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sonmelier · 7 months ago

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Avant-cuvée 2024 : 2/8

Deuxième épisode des avant-cuvées 2024 en cette fin du mois d'avril, avec 6 nouveaux disques verrouillant d'ores-et-déjà leur place dans mon futur top 100 musical de l'année.

Ahmed | Wood Blues

🏴󠁧󠁢󠁥󠁮󠁧󠁿 Angleterre | Astral Spirits | 59 minutes | 1 morceau

Ce quartet de jazz fondé à Londres est composé des britanniques Pat Thomas (piano) et Seymour Wright (saxo), du suédois Joel Grip (basse) et du français Antonin Gerbal (percussions). Depuis maintenant une décennie, il revisite les compositions du jazzman défunt Ahmed Abdul-Malik (bassiste et joueur d’oud) en les poussant dans de nouveaux retranchements. Ici, c’est un morceau daté de 1961, Oud blues (d’une durée de 4 minutes seulement) qu’il transforme en une improvisation live avant-gardiste et tourbillonnante de près d’une heure. Un hommage époustouflant de créativité et d’énergie brute.

🎧 Wood Blues

Donato Dozzy | Magda

🇮🇹 Italie | Spazio Disponibile | 51 minutes | 6 morceaux

Le maestro romain de l’ambient techno nous plonge ici dans un paysage sonore aquatique d’une douce et belle sérénité, livrant son meilleur album depuis plus de dix ans (et son remarquable Plays Bee Mask de 2013). Rappelant par endroits l’esthétique minimaliste accueillante du double album de référence Voices From the Lake (produit avec son compère Giuseppe Tillieci en 2012), Magda est une bande son tout aussi réconfortante que captivante, délicieusement propice aux instants de réflexion et de contemplation.

🎧 Le Chaser

Hannah Frances | Keeper of the Shepherd

🇺🇸 Etats-Unis | Ruination Record Co. | 37 minutes | 7 morceaux

Dans la plus pure tradition d'un folk progressif séculaire, à la fois mystique et rédempteur, ce troisième album d'Hannah Frances livre une fresque sonore et poétique absolument éblouissante. Profondément terrien mais majestueusement audacieux, il transforme le deuil (la perte du père) en une méditation aussi vibrante qu'hypnotique, aussi émouvante que sophistiquée. Instants suspendus beaux et apaisés, fulgurances orchestrales qui emportent tout sur leur passage : l'artiste se montre brillante dans chacun de ces registres, parée d'une voix et d'une plume d'un magnétisme à toute épreuve.

🎧 Keeper of the Shepherd

Mary Halvorson | Cloudward

🇺🇸 Etats-Unis | Nonesuch Records | 48 minutes | 8 morceaux

Mary Halvorson fait partie des esprits les plus affutés de la création artistique contemporaine. Elle a d’ailleurs reçu en 2019 la prestigieuse bourse MacArthur, dont l’objet est de libérer de toute contrainte financière pendant 5 années (afin qu’ils puissent se consacrer entièrement à leurs travaux de recherche) une vingtaine de citoyens américains se distinguant par leur intelligence, leur créativité et leur motivation à innover. Avant-gardiste et exploratoire, l’œuvre de la guitariste de jazz n’en est pas moins marquée par une profonde humilité, cherchant toujours à équilibrer l’improvisation libre avec des compositions structurées et expressives. Une patte absolument inimitable, laissant son empreinte de manière durable (les vibrations d’Amaryllis ne se sont toujours pas dissipées) et qui ne cessera jamais de nous transporter (comme ici, vers les nuages).

🎧 Desiderata

Helado Negro | Phasor

🇺🇸 Etats-Unis | 4AD Records | 35 minutes | 9 morceaux

Peu d'artistes inspirent autant de sympathie que Roberto Carlos Lange. L'avoir vu en concert ne fait que renforcer ce sentiment. Au delà de la bonhomie du personnage, il se dégage de sa musique et de ses textes beaucoup de délicatesse et une douceur pleine de sagesse. Pour autant, l'expérimentation fait partie intégrante de son approche créative et la simplicité apparente de ses morceaux repose sur un travail en profondeur (textural comme émotionnel). Une très belle suite au Far In sorti en 2021.

🎧 Best For You and Me

Lord Spikeheart | The Adept

🇰🇪 Kenya | Haekalu | 37 minutes | 13 morceaux

Martin Kanja est une des figures les plus importantes de la scène électronique expérimentale de Nairobi. On avait déjà pu mesurer l’ampleur de sa force de frappe à travers différents projets, dont on retiendra prioritairement le groupe noise/indus Duma (avec un album éponyme qui avait fait grande sensation en 2020). Son premier opus solo, sous l’alias Lord Spikeheart, est une expérience sonore surpuissante et implacable, fusionnant métal, noise et rap dans un déferlement incessant de percussions explosives, de basses tonitruantes, de guitares distordues, de textures électroniques abrasives et de chants tantôt lugubres tantôt stridents. Aucun répit n’est offert pendant 37 minutes, avec en prime le renfort d’une véritable internationale bruitiste venue du Japon, du Venezuela, d’Europe ou encore d’Indonésie.

