#richard derosa | Explore Tumblr posts and blogs

Jon DeRosa has made a lot of music under a lot of names (and with a lot of people), but his drone/ambient project Aarktica is one of his most prolific and long-lasting outlets. Beginning with 2000’s No Solace in Sleep, Aarktica has long been a reliable name for those interested in the more otherworldly and transporting side of the guitar. But while DeRosa has kept busy, this year’s Mareaciónmarks the first time in almost a decade that there’s been a fully-fledged Aarktica LP. Dusted’s Ian Mathers describes it as “conjuring up a range of atmospheres and emotions from a relatively small sonic palette”; to go along with the album, DeRosa has provided us with a list of inspirations old and new.

I began working on the new Aarktica album Mareación over two years ago. Over the course of that time there were many influences, some musical and some personal, that affected my life and perspective, and really my entire human experience, which in turn inspired me creatively. These influences, combined with a few forever-influences that have been there all the while, are highlighted here. My hope is that it paints a bit of a colorful picture as to who and what was influential in the making of Mareación and to share these artistic inspirations that have been so important in my life with others.

Steve Roach—Structures From Silence

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Structures From Silence is what I consider to be the most perfect ambient composition of all time. I have been a fan of Steve Roach since I saw him perform in Chicago when I was 16 years old, but it wasn’t until 15 or so years later that I’d rediscover this early work of his in a completely new context, one of the shamanic / plant medicine world. I recently saw him perform here in Los Angeles and to my delight he opened with this piece. It is a masterpiece that has its own life. It’s a composition that actually breathes.

La Monte Young—The Well-Tuned Piano

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I went deaf in my right ear right before I turned 19 years old. Shortly thereafter, I had started volunteering as a monitor for La Monte Young’s “Dreamhouse” sound and light installation Downtown. One night while working there, his assistant (my friend) came up to the third floor and said, “La Monte wants to talk to you.” I walked down to the second floor where he and his wife Marian lived and knocked on the door. I had never really met him before and I’ll never forget that first interaction. La Monte opened the door, sunglasses and bandana on, shirtless, earrings dangling, and said “I heard what happened and...I think we can help. I think we can help you.” I began studying raga with them in an effort to restructure the way I heard and interpreted sound. Aarktica was born in the midst of all of this, and more than that, they may have actually saved my life in the process.

Richard Grossman

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My dearest friend and teacher, I’ve had the privilege of working by his side for many years now. In a world where everyone seems to be a shaman, a healer, witch, mystic, etc... Richard is one of the very few authentic healers I’ve met. He’s also a hell of a musician, though he will probably not admit it. And he’s an excellent storyteller, which he probably would actually admit to. Much of Mareaciónwas inspired by our work together.

Mariana Root—“Sāo Árvores”

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The first time I ever sat in a plant medicine ceremony in Peru I was fortunate enough that Mariana was there as an assistant. Her presence set a very high musical bar for all ceremonies to follow. Mariana possesses the most beautiful voice in the world, and I have been singing her songs ever since I met her years ago. I haven’t found anyone with both this level of tonal integrity and actual channeled beauty in melody and lyrics.

Pandit Pran Nath—21 VIII 76 NYC Raga Malkauns

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I was introduced to the music of Pandit Pran Nath during my studies with La Monte and Marian, as he was their (as well as Terry Riley’s) guru and teacher for many years prior. There is really no other voice so haunting, no other voice that can say so much in just a few notes. I have listened to the same few ragas of his for almost 20 years now and they continue to evolve and change with every listen.

Electric Sound Bath—“Still Water High Seas” video

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There is no one doing ambient and modular analog music with such sensitivity and soul as Electric Sound Bath. Their new single “Still Water High Seas” stirs a lot of emotion. And beauty. Ang from ESB took the photos for Mareación and Brian from ESB did all the design work and videos for the album. They are some of the kindest and most talented people I know. Los Angles is a better place with them in it.

Javier Regueiro—Plant Medicine Transmissions podcasts

Javier is another dear friend and teacher from Peru, a brilliant Ayahuasquero and Huachumero who has written some of the best books out there on working with plant medicines. Much of Mareación, especially the more ambient pieces “Her Divine Light” and “Awakening” were composed very shortly after returning from visiting him a few years ago. And “Don Francisco’s Blues” was influenced by a dieta I completed with him and his teacher Don Francisco Montes Shuna at Don Francisco’s land in the jungle Sachamama. I highly recommend his podcast series “Plant Medicine Transmissions” for both the beginner and the experienced plant medicine explorer. He’s eloquent and knowledgeable, and an overall beautiful human being.

Various Artists—I Am the Center: Private Issue New Age Music In America 1950-1990 (Light in the Attic)

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This compilation from Light In The Attic is brilliantly curated and has been in my regular rotation since it was released a few years ago. An excellent starting point for exploring the genre...

Luz Maria Ampuero—Ancestral

Ancestral by Luz Maria Ampuero

I have a lot of love for my dear one Luz Maria, one of the more powerful curanderas I have known and worked with. This album of hers from last year (Ancestral) captures the beauty and magic of her voice and her spirit in these channeled songs. The song “Eating Rose Petals” from Mareación was inspired by her.

Kabir (poet)—Two Poems

In one of my favorite poems by Kabir, the 15th century Indian poet and mystic, he says: “Student, tell me, what is God? He is the breath inside the breath.” Nothing has ever made more sense to me. This was the inspiration for the opening track on Mareación.

#dusted magazine #listed #aarktica #jon derosa #steve roach #la monte young #richard grossman #mariana root #pandit pran nath #electric sound bath #javier regueiro #light in the attic #i am the center #Luz Maria Ampuero #kabir

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anniekoh · 5 years ago

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care and the university

Reading more about the university as a system, in order to think through what could be transformed, both as a response to the possibility of extended virtual learning and just in light of all the cracks highlighted by the crisis.

From Slow Scholarship: A Feminist Politics of Resistance through Collective Action in the Neoliberal University written by Great Lakes Feminist Geography Collective

... cultivating space to care for ourselves, our colleagues, and our students is, in fact, a political activity when we are situated in institutions that devalue and militate against such relations and practices. Reflecting on our experiences in the neoliberal university is, therefore, not just about looking after ourselves as academics, but rather about building a broader sense of care.

Dave Cormier’s Online Learning in a Hurry

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[Guest Episode 11 - Robin DeRosa and Martha Burtis]

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[Guest Episode 12 - Sundi Richard]

#pedagogy #pandemic

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brokehorrorfan · 5 years ago

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13 Things I Learned from the Fantasy Island Commentary

Fantasy Island is out today on Blu-ray, DVD, and Digital, all of which feature both the PG-13 theatrical version and the unrated cut. Produced by Blumhouse (Get Out, Halloween), the horror-thriller is based on the 1970s television series of the same name.

Among the special features, the unrated cut includes an audio commentary with director/co-writer Jeff Wadlow (Truth or Dare) and cast members Michael Peña, Lucy Hale, Austin Stowell, Jimmy O. Yang, Ryan Hansen, and Portia Doubleday together in the studio, along with Maggie Q recorded remotely and spliced in.

Here are 13 things I learned from the Fantasy Island commentary track. Spoilers follow, so don’t read on until after you’ve seen the movie.

1. Sloane (Portia Doubleday) running through the woods was not the first scene in the script, but Jeff Wadlow later felt it was a good opening. The overhead shot was filmed from a zip line that happened to be on location, which Wadlow describes as a "low-budget cable cam."

2. Much of the filming took place on location in Fiji, during which the cast and crew lived on a cruise ship. There are no mansions on the island, so Roarke's house is augmented by CGI. The real location is only one floor, with three more stories were added on top digitally.

3. Lucy Hale is wearing a wig during her scene in the opening credits. It was shot as part of reshoots, when her hair was back to brunette.

4. Jimmy O. Yang's father, Richard, is an extra in the dinner scene in Gwen's fantasy (pictured above on the far right). His parents were visiting the set, and he wanted to be a part of the movie. "My mom knows better to not sit for 12 hours a day to be an extra," Yang explains. "But my dad just loved it."

5. Rob Turbovsky and Matteo Borghese punched up jokes in the script, including the addition of Brax and J.D. referencing Panic Room. They previously worked closely with Ryan Hansen on his web series, Ryan Hansen Solves Crimes on Television, on which Jeff Wadlow directed several episodes.

6. The drug cartel masks were made specifically for the movie. They were originally conceived as "scary skull masks," but Jeff Wadlow wanted to give them each their own identity, eventually landing on a devil, a pig, a clown, and a doll. He kept all four masks after production.

7. Although not part of the script, Michael Peña approached the role of Mr. Roarke as if he were the son of the same-named character played by Ricardo Montalbán in the original Fantasy Island TV series. His reveal during the commentary recording was the first time Jeff Wadlow was made aware of the inspiration.

8. The emotional subplot involving Patrick and his father was inspired by Field of Dreams.

9. Jeff Wadlow was compelled to utilize a waterfall in a shot since they were filming in Fiji. "The tourism videos are more impressive than our film," he quipped. Due to how loud the water is, all of the scene's dialogue had to be re-recorded in post-production.

10. In an early draft of the script, Sloan (Portia Doubleday) died instead of Damon (Michael Rooker). There was a twist that Sloan was never on the island and only an illusion.

11. Before the main villain was decided, Roarke's personal assistant, Julia (Parisa Fitz-Henley), was going to be the secret antagonist. Once that was changed, she was rewritten to be Roarke's wife.

12. The song that plays over the end credits is an original song performed by multi-platinum producer Jared Lee (Jason Derulo, Jordin Sparks, New Kids on the Block), a friend of Jeff Wadlow's. He visited the set during production, then wrote the track with Samantha DeRosa and Daniel Whittemore.

13. Writer-director Leigh Whannell was overseeing the editing of The Invisible Man across the hall from Fantasy Island. Jeff Wadlow showed him a cut of the film when the studio was interested in add more scares in reshoots. Whannell pitched him some ideas, so he is thanked in the end credits.

Fantasy Island is available now on Blu-ray and DVD via Sony Pictures.

#fantasy island #michael pena #lucy hale #austin stowell #portia doubleday #jimmy o. yang #ryan hansen #maggie q #jeff wadlow #review #article #list #dvd #gift #horror #blumhouse

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massmurdera · 5 years ago

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2019 & 2010s Best/Worst

Because I like lists and cataloguing the dumb shit I cared about. As my brother once said after seeing and reviewing NOW YOU SEE ME on a lazy Sunday, ‘Some would say it was a waste of time, others might say it was a colossal waste of time.’

I’ll admit, it’s a bit over-the-top. Particularly including the Pats, but yeah, in the Tom Brady era that started when I was 14 as a Freshman in high school to 33 years old now and wrapping up soon-ish (?), there’s not a chance in hell I’ll care as intimately about this shit. I grew up with it at just the right time.

