, Birth Control because dear sim-Lord FORBIDS we should have another kid running around here anytime soon; oh and the latest issue of Delgados Bazaar... so to all you working moms out there watching you should get a copy. It speaks on how to be a workaholic and a great mama at the same time... because YES you can have the best of both worlds!"

"Well said mom." Demi stated "Well normally I'd say we save the best for last, me of course, but I lost a coin toss to Deidre earlier so I gotta go next."

"Hmmm condoms ehh?" Aisha's expression was quizzical

"Mom!" Demi could feel the blood rushing to her face. "They gave them to us in Sex Ed."

"Girl don't even try lying to me." Aisha wagged her finger in Demi's direction. "Everyone knows they don't give out Trojans! Well at least you got your mama’s taste"

"Eeeew mom but she has a point Demi." Deidre shrugged .

"Oh shut up! Before I -"

"Wait, both of you be quiet! Why is it that you have got a C on this paper?"

"Uuuggh!" Demi began to protest "Mom can we not do this right now?!"

"Yeah mom. Deidre said. "We're gonna have a hell of a lot of editing to do."

Aisha smirked in response, with a slight wave of her hand to signal they carry on with shooting the video.

"So as you guys can see my purse isn't as cluttered as mom's..." Demi glanced in her mother's direction. Smirking she quickly added "and in case you are all wondering why I got a C on my test well because someone who will remain nameless asked me to help with a project for the Delgado Bazzaar website."

Aisha returned her daughter's gaze "Lest you forget that someone didn't merely ask you to help out. She's paying you a hefty sum for your time, so you should be grateful and at least bring home an above average grade so THAT SOMEONE... ME can stick it on the fridge and brag to all her friends."

"Mom no offense but we're waaay past that. Don't worry you got Asaud for that though." Deidre said patting her mom on the back. "What do you have here Demi."

"Well the norm... my laptop, my hair products, toiletries, cash, spare keys to dad's Benz; yup he's the coolest... and makeup because duh it's essential!" Aisha rolled her eyes. "I ought to have a talk with Derrick. Your asses should be taking the bus!" "MOM!" both girls shrieked in unison. "Who does that?!" Deidre carried on "All the girls at Oasis Springs Prep drive to school or they get chauffeured." "Sure, because you're all privileged! I had to take the bus and let me tell you the bus system in Jamaica was no joke when I was your age. Sometimes -" "OKAAAY!" Demi cut in. "Mom I'm sure everyone wants to hear of your wild days in Jamaica but we gotta save that for another video. Deidre it's your turn."

"Wait hold up!" Aisha said as she scanned the contents of the Louis Vouitton tote Deidre had placed on the table. "That bag looks verrry familiar."

"Well in my defence mom you have hundreds of bags and this one looked lonely, that's all." Deidre grinned sheepishly. "Now if I may carry on, here are the contents of my bag guys"

"You mean my bag that you stole" Aisha grinned.

"Whatever mom. I wear it better." Deidre teased.

"Hold on, why am I just noticing your obsession with unicorns? Your laptop, journal, notebook and even your phone case!"

"Not to mention her obsession with Pepsi! Apparently she's saving the cans now." Demi picked up an empty Pepsi can with a disgusted look on her face. "Girl your bag's a hot mess. It's called In My Purse Challenge not In My Dumpster Challenge!"

Both Aisha and Demi started chuckling.

Deidre rolled her eyes for the umpteenth time and swatted Demi's hand causing her to drop the Pepsi can back on the table. "Moving right along... mom here's a pic Asaud drew when I picked him up from school a few days ago. You can place that on the fridge."

"Wait why did you pick up Asaud and why haven't you started those packs of birth control?" Aisha pointed at the little blue pills she had gotten her youngest daughter a few weeks prior. They had agreed that since she’d be 16 in a few months she could start dating. Aisha was always blunt with the girls about sex, teen pregnancy and pretty much everything in life and even though the girls both claimed they weren’t seeing anyone and didn’t need birth control, Aisha didn’t want to leave anything to chance.

"Um... uhh..." Deidre stuttered, she shot a nervous look at Demi. Aisha turned to face Demi's direction a stern look on her face. "Well can you give me an answer? Since you're the one that's suppose to be picking him up?" "Umm, I had to stay back after school to work on a project with Lacey for -"

"BULLSHIT!" Aisha snapped, cutting Demi off. "But hold on keep that lying thought. Just gimmie a second." Turning to face her other daughter she continued "Why haven't you started taking those pills Deidre?"

"Well I don't need them Mom, I told you..."

"Yeah... so you don't have a boyfriend now... you might one day and one thing might lead to another and I am not ready for no grand-baby!"

"Mom do you ever listen?! You won't be getting any... EVER... at least not from me. I don't want kids and I'm..."

"What are you trying to say?!?" Aisha's facial expression was a mixture of shock and fear.

Sensing the drama that was building Demi quickly stopped the video that was still rolling and stepped in between her mom and sister. "Mom Deidre is... uh... she's had a long day ok. Can we all just call this quits?"

"No." Aisha shook her head firmly. "I need to get to the bottom of this and someone better start talking before everyone gets an ass whooping!"

Placing her hand on Demi's shoulder, as if to excuse her of the big sister duty of defending her Deidre quickly chimed in "She's right Demi." She looked away for a second gathering all the confidence she had. "Mom I'm into unicorns and rainbows and boys.......but.... mostly girls... I'm bisexual."

Aisha felt all the blood in her face drain. It seemed they were coming out her eyes because she could feel heavy hot droplets on her cheeks. "What. When. How... WHY?! You're just 15 you don't know what you want!"

"MOM!" Demi shot her mother a glare she wouldn't normally dare but she always felt the need to protect her little sister. Trying to remain assertive but respectful she added "That's enough ok. Let's just all go downstairs and have dinner before someone says something they’ll regret."

Aisha sank in a nearby chair. The girls watched as she mulled over the shock of her youngest daughter's news. She could feel the girls's eyes piercing her like four bullets. "Go. Just go, both of you."

Deidre breathed out a sigh of relief. She wasn't even aware until then that she had been holding her breath. Demi tugged on her arm and both girls practically ran downstairs, making their way to the dinning room.

#pics #Delgados #Delgado Law #in my purse #in my purse challenge #ts4 challenge #ts4 lgbt #ts4 #the sims 4

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thesunlounge · 6 years ago

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Reviews 161: Talking Drums

I’m most familiar with Patrick Ryder through his music writing, as he has a real knack for providing evocative and tastefully far-out descriptions. This is especially apparent in his longtime relationship with Growing Bin Records, having provided most of the reviews for the label’s illustrious discography (check out that killer piece on Eleventeen Eston’s At the Water). As well, Patrick can be found providing staff reviews for Piccadilly Records and there’s no telling how much I’ve bought based on his tasty words alone. So it’s no surprise that he’s also a skilled selector and creative editor, using his Talking Drums project to explore “an unsafe space for poorly executed dance moves, misjudged vibes, and narcotic bravery.” There is a wild and freewheeling spirit at play in these edits…a true sense of balearic adventure according to the earliest definitions of that word and in that way, these two volumes of tropical funk, zoned out disco, cosmic body music, and filter house fantasy sit nicely alongside the mysterious Love Creation edits and Kenneth Bager’s longstanding and subversive Balearic Blah Blah series.

