#unit 12 exploring improvisation

[burpenterprisejournal]

JD ZAZIE AND CATE HOPS AT BIEGUNGEN IM AUSLAND

2024/12/13 biegungen im ausland JD ZAZIE / CATE HOPS STANDALONE-404 ausland Berlin - DE

Second concert for the duoJD Zazie and Cate Hops. They will play together for the series biegungen im ausland in Berlin and will share the bill with the Japanese band Standalone404.

JD Zazie – playback devices Cate Hops – electronics, radios standalone-404 Mitsuhisa Sakaguchi – keyboards, electronics Toru Kasai – bass Masatsugu Hattori – drums

JD Zazie is an experimental DJ, avant-turntablist, sound artist and curator. Coming from a DJ and a radiophonic background JD Zazie has explored different approaches to real-time manipulation of fixed recorded sound. In her work she redefines DJ and electroacoustic activities. Cate Hops embeds herself in the Berlin bass scene as well as in the experimental noise scene. In her dj sets she fuses ambient, heavy bass lines, early roots reggae and futuristic sound patterns from all areas, while her live performances are signified by dense spherical layers of ambient noise. standalone-404 is an experimental keyboard trio from Tokyo, formed by Mitsuhisa Sakaguchi. Each of the three members are involved in various scenes scattered across jazz, techno, electronic music, improvisation and/or hard core. In their multiple machine and acoustic drum/bass set up, sequences dissolve and occur simultaneously with the catapulting noise of the keys. While their style is derived from jazz, the folie à trois of electronic music wanders seamlessly over minimal, drone, psych and industrial sounds. Smeared and broken compositions capturing fleeting beauty is one way to describe this unit. This concert marks the Berlin premiere of this hidden gem of the rich Japanese experimental music scene.

Doors 20:30  | Concerts 21:00

ausland Lychener Str. 60 10437 -Berlin

[whadupcat]

chimeric chimes - Rocaille

// performance in collaboration with Patrizia Ruthensteiner

+ choreography + performance

Chimeric (Composite being; organism that has genetically different components) Chimes (Windchime; melodious ringing sound) Rocaille (Shell-shaped ornament; german: Muschelwerk)

Chimeric Chimes I – Rocaille’ is an electro-acoustic music performance based on a chime that can be worn as a sculptural extension of the body and set in motion by the dancer. Thus the instrument can be played through her movements. The chime is composed from various materials. Shells, glass, aluminium and the dancers body form a transformation cycle of organic and inorganic materiality, narrating the emergence and decay of temporary forms. Noise meets concrete tones. The composition is based on two independent, coordinated tonal sequences deriving from each side of the sculpture. Through the spatial distribution and interplay of acoustic and electronically amplified sounds they become a sculptural medium. The choreographic composition and improvisation with this wearable instrument unfolds its musical potential during the performance.

‘Rocaille’ draws inspiration from the European stilistic period ‘Rococo’. The interchange between art and nature and the interest in the exotic was at the core of this period. Nature and organic forms were coalesced with various other shapes asymetrically in volutes and ornaments. The materials and aesthetics chosen for the piece ‘Rocaille’ are reflectant upon Cat’s intercultural background. The sculpture is based on a pentatonic composition, that unites the stilistic musical approach of lightness and the asymmetry of the Rococo.

‘Chimeric Chimes’ is a transdisciplinary project based on a collection of wearable chimes that are set in motion by the movement impulses of dancers. The instruments are assemblages of processed natural and industrial materials and therefore exhibit different acoustic properties.

Chimes have been utilized in various cultures since thousands of years. They were hung in gardens, courtyards and similar transition spaces, played by the wind movements. Wind chimes are an important element of Feng Shui, an ancient Chinese Taoistic concept linking the destiny of man to his environment. The Taoistic perception of nature is based on the idea that the land which surrounds us is alive, aiming to live in balance with these energies and in accord with the flow of nature.

