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no-stabbing-wednesdays · 4 years ago

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The Conspiracy Job

I made a post about the “Eliot’s semi-famous identities” conspiracy here and @what---i-dated-a wanted a fic, which got my muse going. So, here it is, and also on AO3

An amazing version of the same concept by @copperbadge was linked in the notes and I recommend you all read that too! The Job Interview Job

The Conspiracy Job

“Oh, not again!”

The others, busy drawing up plans for their latest con, looked over at Hardison.

“What is it?” Sophie asked.

He brought his display up on the large screen at the front of the room.

“Someone’s just searched a bunch of Eliot’s old aliases, all at the same time.”

Parker frowned as she looked at the screen. “That doesn’t sound good.”

Eliot was on his feet immediately, concern clear on his face.

“Who is it? CIA? FBI? KGB? Mossad?”

“Give me a second,” Hardison said. “No, I don’t think so. They’re not being flagged on any databases. Someone’s just googling them.”

Eliot relaxed slightly and rolled his eyes. “It’s not those damn conspiracy forums, is it? I thought you got rid of those.”

“I did! They haven’t posted anything, they’re just looking. Oh, they’re here in Portland.”

Eliot tensed again at that, but Hardison shook his head.

“Relax, man. It’s a family house; a couple of dentists and a fifteen year old. If they post anything I’ll take it down, nothing to worry about.”

On the other side of Portland, Julia stepped into her friend Marcie’s bedroom and her eyes widened as she took in the scene before her. Marcie was connecting red threads between grainy, printed-out images on her corkboard and empty bottles of Gatorade littered the desk.

“You have to cool it with this, dude.”

Marcie turned to face her, her hair a mess and her eyes red from lack of sleep, and Julia sighed.

“You look like freaking Charlie Kelly!”

“There’s something here, Jules. I’m sure of it.”

“It’s a couple of athletes and a singer who happen to look similar. It’s hardly the scoop of the century.”

“Look similar? Look similar? Julia, they are completely identical! There are exactly three possibilities.” She held up three fingers in her friend’s face as she counted them off. “Triplets, clones or one ridiculously talented guy.”

“Okaaay, and which one do you think it is?”

“I don’t know,” Marcie answered, turning back to her board. “Triplets? Why would they have different names and hide it? One guy? He’d have to be able to sing and play guitar, baseball and hockey. Why wouldn’t you own up to having that kind of talent? Why go to different places with different names? Clones? I’m leaning clones.”

“Clones? Come on, Marcie.”

“It’s the most logical explanation.”

“You think someone cloned a human being just to create a one-hit-wonder country singer and some short lived athletes?”

Marcie shrugged. “It could be a trial run or an experiment or something. And you remember that anything I ever said on the forums would mysteriously vanish? I went to look after Jacques Labert turned up and every single forum post was gone! Every one! Doesn’t that sound like a government conspiracy to you?”

“It’s weird,” Julia admitted. “But I think you might be taking this a little too far. If the government were making clones, why would they let them get famous so people could discover it?”

“But they weren’t that famous. Think about it, what were the chances that someone would connect them? There were only ever a couple of us posting on the forums. If I hadn’t happened to be visiting my uncle in Palmerston when Roy Chappell was playing and then gone to Saddle and Spurs for my birthday, I’d never have known.”

Her eyes widened as a horrifying thought occurred to her . “Then Jacques Labert turned up in my city! What if I’m the connection?”

She swung back to the board and began to write her own name. Julia grabbed her hand.

“Marcie! You’re not the center of a government conspiracy! Besides, who’s this fourth guy again?” She asked, tapping one of the photos in the corner. “You didn’t have anything to do with him, did you?”

“No,” Marcie conceded. “And I told you about him, remember? He’s an animal rights activist who was on the news in San Lorenzo a couple of years ago, talking about dog fights in the Presidential Palace. And he’s Canadian. That’s why it’s so exciting that, after almost two years of nothing new, Jacques Labert, Canadian hockey player, suddenly appears. Was the guy on the news Jacques Labert? If there really is more than one of them in the first place!”

Julia grimaced, increasingly worried about Marcie’s obsession with this wild conspiracy. “He was on the news where?”

“San Lorenzo. It’s this tiny European country. Here look.” Marcie sat at her desk, tapped the name into Google and turned her laptop towards Julia.

Julia scrolled through a few pictures of the idyllic Mediterranean island, then stopped suddenly and pointed at one of them.

“Wait, who’s that?”

“Oh, that’s Rebecca Ibañez. It’s a tragic story,” Marcie explained, as she clicked on the link and showed her some clearer pictures. “A couple of years ago, the same time maybe-Jacques Labert was there, there was an election and her fiancé won. But, just as the results were announced, supporters of the former president tried to assassinate him and Rebecca stepped in front and took the bullet for him.”

“She was assassinated?”

“Yes, isn’t it awful?”

Julia shook her head. “She can’t have been.”

“What?”

“She’s my brother Zachary’s acting teacher.”

“What?”

“Yeah, I went to see his play last week and I met her. Her name’s Sophie Devereaux and she’s definitely not dead.”

Marcie looked at her in amazement, a grin breaking out across her face . “And she was in San Lorenzo at the same time as Jacques-Roy-Kenneth! There might be even more to this than I thought!”

Julia, almost as invested as Marcie now that her brother’s odd director was mixed up in this, pulled up a chair and looked on excitedly as her friend brought up another google search.

Back at the Brewpub, the crew were working out the kinks in their plan while waiting for any sign of the internet sleuth trying to share their ideas about Eliot’s multiple identities.

When the computer pinged again, they all turned to see which of his aliases had been flagged this time, only for their eyes to widen in horror as the search term flashed on the screen.

“Rebecca Ibañez” “Sophie Devereaux”

Sophie gave a gasp that almost turned into a choke. “Wha- wha- what?”

Eliot turned to Hardison, furious. “Oh sure, just dentists and a teenager! Fix. This.”

“I’m trying!” Hardison said. “I can’t find any connections to anything. They look clean.”

“Then look harder!”

Wait, I have something. It’s the kid’s computer.”

“Who’s the kid?” Nate asked.

Hardison pulled up a Facebook page. “Marcie Taylor. She’s a sophomore. She used to post on those stupid Eliot forums that I had to take down every week after Memphis. It was pretty harmless, but I’ve no idea why she’s suddenly looking at Sophie’s aliases.”

He scrolled down the page looking for any kind of hint, when Sophie called out to him to stop.

“Who’s that with her? She looks familiar.”

A few more clicks and Hardison had a name.

“Julia Gutmann. She’s in the same class.”

Gutmann?” Sophie groaned. “I know why she’s familiar. That’s Zachary’s little sister.”

“Zachary? Your acting student Zachary?” Nate asked disbelievingly.

“Yes, she came to our play last week.”

Nate shook his head. “I told you to use an alias at that theater.”

“But I wanted to do this as me,” Sophie protested.

Eliot turned back to Hardison. “So, let me get this straight. The aliases and digital trail that you set up to be uncrackable by international governmental organizations are about to be blown apart by a couple of high schoolers?”

Hardison glowered at him. “They’re only looking at old aliases and they were all burnt when we had to leave Boston anyway. It’s not that bad.”

“Sophie’s still using Sophie,” Eliot argued, nearly yelling now. “And I was only just Jacques Labert and in this city. Now they’ve tied me and her together. How did they even do that? That’s way more than some fifteen year old girls should be able to accomplish on Google.”

“Okay, okay. Don’t panic. They were looking at photos of San Lorenzo. That’s how they found a picture of Sophie."

Sophie glared at him.

"Hey!" he protested. "You're the one who jumped in front of the cameras! I can't control the entire internet you know, and I think the people of San Lorenzo would have noticed if every image of their martyred heroine suddenly vanished.

“It’s just bad luck that Julia had met you. But why were they looking at…” Hardison groaned. “They found that video of Eliot and the puppy somehow.”

“Why didn’t you take that down?” Eliot snapped.

“It’s a thirty second feature on the news from two years ago in a country smaller than Iceland! It wasn’t my top priority!”

“Dammit, Hardison!”

“So, our cover’s going to get blown by kids?” Parker asked, incredulously.

“No,” Nate insisted. “Well, maybe. But we can manage this. Hardison, don't let them post anything. Sophie, call Zachary. Let’s go steal ourselves some silence.”

#leverage #eliot spencer #the eliot conspiracy #alec hardison #parker #sophie devereaux #nate ford #leverage fic #my fic #this is basically crackfic #purely dumb but hopefully entertaining

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coochiequeens · 4 years ago

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It takes a certain type of client to purchase an axe from Zachary Guitars.

The original website stated that “You must QUALIFY first. That's right, qualify. Would you expect anything less when wanting to own the best electric guitar in the world?”

While the latest website is a little sleeker when it comes to design, it asks for an email to the owner to learn the current requirements for a handmade electric six-string.

By all appearances, this production line is a one-man show, with the marquee performance being the slow and steady number of guitars its owner, Alex Csiky, makes by hand each year from his home in Windsor, Ontario.

“You will see videos of Alex playing and demonstrating the guitars and other related gear he makes and offers for sale to the lucky few. You can contact Alex directly and get all the info you need,” a description for a since-abandoned YouTube channel read. “If you think you can actually play the guitar, I want to hear from you.”

He’s been lauded in Esquire Magazine for his unusual commitment to building unique guitars. Alongside the instruments, he also sells custom strings and pedals, though the former is now only available for people who were selected to own one of his guitars.

Multiple forum posts across musician forums mention Csiky’s guitars but more typically focus on his alleged bizarre treatment of customers, his demands to see them play and combative nature.

“Visit Zachary Guitars to see if you're worthy,” Esquire wrote about him in 2007.

Eight years later, Csiky published his first known video commentary on Jan 30, 2015, citing his allegiance with the virulent misogynistic and anti-feminist Men Going Their Own Way (MGTOW) movement.

GOING HIS OWN WAY

A misogynistic ideology of “male separatists,” MGTOW’s ranks are made up of mostly straight, white, middle-class men from North America and Europe. They espouse the abandonment of women as a means of saving a society corrupted by feminism, “gynocentrism,” and that the male gender role traps men as silent breadwinners. Among other niche far-right influential Canadians in this space is neo-Nazi Brandon Martinez, an Omegle troll and avowed fascist.

Csiky’s point of entry to the movement is unclear, but in 2015, he began putting out content that bears the MGTOW moniker, often in video titles. His early content paints a picture of an already profoundly developed misogyny, long before he would unveil the wildly antisemitic and racist beliefs that would be a regular talking point only a few years later.

