#two suns

[70sscifiart]

Here's possibly my favorite 'floating city' art ever. It's by Vicente Segrelles for the 1978 German translation of 'Armada of Antares,' by Alan Burt Akers. I love the organic touches - the rope bridge, vines, birds. And why is just one city decaying like that? Mysterious!

​This is my personal scan and, I believe, the highest quality version available online. My free email newsletter subscribers got to see it first! You can check out the full issue here.

[reality-detective]

Why two Suns? - New Earth? - The Fate of those who get left behind? 🤔

[louisupdates]

twosunscreative LOUIS TOMLINSON - LIVE SHOW VISUALS 🌞

Working with @tanck.co we designed visual screen content for @louist91 ‘s 'Faith In The Future' tour, which saw Louis and his band play in over 80 venues around the world.

In sync with the visual language of ‘Faith In The Future’, our designs introduced graphic square elements, angular shapes, and timeless circular patterns. With a limited monochrome and red palette, the lo-fi, rugged, textural, gritty aesthetic unfolded seamlessly, occasionally punctuated by glitchy moments.

Creative Direction - @tanck.co @louist91 Matt Vines

Production Design - @tanck.co

📷 - @joshuahalling

[vertigoartgore]

Star Wars Galaxy Trading Card: The Tusken Raider by Mike Mignola.

[1five1two]

[milafm2002]

Hello, Everyone Happy October We Are Now Officially Knee knee-deep in Fall!.

This is part one of the fall music blog. I've Been Planning This For A While, So Here It is. Part One Is All About Fall Coded Albums And Part Two Will Be All About Fall Coded Songs Hope You Enjoy Part One And Check These Albums.

Alright, Let's Get Into It!

Album 1: Turn On The Bright Lights

Band: Interpol

Released In 2002

Ah, Interpol Starting Off Strong With One of my Favorite Albums From My Favourite Bands. Being An Icon Amongst The Other Album Of The 2000s With Songs Like Obstacles 1 And 2, Untitled, Stella Was A Diver ( And She Was Always Down ), Say Hello To The Angels, And My Personal Favorite Hands Away As Well As Daniel Kessler Iconic Guitar Riffs and Pauls Vocals. I Knew From The First Time I Listen To The Album In October 2022 That This Album Is Perfect For Fall Especially. The Other Fall Coded Interpol Albums Are Antics and Self Titled. Overall TOTBL Is A Fall Album

Album 2: Halcyon ( Deluxe Edition )

Artist: Ellie Goulding

From 2012

I loved Ellie Goulding's music for a long time especially halcyon. This album is amazing with songs perfect for listening to in the forest and each song being pure gold halcyon is truly a fall-coded album 20/20 album brightest blue is also Fall coded but anytime I think of fall And Ellie Goulding I think of Halcyon

Album : 3 Blue Weekend

Band: Wolf Alice

From 2021

With songs like play, the greatest hits, last man on Earth, and delicious things. Wolf Alice's Blue Weekend is scattered with themes of night and has a fall vibe as well as a summer Vibe especially with the songs, the beach and the beach part 2. But overall if you want a good album to listen to on a fall night this is a perfect album.

Album : 4 Memoir Of A Sparklemuffin

Artist : Suki Waterhouse

From 2024

The latest release from Suki Waterhouse From the first listen I knew I had a new favorite album This album compliments huge cities during the fall It's truly amazing. Suki Waterhouse's music always has a Fall vibe To it And make sure the chicken on part 2 because she will be returning

Album 5 : Badlands

Artist : Halsey

From 2015

My favorite album by Halsey Badlands is truly a spectacular album This album is definitely fall coded It's truly One of a kind. This album as well as 2021s. If I can't have love, I want power truly compliment the fall season

Album 6 : Formentera 2

Band : Metric

From 2023

Almost a year ago Metric released Formentera 2 in October. It's no joke that I'm totally obsessed with Metrics music The song definitely compliments Long train rides during fall when it starts getting darker earlier outside. Truly One of a kind

Album 7 : I Don't You Anymore

Band : Cherry Glazerr

From 2023

Cherry Glazerrs most recent album I Don't Want You Anymore. I love this album! Each song has a spooky vibe to it, especially songs like Eat You Like A Pill , Golden, Soft Like A Flower and Ready For You. I Don't Want You Anymore. Definitely Is fall coded

Album 8 : Two Suns

Band : Bat For Lashes

From 2009

The last album on the part 1 fall blog Natasha Khan also known as Bat For Lashes created. Not one but two amazing fall coded albums Two Suns 2009 And Lost Girls 2019 . The one we're going to be talking about is her album in Two suns with songs like Daniel , Sleep Alone , Two Planets , Moon and Moon And the final track The Big Sleep this album has a early Kate Bush sound do it which makes it a perfect album for fall

I hope everyone enjoys part one and stay tuned for part 2 that will be coming next week I wanted to put more albums. There's so many different fall-coded albums, but I hope you enjoy and give these albums a listen. Follow for more posts and I'll see you next time

[breezeowci]

our home was surrounded by two suns.

it was never dark.

it was never cold.

always day or dawn.

then, one went out.

and the darkness came.

with the dark came Night and Dusk.

with the dark came The Erubus.

