#triadic trio

[suorgummiis]

Half asleep, sorry its messy jsjs ill do better tommorow 🐱 continuing the cosplay thingy jsjs

riri - @sasaleletrebol

Roots- @orisretr0

[sasaleletrebol]

Riri! What's the one thing that makes the perfect nest? Mine needs work...

(Riri sleeps in a big web because he doesn't have a bed)

I wanted to try a different style(? And my friend said they look like bald gacha characters 😭😭😭😭

A redraw of yours because I can. Whatchu gonna do about it /j

EF by @suorgummiis

Roots by @orisretr0

Riri belongs into a prison in Russia

[orisretr0]

Headcanon that riri makes the best fuckin nests (this is also rare moment of roots actually SLEEPING :3 my guy is a lethal insomniac)

EF goes to @suorgummiis

Riri goes to @sasaleletrebol

The voices.......

[falling-skyzz]

How. How does one make good character design and pleasant color palettes. How to make a color palette without reusing colors. How to make patterns or designs?? 😭🙏

cracks knuckles. you see theres but one trick i reuse over and over.

✨color theory✨

(well, at least i think it is. i never learned this stuff properly, so i dont have names for these things)

its gonna get a little long so ill put all of this below the cut, but tldr be aware of certain color combos relating to their positions on the color wheel + remember scales (??? they prob arent actually called that erm) + fuck it we ball with markings

OKAY SO im typing this at 1:21 am on my phone and my right eye is hurting so pls forgive any typos and mistakes, and if i sound like i know my stuff but i dont PLEASE point it out to me so i can correct myself ;;;;

first of all, color combos. yes, all the stuff u learned in grade 5 art class actually works.

take a look at this bad boy. (i use autodesk sketchbook to draw, not ibispaint, but its the same on both programs)

color combos are always relationships between any given color with other colors based on their positions on the ring around the diamond.

for example, complementary colors are always opposite each other on the ring.

i use this for opah (my oc)’s design, with her dark blue-green and orange.

(as far as i know color combos dont care about the diamond in the middle, just the ring, so the actual colors themselves are pretty flexible)

(bonus auklet)

theres a lot of other combos besides complementary but you can research that urself, ill just provide an example if i have one of the most common ones

—

triadic

ermm i actually dont use this one very much so im just gonna put a hilda (which is an AWESOME show that has INSANE color theory)

(this isnt technically triadic but its the best example i have and vaguely in a triangle trio formation okay…….)

—

analogous

this is my FAVORITE combo ever, because it lets me stay in the strict wof tribe color range while still being interesting. honestly u could take any design of mine and 99% chance theres analogous in there

if u wanna know more combos just google color theory schemes, theres more than i could ever remember and i dont really bother to use them all; for wof, i usually just stick with analogous and complementary.

uhm i dont know if tumblr has a word limit but i dont wanna make this too long so i shall reblog with part 2 soon !!!!!! (if u dont hear from me in the next hour i fell asleep)

[mcsm-confessions]

As Petrella seems to be the topic I am here to push the Jesstra + Stella agenda as well. It's the yuri equivalent of the previously mentioned Jesskas + Aiden ship but with more brain cells (and girlbossing). Firstly Stella clearly has a weird obsession/infatuation with Jesse, and with her bad blood with Petra this could be one interesting love triangle (that's actually a triangle unlike most of them). Guess who's the brawns/brains/heart of this trio? Not to mention you no longer have to choose who Lluna ends up with.