“A lot of the great MGTOW guys on here, and I respect every one of them, because they are intelligent, and they are very wise and they give great information and insight, knowledge, to men who may not have come up with this or were not aware of it,” Csiky said from in front of a cloth background in a sleeveless shirt. “So it’s a very important thing the MGTOW guys are doing.”

Responding to another member of the community, the MGTOW bodybuilder Lui Marco, he says “For women, [a relationship is] a business contract. They play for keeps, the babies and a nest, an emotional tampon and a man they can belittle and takedown to nothing.”

In other videos he turns his ire towards 2SLGBTQ+ people, specifically singling out lesbians in one video.

“Lesbians are not women. Some might look like women, some don’t look like women at all,” he said in a December 2016 video titled “White Genocide through the Creation of the New White Male and Female. “These lesbian feminists who led you down this path were not just regular lesbian, they were Jewish lesbians and there’s quite a few of those around. Jewish lesbians, nothing rare about that one.”

Besides laying the demographic change and population decline of historically European of North America and Europe at the feet of the “Joo” -- his preferred pejorative spelling for Jewish people -- Csiky also alleges that the spread of homosexuality and specifically lesbians are a key piece of the plot.

“Just to show you how clever Jews are in case you didn’t realize it, for this genocide of white, there’s no need for concentration camps. There’s no need for gas chambers, or as Jews put it, ovens. It’s a much better design. Apparently, the German design was not cracked up to what it was supposed to be. Boy, were they sloppy.”

Others point to the much more common trope of people of colour being brought in to replace white people “in their own country,” according to Csiky, referring to non-white migrants as a “foreign army” with no concern about “massacring” the “native white population.”

“You bring in the migrants, the lowest classes. The lowest status individuals from around the world,” he says, the background obscured in shadows. “You flood Europe with it, you flood America with it, flood Canada with it, flood Australia with them. The remaining white women will just give themselves up, give themselves over to these invaders from the third world. Have relations with them, and racially mix with them by having offsprings from these third world, lower status, lower level, uneducated, unskilled, uncultured, substandard, impoverished individuals.”

“It’s a done deal right?”

Csiky promotes himself as a counsellor for troubled listeners. A website for another instrument repair business he ran claims he graduated from the University of Alberta with a degree, while a social media account under Csiky’s name lists a degree in psychology.

“I met a lot of idiots in University, half of them were professors and the other half were on their way to becoming professors. I was determined to work with my hands and not to ever get a regular job,” he said in an autobiographical “about us” section.

He now offers services as a personal counsellor and relationship coach. Fans of his videos can follow links to a few Paypal accounts (with one bearing the username “AllWomenAreWhores”) to make deposits, pay for sessions, and support the cause -- his cause.

The “one-on-one psychological counselling and guidance” for those who need assistance “resolving personal, social, or psychological difficulties, trauma from current or past relationships, addictions, a change in life direction or anything else making you unhappy or holding you back,” runs USD $50 per hour.

“I've been doing a lot of sessions lately; very interesting stuff talking to a lot of people. If you want a session, if you got something that puzzles you, if you had a revelation in your life, if you had a trauma in your life, if you had a relationship go bad or not materialize, if you're struggling at all with anything in life then you can talk to me and I'm going to show you a different perspective and bring some things to the table that you can work with and make proper decisions. That's the whole idea, make rational decisions.”

The effect of bouncing from video platforms like YouTube to alt-tech platforms has increasingly drained his following with every jump. His most prominent life advice account remains and has a subscriber list of close to 5,000 people. By no measure a robust following, his most popular video, “Women Hate Themselves ... Be JUDGMENTAL!!! MGTOW” managed to net over 30,000 views, with others reaching closer to this mark.

Most odd, the exodus from YouTube appears to have been voluntary.

The channel’s last video is a still, soundless image of Csiky posing with travel-size bottles of hand sanitizer. Without comment, it leaves a link to his new channel on an alternate platform. While still producing videos sometimes ranging from four or five hours in a single sitting, he intersplices commentary on his commentary. Previous recordings tell his viewers that they need to support him and other creators like him financially.

“We're into profound and tangible reality type of content here life changing things and a lot of the times many topics that we are no longer permitted not to just talk about but we're not even permitted to think about. So creators as myself and others, we are doing very important work we are creating a community for you which is also not permissible and subject to punishment under the tyrannical regime that all of the West is under.”

#Alex Csiky #Zachary guitars #Men Going Their Own Way (MGTOW)#Anti woman #Anti LGB #anti lesbian #Anti Semitic #Anti migrant

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nathanhsantos · 5 years ago

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The Rush Fish-Eye Lens: Assuming Control

Many works of art enjoying sustained appreciation often contain multiple layers of understanding that may invite/require frequent revisits to reach full comprehension of the creator’s intent. These works can operate successfully on each level independently and thus serve many purposes. In contrast, other works in service to commerce often are created to have maximum impact in the present, and are resigned to a limited shelf life. While all music has a purpose, it is also true that creative aims are not monolithic, but instead exist somewhere on a wide spectrum. This can create conflict if the artist(s) are contractually bound to a larger network supporting the endeavor. An issue of who is controlling the content emerges and the resulting products can be a reflection of the dynamics of this network.

At the time that the Canadian power trio, Rush, was finishing a lackluster tour promoting the weak commercial performance of their third album, Caress of Steel, there were many major cultural shifts underway setting the stage for a broader cultural war; one, it can be argued, that is still being waged. 1976 was the bicentennial celebration of the American Revolution, and in many respects the original revolutionary tenet of “the individual vs. the machine” was very much on people’s minds two hundred years later. Ascendant were conversations about feminist and gender equality, environmental concerns, influence of the Evangelical community, stirring of Islamic politics, racial and ethnic identity, and resistance to the heavy-handedness of corporations directing the entertainment industry.

Artists of this time played the role of vox populi, and groups such as Queen and Kiss penned a number of anthems to stir large arenas into unified chants channeling revolutionary fervor to oppose conventionality. The English band, Pink Floyd, utilized a vehicle of musical commentary through their string of influential concept albums. Their Wish You Were Here album from 1975 describes the band's disillusionment with the music industry as a moneymaking machine rather than a forum of artistic expression. The plot features an aspiring musician getting signed by a seedy executive to the music industry, "The Machine". Dystopian settings were in vogue in all areas of art expressing anxiety of the influence of technology, religion, ideology, and other agents of conformity.

It was at this time that Rush, supported by Mercury Records, arrived at a directional crossroad preparing for their fourth recording project. Rush manager Ray Danniels received pressure from Mercury to see that Rush’s next project be commercially accessible, or they would be dropped from the company. Rush’s recalcitrant answer to the label’s ultimatum was to maintain artistic integrity and stay the course. What resulted from their own act of insubordination was THE bull’s eye strike that earned them the permanent license to control their aesthetic vision. This project given the title, 2112, repurposed Ayn Rand’s Anthem (1937) novella, with additional inspiration from Samuel R. Delany’s Babel-17 (1966) and Nova (1967). Rush’s resistance to massification resonated with their audience profoundly, and they would maintain elements of their resistance throughout the remainder of their work together.

The mini-opera that comprises the entire first side of this album tells the cautionary story of a theocratic regime that has gained total control of the inhabitants of Megadon in the year 2112 and has instituted a collectivist state depriving the population of individual identity and artistic expression. By chance, a guitar is discovered in a cavern behind a waterfall by an anonymous escapee. Determining that introducing this obsolete, primitive technology might enrich their society, the protagonist presents it to the autocratic Priests, who summarily ridicule him and dismiss the idea as unproductive and dangerous. Throughout the entire suite, Rush invokes the combative 1812 Overture (1880) by Peter Tchaikovsky, the Gospel of Matthew, and even G.W.F. Hegel’s “unhappy consciousness” and “beautiful soul” from The Phenomenology of Spirit (1807) in the masterwork. The second side of the album, although not a part of the “2112” suite, continues the thematic motifs describing the traveling to internal and external places and discovering transformative ideas.

This music IS multi-layered and overtly critical of the collectivist ideology. Graphic designer Hugh Syme’s depiction of The Starman on the album cover also underscored the battle waged by “the individual” that was so much a part of the Boomer raison d’être. This material was criticized by leftist journalist, Barry Miles in the March 4, 1978 article in the New Musical Express calling Rush “right-wing propagandists” and even equated them with Nazis (“shades of the 1000-year Reich”). Nonetheless, their following was secured and they would remain in the domain of The Starman, resist pressure to compromise their principles, and steadfastly offer their unique perspective on life.

#nathanhsantos #RUSH #rush 2112 #ayn rand anthem #progressive rock #hugh syme #geddy lee #neil peart #alex lifeson #pink floyd wish you were here

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findasongblog · 5 years ago

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More album releases by Find A Song artists!

Vancouver Sleep Clinic - Onwards to Zion

Vancouver Sleep Clinic released his debut project to critical acclaim in 2014 when he was just seventeen years-old. Now--following years of major label purgatory and a concerted effort on Bettinson’s part to reclaim his music for himself--Vancouver Sleep Clinic releasef its transcendent sophomore album, Onwards to Zion, written during a period of isolation in Bali with his friends in the fall of 2018. In a purposeful departure from his forays into electronically driven song construction, Bettinson wrote much of the album on a $100 nylon guitar bought at one of Bali’s only music stores. “I’d started getting used to making three-and-half-minute songs with a beat and a hook—but the thing is that I don’t really come from making beats,” he says. “I used to busk: that’s where I came from. The whole direction of this album changed for me once I realized I wanted to put the focus back on guitar again.”

Despite the relative simplicity of its origins, Onwards to Zion bears a distinctly collagic sonic palette, encompassing everything from ethereal atmospherics to psychedelic synth tones to hazy samples of ’60s jazz-pop records. Not only a return to the self-reliance of Vancouver Sleep Clinic’s early material, Onwards to Zion also marks a deliberate tonal shift from his multi-part project Therapy 1 and Therapy 2 in 2018 “The Therapy songs mostly came from a place of frustration—just me complaining about the situation I was in back then,” says Bettinson. “When I sat down to think about the new album, I realized I don’t want my discography to reflect bitterness: I want to put something positive into the world. So even though it’s got some darkness, and it’s a bit of an emotional rollercoaster at times, the album is very much coming from a place of love. I’d love for it to leave people feeling re-energized, and ready to just keep pressing on in their own lives.” (press release)

Dylan Perkons- The Healing Day

A collection of richly orchestral songs that tell the story of an experienced songwriter finally stepping out to record under his own name. Perkons has spent his career working on various projects, honing his craft both on the road and in the studio, so while The Healing Day is his first solo outing, it represents a much longer journey.