The emergence of modern natural sciences came along with the separation of psyche and matter, human and non-human beings, living and dead, culture and nature, as well as resultant concepts of the ‘domination of nature’. In this project these concepts are aimed to be reconsidered and transformed. ‘Chimeric Chimes’ undertakes artistic attempts to imagine and explore alternative, yet unknown relations of man and nature, culture and technology.

‘Domination of nature’ describes the attempt to control, manipulate and design non-human beings, things as well as the human inner nature. In the modern world this is associated with the idea of progress, while the encroachment of the natural realm is resulting in the decrease of ecological diversity and progressive endangerment of natural resources that are crucial for human and non-human beings. Instead of the imagined emancipation from nature, it is our relationship with nature that would have to be transformed.

Funded by BMKÖS, MA7, Bildrecht (SKE-Fonds) and district 1150

13.10.2023 – ‘Chimeric Chimes I – Rocaille’ with Cat Jimenez (Performance, choreography)Patrizia Ruthensteiner (Concept, composition, instruments, choreography)

21:30 – Concert at‘Shut up and listen!‘ Transdisciplinary Festival for Music and Sound Art | Echoraum, Sechshauser Straße 66, 1150 Vienna. The instrument will be part of the exhibition throughout the festival days (12.-14.10.).

photographs by Patrizia Ruthensteiner

[anuomusic]

無聲電影的音樂夢 The Musical Dream of Silent Films

觀看古老��黑白無聲電影會讓我們回到祖父母或曾祖父母的年代。召喚了我們與過去幾代人聯繫在一起的紐帶，同時反思自身在現代社會的處境。

三位音樂家貓阿諾、林可柯德和戴典瑞，將為現場播放的無聲電影即興創作音樂，無論是查理·卓別林的作品，或日本導演的無聲電影作品，亦或1920 年代的法國實驗電影以及美國電影，他們將像一個世紀前的導演一樣，專注探索人類永恆的情感：溫柔、幽默、激情、愛、瘋狂….。

Watching old black-and-white silent films takes us back to the time of our grandparents, or great-grandparents. It's a reminder of the bond that unites us to past generations, while reflecting on our modern human condition. Improvising music to silent films by Charlie Chaplin or Japanese directors , French experimental cinema from the 1920s or American cinema, the three musicians Arnaud Lechat, Coordt Linke and Daniel Ditlevson will focus, just like the directors a century ago, on exploring eternal human feelings: tenderness, humor, passion, love, madness…

時間 Time：8/5 (Sat) & 8/6 (Sun)，7:30pm (7pm開放入場 Entrance）

地點 Place：走馬啡大同老屋門市2F  跳舞蘭計畫 (台北市重慶北路二段12號2F)

表演者 Performers：貓阿諾 Arnaud Lechat，林可柯德 Coordt Linke，戴典瑞 Daniel Ditlevson

https://www.accupass.com/event/2307040040091538909180

[gypsealife]

What to do in New Orleans

What to do in New Orleans

Do you want to go to New Orleans but aren't sure where to begin? I'll tell you about some of the top things to see in New Orleans in this article (Louisiana). NOLA, or The Big Easy as its residents refer to it, is known around the world as the metropolis of jazz, Creole cuisine, and a distinct dialect.

New Orleans, located in southeastern Louisiana, is described as beautiful, colorful, relaxing, and fun.

It is a city of French and Spanish ancestry with strong African-American characteristics, exhibiting American pluralism via architecture, music, and cuisine.

Since President Thomas Jefferson purchased New Orleans for $15 million from Napoleon Bonaparte, it has been a great American rare.

Immersing yourself in its French Quarter is like stepping back in time to the 18th century, while also taking in the cultural distinctives that have been added during the 19th and 20th centuries to create this the country's most eclectic city.

Due to its origins on the banks of the famous Mississippi River, it has a large ethnic, cultural, and religious diversity, as well as one of the most important musical diversity in the United States. It is a melting pot of cultures, including French, Spanish, African, Latin, and Caribbean, and as a result, the majority of its residents are of African heritage.