Talking Drums - Talking Drums Vol. 1 (Talking Drums, 2018) The disco beat backing “C60 Lato A” is awkwardly slow and that is wholly part of the charm. This time-shifting dancefloor heat is washed over by wild oscillations and scorching noise skree and there are addictive childlike sun chants repeating through the mix. Vibrant drums and a funky twanged out bassline give the groove shape and as the searing noise clouds recede, joyous vibes of some eternal paradise party enter via ascending saxophone harmonies. The body moving bliss is soaked in solar positivity and Afro-sunshine and since everything is slowed down, the guttural low end brass instruments end up sounding like weirdly filtered monosynths. At some point meditative organs work their way in the mix and the vibe somehow grows even brighter and more ebuliient, especially once skronking and expressive sax solos intertwine with vocal scats and conversational singing. Everything is buried under layers of rainforest percussion and the riffing organs have vibes of 60s psychedelia, while the backing choirs and their staccato chants unite with feedback smears and rattling noise clouds. It’s impossible not to stomp your feet and clap your hands as the body merges with the sunshine dance perfection. And no matter how wild or hallucinogenic it gets, even with the vocals locking into shamanic funk spells, that twanging bass loop never relents and always keeps the groove on task.

Midnight guitar psychedelia introduces “Get Serious,” working ear-to-ear as sultry brass fanfares and wah wah serenades overlay a stomping beat. The horns grow ever more adventurous until we smash cut into a silky smooth jam led by freaky synth soloing, all cosmic wave dancing and LFO modulated insanity. When the singing hits, it’s apparent yet again that things have been slowed down, which adds a layer of drugged up delirium to the funk disco enchantments. The vocals sound like they are dipping into pools of molasses and the vibe is sultry and anthemic, as harmonizing voices are backed by sci-fi synth trails. Eventually we get another wigged out synthesizer solo that leads to a delirious climax…earnest voices smothered in heartache, tambourines jangling, ripping distorto-bass guitar riffs stomping into the sky while celestial brass cascades ring out. And after another passage through the “get serious get serious” refrain, we are once more immersed in a jaw-dropping synth solo, only now the mix is slowly overtaken by phased string synths and their majestic prog perfection, like rainbow winds carrying the soul to a heavenly kingdom in a sea of stars. Ripping fuzz guitar solos struggle to break through the epic phaser orchestrations and the bass guitar is so heavy, crushing mountains while the drums fade into vapor. It’s an atmospheric outro of pre-Darkside Floydian space rock perfection and just when you think it’s all over, another soulful vocal section magically fades back in for a final blast of deep disco romantics and blaring brass magic.

Talking Drums - Talking Drums Vol. 2 (Talking Drums, 2018) A Hungarian goddess and an exotic jam out sitting under heavy French touch filters…this is “Disco Danube,” which explodes into view with the kind of delirious looped disco magic perfected by Le Knight Club, also with hints of Ptaki. Hot guitar riffs jangle away while flutey synth sequences created LSD soundwebs and the muscular disco beats and slamming basslines work the body into an ecstatic frenzy. The track sits there looping over and over again…tripped out, lulling the mind into hypnosis…all setting up a brain melting fanfare of towering funk brass. Finally, the intoxicating vocal hook hinted at during the filter-intro makes its appearance, but each time it’s short lived as the track prefers to zone out into instrumental disco mesmerism with snake rattles moving across the spectrum and shadowy strings holding down ominous drone chords. There’s a moment when everything turns happy and sunny, with percolating sequences sounding like futureworld banjos joining earworm hooks of sparkling positivity. But this is all eventually decimated by those massive cinematic funk horns blasting away and after a brief rhythmic pull out wherein the mix is subsumed under high pass filtering, we launch yet again into physical disco fire. It’s a dancefloor bomb of the highest order, riding waves of sensual sexual disco fever until an outro that sees the whole mix blasted through brain piercing highpass filters and overwhelming aquatic echoes.

Of the four tracks across both Talking Drums volumes, I think “Space Talk” might be my favorite. Dark blasting bass sequences and cymbals made of noise lead some electro rhythmic sorcery and body music magic, with dissonant feedback, synthesis bubbles, and cosmic vapors underlying melodramatic male singing. Vibed out minimal funk shades are stoked by percussive chords and roto-tom fills fly through the mix under galactic delay fx. The “talking about / you and me” refrain alternates with desert noir guitar arpeggios and sometimes the vocals work in round with other lyrical snippets creating a headrush of dark intoxication. Crazed outerspace insect noises swarm around rimshots and cowbells weaving their hypnotic percussion webs and the whole thing is a nightmarish dream of forbidden physical euphoria. The verses are interspersed by passages featuring haunted synths and their soft psychedelic melodies working straight into the mind and at some point, feminine vocals replace the masculine and everything grows even headier. It’s like the murky kraut cosmica of Bison or the loved up and ass shaking acid vibes of Zmatsutsi, just pure dancefloor ecstasy for shadowy spaces…the absence of light…sweat covering everything…heat raining down…mind and body merging with the electro rhythms, chugging bass vibrations, and amorphous sheets of synth noise that glow with a strange neon light.

(images from my personal copies)

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skuditpress · 7 years ago

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Creosote Bush, Larrea tridentata: A plant profile

Intro to Creosote Bush / Chaparral / Greasewood / gobernadora : Larrea Tridentata (Zygophyllaceae) and ecology

Yatamp, yatampi, ya'tam'pi (Paiute)

Yatumbi (Shoshone)

( Names according to research in "Native Plants of Southern Nevada: An Ethnobotany" by David Rhode, cited at the bottom )

Creosote Bush is found in the Mojave, Chihuahuan and Sonoran deserts centralizing in the Southwest and into Mexico. It covers miles of terrain, sometimes creating a sea-like illusion on the desert floor much like Sagebrush does in the cooler Great Basin desert to the north.