Perkons knew early on he wanted to work with producer, Jonas Bonnetta of Ontario folk-outfit Evening Hymns, and had the privilege of recording at his secluded Port William Sound in Mountain Grove, ON. The woods were the perfect backdrop for an album that required, above all else, space. While the album was largely performed by Perkons and Bonnetta, The Healing Day also features a handful of Canadian indie mainstays like Michael Feuerstack (Snailhouse,The Luyas), Pietro Amato (The Luyas), Edwin Huizinga (The Wooden Sky), and Lisa Conway (L CON).

The album draws influence from Canadian folk songwriters that have come before him and while Perkons’ familiarity is comforting, he uses it as the foundation for his atmospheric indie-pop. The opening instrumental track feels like dawn, bringing listeners immediately into the woods before Perkons’ deep baritone breaks in, beginning the album’s tellings of imperfect, but meaningful, love. The songs move through relatable despair, knowing sometimes love must be set free in order to grow. There are also moments of reprieve where it is easy to imagine an audience singing along to the chorus in “Love Like Mine”. The album finishes with “Halfway to Winnipeg” where Perkons cultivates hope in the midst of self-deprecating sincerity.

The Healing Day is best described as layered. These are earnest, well-crafted songs, brimming with strings, french horn, electric piano and a plethora of synthesizers, creating a distinctive universe for the listener, one they will want to visit over and over again. (press release)

Foreign Television - Foreign Television

Foreign Television is the solo project of Francis Allen, a musician from Wales, UK, currently based in Moscow, Russia. This is the new, self-titled album, which will be released on October 21st, 2019. All songs are written and recorded between 2016 and 2019 by Francis Allen. Bands that have Influenced Foreign Television's sound include: Teenage Fanclub, Red House Painters, Radiohead, Mew, American Football, and The Smashing Pumpkins. The first Foreign Television album, 'Youthless', came out in 2013. The project was started in 2011, having released 4 instrumental albums as 'Snowmobile' between 2007 and 2011. The most noticeable difference between the two projects was the introduction of vocals and a new style of songwriting. A song off 'Youthless' (Olympic Christie) is going to be featured on 'Waking', a game coming out on Xbox in the next couple of months. (press release)

Portland - Your Colours Will Stain

Portland is the creative brainchild of musician and songwriter Jente Pironet. Sometime during the misty autumn of 2015, Jente collected a huge amount of song material, without a specific end purpose. Over the years, the songs were refreshed, adapted, rewritten and eventually gathered together and poured into a new creative receptacle by the name of Portland, a nod to the home of the late Elliot Smith.

After a short period of experimentation, Portland gradually began to patent a dreamy and melancholic pop sound. The lyrics are loaded with melancholy and nostalgia and the song structures are very recognisable and apt.

While Jente was completing his studies as a singer and songwriter at the PXL Music college in Hasselt, first-year student Sarah Pepels wandered down those same corridors one fateful day. The two shared the same student house but more importantly they shared the same interests and ideas about music. The ‘musical soulmates’ found each other and Portland soon became a duo. The song material was revisited and it quickly became clear that Jente and Sarah’s voices were a wonderful match. Along with Gill Princen on electronics and Arno De Bock on drums, Portland continued the search for their own sound.

The group had big ambitions from the start and set the bar high. They took part in Humo’s Rock Rally in 2016 and two years later they signed up for De Nieuwe Lichting. This Belgian radio competition run by Studio Brussels allowed the band to take a big step forward. They were crowned one of the three winners and the debut single ‘Pouring Rain’ became an unexpected success on streaming platforms. The next records ‘Lucky Clover’ and ‘Expectations’ showed that Portland meant business. The songs are all rich in dynamics and melody, while Jente and Sarah’s harmonious voices really strike a chord. A club tour sold out quickly and, in the summer of 2019, Portland was able to cross both Rock Werchter and Pukkelpop off their bucket list.

Over the rest of the summer, the band worked on their debut album with producer David Poltrock (MIA 2019 for Best Musician). While yet another heatwave raged outside, sweat was literally dripping from the walls in Poltrock Palladium (Poltrock’s own studio in Brussels) and in the DAFT studio in Malmedy too. More than 100 songs and separate ideas were carefully weighed up. There was plenty of experimentation with rhythms, types of sound and structure as some songs were split up and then put together again.

'Your Colours Will Stain’, Portland's debut album, brings together 11 tunes that demonstrate perfectly who Portland is. From stylishly arranged and dreamy indie rock (‘Lady Moon’, ‘Ally Ally’) to funky, danceable electropop (‘You Misread Me’) to pure piano ballads (‘Pearls’). From grand and epic (‘Expectations’) to shamelessly poppy (the irresistible ‘Killer’s Mind’) to fragile and intimate (‘Moonlit’). And sometimes all at once (the overwhelming ‘Deadlines’). But in every song there's these two voices, two incredible voices that pull on all the heartstrings. With ‘Your Colours Will Stain’ Portland has created a mature and confident album, one that ticks all the boxes and shows a band that's ready for the bigger stages. (press release)

Manic Carbon - The Sun Is Gone & The Moon’s Off Too

Manic Carbon is a band risen from the ashes of yesterday's internet. Its members, spread between four cities and two continents, met on a long-dead music forum in the mid-2000's. Today, they make music by sending tracks back and forth, building and improvising on each other's ideas. "The Sun Is Gone & The Moon's Off Too," the band's debut album, is a nostalgic journey that descends from the slick, brooding opener "Enter the Dreamhouse," to the sunshine pop of lead single "The Reset Era," and the sublime cloud rap of "Gimme the Dream Touch" and "Talker." The record grows darker as it progresses, ending with the fearsome and haunting "Palindrome," where vocalist Moral Reef raps from a place of nightmare. The album is sure to please fans of Superorganism, Animal Collective, Toro Y Moi, and Brockhampton. (press release)

#music #music blog #indie music #alternative music #albums #Vancouver Sleep Clinic #Onwards to Zion #Dylan Perkons #The Healing Day #Foreign Television #Portland #Your Colours Will Stain #Manic Carbon #The Sun Is Gone & The Moon's Off Too #indie #alternative #find a song

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wawhii · 6 years ago

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Tag meme!

Tagged by @witchyeevee ; Hello!

Nickname: Uuuuh... don't have one, but some people call me SDM on the Terraria Forums or Discord! I'm known as SolarDragonMarnyr in most places.

Zodiac sign: Leo

Height: 5′10 (And a little bit!)

Hogwarts House: GRIFFINPUFF!!

Last thing I googled: How to find your Minecraft screenshots

Favorite artists: Saitama Saisyu Heiki (SSH), Nightwish, DJ Splash, DJ Satomi, whoever made YS' music (Falcom???), KOTOKO, and Phyrnna (I think that's how you spell it??). Art wise? I... don't really have any. I like everyone's art, and I like my own too.

Song stuck in my head: 21ST CENTURY DIGITAL GIRL! I DUNNO HOW TO LOVE BUT I LIVE IN THIS WORLD!

Following: 86 (I get overwhelmed with too many people)

Followers: 157

Do you get asks: Only with ask games, but sometimes!

Amount of sleep: 8 or 10 hours each night! Early bird gets the worm, right?

Lucky number: 13 (I think. I’ve heard people say it’s unlucky, but that’s what I’ve always been told.)

What you’re wearing: Black T-shirt, some kinda baggy pants, and a hoodie around my waist. I look like an anime character!

Dream job: Ideally, without feeling bad? Therapist, or dragon. Realistically? Artist or Cool Science Man.

Dream trip: I wanna go visit my friends in America, or go to try their food! I don't have any other Canadian friends.

Instrument: Favourite? Guitar. I can't play any, but I can certainly sing!

Language(s): English, a tiiiiny bit of French that I remember.

Favorite songs: Everything Nightwish has made, old songs everyone used to listen to in their emo phase (And weeb phase! I have a playlist for that one which you can listen to here!), and... some more that I'm not comfortable telling because they just are.

Random fact: My sonas can all shapeshift, even the "human" one!

Aesthetic: FIRE, grunge, southern gothic, anything that seems sunny and bright (Pools in midday, beaches, sunlight through trees, etc.), and... I've kinda got a thing for holy/angel aesthetic stuff. (Quartz, all white, gorgeous engravings, gold, a million eyes and six wings, soft light, etc.). Also, old PS1/PS2 graphics, and YS!

I tag @pokemunthemun, @renegadereshiram, and @blondfishie2! Only do it if you wanna, though.

#Tag meme #asks #(I guess?)#This was fun! Thanky!

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deebeeus · 6 years ago

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2018 was a fun year for #guitars and #guitarphotography! Here’s all the gear I added to the family in 2018. Guitars (l - r): . 2007 #CustomShop gold sparkle #Stratocaster (thanks @folkwaymusic!)/ 1957 #Fender #Musicmaster (thanks @terry_foster!)/ 1961 #Gibson #LesPaul Junior (thanks @shyboytexrepairs!)/ 2002 ‘67 #FlyingV Reissue (thanks @jjmmacinnis!)/ 1961 Musicmaster (thanks again @terry_foster!)/ 1968 #ES335 TD (thanks an elderly gentleman on Kijiji! 😀) . #Amps (l - r): . 1965 #Champ (thanks @capsulemusic and @hokusai22!)/ 1965 #VibroChamp (thanks @malonzi5150!)/ 1964 #Bassman (thanks mr. downsizing guitar teacher on Kijiji! 😀)/ 1965 #PrincetonReverb (thanks Stevie Mac on the Canadian Guitar Forum!) . Also exciting in 2018, I had photographs published for the first time, in the @fretboardjournal Electric Annual issue (that’s a copy of it in front of the Bassman cabinet, to the left of the Flying V)! A huge thanks to #TerryFoster for giving me the opportunity to take the photographs that went with his article. And many thanks to all my friends here on Instagram for continuing to follow and like my posts. I wish you all a happy, healthy, and most importantly, #guitar-filled 2019! 😀🍾🍾🍾🎸🎸🎸🍾🍾🍾😀 #happynewyear #newyear2019 #vintageguitar #vintageamp #vintagegibson #vintagefender https://www.instagram.com/p/BsEUSEjHn5n/?utm_source=ig_tumblr_share&igshid=1ky9f0do0714y

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bigmacdaddio · 4 years ago

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BOB DYLAN & THE BAND – Madison Square Garden, January 30, 1974

by: Chris Charlesworth

BOB DYLAN & THE BAND – Madison Square Garden, January 30, 1974

This was the concert where I sat front row centre (see other Dylan post). I found this picture on the internet so there's a good chance that the back of my head is among those at the front. This is my review from