🎧 Nobody

#avant-cuvée 2024 #free jazz #ambient techno #progressive electronic #progressive folk #singer-songwriter #avant garde jazz #chamber jazz #art pop #chillwave #power noise #industrial hip hop

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petnews2day · 8 months ago

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The Bird Calls Announces New Album 'Old Faithful', Shares New Single

New Post has been published on https://petn.ws/f6xWC

The Bird Calls Announces New Album 'Old Faithful', Shares New Single

The Bird Calls, the project of singer-songwriter Sam Sodomsky, has announced a new album called Old Faithful. The follow-up to last year’s home-recorded Exodus All Over is due for release on May 31 via Ruination Record Co. Listen to the LP’s title track below. Opening up about ‘Old Faithful’, Sodomsky said in a statement: “I […]

See full article at https://petn.ws/f6xWC #BirdNews

#Bird News

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pesterloglog · 1 year ago

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Karkat Vantas, John Egbert

Act 5, pags 2925

-- carcinoGeneticist [CG] began trolling ectoBiologist [EB] --

CG: IT'S ME AGAIN, ASSHOLE

CG: THE ONE WHO HATES YOU, REMEMBER?

CG: OR SHOULD I SAY FUTURE-REMEMBER???

EB: karkat!!!!!!!!!!

CG: AGAIN WITH KNOWING MY NAME

CG: IT'S REALLY FUCKING UNSETTLING WHEN YOU DO THAT.

CG: I WONDER HOW FAR BACK YOU KNOW IT

CG: I'M GOING TO HAVE TO MAKE A SPECIAL POINT OF NOT BEING THE ONE TO TELL YOU, I DON'T WANT TO GIVE YOU THE SATISFACTION.

EB: hey, shut up a second!

EB: i need you to be nice for a change and do me a favor...

EB: have you talked to jade recently?

EB: can you tell me what happened to her??

CG: WHO THE FUCK IS JADE.

EB: uh...

EB: hmm.

CG: JOHN, THE FACT THAT YOU ALWAYS SEEM TO THINK I CAN READ YOUR MIND JUST UNDERSCORES WHAT A HARROWING GODDAMN IDIOT YOU ARE.

EB: jade is the girl who i am pretty sure just entered our session.

EB: she is my client player.

CG: OH, YOU MEAN THE ONE WHO FUCKS EVERYTHING UP.

EB: um, yeah... i thought you knew that? you talked to her a bunch of times, apparently.

CG: WHY THE FUCK WOULD I KNOW THAT.

CG: THIS IS ONLY THE SECOND TIME I HAVE EVER TALKED TO A HUMAN.

CG: AND THE FIRST TIME, MUCH TO MY MIGRAINE COMPOUNDING REGRET, WAS WITH YOU.

EB: oh!

EB: ok, i see what is going on here.

EB: we are finally getting to our first couple of conversations. cool!

CG: NO, NOT "COOL".

CG: WHAT IS GOING ON HERE IS VERY MUCH ANTITHETICAL TO YOUR PRIMITIVE HUMAN NOTION OF "EARTH COOL".

CG: YOU SEE, IN OUR FIRST CONVERSATION, WE DIDN'T EXACTLY GET OFF ON THE RIGHT FOOT.

CG: IT IS A FOOT WHICH SHOULD HAVE REEKED OF YOUR VERBAL RUINATION.

CG: BUT INSTEAD IT SMELLED LIKE

CG: WELL, LET'S NOT GET INTO THAT.

CG: I AM HERE TO DO WHAT YOU AND YOUR PATHETIC CADRE OF CO-HUMANS FAILED TO DO, WHICH IS SET THE RECORD STRAIGHT.

CG: I AM HERE TO UTTERLY ANNIHILATE YOUR SHIT.

CG: I WILL STAY ON MESSAGE THIS TIME. I WILL NOT BE DETERRED BY YOUR GOOFY MANNERISMS AND YOUR ABSURD PENCHANT FOR REVELING IN SELF ABUSE.

CG: WE WILL GET OFF ON A FRESH FOOT, AND BY FRESH I MEAN MOST FOUL INDEED.

CG: ITS TOES ARE WIGGLING UNDER YOUR HIDEOUS PINK NOSTRILS. NOW BREATHE DEEP YOUR MISFORTUNE, YOU SAD LITTLE CLOWN.

CG: THIS IS THE END OF YOU. THAT AROMA YOU DETECT WAFTS FROM THE BOUQUET PERCHED ON YOUR CORPSE BOX.

CG: NOBODY CRIES, EXCEPT YOUR SHITTY GHOST. HEAVY SOBS FROM A SPECTER OF UNQUALIFIED FAILURE.

CG: IT IS A SYMPHONY TO MY ANGRY EARS.

EB: so... the smell is from a foot... but also from funeral flowers?

EB: this metaphor is confusing.

CG: STFU

CG: I'M ONLY GETTING STARTED.

EB: yeah, i know!

EB: this is all that big time trolling i was looking forward to.

EB: and it's pretty good so far, and ordinarily i would be excited to hear more...

CG: YOU SEE WHAT I MEAN???

CG: YOU ARE ACTUALLY ENJOYING THIS, WHAT A SICK FUCK.

EB: but i really am concerned about what happened with jade!

EB: my request for a favor still stands, even though this is early you, and you still think you hate me.

CG: DON'T QUESTION THE SINCERITY OF MY HATE, JUST DON'T EVEN FUCKING GO THERE.

EB: ok, fine! you hate me sooooo much, like, for real.

EB: can you just tell me what's up with jade?

EB: can you see her?

CG: YEAH I SEE HER

CG: IT'S MAKING ME MAD SEEING HER

EB: can you tell me what happened? what did she do that was so bad?

