#Pyroclastic

[geologyin-blog]

pyroclastic flow is a high-density, fast-moving surge of volcanic gases, ash, and rock fragments that races down the slopes of a volcano during explosive eruptions. These flows, often referred to as ground-hugging avalanches,

[sound-bombing]

Sylvie Courvoisier & Mary Halvorson - Searching for the Disappeared Hour (Pyroclastic, 2021) Genre: Avant-Garde Jazz, Post-Bop Artwork: Dike Blair Bandcamp

[probablywhisper]

An entire page of Pyroclastic sketches!!! Oopsies someone is sickly

Dust!Sans belongs to Ask-DustTale

Hazel Froslight belongs to me ( @probablywhisper )

[dustedmagazine]

Modney — Ascending Primes (Pyroclastic)

Ascending Primes is a number game. Violinist, composer and improviser Modney (née Josh Modney) grew its music from his ongoing interest in the intellectual logic and sensate satisfaction imparted by just intonation (hereafter referred to as JI), a tuning system that favors whole number ratios over the book-cooking compromises of the more widely known equal temperament, which has been the world’s tuning standard since that beautiful sound-culture neutralizer, the piano, made its way around the globe.

Modney found in JI a method that made sense of his instrument; it simply sounded better. But he hasn’t kept the pleasure to himself. The performance units he has assembled for this double album advance in steps dictated by the progression of prime numbers — one, three, five, seven and finally 11 players. His violin, sometimes amplified, is the only instrument to appear in every aggregation. As the ensembles expand and change, so does the music. It is never simple, but neither is it cluttered or unnecessarily busy. Playing alone, the sound of each of Modney’s violin string leaps out, illuminated by the overtones that JI enables and coarsened by liberally applied distortion.

The smaller line-ups are non-standard but exemplify the chamber music aesthetic of exposed interaction between players. At different points Sam Pluta’s electronics and Cory Smythe’s JI-tuned piano disrupt the flow. But as the ensemble’s increase in size and diversity of instrumentation, jazz elements creep in. Ben Lamar Gay’s puckering cornet and Charmaine Lee’s swooping voice adopt jazz-informed, solo voices within the septet, poised atop the multi-directional rhythms of Dan Peck’s tuba and Katie Gentile’s drums. The largest ensemble is also the most inclusive, marshalling hackle-raising strings, gut-rumbling horns, rhythm-opposing clusters, angelic/demonic vocal exchanges and straight-up noise into a sequence of events that seem to be pushing against implacable time-keeping.

There’s a lot of JI music, especially that made by string players, that seems to treat tuning system’s sonorities as ends in themselves, and that’s not necessarily a bad thing. But Modney has taken another tack. Like Anna Webber, who appears in the largest ensemble, he puts the sounds to work alongside the genre elements to create music that is stylistically unlimited and viscerally affecting.

Bill Meyer

[zef-zef]

Album art for:

Sylvie Courvoisier & Mary Halvorson - Searching for the Disappeared Hour (Pyroclastic, 2021)

[mercenaryg]

We're about to get Pyroclastic to save the world.

[sakuraswordly]

[dustedmagazine]

Kris Davis — Diatom Ribbons Live At The Village Vanguard (Pyroclastic)

Photo by Peter Gannushkin

The bio on Kris Davis’ website borrows a line from the New York Times which described the Canadian pianist as the beacon that told listeners where in New York City one should go on any given night. Diatom Ribbons Live At The Village Vanguard proposes a more expansive understanding of her relationship to jazz, because the ensemble’s music is a zone where Davis’s notions about was worth hearing in the 20th century gets processed and beamed out into the 21st.

The first project’s first, self-titled iteration wasn’t really the work of a band as much as it was the manifestation of a concept. The musicians at its core were Davis on piano, Trevor Dunn on electric bass, Terri Lynne Carrington on drums and Val Jeanty wielding turntables as a source of sampled speech, natural sounds and scratches. They were supplemented by six other musicians playing electric guitar, saxophones, vibes and voice, who enabled Davis to incorporate blues, rock, hip-hop and classical elements into her already-inclusive vision of the jazz continuum. The two-disc Diatom Ribbons was ambitious, but also a bit exhausting to negotiate.