Melody Maker

THEY CHEERED and clapped and waved for 15 minutes even though the house lights were up and 'Greensleeves' was playing through the PA system and Bob Dylan had already played a couple of numbers for encores. Bill Graham, at the rear of the stage, looked perplexed and wondered when in hell the 20,000 Madison Square Garden crowd was ever going to leave. Then Dylan returned, on his own and looking slightly sheepish. He'd discarded his black suit and was wearing a blue sweater with a white Maple Leaf on the front which indicated that the wearer was a supporter of a Canadian football team. The cheering reached greater heights as Dylan walked to the microphone and looked as if he wanted to say something. Then he changed his mind and walked across the stage, smiling and holding his arms aloft like a prizefighter who's just knocked out Cassius Clay. Then he went back up to the mike and said somewhat briskly, “Thank You. See you next year.” Then everyone knew it was over. Bob Dylan's return to New York last week will doubtless be the highlight of his current 21 city tour of America. He played four concerts at the Garden, selling out each one. There were two concerts last Wednesday and two concerts on Thursday. It would have been fitting, I think, if the tour had closed in New York but instead it closes at the Los Angeles Forum on February 14. I attended the Thursday afternoon concert and was lucky enough to witness the first time that Dylan had actually walked back on to the stage after the encore to thank the audience. My luck, however, extended even further than that; I was sitting in the front row of the 20,000 seat stadium within ten feet of Bob Dylan. A friend – an Irishman had obtained four tickets on the front row by mail order. The luck of the Irish is not just a proverb. It was section A, row 1, seat 8 which is slightly to right of the centre of the stage which also happens to be where Bob Dylan stands during the performance and at the close of the show I was pressed hard up against the stage in the throng who joined Dylan in the chorus to ‘Blowin’ In The Wind’. I was also asked by a member of the road crew to stop taking photographs: the practice was annoying the performer. Dylan ignored the huge ovation that greeted his arrival on the stage. Dressed in a black jacket and waistcoat, black suede trousers, check shirt with brown boots, he strapped on a sunburst Fender Stratocaster and went straight into his opening song ‘You Go Your Way And I’ll Go Mine’ which has been the regular opener on the tour. The audience were still cheering his actual presence as the first chords were heard. To his right was Robbie Robertson, looking younger without his beard and glasses, dressed also in a black suit and picking on a red Strat. To his right was Rick Danko in check jacket and white trousers plucking on a fretless bass. Richard Manuel's grand piano was even further right, next to a battered old couch and at the rear of it all was Garth Hudson's swirling organ and Levon Helm at a drum kit small by today’s rock excess standards. Other furniture littered the stage: there was a hat stand to Dylan's left and a fake unlit lamp hanging to his rear. All the action took place on a red carpet over which a couple of roadies made hesitant sorties to straighten mikes, adjust controls and provide different instruments when required. Dylan's next song was ‘Lay Lady Lay’, a different version from that on

Nashville Skyline

. Gone was the country flavour and in its place a jerky, almost rhythm and blues tempo over which the singer stretched out the syllables in all their sensuality. Dylan was stabbing at chords, playing an unheard rhythm guitar which appeared slightly hesitant, but his voice was perfect. ‘Rainy Day Woman 12 And 35’ was greeted with a standing ovation and Dylan allowed himself his first smile of the evening as the crowd responded to the chorus each time it came around. Then it was ‘It Ain’t Me Babe’, the second different arrangement he played. Before the song Dylan, Robertson and Danko huddled together around Helm’s kit for a quick conference. The variation of the opening chords was such that the audience didn’t recognise the song until the opening line; this time it was a simple rock beat instead of the folksy version on record. ‘Ballad Of A Thin Man’, with Dylan at the piano, followed, before he left the stage for the Band to play four numbers without him. Up to this point no-one from the stage had spoken to the audience. They played ‘Stagefright’ which seemed particularly apt in the circumstances, and Danko's vocals were clear enough for all to understand the implications of the song. Next it was ‘The Night They Drove Old Dixie Down’ with a tremendous flow on the chorus line, ‘King Harvest’ and the jaunty ‘Up On Cripple Creek’ which seemed to satisfy a voice to my rear that had been requesting this song for 20 minutes. The Band was on top form, and while it was obvious that it was Dylan's show, Robbie Robertson came close to stealing the limelight. His guitar runs were a joy, effortlessly played and perfectly executed time and time again. Dylan returned for ‘All Along The Watchtower’, playing electric guitar again, then ‘The Ballad Of Hollis Brown’ taken at an easy volume so the lyrics (he remembered them all) were heard before the first half closed with ‘Knocking On Heaven's Door’. “Back in ten minutes,” said Dylan as he and the band unstrapped their guitars and prepared to move off. It was the first time he'd spoken to the crowd. The opening of the second half was probably the crux of the whole show; Dylan alone with acoustic Martin and harmonica strapped around his neck. He re-appeared to another standing ovation, had a quick word with one of the road crew, sipped from a paper cup and went straight into ‘The Times They Are A Changin’’. It was after this song that the roadie came down to ask me to stop taking pictures. Without hesitation Dylan went quickly through his acoustic set, playing next ‘It Ain’t Me Babe’, then ‘Don’t Think Twice’, ‘Gates Of Eden’, ‘Just Like A Woman’ and ending on ‘It’s All Right Ma (I’m Only Bleeding)’ which – in the light of Richard Nixon’s fall – contains the unusually appropriate words “even the President of the United States must have to stand naked”. At every concert on the tour this line brought a standing ovation. The Garden was no exception and Dylan, predicting the reaction, grinned ruefully. This last song, in fact, was undoubtedly the highlight of this segment of the show, taken at a frantic pace and demonstrating what a powerful performer Dylan can be and it struck me then and there that in an era where singer songwriters seems to emerge almost daily, Dylan was the first, setting the pattern for them all and that on this tour he demonstrates an incredible superiority over the rank and file in both material and delivery. Any sceptics who predicted Dylan's era was over were mistaken; here in the seventies, eight years after many of these songs were written, Dylan is still as important as ever in setting standards which others must look towards. The acoustic set completed to another standing ovation, Dylan raised his arms in the now typical gesture of the winning sportsman, one arm holding the Martin and the other with a clenched fist that reflected strength now blended with maturity. The Band re-appeared for four more songs – ‘Rag Mama Rag’ (superb), ‘Wheels On Fire’, ‘The Shape I’m In’ and ‘The Weight’ all of which were played with clinical perfection. Dylan re-appeared with electric guitar to play the only new song of the evening, ‘Forever Young’, with its opening line that sounds rather like the blessing at the end of a church service. Then it was all down to rock and roll and ‘Highway 61’, another taken at a furious pace. ‘Like A Rolling Stone’ closed the act proper and by now Dylan was beaming with delight. The house lights were raised, an invitation for all to rush to the front and I was caught up in the melee of delighted faces who swayed with the music and joined the singer on his choruses. A girl behind me was screaming for her idol, a youth to my right lit a roll-your-own and tried to offer it to Dylan and a man to my left produced a box of photographs of Dylan and tried to show him them. But Dylan remained calm and sang on, glancing up occasionally at the swaying arms, then down again to concentrate on the chords he was playing. Occasionally he allowed himself a grin, and even visibly laughed at us all during one break. By the end of the song his face was beaming and as he left the stage, his arms were again raised like a footballer who's scored in the last minute of an important match. Five minutes later he re-appeared and sang ‘Maggie's Farm’ closely followed by ‘Blowing In The Wind’, another song which invited full audience participation. He re-appeared with mirror sunglasses and from where I was standing the reflection of the audience could clearly be seen in his eyes. It was the reflection of gratitude for the music Bob Dylan has shared with the world, of gratitude for his decision to re-appear from seclusion and of gratitude to an artist who had just put on the best concert New York is likely to get this year or next. “Thanks. Me and The Band enjoyed it,” he said before leaving. Fifteen minutes later we were still there and he came back to thank us again. See him next year? I damn well hope so.

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middleeyt · 7 years ago

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Coachella 2018 Must See Underrated Artists

Coachella 2018 is soon approaching and I am sure you are getting your playlist ready with that Beyonce, The Weekend, and Cardi B, but that is quite honestly just the tip of the iceberg with the amount of crazy good artistry at this years festival. So get your Spotify playlist ready and check out my picks for this years must see underdogs. (Checkout my very own collaborative Spotify Coachella playlist down below and feel free to add your favorite picks!)

Friday April 13th

Bleachers- Similar Artist: Walk the Moon

Bleachers is the official stage name of amazing songwriter and record producer Jack Antonoff, who is also part of the well known band Fun. Antonoff has written massive hits for people like Sia, Taylor Swift and Lorde. Bleachers' music is heavily influenced by the late '80s, early '90s.

Belly- Similar Artist: French Montana

Ahmad Balshe, better known by his stage name Belly,is a Palestinian-Canadian rapper, singer, songwriter, and record producer. Belly’s music is both influenced by the political disparity between the Israeli- Palestinian conflict and the violence and poverty his own family endured.

PVRIS- Similar Artist: Florence and the Machine

PVRIS is an American rock band formed by members Lynn Gunn, Alex Babinski, and Brian MacDonald. As previously described by AllMusic the bands music "blends dreamy electronica with dark, beat-heavy rock."

LÉON- Similar Artist: Ryn Weaver

Lotta Lindgren, better known as LÉON, is Swedish singer whose musical inspirations range from Amy Winehouse, to Beyonce and Stevie Wonder.

Whethan- Similar Artist: San Holo

American DJ and music producer Whethan is most known for his collaboration with Flux Pavilion and MAX for their song Savage. Whethan has been touring for the past year with the popular duo The Chainsmokers.

Elohim- Similar Artist: Louis The Child

Most well known for their original version of Sleepy Eyes, Elohim is an LA-based synth-pop artist with irresistible dance worthy tracks.

The Blaze- Similar Artist: Ta-Ku

The French duo is well known for their powerful short films, their music, a blend of house and a soulful R&B reminisce.

MHD- Afro-trap

Mohamed Sylla, better known by his by his stage name MHD is a French rapper whose music is the precursor of "Afro Trap", a mixture of African music and Trap music.

Saturday April 14th

Tash Sultana- Similar Artist: James Bay

Australian singer-songwriter Tash Sultana, has been booked on a sold-out tour since the start of 2017. Her social media following has gained her world wide fame as a self-taught beatboxing, vocalist, guitar tapping, loopologist.

BROCKHAMPTON- Similar Artist: Amine

BROCKHAMPTON is self-proclaimed “online’s first boy band” after coming together through the online forum "KanyeToThe". Brockhampton is an entirely independent creative agency and record label, and a thriving musical group with die-hard fans across the country.