CG: HAHAHAHAHAHA

CG: HERE I AM TALKING TO YOU MOMENTS AFTER YOU DID THE TERRIBLE THING, AND YOU STILL DON'T EVEN KNOW WHAT YOU DID!

CG: INCREDIBLE, YOU TRULY ARE DUMBER THAN I THOUGHT.

EB: ok!!! i'm an idiot! can you just tell me anyway????

EB: whoa...

CG: WHAT

EB: the ground is shaking...

EB: what's going on?

CG: I'LL TELL YOU WHAT'S GOING ON.

CG: WHAT YOU FUCKING DID IS WHAT'S GOING ON.

EB: so tell me what i fucking did!!!

CG: OH, YOU WANT TO KNOW WHAT YOU FUCKING DID?

EB: yes!

EB: please, no more stalling or "i already told you's" or any other maddening nonsense!

EB: just...

EB: TELL ME!

CG: VERY WELL, JOHN HUMAN EGBERT.

CG: I WILL TELL YOU WHAT YOU DID

CG: READY FOR ME TO TELL YOU WHAT YOU DID?

CG: HERE'S ME, TELLING YOU WHAT YOU DID

CG: OK, HERE GOES

CG: WHAT YOU DID IS AS FOLLOWS

CG: AS SUCH

CG: AND THUSLY

EB: :|

#homestuck #karkat vantas #john egbert #homestuck act 5 #page 2925 #homestuck act 5 act 2

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vmonteiro23a · 2 years ago

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UNDER THE RADAR: Sluice - "Mill"

UNDER THE RADAR: Sluice – “Mill” Rapidly becoming one of my favourite discoveries of the year, Sluice is a project based out of Durham, North Carolina and built around the songwriting of musician/engineer Justin Morris. While new to me the band have actually been active since 2019, when they released their self-titled debut album. Three years on they’re teaming up with Ruination Record Co. who…

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dimestoresaintsblog · 6 years ago

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adeline hotel – “habits”

#adeline hotel #americana #away together #folk #habits #new york #ruination record co.#singer-songwriter

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ducktracy · 4 years ago

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188. porky’s poppa (1938)

release date: january 15th, 1938

series: looney tunes

director: bob clampett

starring: mel blanc (porky, porky’s poppa, narrator), bob clampett (duck)

it’s safe to say that 1938 was porky’s best year. speaking in terms of solo cartoons, that is. his cartoons were genuinely funny, stimulating, and he looked great appearance wise. 1939 the porky burnout started, and he was slowly reduced to a smiling stock character whose adversaries and costars were much more alive than he was.

as daffy (and later bugs) rose to popularity, porky slipped into the sidekick role, paired primarily with the duck. with that said, the porky/daffy cartoons are some of the funniest around, and i firmly believe the best cartoons for the both of them are the ones where they’re paired together—with a few exceptions, of course.

however, let’s not get ahead of ourselves: a great year of pig stardom awaits. porky’s father, who made a few appearances during the joe dougherty era, makes his final return. in a story that has loose similarities to the premise of porky’s railroad, porky struggles to convince his father that their cow, bessie, is a much better fit for the farm than the newfangled mechanical cow his father has his eyes on.

the introduction is one of the funniest aspects of the cartoon itself. a hand erases the title credits, scrawled on a blackboard, and fills in “PORKY’S POPPA... HAS A FARM”, mirroring the underscore of “old macdonald” (with substitute lyrics) below it.

a layout of the farm cuts to our pint-sized hero, grinning at the camera as the vocals sing “...and on this farm he had a pig: porky pig, you know.” bobe cannon animates porky struggling to sing along with the lyrics, his “oh buh-beh-boy!”s lagging with the beat. the music halts just in time for porky to pump his fists in frustration, not stuttering once as he grumbles “oh, skip it!”

repeatedly cutting back to the layout of the farm in conjunction with the lyrics is practically a gag within itself. the song grows increasingly absurd, with a goose honking horns, a cow showing off her legs as the vocals sing “with a little calf here, with a little calf there...”, struggling to keep up with the rapid pace of the song. bob clampett lends his own voice to a random duck (no relation to daffy!), following a hand pointing at certain areas of the farm and quacking (”with a little quack here, with a little quack there...”)

finally, the duck in his psuedo-donald duck voice instructs “EVERYBODY SING!”, complete with some fun and unique typography. the entire song falls to pieces--before, the cutting back to the farm’s layout added an incongruous feeling of calm to balance out the wacky antics of the animals and the song. now, everything happens at once. the duck zips across the screen in a quacking frenzy, the mother cow shows off her baby calves, thrusting them to the beat of the music, the goose is a one man band of assorted horns, etc. blissful chaos.

things slow down as we cut back to porky, who smugly whips out a phonograph behind his back. the record is just him saying “oh boy!”, playing correctly to the beat of the music. he’s got this song number figured out... or does he?

even technology can’t conceal his stutter. the record begins to skip, mimicking the sound of his stutter, and porky smashes the phonograph to pieces as he slams it against the ground. the wordless yet furious stare he gives the audience as the dying record croaks out a distorted “oooooooh..... boooooooooy....” is nothing short of priceless. though he didn’t say a word himself during this scene, his motives, thoughts, and emotions are clearly visible. you can FEEL his pride at his solution, as well of the subsequent fury of his solution blowing up in his face. a wonderful end to a hilarious song sequence.