If fanfic writers are listening, just the appalled reactions of all their friends upon realizing who the third is in this strange triadic relationship would be gold enough.

~~~

[blimbo-buddy]

gotta appreciate the fact that Anya, Daisuke, and Swansea’s text colors are Blue, Red, and Yellow respectively makes them a perfect trio of triadic wondrousness in terms of color theory

[leiajoydesign]

Saturday 20th May 2023 - Colour Theory

Colour and Light: Colour does not exist in darkness. It is light, which travels in waves, that gives colour to the world. When light passes through a prism, it can be split into its constituent colours, creating a spectrum.

Colour Wheel Theory: The colour wheel is a visual representation of how colours relate to each other. It organises colours into a circular format, usually divided into 12 sections or segments. The colour wheel helps us understand colour relationships and aids in colour selection and combination.

Primary Colours: The primary colours are the foundation of the colour wheel theory. They cannot be created by mixing other colours and are used to create all other colours. The traditional primary colours are, Red Blue & Yellow

Secondary Colours: Secondary colours are created by mixing equal parts of two primary colours. They are located between the primary colours they are made from on the colour wheel. The secondary colors are, Green (created by mixing blue and yellow), Orange (created by mixing red and yellow), Purple (created by mixing red and blue)

Tertiary Colours: Tertiary colours are created by mixing a primary colour with its nearest secondary colour. They are located between the primary and secondary colours on the color wheel. Tertiary colours provide a wider range of hues and include shades like red-orange, blue-green, and yellow-green.

Colour Combinations: Using a colour wheel can help compare colour combinations and determine what works well together and what should be avoided. Here are a few common colour combinations based on the colour wheel:

Clear Contrast: This involves pairing colours that are opposite each other on the colour wheel, known as complementary colours. Examples include red and green, blue and orange, and yellow and purple. Complementary colours create a strong visual contrast.

Perfect Balance: For a subtler contrast, create a team of four colours arranged as complementary pairs. This means pairing a colour with its direct complement and two additional colours on either side. This balanced combination adds depth and harmony to a colour scheme.

Harmony of Hues: Another approach is to create harmonious colour combinations. This can be achieved by focusing on either cool or warm tones:

Cool Combination: Using cool tones such as blues and greens can create a calm and soothing color scheme.

Warmer Tones: Opting for warmer tones, such as reds and oranges, can evoke a sense of warmth and energy.

Balanced Trio: A balanced trio consists of three colours that are equally spaced on the colour wheel. This triadic colour scheme offers a vibrant and visually pleasing combination.

By understanding colour theory and utilising the colour wheel I can make informed choices when it comes to colour selection, creating harmonious compositions, and effectively conveying emotions or messages within my work.

[dustedmagazine]

Dust Volume 6, Number 5

Courtney Marie Andrews

The lockdown continues, and live music has disappeared, replaced by a somewhat antiseptic and unsatisfying spate of live streamed shows mostly one person with a guitar on the couch in their living room.  We salute the courage and the effort but miss bands and audiences and even the chatter drifting in from the bar area.  In the meantime, at least for now, there are still lots of new records vying for our attention.  We present this Dust to catch up with some of them.  It’s an ecletic survey of contemporary classical, vengeful hip hop, psyche, jazz, folk and metal artists, all continuing to try to navigate a very difficult period.  Our writers this time include many of the usual suspects, Bill Meyer, Ray Garraty, Jonathan Shaw, Andrew Forell, Tim Clarke, Jennifer Kelly, Tobias Carroll and Patrick Masterson.  

a•pe•ri•od•ic—For (New Focus Recordings)

for a•pe•ri•od•ic by a•pe•ri•od•ic

Silence is a rhythm, too, and a•pe•ri•od•ic dances to it repeatedly throughout their second recording. The Chicago-based ensemble has traversed the new music continuum, performing music by composers from Peter Ablinger to Christian Wolff. Sometimes that silence isn’t quite what you want to hear — the COVID-19 pandemic cut short its tenth anniversary spring season one concert too soon — but it proves to be rich loam from which to grow music on this CD. All four of its pieces were composed specifically for the group by individuals who recognize the merit of non-imposing sounds. That knowledge derives in part from the fact that three of the composers also perform with the group, but also from their long-standing engagement with post-Cage-ian and Wandelweiser material. Director and pianist Nomi Epstein’s descriptively entitled “Combine, Juxtapose, Delayed Overlap” feels like a ceremony intermittently perceived through an opening and closing door. Billie Howard’s “Roll” tucks the composer’s whispering violin behind muted French horn and voice, wringing intensity from the effort one must apply to following its retreating sonorities. Vocalist Kenn Klumpf’s “Triadic Expansions (2)” moves in the other direction, sprouting ivy-like from the slenderest branches of sound. By comparison, Michael Pisaro’s stately “festhalten/loslassen” is a veritable riot of unwinding tonal colors. As the decade ticks towards year eleven, rest assured that a•pe•ri•od•ic is searching for the next promising idea.

Bill Meyer

 Agallah — Fuck You The Album (Propain Campain)

Fuck You The Album by Agallah

This is a personal vendetta album. After more than 25 years in the game, Agallah has got to settle the score against the whole world. To say he just has a chip on his shoulder would an understatement. Thirteen songs of pure hate with the title quite properly reflecting its content. In his fight, the rapper strips down all the artistry, including the production. Known for making beats for other hip hop acts, Agallah here not only uses barely serviceable beats, he doesn’t even makes pretense he needs beats. Almost all the tracks work as a capellas. His gruffy voice and arrogant flow don’t need sonic support. And what support can you expect from the world full of phonies, liars, actors, pretenders, cowards and fair weather friends? “Stop pretending, my career is not ending,” he almost screams on “Telling Lies To Me.” If this CD feels like a dinosaur in 2020, then it says that it is not something wrong with this album but with the world.

Ray Garraty

 Courtney Marie Andrews — “Burlap String” single (Fat Possum)

Old Flowers by Courtney Marie Andrews

