#rich the factor

[dustedmagazine]

Dust Volume 10, Number 10

The Ex

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

Alma Laprida — Pitch Dark and Trembling (Outside Time)

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

Jennifer Kelly

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

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

Bryon Hayes

Black Toska—The Orphan (Self-Release)

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

Jennifer Kelly

Paul Bryan — Western Electric (Paul Bryan Music)

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

Bill Meyer

CPC Gangbangs — Roadhouse (Slovenly)

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

Jennifer Kelly

Deadform — Entrenched in Hell (Tankcrimes)

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

Jonathan Shaw

Efterklang — Things We Have in Common (City Slang)

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

Christian Carey

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

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

Bill Meyer

Jill Fraser— Earthly Pleasures (Drag City)

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

Christian Carey

Häxenzijrkell — Portal (Amor Fati)

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

Jonathan Shaw

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

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

Ray Garraty

Danny Kamins — Retainer (Sound Holes)

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

Bill Meyer

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

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

Bill Meyer

The Necks — Bleed (Northern Spy)

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

Tim Clarke

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

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

Ray Garraty

Colin Andrew Sheffield — Moments Lost (Sublime Retreat)

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

Bill Meyer

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

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

Ian Mathers

[acepalindrome]

No one should be obligated to feel sympathy for a bunch of rich people who are probably dead after spending a grotesque amount of money doing something stupidly risky for no practical reason but that they’re rich and bored,

BUT

I do think it’s fucked up that some of you guys seem to think it’s a moral failing to feel anything but glee and delight at a bunch of people, one of which is 19, suffering one of the most horrific deaths imaginable that I wouldn’t wish on my worst enemy.

[anxious-chaos-art]

LMFAOOO THATS AMAZING

[mazeyphaedra]

HELIO CHOSE HER, BUT SHE CHOSE CASSANDRA.

Traci Brimall, Vive, Vive // Mitski, Goodbye My Danish Sweetheart // Unknown // Katie Maria, God is made of hunger and I am made of dreams // Ally Beardsley, Fantasy High: Sophomore Year // Caravaggio, Judith Beheading Holofernes // @inkskinned, When I’m sad, I write goodbye letters to the people I care about. Once I’ve said goodbye to everyone, I can go. // Ally Beardsley, Fantasy High: Junior Year // Florence & The Machine, Girls Against God // Hozier & Allison Russell, Wildflower and Barley

[danceintheskies]

We have like a pound of mozzarella cheese in the house so I need to find a good recipe that will cure my mental illnesses ASAP. I'm not creative so my first thought was pasta.... we have a little bit of tomato sauce in the house but also a cream of mushroom soup can and choosing between them feels like choosing between hero story and dark story. Do I use the giant slab of cheese in my home that wants to go moldy so so so so bad or do I drink a mushroom

[salvadorbonaparte]

Would you mind sharing your views on backpacking? 👀

Take all of this with a grain of salt because I'm mostly just bothered by backpacking content on Instagram.

I think the concept is fine. I'd actually like to do some backpacking some time.

But backpacking content, as well as most overland* content, always has a really weird vibe. It almost feels like cosplaying poverty if you know what I mean??

It's almost always young people from the so called "West" and almost always they're somewhere in South or Southeast Asia. The most popular backpacking destinations I'm seeing at the moment are Bali (exclusively that part of Indonesia for some reason), Thailand, Vietnam and Sri Lanka. The algorithm has recently also started showing me content from Pakistan, India and Afghanistan.

Since flights to these destinations are usually quite expensive, and many of these people stay abroad long enough that they might need a visa and that accommodation and food would also add up, it can be safely assumed these people have a certain amount of financial stability. Some of them are full time influencers too.

And while travelling with a backpack instead of a suitcase makes sense, and while you want to have an "authentic" experience, the vibe on those videos is often sooooo weird.

They're always like "I just spent 45h standing in a cramped bus without AC because it was only $1. I'm sleeping on the floor of this abandoned building that costs me $4 a night. I only carry 2 t-shirts with me, can't find a laundromat and I'm travelling for 3 months. Yesterday I got scammed and got food poisoning."