2019 MOVIES TOP TIER 1) Once Upon a Time in Hollywood 2) Uncut Gems 2nd TIER 3) Knives Out 4) Parasite 5) Little Women 6) Midsommer 3rd TIER 7) John Wick III 8) Ready or Not 9) Marriage Story 10) Joker 11) Irishman 12) Shazam! 13) Us UNDERRATED Ready or Not TOO LONG John Wick III; Irishman SOLID El Camino GOOD BAD 6 Underground OK 21 Bridges; Avengers: Endgame; Dolemite is my Name; Dragged Across Concrete; Fighting With My Family; Hustlers; Knock Down the House; Longshot; the Report; Two Popes MEH Always Be My Maybe; Death of Dick Long; High Flying Bird; Spiderman: Far From Home; Standoff at Sparrow Creek DISAPPOINTING Hobbs & Shaw; Toy Story 4; Triple Frontier SUCK Laundromat; Under the Silver Lake OVERRATED Ad Astra; Booksmart; the Farewell FUNNIEST SCENE Dicaprio flipping out in movie trailer BEST CLIMAX/ENDING Once Upon a Time; Uncut Gems HAVEN’T SEEN 1917; Apollo 11; Beach Bum; Dark Waters; Ford vs Ferrari; Honey Boy; Jojo Rabbit; the Lighthouse; Star Wars 2019 TV TOP TIER 1) Succession 2) Fleabag 3) Watchmen 2nd TIER 4) When They See Us 5) Barry 6) Unbelievable 7) Chernobyl 8) Sex Education DAMN GOOD Big Mouth; the Boys; Brockmire; Derry Girls; Euphoria; Loudest Voice; Mindhunter; Pen15; Righteous Gemstones; Veep WATCHABLE Atypical; Bosch; Dark; Goliath; Karate Kid; Kominsky Method; Mandalorian; Mr Robot; Mrs Fletcher; Russian Doll; Warrior HIGH/LOW I Think You Should Leave SHIT END FOR ALL-TIME GREAT Game of Thrones HALF-WATCH Living With Yourself; Raising Dion; the Society NOT UP TO STANDARD Stranger Things; GLOW; Killing Eve; True Detective BAD Luther; Shameless; Silicon Valley; SNL SUCK 13 Reasons Why; Big Little Lies; the Witcher FUNNIEST Desus & Mero DOCS 1) Fyre: both 2) Ted Bundy Tapes 3) American Factory 4) Leaving Neverland STAND-UP SPECIALS 1) Burr 2) Chappelle 3) Jeselnik 4) Birbiglia 5) Gulman BEHIND ON SHOWS I DIG Brooklyn 99; Catastrophe; Corporate; Expanse; Good Place; It’s Always Sunny; Letterkenny 2010s TV DRAMA 1) Breaking Bad 2) Game of Thrones 3) Justified 4) Mad Men 5) Hannibal 6) Banshee ANTHOLOGY/LIMITED SERIES 1) Fargo SII 2) True Detective SI 3) When They See Us 4) People Vs OJ Simpson 5) Chernobyl 6) Show Me a Hero 7) the Night Of 8) Honorable Woman COMEDY 1) Atlanta 2) Fleabag 3) Veep 4) Big Mouth 5) Parks & Rec 6) Rick & Morty 7) Nathan for You 8) Review 9) American Vandal HIT/MISS Black Mirror OVERRATED Boardwalk Empire; House of Cards; Peaky Blinders; Westworld UNDERRATED Banshee; Brockmire; Hannibal FUN HATE-WATCH Newsroom DOWNHILL Homeland; How I Met Your Mother; Legion; Sons of Anarchy HATED Girls; Leftovers; Rectify UNWATCHABLE Twin Peaks BEST ENDINGS Breaking Bad; Justified; Fleabag; Parks & Rec DUMBEST ENDING Dexter; Sons of Anarchy LATE NIGHT Desus & Mero POLITICAL John Oliver 2010s MOVIES 2010 Social Network Animal Kingdom; the Fighter; Four Lions; Inside Job; Jackass 3; MacGruber; Shutter Island; Toy Story 3; True Grit; Winter’s Bone 2011 the Raid Descendents; Drive; Fast Five; the Guard; Mission Impossible 4; Take This Waltz; Warrior 2012 Magic Mike 21 Jump Street; Argo; Cabin in the Woods; Chronicle; Django Unchained; Goon; Looper; Queen of Versailles; Silver Linings Playbook; Skyfall 2013 Wolf of Wall Street Before Midnight; the Conjuring; Gravity; Her; Inside Llewyn Davis; Prisoners; Short-Term 12 2014 John Wick the Drop; Edge of Tomorrow; Gone Girl; the Guest; Lego Movie; Nightcrawler; the Raid 2; Whiplash 2015 Mad Max 7 Days in Hell; Big Short; Brooklyn; Creed; Ex Machina; Fast 7; It Follows; Logan; Magic Mike XXL; the Martian; Me and Earl and the Dying Girl; Mission Impossible: Rogue Nation; Sicario 2016 the Nice Guys Deadpool; Edge of Seventeen; Everybody Wants Some!; Green Room; La La Land; Manchester By the Sea; Moonlight; OJ: Made in America; Popstar; Sing Street; Weiner 2017 Get Out Blade Runner 2049; Coco; Dunkirk; Lady Bird; Logan; Thor Ragnorak; Tour de Pharmacy 2018 Spiderman: Into the Spiderverse BlacKKKlansman; Den of Thieves; Hereditary; If Beale Street Could Talk; Minding the Gap; Sorry to Bother You

THE BEST Mad Max BEST DOC OJ: Made in America FUNNIEST DOC Tickled UNDERRATED DOC Weiner HORROR Hereditary FAVORITE/FUNNIEST PERFORMANCE Ryan Gosling (Nice Guys) DESERVED 5 SEQUELS the Nice Guys SUPERHERO Spiderman: Into the Spiderverse WAR Dunkirk BEST FIGHT SCENES the Raid UNDERRATED any Lonely Island project NICE TRY Dark Knight Rises; Inception; Interstellar; Widows STAND-UP 2010s FAVORITE Bill Burr NEXT BEST Ali Wong; Anthony Jeselnik; Kyle Kinane; Bert Kreischer; Marc Maron; John Mulaney; Patton Oswalt; Rory Scovel; Tom Segura COMEBACK Chappelle DOWNFALL Louis CK DIED BEFORE PRIME Patrice O’Neal, Greg Giraldo UNDERRATED Joe Derosa MUST-SEE LIVE Robert Kelly PODCASTS 2010s BEST/FUNNIEST/UNDERRATED Walking the Room RUNNER-UP 600 Dollar Podcast ONE-MAN RANT Bill Burr Monday Morning Podcast SPORTS Pardon My Take RIFFING Bodega Boys HISTORY/COMEDY Dollop HISTORY DEEP DIVE Hardcore History MOVIES Rewatchables HATE-WATCH CRITICISM West Wing Thing POP CULTURE/FILM Frotcast MIXED Revisionist History GOOD/BAD Joe Rogan: GOOD: propping up comic friends; BAD: useful idiot for propping up bad faith fascists who should be put out to pasture INTERNET CURIOSITY Reply All LEFTIST POLITICS Chapo Trap House TRUE CRIME In the Dark ADVICE Don’t Take Bullshit From Fuckers LAME Pod Save America OVERRATED Missing Richard Simmons DIDN’T LIKE S-Town SERIAL Season 3>Season 1 TRUMP Trump, Inc SPORTS SCHAUDENFREUDE Fuck the Chargers OKAY Bill Simmons WTF WITH MARON good when he talks to comics MURDER My Favorite Murder OTHER GOOD ONES Hound Tall; Press Box

2010s MUSIC FAVORITE anything Brian Fallon ROCK BAND Menzingers SONG Robyn-‘Dancing On My Own’ POP-PUNK BAND Wonder Years LIVE ALBUM Horrible Crowes-‘Elsie’ HEAVY BAND Every Time I Die ELECTRONIC Chvrches SOLO Rihanna COVER ALBUM Dustin Kensrue-‘Thoughts on a Different Blood’ GO-TO AT GYM Story So Far OFF THE INEVITABLE & IRRECOVERABLE DEEP END Kanye KIND OF LIKE THE MUSIC/HATE THE PERSON: LIKE KANYE Taylor Swift, Bieber THOUGHT I’D HATE BUT DOES NOT SUCK Lana Del Rey; Post Malone OTHER FAVES 1975; Arctic Monkeys; Beach Slang; Black Keys; Bon Iver; Carly Rae Jepsen; the National; Thrice MIXED Chance the Rapper; Kendrick Lamar I’ll be honest I spent far more time listening to podcasts nearly all the time and just listened to mostly the same couple of things I liked. 2010s PATRIOTS 2010s BEST GAMES 1) Seahawks Super Bowl 2) Falcons Super Bowl 3) Ravens 2015 Divisional 4) Chiefs 2019 AFCCG UNDERRATED CLASSIC Ravens 2015 Divisional BRADY/GRONK GO DOWN LIKE CHAMPS 1) 2018 Eagles Super Bowl 2) Broncos 2015 AFCCG: Brady’ offensive line was a sieve EITHER WAY Giants Super Bowl: game changed when Brady’s shoulder got fucked up by Tuck FAVORITE PLAYER TB12 MOST FUN/DOMINANT Gronk HEART OF TEAM Edelman BELOVED Wilfork ROCK SOLID 1) Hightower 2) McCourty 3) James White 1st BALLOT HALL OF FAMERS 1) Brady 2) Gronk 3) Revis LATER BALLOT 1) Edelman 2) Scarnecchia 3) Welker 4) Wilfork 5) Slater MAKING AN ARGUMENT Gilmore PATS HALL ONLY 1) McCourty 2) Hightower 3) Mankins 4) White 5) Gostkowski 6) Mayo 7) Chung UNDERRATED/GOOD VALUE 1) Amendola 2) Vollmer 3) Ninkovich 4) Chung 5) Woodhead DESERVED BETTER Welker UNSUNG Slater OVERRATED 1) Solder 2) Brandin Cooks NO-SHOWS Dolphins (Dec ’19); Jets Divisional (Jan ‘11) BEST REGULAR SEASON WINS 1) 2013 Broncos 2) 2017 Steelers 3) 2013 Saints BEST REGULAR SEASON LOSSES 1) 2012 49ers 2) 2016 Seahawks 3) 2014 Packers 4) 2015 Broncos LOL Miami Miracle: saved by winning Super Bowl LEAST TALENTED TEAM 1) 2013 by a mile 2) 2010 3) 2011 4) 2018 BEST TEAM 1) 2014 2) 2016 BEST PLAYS (NON-GRONK) 1) Butler INT Seahawks 2) Edelman TD pass vs Ravens 3) Buttfumble Jets 4) Edelman catch vs Falcons 5) Walk-off TD vs Falcons 6) Dan Connolly kick return 7) Brady TD pass to LaFell 2015 Divisional POUNDED TABLE TO DRAFT 1) Lamar Jackson 2) Kittle 3) AJ Brown 4) Honey Badger 5) Stefon Diggs WANTED BUT OUT OF REACH 1) Aaron Donald 2) Quenton Nelson 3) Derwin James 4) Hopkins 5) TJ Watt 6) Saquon 7) Keenan Allen 8) McCaffrey 9) Gurley WOULD’VE WON IT ALL IF NOT FOR INJURIES 2011, 2012, 2015, 2017. That’s football HEALTHIEST SEASON 2018 ROPE-A-DOPED/GOT BY ON VETERAN GUILE 2018: Belichick’s best coaching FAVORITE PICKS AT THE TIME OF GUYS I WANTED 1) Gronk 2) Hightower/Chandler Jones 3) Shaq Mason MOVES I HATED THAT I WAS WRONG ABOUT 1) Stephon Gilmore 2) trading Jamie Collins MOST IMPROVED Marcus Cannon BEST FIND Kyle Van Noy MOVE I LOVED getting Blount back the 2nd time IF BUTLER WASN’T BENCHED, DO THEY BEAT THE EAGLES? Yes 100%. If only because, if nothing else, he can tackle BUTLER’s INT KILLED THE ‘LEGION OF BOOM’ SEAHAWKS WOULD-BE DYNASTY Yes DRAFT REACH THAT MADE NO SENSE Jordan Richards: Tavon Wilson 2.0 BAD DRAFT MOVES 1) Dominique Easley 2) Cyrus Jones 3) Dobson 4) Mallett DIRTY SECRET Belichick sucks at drafting in 2nd round WOULD HAVE BEEN GOOD IF HE STAYED HEALTHY Malcolm Mitchell HATE TO SEE WALK BUT COULDN’T AFFORD 1) Trey Flowers 2) Chandler Jones 3) Jimmy G 4) Talib 5) Akiem Hicks DEFLATEGATE fraud/power trip job by Goodell/owners BRADY OR BELICHICK MORE VALUABLE Brady 100% DISAPPOINTING/GAMBLES 1) Ochocinco 2) Michael Bennett: got him 2 years too late 3) Fanene signing 4) Haynesworth BEST SHORT-TERM 1) Martellus Bennett 2) Chris Long 3) Revis 4) Brian Waters SUSPECT CHARACTERS/EDGY PERSONALITY MACHINES Brandon Spikes; Brandon Browner…SERIAL KILLER Aaron Hernandez PERSONALITY DISORDER DISASTER Antonio Brown: bad signing/unexpected HOW THE FUCK DID WE LOSE TO THAT GUY? Eli Manning/Nick Foles LIFESAVER Scarnecchia MCDANIELS Frustrating—but continuity matters REFS FUCKED OVER Gronk MISCELANNEOUS 2010s GOOD/ENJOY Bernie Sanders/AOC: people who actually want to get good done that’s long overdue…Lebron James; Stephen Curry; Kawhi; Zion Williamson; Luka Doncic...Lamar Jackson; Pat Mahomes; JJ Watt; Marshawn Lynch…Coach Ed Orgeron...David Ortiz…2011 Bruins…memes…Don Winslow crime novels…David Roth writing on Trump…David Grann non-fiction…’Book of Mormon’ DID NOT ENJOY Kyrie Irving…Deflategate…LeBron on the Heat…Bobby Valentine DON’T UNDERSTAND WHY PEOPLE LIKE ‘Between the World and Me’…Elon Musk…Lin Manuel-Miranda/’Hamilton’ INDEFENSIBLY AND INFURIATINGLY BAD THE MORE YOU LOOK AT IT Facebook…Obama Presidency/Democratic Party Leadership EVERYDAY DISASTER Media: CNN; Fox; MSNBC; NY Times Op-Ed…Trump/Republicans: Trump presidency was basically 2010s 9/11 for inevitable disastrous fallout & consequences my generation will never recover from…Grifters Trojan horsing way in shamelessly (Trump administration; Ben Shapiro; Alex Jones; Milo; Jordan Peterson, Tomi Lahren, etc.) and no repercussions...Republican Party basically one goal: to troll libs even with shitty ideas that suck FAVORITES WHO DIED Bourdain; Elmore Leonard; Garry Shandling; Muhammad Ali; Robin Williams; Tom Petty BEST TALENT CUT SHORT Philip Seymour Hoffman SHITTIEST PEOPLE WHO DIED Antonin Scalia; George HW Bush; John McCain; Osama; Steve Jobs; Whitey Bulger I FORGOT THAT SHIT HAPPENED Charlie Sheen loses it JEFFREY EPSTEIN did not kill himself WHAT DEFINES 2010s Amazon/Bezos…Climate Change/Gun Violence inaction…Journalism being taken over by Bane Capital-esque vultures/local places dying...one-sided Class War by the uber-rich…#MeToo…Netflix…Opioids…Outrage/Cancel culture…Police Injustice…Silicon Valley…Social Media…Superhero shit…Your mom