Alina Baraz- Similar Artist: Khalid

Most known for her collaboration with Khalid on the massive hit Electric, Alina lies between mellow R&B and down-tempo electronica.

WizKid- Similar Artist: J Balvin

Already famous in his hometown of Nigeria, Wizkid brings a blend of Afropop, reggae and dancehall to the Coachella scene.

Jorja Smith- Similar Artist: dvsn

At only 20 Jorja Smith has already independently released numerous records with her jazz tinted vibe and R&B influence. Smith’s acclaimed influences range from Rihanna, to Alicia Keys.

Flatbush Zombies- Similar Artist: Joey Bada$$

Brooklyn trio, capture the best of the 90’s rap scene with dense lyrics and melodic beats bringing a refreshing tune to the Coachella rap pool.

Ekali- Similar Artist: RL Grime

Ekali’s rapid rise to fame comes after being recognized with writing credits for Drake's If You’re Reading This It’s Too Late. An advocate of young talent, Ekali brings a blend of instrumental and R&B infused trap music.

Party Favor- Similar Artist: TroyBoi

Much like his name alludes, Party Favor brings a dance party full of chart-topping tunes and rhythmic drops.

Sigrid- Similar Artist: Phoebe Ryan

Voted as one of BBC’s Sound of 2018, Sigrid is a Norwegian pop singer/ writer whose rich and powerful voice has landed her debut single Don’t Kill My Vibe on the U.S. charts.

Chloe x Halle- Similar Artist: Solange

Known to many as Beyonce’s prodigies, Chloe X Halle is a contemporary R&B duo whose rise to fame came through a rendition of Pretty Hurts by queen bee herself. Signed to her record label Parkwood Entertainment, the girls are not only great singers but great actresses starting in Freeform’s Grown-ish.

Hundred Waters- Similar Artist: HAIM

If you’re in the mood for a simp session, Hundred Waters is the act for you. Hundred Waters album “Communicating” is the bands attempt to ask societies most interpersonal questions through lyrical nuance and a crap ton of crying.

Sunday April 15th

Russ- Similar Artist: Bryson Tiller

Most known for his song Losing, Russ Vitale is a rapper, singer, songwriter from Atlanta whose work is inspired by Eminem and 50 Cent.

Jessie Ware- Similar Artist: AlunaGeorge

England native Jessie Ware’s debut album has peaked on UK Albums Chart at number 5 back when it was released in 2012. Since then, Ware has taken her powerful voice all over the world and collaborated with artist such as Ryan Tedder from Onerepublic and Cashmere Cat.

Kamaiyah- Similar Artist: Iamsu!

Oakland native, Kamaiyah’s sound is heavily influenced by 90’s rap making her debut much like the queen herself Missy Elliott, dropping some mad verses over a Young Thug beat.

DeJ Loaf- Similar Artist: Ty Dolla $ign

Born Deja Trimble, Dej Loaf’s rise to fame can be attributed to Drake’s Instagram shoutout over her first mix-tape Try Me. Now signed to Columbia Records, Dej has gained some massive popularity in the Hip-Hop scene.

LP- Similar Artist: Tegan and Sara

Laura Pergolizzi, better known as LP, is an LA-based singer/songwriter whose edgy look and epic voice has gained her a huge fan base among the Indie-pop scene.

Jacob Banks- Similar Artist: Jack Garratt

At the age of 20, Jacob Banks began his journey singing at small open mics, by 2014 he began touring with people like Alicia Keys and Sam Smith. His soulful voice makes him a heavy contender at this years festival.

MAGIC GIANT- Similar Artist: Magic!

No artist screams #coachellavibes more than MAGIC GIANT. The LA-based band has been recognized as one of Rolling Stones “10 Artists You Need to Know”.

Coachella fest is one of my favorite festivals because of the diverse number of acts they bring each year. I guarantee these artists will be lining up the charts in the year to come. So there you have it, your Coachella music wokeness just got a little more woke! Feel free to follow my Coachella collaborative Spotify playlist by clicking on the hyperlink RIGHT HERE!

#Coachella #coachella music festival #music #Spotify #middleeyt #musicfestival

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firefield · 4 years ago

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Closing out the Who Can I Be Now? box set with this incredible live show from the Nassau Coliseum, March 23, 1976 - New York.

One of the many revelations this well-done box set revealed (for me anyway) was to contextualize Diamond Dogs within the Young Americans/Station To Station/Thin White Duke world. It makes absolute sense, both lyrically and sonically, and yet in my mind I had always sat Diamond Dogs more with Aladdin Sane and therefore at the tail end to the Ziggy ethos. Perhaps others who where actively buying this music as it was released don’t have that sense, but for those of us 80’s teenagers who were going backwards (and without convenient and near-instantaneous Internet discographies and chronologies available) the exact sequence of “past” work wasn’t so clearly defined. It’s become strange now to tag DD with those overtly glam productions, even though with all of Bowie’s work, there is bleed-through and both forward and backward musical references. Although the connective tissue between the box opener DD and closer StS is strong, you still marvel at the metamorphosis of his art over such a short time span. As with the first box set, it’s relatively overwhelming and sort of amazing that the music “industry” knew what to do with David Bowie at all. Again, you get the sense that they are all along for the ride, just as the fans were. As untethered to reality as he may have been personally, the core nucleus of his artistry had black hole level warpage of the space and perceptions around him. It would still be a long time before the “DB can do whatever he wants and it all works” sense starts to fade.

I first encountered this live show because it was included with the SuperDeluxe box set for Station To Station and was absolutely blown away by it - and it’s no surprise that it’s included here in this Legacy box set. It’s so fabulously recorded that it perplexes me somewhat as to why this took so long to get an official release. It’s nothing like David Live so it’s proximity in time to it shouldn’t have been a factor. I can’t really say, but it’s a wonder of a performance, not just by DB, but from the entire unit.

I’ve seen DB on every tour he did from Glass Spider onward, and I’ve been asked by friends if I was able to go back in time and see one show from any tour in the past, what would I want to witness in person - and I think this Isolar Tour would be the one. One critic, when describing the lighting effects and the sound and the preternatural precision of the entire show, used the phrase “everything was kept at a cruel minimum” which I just love. The stories of personal upheaval at this time for DB have become near-mythic, but it’s not evident in his performance here, which is absolutely extraordinary. The band has been slimmed down to 5, and showcases one of my favorite rhythm sections in the entirely of rock music, Dennis Davis and George Murray, who are so locked into each other’s orbit that I literally get goosebumps listening to their live interplay. Surely I would get ridiculed for what I’m about to say - certainly from jazz heads - but I find their level of connection on par with the great Scott La Faro/Paul Motion unit from the Bill Evan’s Trio. Sue me. But I feel it. There is a reason why Bowie stuck with those two guys for as long as he did... which, in restless Bowie terms is practically a lifetime. They will be DB’s propulsive foundation for a long time hence.

Couple of notes about the set... it’s a pretty straightforward show, touching on all of his records from Hunky Dory onward - the only surprise to me is that Golden Years doesn’t appear. Stacy Heydon, a 21 year old Canadian session player, handles lead guitar and he’s as competent and creative with his parts as any of the better known Bowie guitarists. He doesn’t express himself in the histrionic and sometimes jarring ways that Bowie seems to elicit from many of his lead guys (Ronson, Slick, Fripp, Gabrels) - he’s a got a stronger rhythmic sense, and in a live context, locked with a rhythm guitarist as skilled as 24 year old Carlos Alomar, the results are crystalline and surgical which fits perfectly with this ice cold and magnificent white light white heat stage of 29 year old Bowie’s career. And speaking of magnificent... Word On A Wing. Right here on this night. If there is a Lord and he hears the pleas and prayers of mere mortals, this was surely received as from the tongues of angels.

(PS. As some of you know, I make an effort to stay out of the art-as-competition “good/better/best/sucks” time-wasting and generally pointless exercises in subjective objectivity that will clog these forums for as long as we humans remain the center of our own universes... BUT... is this is the most bad ass, butt-shifting, silky, funked out, slamming version of FAME ever? Is it any wonder? Am I too cool to fool?)

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themusicenthusiast · 5 years ago

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The Glorious Sons Announce Massive 2020 North American Tour in Support of New Album, 'A War On Everything'; Rocking Dallas on February 6th at Canton Hall

Just two days after their massive sold-out hometown stadium show at Kingston’s Richardson Memorial Stadium, JUNO Award winning rockers The Glorious Sons have announced their 2020 “A War On Everything” North American headlining tour produced by Concerts West/AEG Presents. Kicking off in Pennsylvania on January 16, the sweeping 40+ date tour will hit iconic venues across major cities throughout the U.S. and Canada including stops in New York, Los Angeles, Toronto and Vancouver before wrapping in Montreal on April 11. Joining the tour as special guests are Des Rocs (U.S. dates) and Black Pistol Fire (Canadian dates). The tour announcement follows the celebrated release of the band’s brazen and brutally honest new album A War On Everything (9/13 via Black Box/BMG), and marks the group’s highly-anticipated return to Scotiabank Arena in Toronto, where they wrapped the critically acclaimed larger than life “S.O.S.” tour last November. Ticket pre-sales for the 2020 “A War On Everything” tour begin today at 1:00 p.m. local time. Tickets go on sale to the public beginning September 27 at 10:00 a.m. local time.