Creosote Bush is commonly named as such because this plant's heavy resinous scent and tacky demeanor has been compared to the smell of creosote found in stove pipes. It doesn't really smell like black soot at all to me, but does indeed have a sweet and musty smell that especially fills the air after rainstorms when it opens it stomata and on cool mornings in the desert where it grows. This plant is also sometimes called Chaparral, possibly because of its scrubby and tangled appearance. This growth style slightly resembles some of the plants that grow in varying incarnations of the mediterranean Chaparral ecological community that is located mainly in California. This ecological community (or set of communities because there are variations) doesn't actually include Larrea at all but mostly species of Manzanita (Arctostaphylos spp.), Ceanothus, Oak (Quercus spp.), and more. And Creosote Bush when called its other common name Chaparral is not to be confused with Chaparro Amargosa (Castela emoryi) which is an endangered plant due to development that also grows in some of the same deserts as Creosote Bush. Creosote Bush is called 'gobernadora' in Spanish which translates as 'the governess' or 'she who governs' possibly due to Creosote's sense of ruling over the desert lands where it grows, and also due to some of its survival strategies. It often is the dominant plant for miles. (Creosote Bush, Larrea or Chaparral, from here on out will be used to describe Larrea tridentata)

Larrea is also incredibly efficient at reserving water for itself due to harsh temperatures and long periods without rainfall in the desert. As with other plants that have resinous leaves, Larrea's are adapted to retain precious water for its photosynthetic needs. The resins protect the plant from the harsh environment, and it is these concentrated powerful resins that give the plant its greatest medicinal qualities. Mature plants are extremely tolerant of drought. Rising temperatures and recent droughts in the Southwest have actually increased its populations because of this plant's adaptability. When it does rain, the plant takes as much opportunity as it can to absorb the moisture, and the leaves and new branches almost feel succulent to the touch. When it is hot out and hasn't rained for awhile, you can approach one of these bushes and think that it is practically dead- even the newest of branches will break off with clear tree-limb like 'snap.'

Yes, Creosote Bush is a woody shrub, with its thin branches bearing black rings here and there from past growth (see photograph directly below). This plant mostly retains its small precious leaves year-round, with some sprinkling of loss that actually forms a special habitat for other animals in the littering on the ground. The leaf color is usually a darker olive green, though during rains, it can brighten up substantially. In early Spring, it starts to produce its bright yellow 5-petaled flowers. (Many of the photos throughout this piece are from my recent trip to Joshua Tree, California this past winter, and were taken right after a rain.) A pollinated flower turns into a silvery-fuzz ball of seeds that may germinate plants, but because of the drought, many do not survive through initial growth.

An interesting bit of information from an in depth scientific study on the plant:

"It is believed that the creosote bush originated in South America and spread to North America some millennia ago. In some arid regions of southwestern USA, the plant not only thrives as the most dominant vegetation but has also genetically adapted as evidenced by genotypes that vary according to regions. The plant grows in all desert regions, but only the species that grow in South America and in North America's largest desert (the Chihuahuan) carries two sets of chromosomes in each cell nucleus. In the Sonoran desert, where winters are mild and rains fall during both the summer and winter, the plant has four sets of chromosomes. By contrast, in the Mojave desert, the smallest and driest desert of the USA, where summers are very long and hot, the plant is hexaploid.7,8Whether the chromosomal variations are in response to the climate of the region or correlate with the quantity and diversity of the production of secondary metabolites is unknown. There is considerable pharmacologic interest in these metabolites, which the plant appears to use for defense." (Gnabrea, Bates and Huan, Creosote bush lignans for human disease treatment and prevention: Perspectives on combination therapy)

Like the Aspens mentioned in our Populus plant profile, Chaparral can reproduce clonally after parts of itself dies. Because of this reproductive strategy, these are some of the oldest organisms on earth. Curiously, some of the other oldest plants include the Bristlecone Pine which grows in the Great Basin desert near the oldest Aspens, Figs and Olive trees in Europe and Asia, some Eucalyptus groves, Yew and Cypress trees and more. Check out a list here.

Uses and Lore

Given that Creosote is the 'Governess' ecologically, it is no surprise that it has been revered as a plant with a wide range of uses for everyday life by the native folks who have lived intimately with the plant for 10-14,000 years. The book 'Native Plants of Southern Nevada : An Ethnobotany' was funded by the U.S. Dept. of Energy and in collaboration with local native tribes in order to determine if a possible nuclear waste storage site (Yucca Mountain) had any cultural or ecological significance. What was produced from the project was an invaluable (but far from complete) compilation of plants and their importance for various native tribes in the area and in the broader region they are found, as an effort to highlight how important the land is to the native people that (still!) live there. Creosote Bush is one of many plants featured, and the book is the source of where I got the various native names for the plant. The book mentions the plants' importance for use in tool making and shelter building especially in a place without a lot of wood or materials for building to create shade. A glue-like resin that leaks from the plant sometimes was used in scenarios where something needed to be held together- like with pottery or baskets.

It can be used as an added preservative in medicine making to keep oils or salves from oxidating. A couple twigs can also be added into food storage areas to keep moisture away.

Consult Creosote for when you need grounding. It is powerful added to a bath, as an oil on the body after a wind storm, extreme sun exposure, stuck in traffic, a long hike or crazy week.

Medicine of Larrea

Though the FDA claims to be cautious about using the plant, mostly internally, due to a scientific study that yet again isolated one compound from the plant and fed mice only that compound for days, resulting in kidney and liver damage. Although, there continues to be some research done due to the pharmaceutical industry's interest in the plant, or for its possible use as a preservative on an industrial scale. I think the situation is more complex than just not using it because of one study. The plant has a kind of power to decide to help you or not. It has the capacity to ward off infections like staph, which I have seen in action while helping 7song at the Rainbow Gathering years ago doing first aid, and in many other first aid scenarios. As I mentioned with my dad's over-sunned face, the plant has a capacity to mend places externally on the skin that could learn towards abnormal. I am not saying it is a 'cancer cure' because not enough research has been done, but the plant has shown the capacity to help in those scenarios when it wants to. I took a class this Spring at the Good Medicine Confluence in Colorado just on this plant, and one person chimed in during class who has studied with a native elder (I can't remember which tribe!) and said that the plant is just that- it could give you everything you need or harm you if you do not have the right intention. I also feel that small doses of the plant in acute situations when needed are likely to not be harmful.

