#suzi analogue

[radiophd]

suzi analogue ft. nappynappa -- like gogo

[bludgeoningbabe]

ALBUMS I’VE BEEN LISTENING TO LATELY

Feb 07 2023

Tell Me This Is A Dream - The Delfonics (1972)

Don Cherry - Don Cherry (1975)

Suspiria (Music for the Luca Guadagnino Film) - Thom Yorke (2018)

Time’s Arrow - Ladytron (2023)

Humanz (Deluxe) - Gorillaz (2017)

Infinite Zonez - Suzi Analogue (2022)

The first two albums feature music that FX’s Atlanta used, which is a show I’m slowly working my way through. They picked some really cool songs for that show.

The Suspiria remake soundtrack is really good for the short story I’m writing.

Time’s Arrow is a new album from Ladytron, a band I got into recently.

Humanz is still really good after all these years, I’m genuinely so bitter that racism kept it from getting the accolades it deserves.

My longtime friends got me into Suzi Analogue so I’m checking out her discography

[deadassdiaspore]

[clemencie]

CHANGEDDD by Suzy Analogue

ONEZ, Track #2 (2024) ℗ Suzi Analogue Recordings

[sparkerinparadise]

I know you said it's not a 1-to-1 analogue to purse owner four, but is there a Dojima-esque character? That is, someone who Suzy stays with while in town.

most likely, yes!! just gotta figure out who it would be…..

i think it would be cute if it were mettaton, considering his roots. uncle mettaton….. 🥺🥺

[byneddiedingo]

Barry Keoghan in Saltburn (Emerald Fennell, 2023)

Cast: Barry Keoghan, Jacob Elordi, Rosamund Pike, Richard E. Grant, Alison Oliver, Archie Madekwe, Carey Mulligan, Paul Rhys, Ewan Mitchell. Screenplay: Emerald Fennell. Cinematography: Linus Sandgren. Production design: Suzie Davies. Film editing: Victoria Boydell. Music: Anthony Willis. 

With its fine cinematography and production design and skilled performances, Emerald Fennell's Saltburn is an exquisite container that's so hollow it echoes. The echoes are those of sharper literary and cinematic satires on the English class system. Barry Keoghan plays Oliver Quick, a first-year student at Oxford from an affluent and apparently loving middle class family who pretends to be a poor young man from a dysfunctional family and winds up conning his way into a decadent aristocratic family. Oliver's skill at lying and his lethal ways of covering up his lies recalls Patricia Highsmith's Tom Ripley, whose adventures began in The Talented Mr. Ripley, memorably filmed by René Clément (as Purple Noon) in 1960 and by Anthony Minghella in 1999. Like Ripley, Oliver is sexually fluid, and makes his way into the Catton family through his infatuation with Felix Catton (Jacob Elordi), a handsome and popular fellow student who invites Oliver to spend the summer at the family estate, Saltburn. The Cattons, who include Sir James (Richard E. Grant), Lady Elspeth (Rosamund Pike), and Felix's sister Venetia (Alison Oliver), are a collection of quirks and vices, including the other guests that summer: Felix's cousin Farleigh (Archie Madekwe), an American who sees Oliver as a rival, and Elspeth's neurotic friend, Pamela (Carey Mulligan). If the gathering at Saltburn reminds you of Brideshead Revisited, Fennell name-checks its author when Oliver says Felix's description of his family reminds him of Evelyn Waugh; Felix replies that Waugh based his characters on the Cattons. Another analogue might be found in Alan Hollinghurst's novel, a satire on Thatcherite Britain. The Line of Beauty, whose protagonist becomes a part of the wealthy household of an Oxford classmate on whom he has a crush. And Oliver's sexual attraction to Felix, which has him slurping the bathwater in which Felix has masturbated, is an inevitable reminder of the cum-filled peach in André Aciman's novel Call Me by Your Name and Luca Guadagnino's 2017 film version. Now, I don't have anything against borrowing, but it has to be done with some originality. The time is ripe for a satire on post-Brexit Britain, for example, but Fennell doesn't even give us that: Saltburn is set in 2007. The film lacks sharpness and clear intent, so it winds up being a well-mounted, very well acted but wholly derivative collection of mildly shocking incidents.  

[lazerv4]

Thoughts on Final Fantasy VII Rebirth [2 out of 2]

Refer to part 1 before reading please

The cast has seen improvements all around Brianna White’s Aerith was already an all time performance for the series and it being joined not only by Suzie Yeung’s Yuffie but also by John Eric Bentley’s Barrett was a great surprise and a huge glow up from Remake. It might be too early to tell but between the interview where they told her to tone down her acting because it was too good (her vomiting noises specifically) and the sheer strength of the cast this time around I wouldn’t be surprised if she was the performance of the year at The Game Awards later this year. As for Barrett the main factor is that Rebirth gave Bentley more to work with and he sure took advantage of it delivering a performance worthy of the nuance Barrett deserves. This is not to say the other performances where bad as Cody Christian, Britt Barton, Max Mittelman and Paul Tinto all did great jobs as Cloud, Tifa, Red XIII and Cait Sith respectively or the side characters like Caleb Pierce, Kayli Mills and Piper Reese all did fantastic jobs as Zack, Cissnei and Elena but we would be here for like 8 more paragraphs if I listed every performance[also wanted to drop here Matt Mercer and J Michael Tatum as Vincent and Cid to finish up the main cast].