As the eponymous song of 2018’s May Your Kindness Remain amply demonstrated, Courtney Marie Andrews’ pipes are not to be fucked with. But while that was perhaps the most vivid depiction yet of her abilities, the Phoenix native’s delivery can be just as powerful on a muzzle. Such has been her approach thus far with what we’ve heard from Old Flowers, originally slated for an early June release but since pushed back to July (or beyond, who knows). The post-breakup lyrical territory was initially revealed with first single “If I Told,” but it’s the gently loping “Burlap String” I’ve had on repeat for much of the past month. Ever ended a relationship with someone and regretted it? Lush piano and a sighing slide guitar tell you Courtney has without her ever having to utter a word, and much of the song is an illustration of the internal conflict that lingers long after you’ve made the call. I’m inclined to write out the whole second verse here, but it’s the end of the third that lingers as Andrews evokes barely holding back tears: There’s no replacing someone like you. That ensuing pause runs bone-deep, its implication clear — no amount of Mary Oliver can save you from yourself.

Patrick Masterson

 Dennis Callaci — The Dead of the Day (Shrimper Records)

Some albums could be said to hum. In the case of the latest from Dennis Callaci, that’s meant literally: many of the songs on his new album The Dead of the Day feature warm clouds of feedback or droning organ notes. It’s a companion piece to his recent book 100 Cassettes, which features thoughts on musical icons throughout the year. This album’s focus is more insular: some of the songs have a drifting, improvised feel to them. But Callaci also taps into some terrifically subdued songwriting veins here — “Broadway Blues Pt. II” recalls the haunted dub-folk of Souled American, and Franklin Bruno’s piano lends a propulsive dimension to the ruminative title track. And on “Scoreless,” Callaci teams with his Refrigerator bandmate (and brother) Allen Callaci for a song that slowly builds from acoustic foundations to something modestly grandiose. Contrary to what its title might suggest, this album feels very much like a document of one man’s life.  

Tobias Carroll

 Cameron / Carter / Håker Flaten — Tau Ceti (Astral Spirits)

Tau Ceti by Cameron / Carter / Håker Flaten

Tau Ceti is a planet that is hypothesized to be similar enough to Earth that it could potentially support similar life forms. The three musicians that recorded this tape may come not come from the same system, but they fall into a harmonious orbit around a common circumstance — they were all in the same swanky studio, Halversonics, on a particular winter day in early 2019. One supposes that whatever they were rotating, they move towards the source of heat, since Tau Ceti builds slowly from chill acoustic exploration to a fuzzed-out solar flare. As they progress, abstraction burns away and velocity increases. It’s a gas to hear Ingebrigt Håker Flaten and Lisa Cameron lock in behind Tom Carter’s increasingly gritty sound-bursts.

Bill Meyer  

 Tim Daisy — Sereno (Relay)

Tim Daisy - Sereno :: music for marimba, turntables and percussion (relay 028) by Tim Daisy

Sometimes the timing of even the most tuned-in drummer is foiled by external circumstances. Sereno was supposed to signal the end of an intense phase of solo practice by Tim Daisy. His intentions for 2020 included making an album of duets and writing music for two ensembles. But at press time he, like everyone else, is hunkered down with his family, and everything he had planned is on hold.  

Daisy’s stint as a primarily solo artist coincided with a reconsideration of identity; he wasn’t just a drummer, but a multi-instrumentalist and an orchestrator of electro-acoustic sound. Sereno is split between three elegiac marimba solos that showcase Daisy’s instinct for deliberate melodic development and five much denser constructions for imprecisely tuned radios, playing and skipping records, and Daisy’s strategically reflective drumming. If this record is the only new music that Daisy puts out this year, it leaves us with plenty to think about.

Bill Meyer

  Kaja Draksler & Terrie Ex — The Swim (Terp)

On the surface, this looks like quite the odd couple. Terrie Ex Is a Dutch electric guitarist in his mid-60s who still goes by his punk rock name. He’s a ferocious improviser whose scrabbling instrumental attack incurs intensity from any ensemble that doesn’t want to get bowled over, and he knows more Ethiopian tunes by heart than anyone on your block. Kaja Draksler is a Slovenian pianist exactly half his age whose recent projects include a fast-paced, idiosyncratically balanced trio with Petter Eldh and Christian Lillinger, and an octet for which she sets Robert Frost poems to a combination of chanson, Baroque chamber music, and thorny free improvisation. But neither got where they are by letting fear deter them from a musical challenge, and both of them have a fine awareness that one way of understanding their respective instruments is that they are pieces of wood with wires attached. Given that common understanding of music as a combination of coexisting textures and assertive actions, they work together quite well on this CD, which documents a performance that took place at London’s Café Oto in 2018. Scrape meets sigh, jagged fish-hook pluck meets sparse wire-damped drizzle, instinct meets intuition, and when the disc is done, it’ll seem quite sensible to dive back in and swim the whole length in reverse.

Bill Meyer  

 Errant — S/T EP (Manatee Rampage Recordings)

errant by errant

Errant is the one-woman project of Rae Amitay. Some listeners of metal music may be familiar with Amitay’s work, as vocalist for death-grind-hybridists Immortal Bird and as drummer for the folk-metal act Thrawsunblat. For Errant, Amitay has created songs and sounds that have little in common with those other bands’ aesthetic extremities. “The Amorphic Burden” may prompt you to recall the melodic black metal that Ludicra was making toward the end of that band’s storied run, or the sludgy drama of Agrimonia’s most recent record. In any case, Errant’s sound skews toward more luminescent atmospheres. Production values are largely pristine; Amitay wants you to hear clearly every string and cymbal strike. It makes sense. She plays a bunch of instruments well, and that’s part of the point: that one woman is producing all the sounds, and all the affect. She ends the EP with a cover of Failure’s “Saturday Savior,” and it’s the least interesting thing on the record. But even there, she presents the listener with something worth hearing. Her clean vocals are lovely, disarmingly so. What may be most impressive about this early iteration of Errant is the extent of Amitay’s talents, and how those talents allow her to encroach on the hyper-masculine territory of the “one-man” act.

Jonathan Shaw  

 Field Works — Ultrasonic (Temporary Residence)

Ultrasonic by Field Works