1. Go to New Orleans' French Quarter.

Bourbon Street is located in the center of New Orleans' French Quarter.

The French Quarter is unquestionably the crown jewel and thus one of New Orleans' must-see attractions. It covers around 13 blocks from Canal Street to Esplanade Avenue and is known among its residents as "The Vieux Carre" or simply "French Quarter." Bourbon Street, studded with restaurants, cafes, bars, and strip clubs, is one of the city's most popular and busiest streets.

Visit James Square, one of the city's most prominent squares, which is located along the Mississippi River. You can see the gorgeous St. Louis Cathedral from here, or take a rest in the famous Café du Monde, which was built in 1896.

2. Show your support for the New Orleans Saints.

Of course, we can't ignore the most popular sport in the United States, American soccer. This sport is extremely popular in Louisiana, particularly in New Orleans. The New Orleans Saints, 2011 Superbowl champions, and their home stadium, the stunning Mercedes-Benz Superdome, are based in New Orleans. The team is well-liked and respected by the locals because they exemplify the principles of hard work, tenacity, and never giving up in the face of adversity.

These qualities also represent this metropolis, particularly when Hurricane Katrina struck in 2005 and wreaked havoc on the city. After winning the Super Bowl, the team's fans elevated them to the status of heroes.

3. Get to know New Orleans by riding the streetcars.

Streetcars in New Orleans

Another thing I recommend doing in New Orleans is taking the streetcars to get a feel for the city. These fantastic electric streetcars date back to the 1600s and provide lovely excursions in buildings that are still in use today.

There are currently four primary lines that provide tours of some of New Orleans' most popular and noteworthy attractions. You'll be able to see the Mississippi River from angles you've never seen before on one of these tours.

4. Louis Armstrong Park and Congo Square

Congo Square is a historically significant square. New Orleans was the only city in the northern United States that allowed slaves to meet in public and play their native music during the French colonial era, when slaves were transported.

On Sundays, their one day off, they met in Congo Square to do so. Today, it is part of Louis Armstrong Park, which was once known as "La Place des Negres" by the settlers, where they sang, played music, and sold homemade cuisine. As a result, it may be stated that in the early twentieth century, Congo Square gave birth to an era's worth of indigenous music: Jazz.

5. Treat your ears to some music at Preservation Hall.

New Orleans' Preservation Hall is a jazz venue.

The Preservation Hall, located on St. Peter Street in the center of the French Quarter, is a historic location where you can enjoy acoustic jazz music in an intimate setting practically every day of the year. Every day, the facility has a cast of more than 50 local musicians who perform in various formats.

If you come in on any given night, you'll be treated to the sight and sound of local and resident musicians improvising great tunes. If you appreciate this type of music, New Orleans holds one of the country's largest jazz events, the New Orleans Jazz & Heritage Festival, which takes place every year.

6. Historic Voodoo Museum in New Orleans

New Orleans was the core of the slave trade and commerce in the United States before the abolition of slavery in the 18th century. During this period, the slaves' cultural and religious traditions, which originated mostly in Africa and Haiti, were assimilated into the metropolis. Voodoo was one of the city's most enduring traditions.

After centuries, the city of New Orleans established the New Orleans Historic Vodoo Museum, which is solely committed to educate people about African culture and religion. Throughout history, ritual books and voodoo dolls or amulets have been found here.

7. Take a walk in City Park in New Orelans to get some fresh air.

City Park, one of the city's main green lungs, situated roughly 3 miles northwest of the French Quarter. With a total area of 5.3 square kilometers, you can breathe fresh air while exploring centuries-old oak forests, walking routes, biking paths, lakes, picnic places, and more. The New Orleans Museum of Art, as well as the Sydney and Walda Besthoff Sculpture Garden, a garden full of free sculptures and the New Orleans Botanical Garden, are all located inside the park's borders.