And I'm like why are you doing this? Is it really more "authentic" just because it's a foreign country? You can find the same uncomfortable situations and people who live like that all the time in your home country, but when you're abroad it's cool and authentic and #humbling #eatpraylove. Meanwhile there's also people in that same country you're backpacking through who, like, have a comparable standard of living you're used to. Your holiday doesn't have to be luxury resorts but it also doesn't have to be absolutely god awful.

And of course there's also the factor of adrenaline and stepping out of your comfort zone but with these videos it seems like they're almost glamorising having an awful time in an "exotic" country because that's what it's supposed to be like? I guess?

Idk I feel like I should get the opinion of someone living in one of those backpacking hotspots to make sure I'm not just getting annoyed at nothing but I think the vibe is off.

*overland content as in "travelling from XY to YZ without flying - Day 420" type videos. They're often interesting and I follow some of those people and I actually have some ideas for cool overland or long distance train trips but some of the accounts also have a weird vibe. Most of the ones I saw were men and they're like hitchhiking through some desert somewhere and I'm like oh this would feel so unsafe to me as someone perceived female. And obviously they also make lots of content where you know they have lots money because they've been travelling for several months but it has that same fake low budget backpacker vibe.

I hope this makes sense. I'm not sure it does.

[dumbassalex]

Ok, as someone who sorta defended The Crow 2024 reboot, and now that i've seen it, i have thoughts about it and i wanna share them... (More under the cut, spoilers ahead)

So firstly i liked the action, it was clear and you could see what's going on and the gore in those scenes was good, so no real issues with the action scenes. I really dug the soundtrack, the songs they chose to play were good and something i'd listen to.

I also like that Shelly had more screentime and got to be more of a character, that was fun and FKA twigs played her well in my opinion. Bill Skarsgard gave a good performance, as basicly always, with his Eric too.

Now my biggest issues is with the story itself, and especialy the pacing, it was SO slow, we spent like half the movie on Eric and Shelly while watching the villians look for Shelly, while also barely any real time has passed for Eric and Shelly, or at least it didn't feel like much of a time has at all passed between Eric and Shelly running away and being murdered.

And even once the couple gets killed by the villians, it takes us like another third of the movie for Eric to really become the Crow, for most of the movie he's just Eric with healing powers, and only becomes The Crow right before the opera scene, whitch is way too long for something based on a comic that's mostly just Eric being The Crow and hunting Shellys killers.

Another thing i dislike is the villians and their story, the original idea for the villians was just a group of street criminals coming across Eric and Shelly on a random day in the rain as their car broke down and deciding on a whim to do what they did, that was the tragedy, that it was random, senseless and didn't have to happen if a single thing happened differently. And changing it to a group of rich people hunting Shelly specificaly due to an incriminating video is such an odd change, along with the change to give the main villian superpowers.

Another thing that i feel like is a big difference between the comic and the movie is that the movie is very literal and very open about Eric coming from the death, healing super fast and there being supernatural entities and superpowers, while in the comics it was all more lowkey with Eric not feeling pain and healing slower than what the movies show, with his walking around wounded and scarred, the crow talking being in his head, same for the skeleton cowboy and the vision of the white horse that was a metaphor for the conflict of the story, it was a random senseless act that Eric had no control over yet he couldn't leave it be and blames himself for what happened.

In the movie it's a literal thing that happened to child Eric and doesn't set up his character arc and personal conflict of not blaming himself and moving on. Whitch was WHY he came back for revenge, because he was angry, blamed himself and couldn't move on, something he was only able to do at the end when he died at Shellys grave.

Whitch brings another change i disliked, the ending, the original ending of the comics is about Eric finaly being at peace and being able to move on and die, joining Shelly in the afterlife. But in the movie the reason he keeps going on is from pure love (somehow he felt such love after such short time) that can waver and make him loose his powers until making a deal for Shelly soul and becoming The Crow, bringing Shelly back to life while Eric stays dead. That just kinda misses the point, there wasn't no coming back and living again, it was about Eric having to come to peace and move on, it was a bittersweet ending but it was fitting the story and the themes, but just like the white horse methaphor, the movie ignores that.