Stuart Hyatt’s latest compilation in the Field Works series is an absolute beauty — and timely given it’s being released during a pandemic whose origins may be linked to bats. The field recordings that the contributors used to create the music on Ultrasonic come from the echolocation of bats, and the approaches tend towards rhythmic or atmospheric. At the rhythmic end of the spectrum we have Eluvium’s majestic opener “Dusk Tempi,” akin to his work on Talk Amongst the Trees. Mary Lattimore’s glimmering harp patterns are fitting accompaniment to the chittering bat sounds on “Silver Secrets.” And Kelly Moran’s prepared piano on “Sodalis” sends the listener down a hall of mirrors, chased by gorgeous bass tones. At the more abstract, atmospheric end of the spectrum we have Jefre Cantu-Ledesma’s radiant “Night Swimming.” Christina Vantzou blurs the line between the sounds of modular synthesis and bat sonar on “Music for a Room with Vaulted Ceiling.” And on Sarah Davachi’s “Marion,” the listener is immersed in a luminous halo of nocturnal overtones. Wherever the artists venture, this is a varied yet consistently evocative collection.

Tim Clarke  

 FMB DZ — The Gift 3 (Fast Money Boyz / EMPIRE)

The Gift 3 was initially set to be released in December 2019 but was postponed until now. DZ’s “Merry Christmas, pussies!” on one of the tracks doesn’t sound so odd, though, because the whole world has plunged into a constant holiday. The new album continues two trends. It carries on the “ape” theme from the previous album Ape Season. “Ape Activities,” “Keep It on Me” and “No Features” are the grittiest tracks from a disc where the prevalent mood is a sick worry. DZ made it out of the hood but had to be on the lookout as the enemies are out to get him. The other trend is that The Gift 3 continues the ideas of The Gift series. The songs have a usual verse-hook structure, are poppier and more relaxed than on Ape Season. DZ, thankfully, doesn’t try to sing anymore but hires some singers on choruses. The hardest track here is “High Speed” with Rio Da Yung Og where Detroit/Flint duo spit vicious lines.

Ray Garraty

  Hala — Red Herring (Cinematic)

Detroit multi-instrumentalist Ian Ruhala wears his heart dripping from his sleeve on “Red Herring” his latest record as Hala. Skipping from the yacht rock of “Making Me Nervous” to the country blues of “True Colors” via power pop, The Kinks and Tom Petty, Ruhala manages to create a thread with deceptively simple melodies and the sincerity of his delivery.  There’s more than a touch of Kevin Barnes in the voice and the delight in throwing genres at the wall to see what sticks and, like Barnes, some of it fails to adhere. The pleasure here is in the sense of eavesdropping on the process and reveling in unexpected flourishes that refuse to be ignored.  

Ruhala writes a smooth love song and isn’t afraid to turn up the guitar or address politics on standout “Lies” - “I’m eating breakfast with the fascists/Oh man they stand about ten feet tall/My mouth is bleeding at their proceedings/They get their courage through a plastic straw” It may not be Guthrie but he makes it work through a leavening wit and a mid-tempo vamp straight from the solar plexus. “Red Herring” suffers somewhat from its stylistic roaming but a fundamental big heartedness and willingness to reach makes it an enjoyable trip.  

Andrew Forell  

 Las Kellies — Suck This Tangerine (Fire)

Suck This Tangerine opens with a loose groove and a grime smeared highlife guitar line, the voice enters with ironic invitations over choppy Gang of Four chords. In the new one from Las Kellies, Argentinian duo Cecilia Kelly and Silvina Costa sling taut bass lines and slash guitars over mutant disco rhythms for 12 tracks of slinky indie dance. Drawing on elements from Leeds, London and the Bronx, Kelly and Costa add dubby space and South American humidity to their sound, to elevate the album beyond the sum of its influences.  

Kelly handles guitar and bass, wielding the former like a cross between Andy Gill and Viv Albertine and unfurling loose funky serpents with the latter. Costa swings between ESG and The Bush Tetras and incorporates an array of hand drums that deepen and enliven the rhythmic pulse. There is a palpable and joyful chemistry between the two evidenced by their easy interplay and enhanced by the production that gives clarity and elbowroom to each instrument. If the lyrics can tend toward the perfunctory, they are delivered with a winking insouciance on put downs like “Close Talker” and “Rid Of You”.  Suck This Tangerine is a worthy addition to the growing collection of feminist post-punk inspired albums we’ve been dancing to of late.  

Andrew Forell  

 Mint Mile — Ambertron (Comedy Minus One)

Ambertron by Mint Mile

Silkworm, the band, may have ended in 2005 with the death of drummer Michael Dahlquist, but its legacy of slow, gut-socking heaviness, mordant wit and muscular guitar lives on, first in Bottomless Pit and now in Tim Midyett’s new band Ambertron. Midyett’s voice and clangorous baritone guitar is instantly recognizable, of course, to anyone who loved Silkworm, but the band diverges somewhat with the pedal steel played by Justin Brown of Palliard, weaving eerily though the slow buzz and moan of “Likelihood.” Jeff Panall, from Songs:Ohio, plays the hard, heavy drums that undergird these songs, giving them structure and forward motion. Other players include Matthew Barnhart from Tre Orsi and Horward Draper from Shearwater. Greg Normal of Bitter Tears contributes a mournful bit of trumpet to “Fallen Rock,” and Chicago alt-country mainstay Kelly Hogan takes the lead in “Sang.” The music is raw and morose; even dense strings can’t quite lift the gloom in “Christmas Comes and Goes,” a song as raw as late November in Chicago. And yet there’s a sort of resilience in it, a strength that comes through persistence. “If we could only find a way to bank the time we had together,” sings Midyett in “Giving Love,” his hoarse voice full of ragged loss, his guitar raging against it all and not quite beaten down even now.

Jennifer Kelly

 Gard Nilssen’s Supersonic Orchestra — If You Listen Carefully the Music Is Yours (Odin)

If You Listen Carefully The Music Is Yours by Gard Nilssen´s Supersonic Orchestra

Perched atop his drum stool, Gard Nilssen sits where styles converge. He’s supplied the controlled boil that drives the free-bop combo Cortex, laid down some heavier beats with Bushman’s Revenge and exemplified long-form lucidity with his own trio, Acoustic Unity. In 2019, the Molde Jazz Festival recognized his versatility and forward perspective by anointing him the artist in residence. Besides showcasing his ongoing projects and accompanying heavy guests from abroad, most notably Bill Frisell, he got to put together a dream project. This 16-piece big band, which includes members of Cortex, Acoustic Unity, and the Trondheim Jazz Orchestra, is it. With the assistance of co-arranger André Roligheten, Nilssen has taken some of his trio’s sturdy melodies and turned them into frameworks for boisterous but subtly colored performances. With three basses and three drummers, this could have been either a mess or an uptight game of “you first,” “no sir after you.” But the rhythm crew shifts easily between swinging unisons and refractory elaborations. Roligheten often plays two saxophones at once in smaller settings, and one suspects that he has a lot to do with the rich colors that the horns paint around the featured soloists.