I have also seen it help to clear cysts internally, specifically with a friend. The doctor had recommended she do an invasive surgery to remove the cyst, and she opted to try this plant internally first to see if it would help. The doctor was amazed and also a little angry unfortunately that this person worked with plants instead of opting for surgery to clear the benign cyst. (I would recommend working with an experienced herbalist, naturopath, osteopath, Chinese doctor or acupuncturist if you're wanting to clear a cyst using non-allopathic methods)

The plants' medicine is broad reaching and complex. If you want to try to read through the long scientific study I cited in the paragraph above, you will see evidence that it could be helpful for treating HPV and HIV, as well as working with herpes and fungal infections. Both herpes and fungal infections I have experience with using this plant. I have gotten 'Herpes I' outbreaks on my lips since I was a young child and the outbreaks are painful and embarrassing and usually happen when I get stressed, too much sun, drink too much coffee or alcohol, or didn't get enough sleep. The virus wakes up and starts to reproduce, forming a painful blister I can't stop thinking about because it is on my face. Creosote infused in oil or in a salve, I use in conjunction with St. John's Wort and Garlic oil, among other herbs, and apply it to the blistered site throughout its cycle. The healing time and size of the outbreak has lessened though I tend to be getting them more often lately, possibly from the stress of travel. As for fungal infections, I have personally used it on moist feet during rainy Appalachian summers, and on vaginal yeast infections. It's anti-inflammatory effects are helpful during the healing process of working with these varying ailments and imbalances.

Both scientific studies and the ethnobotanical information available on the plant suggest that native folks did historically and still do use the plant for a number of ailments including: as a mild sunscreen or after sun care to prevent free radical damage, chicken pox, eczema, sores (like the kinds my dad gets from the sun, and probably includes staph and the like), measles, as a styptic (powdered to stop bleeding), for burns (like my friend's face burn), during colds and flus, as a mild expectorant, cramp relief, rheumatism and more. You can see why it is an ideal first aid plant, and why I would jump a fence to get some to use for medicine (see my Sagebrush Salve stories blog post on my first time meeting this plant with 7Song in New Mexico in 2012).

An excerpt from the story:

My first experience with this plant was when I gave an seemingly unruly and black jean clad herbalist named Sevensong a ride across New Mexico from the formerly Traditions in Western Herbalism Conference to the Anima Sanctuary in the Gila National Forest in 2012. { ... } Mario, who was Sevensong's apprentice at the time, and Nina, who I had just lived and worked with at the Goldenseal Sanctuary in Ohio the following Spring, took off together for a 24 hour straight ride to arrive at the conference at dawn when first classes began. Fast forward to after the conference and Sevensong and Mario were invited to come out and visit Kiva, Wolf and then Loba- so Nina and I came along because we were the ride. Mario was adamant about getting Chaparral. Given that Sevensong focuses so much on first aid, he was a good passenger to have on the trip. [...} Chaparral is a commonly used and important plant for wounds and infections of the like. I had never seen it so I didn't know what we were looking for at the time. { ... } Sevensong kept his eyes peeled for vast fields of the scrubby plant and after hours of windmills and immensity, he spotted it. Over a barbed-wire fence and up a big hill. We pulled over and got our bags out, and made our way towards the fence, ominous storm clouds drifting around right on the other side of the bare hill. We awkwardly hopped over or climbed under, getting covered in dry desert dirt. Walking up to the plant, I could hardly believe this thing was even alive.

One crack of a gnarly limb and holding it up to my nose sent a profound waft in the air- the smell of pure solitude, of harsh sunshine, of dry survival. Quietly for nearly 45 minutes we collected the twigs for later oils and tinctures."

This past winter I got a UTI for the first time in years from getting dehydrated, sitting a lot, stressed out and tired from driving all day in the desert. For the next week, I was in the land of Creosote Bush, and wanting to try my best to ward off the infection instead of using antibiotics. Some friends suggested a strong decoction of this plant internally as a slight diuretic and anti-bacterial for the bladder. I drank it for a few days but eventually I couldn't keep it down, as the tea tastes HORRIBLE. It is hard to drink. I feel like it worked okay, but wasn't what really did the job for the infection, which never got full blown bad. Later, I stopped the internal tea mostly, and switched to a tea blend made by my desert herbalist friend Peri Lee. Somehow I had landed at the right person's house during that ordeal. Maybe Creosote Bush works for UTI's for some folks, and it seems to be historically used that way to an extent. But, folks who have worked with the plant for awhile say that there might be better less harsh alternatives out there.

I wouldn't turn to it for the ultimate 'cancer remedy,' but I wouldn't disregard it for that use either. I have a feeling some patented drug will come out isolating compounds from this plant for that use at some point, we'll see how it the progression of that exploitation progresses.

Over the years I have made a toothpowder (it was in my first land capsules!) that contained Larrea for its anti-microbial qualities. I'll have some more for sale, eventually.

Harvesting

Though the aerial branches in entirety would be useful medicinally in the many ways cited already, the best practice for having a balanced impact on the plant would be to harvest carefully. I say balanced because, many plants thrive more from pruning and disturbance, and others do not. So balanced in this case would be to try to harvest the less woody and younger parts of the plant first. After a rain this past March when visiting Joshua Tree for awhile, I wandered to a dry wash my friend suggested, early in the morning. It was a rare cloudy day, and the birds by the wash were building homes in the cholla out of the neighbor's trash, dog hair from brushings, as well as from wool and other organic matter found who knows where. An avenue of these intricate shelters formed in the shielding spikes of desert sharpness led me down sandy steps that gradually landed me towards the bottom, where the wash had last swollen with water, probably not this season due to drought. Nonetheless, the recent rains has swollen the Creosote branches, and offered new growth to these tough trees. I trimmed just the far edges of the bushes, taking turns from one bush to the next, seemingly spaced like a garden planted. This seemed so with enough room for everyone to thrive- at least that's how the Creosote tends to arrange itself through its own magical methods. I took a paper bag full of these succulent resinous cuttings of leaf and new non-woody branches and a few days later chopped it and put it in oil. One day I'll powder some for a first aid kit or more toothpowder.

: Joshua Tree desert scenes :

: A R T :

GROUND SHOTS LAND CAPSULES : Creosote bush

For our May land capsules, we are sending out #15 1/2 oz Desert salves for all things skin first aid, made from this winter's harvest. This month's capsule will also include a print and writing. Review past Ground Shots work here. You can find out more information on this month's land capsules under rewards here.

We generally mail out land capsule packages during the first week after Patreon payments go through, which happens on the first of every month.

In addition to the ingredients listed above, we infused Pinon Pine needles in oil and added it to the mix. The Pine sap came from Jeffrey and Ponderosa Pines.

CONSIDER SPONSORING THESE PLANT PROFILES AT $1/MONTH.

I spend sometimes over 20 hours or more putting each of these profiles together, which I release to patrons first and then free to the public. They are an ongoing documentation of my personal research into plants while traveling to meet them over and over and going further along ecological webs to expand my understanding first hand in the field. They are also influenced by my time staying put in my avid family tradition of farming and tending plants in one place, which seems to be juxtaposed by extreme periods of travel. I am not claiming to be an expert and welcome any noted additions needed or alterations to be made. I release these profiles first to all patrons $1 / up on Patreon, and your support will help alleviate the personal money I've put into prioritizing this research over the past many years. It will also help me continue the work that I feel like gives a unique perspective to the broader communities that this work reaches. I am a perpetual student to the land and desire to understand it as deeply as possible (which means the more you know, the more you realize you don't know) and I desire to share that reflection with others.