This similarly dimensioned successor comes from a weekend engagement at the Village Vanguard. The latest material, which hinges around a three-part “Bird Suite,” and the ensemble’s lack of augmentation — besides the core group, there are no horns and just one guitarist, Julian Lage — results in a more cohesive statement of Davis’s thesis, which echoes a point that Charles Mingus already made a long, long time ago; you do Charlie Parker no honor by trying to play like him. He is the namesake of the three-part “Bird Suite,” which is the album’s center of gravity. Buttressed by Jeanty’s snatches of speeches by Sun Ra, Stockhausen, and other visionaries, as well as liberally reinterpreted tunes by Wayne Shorter, Ronald Shannon Jackson, and Geri Allen, the music seems to be arguing that today’s jazz musician, like Bird, need to deal with everything that’s happened, and then come up with something personal.

To that end, Davis makes a hash of old, dualistic notions like inside/outside, improvised/composed or jazz + (one other genre) hybrids. Properly prepared, hash is pretty tasty, and that’s the case with this overflowing platter of pristine lyricism, bebop-to-free structural abstractions, shifting rhythmic matrices and multi-signal broadcasts of sound and voice. This is the good stuff, Davis seems to be saying, and a music maker following a jazz trajectory needs to deal with it all. But, while the music of the Diatom Ribbons ensemble is way more creatively inclusive than all those bebop copycats Mingus used to rail against, it’s a highly personal reordering of what is known, not a total paradigm shift into the new. Come to think of it, however, Mingus’ own undeniably magnificent accomplishments were more on the order of what Davis is doing here than Charlie Parker’s transformation of the music of his time.  

Bill Meyer

[zef-zef]

Sylvie Courvoisier & Mary Halvorson - Moonbow from: Sylvie Courvoisier & Mary Halvorson - Searching for the Disappeared Hour (Pyroclastic, 2021)

[the-jordas-trials]

teehee. More earthmovers. Reference time aswell YIPPEE!!! This is by all means not all of my stupid war horses, theres like so many more still in the back of my brain who i gotta design, that atop doing designs for each ones final moments/ Whalefall just vibing on the surface.

more info about each under the cut (poke me about any of these guys i WILL ramble more bout them)

Benjamin: here just for a height reference. Standard Civilian class earthmover. Just a littol man (bonus points if you manage to find V1 hidden on his ref. Carefull. V1 is like five pixels tall but it IS there)

Pyroclastic: Supreme Escalation Class. Ruthless and violent, known to stop at nothing untill his targets have been eliminated. Pyro's name sake was drawn due to his size causing extensive overheat, as a result, vents were built and installed post creation, allowing him to turn the tide of most fights by dumping superheated steam/blood and vapour directly onto the field, often melting or overheating rivals. Pyro is considered a 'failed' EM, having he failed the second 'hurdle' of an earthmover's coming of age. Winning a fight against the last made, Whalefall. Disgraced, he was often chased away from his kills and only gained respect after wiping out several Supreme class herds, earning the nickname Burning Devil. Starshine: early Greater Escalation class. SS is old for an earthmover, but by far not the eldest, old enough before the design was fully nailed down. She supports a prototype canon, opposed to the usual javelin, she was designed to get up close and personal before overloading a rivals shield with a canon shot, allowing a fellow herd member to later take them down. SS pingponged between herds, and was later wounded and found by Whalefall. She's rather squeamish, shockingly kind and was known to go without refueling and resting form months on end. Both she and Whalefall survived the long night and new peace, untill the machine uprising, where Pyroclastic cut her down. Whalefall: Supreme Scavenger/Civilian class later repurposed for escalation. Whalefall is an oddity, having being a dual class earthmover, and was later upgraded before the long night set in. She's deceptively fast, known to sprint down her rivals and body slam them. She's also one of the few earthmovers known to weaponize an old targeting glitch, rearing up onto her hind legs and using the sun as cover, forcing her foe's to loose agro and lo longer class her as a 'threat' due to the sudden lack of javelin. Whalefall is also one of the few earthmovers post Hell Invasion that're still alive and is somewhat able to move, she now rests overgrown awaiting for her last maintenance machine to return from its hell dive.