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stuckontheisland · 5 years ago

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Bootleg Masterpost

Hi party people! I’m a new trader and have a small collection of stuffs that I want you all to know about in case you’re interested in anything or would like to trade! Feel free to msg me! <3 <3

Anastasia | Sep 17, 2017

Christy Altomare (Anya), Derek Klena (Dimitry), Ramin Karimloo (Gleb), John Bolton (Vlad), Caroline O’Connor (Countess Lily), Mray Beth Peil(Empress Maria),

Bonnie and Clyde| Sep 28, 2013

Laura Osnes (Bonnie Parker), Jeremy Jordan(Clyde Barrow), Melissa Van Der Schyff (Blanche Barrow), Claybourne Elder (Buck Barrow), Louis Hobson (Ted Hilton)

Bridges of Madison County| March 9, 2014

Kelli O’Hara (Francesca), Steven Pasquale (Robert), Whitney Bashor (Marian/Chiara), Hunter Foster (Bud), Caitlin Kinnunen(Carolyn), Derek Klena (Michael), Michael X Martin(Charlie), Cass Morgan(Marge)

Carousel | April 26, 2013 | Lincoln Centre Production

Kelli O’Hara(Julie Jordan), Nathan Gunn (Billy Bigelow) Stephanie Blythe (Nettie Fowler), John Cullum (The Starkeeper/Dr. Selden), Jessie Mueller (Carrie)

Dear Evan Hansen| Oct 19, 2018 | LA Opening Night

Tracked Audio

Ben Levi Ross(Evan Hansen), Jessica Philips(Heidi Hansen), Maggie McKenna(Zoe Murphy), Marrick Smith(Connor Murphy), Christiane Noll(Cynthia Murphy), Aaron Lazar(Larry Murphy), Jared Goldsmith(Jared Kleinman), Phoebe Koyabe(Alana Beck)

Dear Evan Hansen| Unknown

Ben Platt (Evan Hansen), Rachel Bay Jones (Heidi Hansen), Mike Faist (Connor Murphy), Laura Dreyfuss (Zoe Murphy), Jennifer Laura Thompson (Cynthia Murphy), Michael Park (Larry Murphy), Will Roland (Jared Kleinman), Kristolyn Lloyd (Alana Beck)

Falsettos| Lincoln Centre/PBSProfessionally Recorded

Stephanie J. Block (Trina), Christian Borle (Marvin), Andrew Rannells(Whizzer), Anthony Rosenthal (Jason), Tracie Thoms(Dr. Charlotte), Brandon Uranowitz (Mendel), Betsy Wolfe (Cordelia)

Gypsy| Unknown 2008 | Broadway Revival

Laura Benanti (Louise), Patti LuPone(Rose), Leigh Ann Larkin(Rose), Boyd Gaines (Herbie), Tony Yazbek(Tulsa), Alison Fraser (Tessie Tura), Leonora Nemetz (Mazeppa), Marilyn Caskey (Electra)

Hamilton| Unknown

Lin-Manuel Miranda, Phillipa Soo, Leslie Odom Jr, Renee Elise Goldsberry, Christopher Jackson, Daveed Diggs, Okieriete Onaodowan, Anthony Ramos, Jasmine Cephas Jones, Jonathan Groff, Sydney James Harcourt, Daniel J Watts, Neil Haskell, Ephraim Sykes.

Into the Woods| Unknown 2002 | Broadway revival

Vanessa Williams, Stephen DeRosa, Kerry O’Malley, John McMartin, Gregg Edelman, Laura Benanti, Molly Ephriam, Adam Wylie, Marylouise Burke

Leap of Faith| April 4, 2012 | Broadway

Raul Esparza, Jessica Phillips, Kendra Kassebaum, Kecia Lewis-Evans, Leslie Odom Jr., Krystal Joy Brown, Talon Ackerman

Legally Blonde| Unknown |Professionally Recorded MTV

Laura Bell Bundy(Elle Woods), Christian Borle(Emmett Forrest), Orfeh(Paulette), Richard H Blake(Warner Huntington III), Kate Shindle(Vivienne Kensington), Nikki Snelson(Brooke Wyndham), Michael Rupert(Professor Callahan), Annaleigh Ashford(Margot), Asmeret Ghebremichael(Pilar), Tracy Jai Edwards(Serena)

Next to Normal| March 18, 2010 Cast: Jessica Phillips (Diana s/b), J. Robert Spencer (Dan), Kyle Dean Massey (Gabe), Jenn Damiano (Natalie), Adam Chanler-Berat (Henry), Louis Hobson (Dr. Madden/Dr. Fine)

Next to Normal| June 6, 2009 | First post-Tony performance

Tracked Audio Cast: Jessica Phillips (Diana s/b), J. Robert Spencer (Dan), Kyle Dean Massey (Gabe), Jenn Damiano (Natalie), Adam Chanler-Berat (Henry), Louis Hobson (Dr. Madden/Dr. Fine)

Next to Normal| Nov 29, 2009

Tracked Audio Cast: Jessica Phillips (Diana s/b), J. Robert Spencer (Dan), Kyle Dean Massey (Gabe), Jenn Damiano (Natalie), Adam Chanler-Berat (Henry), Louis Hobson (Dr. Madden/Dr. Fine)

Next to Normal| March 18, 2010

Tracked Audio Cast: Jessica Phillips (Diana s/b), J. Robert Spencer (Dan), Kyle Dean Massey (Gabe), Jenn Damiano (Natalie), Adam Chanler-Berat (Henry), Louis Hobson (Dr. Madden/Dr. Fine)

Next to Normal| March 20, 2010

Tracked Audio

Cast: Jessica Phillips (Diana s/b), J. Robert Spencer (Dan), Kyle Dean Massey (Gabe), Jenn Damiano (Natalie), Adam Chanler-Berat (Henry), Louis Hobson (Dr. Madden/Dr. Fine)

Priscilla Queen of the Desert| March 6, 2011

Will Swenson (Tick/Mitzi), Tony Sheldon (Bernadette), Nick Adams (Adam/Felicia), C. David Johnson (Bob), Jacqueline B. Arnold (Diva #3), Anastacia McCleskey (Diva #2), Ashley Spencer (Diva #1), Jessica Phillips (Marion), J. Elaine Marcos (Cynthia)

Songs for a New World | June 2018 | NYCC Shoshana Bean, Colin Donnell, Mykal Kilgore, Solea Pfeiffer

Spring Awakening| August 15, 2008 | First performance, San Diego

Kyle Riabko (Melchior), Christy Altomare (Wendla), Blake Bashoff (Moritz), Steffi D (Ilse), Sarah Hunt (Martha), Kimiko Glenn (Thea), Gabrielle Garza (Anna), Anthony Lee Medina (Otto), Matt Shingledecker (Georg), Andy Mientus (Hanschen), Ben Moss (Ernst), Angela Reed (Adult Women), Henry Stram (Adult Men)

Waitress | March 30, 2016

Jessie Mueller (Jenna), Keala Settle (Becky), Kimiko Glenn (Dawn), Drew Gehling (Dr. Pomatter), Nick Cordero (Earl), Dakin Matthews (Joe), Eric Anderson (Cal), Christopher Fitzgerald (Ogie)

Wicked| August 17, 2005

Shoshana Bean(Elphaba), Meghan Hilty(Glinda)

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giallofever2 · 6 years ago

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1968 (International Posters/Vhs/Dvd Covers)

Nude si muore

Also Known As (AKA)

Sette Vergini per il Diavolo (Italian Working Title)

(original title) Nude... si muore

Brazil Jovens, Malvados e Selvagens

Greece (transliterated) O strangalistis ton anilikon koritsion

Soviet Union (Russian title) Семь девс��венниц для убийцы

Spain Crimen en la residencia

UK The Young, the Evil, and the Savage

USA (DVD title) Naked... You Die!