Gameplay wise it plays like a faster version of what Remake was doing which is just an ATB version of Lightning Returns: Final Fantasy XIII’s combat which is to say it plays really good, the game now includes way more commands and allows you to stack even more wacky materia to make your characters as customizable as you can without dropping what made them unique and letting you work with whatever party you vibe with the most (Aerith and Yuffie is the best party and I will die on this hill), the second most important gamemode is the exploration section of the game which unlike 7 Remake or 16 is very open while still filling condensed unlike 15’s huge vastness this one is closer in approach to the always reliable Witcher 3 open world zones but that doesn’t mean it drops the basics of the huge open world trend, like many of its kind Rebirth has the infamous Ubisoft towers, (which hot take but I enjoy in a checklist sort of way) some random busywork and the third gameplay pillar minigames which there are a lot, probably too many to talk about here without making this longer than it needs to (which it already kinda is) but one I do wanna talk about is Queen’s Blood as its questline was a great little distraction with bizarre analogue horror elements that I didn’t expect from the obligatory FF card game at all while also being a somewhat fun game with some interesting strategic depth.

From here on out I’m gonna talk about the ending so skip from here to the conclusion if you want to keep reading spoiler free but otherwise. [First off the second visit to the Golden Saucer is great fun, this time the “date” goes fantastic as you visit Loveless, a beautiful rhythm game and the story of a knight fighting darkness to save his beloved accompanied by some of the best music the game has to offer and topped with a musical performance by Aerith with her singing voice being provided by Loren Allred who performs a gorgeous ballad to close out a contender for moment of the year, and afterwards if you upped your relationship to your date enough you get one of the “intimate endings” which are little character moments between Cloud and whoever he is with that I hope will be revisited in the third game as they are just wonderful. Afterwards we get a slightly better version of the Cait Sith liar reveal during the Dio vs Don Corneo tournament and soon we are, sailing through the Meridian Ocean chasing the turks with the help of Vincent to arrive at the fortress of the ancients, where another moment of the year takes place in the trial, a small section where we essentially make everyone face their worst moments again so that they may be prepared for what comes ahead (special shoutout to Yuffie’s Intermission revisit, it felt crushing in all the right ways),in general things were shaping up great and we were wrapping the most ravishing bow to finish up the gift that was the middle of the VII series, but then suddenly a dog arrived and bit everything, that dog is called the temple of the ancients. That final push started strong with the isolation of Cloud trying to save Aerith from the grim fate she is predestined in the original game and surprisingly succeeding in saving Aerith from fake Sephiroth only for what I can only understand as a convergence of timelines to start happening and switching our Aerith into a different timeline while leaving us with a dead one from another but I will get into that in a second, then everyone is able to arrive and they see the dead Aerith which prompts the start of the bossfight, an interesting detail is that everyone but Cloud starts with their Limit as they are fighting to avenge their dead friend while Cloud still needs to build it up since he is fighting to restore her and prevent Sephiroth from fusing the timeline, in a bizarre way Zack is also there for a bit of the fight until he gets separated into another world again while still being attacked by Sephiroth, what is curious is that for brief moments (synergy attacks in this case) Cloud can join Zack as a sort of projection without entering this dimension fully as well as fighting Sephiroth now in a white void instead of the usual dark one that represents his subconscious even being joined by either the summation of Aerith across all timelines or just our Aerith now aware of her role in all of this to finish the story of Rebirth. At the end we see that everyone Aerith was killed by Sephiroth except for Cloud who is still communicating with her from the other dimension (if he was losing his mind we would have the static and not the rainbow) while everyone else mourns her loss. This leads to the ending cutscene where Cloud and Aerith go their separate ways to finish the story and frankly I kind of hate it, Remake already had a decently open ending that needed some input from the Ultimania (a book about the game that Square Enix releases like a month after the game) to fully get and now it feels like they just doubled down and made the Ultimania a required part of understanding what is going on since everything is just very speculative and borderline impossible to confirm as a thing that actually happened. Maybe it will fix it and an explanation will be available online for people that finished the game to look up but it's still an incredibly scummy way to sell us the Ultimania and a blight in what was otherwise an outstanding game.]

Bringing everything to an end, I really loved this game, despite my issues with some parts of it, it's good to see that like with Remake, VII can carry the franchise while the main series struggles to turn out greatness again. The sheer love that was put into it can be felt all around and the team deserves all the praise they are getting, iIt was a great experience and I can't wait for the final one in a few more years.

[djregular]

What's Good is live! This week, as usual, there's tons of good music in video and standard audio form: @mikeeaglestinks, Domo Genesis, DJ Rashad, Chelsea Wolfe, Year of the Knife, Witching, Suzi Analogue & Jlin, Shabazz Palaces, NappyHIGH, Sofia Kourtesis, and much more.