Bill Meyer  

 Matthew J. Rolin — Ohio (Garden Portal)

Ohio by Matthew J. Rolin

The ghoulish image on the j-card belies the sounds encoded upon this tape. Matthew J. Rolin is a relative newcomer to the practice of acoustic guitar performance; the earliest release on his Bandcamp page was recorded in late 2017. But he’s catching on fast. Switching between six and twelve-string guitars, he serves up equal measures of ingratiating lyricism and immersive surrender to pure sound. Opener “Red Brick” slots into the former category, with a heart-tugging melody that keeps doling out turns that’ll keep you wondering where it’s going and backtracks that’ll ensure that you never feel lost. “Brooklyn Centre,” on the other hand, grows filaments of string sound out of a pool of prayer bowl resonance centering enough to make you cancel your mindfulness app subscription due to perceived lack of need. Rolin develops ideas situated between these poles over the rest of this brief set, which runs just shy of 28 minutes and definitely leaves one wanting a bit more.

Bill Meyer

 Nick Storring — My Magic Dreams Have Lost Their Spell (Orange Milk)

My Magic Dreams Have Lost Their Spell by Nick Storring

What Jim O’Rourke did for the music of Van Dyke Parks and John Fahey on Bad Timing, Nick Storring does for Roberta Flack’s on My Magic Dreams Have Lost Their Spell. The Canadian composer may not have O’Rourke’s name recognition or past membership in a very famous rock band going for him, but consider these parallels. He’s a handy with quite a few instruments, he’s an inveterate assistant to other artists across disciplinary lines, and he functions with equal commitment and fluency in a variety of genres. For this record, his first to be pressed on vinyl (albeit in miniscule numbers), Storring uses the lush string sound of Flack’s 1970s hits as a launching point for deep sonic immersions that are considerably more emotionally oblique than their inspirations’ articulations of loneliness and surrender. When he goes melodic, the cello-led tunes seem to reach for something that they never touch, and when he goes for slow-motion density, the music imparts an experience akin to watching the sort of cinematic experience where you can’t tell if you’re seeing a really slow take or the film has frozen at a single frame.

Bill Meyer

 Sunn Trio — Electric Esoterica (Twenty One Eight Two Recording Company)

Electric Esoterica by Sunn Trio

Sunn Trio, from Arizona, makes sprawling, multi-ethnic psychedelia that juxtaposes the scree and groan of heavy improvisational rock with the otherly chords and rhythms of the Middle East.  Opener “Alhiruiyn” slicks a trebly sheen over its surging, rampaging improvisations, more in the vein of Black Sun Ensemble than Cem Karaca.  But “Majoun” layers antic percussion and tone-shifting bent notes in a limber evocation of the souk.  “Roktabija The Promulgator” blasts a strident, swaggering surf riff, about as Arabic as “Miserlou” (which is, in fact, Arabic).  “Khons at Karnak” buzzes with hard rock aggression, but shimmies with belly dancing syncopation.  Because of the name, the preoccupation with non-Western cultures and the Phoenix mailing address, you might think that Sunn Trio is aligned somehow with Sun City Girls, but no.  All kinds of weirdness lurks in the desert out there, lucky for us.  

Jennifer Kelly  

 Turbo, Gunna & Young Thug — “Quarantine Clean” single (Playmakers)

Despite the subject matter’s potential (ahem) virality, “Quarantine Clean” slipped out almost unnoticed in early April and is the kind of muted performance Young Thug doesn’t get enough credit for (while, curiously, his followers often get too much derision for). For all of Thugger’s hyperfluorescent hijinx over the years that have produced earworms like, say, “That’s All” and “Wyclef Jean,” there’s another side that shows up in stuff like “The Blanguage” and “Freaky” where he lets the words do the work; that’s the subterranean sonic world we’re living in here as he opines on God’s role in the pandemic and why he’s lost so much money but still has to pay for his parents’ penthouse (which: welcome to the revolution, pal). Thug’s acolyte in slime Gunna, meanwhile, does most of the song’s heavy lifting with duties on the first verse and chorus, but it’s pretty hard to tell the two apart, such is the slippery restraint both opt to exercise here. The real star, then, is beatmaker Turbo, whose buoyant anchor melody is complemented by what sounds like a lilting flute. It’s a light touch from all parties, a mellow mood well suited to our time of collective party-eschewing shelter. Run that back in prudence.

Patrick Masterson

 Various Artists—Ten Years Gone (A Tribute to Jack Rose) (Tompkins Square)

Ten Years Gone : A Tribute to Jack Rose by Various Artists

A decade on from the too early passing of the great American Primitive/blues/raga player Jack Rose, Arborea’s Buck Curran gathers friends, collaborators and younger artists inspired by Rose for a gorgeous tribute to the master. Mike Gangloff, who played with Rose in Pelt and Black Twig Pickers, leads off with a plaintive, sepia-toned fiddle lament (“The Other Side of Catawbwa”), while next generation experimental droner Prana Crafter closes with an expansive, space folk reverie (“High Country Dynamo”). In between, old friends like Sir Richard Bishop evoke Rose’s full-blown orchestral guitar playing (“By Any Other Name”) while young pickers like Matt Sowell take up the trail forged by Dr. Ragtime. Isasa from Spain and Paulo Laboule Novellino from Italy attest to Rose’s global appeal. It’s mostly guitar, but not entirely; Helena Espvall from Espers contributes a brooding, reverberant “Alcantara” on cello. Curran’s own “Greenfields of America (Spiritual for Jack Rose)” is slow and thoughtful, letting long bent notes ring out with liquid clarity; it’s a hymn and a prayer and a testimony to the wide influence of an artist gone too soon.  

Jennifer Kelly

 Emily Jane White — Immanent Fire (Talitres)

Immanent Fire by Emily Jane White

Emily Jane White gets tagged as a folk singer, but on this, her sixth full-length, the Oakland songwriter brings a fair amount of goth-tinged drama. Taut string arrangements and big booming drums lift “Infernal” well out of the woman-with-guitar category, and White sounds more like PJ Harvey or even Chelsea Wolfe than a sweet voiced strummer. Immanent Fire sticks, topically, to environmental concerns with track titles like “Washed Away,” “Drowned” and “Metamorphosis.” A foreboding creeps through the songs, pretty as they are, even piano lit “Dew” asks “Does poison drop like the dew?” Arrangements, by Anton Patzner, the composer, arranger and violinist of Foxtails Brigade and Judgment Day, give these cuts weight and heft, punctuating eerie melodies with thick swathes of strings, rumbling percussion and keyboards. The disc culminates in “Light” which begins in a whisper and climaxes in drum-shocked, orchestral swoon. Soothing background music it is not.