“but on his farm, he has a mortgage... woe, oh woe, oh woe!” the score turns in to a mournful, minor key dirge, with anthropomorphic mortgage papers posing proudly on the farm. some very clever posing and metaphorical play as we fade to porky’s dad, moping around on the farm, the mortgage aligning with his silhouette and becoming a physical weight on his back. more playing with typography as the narrator reads aloud the words on the screen:

this is a parody of the march of time, a radio program who would often announce the death of a notorious person by declaring “and so, today, as it must to all men, death came to [name], [age].” even without the context, the gag is rather amusing, bringing a different change of pace to the cartoon with the addition of a narrator and the typography. knowing the source of the gag makes it hit just the right spot.

porky’s dad mutters about ruination, how he has no milk and no money, etc. mel blanc does a fine job of mimicking joe dougherty, maintaining the stutter and the low voice--in the dougherty cartoons, porky’s father was just dougherty’s natural speaking voice, whereas porky was sped up considerably. you can hear both at once here for comparison.

we pan over to the cause of one of these stresses: their cow, bessie, has been quarantined (how timely!) for “hoof ‘n mouth trouble”, a play on hand-foot-and-mouth disease. clampett opts to take things just a step further--we truck inside the stall to see bessie posing for the camera, grinning with her foot INSIDE her mouth, batting her eyelashes and all. the “bull bontana” (bull montana) poster plastered inside of her stall is a clever touch.

after seeing that bessie’s production chart has dipped overwhelmingly into the negatives--a roll of paper unfurling at porky’s father’s feet, indicating just how poor the farm is doing--he places an “out of order” sign on the stall door.

suddenly, porky’s father grows aggravated. “i need to send you to the hamburger factory!” cue a close-up of bessie tearfully picturing her fate--a pile of burgers and hotdogs make up her figure. clampett would reprise this gag (albeit in a much more cruel manner) in porky’s last stand 2 years later, where daffy eagerly envisions a steaming hot hamburger in place of an innocent little calf.

this is the second cartoon to make an ACME reference, the first being buddy’s bug hunt back in 1935. porky’s father phones up ACME mail order company, asking for “one cow--airmail”. context clues are just as important to the gag than the reveal itself: porky, his father, and bessie all become alert to the sounds of an airplane making a cacophony overhead. suddenly, a package bursts through the barn ceiling, floating to the ground with a neatly tied parachute. the animation appears to be the work of john carey, from the tall, pill-shaped eyes to the slow, drawn out way that porky blinks.

norm mccabe takes over to animate the grand reveal. lots of wonderful little subtleties: porky and his father are timed slightly differently, giving them both a natural sense of interaction and movement. there’s a lovely little accent on porky’s father opening the package by pulling a string--he jerks his head up slightly as he plucks the string, allowing the audience to feel the physical impact and snap of the pluck. it’s subtle, but very well done.

instead of a flesh and blood cow, a mechanical hunk of metal slowly unfurls to life as the package opens. as porky’s father reads the label (The New 1938 CREAMLINED COW), porky himself objects to the new addition. “aww, eh-the-there ain’t no such animal!”

indeed there is: porky’s father loads a pile of hay into a chute, pressing down on the cow’s paintbrush tail. the cow pumps along to a brassy score of “old macdonald”, churning out milk from its metal udders, the milk pouring straight into an assembly line of bottles below. bob clampett’s puns are plentiful in this cartoon (notice how there’s no writer’s credit--he often said that he would write some of his earliest cartoons himself. i assume he wrote this one as well? i wonder how much input chuck jones had in the story?), but delivered nonchalantly, so they can actually be enjoyed. the cow caps the milk bottles by putting literal newsboy caps on top of the bottles, the paintbrush tail painting “cream paint” to the outside of the bottles and forming the illusion of cream. interesting business practices!

bobe cannon animates a delightful scene with porky. fun animation and fun dialogue make for a great combo. some very fluid, light, and fun animation of porky giving his pep talk as he hops around, swinging his arms, nonchalantly pushing his hat out of his face after getting so excited. “c’mon, eh-beh-beh-beh-bessie! we won’t let that old eh-neh-nuh-new fangled eh-ceh-co--heifer beat us. you just eat your uh-wuh-wee-weh-whea--eh-ha-hay, and show that eh-teh-eeh-eh-tin-can cow who can make the most...”

porky lowers bessie’s foot from her mouth by climbing on it, preparing to shovel a forkful of hay into her mouth, however, she shoves her foot right back in it, much to porky’s annoyance. “aww, every time you open your muh-mee-muh-me-eh-mou--kisser, ya put your eh-feh-eh-foot in it! eh-bee-bessie, you gotta eat! you eh-deh-dee-eh-don’t wanna be eh-seh-seeah-seeah-smothered in onions, eh-do ya?”

treg brown’s sound effects of doors creaking as her leg is lowered is the perfect touch to the gag. porky struggles to feed bessie, eventually getting stuck in her mouth himself as he attempts to hold both legs down to no avail. he frees himself, just in time to hatch an ingenious idea.

his plan works: porky places the entire pile of hay onto bessie’s legs, who swallows it up whole, her mouth comically huge as she attempts to swallow it. porky is overjoyed, clapping at her efforts before rushing off to give her some privacy.

instead of porky just milking her like a regular farmer, clampett pushes the entire scenario further. porky paces around in the manner of an expectant father, accompanied by a soft score of “lullaby on broadway”. the sound of a baby crying prompts porky to do a gorgeously animated head shake of surprise--bessie hands him a milk bottle, which porky carefully swaddles and places in a basket.