So all in all, as a movie it's alright, but as a Crow adaptation it's overall kinda awfull in most ways. If you enjoyed the movie, good for you, but i personaly didn't really like it as a Crow adaptation and think it could've been much better. One thing i will give the movie for sure tho, is that it skipped Shellys assault, something i think wasn't entirely neccecary to motivate Eric to do what he did.

[icewindandboringhorror]

currently at That Point which occurs once every few months where one briefly begins pacing around the house teary eyed contemplating selling their own organs or becoming an online scammer or getting on anxiety meds so you can bear the risk taking required to be a hitman or so on and so forth.... why must everything so Expensive... Surely all would be healed in life if only I had one big plate of lasagna and a simple loan of $40,000 ... auoughhh....

[silusvesuius]

nelvas and elenfric are concrete Proofs that love is real and blooming

[supercantaloupe]

this is absurdly pedantic i know but i think it's kind of dumb when people say that spices like ginger, clove, cinnamon, nutmeg, etc being traditional in european holiday recipes (think gingerbread and its thousands of variations) is the product of colonialism. like yeah sure colonialism helped make those spices more cheaply available and therefore widespread in europe but come on, europeans were trading across asia and north africa for those very same spices for centuries before modern transcontinental empires existed

[dustedmagazine]

Ampichino \ Rich the Factor — Midwest Tygoons (Double F)

Midwest Tygoons is a welcome collaboration between two veterans. Their sound is stuck in the mid-2010s, but it perfectly revives the spirit of the Jacka’s music.

The two “tygoons” share a region, but also a mentor. Both worked with the late Jacka, Ampichino more closely but the Jack gave space on his albums to Rich the Fac as well. It’s been almost 15 years since the last collaboration between Am and the Jack (not counting the posthumous CD). The Devil Rejectz series remains one of Ampichino’s crowning achievements, establishing him as an artist of great talent, not just the Jacka’s sidekick. Rich the Factor has been paving his own path in Kansas since 1997. He’s put out an insane amount of material, more than 50 albums and mixtapes combined.

We don’t know why they took so long to make this collaboration. Midwest Tygoons is a blast from the past, totally nostalgic in its sound and style for the early 2000s drug rap. It can be easily mistaken for a Bay Area tape, with its minimalistic and creepy production. Both artists have nothing to prove now. Maybe this is what makes this tape so smooth. Past their prime, they’ve found a niche and feel quite relaxed in their drug kingpins position.  They also bring younger blood, like Berner, Young Bossi and King Locust, artists the Jack worked with.

Ampichino captures the spirit of the album on the chorus for “Heartbeat”: “We big whales with sharp teeth \ Trying to chase mail on these dark streets \ Under the street lights we spark heat \ Put your ear to the turf and hear my heartbeat.”  Rich the Factor’s unusual mumbly flow and Am’s overly emotional delivery lay smoothly on slow beats.

Even though Midwest Tygoons was released on Ampichino’s label, the tape has all the flaws of Rich the Factor’s music. Roughly half of the songs here last longer than they should, and a few tracks wiggle and waggle with no clear focus.

If Midwest Tygoons was released 15 years ago it would have been a clear hit. Today, it is a dose of nostalgia for those who miss Bay Area \ Midwest collaborations in the vein of The Devil Rejectz. And there is nothing wrong with nostalgia if the dosage is right.

Ray Garraty

[thatkdramatho]

The amount of cheesy one-liners Min Joo throws out I already knew this man had GIRLFRIENDS

[veunho]

Playing Elnea kingdom as if Knights and Scholars are sort of like nobility, and trying to figure out arranged marriages between them (and also my character) on first gen to get the best talent odds on future generations is a NIGHTMARE

[no1ryomafan]

I hate how my Kikaider brain rot has actually worsened since watching the sequels because I thought it would put it at bay since it’s been putting me off from doing other stuff but I just keep ROTATING all the stuff about 01 funnily enough.