Jennifer Kelly

 Z-Ro — Quarantine: Social Distancing (1 Deep Entertainment / EMPIRE)

An unexpected seven-track EP bears an expected title from a Dirty South legend. Z-Ro’s usual topics — trust and loneliness — gain a new meaning in the time of social distancing. To keep away women who only want his money is a necessary precaution now. To be at the corner at the party is a rule for survival. Z-Ro is on his ground counting his dough alone in the house. Earlier he did it so no ‘shife’ (the title of one of the tracks) friends could rob him, now it’s just to obey quarantine rules. The first half of this EP is a bit muddled by unnecessary intros and reggae tunes but the second one hits hard. As always with Z-Ro, the hardest content takes the gentlest form (“Niggas is Hoes” especially is almost a pop song). On the final track “Life of the Party” Boosie Badazz drops by, giving his verdict on the pandemic: “Fuck Corona!”

Ray Garraty

[yousuckvergil]

Drawing my fave trio in triadic colors n my outfits! Hotline Cali is real 😔🤙💕

[gonervessel]

Vessel Week Day 5: We’re with you in the dark

Had a lot of fun with the design! Made the dominant color orange instead of blue because 1) it’s the opposite color from Kris’ color and 2) it turns the trio’s collective color scheme into a triadic one instead of an adjacent one. Kept the pink cuz for whatever reason all the members have some pink on them? Added a little more detail on the armor too.

GONERCHERRY would adore the dark world! They’d be the hero, the person everyone looked up to, the one everyone relied on. They’d stop living in their brother’s shadow and step into their own light. They’d be able to prove themselves and show what they could really do.

[sasaleletrebol]

SKFOEKFOGL IT'S THA BOYS YIPIEEEEEEE. THEY'RE HAVING THEIR ONE LITTLE PARTY. YIPIEEEEE

Thanks Sour happy new year💕💕💕💕

Our sonas doing a ritual xdddddd

HHII SORRY IVE BEEN GOING OUT WITH MY FRIENDS ALL DAY!!

HAPPY NEW YEARS FROM RHE TRIADIC (I THINK?) TRIO. I TRIED TO DO THE "they're judging u" FROM THIS POST

VERY RUSHED

RIRI - @sasaleletrebol

ROOTS @orisretr0

AND HAPPY NEW YEARS TO EVERYONE!! I HOPE U ALL HAVE A GOOD YEAR 💜

[sasaleletrebol]

Riri does cosplay.

Sorry @orisretr0 and @suorgummiis my son stole clothes from your blorbos closet

[claudiocardito-blog]

Claudio Cardito - Carditology Jazz Trio - Sax solo su "Montanari"

Concerto e Masterclass sulla musica improvvisata, dal sistema tonale al sistema cromatico. Ovvero: L' Evoluzione del pensiero libero dell'uomo attraverso l'improvvisazione musicale. Primo incontro di una serie di Concerti e Masterclasses tenuti dal Maestro Claudio Cardito, sassofonista professionista,compositore,didatta di Tecniche dell'improvvisazione d'avanguardia secondo un modello da lui sviluppato di tipo integrazionale e multidisciplinare. Insegna Sassofono,Musica d'insieme,Armonia Funzionale,Advanced Harmony,Era Training, Pianoforte Complementare. IL  "Carditology Jazz Trio" è una formazione di musicisti di grande esperienza e levatura tecnica e musicale che vede al contrabbasso il Maestro Mario Mazzaro, alla batteria il Maestro Enrico del Gaudio e Claudio Cardito ai sassofoni Tenore e Soprano. Tutte le composizioni sono del Maestro Claudio Cardito. Questa formazione si è avvalsa anche della collaborazione del Maestro batterista Stefano Tatafiore. Segui il "Carditology Jazz Trio" anche su https://t.me/claudiocarditoprogettoev... Se vuoi vedere i brani registrati live in studio segui il link. Qui la prima versione di "Afrikan" https://youtu.be/sqAKuGrl2Yc qui invece "Carditology" https://youtu.be/xozjwwtv1-E qui ancora "Montanari" https://youtu.be/ERqhBv-xt9c Thanks to the great Maestro George Garzone for it's wonderful playing,teaching and ispiration. And mostly for sharing his Triadic Chromathic Concept that is the truth for every jazz improvviser.

[erikacommdes]

Week 7

At the beginning of this lecture, we looked at how buildings can be shaped like letterforms from above due to the repeated use of a unit. 

Although this is usually by coincidence, this idea of shapes being formed in birds eye view made me think about how Christian churches are purposefully built in the shape of a crucifix. I've always found this interesting because it almost adds another dimension to churches because everyone already sees the imagery, symbols and sculptures related to the religion but the overall shape of the church really reinforces that it is a space dedicated to Christianity.

The two images above are Google Earth screenshots of St Peter’s Basilica in the Vatican City and St Patrick’s Cathedral in Melbourne.

The Bauhaus was the subject of this lecture. It was interesting listening about this school because of how much its way of teaching has impacted design schools globally. It was interesting hearing about how Bauhaus brought together designers from all different fields to collaborate in order to produce work. I think this would have been very beneficial as people with different specialties see things differently. I would love to work with industrial designers, textile designers, sculptors etc. one day in my work.

I found the Bauhaus furniture interesting. It made me think about how people, especially in Europe, live in such cramped apartments that this type of furniture would be very practical. This made me think of the tiny houses that are now sweeping the globe and I wanted to see if this practical and compact furniture idea has evolved up to now. When looking into this, I found out about Rognan, a robotic furniture system by Ikea. This furniture moves and packs away into very spall spaces and can move around the space, allowing more room for different situations (bed only out when sleeping etc.). This is a link to the instagram video IKEA posted, showing a video of the furniture system: https://www.instagram.com/p/ByR3s3MgM4p/?utm_source=ig_embed&utm_campaign=embed_video_watch_again

We also talked about the triadic ballet in today's lecture. I liked noticing how all things in the gesamtkunstwerk (used it!) were part of a trio. I found this fun to watch because I tend to do things in threes as well when designing because I think it allows for really effective balance and I like creating a series of work (typically posters) because I love how one theme can change to suit  different ideas while there is still some flow and consistency between work.

In this weeks tutorial, we were challenged with the activity to make an alphabet out of triangles and quarter circles. Due to the geographic barrier, it was difficult to do this activity in our group because my two peers didn’t have access to the paper to make their letters. Luckily, we resolved this issue as I put my camera on and showed my partners and they suggested ways to create the letters while I assembled the paper how we decided.

I like how different all our letters are but if we were to make a real typeface, there should be more order in each letter and they should all follow similar constraints in terms of size and shape. For example, the T and D don’t look like they would be part of the same typeface. Maybe we could have resolved this by making some sort of grid.