the charade continues, with clampett lulling us into a false sense of security with an already absurd gag. cue a gag that would have been incredibly risque in 1938: at about the fifth bottle, porky reaches out and finds that bessie hands him a bottle labeled “CHOC. MALT”, accompanied by an underscore of “i wish i was in dixie”. porky and bessie both grow bashful, but porky’s nonchalant whistling is cut to a half as bessie delivers yet another bottle. “gosh--eh-ceh-ceh-quin-eh-qui-eh--quart-tuplets!”

porky rushes over to his farther to share the good news. however, dad is too preoccupied with the fancy mechanics of the cow to pay bessie any mind. he shows porky a barrage of dairy-related puns churned out by the creamlined cow:

cottage cheese (cheese in the shapes of houses--and an outhouse for good measure--don the conveyer belt), limburger cheese (cheese slices with clothes pins pinned to their “noses” to ward off the stench), and swiss cheese (a cuckoo bird pops out of the cow’s mechanical side and sprays the cheese wheels with bullets, which turn into yodeling mouths). interestingly, mel’s voice for porky’s father changes in this scene--it’s still him, but the nasally undertones are absent. i wonder if he did this on a different day?

nevertheless, the staging of the next gag is genius. the majority of the screen is black, save for a small window revealing porky holding onto bessie’s udders. “c’mon, eh-beh-bessie! hurry eh... hurry eh... step on it!” the window expands to reveal bessie pouring a bucket of milk into a line of funnels (rather than udders), which are then evenly distributed to the bottles. “’ats a guh-geh-gee-eh-girl!”

mechanical cow seems to be doing just fine, plopping cherries on top of elaborate ice cream sundaes and milk shakes. the only fault in the system is the cow’s own personal whiskey bottle rolling down the assembly line, which it confiscates promptly.

porky, on the other hand, is making do. with an ice block on her head, bessie churns out ice cream cones to the best of her ability. as the cones grow smaller and smaller in size, porky orders her to eat more hay, which she happily does so.

now, it’s cow vs. cow. the mechanical cow opts to play some dirty tricks on bessie, pouring a jar of vanishing cream it produced onto the hay bessie is eating. and, thanks to the law of cartoon physics, the milk bottles she hands porky disappear by the minute. though the effect of the bottles disappearing may not seem like much today, for 1938 the ink and paint department did a wonderful job of demonstrating the illusion that the bottles suddenly disappeared.

with the rest of the hay now gone thanks to a hefty glob of vanishing cream, porky and bessie engage in a wild goose (cow?) chase to find more hay. the mechanical cow gobbles up every square inch of hay in sight--at one point, bessie heaves a dubious shrug to the audience. i love how they made her hooves look like hands, but still remain identifiable hooves. the scramble animation she does as she dashes out of frame (with porky clinging to her like a horse) is wonderfully done as well.

both porky and bessie and the creamlined cow exit the barn, chasing each other around the farm. the mechanical cow physically turns into a vacuum cleaner, threatening to suck up the last remaining pile of hay. in a gag that’s reminiscent of the harman-ising days (is it the inclusion of the outhouse?), the cow-turned-vacuum rushes into a shed filled to the brim with hay. the audience merely watches the shed itself shrink in size as the cow gobbles up all of the hay, the final result a puny little outhouse.

at last, the enemies reach a face-off. the last pile of hay--or, as porky puts it in his punny little way, “eh-thee-the-thee-that’s the last straw.” in a relatively tashlin-esque maneuver, clampett makes some fast cuts to heighten the suspense of the action. cut between porky and bessie to the mechanical cow to the pile of straw (facetiously labeled “MILK WEED”). the cuts grow quicker and quicker, the music crescendo-ing...

until BLAM! in a loose parallel to the finale of rover’s rival, everything explodes at once. nuts and bolts rain in the sky, as do neat little bundles of hay. however, clampett doesn’t allow the audience to rest just yet--with bessie nowhere in sight, the mechanical cow continues to charge forth, seeking refuge in a hay to release a humongous pile of milk bottles. so high, in fact, that the shed (and cow) are elevated several feet into the air. porky’s a goner.

porky’s father, who had been absent for the past few minutes, reappears to declare the tin-can cow a winner, much to porky’s visible dissatisfaction.

yet it’s not a clampett cartoon without a twist! bessie pokes her head out of the mechanical cow’s mouth, mooing the ever popular catchphrase from the ken murray show: “mmmmmmwooooooooooah, yeeeeaaaaaah!” porky gives a celebratory “oh, boy!” as we iris out--the goose and duck from earlier poke their heads into the scene just before the iris fully closes.

this is an early porky cartoon that’s just plain fun. bobe cannon’s animation of porky serves as one of the many highlights, from porky getting aggravated with his phonograph to his excited pep talk towards bessie. corny as the opening number is, it’s a lot of fun at the same time--the intensity in increasing chaos is a prevalent theme to clampett’s cartoons. just look at the climax/ending of baby bottleneck!

i don’t have many complaints towards this cartoon, if any at all. it’s not my favorite porky entry, sure, but it’s most certainly an enjoyable watch and one of his better cartoons of the ‘30s. the visual puns aren’t nearly as hamfisted as ben hardaway’s (as we’ll soon discover), making them more enjoyable than some of the jokes present in, say, daffy duck & egghead. regardless, there are a lot of unique gags, fun animation, and amusing dialogue to constitute a watch.

the cartoon is up on HBOmax, but you can also watch it here!