A daring 14-track collection of stadium-ready, “dirty, sweaty rock” (Alternative Press), rife with devastating moments of vulnerability and searing insight into universal truths about anxiety, sadness and isolation in the 21st century, A War On Everything was produced by Frederik Thaae (Kate Nash, Atlas Genius), and recorded at North of Princess studios in the group’s hometown of Kingston, ON. Billboard hailed the record’s “turbulent guitar licks,” saying, “maybe the self-aware band thinks [rock] is dying, but they might just be resurrecting it.” Stuart Berman for Apple Music said, “‘A War on Everything’ heightens the tension between entertainment and inner torment at the heart of The Glorious Sons' sound.” The record marks the start of a new chapter for a band who earlier this year landed their first Billboard #1 with "S.O.S. (Sawed Off Shotgun)", which held the #1 spot at Active Rock in Canada for 10 consecutive weeks (4 at US Active Rock), spent a record setting 64 weeks on the Canadian Rock Radio Charts while earning CRIA GOLD certification, and is still one of the most spun tracks of 2019 at Rock Radio in North America, firmly planting The Glorious Sons in uncharted territory. On September 21, The Glorious Sons played to a raucous hometown crowd to commemorate the release of A War On Everything, taking over Kingston’s Richardson Memorial Stadium for a 2.5 hour headline set for the over 14,000 fans in attendance. From headlining clubs to arenas and festival dates, 2019 saw the award-winning band play massive shows with The Rolling Stones and Twenty-One Pilots and tour across the U.S. with The Struts. A War On Everything Tour Dates: 2019 October 26 – Atlanta, GA – Radio 105.7's Saints & Sinners Ball November 4 – Birmingham, UK – O2 Institute^ 5 – Glasgow, UK – King Tuts Wah Wah Hut^ 6 – Manchester, UK – The Deaf Institute^ 7 – London, UK – Scala^ 9 – Paris, France – Nouveau Casino^ 10 – Stuttgart, Germany – Im Wizemann^ 11 – Amsterdam, Netherlands – Bitterzoest^ 12 – Hamburg, Germany – Grosse Freiheit 36^ 14 – Copenhagen, Denmark – Amager Bio^ 15 – Stockholm, Sweden – Debaser Strand^ 17 – Berlin, Germany – Huxleys Neue Welt ^ 18 – Warszawa, Poland – Proxima^ 19 – Prague, Czech Republic – Lucerna Music Bar^ 20 – Vienna, Austria – Grelle Forelle^ 22 – Zürich, Switzerland – Jugendkulturhaus Dynamo^ 23 – Munich, Germany – Cafe Muffathalle^ 24 – Köln, Germany – Carlswerk, Victoria^ 25 – Frankfurt AM Main, Germany – Batschkapp^ December 14 – Minneapolis, MN – 93X Nutcracker 15 – Chicago, IL – 101WKQX The Night We Stole Christmas 2020 January 16 – Harrisburg, PA – Club XL* 17 – Buffalo, NY – Town Ballroom* 19 – Cambridge, MA – The Sinclair* 21 – Brooklyn, NY – Music Hall of Williamsburg* 22 – Philadelphia, PA – Union Transfer* 24 – Washington, DC – 9:30 Club* 25 – Virginia Beach, VA – Elevation 27* 26 – Charlotte, NC – Amos’ Southend* 28 – Nashville, TN – Cannery Ballroom* 31 – Jacksonville, FL – Ponte Vedra Concert Hall* February 1 – Tampa, FL – The Orpheum* 4 – Houston, TX – Warehouse Live* 5 – Austin, TX – The Mohawk* 6 – Dallas, TX – Canton Hall* 8 – Phoenix, AZ – The Crescent Ballroom* 9 – San Diego, CA – Music Box* 11 – Los Angeles, CA – El Rey Theatre* 12 – Santa Ana, CA – Yost Theatre* 15 – San Francisco, CA – Great American Music Hall* 18 – Portland, OR – Wonder Ballroom* 19 – Seattle, WA – The Showbox* 21 – Salt Lake City, UT – The Complex* 22 – Denver, CO – Gothic Theatre* 23 – Omaha, NE – Slowdown* 27 – Toronto, ON – Scotiabank Arena 28 – Columbus, OH – Newport Music Hall * 29 – Detroit, MI – Royal Oak Music Theatre* March 5 – Vancouver, BC – PNE Forum 6 – Victoria, BC – Royal Theatre 10 – Red Deer, AB – Westemer Park Arena 12 – Calgary, AB – MacEwan Hall 13 – Saskatoon, SK – TCU Place 17 – Lethbridge, AB – Enmax Centre 19 – Edmonton, AB – Edmonton Convention Centre 20 – Regina, SK – Conexus Centre 21 – Winnipeg, MB – MTS Place 23 – Thunder Bay, ON – Community Auditorium 26 – St. Catharines, ON – Meridian Centre 27 – Peterborough, ON – Memorial Centre 28 – Ottawa, ON – TD Place Arena April 10 – Quebec City, QC – Imperial Bell 11 – Montreal, QC – Corona Theatre

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balarouge · 5 years ago

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Help solve a decades long mystery: what is the name of this mysterious 80s song? | Entertainment & Showbiz from CTV News

If you were an experienced audience of new-wave popular music in the 1980s and occur to have an excellent memory, you could possibly assist handle a musical enigma that extends decades.

Termed "The Best Mystical Track Online," this straightforward, three tiny tune, seemingly tape-recorded off of a German radio terminal in the 80s, happens with more concern proofs than an investigative book.

From the reverb-heavy, much challenged verses to the absence of a validated tune title as well as artist, the tune opposes interpretation.

A dedicated team of popular music enthusiasts and amateur sleuths have actually been actually hunting for the identification of the song across the web, a mission that has astounded chat rooms, music data banks and also YouTube comment areas.

After the hunt experienced a renewal of rate of interest this year, the sleuthers are wishing that this might eventually be the year they locate the artists behind the popular music.

THE ACCOUNT

The breadcrumb path of hints goes all the method back to 2007.

On March 18 of that year, an individual going by the username "bluuue" submitted a clip of a tune on a Canadian broadcast station fansite along with the review, "Tape-recorded it 82-84 coming from a german radio terminal. Seeking performer ever since:--RRB-".

Concurrently, one more article was actually brought in on a German website called best-of-80s. de including the same clip and question, submitted by a customer knowned as "bluuue," but authorized along with the nickname "Anton."

In additional messages about that internet site, Anton uncovered that the track was very likely tape-recorded off of the radio terminal NDR2 from a program knowned as "Music for youths" (Musik für junge Leute), where unknown bands were actually typically featured.

The song is actually made up of driving guitar, a deeper, male voice vocal singing often equivalent English lyrics, and a pointy synthesizer impact on the chorus.

The majority of appear to agree that the singer has an emphasis and is very likely International, yet is it Swedish, German, French? Is the emphasis organic, or even put-upon? Several concepts based upon the design of the music-- defined due to the tune chasers as post-punk, new wave or darkwave-- have been actually recommended by commenters around the world wide web, but none of the bands suggested to have a similar noise have actually ended up the elusive artists behind the song.

Over the next many years, the excerpt of the track was actually posted to YouTube a pair times and discussed on a handful of forums. The quest mostly went cold.

That is actually, till April of 2019, when Gabriel Vieira submitted the excerpt of the tune on his YouTube stations under the label, "ONE OF THE MOST UNEXPLAINABLE SONG ON THE NET!"

Vieira posted The Mysterious Tune (TMS for brief) to several subreddits, and also inevitably produced a specific Reddit stations for the investigation in to TMS at the beginning of July if you want to put together theories. An individual gotten in touch with "johnnymetoo" always remembered joining the authentic hunt in 2007, and also had the ability to give the total recording of the track.

The search really acquired traction when it was actually dealt with by well-liked YouTuber Justin Whang for his "Stories Coming From The Internet" collection. His 1st video recording concerning The Mystical Track achieved over 400,000 perspectives.

Much of the leads that the song detectives talked to all seemed to be to obtain continued one blockade-- without having the ability to talk to the person who submitted the authentic audio, how could they clarify their inquiries?

The vital then, seemed to become discovering Anton.

THE RESOURCE

In August, a German female called Lydia Holz published in The Unexplainable Tune's Reddit web page under the title "bluuely," claiming that she had initially posted the recording as bluuue/Anton.

To prove her identification, Holz talked to iconoclasts to notification the profile bluuue on best-of-80s. de, the German website where the song was published in 2007, preserved in a thread that still exists today. Quickly after, she was actually brought in a moderator on the Reddit team.

The 53-year-old, who stays in Germany and also deals with people along with unique necessities, talked to CTVNews.ca over e-mail. She claimed that it was her much younger bro Darius who had actually indicated the song. His memory of when as well as how the recording came approximately is unsteady, Holz stated, considering that "in the starting it was actually simply a great song," that he believed he will hear once more very soon on the radio, at which factor he could learn the name and also musician.

He never heard it on sky once again.

"He never ever possessed the suggestion that each of this will end up being thus crucial someday," Holz claimed.

She said the search had actually been happening long prior to the net got involved, as her sibling "used to talk to close friends and individuals that made use of to listen closely to identical songs back in the 80s" if they realized it.

When her brother uncovered the hunt had reignited this summer months, he said to Holz, as well as she decided to find ahead as the authentic banner.

Ever since, she mentioned, her lifestyle has transformed greatly.

"I devote method very a lot time on the journey," she acknowledged.

THE INSPECTION

Each time a brand-new method has actually been explored, searchers met a block wall surface.

To maintain points managed, the Reddit thread includes a hyperlink to every one of the disproved ideas and lifeless tops in a Google.com Spread sheet along with over 150 rows of relevant information.

Shazam-- a tool utilized to determine songs solely coming from an audio recording-- shows the label "Antwon01" as the musician, yet this has actually been debunked as a person that tried to copyright the tune and also eventually withdrawed the insurance claim, according to the Reddit string.

Various databases have been actually explored as well as recommended. One is actually GEMA, a German organization that tracks the licensing of entertainers and article writers. Although the puzzle tune can be someplace on a listing of tracks played on the radio in between 82-84 that could be actually found on GEMA, it is unbelievably complicated to recognize what to seek without a title or even artist for the song-- and it is actually not ensured that the track would be provided there in all.

Some of the labels that have been actually suggested are based upon reoccuring lyrics, such as "Like the Wind," or even "Check it In, Check it Out," but it is actually been actually revealed that songs usually bear labels that don't seem in their lyrics in any way.

The absolute most promising top was when the amateur investigators discovered a DJ that jogged the broadcast series "Musik für junge Leute" in the course of early 80s. When Vieira as well as Holz obtained in contact along with the DJ-- a male named Paul Baskerville-- he couldn't don't forget participating in the tune.

Even the basics of the tale base on changing ground. Holz has acknowledged that her brother isn't beneficial about which broadcast terminal and also show he indicated the track off of.

Despite the amount of people talking about the Reddit team daily, as well as the amount of brand new attention on the instance, Holz said she's paniced the investigation is actually in a rut. She believes the trick is actually to obtain the phrase bent on a much older target market, individuals that may certainly not essentially find a chatroom online covering a tune.

"Our company need to have the interest of somebody who was included in tape-recording the song," she revealed.

"He or she will most likely be actually all around 60 years of ages. All of the YouTube stations covering the pursuit are actually usually (intended at) a very younger viewers, so they won't manage to help, unless maybe someday among their fans presents the hunt to his father as well as he (occurs to) be the one who participated in the bass on the tune."

Holz mentioned she adores the track on its own, and also keeps in mind being actually "blown away" when her bro played it for her the very first time.

"It has a perspective of despair as well as mournful, although being extremely powerful," she mentioned.

It would certainly "suggest a great deal," to her to discover the identity of the tune. She stated aspect of it is that she wants the musician to eventually obtain credit rating. However there's another factor: an effective end to the hunt would certainly prove that she as well as her sibling have been actually leveling this entire opportunity.