01 is just so *weird* because it’s not like I’m having a relationship where I hate it and I think it ruined the original but then become obsessed with wanting to fix it-I have had rewrite ideas but it would come with their own problems nor are they really striking me-no, I don’t actually feel super negative towards it, even if it’s objectively so flawed for multilayered reasons but I keep hyperfixating on WHY it’s so flawed because the OG show and even the crossover are not nearly as flawed in comparison. They do have their issues but they serve their purpose.

The original show having a recap ep was a odd decision and unfortunately the ending feels rushed/unsatisfying due to they had to make a up a ending since they couldn’t do 01s yet, but also as a self contained story it’s still incredibly solid and works for 12/13 episodes. Where as crossover despite being a single episode works for its runtime since it ties perfectly back to both the OG show and 01 + gives Jiro a ending that’s the closest thing to closure he’ll ever get, it’s biggest flaw is just the Inazuman characters are something you won’t have full context on if you don’t read the manga because they sadly didn’t get a anime-which yes I am also reading the manga, didn’t get far but I like what I have read-but that also does not actually effect the Kikaider side of the crossover.

But then you have 01 which absolutely FAILS at using the 4 episodes it’s given in almost every way: It doesn’t tie back to the original despite the originals ending being the way it was for 01, with plot holes being caused from it and it’s tonally different as it leans more on action than story which is not in its favor as it takes up most of its short runtime leading to the new characters and the story not being as developed as the original despite having incredibly interesting plot points, just the execution is not there.

It’s the one Kikaider show that needed to be longer, either the episodes needed a 45 minute runtime or it needed to be 6-7 episodes which is at least half the length of the original if it also couldn’t get the 12/13 episodes treatment. It just baffles me how 01 was given such little time especially as a OVA yet was still made likely due to the first show doing decently, yet they didn’t use their time wisely at all to make it actually tie to the original.

But I still can’t find myself to actually hate it or deem it as bad because maybe I appreciate the fact it existed just so the crossover could happen and we could also see the 01 characters animated, or just again, it doesn’t ruin the original so you could honestly pretend it doesn’t exist even if I don’t because I like the crossover and it’s important there. It’s something I don’t feel strongly for and I will always just advise the first show to people, since it being so flawed for so many reasons that’s it’s baffling at least makes it interesting to think about rather than boring or god awful.

[sysig]

Bad time of it, all things considered (Patreon)

[rxttenfish]

i have and still do think its extremely weird how many people have an immediate negative gut reaction to fur and to hunting in general, especially occurring even more negatively the less they know about it. like.

even just disregarding the fact that an animal being hunted is one of the most sustainable things available to most people nowadays, with the animal being killed as fast as possible in a way that utilizes as much of their body as possible, in a way that produces very little waste, when basically every hunter i know are some of the most ecologically conscientious and green-minded people you can find — the fur and leather and bone itself is one of the few things you can actually feel Connected to anymore.

like i look at the other stuff they promote and so many "green products" and i still can't tell where they're from or how they were produced or even entirely what went into making them. none of my furs are like that. i often talked to the person who hunted and skinned and tanned the hide, who sewed the hat or the bag or the coat, i can identify and pick out the exact animal who gave its life for it and know them very intimately, and for an incredibly long amount of time, long enough that most of what i have was passed down to me from my family. like these are the opposites of fast fashion in every respect, im usually excited to be able to break out my otter or raccoon hat when winter comes around, i come back to my buffalo bags over and over.

i'm often very uncomfortable when they're described as "luxury items" as well for that reason - they're often just priced accordingly to the time and effort that goes into them and will last just as long as the price tag implies. animal fur and leather are the very first materials humans had available to them. it's not any different than going to a craft show and buying a knitted hat from a grandma for me, except that i know the full history of how all that material was acquired in the first place and that it won't be sat aside or forgotten under anything else. it's very hard, even when you just have one fur hat, to not make the full use out of it, that you want to and it occupies a position of respect. hell, fur isn't even "in" for rich people anymore, it's increasingly gone out of fashion for them and has shown up less and less over time.

i don't know. it's very weird to see everyone has a weird gut reaction to seeing fur or discussing hunting, in a way that has never correlated to anything i've actually experienced.