Plus, I talk a little bit about the Games for Gaza indie game bundle that I'm part of benefiting Medical Aid For Palestinians. Since we're all about Hip Hop over at what's good, if you contribute to the bundle while it's live I have a little rap related treat for you. Check out the blog for details.

Tap in, tell a friend, make good choices, and free Palestine.

[carpathxanridge]

just watched this and it’s such a great talk. i can’t believe i didn’t know about the womanproducer project, because i’ve been a fan of the blow for years! i highly encourage any women interested in music or music production to watch it, it’s super inspiring. the women in it are all very talented--from left to right: khaela maririch and melissa dyne of the blow, zola jesus, miho hatori of cibo matto (who i’d never heard before but is my current obsession after discovering her through this panel), suzi analogue, and neko case!

[estadormida]

reminder tew self..

[burlveneer-music]

My WVUD playlist and stream, 7/8/2024

Andrew Wasylyk & Tommy Perman - Blessing of the Banners Blake Reyes - Sound Manifesto Beth Gibbons - Lost Changes Robbie Belchamber - Coalesce Sanscreed Kanon - Kanon 75 De Beren Gieren - Mimic SML - Three Over Steel Api Uiz - Cheval et tortilla Alphawhore - A Growing Concern Normil Hawaiians - Back Home to the Stars Secret Chiefs 3 - Love in Outer Space Jeff Mills - Wandering Thomass Jackson - Alien Armando Jan Jelinek - Social Engineering 1 (The narrative of the heritage) Takkak Takkak - Mezame Black Lives - AfRi-LoGiKaL Suzi Analogue - Like Gogo (feat. Nappynappa) Cornelius - Step Into Exovera Evening News - Southside Labour - Mass and Mess, Dispersion of Subjectivity

[almightyhamslice]

Insektober day 10: Flowers!

Suzy pays a visit to Flora's flower shop and buys a bouquet! Flora belongs to @emilyrosebug.

Suzy is my OC, she's a paper wasp queen. She's like a semi-authoritative Verigreen? It's hard to say since Verries don't rlly have traditional leaders, though Suzy feels kinship with her fellow wasps and ants and tries to better life for them any way she can! She is kind and calm, but also very protective! I think unlike her Krud analogues (Bakrakra and Prometheus to a greater extent) she isn't unhappy with her role in Verigreen society simply because there's no pressure for her to be something she doesn't want to be. She can just do her thing! And so she will. Today's a nice day for flowers, so she bought a handful from her friend!

Don't ask me abt flower size continuity or I will be VERY sad bc it took me foever to draw them LOL. I didnt have to go this far for a damn daily drawing!!! my hand hurtz...

[x----tine]

Move over Netflix. This Miami art museum is launching its own streaming service

Miami’s flagship art museum is getting into streaming.

Pérez Art Museum Miami launched PAMMTV, a “first-of-its-kind” streaming service of the museum’s collection of video art and films, with 15 works from local and international artists. The free service is available on web browsers, mobile devices and Apple TV. (Users need to create a free account to watch content.)

The museum is celebrating PAMMTV’s launch Thursday evening with a screening of South Florida films and video art featured on the platform. Visitors can enjoy free museum entry and watch the videos displayed on a 60-foot floating screen in the bay. The foray into streaming is part of PAMM’s push to engage with audiences digitally while highlighting artists, said Jay Mollica, the PAMM Director of Digital Engagement. Last year, PAMM launched “New Realities,” the museum’s virtual augmented reality gallery of commissioned artworks.

“One of the main thrusts of our strategy is to turn the museum inside out and democratize access to the collection,” said Mollica.

While the museum’s entire video art collection won’t be available on PAMMTV at once, the streaming platform will update with a smattering of video art every few months to give viewers “a slice into the collection,” Mollica said. “We’re fusing the user experience of Netflix with the intimacy of a museum gallery,” he said. Alongside selections from guest curators and film festivals, PAMMTV features work by boundary pushing artists from South Florida, the Caribbean, Latin America and the African diaspora, who are “often left out of the history books,” said program manager Lauren Monzón. The inaugural selection of video art available on PAMMTV includes pieces from the museum’s permanent collection, works from South Florida and films curated by Third Horizon Film Festival. Films include “I Saved My Belly Dancer,” directed by Youssef Nabil and starring Salma Hayek, and “Conga Irreversible” by Los Carpinteros.

The launch party event will include live music by Suzi Analogue and Adobe Deejay, activations by local poetry organization O, Miami and screenings of lauded works by South Florida artists. There’s “Reeds/Wozo: Movement Study I” by Monica Sorelle, a meditative film of women dancing, praying and working. “CARMEN” by Cristine Brache, which won the Made in Miami award at this year’s Miami Film Festival, is a haunting short film on how domestic violence affects mother-daughter relationships. And “From Fish to Moon” by Kevin Contento, a documentary film about a small supermarket in the Florida backwoods, is making a splash in the film festival circuit, Monzón said.

“I’m really excited about inverting that pilgrimage model for viewing art within the walls of museums and for people to be able to have access to worldclass video art wherever they are,” Monzón said.

Read more at: https://www.miamiherald.com/entertainment/visual-arts/article279113519.html#storylink=cpy