The park also features two stadiums, golf courses, rugby and soccer grounds, and hosts a variety of events throughout the year, including weddings and the Vodoo Music + Arts Experience, which is the largest music festival in the world.

8. The New Orleans Museum of Art is number eight on the list.

If you enjoy art, the New Orleans Museum of Art - NOMA - is a must-see in New Orleans. The museum, which is located within the magnificent City Park, has an extensive art collection of 40,000 items covering 5,000 years of history, as well as a sculpture garden in City Park that is open to the public for free.

Hours:

Monday was a holiday.

From 10:00 a.m. until 18:00 p.m., Tuesday through Friday.

Saturday from 10:00 a.m. until 7:00 p.m.

Sunday from 11:00 a.m. until 7:00 p.m.

Price:

Adults are charged $15.

Students at universities pay $8.

Admission is free for those aged 19 and younger.

9. Oak Alley Plantation is number nine on the list.

Oak Alley Plantation's Avenue of Oaks

Nearly a dozen old plantations with gorgeous houses and exquisite gardens can be found about 50 miles west of Downtown, along the Mississippi River. Whitney Plantation, Laura Plantation, and Felicity Plantation are a few examples. A visit to Oak Alley Plantation is highly recommended.

You'll need at least 2 hours to absorb 200 years of history and tour all of the properties of this old sugar plantation, when roughly a hundred slaves worked between the field and the house as men, women, and children.

Schedule:

Monday through Saturday, 9:00 a.m. to 17:00 p.m.

Price:

Adults are charged $25.

$10 for youth (13-18 years old).

$7 for children aged 6 to 12.

Admission is free for children under the age of five.

10. Take a Mississippi River cruise

I urge that you see New Orleans from a different vantage point. Get to know it by taking a trip down the Mississippi River on the Natchez, Louisiana's most famous steamboat. It would be nearly difficult to truly appreciate New Orleans without traveling down the Mississippi and aboard the Natchez.

You will not only go through the entire city of New Orleans on this expedition, but you will also travel through the states of Kentucky and Missouri, among others. Aboard this lovely old ship, you will have a wonderful time. Don't miss out on wonderful meals and fantastic musical performances!

11. Enjoy a meal at the historic Commander's Palace.

Commander's Place Restaurant in the Garden District of New Orleans

The remarkable ethnic mix of New Orleans is reflected not just in religion and music, but also in the food. The most popular cuisine in the city is "Cajun," which combines classic, rustic French cuisine with regional products and influences.

The legendary Commander's Place restaurant is located in the Garden District, surrounded by lovely and historic colonial farmhouses. I recommend stopping by to get a feel for the area and sample some Creole cuisine.

The National WWII Museum is number 12 on the list.

New Orleans is home to the acclaimed National WWII Museum, which opened in 2000. This museum is a must-see for history buffs who want to learn everything there is to know about WWII.

You can also accomplish it using interactive artefacts and artifacts from the historical period. It is, without a doubt, an attraction not to be missed.

[kerbaldevteam]

Kerbal Space Program 1.11: "Some Reassembly Required" is now available!

Hello everyone!

Gear up Kerbonauts, engineers are required for some in situ reassembling! Stack up your inventory with parts and tools in order to prepare for any contingencies. With a reimagining of the game’s inventory system and the introduction of a new EVA construction mode, KSP is here with new content for everyone! 

Kerbal Space Program 1.11: Some Reassembly Required is the game’s latest major free update and with it, we’re adding some significant and game changing elements that give players added flexibility and a more immersive KSP experience. Pack an inventory for your missions and modify your crafts or even assemble a new vehicle on the spot with the help of your engineers, or bring an EVA Science Experiment Kit and have your Kerbals undertake fun animated experiments. In addition to some new parts, visual enhancements, and some bug-fixing, Some Reassembly Required continues to enrich the KSP experience.