USA (video title) School Girl Killer

USA The Young, the Evil and the Savage

West Germany Sieben Jungfrauen für den Teufel

World-wide (English title) (alternative title) The Miniskirt Murders

World-wide (English title) (working title) Cry Nightmare

World-wide (English title) The Young, the Evil and the Savage

Release Dates

Italy 20 February 1968

USA 14 August 1968

West Germany 4 October 1968

Directed by Antonio Margheriti... (as Anthony Dawson)

Music by Carlo Savina

Writing Credits

Mario Bava ... (screenplay) (uncredited)

Giovanni Simonelli ... (sceenplay) (as John Simonelli)

Antonio Margheriti ... (screenplay) (as Anthony Dawson)

Franco Bottari ... (screenplay) (as Frank Bottar)

Brian Degas ... (screenplay) (uncredited)

Tudor Gates ... (screenplay) (uncredited)

technical specifications

Runtime 1 hr 38 min (98 min) (Italy)

1 hr 34 min (94 min) (uncut) (Germany)

1 hr 22 min (82 min) (USA)

Filming Locations

Roma, Lazio, Italy

Castello della Castelluccia, Centro Grande, Rome, Italy

(St. Hilda College exteriors)

Le Berlugan, Boulevard du General Leclerc, Beaulieu-sur-Mer, France

(gate-entrance)

Casale Pagliarini, Via del Casale di Pagliarini, Sacrofano, Rome, Italy

(Prof.-Andre's-house)

Cast

Mark Damon ... Richard Barrett

Eleonora Brown ... Lucille Moffat

Silvia Dionisio ... Margaret (as Sylvia Dionisio)

Malisa Longo ... Cynthia Fellows

Sally Smith ... Jill

Patrizia Valturri ... Denise

Luciano Pigozzi ... La Foret (as Alan Collins)

Franco de Rosa ... Detective Gabon (as Franco Derosa)

Ludmila Lvova ... Mrs. Clay / Peter Moffat

Vivian Stapleton ... Miss Transfield (as Vivienne Stapleton)

Ester Masing ... Miss Martin (as Esther Masing)

Aldo De Carellis ... Professor André

Giovanni Di Benedetto ... Di Brazzi (as John Hawkwood)

Valentino Macchi ... Policeman

Umberto Papiri ... Simon

Caterina Trentini ... Betty Ann (as Katleen Parker)

Lorenza Guerrieri ... Wendy

Paola Natale ... Maid

Michael Rennie ... Inspector Durand

Nando Angelini ... Blond Policeman (uncredited

#nude si muore #naked you die #crimen en la residencia #antonio margheriti #anthony dawson #mark damon #silvia dionisio #malisa longo #luciano pigozzi #giallo fever #giallofever #italian cult #cult #italian giallo #cinema cult #italian sexy comedy #international cult #gialli #giallo

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garudabluffs · 3 years ago

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After tweets, Cuomo's spokesman named as defendant by 'Trooper 1' Feb. 18, 2022

Richard Azzopardi said his remarks about 'Trooper 1's' lawsuit are 'protected free speech'

READ MORE https://www.timesunion.com/state/article/After-tweets-Cuomo-s-spokesman-named-as-16929823.php?IPID=Times-Union-HP-CP-spotlight

Trooper 1’ files federal lawsuit against Cuomo, DeRosa and State Police Feb. 18, 2022

“As attorney general, Cuomo had once asserted — following an investigation by his administration into alleged misconduct by Gov. Eliot Spitzer and the State Police — that governors should have no role in the hiring or promotional decisions of the law enforcement agency.:

READ MORE https://www.timesunion.com/state/article/Trooper-1-files-federal-lawsuit-against-Cuomo-16928096.php

#Andrew Cuomo lawsuit

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dustedmagazine · 4 years ago

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Dust Volume 7, Number 3

Black Country, New Road

One of the funniest parts of Martin Amis’ Inside Story concerns an up-and-coming novelist, constantly asked at literary festivals to differentiate between his short stories and novels and just as consistently coming up with new ways to say that the short stories are, well, shorter. Same deal with Dust. These abbreviated reviews are, indeed, shorter than the full-lengths, but otherwise well worth reading. And, hoo boy, are there a lot of them this time. Contributors include Ian Mathers, Jennifer Kelly, Bill Meyer, Tim Clarke, Patrick Masterson, Arthur Krumins, Eric McDowell, Justin Cober-Lake, Andrew Forell, Ray Garraty, Jonathan Shaw and Bryon Hayes.

Aarktica and Black Tape for a Blue Girl — Eating Rose Petals (Projekt: Archive)

Eating Rose Petals by Aarktica and Black Tape for a Blue Girl

Aarktica’s Jon DeRosa and Black Tape for a Blue Girl’s Sam Rosenthal have known each other for a long time, but this release is the first time they’ve actually worked together. Rosenthal was so struck by the title song, one of the few from Aarktica’s 2019 release Mareación to feature DeRosa’s vocals, that with the latter’s permission and participation he created the almost 19-minute “Fleeting Rose Petals”, which features the original track backwards with wordless additional vocals from DeRosa, plus additional material by Rosenthal before and after it. The original (also included here, along with the closing “Valley of the Roses” which features Rosenthal further reworking the additional material from “Fleeting Rose Petals”) already felt like a single lambent moment in time suspended and held, and by reworking and reconfiguring that material over a full 37-minute span that effect is only intensified.

Ian Mathers

Altaat & Euter — Split (Ikuisuus)

split by Altaat / Euter

Two experimental drone outfits from Finland play extended abstract compositions on this split LP. Altaat’s sidelong “Palava Palaava” sounds like an orchestra tuning up in a wind tunnel as it splices long bowed tones with the rush and whir of large machinery. But however, chaotic that may sound, the actual effect is quite serene, the om of dissonant overtones melting into a white noise background of rattling, humming, whooshing mechanical sounds. Altaat’s Niko Karlsson and Miki Brunou, along with Jari Koho, subsume the noisy clatter of the post-industrial era into a dream-like, beckoning hiss. Euter, also a duo but not willing to give up personal names, works a less organically grounded sound, filling an expansive, echoey space with chortling, wobbling synth cadences, metallic clangs and staticky, between-stations blare. The long “Slowly Underwater,” unfolds in chilly surreality. You get the sense of vast metal furnaces blowing out corrosive chemical clouds, of mechanical sensors picking up and sending signals and of chittering, hurrying life amid ruins. (No, I’m not hearing anything especially watery.) “Magnetic Mammals,” which follows, is similarly machine-like and ominous, picking up vast, sirening sounds as if from a distance with bubbling bursts of radio interference in the foreground. Altaat’s side is certainly closer to conventional Western classical music, but Euter finds some intriguing, disquieting spaces. Makes you wonder what they’re putting in the water up there in reindeer land.

Jennifer Kelly

Rrill Bell — Ballad of the External Life (Elevator Bath)

ballad of the external life by Rrill Bell ////// aka The Preterite

One of the challenges of early electronic music was its labor intensity; it could take months of recording, processing, card-punching and pondering to come up with a few minutes of music. But tools change, and with them, opportunities for access open up. The music of Rrill Bell, a German-based American musician, makes that lengthy process shake hands with instant performance. Originally trained as a percussionist, he works mainly with tapes, which he records, uses in performance, and in the course of performance, records over and re-uses again. But in concert, he tends to improvise with these materials, making split-second decisions that occasionally get preserved for potential re-visiting.

If that sounds like a recipe for frenetic sonic action, it’s not. Mr. Bell’s tastes in original sounds tend towards bells and environmental captures, and he rarely crowds the mix. Tones squiggle and unspool, unidentifiable bumps appear and disappear, and birds chirp at the periphery. It’s easy to characterize this as ambient music, since a low-volume listen is pleasant but undemanding. But keep in mind that successful ambient music must be interesting as well as ignorable, and the dream-like sound walk of Ballad of the External Life still delivers.

Bill Meyer

Black Country, New Road — For the First Time (Ninja Tune)

For the first time by Black Country, New Road

“Sunglasses” erupts out of a blare of feedback, a roar of guitar noise that splinters and disintegrates as you trace its melody. Synths sound like police sirens. It’s all very slow and ominous, and for a minute, all those Slint comparisons make sense. And then it resolves into something like an indie rock song, spoke-sung over thunderous drums by one Isaac Wood, he of the tremulous voice and the unreliable narrative, whose art song proclivities may bring bands like Wild Beasts to mind, though without the fey falsetto. The song is a marvel of bravado and doubt, working the soft seam between ordinary male adolescence and mental illness, and the sunglasses play a key part. Says Wood, “I am looking at you with my best eyes and I wish you could tell/I wish all my kids would stop dressing up like Richard Hell/I am locked away in a high-tech/Wraparound, translucent, blue-tinted fortress/And you cannot touch me.” (Also, later, “I am more than adequate/Leave Kanye out of it,” which strikes me as brilliant for reasons I can’t fathom.) The point is that there are startling, riveting lyrics here, of the sort that you could make a case for leaving it unadorned, but Black Country, New Road is not interested in simplicity. The rather large ensemble includes not just the regular rock instruments but saxophone, violin and synths, all knotted up in proggy complexities and paced by a drummer (Charlie Wayne) good enough to give Black Midi’s Morgan Simpson a run for his money (the two bands are aligned and friends and Black Midi gets a name check in one of the songs). Indeed, the opening track of this six-cut collection is aptly titled “Instrumental,” a whirling gypsy klezmer cubist fantasy that is, if anything, nervier and more complicated than the vocal tracks. This is exciting, volatile stuff that could go anywhere from here.

Jennifer Kelly

Deniz Cuylan — No Such Thing As Free Will (Hush Hush)

No Such Thing As Free Will by Deniz Cuylan

Everything about Deniz Cuylan’s solo debut is understated. Six instrumental tracks running to just 27 minutes, released on the fittingly named Hush Hush Records, No Such Thing As Free Will seeks to evoke something subtle and universal out of minimal ingredients. There’s a robust architecture to this music, generating a sober, contemplative mood. Arpeggios on nylon-string classical guitar cycle around in precise arcs, gently bolstered by piano, clarinet and cello. The space in opener “Clearing” shyly invites the listener in; the record reaches a modest peak in the bright harmonics of “She Was Always Here” and the almost joyful elegance of “Flaneurs in Hakone”; then the music recedes into a melancholic fog on the closing title track. It’s telling, therefore, that Cuylan has worked as a soundtrack composer — his music feels complementary, receding modestly into life’s scenery rather than commanding the spotlight.

Tim Clarke

Arnold de Boer — Minimal Guitar (Makkum)

MINIMAL GUITAR by arnolddeboer

Somedays you just don’t do what you’re supposed to do. At the end of the last summer, Arnold de Boer decided to extend his holiday by a day and take a walk around town. When he got back home, he sat down, picked up an instrument and listened to the music that came out of his fingers. The music was no more expected than the activity that preceded it. Instead of the rough, voltage-enhanced intricacy of the music he plays with The Ex or his one-man band, Zea, de Boer played a set of acoustic guitar solos. Neither ostentatious nor self-consciously rustic, de Boer’s playing tends to zero in on an idea and see where it wants to go. Each rhythmic pattern, decaying harmonic, or rap on the body proposes an idea, which de Boer either explores or restates with minimal variation. Ah, there’s that word. This isn’t a study in minimalism, but an appreciation of how little you need to do if the original idea is sound.

Bill Meyer

Dusk + Blackdown — Rinse FM Mix January 28, 2021 (Rinse FM)

Rinse FM · Keysound (100% Keysound Production Mix) - 28 January 2021

I’m not sure there’s a place left on the internet better suited to explaining the rise of grime, dubstep and its attendant mutations than Martin Clark’s aging Blogspot under his Blackdown alias. From ground zero in London, Clark has been documenter, eyewitness and participant alike, a true lifer fully evidenced by his longtime partnership with Dan Frampton, aka Dusk, showcasing new music on their monthly Rinse radio show and Keysound Recordings record label. They’re an essential part of the culture, so it’s especially pleasant when they serve up some of their own riches. After the traditional December year-end roundup show, Dusk and Blackdown came roaring out of the gates in January with an all-Keysound broadcast in the middle of the night that features gobs of unreleased rollage over its two hours. It’s a nice reminder that though time may pass, URLs may cut out and memories may dim, some are still putting in the work one release, one radio show, one listen at a time. The sound is the key is right.