PRODUCT / Herbalist RECOMMENDATIONS THAT INCLUDE / use CREOSOTE BUSH:

Peri Lee

Zizia Botanicals Itch Nix Foot Spray

Laura's Botanicals Purify Detoxification Oil

Works Cited

Wikipedia. Larrea tridentata. Web. accessed June 1, 2018. https://en.wikipedia.org/wiki/Larrea_tridentata

Elpel, Thomas J. Botany in a Day : The Patterns Method of Plant Identification. 6th edition. Hops Press. Pony, MT: 2013.

Moore, Michael. Medicinal Plants of the Desert and Canyon West. Museum of New Mexico Press. Santa Fe: 1989. (Frank Cook's copy)

Rhode, David. Native Plants of Southern Nevada: An Ethnobotany. The University of Utah Press. Salt Lake City, Utah: 2002.

Blackwell, Laird R. Wildflowers of the Eastern Sierra and adjoining Mojave Desert and Great Basin. Lone Pine Publishing. Edmonton, AB, Canada: 2002.

Clark, Charlotte Bringle. Edible and Useful Plants of California. University of California Press. Berkeley: 1997.

Stuart, John D. and Sawyer, John O. Trees and Shrubs of California. The University of California Press. Berkeley: 2001.

Tilford, Gregory L. Edible and Medicinal Plants of the West. Mountain Press Publishing Company. Missoula, Montana: 1997.

Gnabrea, John & Bates, Robert & Huang Ru Chih. "Creosote bush lignans for human disease treatment and prevention: Perspectives on combination therapy." Journal of Traditional and Complementary Medicine. Vol. 5, Issue 3, July 2015, pgs. 119-126. https://www.sciencedirect.com/science/article/pii/S2225411014000388

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voiceactinguk · 7 years ago

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Final Fantasy 4 Radio Show! Casting!