#lt #looney tunes #porky’s poppa #clampett #reviews #long post

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madmackerel · 4 years ago

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Minor Moon - Tethers

Minor Moon – Tethers

Minor Moon, the Chicago-based cosmic Americana group led by multi-instrumentalist Sam Cantor, have an upcoming third full length album Tethers, out March 26 via Ruination Record Co. & Whatever’s Clever. Having previously shared the unhurried No Lightning Fix, the band have now offered up a second taste from the album in the shape of the simmering Under An Ocean Of Holes. So, if a healthy amount…

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#Minor Moon

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trevlad-sounds · 8 months ago

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Labels:

Gondola Flight Path

Released 19.04.2023

Pocket Pavilions-Gondolas Traversing Lofty Peaks K. Leimer-From One To Ten The British Stereo Collective-Death on the Launchpad Tonto's Expanding Head Band-Bittersweet Robson Jorge, Lincoln Olivetti-Eva log(m) & Laraaji-Sunken Forest Albin-Morgonrus Binaural Space-Middle-aged Sleuth Golden Bug, In Fields-La Main Jaune The New Honey Shade-Oganesson Cavern of Anti-Matter-Metric 36 Studio Kosmische-Nano Problemo MODEL ALPHA-Weaving Patterns Sensations' Fix-Overflowing Ashtrays Uncle Fido-They Discover a Secret Moon Mullins-Blue Mantilla Mark Ellery Griffiths-Abandoned Artifacts Cult48-The Day The Clouds Collapsed Sean Bechhofer-Sechs XIV;Blackout Secret Circuit-Wild Flights Pocket Pavilions-Gondolas Traversing Lofty Peaks

#Castles In Space #RVNG Intl.#Invisible Inc.#MR BONGO #Paltunes #Handstitched*#Duophonic #Dub Cthonic #DREAMLORD RECORDINGS #Transversales Disques #Ruination Record Co.#Furthur Electronix

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donospl · 2 years ago

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Co w jazzie piszczy [sezon 1 odcinek 4]

premierowa emisja 15 marca 2023 – 18:00 Graliśmy: Vivienne Aerts “Silence” z albumu “Typuhthâng” Kongle Trio ”Paradisfuglens flørt” z albumu “Live at Molde Jazz” Øra Fonogram Lukas Traxel “Origami” z albumu “One-Eyed Daruma” We Jazz Records Tomas Fujiwara Triple Double “Docile Fury Duet” z albumu “March On” Scree “Victory Signs” z albumu “Jasmine on a Night in July” Ruination…

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garudabluffs · 5 years ago

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Tim Heidecker recorded Bob Dylan’s Trump protest song, ‘cos Dylan isn’t doing it

Bob Dylan's Trump Campaign Song (Demo) LISTEN 04:42 READ MORE https://thebrag.com/tim-heidecker-just-wrote-a-bob-dylan-trump-protest-song-cos-dylan-isnt-doing-it/

What Bob Dylan Is Doing in “Murder Most Foul”

March 28, 2020 READ MORE https://www.newyorker.com/culture/culture-desk/what-bob-dylan-is-doing-in-murder-most-foul

Luminaries Against War Down Through the Ages

President Donald J. Trump: “From the first day I entered the political arena, I made it clear that I did not want to fight these endless, senseless wars.”

Howard Zinn: “We need to decide that we will not go to war, whatever reason is conjured up by the politicians or the media, because war in our time is always indiscriminate, a war against innocents, a war against children.”

<>Say and think what you will about President Trump, I do not recall any of his predecessors publicly having made similar statements and then tried to back them up with executive orders. Any US president must be very careful in opposing the "deep" state or risk being assassinated. Recall what happened and why to JFK!7 from War: Ruminations and Ruinations By Gary Brumback 15 pages

READ MORE https://www.opednews.com/articles/1/War-Ruminations-and-Ruina-by-Gary-Brumback-Carnage_Corpocracy_Deserters_Doomsday-191011-579.html

See the following references regarding JFK's assassinations: Fetzer, J. JFK and RFK: The Plots that Killed Them, The Patsies that Didn't. Voltairenet.org, June 13,2010;

Roberts, PC. JFK Turned to Peace and was Assassinated. Institute for Political Economy, July 20, 2018;

Talbot, D. The Devil's Chessboard: Allen Dulles, the CIA, and the Rise of America's Secret Government. Harper Perennial, 2016.

“Amid this unprecedented crisis, the Pentagon, Energy Department and other military agencies, are seemingly running on autopilot, continuing to spend over a trillion dollars a year (including $13 billion on yet another new carrier, the USS John F. Kennedy, scheduled to be finished and ready for testing later this year), much of it on weapons intended for imagined wars against major powers like Russia and China, or intended for future interventions in countries around the world most Americans cannot even find on a map.”

3/30/20 Trillions for war, nothing for beds, masks, tests and ventilators: We Have Met the Enemy and It's a Tiny Virus

“All this spending on arms is happening as it becomes increasingly clear that the biggest threat to the security of the American people is not foreign militaries or terrorist groups, but rather a tiny virus that is completely immune to all the weapons, explosives, cyber defenses, massive surveillance programs, and troops armed to the teeth that the Pentagon can muster.”