Patrick Masterson

EKG — 200 Years Of Electricals (Bandcamp)

200 Years of Electricals by EKG (Ernst Karel & Kyle Bruckmann)

Most things don’t hold their value. Why should time be any different? So, if Gabriel Garcia Marquez wrote 100 Years of Solitude in the 1960s, EKG might as well proclaim 200 Years Of Electricals in 2021. EKG is Kyle Bruckmann (double reeds, analog electronics, organ) and Ernst Karel (analog electronics, microphones). The duo first convened in the mid-1990s, when both men lived in Chicago, and Karel was mainly known as a trumpeter. They’ve carried on in sporadic fashion ever since, playing increasingly rare concerts as each man moved away from his original home base. They’ve turned snippets from these shows into subdued musical constructions, which they’ve issued on a number of compact discs over the years. For their first release in over a decade, the duo, who currently both live in the Bay area, have ditched the trumpet and the physical album format, and incorporated some of the field recordings that have become Karel’s main sound material in his solo work. But in other respects, this effort is every bit as concerned with iteration and inevitability as Marquez’ book. When you flip a switch, something hums. When you layer quiet sounds, they don’t necessarily get louder, but they do exert a stronger magnetism upon your ear. And you when spread your quietness over a vast stretch of silence, efforts to follow the sound inevitably do strange things to your sense of time. Wait, how many years have we been listening to that crackle? Why stop now?

Bill Meyer

Michael Feuerstack — Harmonize the Moon (Forward Music Group)

Harmonize the Moon by Michael Feuerstack

Montreal-based singer-songwriter Michael Feuerstack sweeps aside all extraneous fluff on his new album, Harmonize the Moon, zeroing in on precise finger-picked guitar parts, vivid lyrical imagery and a stark, affecting tone. He has a knack for smuggling blink-and-you’ll-miss-it moments of understated wonder into traditional-sounding folk songs you’ll imagine you’ve heard somewhere before. Indeed, he wryly admits to recycling the past in the opening song: “I used to be a singer, bumping around in the astral plane / Picking up astral trash, to polish it up again.” Though the foundation of guitar and vocals carries most of the weight, there’s tasteful reinforcement from vocal harmonies, electric guitar, lap steel, bass and drums. Amid these clean, spare arrangements, some of the lines stop you in your tracks, like the following from “Too Kind”: “The world is broken mirrors, traps and triggers / And cold blood pools in the kindest eyes.” With 10 finely honed songs running to just over half an hour, everything is measured and rather lovely. (Beautiful cover art, too.)

Tim Clarke

Michael and Peter Formanek — Dyads (Out Of Your Head Records)

Dyads by Michael and Peter Formanek

Virtuoso bassist, stalwart sideman, solid bandleader, fearless improviser, intriguing composer — Michael Formanek is all of those things, but he’s also a cool dad. At least that’s what it looks like from the outside. Not only did he include his son, Peter, in his musical activities from an early age, giving the youngster a chance to sit in with the likes of Tim Berne and Jim Black. Upon Peter’s return home from college, he joined him in a working duo. Dyads is their first recording, and it is testimony to the merits of giving the kid first-hand experience in the family business. Peter, who plays tenor saxophone and clarinet, has learned the merits of having a bold tone, a flexible improvisational approach and a way with a tune. Their performances unfold with a combination of patience and pith, which permits the listener to savor the elegance with which each musician supports the other.

Bill Meyer

Chris Forsyth & the Solar Motel Band — Rare Dreams: Solar Live 2.27.18 (No Quarter)

Rare Dreams: Solar Live 2.27.18 by Chris Forsyth & The Solar Motel Band

Chris Forsyth teams with Sunwatchers Peter Kerlin and Jason Robira at London’s Café OTO for expansive, incendiary jams that will remind you like a physical ache of what you’ve been missing in live music this awful year. “Dream in the Non-Dream” is a wide-horizon, endless vamp, driven ever forward by Kerlin and Robira in lock-sync, while Forsyth ratchets up tension with a car jack, then spins it off in wreckless, fiery abandon. “The First Ten Minutes of Cocksucker Blues” similarly balances rigor and open-ended-ness, marking off the measures with a hammering, repetitive cadence that becomes a mantra over time. There are also two Neil Young covers, both tending towards the electrified, Crazy Horse side of things, a slow by blistering “Don’t Be Denied” and a raucous “Barstool Blues” from Zuma. It’s all great stuff, and it might hold you for a month or two until we can all crowd up to the stage again.

Jennifer Kelly

Alexander Hawkins — Togetherness Music (Intakt)

Togetherness Music by Alexander Hawkins

Whether you listen to him in duos with Evan Parker or Tomeka Reid, small bands like the Chicago/London Underground or Decoy, or leading his own ensembles, English keyboardist Alexander Hawkins accompanies and improvises with an astute perception of the situation’s requirements. The title Togetherness Music can be taken several ways. The six-part suite combines parts from two different commissioned pieces, and it brings together elements of free and conducted improvisation, scored chamber music, and some discrete electronic interventions. Passages showcasing Evan Parker’s intricate soprano saxophone lines and Mark Sanders’ kinetic percussion contrast and coexist with rich and patiently evolving string passages executed by the Riot Ensemble. This music feels less like a sum of differing approaches than the expression of a cohesive in which all Hawkins’ good ideas fit together.

Bill Meyer

Russell Hoke — The Melancholy Traveller (Round Bale Recordings)

The Melancholy Traveler by Russell Hoke

This release follows up on the archival compilation A Voice From the Lonesome Playground from 2016 of Hoke’s material from small run releases of the 1980’s. With the new material here, Hoke delves into the unadulterated sound of voice and guitar or banjo, with mainly his own songs of loneliness and also the singularly bittersweet moments of existing as yourself, free and detached from society. Also covering two beautiful takes on Sandy Denny songs, which fit into the UK/US traditional direction of the rest. The album rests in the same delicate territory as other folkies such as Connie Converse, Jackson C. Frank, or even the more sedate songs of Daniel Johnston. What brings the album together is the expressiveness in any given moment of a song. The tact and execution consistently bring the emotion of the songwriting home.

Arthur Krumins

In Layers — Pliable (FMR)

Pliable by In Layers

In Layers puts up a middle finger against anyone who thinks that European unity is a passed fancy. The quartet’s members come from Portugal, Iceland and Holland, and their collective experience encompasses Nordic music theatre, lyric free jazz and the tooth-powderingly loud trio, Cactus Truck. But the music they make doesn’t really sound like any of that. Guitarist Marcelo Dos Reis, drummer Onno Govaert, pianist Kristján Martinsson and trumpeter Luís Vicente improvise music that is spacious enough to frustrate viral transmission, but composed of elements hefty enough to tip a scale. There’s plenty of bravura playing, but the displays are subordinate to the music’s abstract cohesion. You won’t hum it, but you won’t forget it, either.

Bill Meyer

Just For the Record: Conversations With and About “Blue” Gene Tyranny

Composer, writer and pianist Robert Sheff, better known as “Blue” Gene Tyranny, collaborator with everyone from Iggy Pop to Robert Ashley, passed away at the end of 2020. Just before that, David Bernabo’s documentary about Tyranny’s life and work, and more generally about the avant garde world Tyranny was a vital part of, how much of it almost vanished and the ways it continues to be vibrant even today, was released. For a while Just For the Record was available to rent, but this year Bernabo made it available for free on UbuWeb Film. It’s a wonderful watch for anyone who’s a fan of “Blue” Gene’s work, for sure. The conversations with him are near the end of his life, but his evident joy in music and art and people shines through, and the conversations with Joan La Barbara, David Grubbs, Kyle Gann and others cast new light on both his history and work and importance and the group of artists that he worked with and around. There’s so much here you almost wish for a miniseries instead (one episode on reissue labels and blogs, one on Robert Ashley’s operas, one on Tyranny’s time as a Stooge…), but given how overlooked artists like “Blue” Gene Tyranny often are, it still feels like a gift to have what’s here.

Ian Mathers

Kariu Kenji — Sekai (Bruit Direct Disques)

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Sekai is a COVID-era exercise in circumstantial lemonade-making. Kariu Kenji’s band, OWKMJ, executes intricate, quick-changing jazz rock with aplomb. Stuck alone at home, he has made a solo record that never betrays his prodigious dexterity as a guitarist. Instead, Kenji has fashioned an album of low-key, keyboard-heavy bedroom pop. It is low key, almost to a fault, since you could easily miss the subtle fault lines between clean and distorted sounds, let alone the moments when he unobtrusively pulls the rhythmic rug out from under a song. The songs poetically render small memories and quietly absurd scenarios, which are considerately translated for the benefit of people who won’t understand Kenji’s all-Japanese crooning.

Bill Meyer

Kid Congo and the Pink Monkeybirds — Swing from the Sean Delear (In the Red)

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Kid Congo Powers has been in more great bands than anyone I can think of — The Cramps and The Gun Club to start with, but also Nick Cave’s Bad Seeds, Divine Horsemen and, just last year, the Wolfmanhattan Project with Mick Collins and Bob Bert. That’s exalted company all round, and his latest, with Pink Monkeybirds, is no slouch alongside any of them. It begins with a vamping, churning, soul-funk-psychedelic “Sean DeLear,” which commemorates the recently deceased Bay Area punk-fashion icon in exultant, chandelier-swinging style. All three side one cuts are bangers, spinning out Sam & Dave bass-and-drum foundations into dayglow garage extravaganzas, but the 14-minute b-side “He Walked In” takes things in another direction, slowing the pace down and letting the music smoulder, a trippy hippy flute weaving through heat-shimmered desert psychedelia. Like the opener, it’s an elegy, this time to Gun Club front man, Jeffrey Lee Pierce, a haunted surf rock dreamscape where spirits dwell.

Jennifer Kelly

Katy Kirby — Cool Dry Place (Keeled Scales)

Cool Dry Place by Katy Kirby

Katy Kirby makes a stripped down, lofi pop that aspires to bigger things. Even low-key, acoustic strummed, bedroom ballads like “Eyelids” are always on the verge of busting out into flute-y, melismatic diva choruses. Even the tender “Cool Dry Place,” dreams of a big pop payoff and gets there in the end. And the single “Traffic!” is strung through with the tension between its muted, all-natural melody and the crescendoing climax that waits at the end. Here Kirby’s plain, wholesome voice gets threaded with fluttering autotune, not because she can’t hit the notes, but because that’s how big pop songs sound. This is the opposite of Katy Perry doing carpool karaoke. It’s acoustic, unadorned versions of songs that long for mainstream gloss and glamor.

Jennifer Kelly

The Koreatown Oddity — “Breastmilk” b/w “My Name Is Dominique” (Stones Throw)

Breastmilk by The Koreatown Oddity

“I got the hook-up from my baby mama / While you fetish freaks get it off the black market.” If the cover art left any room for doubt, the lyrics soon make it clear that Dominique Purdy’s approach to the subject of his latest single is every bit as literal as it is cartoonish. While albums like last year’s Little Dominiques Nosebleed put the Koreatown Oddity’s powers as a storyteller on full display, the rapper’s rhetorical mode here is ostensibly argumentative, with appeals to the all-naturalness — and deliciousness — of his preferred “regimen”:“You looking at me like I’m a strange human / But you drinking cow’s milk — fuck is you doing?” In the space of just two and a half minutes, he also achieves a hilarious upending of a range of hip-hop tropes, from the objectification of women to the glorification of illicit substances, not to mention MC braggadocio. There may even be a comment on fatherhood in there, too, for anyone who really wants to go looking.