Now casting for Season One of the Final Fantasy 4 Radio Show! Final Fantasy IV (known as Final Fantasy II in the U.S.) was a video game originally published by SquareSoft for the SNES in 1991. It has since been re-mastered and re-made multiple times for multiple systems and now we are creating an unofficial radio adaptation of the classic story of sword and sorcery. The game follows Cecil, a dark knight, who begins to question his king's motives, which sets off a chain of events that leads him on the path to righteousness. Along the way he and his friends discover an ancient forgotten history of their planet (and beyond!). Season One (6 episodes) follows the story of FF4 up to, and including, Cecil's climactic transformation into a paladin. Season Two will see the heroes valiant efforts to stop Golbez turn deadly. Season Three will follow their time in the underworld of the dwarves. And, finally, Season Four will reveal the secret of the crystals as well as Cecil and Golbez's tragic shared past before culminating in a battle for the fate of the world that you will not want to miss! This is a FULL RE-SCRIPT of Final Fantasy 4 into radio play format, and will be published on YouTube and as a Podcast on iTunes (fingers crossed). I'm taking full artistic license with the plot, characters, and dialog; pulling from every different version of the game. It is still very much FF4, but delivers a fresh, exciting new adaptation! using the format: AUDITIONS ARE OPEN UNTIL WEDNESDAY, NOVEMBER 1st Send your audio files (one file per character) to [email protected] using any standard audio format Listen to the PILOT EPISODE or take a look at my previous project, The FINAL FANTASY 6 FANDUB To contact me directly with any questions email ff4radioshow(at)hotmail.com *The actors for Cecil and Rosa are continuing their wonderful work from the Pilot episode. Apologies to anyone hankering for those roles. *A NOTE ON ACCENTS* I love accents! I want you to try any accent you believe you can do well consistently or you believe fits the character. BUT be warned that I am a HARSH CRITIC of sub-par accent work. No Dick Van Dyke nonsense. OPEN ROLES NARRATOR Male/Female, Ageless Delivers an intro and outro for each episode. Warm, pleasant voice tone. Able to project excitement and generate interest in the show to come. Audition Lines: Quote:This is a tale of far away and long ago... A time when knights and kings gripped the world with fists of iron and steel! A world where magic and technology clash together in awesome competition for power! This is The Final Fantasy Four Radio Show! Quote:The airships of the mighty Red Wings from the Kingdom of Baron race across the sky on their way home after a successful mission in the mystical country of Mysidia. The crew look forward to their return to hearth and home, but one man, their Captain, Cecil the Dark Knight, casts his gaze backward... --- EXTRAS! Male/Female, Varied Ages Crew of Red Wings (x3), Merchant, Baron Soldiers (x2), Cap'n, Chancellor, Sailors Nine varied background roles. Nine chances to try out your crazy voices! THESE ROLES ARE VERY IMPORTANT! I love to have a bouquet of extras available just in case. Please audition here if you are unsure of which role to try for! Audition Lines: Quote:Hey! How's it going? You doin' anything later today? Quote:Y'arr. Fifteen souls went ashore that day. An' only ol' Flint himself sailed away. Quote:Bilbo Baggins was a hobbit who wanted to be left alone in quiet comfort. But the wizard Gandalf came along with a band of homeless dwarves. Soon Bilbo was drawn into their quest, facing evil orcs, savage wolves, giant spiders, and worse, unknown dangers. Finally, it was Bilbo -- alone and unaided -- who had to confront the great dragon Smaug, the terror of an entire countryside... --- BAIGAN Male, age 20-40 Baigan does not care about you. Baigan only cares about Baigan. Sarcastic and apathetic. A drawling, sneering, douchey voice. This character may return in Season 2. Audition Line: Quote:Hmph, isn't killing what you do? You are a Dark Knight after all, Cecil. I didn't think you could still feel pity. --- KING BARON Male, age 40+ King of the country of Baron. Regal and imposing. He has a secret plan for which he is gathering the world’s Crystals. This character will return in Season 2. Audition Lines: Quote:Ah! Cecil! The Kingdom of Baron hails your return! We trust you have the Crystal? Quote:If the state of the Red Wings so concerns you, Dragoon, that you would eavesdrop on the Royal Chamber, then you may join him in his penance. Take the ring! And do not enter Our sight again until it is done! --- KAIN HIGHWIND Male/Female, age 18-30 Cecil’s closest friend. A sporty sort of person who enjoys fighting for it’s own sake, rather than for any cause or loyalty. Kain was abandoned as a child and now clings to Cecil and Rosa. Perhaps Kain clings a little too closely though, and wishes for things to always stay just as they are between them. Kain has noticed Rosa’s affection for Cecil and is beginning to grow jealous. Voice type: Athletic and yet also oddly indolent. Think Jaleel White's Sonic the Hedgehog, or Ashleigh Ball's Rainbow Dash I would prefer to cast this role female to balance out the skewed gender ratio of the original story, but am accepting male voiced auditions. Audition Lines: Quote:Majesty! I petition on Cecil's behalf. Please reconsider! He has done no wrong, he questions out of care for his subordinates. He meant no disrespect, I assure you! Quote:Ahh, I woulda come with you anyway. Slaying monsters is right up my alley! Anyhow, the King'll relax as soon as we finish his "mission of contrition". We are his favorites. --- CID POLLENDINA Male, age 30-50 A rough, tough, jolly sort of fellow. Cid takes life as it comes and is enthusiastic about everything he does, damn the consequences! He has a daughter whom he is very proud of but not very close to. Cid is always working on airships and other mechanical inventions. Cid's voice should feel bombastic and loud (without actually clipping out, plz!) Think Brian Blessed or perhaps John Lithgow. Audition Lines: Quote:What's the matter, kiddo? You and your goons better not have wrecked up my airships! Quote:The King's been acting mighty peculiar. You know, the other day he asked me if I could design an airship that can torch an entire city? I mean, obviously I could! But... makes me wonder if Baron will be going to war soon. --- MIST DRAGON Female, age 20-40 A mysterious dragon made of living mist. And also Rydia’s mother. The strongest of the valley’s summoners and it’s chief protector. One time, Non-recurring role Audition Line Quote:Leave at once and no harm will come to you. We will not allow further trespass. --- RYDIA Female, age Child/Teen A young child just beginning to learn the way of the world and find her incredible strength in summoning and taming beasts. Rydia has a kind heart and has been taught to never kill or injure. She is able to sense the feelings that others carry, even if they are not aware of it themselves. Rydia will be aging for season 2 to teen age. Priority may be given to actors able to play both ages. Voice Type: Childish but not immature. Sounds like 10-14 years old. Audition Lines: Quote:Mother! Get up! Please! The fire- *gasp!* Quote:He kills everything. Do you think... can I help him? Or is it too late? Quote:I'm coming with you! You'll need all the help you can get to tame that creature! --- DOCTOR Male/Female, ageless A blustering medic. Will talk anyone’s ear off if given half a chance but has a kind heart and a charitable streak a mile wide. *First season role only Audition Line: Quote:Oh, you poor lamb. What has happened? Oh, but, no. You needn't say if you don't wish to. Lost your parents. I'm sure, I'm sure. Tragedy! Oh cruelty! But let's just look at you! All worn and filthy from traveling. The earthquake, no doubt? Thought we might see a few come through here, I did. But you're the first. And such a dear young thing! --- TELLAH Male, age 40-80 World renowned sage of the mystical, magical arts. Tellah settled in the desert to raise his daughter, Anna, and to meditate on the mysteries of the shifting sands. Tellah has lived by his own code for a very long time and believes wholly in his own judgement. Stubborn to a fault, Tellah’s strength is his greatest weakness. Voice Type: Cranky old guy, slightly reedy or nasal. Audition Lines: Quote:You there, Knight! Did I hear that right? You aim to clear the waterway to Damcyan? I beg you, let me come with you! I have tried to get through the waterway alone to no avail. The beast is strong. Strong, I warn you! But perhaps the three of us together... Quote:It is vicious. A writhing mass of tentacles and malice. And I am too old now to face it alone. Once, perhaps... But I fear something else may be waiting for us. I sense a darkness beyond. A doom yet clouded in the fog of the future... Quote:Stay and weep if you must! Do what you will; I don't care! Anna will be avenged. You keep your nose out of it! This death will be mine alone. --- EDWARD CHRIS VON MUIR Male/Female, age 18-30 The prince of the country of Damcyan and husband of Anna. A highly skilled musician and a born diplomat. Edward believes that any disagreement can be solved with communication. He detests violence. I would like to cast this with a female/feminine voice but keep Edward as a male role. Audition Lines: Quote:You're right. I'm nothing but a coward, just as you say. I only wanted him to leave. Leave us in peace. My Anna... and me... Quote:Put your sword away! There has been enough death today. Antlions are docile creatures. I shall get you your pearl. You stay here. Quote:Anna... what can I do now that you are gone? Everything is lost. Our kingdom is fallen, and I... I could do nothing. I still can do nothing. You loved to hear me sing and play but what good are they? What good is music in a world falling apart!? --- ANNA Female, age 18-30 Tellah’s daughter and wife of Edward. Anna is just as headstrong as her father and has eloped with Edward. A powerful magic-user, but not strong enough to stand against Golbez. Audition Line: Quote:Father! Stop it! ... just stop. There's... nothing you can do. Edward is... my husband... I love him... --- YANG FANG LEIDEN Male, age 20-50 Master of the monks of Fabul. Yang is highly disciplined Despite this, he is a humble man, and so does not bask in his glory, but rather tries his best to be respectful. Voice type: A deep, gentle, calming voice. Audition Lines: Quote:I was lucky. We are all lucky. Most of their force already left, certain of victory. My comrades... we were ambushed. Drawn out onto the mountain by a decoy. Quote:Had enough of my friend's sword? Then perhaps you'd like to try my fists!? Hy-aahh! --- GOLBEZ Male, ageless Unknowable master of darkness. Golbez is the Dark Knight who replaces Cecil in the Red Wings. Little is known about him, but he shows a callous disdain for life and only a grudging respect for power. Golbez hides a terrible secret in his past. Voice Type: Deep and scary. Vader-esque. Audition Lines: Quote:Hmm? Ah. You must be Cecil. My predecessor in the Red Wings. Enough. I did not come to gabble with insects. Kain! Take the crystal. Quote:Ask not the eagle how he soars, little prince. My motives are beyond your ken. Quote:Fighting? This is no fight. I am simply collecting crystals. You are the ones who insist on throwing yourselves in my path. --- YIN Female, age 20-50 Wife of Yang. (AKA Sheila, Ursula) Not much is known about Yin. She is fiercely protective of her husband and home. Audition Line: Quote:Soon after you left the sentries spotted those airships coming in from the west. The King ordered the city to evacuate. But I stayed put! None of those Baron thugs are going to touch MY house. --- "KING" FABUL Male/Female, ageless Ruler of the country of Fabul. All the more regal for their humility. Can be "Queen" or "King". Could be a child ruler or an aged monarch. Audition Line: Quote:Yes, we have been informed of the situation. And I must apologize to you, Master Yang. I unwisely sent your monks to their doom in the mountains, and shamefully fled when the airships appeared. --- PALOM Male, age Child/Teen An apprentice Black Mage from the land of Mysidia. Though young, Palom has proven himself a skillful, if arrogant, student of magic. He is a casual show-off, even to adults, and refers to himself as "The Mysidian Genius" or "Prodigy". Audition Lines: Quote:Watch it, buddy! You're talkin' to the most powerful dark wizard in the whole world! Quote:Some people say that a monster from the depths of night resides at the summit. Others say there's nothing there. Like, it's a metaphor or something. Like, the whole time, YOU were the obstacle. --- POROM Female, age Child/Teen An apprentice White Mage from the land of Mysidia. Mature for her age, Porom is already an accomplished spellcaster. She is respectful and polite, and often has to keep Palom in line. She loves her brother and supports his quest to become a Sage, but believes he lacks the discipline. Audition Lines: Quote:Perhaps you were unaware, sir. I just so happen to be one of the most puissant white witches in the world. Quote:Well, I WAS just gonna lead him quietly into a cell in the tower. But you're right, Palom, yelling and making a scene is a much more sensible option! --- ELDER OF MYSIDIA Male/Female, age 40+ A leader of the town of Mysidia. Unusually long-sighted and kind. They are Porom & Palom’s teacher and an old friend of Tellah. Audition Line: Quote:Escort this man to the summit of Mount Ordeals. I see a dim star shining in the once-dark night sky... this will be a test for all of you. --- SCARMIGLIONE Male/Female, ageless The archfiend of Earth and appointed guardian of Mt Ordeals. It is an undead monster which Golbez has set to keep Cecil out of the summit cavern. Audition Line: Quote:I am the gaoler of this forsssaken peak. Golbez set me here and now I have company at lassssst. Come! I shallll pulllll you into my embrace. --- KLUYA Male, 30+ A mysterious reflection in the summit cavern? Or something more? He is only a dim, echoing voice now. Audition Line: Quote:I have waited for you for an age, it seems. And yet our meeting has come too soon, for now I must do as I have been dreading. The time is come! Hold your sword of darkness to the light! FF4moonLogo3.png (Size: 366.21 KB / Downloads: 0) http://dlvr.it/PvCr4m www.voiceacting.space