[piotrbezhukov-blog]

So I Wrote a Concert.

Hey everyone. This is a longer post, so fair warning.

I didn’t have a terribly productive summer, musically speaking; a lot of my time was taken up with other stuff (work, an internship, other personal obligations, a depressive episode I’m still not on the other side of, etc, etc). That’s not great, because usually the summer is when I compose most of my stuff (usually, in the sense that I have a composing schedule after only a couple years of composing--ha!). With  all that said, I did manage to write enough for a short concert of chamber music, centered around the solo piano and the piano trio! 

I’d never really written for the piano before-- the polyphonic nature of the instrument scared me, as someone who writes melodies by ear and has no real grasp of harmonies. However, I like to think that I have a good grasp of rhythm (that tap dancing background is good for something after all!) and that was my guide through the instrument. As for the piano trios: I love the cello, and can tolerate the violin. Why wouldn’t I write some trios. 

With all that said, I’ve included links in the title of each piece to rough MP3′s of each of the four pieces for the concert. Below each link are the program notes I’ve drafted for the concert program. I’d really appreciate it if y’all let me know what you think!

Grazie,

T.A.R.

PS-- As always, PDF’s of the scores are available upon request.

Link and Program Notes for the Piano & Piano Trio Concert

I remember the first time I read a Bernard Shaw script. It was his Saint Joan, and, like most of his scripts, contains a long essay about what he as the playwright wanted to accomplish by writing the play. The essay is nearly as long as the play itself. Since then, I’ve tried to keep two goals in mind: first, to use program notes to explain clearly at least one thing that might be of interest to the audience for each piece that I write, and second, to avoid Shavian long-windedness in my program notes. Success is, as ever, illusory. With those goals in mind, I’d like to take a few paragraphs to offer you a guide through the pieces you’ll be hearing tonight. These remarks follow no particular pattern, nor do they dwell on a consistent topic—the focus, broad as it may be, is merely to offer some context (whether personal, aesthetic, or what-have-you) fr each of the pieces in the way they’ll be presented tonight. None of the pieces are so complicated or obtuse to make this guide essential reading (or at least I hope they aren’t), but you might like something to do while you wait for the concert to start.

A Minor Catastrophe:

The first piece in this concert for piano trio is actually not a piano trio at all; instead, it’s a piece for solo piano. It wound up on the program tonight simply because I think it serves as both a warm-up (and then some) for our wonderful pianist [insert name here], and because for better or worse I think it does a good job explaining my particular musical ‘voice’ (how I hate that pretentious term) or idiom. The piece is titled A Minor Catastrophe, which sums up the structure of the piece well. There is relatively little thematic material holding it together—instead, the cohesion comes from a relentless rhythmic intensity, and constant tension between various rhythmic patterns. The title also contains a pun to the constantly recurring theme—a simple tracing out of the A minor chord, which underpins the entire piece in the manner of minimalist harmony (that is to say, the harmonic structure of the piece is relatively static and entirely tonal). This three-note theme creates a tension with the other material of the piece, which shifts between phrases in multiple different times—that is, a phrase ‘in three’ (with a one-two-three, one-two-three rhythmic pattern) with pull and push against a phrase in four (a one-two-three-four, one-two-three-four pattern). I’ve used this pull and push to create some of the rhythmic energy of the piece, and if nothing else it keeps it moving along briskly.

Entirely in one movement, the whole of the piece finishes within the nine minute mark. In that sense, and given what could generously be called a rhapsodic form (and less generously a rambling one), it’s probably best to call this a “piano prelude,” according to the formal conventions of ‘classical’ music. Those conventions aren’t a language I’m entirely comfortable using; I was raised on ‘popular music’ and never had any formal musical training or education until college, and what education I have is introductory at best. I’ve always composed entirely by ear and inspiration, which probably accounts for some of the structural ambiguity (or incoherence) in the first two pieces you’ll hear tonight.

However, despite (or perhaps because of) the lack of a rigid structure of this piece, I think it offers a good look into my mental process and the way I think about music, as both a composer and as someone who listens to music. In that sense, I thought it would be a useful way to start tonight’s concert. Unrestrained by outside conventions, this piece, I hope, will serve as a workable introduction to the kind of music you’ll hear tonight.

With that in mind, let’s look at the second piece.

Quick and Dirty:

Having established a sound world for this concert that is essentially without traditional conventions or forms, this second piano prelude takes us a little further down the path of modern music. By that, I mean that the harmonies are more jagged and dissonant, the rhythms less predictable and more unsteady, and the melodies completely fragmented.

I wrote this piece, like virtually all of my pieces, by ear. Usually, this process entails a stunningly bad first draft of a piece that I then slowly whittle down and shape into something that comports with my limited knowledge of traditional conventions (sonata form, tonal triadic harmonies, etc, etc). And usually I wind up reasonably content with the result—I say reasonably content because as an artist I’m never truly happy with my work. This process, however, does lead me down the path of neo-romanticism, or sometimes minimalism, or so on. In other words, I worry that it tends to make each piece sound derivative of someone else’s music. So I tired something different.

With this piece I tried to create something that was purposefully *ugly* in the way it sounded. Hence, the title “Quick and Dirty.” (It’s also a comparatively short five minutes, thus the first part of the title.) I intend for this ugliness to remove the impersonal polish to try and find a more distinct musical voice underneath all the convention. As always, however, that is a judgment that is ultimately up to you the audience.