The b-side of the 7” offers something different altogether, a stiff-legged but hypnotic beat beset by periodic electronic splatters and the somewhat manic refrain: “My name is Dominique and I’m a fresh musician.” Indeed.

Eric McDowell

Bobby Lee — Origin Myths (Tompkins Square)

Origin Myths by Bobby Lee

A swamp-gassed shimmer hangs over Bobby Lee’s electric blues, as notes bloom and waver and subside like ghostly lights in a humid dusk. Bobby Lee, the man, lives in Sheffield, England, but his music dwells in some lysergic delta, in the south but not entirely of it or anywhere else. Listen to the way that notes flicker in the steady runs of “Broken Prayer Stick,” a regular cadence of them left to warp and wander in steamy sunshine. Or the way that sustained tones drift like seaweed in “Looking for Pine and Obsidian,” losing themselves in thickets of overtone and echo. Bobby Lee would likely find a kindred spirit in Tarotplane’s PJ Dorsey or in William Tyler in a transcendental mood. Like them, his blues drift towards revelation but very, very slowly.

Jennifer Kelly

Nashville Ambient Ensemble — Cerulean (Centripetal Force)

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Thinking of Nashville doesn't typically bring to mind ambient music, nor does the image of pedal steel guitar typically suggest the work of an electronic composer. Nashville Ambient Ensemble, though, mixes those elements. What makes the group's debut album Cerulean feel special isn't its oddness — other acts, of course, do this sort of dreamy work — but that the Nashville elements remain so present. Pedal steel player Luke Schneider does much of the work to create that feel. The instrument itself has long since moved out of its traditional settings (a quick dip into the music of Susan Alcorn, for example, can prompt a fun rabbit trail of the guitar far removed from Western swing), but composer Michael Hix and this group enjoyably maintain the country signifiers even while moving into far spacier terrain. Some of the album pushes toward psychedelic swirls, but the ensemble restrains these gestures. As they head west out of Nashville, they resist simply playing a given genre with a gimmick. Cerulean isn't spaced out country, and it isn't twanged-up ambient. Instead, the group develops its own curious space.

Justin Cober-Lake

Neutrals — "Personal Computing” b/w “In the Future” (Slumberland)

Personal Computing by neutrals

The clever punk lifers in Neutrals upload two incisive songs about technology here. The a-side, “Personal Technology,” bashes antically through a tale of a young man with an, ahem, very committed relationship with computer paraphernalia, amid crashing, Clash-like chords and rumbling bass and drums. As noted when Neutrals’ 2020 EP Rent/Your House pried Dusted’s Jonathan Shaw away from black metal mid-last year, the front-person Allan McNaughton retains a Glaswegian accent, despite decades stateside, which gives these two cuts a rough Northern post-punk glamor. But the obsession with last year’s state-of-the-art, the excruciating torture of “loading,” is all Silicon Valley, enjoying BDSM with its peripherals. The b-side takes a somewhat more expansive view of technology, asking a la Dan Melchior what happened to the flying cars we were promised. Both are sharp and stinging and utterly catchy. I’d call it old school except for its fascination with the new.

Jennifer Kelly

Nun Gun — Mondo Decay (Algiers Recordings/Witty Books)

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Mondo Decay is the audio component of a recent collaboration between Algiers’ multi-instrumentalist Lee Tesche and visual artist Brad Feuerheim (who drums on four of the tracks). The two bonded over a mutual love of 1970s Italian cannibal zombie films and their soundtracks. Joined by fellow Algiers member Ryan Mahan and a roster of guest vocalists including Mark Stewart (The Pop Group), ONO and Mourning [A] BLKstar, Tesche reconfigures the soundtracks to make explicit the connections between present conditions and the socio-political turmoil that informed the original films. Musically that means claustrophobic dub inflected industrial grind, hip-hop influenced cut-ups, mutant disco and plenty of noirish saxophone. Nun Gun emphasizes atmospheric atrophy and deliberate decay with great and pointed effect to create a terrifically dark soundtrack to accompany the book of Feuerheim’s bleak photographs of post-industrial malaise.

Andrew Forell

Oui Ennui — Virga/Recrudescence (self-released)

Virga/Recrudescence by Oui Ennui

In the words that accompany the release of Jonn Wallen’s second album of 2021, he says that “when rationalizing yet another synthesizer purchase, I've often remarked to myself, ‘Well why wouldn't I want that color? I'll have it.’” It’s that attachment to messing around with new toys, a mass of streaks of rain appearing to hang under a cloud and evaporating before reaching the ground (“Virga”), the recurrence of an undesirable condition (“Recrudescence”), and what seems to be a whole lot of Brian Eno (“Oblique Strategies”) that informs these two extended avant-garde digressions. “Virga” is a roaring 24-minute star birth that veers into plinking helicopter rotaries without warning at one point, while “Recrudescence” covers more ground both literal (it’s 39 minutes) and figurative (woodland creatures, Space Age percolations and various rhythms sprout up throughout). Likely better experienced at high volume in a small club setting, we’ll have to settle instead for our headphones barely handling another intriguing development in the ongoing Oui Ennui experiment. How long before DFA co-founder Jonathan Galkin stops lurking in his Bandcamp buys and starts offering him a deal, I wonder?

Patrick Masterson

Payroll Giovanni \ Cardo — Another Day Another Dollar (BYLUG Entertainment)

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At some point in his career, Payroll Giovanni switched from worker to boss. His new album with the producer Cardo is another chapter in the Boss of All Bosses saga. Songs on the CD approximate the language of business manuals and the cheap sloganeering of workers union reps. Work harder, save more, invest, save again — the usual tips handed down to the unfortunate few who didn’t make it like Payroll did. By the middle of the album, you start to feel like you are at a stakeholders meeting where the CEO went for rapping instead of a PowerPoint presentation. When the rapper fails, it’s hardly the producer’s fault, so Cardo just plays up to Payroll with lazy, muzak-ish beats.

Ray Garraty

Rio da Yung Og \ Nuez — Life of a Yung Og (Southern Giants/Ghetto Boyz)

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Rio da Yung Og has been working with a lot of producers (and quite a few of them later got their fame because of it), but up until now he hasn’t released a collaboration with a single producer. His EP with Nuez came out of nowhere but it is a nice change of beats. Up to now, Rio has mostly recorded his raps with very bassy beats. Nuez provides a Southern vibe, more relaxed and less heavy on the bass, which allows to Rio shine. At this point it’s evident that Rio da Yung Og saves his best lines for his solo work (just compare this EP with simultaneously released Heatcheck EP, a collaborative work with artists of varying degrees of talent). In fact, the whole 21 minutes seem to be recorded in one single sleepless studio session with Rio freestyling his way through under the heavy influence of lean. This is Rio at his most desperate, just before his five-year bid in the federal pen. On “Whatchu Need” and “Last Call” (thanks to Nuez’s production) he sounds close to the early Scarface in a paranoid mode.

Ray Garraty

Ben Roidl-Ward and Zachary Good — arb (Carrier)

arb by Zachary Good and Ben Roidl-Ward

A decade back, bassoonist Ben Roidl-Ward and clarinetist Zachary Good were students at Oberlin College. The two friends formed a duo, The Arboretum, which performed new works. Nowadays they teach and perform separately, but share an apartment in Chicago. When the city got locked down and their gigs dried up, they revived the band, after a fashion. The six pieces on arb (named after that first project), which clocks in at just under half an hour, focus on a single musical phenomenon. Each musician plays sustained multiphonics (a technique whereby a horn player sings or hums a note while playing another) that are pitched close enough that their sounds interfere as well as blend with one another. The interactions can be dramatic; on “Guby,” the clarinet sounds like it is keying morse code into the fabric of the bassoon’s timbres. Listening to this music is a bit like staring at a heat mirage; the harder and longer you focus, the less certain you are of your own perceptions.

Bill Meyer.

Rotura — Estamos Fracasando (Self-released)

Estamos fracasando by Rotura

This new EP of melodic anarcho-punk from Barcelona is deceptively breezy stuff. Rotura’s guitars have some crunch and the rhythm section is tight — think Subhumans c. Rats meets Orange County in 1982. But the alto vocals of Silvia (no last names provided) are clean and tuneful, and there are seductive hooks galore. All the musical excitements and pleasures contrast with the intense reports of misery and struggle in the lyrics. “Pisadas (Confinament)” sounds like a COVID-period song, documenting the sound of footsteps resounding through a network of deserted streets and abandoned shops; “Sobrevivir”engages the manifold alienations and inhumanities that attend the refugee crisis in Europe’s Mediterranean nations. Upbeats subjects, those ain’t. But the music keeps your hips shaking and your head nodding. Rotura constructs lively sonic spaces in which to encounter some sharply political punk discourse. One of the EP’s best songs is “Palabras,” which sets to music a poem included in Svetlana Alexandrovna Alexievich’s The Unwomanly Face of War (1987); like much of that book, “Palabras” speaks in the voice of a female combat veteran of the Soviet Army, one who served in World War II. It’s a terrific song, from a very good punk record.

Jonathan Shaw

Sahara — The Curse (Regain Records)

The Curse by Sahara

Argentine miscreants Sahara bill themselves as a “stoner doom” band, and one wonders why anybody would willingly self-apply a label so surpassingly stupid to music they made and presumably care about. The middle-schooler-with-a-magic-marker degree of technical polish on the art for the cassette’s j-card doubles down on the crispy-fried semiotics — but sort of lovably so. This reviewer was rather charmed. If you can penetrate the choking layers of weed smoke and unironic hesherdom to press play, you may be pleasantly surprised. Sahara’s songs don’t evoke Kyuss or Acid Witch nearly so much as Blue Cheer, and that’s a really good thing. It’s power-trio, bluesy-boogie music, played by dudes who cut their teeth on Master of Reality and No Sleep ‘til Hammersmith (with just a little Physical Graffiti in the mix, for the boogie). While no wheels are being reinvented (or competently balanced, for that matter), there’s a winning rawker quality to the enterprise, kicked up a notch or three by the unambiguously great time these guys are having playing the tunes. It won’t be for everyone: it sounds like it was recorded in someone’s Dad’s garage, and the songs have titles like “Altar of Sacrifice” and “The Curse (instrumental).” But if you love the fact that they included “(instrumental)” in parens, it could be for you. Buyer beware: when listening, you may find yourself suddenly craving a sheet of brownies. The entire sheet.

Jonathan Shaw

Bernard Santacruz / Michael Zerang — Cardinal Point (Fundacja Sluchaj)

Cardinal Point by Bernard Santacruz & Michael Zerang

French bassist Bernard Santacruz and Assyrian-American percussionist Michael Zerang have encountered each other in larger ensembles on either side of the ocean since the turn of the century, but it took them until the autumn of 2019 to record a distillation of their musical concord. Beyond their shared history, they are matched in depth of experience. Both were born in the latter half of the 1950s, and each has passed through a myriad of improvisational settings on their way to developing their respective styles. Santacruz is an economical player with a beautiful, rounded tone. Zerang can supply whatever rhythm you need, but whenever freed from time-keeping requirements, he gravitates to sounds that project the movement and friction required to make them. So, while this is a record made with drums and a double bass, it’s by no means a groove-bound affair; melodic fragments confront seething ruptures, and strings and skins knot together into thickets of texture. Each man maintains his individuality while they jointly solve the problems of collaborative music-making.