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njawaidofficial · 8 years ago

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Kesha Opens Up About Tumultuous Past 5 Years in Defiant New Song "Praying"

http://styleveryday.com/2017/07/06/kesha-opens-up-about-tumultuous-past-5-years-in-defiant-new-song-praying/

Kesha Opens Up About Tumultuous Past 5 Years in Defiant New Song "Praying"

7:34 AM PDT 7/6/2017 by Gil Kaufman, Billboard , Tatiana Cirisano, Billboard

The singer reflects on her tumultuous hiatus, during which she struggled with depression and fought a legal battle against her former producer and record label boss Dr. Luke.

After way too long in the musical desert, Kesha is all the way back. The singer released the dramatic, eye-catching video for the song “Praying” early Thursday morning, along with the news her fans have literally been waiting years for: a new album, Rainbow, is due out on Aug. 11.

“Am I dead? Or is this one of those dreams? Those horrible dreams that seem like they last forever? If I am alive, why? Why? If there is a God or whatever, something, somewhere, why have I been abandoned by everyone and everything I’ve ever known? I’ve ever loved?,” the 30-year-old singer asks in the intro voiceover to the video directed by famed music video auteur Jonas Akerlund. “Stranded. What is the lesson? What is the point? God, give me a sign, or I have to give up. I can’t do this anymore. Please just let me die. Being alive hurts too much.”

The clip for the gospel-like ballad opens with Kesha laying on a raft in the middle of an ocean, seemingly dead, only to cut to the singer in a series of colorful outfits playing the piano while wearing angel wings and a ring that says “loved.” In a poignant couplet about her struggles and challenges, she sings, “I’m proud of who I am/ No more monsters I can breathe again/ And you said that I was done/ But you were wrong and now the best is yet to come/ Cuz I can make it on my own/ I don’t need you, I found strength I’ve never known.”

The song was co-written by Kesha, Ryan Lewis (of Macklemore & Ryan Lewis fame), Ben Abraham and Andrew Joslyn; Lewis produced the track.

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Embroiled in a bitter legal battle alleging sexual assault and battery against her former producer and record label boss Dr. Luke, Kesha has not released an album since 2012’s Warrior. It was unclear at press time what legal barriers had been moved allowing the singer to issue new music and prep her third full-length album.

The 30-year-old pop star has been involved in a legal battle with Luke since October 2014, when she filed a suit against her producer, alleging sexual assault and battery; Luke has denied the allegations. Kesha hoped to dissolve her contract with Dr. Luke as a result of the suit, and early this year, the singer claimed that the partnership has prevented her from releasing new music. A defamation suit filed by Dr. Luke (born Lukasz Gottwald) in a Tennessee court against Kesha’s mother Pebe Sebert was dismissed in June with Sebert acknowledging that she has “no firsthand personal knowledge of the events occurring on the night of the alleged rape.” The Tennessee case has been dismissed, though the legal battle between Kesha and Dr. Luke in New York will continue.

For her first album in nearly five years, Kesha worked with a wide variety of collaborators. “Rainbow marks a new beginning for Kesha, one based around inner strength and musical exploration” reads a statement announcing the project.

“Praying” finds Kesha reflecting on her tumultuous hiatus of nearly five years. On the track, Kesha oozes regained self-confidence and expresses how being “put through hell” has made her stronger. “I had to learn how to fight for myself / And we both know all the truth I could tell,” the lyrics read. While the chorus aims for reconciliation with an unnamed listener (“I hope you find your peace,” Kesha sings), there’s still a flicker of anger in the singer’s words, like in the lyric “I’ve been thrown out, I’ve been burned / When I’m finished, they won’t even know your name.”

The title track was produced by Ben Folds along with Kesha, Ricky Reed (Phantogram, Meghan Trainor) produced and helped write a number of tracks and Wrabel (Adam Lambert, Afrojack) co-wrote a collaboration that features the Dap-Kings horn section. The Eagles of Death Metal are featured on two tracks, while country icon Dolly Parton guests on a version of her 1980 country hit “Old Flames Can’t Hold a Candle to You.” The track was co-written by Kesha’s mother Sebert, who also has other songwriting credits the album.

The singer also posted an essay about her long fight back on the Lenny blog on Thursday morning.

“‘Praying,’ my first single in almost four years, comes out today. I have channeled my feelings of severe hopelessness and depression, I’ve overcome obstacles, and I have found strength in myself even when it felt out of reach,” she writes. “I’ve found what I had thought was an unobtainable place of peace. This song is about coming to feel empathy for someone else even if they hurt you or scare you. It’s a song about learning to be proud of the person you are even during low moments when you feel alone. It’s also about hoping everyone, even someone who hurt you, can heal.”

Read her full essay here and check out the lyrics to “Praying” below.

A version of this story first appeared on Billboard.