I was interested in ugliness, specifically, for a few reasons. First, a lot of my effort usually goes into disguising the work that goes into a piece–that is, making each piece look effortless and sound, if not pretty in the stereotypical sense, at least polished to a sheen. The other reason is that I’ve never really used music as an outlet to explore my mental state; it’s never the way I think about it. My usual approach is to create a piece for someone or something else– that is to say, I write a piece for X instrument because a friend needs a new piece to pad out their recital, or because I want to see what I can do with an odd instrumentation (i.e. two clarinets and a viola). I thought I should probably look inward at some point, and this is a somewhat clumsy first result.

Triage:

Having used the first two pieces of tonight’s concert to show off the pianist, I thought it would only be fair to similarly showcase our excellent string players [insert names here]. This second piece, a short piano trio, was built around what are called ‘extended techniques’ for playing string instruments. In other words, there are instructions for the players to use their instruments in some odd ways, to produce sounds that are rather different from the normal lyricism and rich song-like lines of the violin and cello. The intended effect is to add an ethereal element to an already somewhat mournful piece. (Of course, you know what they say about artistic intentions.) It might be that mournfulness that led me to the title Triage, which to me conjures up an image of the dead and dying, but I honestly think it was the shared prefix with the word Trio. I’m very drawn to surface similarities as a way to connect seemingly disparate concepts. On top of that, I do like a good pun. Sadly, between the title of the first piece and the title of this one, apparently I have to make do with remarkably poor ones.  

The form of this piece is essentially undefined, floating between one idea and the next. There is an occasionally recurring metronome in the piano, and few moments when all the players elaborate on a syncopated scale. But aside from those occasional grasps of familiarity, the players glide from one gesture to the next, sometimes echoing or reflecting back to each other, but never stopping to relentlessly drive a musical idea into the ground. It’s a dreamlike and insubstantial conjuring of a particular tone, or mood.

It’s also resolutely tonal, with very conventional harmonies and so forth. While I would hardly call myself a neo-Romantic composer, I’m certainly more comfortable writing the sort of music you can hum on your way out of the theater than I am writing more avant-garde or conceptually intense music. That’s probably a function of my composing style—I like to hum up a melody before I ever sit down at a piano or computer to work out the harmonies, the instrumentation, or any other aspect of a piece. And sadly, I never learned to hum in set theory tones. (Any singer could tell you I never learned to hum in any kind of tone, but that’s another conversation.) All of which is to say that, while I’m a great fan of most of the quote-unquote “new music” composers and the pieces they’re putting out, and while I admire the artistic talent it takes to write that sort of music, it’s a talent that I either don’t have or haven’t cultivated. My sound world is entirely blue-haired.

Which brings us to the final piece of the evening.

Piano Trio No. 1, ‘Repartee’

I very rarely like any of the pieces I write. Part of that is just the standard-issue self-loathing of the artist, part of it is that I’m still a relatively immature composer and I can see the amateurism in what I write, and part of it is simply that by the time I’ve finished a piece I’ve heard the playback from my electronic score so frequently that the familiarity renders it loathsome. The larger part, however, is a kind of conceptual loathing—very rarely does my original idea for a piece survive contact with the actual process of writing it. However, with this piano trio, the original idea sails through in fine form. That’s probably why this piece is one of my personal favorites.

I had a very basic idea for this trio. I wanted to write something glittering, light, and adorably entertaining. Forget artistic pretensions, or rigorous theory to back up every choice of chord. This is a piece that I had fun composing, and that you’re going to have fun listening to. The informal title, Repartee, reflects that idea: a jaunty conversation where the verbal volleys banter back and forth and around the room as everyone laughs gaily and has a grand old time.

The first movement is a light allegro: open, airy, dashing along to leave you suspended in a pleasant haze. The second movement, though a slower adagio, maintains the airy feeling through the use of transparent orchestration and delicate quavers in the right hand of the pianist. Throughout the third movement, a faster tempo creates tension with a lethargic two-step time signature; this tension propels the piece into the fourth and final movement, an ecstatic release for both players and audience, with the notes rushing by on their way to a triumphant finale that seems to arrive altogether too soon. The structure is fairly straightforwardly linear and old-fashioned. Each movement follows the rough pattern of fast—slow—faster—now-really-fast structure of most classical pieces, to present a clear contrast between movements, and to make sure there’s enough variety to keep everyone (me included) interested. One note about the musical theory: the first movement sits in B major, and every subsequent movement sits one half-step above the previous movement (so the second movement is in the inescapable C major, the third in C sharp major, the final in D major). I like to think this gives us a sense of rising up through the progression of the piece, even as we slow down to look at the pretty scenery.

The key to this piece, I think, is the incredibly simply and open harmonic pattern. In a word, I eschew the chromaticism of the neo-Romantics, and avoid the atonality of the avant-garde in favor of something closer to three-chord rock & roll. By keeping each instrument confined to a particular distinctive timbre, and by avoiding cluttering up their respective lines with excessive and extravagant harmony, the interplay between each of the short melodies—not quite full melodic lines, but more substantial than quick motives and phrases—is highlighted. The forward motion comes from a bounding and delightful rhythmic energy and the changing interplay of these short melodies.

Don’t remove any part of this caption and don’t steal shit, y’all. 

[cluboftigerghost]

originals here http://ift.tt/2F0rvm9 http://ift.tt/2DrnU3l http://ift.tt/2DFPGKc More on this 317th weekly Disquiet Junto project (Triadic Awareness: Record the third part of a trio, adding to a pre-existing track of two parts) at: http://ift.tt/2DKlHAb More on the Disquiet Junto at: http://ift.tt/2pEMRhk Subscribe to project announcements here: http://ift.tt/1iFaa50 Project discussion takes place on llllllll.co: http://ift.tt/2FffBoA There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion. Image associated with this project is adapted from a photo by Martin Kenny and is used via Flickr thanks to a Creative Commons license: https://flic.kr/p/neoFUH http://ift.tt/1d8jdVT