Bill Meyer

Ignaz Schick & Oliver Steidle — ILOG2 (Zarek)

ILOG2 by Ignaz Schick & Oliver Steidle

These two German gentlemen lay down a bizarre yet intriguing hybrid of free jazz, hip hop and musique concrète on their sophomore effort as a duo. Schick is a serial collaborator who divides his time between turntablism and saxophone skronk. Steidle, on the other hand, is rooted in the free jazz world as a drummer. Together they conjure two distinct modes: ADHD-inspired percussion-and-noise workouts and atmospheric electronics-forward soundscapes. Between these two disparate personalities, the more aggressive one tends to dominate. It’s in this high-energy state that the duo dwells in the worlds of hip hop, jungle and free jazz. Steidle’s drumming is out in front, as he deftly throws himself around the kit with the enthusiasm of Lightning Bolt’s Brian Chippendale. Schick takes an everything-but-the-kitchen-sink approach to noise-making. His Bomb Squad-meets-Pierre Schaeffer method of weaving snippets of speech, instrumental passages, drones, and blasts of noise is the perfect foil for Steidle’s frenetic skin-pounding. Schick and Steidle tug at the outer limits of beat-making with their unusual blend of electro-acoustic sound, and while they let a slight touch of the ethereal temper their blaze, the sparks still fly.

Bryon Hayes

John Tejada — Year Of The Living Dead (Kompakt)

Year Of The Living Dead by John Tejada

On Year Of The Living Dead, John Tejada chases the human through machines, seeking the traces of connection and shadows of loss blurred by the conditions we continue to live through. His minimal dub-inflected techno is immaculately produced and composed rather than constructed. Suffused with warmth and emotional depth, Tejada employs a sonic palette the elasticity of which makes his music generously expansive and resonant. Melancholy chord progressions, heartbeat percussion, a bottom end in turns ominous and cocooning. The 4X4 structure provides a framework in which Tejada is free to focus on the granular aspects of tone, pitch, ebb and flow so that while on the surface his brand of microhouse may sound “all the same” there is both plenty of interest for home listeners and danceable beats for the more active. There’s no abrasion here, no confrontation, little to challenge but Tejada’s music moves along with the relentless soft power of molten molasses.

Andrew Forell

Tree — Soul Trap (self-released)

SOUL TRAP by TREE

Tremaine Johnson is one of those heads who’s been around the block. He’s gotten that MTV airtime, he’s done records with Chris Crack and Vic Spencer, he’s outlasted a car company that sponsored one of his EPs, he’s performed at Pitchfork. But maybe more than anything, the Chicago rapper and producer wants to make sure he doesn’t forget his roots as the father of “soul trap” — and you don’t, either. Following steadily on from 2020’s abbreviated The Blue Tape and nearly two years on from his last proper full-length We Grown Now, Tree has lost none of his step as he rounds 40 years aboard this tainted orb exuding the confidence of a relaxed auteur rowing through verses and songs at his own pace; his sandpaper vocals sound at ease with his beats as he addresses negotiating parenthood, bills, the creation and maintenance of his art. Though these tracks had reportedly been sitting around for years before Soul Trap’s release, listening to this album only goes to serve the greater point that the man has a style out of step and time with his contemporaries. That’s worth more than remembering; it’s worth celebrating.

Patrick Masterson

Dave Tucker / Pat Thomas / Thurston Moore / Mark Sanders — Educated Guess (577 Records)

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Hale, hearty, and steeped in the lore of a multitude of American underground art movements, Thurston Moore always seemed like a guy who was creatively rooted in his native soil. But he seems to have found solid footing since moving to England. On this record, he fits right into an improvising ensemble that is composed of Café Oto regulars. Keyboardist Pat Thomas, drummer Mark Sanders and guitarist and electronic musician Dave Tucker, who convened the quartet, are all long-standing members of London’s improvised music scene. But Moore, a punk from way back when, was probably quite tickled that Tucker played with the Fall for a brief spell in 1981. The sound they develop over the course of this set is pleasingly unbounded, with fragments of monster movie sound design and some jungle-style drum machine beats that could have been pulled from a pirate radio broadcast in 1994 sharing space with cavernous prepared piano, restless percussive exploration, and Moore sounding just like himself, but respectfully restrained when the moment demands.

Bill Meyer

Karima Walker — Waking the Dreaming Body (Keeled Scales)

Waking the Dreaming Body by Karima Walker

Karima Walker’s second album considers the full-ness of empty space. Her songs, if that’s what they are, arise out of soft, slow drones that fluctuate in a natural way, like tides or winds or aurora borealis. They incorporate natural desert sounds captured from near at hand as she locked down in Arizona, and they unfold in a sublimely gradual way as if, like the growth of plants, the movement of continents, the melting of snow, they cannot be rushed but must proceed on their own terms. She sings, a bit, in brief, dream-haunted phrases that seem as distant and unknowable as the organ tones that swell around her. “Reconstellated” best represents her eerie blend of human and electronic sounds, internal dialogue and the wide spaces of the natural world. She murmurs, “Sonoran sky plays a movie/Draw a line to the stars inside of me/Write it down, tell your friends/I know where I am but I can’t tell where I started,” against a blipping, percolating atmosphere. The title track is, by contrast, several orders folkier and more conventional, a gentle conjunction of acoustic guitar and Walker’s clear, trilling soprano, as she considers the way the ineffable intersects with the mundane. “Seems every morning starts the same way, waking the dreaming body,” she croons in this track near the end of the album, coming up into the daylight after a long nocturnal exploration.

Jennifer Kelly

Whisker — Moon Mood (Husky Pants)

Moon Mood by Whisker

Bassist Andrew Scott Young and multi-instrumentalist Ben Billington are luminaries of Chicago’s experimental jazz and electronic scenes as members of Tiger Hatchery, soloists and collaborators with a range of local groups. In Moon Mood the duo performs two lengthy improvisations for double bass and electronics. Young’s bass is to the fore, and his bow work is particularly expressive as he explores the registers of his instrument. Billington works a number of patches to interpolate all nature of blips and plinks and squelchy runs that respond to and interrogate the bass. The workouts are as much an investigation of sonic limits as a demonstration of the sympathetic interaction between natural and artificial sounds, if that is even a worthwhile dichotomy these days. Moon Mood is a fascinating conversation well worth eavesdropping on.

Andrew Forell

Wode — Burn in Many Mirrors (20 Buck Spin)

Burn In Many Mirrors by Wode

The guys in Manchester-based band Wode play black metal, but they don’t wear corpsepaint or futz around with severed goat’s heads and candelabras. That’s a good thing, because their music has bombast aplenty. Any additional theatrics might send the project over into a species of irritating kitsch. When Wode’s music works — as it does on “Lunar Madness,” the first track on the band’s latest LP, Burn in Many Mirrors — it’s muscular stuff, with terrific momentum and gut-thudding energy. Throughout the song, vocalist Michael Czerwoniuk does his usual stuff, chewing the sonic scenery, plentiful groans and gurgles punctuating all his shouting. Even in the maximalist context of black metal vocals, he’s a handful. But on “Lunar Madness,” there’s enough interest and excitement generated by the rhythms and riffs to offset his histrionics. A couple songs on the record are shaped by oft-handled forms, and rely overmuch on Czerwoniuk’s outsized presence; upon listening to “Fire in the Hills,” you may find yourself flashing on the self-parodic antics of Jim Dandy Mangrum, or on metal heroics that were already tired on records like Bark at the Moon. That’s too bad. When Wode clicks as a unit, they can make compelling sounds. “Sulphuric Glow” moves at a dead run for nearly the entirety of its five minutes, and while Czerwoniuk’s vocal stylings are still a bit much, the riffs are fluid and furious. If he could just dial stuff back to 11, folks might be able hear the rest of the band. They’re pretty good.

Jonathan Shaw

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jazzplusplus · 6 years ago

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Richard DeRosa et Vincent Gardner sont les auteurs des arrangements originaux sur des extraits d'œuvres comme West Side Story, On the Town et d'autres encore.

#jazz #big band #leonard bernstein #2017

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mistas06 · 4 years ago

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Ms. DeRosa's bumping confirmation came when she was gotten some

information about progressing delays in giving legislators nursing home demise information. She said that after the Branch of Equity mentioned data the previous summer, "essentially, we froze."At the time, the lead representative's office was additionally confronting comparative solicitations from the State Lawmaking body.

"We were in a position where we didn't know whether what we planned to provide for the Branch of Equity, or what we provide for you folks, and what we begin saying, would have been utilized against us and we didn't know whether there would have been an examination," Ms. DeRosa said during the call, as per a fractional record later delivered by the lead representative's office after her comments showed up in The New York Post.

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The Equity Office never officially opened an examination, as indicated by Ms. DeRosa. Yet, the extreme examination of the lead representative's record on nursing homes has struck at the center of his painstakingly developed picture as a skillful CEO with a regard to realities, as exemplified by the every day news meetings that he held from the get-go in the episode. Mr. Cuomo even distributed a diary about his work on the pandemic before it finished, offering "administration exercises."

The proceeding with inquiries regarding the number of individuals kicked the bucket in nursing homes occupants takes steps to dominate Mr. Cuomo's inheritance.

Only fourteen days back, the state's head legal officer, Letitia James, who has been a partner of the lead representative, in a condemning report blamed the Cuomo organization for undercounting Covid related passings associated with nursing homes in large numbers.

Liberals both in the State Senate and Gathering met secretly on Friday evening to talk about whether the Assembly ought to diminish the crisis controls that have permitted the lead representative to set infection related limitations and gave him full authority over the immunization rollout. No prompt activity was normal.

"Pivotal data ought to never be retained from elements that are enabled to seek after oversight," Andrea Stewart-Cousins, the Senate dominant part pioneer and a liberal, said in an assertion before the gathering, adding that she would examine "subsequent stages" with her meeting.

Judgment was considerably stronger from conservatives, who seized on the comments as proof of guile or even guiltiness.

"The time has come to move past the untruths lastly reveal the full truth," said Agent Tom Reed, a conservative from the state's Southern Level, who required a government examination on Thursday night.

In front of Friday's gathering, about 33% of the 43-part Equitable meeting in the Senate marked a public letter on the side of canceling the lead representative's extended forces "as quickly as could really be expected."

While the state has recognized that the pandemic tore through nursing homes the previous spring, Mr. Cuomo's wellbeing office had would not uncover the number of nursing home occupants had passed on in the wake of being hospitalized, saying such data was hard to gather and check, and was by and large cautiously reviewed.

Mr. Cuomo has likewise more than once attempted to accuse the nursing home issue for previous President Donald J. Trump and political partisanship, and has pushed back hard on claims of a concealment, at the same time saying that his organization was focused on realities and proposing — after some extra information was delivered — that measurements were unimportant.

"We're beneath the public normal in number of passings in nursing homes, however who cares?" Mr. Cuomo said in late January, contending that the rates were immaterial. "Passed on in a medical clinic, kicked the bucket in a nursing home? They passed on."

Mr. Cuomo, who was in Washington on Friday to meet with President Biden, has not remarked on Ms. DeRosa's comments.

However, different leftists were voicing concern. State Representative Andrew Gounardes, a liberal from Brooklyn, called the disclosures "a selling out of the public trust," adding, "There should be full responsibility for what occurred, and the council needs to reevaluate its expansive award of crisis forces to the lead representative."

Almost immediately Friday, Ms. DeRosa, the top nonelected authority in the state, looked to explain the setting for her comments. She portrayed the organization's deferrals in getting data to state legislators as a sort of emergency, since it had expected to focus on a reaction to government specialists.

"I was clarifying that when we got the D.O.J. request, we expected to briefly put aside the Lawmaking body's solicitation to manage the government demand first," she said. "We educated the houses regarding this at that point," alluding to the upper and lower offices of the Governing body.