READ MORE https://www.opednews.com/articles/Trillions-for-war-nothing-by-Dave-Lindorff-Corona-Virus-Coronavirus-Covid-19_Healthcare_Military_Pandemic-200330-275.html

#Dylan Murder Most Foul #JFK coronavirus weapons of mass destruction

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nevalra · 5 years ago

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I've accomplished more in 2019 alone, than I expected to accomplish in my full career. ...now, I'm going into 2020 with a new level of rage, passion and focus. It has only just begun... Bands: • #VitalRemains • @thyantichristofficial • @nevalraofficial Countries in 2019 alone: 🇨🇭 Switzerland 🇮🇹 Italy 🇩🇪 Germany 🇫🇷 France 🇪🇸 Spain 🇵🇹 Portugal 🇳🇱 Netherlands 🇧🇪 Belgium 🇬🇧 England 🇮🇪 Ireland 🏴󠁧󠁢󠁳󠁣󠁴󠁿 Scotland 🇸🇰 Slovakia 🇭🇺 Hungary 🇵🇱 Poland 🇱🇹 Lithuania 🇪🇪 Estonia 🇫🇮 Finland 🇸🇪 Sweden 🇩🇰 Denmark 🇲🇽 Mexico 🇨🇴 Colombia 🇺🇸 United States Endorsing Companies: • B.C. Rich • EMG Pickups • Randall Amplifiers • Ernie Ball • Fortin Amplification, Inc. • "Official" Floyd Rose • MOOER • KHDK • InTune Guitar Picks, Inc. • Spectraflex • Darkglass Electronics • Stone Tone Products • Hipshot Products Inc • GT Omega Racing • Joyo Technology Co., Ltd Albums, Awards, Music Videos, Projects, other: • NEVALRA - "Conjure the Storm" Album Release (Salem Rose Music & M-Theory Audio / Extreme Management Group, Inc.) • NEVALRA "It Dies In Vain" Music Video • NEVALRA "Conjure the Storm" Animated Video • NEVALRA "...Of Ruination" Lyric Video • NEVALRA Wins "Band on the Rise" at Red Carpet Music Awards Show • Secret Project Album Recorded (2020 Announcement & Release coming... 😈) • Sang Pantera with Phil Anselmo himself at Gefle Metal Festival in Sweden • Visited countless iconic bucket-list locations like the Eiffel Tower, Castles, Cathedrals, etc (see countries list above) • Been featured in Decibel Magazine, MetalSucks, BraveWords, RockHard (Germany), Metal-Temple, Zero Tolerance (UK), Metal Messiah Radio, Metal Devastation Radio & a TON of other Worldwide publications/radio (too many to list) ...bring on 2020. 💪😈 ~ Scott Eames ( www.ScottEames.com ) https://www.instagram.com/p/B6vu75chHIR/?igshid=19y0sg9pvv396

#vitalremains

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spiritwas · 5 years ago

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Happy to be in very good company on this new compilation from @ruinationrecordco. Check out a solo version of a new song “Heaven’s Just a Cloud” the title track from the first spirit was album. Please consider buying the compilation to support IRAP in NYC. ————————————————— Ruination Record Co. presents: So Many Singing, Vol. 2 (a compilation in support of immigrant rights). All proceeds from album sales go to the International Refugee Assistance Project. The IRAP is a New York City based non-profit that mobilizes legal aid and systemic policy advocacy to serve refugees and other displaced persons across the world. Thanks for having me y’all! https://www.instagram.com/p/B53WERBFXZv/?igshid=5zu13gaotixc

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sinceileftyoublog · 5 years ago

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Summerfest 2019: 6/30

Guided By Voices

BY JORDAN MAINZER

Of all of the straight, white, buttoned-up indie rock bands of the 2000′s, The National have endured because they’ve subverted those very expectations, at first with Matt Berninger co-writing with his wife Carin Besser and now with the band including women as not just prominent but lead parts in the performance. Their new album I Am Easy To Find and its partner short film (starring Alicia Vikander and directed by Mike Mills (Beginners, 20th Century Women)) was conceived of and partially recorded during the Sleep Well Beast sessions. While the aesthetic of the new record is certainly consistent with that album’s, its themes move on from Beast’s tension between inner and outer dark forces. I Am Easy To Find is instead a record about our devotion to one another, and the femininity of the presented voices is an effective aesthetic for The National’s most empathetic album to date.

Much of the album sees Berninger singing duets or flat out giving way to the likes of Gail Ann Dorsey, Lisa Hannigan, Kate Stables, and Mina Tindle. Opener “You Had Your Soul With You” starts out familiar enough--glitching electronics, nervous drums and guitar flourishes and flutters, weeping strings, Berninger’s baritone--but the introduction of Dorsey, the type of voice that was previously relegated to background harmonies on National albums, is one of those moments where you’re listening to a longtime band and realize they’re offering something truly different. On “Where Is Her Head”, Berninger shouts like he does on many National tracks on which he’s losing his mind, but his stream of consciousness is here dwarfed by Dorsey in harmony with Eve Owens, them providing the emotional and musical stability that’s usually the job of Bryan Devendorf’s snares. “Dust Swirls In Strange Light” features the Brooklyn Youth Choir and no Berninger. And there are a couple tracks without any words: choral instrumental “Her Father In The Pool” and “Underwater”.