[shapinginvisible]

My gosh who still remembers this song? I used to be huge fan of Bat For Lashes and now I'm reminded of it again. Out of blue today I stumbled across my old blog on Blogspot from many years ago which I completely forgot about it. I've been signed on it ever since. Even back then I was all about music and this song was my favourite. So here I am brining this beauty back. Goosebumps all over I tell you.

[dare-g]

Two Suns (2005) 

[dreamings-free]

This month Steve Jennings looks at Louis Tomlinson’s Faith in the Future world tour and spoke with Production Designer, Programmer, and Director Tom Taylor of Tanck.co about his design. Taylor, along with Tanck.co partner Francis Clegg, added a video element to support the larger venues on this run.

By: Steve Jennings (Photos and Text) Wide Focus - August 11, 2023

English singer-songwriter and former One Direction band member Louis Tomlinson is back out on the road in support of his second album, Faith in the Future. For his second world tour, he’s playing to an ever-growing audience—the crowd I witnessed could not get enough of him as evident from the adoring fans singing along to every word he sang. We spoke to Production Designer, Programmer, and Director Tom Taylor of TANCK about the tour.

Designer Tom Taylor started working on the current tour as the new album’s promo materials and aesthetics came to light. Taylor says it’s a more rugged and asymmetrical look than they’ve gone for before, meant to mirror a sort of dive bar aesthetic rather than a beautiful arena production. “This reflects the music off the latest album, which has a more grungy feel to it. There are touches in there such as the light boxes (loosely resembling the fluorescent lights of a nightclub toilet), and our custom camera housing (a hollowed out old VHS camcorder with a Marshall 4K camera inside) that bring it back to a more intimate venue feel than the true scale of the places we’re playing across the world.”

Taylor notes the show itself has definitely progressed and he would say feels more like a ‘show’ than a ‘gig‘ now; it has a start, middle, and end, with themes and segues to connect them throughout. “The video content is more to set a mood for the songs. We’re trying to stay away from anything too literal and obvious. This extends to the lighting programming as well where we largely refrain from hitting everything on the beat, fully ‘perfect’ timecoded hits throughout the rig. Hopefully the end result is that in those moments where we do go crazy with programming and rhythm, it’s much more interesting and stands out in the set.”

Since 2020, Taylor has worked with Francis Clegg on production design. They had worked together for about five years prior to that and have a complimentary skill set. “We’ve accelerated quite rapidly, taking on a design assistant in Jamie Lawrence and soon to have another member of the team joining,” Taylor says. “Whilst one of us is the company face to each artist or client, we work together 50/50 on every project behind the scenes. James Washer [Lighting Programmer] is often the first name on the team sheet when we pick up a show like this one… he just gets it; is a great programmer and time saving resource who knows how to interpret when I say something like ‘can the lights be a little more aggressive.’ Francis (Clegg) is also a fantastic programmer, so I was able to work alongside James in the rehearsals to finesse the previz programming.”

Although he’s on a MA Lighting grandMA3 surface, Taylor runs the show on MA2 software. The reason for that is because this tour goes everywhere in the world, and he knows he can get an MA2 anywhere without having to lug around small form consoles himself. Taylor much prefers to take a USB stick through an airport. “We are running a lot of things through the desk—lighting, video, camera switching, and automation. The MA makes this easier to deal with and the fixture cloning system is excellent, so I know I’m going to get a good replica of the show no matter what fixtures I get thrown wherever we go.”

The venue sizes this time around sort of called for a video element to be added, Taylor says. “The focus of the show is, of course, Louis, so plenty of close-up camera work to amplify his emotion. These are treated with overlays and masks created by [content creators] Two Suns and ourselves, with 3D animation work coming from Boxcat Studio. The whole system is run on a Resolume server. Camera switching is done from the MA console via Open Control, which sends OSC messages to the ATEM switcher, which ultimately sends it to the capture cards. This way we eliminate a touring video director (sorry!) and save a bunch of truck space on outboard equipment. The system works extremely well.”

Colour Sound Experiment out of London is the tour lighting, video, and rigging company. “We use them for a large portion of our shows. It’s very useful dealing with just one company who ‘do it all’ but also don’t cut any corners or scrimp to get the job done. The equipment is well maintained with a good selection of inventory to choose from.” Taylor says it probably took them about three iterations to get to the point they’re at now, keeping ideas from the previous versions until they got somewhere they were all happy with. “It was a bit of a process, but a great payoff. I should probably thank Louis and his Manager, Matt Vines, for their patience in putting it all together. There are a lot of (literally) moving parts to the stage with winches, light boxes, light bulbs, and our shuttering set piece at the back. Ultimately the show is dynamic and exciting, but all the elements sit nicely together as well.” Taylor was a bit unsure on using the GLP X4 Bars across the back because of the brightness difference to GLP’s FR10, for example, but they are exactly the right brightness for this gig without being overpowering, he says. “My absolute favorite moment of the show, where we have some crazy iridescent hyper color animation, is driven by the Ayrton Huracans… amazing lights, just don’t try to pick one up by yourself, they’re beasts!”