She said that the organization was "extensive and straightforward in our reactions to the D.O.J., and afterward needed to promptly zero in our assets on the subsequent wave and antibody rollout."

"As I said on a call with administrators, we were unable to satisfy their solicitation as fast as anybody would have loved," she said.

Ms. James' report constrained the state's wellbeing office to unveil in excess of 3,800 already unreported passings of occupants who kicked the bucket outside an office, as in a clinic, and had not been remembered for the state's true nursing home count.

From that point forward, the quantity of passings associated with New York nursing homes and long haul care offices has just swelled, to around 15,000 affirmed and assumed passings, from 12,743 in late January, as of this current week.

The organization delivered the most recent figures in light of a court request following a six-month fight between the Cuomo organization and the Domain Place, a traditionalist inclining think tank, which mentioned a full bookkeeping of nursing home passings under the state's Opportunity of Data Law.

The virtual gathering this week between Ms. DeRosa and other senior organization authorities, including Mr. Cuomo's wellbeing official and spending chief, and top Majority rule state administrators was planned to connect a developing fracture between the lead representative's office and the Governing body.

In hearings toward the beginning of August, lawmakers more than once scrutinized the state wellbeing official, Dr. Howard Zucker, on the full degree of passings connected to nursing homes. They were unsatisfied with Mr. Zucker's inability to uncover the quantity of occupant passings outside nursing homes and long haul care offices.

"I'm not set up to give you a particular number," Dr. Zucker told state legislators at that point. "We are taking a gander at all the numbers, we are taking a gander at the information, when the information comes in and I have a chance to bits through that, at that point I will be glad to give that information to you and to different individuals from the council."

Half a month later, on Aug. 20, the State Senate and Gathering officially kept in touch with the wellbeing office mentioning those figures, just as extra data.

At that point on Aug. 26, the Equity Office mentioned nursing home information from four states, including New York, to decide if it would dispatch a proper examination concerning those states' treatment of passings in nursing homes.

Cuomo authorities said that therefore, they asked administrative pioneers for extra an ideal opportunity to react to their information demand as they tended to the government request.

The organization reacted to the Equity Division's inquiries recorded as a hard copy moderately rapidly, by Sept. 9. However, state wellbeing authorities didn't react to the Governing body's inquiries until this week, almost a half year later.

In Wednesday's gathering, Ms. DeRosa disclosed to Popularity based officials that Mr. Trump had turned nursing homes "into a goliath convenient issue," surrendering that the state's absence of straightforwardness may have muddled a few officials' re-appointment crusades.

What's more, she noticed that the information that the state was accepting from nursing homes was frequently jumbled and required demanding work to tidy up.

"I'm simply requesting a smidgen of enthusiasm for the specific circumstance," Ms. de Rosa said, saying 'sorry' and promising better information later on. "I do comprehend the position that you were placed in. I realize that it isn't reasonable."

Be that as it may, administrators appeared to be unconvinced.

"We need more time today to clarify," Assemblyman Richard N. Gottfried, the Popularity based administrator of the wellbeing advisory group, "all the reasons I don't give that any credit whatsoever."

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glittergummicandypeach · 4 years ago

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If You Can’t Blame the Confederacy, Secede! | Abbeville Institute

American political theater has become the most entertaining show in town. Trump refuses to shake hands and Pelosi rips up his script.

This is red meat for the duly indoctrinated in the mainstream political parties, but in case you thought that Trump’s impeachment and subsequent acquittal would calm the waters and draw the final curtain on a five-month Greek comedy, the woke lunatics and their Girondist media allies have decided the show must go on.

And who can we blame? Why the Confederacy, of course, the fly in the ointment of good American government. If it wasn’t for those dastardly traitors of 1861 and their political progeny, America would be a glorious City Upon a Hill.

CNN’s John Harwood seems to think something nefarious is afoot from below the Mason Dixon:

While he clearly doesn’t know basic American geography or history, he certainly knows that the Confederacy is behind whatever problems ail America. How could these modern Confederates be so blind to the necessity of John Bolton’s important testimony, the same John Bolton whom leftists consistently called an untrustworthy warmonger until he had some dirt on Trump? They held the right opinion of Bolton before the show required a plot twist making the enemy of their enemy their friend. Except every viewer knew the end of the story before it showed up on the small screen. These people telegraph their punches like a drunk itching for a bar fight.

But Harwood’s geographic determinism thinly veils his real motivation: these Republicans who voted against his wishes are racist just like their ancestor traitors to the United States. And people wonder why Southerners still cling to the War, God, and guns.

The left won’t let them forget, except if they want to pack up or demolish a few hundred statues and remove the Confederate flag from every public space in the South.

“Hey deplorable, the War is over, except when we say it isn’t over.”

Of course, we all know that an independent South would be a vastly different country than the United States. The late Bill Cawthon did a splendid job explaining how several years ago.

And some leftists get it. The failed impeachment process has brought these woke secessionists out of the closet:

I’m all for it. “Jesusland” would be a pretty nice place to live and would be freed from the burden of being constantly overruled by some Yankee self-righteous do-gooder. It does, however, makes you wonder if “kim” realized that Trump is a byproduct of the U.S. of Canada? Maybe all these loving people north of the border are just bombastic jerks after all. Nah. That would make them Yankees, and Yankees are supposed to be the good guys.

Several hundred thousands dead Southerners would tell a different story, but what do they know? They were the ones who had the backbone to let the North go in peace in 1861 if they just sent the bluecoats back over the Mason Dixon. They tried “Jesusland” but were blown to pieces by Lincoln’s cannons. If they had their way, “kim” would already be living in a separate country.

And while the founding generation worried about the prospect of secession, very few would have wanted to go to war to prevent it. Patriots don’t kill other patriots, especially those who understood that self-determination is the bedrock of the American political tradition.

So who are the real traitors to America again?

Is Davis a Traitor? Or Was Secession a Constitutional Right Previous to the War of 1861? Albert Taylor Bledsoe, author, Brion McClanahan and Mike Church, editors Published a year after the war, it provides the best argument every assembled in one book for the constitutional right of secession. Everyone interested in the overall design of the Constitution ratified by the several States in 1788 should read this book.

Patrick Henry-Onslow Debate: Liberty and Republicanism in American Political Thought Lee Cheek, Sean R. Busick, Carey Roberts, editors A public debate carried on by President John Quincy Adams and Vice President John C. Calhoun under the pen names of “Patrick Henry” and “Onslow.” This important, but little known debate, about the limits of federal power is arguably more salient now than when it occurred.

Defending Dixie: Essays in Southern History and Culture Clyde Wilson A Collection of insightful essays on how Southerners think of themselves in the light of how they are perceived by outside cultural elites.

The Enduring Relevance of Robert E. Lee: The Ideological Warfare Underpinning the American Civil War Marshall DeRosa DeRosa uses the figure of Robert E. Lee to consider the role of political leadership under extremely difficult circumstances, examining Lee as statesman rather than just a military leader and finds that many of Lee’s assertions are still relevant today. DeRosa reveals Lee’s awareness that the victory of the Union over the Confederacy placed America on the path towards the demise of government based upon the consent of the governed, the rule of law, and the Judeo-Christian American civilization.

The Founding Fathers Guide to the Constitution Brion McClanahan An article by article and clause by clause analysis of the Constitution ratified by the founding generation of 1787 and 1788, a Constitution quite different from what the political class in Washington understands.

The Morality of Everyday Life: Rediscovering An Ancient Alternative to the Liberal Tradition Thomas Fleming Fleming (editor of Chronicles, A Magazine of American Culture) explains how the morality embedded in the ideology of liberalism leads to the decadence of morality in contemporary American society.

Forgotten Conservatives in American History Clyde Wilson and Brion McClanahan A study of thinkers who exemplify conservatism in a Jeffersonian idiom rather than a Hamiltonian.

In Search of the City on a Hill: The Making and Unmaking of an American Myth Richard Gamble A history of the "city on a hill" metaphor from its Puritan beginnings to its role in American "civil religion" today.

James Madison and the Making of America Kevin Gutzman Judged by Clyde Wilson to be the "standard" on Madison for sometime.

Nullification: How to Resist Federal Tyranny in the 21st Century Thomas Woods A readable, comprehensive treatment of the constitutionality of State interposition and nullification. Should be in the hands of every State legislator.

Nullification: A Constitutional History, 1776-1833. Vol. 1: James Madison, Not the Father of the Constitution W. Kirk Wood

Nullification, A Constitutional History, 1776-1833. Vol. 2: James Madison and the Constitutionality of Nullification, 1787-1828 W. Kirk Wood In this thoroughly researched and magisterial two volume work, Wood shows how nullification was an “American” constitutional principle (essential to republicanism), and not merely a Southern sectional one. And he explains how and why republicanism has been suppressed.

Rethinking the American Union for the 21st Century Donald Livingston Essays raising the question of whether the United States has become simply too large for self-government and should be divided into a number of Unions of States as Jefferson thought it should. (The book is signed by Livingston who wrote the "Introduction" and contributed an essay).

The Broken Circle David Bridges A historical novel (as close to historical detail as a novel can be), about Major James Breathed, an officer of horse artillery for JEB Stuart. Classically educated, deeply religious, and preparing for a career in medicine when his country was invaded, he reluctantly became a fierce warrior. He was wounded several times fighting from the very beginning to the end, in 71 battles. The Sons of Confederate Veterans recently awarded him the Medal of Honor.

Superfluous Southerners, Cultural Conservatism and the South, 1920-1990 John J. Langdale, III Explores the "traditionalist" conservatism that originated with John Crowe Ransom, Donald Davidson, and Allen Tate and continued with their intellectual descendants, Cleanth Brooks, Richard Weaver, and Melvin Bradford.

A Cautious Enthusiasm: Mystical Piety and Evangelicalism in Colonial South Carolina Samuel C. Smith Smith shows how Evangelical revivalism in the colonial South Carolina low country had origins in Roman Catholic mysticism, Huguenot Calvinists and German pietism. This disposition, usually identified only with Evangelicals, touched even high Anglicans and Catholics making possible a bond of low country patriotism in the Revolutionary era.

Fiddler of Driskill Hill David Middleton A collection of this prize winning poet’s work set in his home region of rural Louisiana, a place which views the world from a conservative, southern agrarian perspective. The fiddler is a figure of the traditionalist southern-agrarian artist.

Bourbon and Kentucky: A History Distilled Explores how distilling originated in Kentucky with it’s first settlers in 1775, and takes the viewer to the sites of Central Kentucky’s earliest distilling operations. Magnificent portraits and landscapes adorn the production.

The Southern Cross: The Story of the Confederacy’s First Battle Flag Chronicles the history of the design and creation of a flag that became the prototype for the famous Confederate battle flags. The hand-stitched silk flag with gold painted stars was borne by the Fifth Company of the Washington Artillery of New Orleans through the Battles of Shiloh and Perryville. The flag was designed and made for the army after the first battle of Manassas as a military necessity and wholly without the authority or even the knowledge of the Confederate government. Mary Henry Lyon Jones of Richmond, Virginia stitched the flag together. After Generals P.G.T. Beauregard and Joseph E. Johnston approved Ms. Jones’s flag, sewing circles of more than four hundred women in Richmond sewed 120 flags made from Ms. Jones’s original design.

Jefferson Davis: An American President The first and definitive documentary film on the entire life of patriot and president, Jefferson Davis. Across three beautifully shot and edited episodes, the full spectrum of Davis’ life comes into view: from his frontier origins and service to the United States as military officer, congressman, secretary of war, and two-term senator from Mississippi; to his rise and fall as Confederate President; through his unlawful two year imprisonment after the War; and finally covering his 25 years as a man struggling to find his place in a world in which it was no longer clear what it meant to be an American.

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