The suggestion that perhaps a long-con racket has been recommended on the Reddit thread a number of times before, along with Holz being actually required to defend herself. For many of the track searchers, the misty identifications and particulars concerning the brother or sisters behind the very first recording may not be a barrier to their passion in the tune on its own-- it is actually just one additional shade to the mystery.

WHY TREATMENT?

The pursuit may seem to be trivial to some, but inquisitiveness is actually a strong driver.

Ken McLeod, an associate lecturer of musicology at the College of Toronto, informed CTVNews.ca in an e-mail that "the seek the identification of the tune writers/performers resembles possessing a longstanding earworm in your head that receives considerably much more annoying (or even in this particular case fanatical) until you can easily get it out of your mind."

He claimed there may be "tens of manies thousand," of songs enjoy this one tape-recorded "around Europe and North America in the course of that time frame," and also it isn't actually astonishing that the identity of the secret tune has actually slipped with the cracks in "the pre-internet age."

Various other "mysterious song" tales have hit the updates before regarding tunes captured anonymously off the radio.

A Canadian songs follower located the identification of a favorite track of theirs after 22 years through transmitting the puzzle on broadcast in 2015. As well as a post submitted on Australian songs website Tone Deaf explains a strangely similar condition to the puzzle track, where a song taped off of German broadcast in the mid-80s went unidentified up until 2013.

The Mystical Song Reddit team has even been component of addressing the beginnings of some others strange songs. On Sunday, Reddit user "cwschultz" published that another unexplainable song videotaped through Darius on a distinct affair had actually been actually identified as "Aged Ned," by Blue in paradise-- updates that the bolstered the neighborhood's spirits.

Being one commenter put it, "this is actually verification favorable that all it takes is the right individual to view or hear the right trait to damage this vast open."

This content was originally published here.

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rockrevoltmagazine · 6 years ago

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MUSIC NEWS: GODSMACK Release New Video For "When Legends Rise"

Tony Rombola, Robbie Merrill, Sully Erna, Shannon Larkin Photo by Troy Smith

GODSMACK RELEASE NEW VIDEO FOR CHART-TOPPING “WHEN LEGENDS RISE” WHICH HAS SPENT FOUR WEEKS AT #1 ON THE ROCK CHART AND IS THE TITLE RACK FROM BAND’S CURRENT ALBUM GROUP NOMINATED FOR TWO iHeart RADIO AWARDS: ROCK SONG OF THE YEAR FOR “BULLETPROOF” AND “ROCK ARTIST OF THE YEAR”

GROUP’S 2019 TOUR DATES BEGIN FEBRUARY 27 IN LONDON FOR 20-DATE EUROPEAN TOUR TO BE FOLLOWED WITH NORTH AMERICAN LEG LAUNCHING APRIL 16 IN NASHVILLE, TN

GODSMACK kick off the new year with a new video, two iHeart Radio Award nominations and tour dates which will keep the multi-platinum hard rock titans on the road through mid-May.

On the video front, the band have created a high-energy clip for the album’s title track, “When Legends Rise” which has been the #1 song at Rock Radio for four straight weeks. The video, which is being released in advance of this weekend’s NFL Playoffs, mixes an electrifying live performance of the Boston quartet–Sully Erna [vocals, guitar], Tony Rombola [guitar], Robbie Merrill [bass], and Shannon Larkin [drums]–interspersed with thrilling highlights of pivotal moments in recent football history, concluding with a shot of the New England Patriots Super Bowl trophy.

youtube

“When Legends Rise” is the second #1 from the album. It follows last year’s #1 “Bulletproof,” which was just nominated for “Rock Song of the Year” for the 2019 iHeartRadio Music Awards and was also the most-played song at rock radio in 2018. The band was also nominated for a second award for “Rock Artist of the Year.”

WHEN LEGENDS RISE marks the band’s seventh studio album and their first in four years. The critically acclaimed 11-song collection entered the Billboard Top 200 album chart in the top ten (#8), with four #1 placements on other charts: Top Rock Albums, Top Hard Music Albums, Top Independent Albums and Top Alternative Albums. WHEN LEGENDS RISE is available on CD, LP and Digital; purchase or stream it here. The album finds the guys doubling down on their combination of tightly wound riffs, rhythmic fury, naked emotions and pushed-to-the-edge vocals, all fired up with melodic precision and tight songcraft.

Next month, GODSMACK return to the road, first with 20 shows in Europe to be followed by a North American headlining tour with Volbeat. The European swing gets underway February 27 in London with Like A Storm confirmed as direct support for the six-week European trek. GODSMACK will then return to the U.S. where they’ll headline a run of shows with special guests VOLBEAT, along with some co-headlining shows with them in Canada. Tickets for all the shows are on sale now.

GODSMACK’s European dates are as follows:

DATE CITY VENUE

Wed 2/27 London, UK O2 Forum Thu 2/28 Manchester, UK O2 Ritz Manchester Fri 3/1 Birmingham, UK O2 Institute Birmingham Mon 3/4 Milan, Italy Magazzini Generali Wed 3/6 Zurich, Switzerland Komplex Thu 3/7 Cologne, Germany Live Music Hall Fri 3/8 Munich, Germany TonHalle Münche Sun 3/10 Cologne, Germany Live Music Hall Mon 3/11 Amsterdam, Holland The Melkweg Wed 3/13 Antwerp, Belgium Trix Sun 3/17 Oslo, Norway Rockerfeller Music Hall Tue 3/19 Stockholm, Sweden Fryshuset Thu 3/21 Copenhagen, Denmark The Grey Hall Fri 3/22 Hamburg, Germany Docks Sun 3/24 Berlin, Germany Huxleys Neue Welt Tue 3/26 Warsaw, Poland Progresja Wed 3/27 Vienna, Austria Arena Thu 3/28 Budapest, Hungary Barba Negra Music Club Sat 3/30 Sofia, Bulgaria Arena Armeec Sun 3/31 Bucharest, Romania Arenele Romane

GODSMACK and VOLBEAT’s North American dates are as follows:

DATE CITY VENUE **Sat 4/6 Scottsdale, AZ Westworld **Sat 4/13 Orlando, FL Central Florida Fairgrounds **Sun 4/14 Tampa, FL Amalie Arena Tue 4/16 Nashville, TN Bridgestone Arena Thu 4/18 Evansville, IN Ford Center – Evansville Fri 4/19 Grand Rapids, MI Van Andel Arena Sat 4/20 Milwaukee, WI Fiserv Forum Mon 4/22 Minneapolis, MN Armory Tue 4/23 Omaha, NE Baxter Arena Fri 4/26 Abbotsford, BC Abbostford Centre Sat 4/27 Penticton, BC South Okanagan Event Centre Mon 4/29 Medicine Hat, AB Canalta Centre Tue 4/30 Calgary, AB Grey Eagle Resort & Casino – Grey Eagle Event Centre Thu 5/2 Dawson Creek, BC EnCana Events Centre Fri 5/3 Edmonton, AB Rogers Place Sun 5/5 Saskatoon, SK SaskTel Centre Mon 5/6 Winnipeg, MB Bell MTS Place Thu 5/9 London, ON Budweiser Gardens Fri 5/10 Ottawa, ON Canadian Tire Centre Sat 5/11 Quebec, QC Videotron Centre

**Godsmack festival appearance

For more information on GODSMACK, visit:

WEBSITE | FACEBOOK | TWITTER | YOUTUBE

MUSIC NEWS: GODSMACK Release New Video For “When Legends Rise” was originally published on RockRevolt Mag

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rockzone · 5 years ago

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Gig Guide: 4 - 10 Mar 2020

Wednesday, March 4, Torres at YES, Manchester. Songs about humanism, isolation, fear, and guilt but with a sense of revelation and resolution. Support from Harkin.

Thursday, March 5, Velvet Scream at Hive Bar, Manchester. Manchester band with powerful guitar riffs and outstanding keyboards. Influenced by AC/DC, Deep Purple, Iron Maiden, and Led Zep.

Friday, March 6, Embrace at O2 Victoria Warehouse Manchester. Indie band from West Yorkshire with three number one albums. Support from Starsailor and Cud.

Friday, March 6, Grand Magus at Manchester Academy 3. Stockholm band playing a melody-driven blend of hard rock, heavy metal, blues, and doom. Support from Wolf, a four piece, heavy metal band from Sweden.

Saturday, March 7, Bryan Ferry at Palace Theatre, Manchester. One of the most iconic and innovative artists in popular music.

Saturday, March 7, Testament at Manchester Academy. Heavy duty metal from one of the first thrash metal bands from the San Francisco Bay Area. Support from Exodus, another thrash metal band from the Bay Area.

Saturday, March 7, The Sisters Of Mercy at Albert Hall, Manchester. 80’s Rock'n'Roll psychedelia with a punk edge. Support from A.A. Williams, an exemplary songwriter with anthemic and passionate melodies.

Saturday, March 7, Mama - An Evening of Genesis at Romiley Forum, Stockport. UK based Genesis tribute band.

Monday, March 9, Anvil at Manchester Academy 3. Canadian metal band and stars of the legendary documentary about their rollercoaster life journey.

Tuesday, March 10, Seprona at Night & Day Cafe, Manchester. Indie Pop/Rock band from Liverpool influenced by Arctic Monkeys, The Black Keys, Interpol and Radiohead.

* The Rock Zone Podcast is available at https://www.questmedianetwork.co.uk/on-air/podcasts/the-rock-zone/

#Gig Guide

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stone-man-warrior · 6 years ago

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October 31, 2018: 2:21 pm:

October 31, 2018: 2:05 pm:<br><br>I need help. American's need help. The ... StoneMan .Warrior - 2018-10-31T17:21:57-0400 - Updated: 2018-10-31T17:21:57-0400

October 31, 2018: 2:05 pm: I need help. American's need help. The Nitrous Oxide/ Versed gas to kill American's is not being stopped. Out of desperation, in hopes that there are National Security people monitoring phone calls, I called the Josephine County Sheriff office to explain the use of teh gas again. In around 2008, I was making many reports about attempted murder at my home, but it became clear that the Sheriff Office was part of the problem, so I stopped making reports to them and sought help elsewhere. The problem continues, so I called the Sheriff a few minutes ago and deputy Tracy called me back. He made sure that he reminded me that a Ambulance is sometimes necessary, and the Hospital is a good place to get treatment. Deputy Tracy sounds helpful and friendly, but in a Canadian sort of way... perpetually reminding me about emergencies and injuries, and ambulances. If I disappear today, I need to make sure that everyone understands that I told the office about the use of the gas, about the use of the StingRay Surveillance by the terrorists, and that I am an American, and the terrorists are from Quebec, speak French as a primary language and English as a secondary language. Deputy Tracy was not especially interested in anything I reported. He was interested in ending the phone call. Stay Tuned.