Tomlinson was really involved in the design of this one, and also much more open to trying new things and delivering a narrative through the show, adds Taylor. “Matt Vines should have a shout out for his contribution to the ‘ideas factory’ and being a great sounding board as we developed the show. PM Craig Sherwood has been incredible as always, never asking ‘why’ we want to make it look like a derelict bathroom, just making it happen. Finally, the tour’s secret weapon, technical maestro Sam Kenyon, who is quite literally irreplaceable, has been an excellent resource for actually delivering the show in the real world day after day.”

Production Team

Tour Manager: Tom Allen Production Manager: Craig Sherwood Production Design, Programmer & Director: Tom Taylor & Francis Clegg, TANCK Lighting Programmer: James Washer Lighting Crew Chief: James Box Lighting Techs: Rick Carr, Amy Barnett Stage Manager: Torin Arnold Technical Manager: Sam Kenyon Video Crew Chief: Dave Mallandain Video Programmer: Jack Fone Video Techs: Tim Curwen, Braden Pettigrew Camera Operators: Mark Lawrence, Braden Pettigrew, Tim Curwen Rigger: Mark Lawrence

Vendors

Lighting/Video/Rigging: Colour Sound Experiment/Acc. Rep. Haydn Cruishank LED Trim: LED Creative Custom Light Housings: OX Event House Set Construction: Hangman UK Video Content: Two Suns Creative, Boxcat Studio, TANCK SFX: BPM SFX

Gear

Lighting 2 MA Lighting grandMA3 full-size 19 Ayrton Eurus Profile 6 Ayrton Huracan LT Profile 5 Claypaky Mini-B 12 Robe Spiider 72 GLP X4 Bar 20 16 GLP JDC Line 1000 10 GLP JDC1 Strobe 12 CHAUVET STRIKE Array 4 2 Chroma-Q Color Force II 12 16 Elumen8 COB PAR Endura 10 LEDJ Spectra Q15 3 Robe BMFL RoboSpot

Video 2 Resolume Server 23 Custom LED Trim 6 Video Screens, 2.5m x 2.5m 7 Marshall 503 Camera 3 Panasonic UE70 PTZ Camera 2 Blackmagic Design URSA G2 Camera

► audio version of the article available at the source

[lifeis-strangemercy]

One of my favorite bat for lashes interviews is the one she did with New York times in July of 2009

A NIGHT OUT WITH BAT FOR LASHES

Animals, Plastic or Dead

In this interview, her and the interviewer first go to a costume shop together.

“ ‘I love dressing up,’ she said”

Her album ‘two suns’ which was released at around that time was heavily inspired by the city of New York, so it was wonderful reading about her way of interacting with the big city.

“ ‘There’s a place near my house, I buy all my skeletons and animal heads there,’ she said. No such luck here, but she did like the store’s soundtrack, singing along to ‘If I Only Had a Brain’ from ‘The Wizard of Oz.’ “

then they go meet her band mates touring with her for a girls’ night.

“An hour later, having bought a feathered mask (to wear as a hat), some glittery makeup and a fake stuffed raven for the stage, Ms. Khan headed to Freemans on the Lower East Side to meet her bandmates.”

We also find out the meaning behind her name, which I honestly find quite amusing:

“As for her stage name, Bat for Lashes ‘doesn’t really mean anything,” she said. “It conjured up Halloween-y images, and it sounded metal and feminine.’ ”

You can read the full interview through this web archive, I really recommend it! It is a fun short read and gives some light insight into her and her band mates’ experiences with being women in music.

https://web.archive.org/web/20230417050752/https://www.nytimes.com/2009/07/05/fashion/05night.html

[zagpi]

Day 15: duel dawn

[bunnybags]

"Don't try to eat with me now,

if you wouldn't starve with me then.

If I'm bailing you out,

it's 'cause I'm tying up, tying up loose ends."

[colorful-horses]

moons student

[milafm2002]

hello everyone here are some albums I got as CDs so far in 2024

#1 Radiate Like this - Warpaint ( 2022 )

#2 Blue Weekend - Wolf Alice ( 2021 )

#3 Gran Turismo - The Cardigans ( 1998 )

#4 Two Suns - Bat For Lashes ( 2009 )

And Last But Not Least

Post - Björk ( 1995 )

[captaindidiermanchione]

Two Suns In Our Solar System May 1, 2024