Cyclone: Lesser plateau class. Cyclone is apart of the last round of earthmover's before the refineries and factories were razed to the ground. Apart of the 'colt/filly' round, small due to the lack of resources to make a herd of full sized earthmovers. Typical for his herd, Cyclone sports massive electric generators along his flanks, allowing him to electrify rivals. His herd splintered early on, joining up with existing herds, he found himself in the care of Whalefall fairly early on. Perished during the long night after tripping and unable to follow Whalefall and Starshine. Divergent: Standard civilian class. She's nothing to write home about. Born, killed, earned respect, then left alone. She's bog standard. Often living a peaceful life protected by her two sisters. Converse often with other herds, including Whalefalls, her large antenna array allowing her to do so. She's a known peace keeper, and was able to talk sever herds out of fighting multiple times. Convergent: Greater escalation class. By far one of the most hyperactive earthmovers. Known sprinter, known escalator. She was violent and hot headed, often shot first, hailed for peace second. Horridly protective over her sisters. She was wounded early on in her life, having taken an unlucky hit to her neck and surviving by the skin of her teeth. As a result she cant look down nor does she have full range of movement within her neck. Transform: Supreme civilian class. Form had by far the largest population atop her back, and as a result could hardly move faster than a shamble. Before the long night set in, she had been gravely wounded on her hind right leg, resulting in an extensive limp. Despite that Form is one of the few Civilian class movers that're willing to fight, and fight often. References still to draw are: Tsunami, Geyser, Eruption, Habitat, Freeze, Solarflair, Pompey, Hurricane, Typhoon and Tropical. yeah... theres alot of these fuckers lmao.

[ghoulinfuschia]

Not exactly what was ordered but here’s what I cooked

[avanii]

The prototypes to my Geology Monsters series were these two funky guys from March 2023.

I made the sketch for the marten in the plane from Naples to home, after we'd done a full circle around Mt. Vesuvius and you could really peer into its crater and see how close it is to the metropolis. I had also visited it during my stay there (but it was cloudy all week so unfortunately the view at the summit wasn't good), as well as the ruins of Pompeii and Herculaneum. That really sparked something in me. These two volcanic beasts were painted the same week after I got home.

Later I picked up the concept again and the monsters became more, well, monstrous. I still like these though! Both are small paintings done with ecoline inks.

[bananafrog26]

Hey geologists I need a bit of help with my worldbuilding.

So I'm adding dwarves to my setting but not your typical short stubby fleshy dudes. But rather short stubby rocky dudes. There are three types of dwarves upper crust, mid crust, and lower crust. They grow at different levels in the earth's crust and are made out of different rocks depending on what's available at that level. Like if they're closer to the surface they're made out of rocks and gems and such that naturally grow at that level.

Small issue though I have no idea what grows- forms? At those different levels farther or closer to the surface and I also don't know in what amounts. What's rare and what's common? I imagine diamonds don't grow in the same place as amethyst.

If you guys could help me out it would be much appreciated!

P.s. I did try googling it first but I couldn't find anything.

P.p.s. a visual representation like a rock map or something would be nice but is not required.

P.p.p.s. please don't be mean to me I'm not an expert on rocks I don't know exactly what to search for which is why I'm asking for help.

[kidhellion]

old rangers and associates

RIP anathema and hood

[hiyutekivigil]

another week another friday looking at rocks

[haaaaaaaaaaaave-you-met-ted]

Horus Heresy Legions - Pyroclast Zeqh by Victor G