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#Defiant #Kesha #Opens #Praying #Song #Tumultuous #Years

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nofomoartworld · 8 years ago

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Hyperallergic: A Female Pioneer of Electronic Music Retakes the Stage

Suzanne Ciani’s Buchla 200e, a modular electronic music system (photo by Jamie Alvarez)

PHILADELPHIA — Sound zoomed around the darkened auditorium in the Lightbox Film Center at International House. Atmospheric and enveloping, a deep timbre grew to a growl, before shifting to electronic beeps, then seat-shaking bass. Suzanne Ciani, a pioneer of electronic music in the 1970s and ’80s, was playing her Buchla 200e (a modular electronic music system) in a rare improvised performance in this small Philadelphia theater, and it was completely packed. People who were likely familiar with her trailblazing work in the ’70s were there, alongside millennials, cramming into the theater in a way I had never seen in seven years of patronizing the place.

Ciani is perhaps an unlikely heroine of electronic music. At 70, she is still girlish in demeanor and soft spoken, though a fervent feminist who speaks openly about embracing her femininity while competing and working in a genre heavily dominated by men. Brought to Philadelphia as a precursor to the upcoming exhibition, Making/Breaking the Binary: Women, Art, and Technology (1968—85) at University of the Arts, opening in August, she spoke about her work and trajectory with curator Kelsey Halliday Johnson prior to the performance. Ciani explained how she chose to work solely with female engineers, because she felt women communicated with the electronic equipment in a way that was inherently different from men, creating more intuitively driven soundscapes.

Suzanne Ciani with her Buchla 200 in 1975 scoring Rainbow’s Children by experimental filmmaker Lloyd William, Photograph by Lloyd Williams, Courtesy of Seventh Wave Productions

She stumbled into electronic music almost by accident after decades of rigorously studying classical music. In 1968, while in college at Wellesley, she happened to encounter a professor at MIT who was attempting to synthesize the sounds of a violin on a computer the size of a small room, and she became instantly fascinated. Ciani went on to graduate school at Berkeley as a classical composer, but was ultimately frustrated by the limitations of the instruments, and sought answers in a new instrument built out of the kind of technology she had witnessed at MIT: the Buchla. Invented by Don Buchla in 1963 and streamlined throughout the decade, it’s a cumbersome instrument; weighing around 30 pounds, it looks something like a phone operator’s switchboard and takes over two hours to tune, which must be done after each time it travels.

Buchla resisted the label “synthesizer,” as he felt the term didn’t accurately describe what the instrument’s touch-sensitive knobs and inputs accomplished. Instead of just reproducing sounds found in nature, it was also capable of creating its own unique soundscapes. Ciani does a bit of both when she plays her Buchla. The music she creates is uncanny, because it feels both so familiar and so foreign. Without sampling, the machine can be engineered to perfectly mimic certain sounds, as when Ciani carefully renders crashing waves, in much the same way Vija Celmins does with graphite.

Suzanne Ciani at the Lightbox Film Center at International House (photo by Jamie Alvarez, courtesy Making/Breaking the Binary)

Some of Ciani’s electronic sounds have also had lives of their own out in the world. In 1974, she moved to New York with her Buchla, a suitcase full of inputs and wires, and little else. She slept on the floor in Philip Glass’s studio and moved in the circles of avant-garde artists like Steve Reich, John Cage, and Merce Cunningham, often performing the Buchla live in galleries. After several years of scraping by, she got a break in commercial advertising. She harnessed the technological utopianism already present in her avant-garde music and created iconic electronic sounds such as the Coca-Cola “pop and pour,” the intro for Columbia Pictures, the beep for a dishwasher made by General Electric, commercials for Merrill-Lynch, Atari, Clairol conditioner, and Skittles, and even sound effects for pinball machines and B-movies. In 1981, she became the first female composer to score a major Hollywood film, The Incredible Shrinking Woman, starring Lily Tomlin. This work allowed her to pay for her expensive equipment while subversively bringing experimental electronic music — which hadn’t been considered a real form of music — into the ears of millions of Americans. Today, these projects lend her work another, unintended effect of making her music feel strangely self-reflexive, looping in sounds that now feel distinctly familiar, nostalgic, and redolent of the past. You feel you’ve heard these sounds somewhere before, but you can’t quite put your finger on it.

In between her commercial work, Ciani released several of her own albums: Seven Waves (1984), The Velocity of Love (1986), and Neverland (1988). These New Age electronic albums, which combined electronic music with other instrumentation, were her first commercially viable works as a recording artist. (In 1970, she released an album of avant-garde music created only with the Buchla, which failed to gain any traction.) In 1992, she was diagnosed with breast cancer; around the same time, her Buchla stopped working. “The impossibility of fixing it brought me to the brink of a ‘breakdown,’ so identified was I with that instrument,” she said in an interview with NPR last year. She left everything in a storage unit in New York and moved to California, where she focused on her health and reinvented her career as a classical pianist, releasing many albums in the classical genre and receiving five Grammy nominations. Her past as an experimental electronic musician was largely buried until 2012, when the British label Finder’s Keepers re-released her early recordings alongside selected commercial work to critical acclaim.

Suzanne Ciani at the Lightbox Film Center at International House (photo by Jamie Alvarez, courtesy Making/Breaking the Binary)

At the Lightbox theater, droning wails layered with bright, scaling notes reminiscent of a John Carpenter sci-fi thriller, warped, wandered, and trailed off before returning again with force. Her crashing waves appeared, then transitioned into what sounded like a car door slamming again and again. A series of R2-D2-like bleeps morphed into a dog howling in a desert, which went haywire and became a bird before transforming into a metronome, then trickling raindrops, ricocheting and encircling the room. The calm of this sound was abruptly interrupted by a blast of harsh noise that reminded me of a skeezy noise show in a basement. Ciani clicked away rapidly, turning knobs deftly, her back to the audience, but an image of her hands with the Buchla’s tangle of wires projected on the screen, overlaid with a video of mutating blocks of color, programmed to react to the machine’s permutations. The sound felt at moments hopelessly dated, fixed in the time in which it was first made, then in an instant surpassing the technological nostalgia and transporting me to another plane, like a half-remembered dream. The Buchla descended into a vacillating drone and Ciani turned around and raised her arms, beaming. She danced to her own quavering, atonal rhythm for a moment before declaring, “I just want you to know, I could listen to this for days!”

Suzanne Ciani in Concert took place at the International House’s Lightbox Film Center (3701 Chestnut Street, Philadelphia) on March 29 as part of Making/Breaking the Binary: Women, Art & Technology (1968–1985), co-presented with the University of Pennsylvania’s Department of Music’s 2017 series MUSICA PRACTICA / ELETTRONICA VIVA and Ars Nova Workshop.

The post A Female Pioneer of Electronic Music Retakes the Stage appeared first on Hyperallergic.

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