Shared with: Public

+1'd by: Da ViL

StoneMan .Warrior - 2018-10-31T20:38:19-0400

October 31, 2018: 5:27 pm: So far, the call to the Sheriff has not resulted in a personal visit that I am aware of. Calls to the Sheriff to report murders, or the use of the Nitrous Oxide/Versed gas, or terrorism in any of it's forms, are usually followed up with a visit from an assassin they send. So far, I have not seen any assassins. I did hear noises from outside though. ===================== In the meantime, while wondering when the assassin would come, how many, and in what wardrobe costumes, I wrote a note to Gibson Guitar company to educate the people there about the use of the gas and how their products are used for child trafficking communication. Here is the note I wrote to Gibson Guitars about an Epiphone Logo. Epiphone is part of the Gibson family of brands. ================================ StoneMan <[email protected]> 5:18 PM (17 minutes ago) to customer.relations, benton.cummings ------------------------------------------------------ I am looking for help to solve problems. Gibson family of brands have been hi-jacked to some extent. This information is important for the people who make Gibson and Epiphone products, and more importantly, could save the lives of children who are being abuse. This was intended to be sent to Epiphone at their "Talk-2-Us" email page, but was too lengthy. I found this email address in a forum someplace. The information contained here is important, and could very possibly explain things that have been happening at the Gibson Family of Brands. The information here is Epiphone specific, however, is also a matter of national security. Please do not disregard teh information here, research what is explained, then you will see with new eyes. This is not a joke. This is not "hate mail", it is information that can save the lives of people. =============================================== I want to say something important about Epiphone and the relationship that Epiphone has with Gibson, and with the famous artists who endorse Epiphone products. The information that I want to make Epiphone aware of has to do with child trafficking, abuse of children, raping of children, the use of Nitrous Oxide/Versed airborne gas that is used to rape and abuse children, and the relationship to that abuse that is being coded into some of the products that Epiphone makes. It's that Logo. That new Epiphone Logo is an advertisement to pedophiles in the music industry. Some of the artists that Epiphone contracts with to endorse products are pedophiles who use Nitrous Oxide mixed with Versed airborne gas as a means to subdue victims. That gas is strong, and the Versed gas is a drug that erases the memory of those exposed such that victims are not able to recall details of events that take place during exposure. Research the Versed gas on your own, don't take my word for this, the people at Epiphone and Gibson have everything they need to learn, verify, and stop the abuse. Much of the abuse I am referring to happens at public schools, some happens at music venues. That Epiphone Logo that looks like a triangular shape should be put out of production, it is not necessary and provides no benefit for Epiphone customers or for the company. The Epiphone "E" is a good looking logo, and has a historic place on the products. Use that one, and discontinue the other one. By doing so, the advertising that is done secretly with regard to that logo will stop, thereby helping stop the raping of children by famous musicians. The triangular Logo is a representation of underwear. Look at it. Now look again and keep looking at it until you see the underwear hidden in the Logo. When the famous artists point to that "underwear" logo and say "that needs to come off", they are saying something completely other than removing the logo, they are saying that they are in the market for a child to have sex with. This kind of communication can happen at Guitar Center, or any other place where there is a guitar with that Logo, and people who are in the business of child sex trafficking for Screen Actor Guild members, and members of Musicians unions. This is real, not a joke. I don't believe that Epiphone management knows about the arrangement to provide the communication advertisement on their products, rather, I believe that some famous musician used the Nitrous Oxide/Versed airborne gas mixture as an aid in negotiating that the "underwear" Logo was a good idea. In other words, whoever it was that requested, designed, approved or otherwise was involved with that Logo is probably involved with child sex trafficking, and used the airborne gas to negotiate an agreement to putt it on products. Be careful with this information, but please research what this explains, then, stop the trafficking of the children. Those famous musicians will use the gas to rape the daughters of the Epiphone executives just the same way as they rape the students at the Junior High School in the town where I live. This information comes from first hand knowledge. From the Three Rivers School District in Josephine County Oregon. The police in Josephine County will not help stop this kind of trafficking, and it is dangerous to contact the law enforcement in Oregon. I advise that you do not contact Oregon law enforcement, but do contact the Department of Defense and explain the use of the Nitrous Oxide/Versed airborne gas used to rape children while at school once you have researched it yourself. The gas is flammable, so if you keep a candle burning, or use a lighter regularly, the people who use that gas to poison others cannot hurt you with it. Not all children who are abused this way survive the abuse, many are killed, and the local police cover up the murder, and call it an accident. Please help. Start by discontinuing that Logo, and learning how deep the problem is within Epiiphone, Gibson, and Guitar Center. Thank You.

StoneMan .Warrior - 2018-10-31T21:34:32-0400

The Google email program has given me that disease again, the one that takes my signature off of the email, and re-routes the email. I though it was gone until I just looked at the copy of the email I sent to Gibson a little while ago. I copied that email out my sent mail folder in the Google mail program and pasted it here to share, but my name is missing from the bottom. The original still has my name as written, but when I selected the text to copy and paste for sharing here, my name is not there. This is a Google terrorist email program. Someone, someplace will claim that they wrote the email. That way, no one will stop the terrorists from using the gas to kill the Americans. I explained the email virus re-routing thing in other entries on this page, and in greater detail. Terrorists have hi-jacked everything, no one will help stop them.

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jessicakmatt · 6 years ago

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The 16 Best New Gear Releases from NAMM 2019

The 16 Best New Gear Releases from NAMM 2019: via LANDR Blog

It’s the most wonderful time of the year—for gear addicts!

NAMM (National Association of Music Merchants) 2019 has just concluded.

Tantalizing announcements of upcoming gear and new music tech are flooding the news cycle and forums all over the internet.

But after all the dust has settled, there were some stand out trends to keep your eye on in the upcoming year.

Here’s the most exciting announcements—and the music-tech trends they represent—from NAMM 2019.

Modular and small-format synths

The budding modular craze shows no sign of slowing down. Major manufacturers debuted a slew of full or semi-modular designs at NAMM 2019.

Teenage Engineering OP-Modular

Teenage Engineering dug its heels in on the trend with the stylish OP-Modular line, showing off the strikingly coloured 400 Model.

Behringer Crave

Behringer provided a budget conscious take on the semi-patchable desktop analog with the Crave.

With circuit topology elements from various vintage reissues, Crave has a lot going for it at such a low price point.

Moog Sirin

Moog stuck to the tabletop format of their popular desktop modules with their excellent Sirin synth, which promises to take the Taurus Bass platform into super fat lead territory.

Arturia MicroFreak

The modular spirit is making its way into the conversation in less tangible ways as well.

Although digital, Arturia’s innovative MicroFreak features a conductive keyboard similar to the note input of the iconic Buchla Music Easel.

Korg Minilogue XD

Though not exactly small-format, some of the biggest synth hype at NAMM came from Korg’s XD update to the popular Minilogue synth.

Featuring a new digital engine and updates to the filter, the XD update turns an already impressive modern analog into a hybrid beast.

Synth pedals

Judging by the offerings this year, guitarists want in on the synth action as well.

Following the success of the wildly popular Meris Enzo, pedals that partially or fully transform your guitar signal into a synth were on full display.

Electro-Harmonix Monosynth

Effects juggernaut Electro-Harmonix debuted the Monosynth pedals for guitar and bass.

Drawing on the transformational technology of their -9 series pedals, the Monosynths don’t require any special accessories to turn your guitar into a fat sounding monosynth.

Pigtronix Restoron

Meanwhile, the Pigtronix Resotron brings the iconic sound of the Prophet 5’s filter section to guitar pedals.

It’s pitch tracking envelope and oscillator section let you go full synth ax as well.

Robert Keely Synth-1

Veteran boutique builder Robert Keeley also ventured into the synth waters with the stylish Synth-1 pedal, which he refers to as a “chaos creator.”

Impulse response tech for guitarists

Convolution techniques for modelling guitar speaker cabinets are taking off in the tone-o-sphere…

Two notes C.A.B. M and Audient Sono

Veteran IR brand Two notes maintained a strong presence with it’s micro form-factor Torpedo C.A.B. M IR loader and also bundled their IR technology with Audient’s new Sono interface.

Aimed at guitarists, Sono features an onboard tube-amp style preamp as a plug and play solution in combination with the built-in Two notes power amp and speaker emulation.

In addition to that, users get the full suite of Audient interface goodies, including the excellent preamps and conversion the brand is known for.

Revv D20

Traditional amp brands are starting to take note of the IR revolution too. Canadian builder Revv amplifiers new Revv D20 features an onboard load and cab sim—also from Two notes.

This approach promises a one-stop shop solution for plugging a real tube amplifier directly into a PA system or recording interface.

Suhr PT15IR

Suhr is taking the concept to the extreme with the revolutionary PT15IR amp designed in collaboration with Pete Thorn.

The PT15IR is a three channel amplifier with selectable IRs per channel—essentially allowing you to switch between different cabinets for each different setting. A big development in amp design!

Interfaces everywhere

Some might say the audio interface space is approaching saturation. The sheer number of options on the market today is already a bit staggering.

But that didn’t stop manufacturers from debuting more audio interfaces in all shapes and sizes.

IK Multimedia AXE I/O

IK Multimedia debuted a guitar-first interface called the AXE I/O, that capitalizes on its mature Amplitube emulation technology.

NI Komplete Audio 1 and 2

Native Instruments expanded its Komplete Audio line with the small-format Komplete Audio 1 and 2.

Arturia Audiofuse

Arturia grew its Audiofuse lineup with the Audiofuse Studio and Audiofuse 8pre.

AKAI Force

Speaking of well established paradigms, AKAI unveiled the AKAI Force.

Promising to combine MPC and Push style workflow in a standalone hardware package, the Force could be the best-of-both-worlds solution beatmakers have been waiting for.

Wham bam, thank you NAMM!

There were more exciting product debuts at this year’s NAMM show than we could possibly cover.

The gear industry moves fast and manufacturers are always competing to bring the biggest and most useful innovations to the table.

This year’s offerings were no exception. Now that you’ve seen a taste of what’s coming up, get excited for the 2019 year of gear and the possibilities for your own setup!

The post The 16 Best New Gear Releases from NAMM 2019 appeared first on LANDR Blog.

from LANDR Blog https://blog.landr.com/namm-2019-best-gear-releases/ via https://www.youtube.com/user/corporatethief/playlists from Steve Hart https://stevehartcom.tumblr.com/post/182638926189

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