Digging deeper, though, it’s the lyrical approach that’s an even more radical change. Berninger sings again with Dorsey on “Roman Holiday”; “I’ll take away your shame,” they promise to each other. “I’ll come to where you are alone in the quiet light,” he declares on “Quiet Light”. Elsewhere, with Tindle on “Oblivions”, they sing, “It’s almost like you’re not afraid of anything I do”--a far cry from “I was afraid I’d eat your brains.” “Not In Kansas” is a total tribute to women that have changed Berninger’s life. On the title track, Berninger and Stables sing to each other, “There’s a million little battles that I’m never gonna win anyway / I’m still waiting for you every night with ticker tape, ticker tape.” The line (a selfless contrast to “I’m a festival / I’m a parade”) is the ultimate tribute to true love: No matter how much people bicker and fight, unconditional support conquers all. It’s what makes closer “Light Years” so sad. “Oh, the glory of it all was lost on me / ‘Til I saw how hard it’d be to reach you,” Berninger sings. An album ago, he was death obsessed, and now, he can’t stop living, perhaps even afraid to die.

So how would The National adapt I Am Easy To Find to a live stage at a Summerfest closing slot? With backup singers on songs like “You Had Your Soul With You”, “Quiet Light”, “Hey Rosey”, “The Pull Of You”, “Oblivions”, “Where Is Her Head” and the swaying title track. As for old songs, Berninger provided his usual stage antics, air guitaring with the Dessner brothers on “Don’t Swallow the Cap”, trying to toss his drink to someone in the crowd, perhaps drunkenly remarking about the “flying benches” in the sky (the skyride), and, genuinely, telling the crowd how excited he was to see his wife and kid, the sentiment most consistent with the band’s great new record.

Album score: 8.2/10

The other two bands whose full sets I saw at Summerfest had connections to The National. Adia Victoria’s two albums have been recorded by Aaron Dessner. Silences, her 2019 release, like 2016′s Beyond the Bloodhounds, centers around the identity of black women like Victoria herself, but its ambitions delve into the Southern Gothic. From the very start, Victoria modernizes the aesthetic. “Clean”, like Odetta Hartman’s incredible “Misery”, is a gender-inverted murder ballad, the victim God himself. On the less-than-two-minute ditty, Victoria, over plucks of the cello and National-esque glitchy electronics, breathes life into and begins her religion-and-patriarchy-conquering persona continued throughout the album. “I’m gonna do everything in the world that my grandma ever wish she had,” she declares on “Pacolet Road”, the ultimate fuck you to those who use religion, race, sex, or gender to oppress. Furthermore, on “The City”, her sample of Billie Holiday singing “Lady Sings The Blues”, blending in with baroque swipes of strings, pays tribute to another strong black woman in a position of creative power but during a different time frame, one step closer to becoming eternal.

While Victoria totally nails the demonic aspect of Southern Gothic, she frames many of her demons as positive and uses them for leverage over those who disappoint and oppress. “Different Kind Of Love” is an absolute stomp of a breakup song. On “The Needle’s Eye”, over disorienting, swirling electronics, she sings, “The day is done / Let’s have some fun / Beat me like a drum,” her layered vocals repeatedly cooing the last words at the end of the song. Victoria mixes references to habits of self destruction and feelings of desire, both part of her and what makes her fierce. “I like the things that make me hurt,” she sings on the tiptoeing “Devil Is A Lie”. “I like to do things my way / Or I don’t do them at all,” she strongly declares on “Heathen”, continuing, “Cause first they ask you to compromise / And then the next breath demandin’ you crawl.” In other words, it’s not really self destruction; it’s the “same old nice folks bringing me down.”

Silences climaxes in “Dope Queen Blues”, what Victoria calls the “culmination of my ruination”. Flute and piano add weight to Victoria’s ultimate goal: Seek the divine within herself, replace who she did away with on the first song. “I wanna break free from my body / Shaken loose my skin / ‘Cause I had a thought I am a god / Of this I am convinced.” Alone at the top, staring at her reflection, she ends the album singing to her reflection, over an instrumental with wonderfully uneasy synths: “I wanna get lonely with you.”

When she performed live, Victoria was appropriately in control, dominating the stage during “Clean” and “The Needle’s Eye”, but cementing her story and songs in context with her peers and fellow citizens, dedicating them to black victims of police murders and women who are victims of the patriarchy. Interestingly enough, she lifted lines from Nirvana’s “Heart Shaped Box” during a song, and it was an oddly fitting choice. Despite what the celebrity back-and-forth will tell you, Kurt Cobain’s original was purportedly inspired by documentaries about children with cancer: “I wish I could eat your cancer when you turn black,” he sang. Victoria, who strutted around on stage like an almighty being, could convince you she had such power.

Album score: 7.6/10

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Guided By Voices, meanwhile, occupied a strange slot, getting a mid-day 90 minute set as opposed to their usual headlining three-plus hours. Still, they offered 35 songs, a little over a third from albums from this year (Zeppelin Over China and Warp and Woof). “Every song could be first or last,” Robert Pollard observed about the band’s set. These days, the first song tends to be a newer one, the closer Isolation Drills banger “Glad Girls”. It was an abridged, arguably more concise GBV set because it had to be, but it was fun seeing the band essentially open for their Ohio brethren. The words “Towers to the skies / An academy of lies” were sung twice on that stage, because Berninger interpolates them on I Am Easy to Find’s title track, following them up with “You were never much of a New Yorker”. On a day seeing two Ohio bands and a Nashville queen in Wisconsin, New York was the farthest thing on any of our minds.

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