Let’s go through some of the update’s highlights below:

EVA Construction Mode

This mode gives your engineers tools similar to what you find in the VAB/SPH to manipulate parts in their inventory or within their range while on EVA in any location. Need to make some adjustments to your Vallerian SSTO, or build an improvised Munar rover in situ? Now you can!

Inventory System Changes

This update expands upon the inventory system and gives it deeper meaning and functionality! These changes include the option to carry and stack various parts in your craft’s inventory and adds to the ability of Kerbals to carry an inventory of their own. All while making it easier to get access to and  manage all of the inventories on a craft. Just remember to think wisely on what you want to bring with you on a mission…

New Lights and RCSs

Some Reassembly Required adds new lights parts to the game, including some smaller, physics-less lights as well as a couple of deployable lights that work without the need for an attached craft or EC power source. And not only that, two new smaller Reaction Control Systems are being added to the part repertoire!  These smaller RCS are perfect to make your probes, drones or smaller crafts more mobile and versatile.

Joolian Moons’ Visual Improvements

With this update, we will continue with the overhauling of the rest of the Joolian satellite system with Bop, Vall and Tylo. These moons have been popular destinations for intrepid space explorers and now they will look better than ever before, with high-quality texture and graphic shaders.

And more!

To learn more you can read the full Changelog here:

============================= v1.11.========================

+++ Improvements

* Improve version checking for save files to prevent incorrect compatability messages. * Added game setting to enable Ghosted Navigation Markers. These let you see targets behind you by presenting a faded marker on the navball as if you are looking through the navball. * Text in action group labels now moves if truncated so the text can be fully read. * A notification is displayed on the Fairings PAW when it has a flag attached and the sides and edit Fairing options are blocked. * Robotic Controllers like KAL can now be accessed by EVA Kerbals to Play and Stop the Sequence. * Revamped Vall! It now has a low, medium and high quality shaders as well as a new scaled space textures. * Revamped Tylo! It now has a low, medium and high quality shaders as well as a new scaled space textures. * Revamped Bop! It now has a low, medium and high quality shaders as well as a new scaled space textures. * Launchclamps will now default to the earliest stage on a craft. * Added a speed slider to the Axis Groups Binding so players can control how fast a binding will move. The value shown is in % of full axis range per second. * Expanded on the Warp to Sunrise button functionality. It's now available in flight and Tracking Station whenever it makes sense. * Added onscreen tab to Map Filters panel to make it more obvious and changed the behaviour to be click to toggle like the navball tab. * Implemented Menu Navigation on the Action Groups in Flight. * Added new Color Picker for the Kerbal Light Color during Flight. * Parts of the same type and variant can now be stacked in a single inventory slot. Each part has a maximum allowed stack amount. * Change PPD-10 Hitchhiker and Mk3 Passenger Module mass to align with passenger/mass ratio of Mk1 Crew cabin. * Change PPD-12 Cupola Cost and Mass to align with cost/mass ratio of Mk1 Capsule. * Change Mk2 Crew Cabin mass to incorporate wing mass. * Don't put parachutes in the first (launchpad) stage by default. * Crewable part masses revised to account for crew mass and their cargo. * Crew now have mass when on IVA (inside parts) along with their cargo. * The Flag browser now categorizes flags into groups. * Added RocketLabs and Electron flags. * Added EVA Construction Mode. * Amended dV and orbit calcs to use Double precision. * Some large parts cannot be put into cargo containers but can be manipulated in EVA construction mode. * Players can no longer assign the Undock node Action. This has been removed as it was causing confusion with the Decouple node Action in some parts. Crafts with the action assigned can still fire it. * Construction Mode provides CoM CoT CoL overlays. * Kerbals stop climbing on reaching the end of a ladder. A new toggleable game setting Check ladders end enables/disables the behavior. * SEQ-3 and SEQ-9 Cargo Containers are now Stock parts. * All Cargo Parts can now be searched by the tag cargo in editor and mission builder. * Flight Info debug window now shows the angle of the surface the vessel is currently on. * Asteroids have new textures and shader. * New rover construction contract for career games. * New vessel repair contract for career games. * New satellite upgrade contract for career games. * Improvements over the Kerbal jittery movement. * Comet visual FX performance improvements. * Added a repair kit part. Now repairing broken parts uses up repair kits, be sure to have some in your Engineer's inventory. * Added new EVA science experiments and animations. * Kerbal Jetpack and Parachute are now cargo items that kerbals must carry in their inventory to use them. * Kerbals in EVA use EVA propellant from EVA cylinder parts and Jetpacks that they are carrying. * EVA cylinder parts and Jetpacks are refilled when they are transferred back into a vessel from a kerbal. * Amended dV and orbit calcs to use Double precision. * Make render probes fade in better when a new render probe is added. +++ Localization * Removed line breaks in the Orbit's Ejection field tooltip. * Fix missing localized text in the Robotic controller name input field. * Multiple bug fixes for all languages. * Navigation console had missing space for the field IZQUIERDA which affected only Spanish. * Fix fairing variants having wrong language on textures in English and French. * Multiple string additions and corrections for some languages. * Fix spelling of BepiColombo and Rosetta. * Multiple KSPedia fixes all languages. +++ Parts * The LFB KR-1x2 Twin-Boar Liquid Fuel Engine now has the correct diameter. * Added colliders to all flag part variants. * Removed the gaps of the FL-R25 RCS Fuel Tank when attached to other tanks. * New SEQ-24 Cargo Storage Unit and new SEQ-1C Conformal Storage Unit. * New Place Anywhere 1 Linear RCS Port. * New RV-1X Variable Thruster Block. * New Repair kit part. * Added new EVA science experiment kit. * EVA Fuel Cylinder cargo part. * Fix gap in the Mk2 Cockpit IVA. * HG-5 High Gain Antenna is now placed correctly in mirror symmetry. * Fix LFB KR 1x2 'Twin Boar' off placed surface attach underneath. +++ Bugfixes * Revised the instructions on several tutorials regarding the recent changes to the flight UI mode toggling. * Fix issues with fairing shaders when width/height ratio is extreme. * Craft file name is now independent of command pod vessel naming, preventing accidental overwrites when re-naming command pods. * Fix flickering orbit lines in mapview. * Fix an overlap in some languages between the Header and vessel stats field in the craft browser dialog. * Fix part joint failure including autostruts when target RigidBody is same as host RigidBody which can occur in some edge cases. * Fix tourists from being EVA'd from a command seat. * Fix steep textures shaking on lower quality shaders after reentry. * Fix payload inside fairing not being released when decoupled and fairings are still intact. * Fix resource transfer failing when opening and closing a parts action windows several times. * Fix inventory part tooltips lingering on the screen when changing Camera Mode. * Fix EVA Kerbal walking animation sync, timing and bounding issues. * Fix EVA Kerbal sliding issues. * Fix menu navigation issues when navigating between columns in the Action Groups menu. * Fix craft thumbnails not showing fairings. * Fix Female Kerbals not walking correctly on some low g bodies. * Fix Incremental speed sliders now update on symmetric parts on the Action Groups Menu. * Fix Comet Sample contracts not completing if comet is renamed by the player after the science sample is taken. * Fix AOOREs and flow on effects that occur on vessel markers for vessels that use ( as the first character in their name. * Fix issue with flags on parts that are set flipped that also have variants set not flipping the flag textures. * Fix AOORE on temperature gauges when parts explode. * Fix NRE on adding any action to action groups. * The crew inventory initialization doesn't break the kerbal roster initialization on the astronaut complex. * Fix alignment in action group text in the action group editor window. * Fix localization of tech tree node names in UI. Including Part Upgrades. * Fix Camera controls are now enabled when the Action Groups panel is open during Flight. * Fix Staging is now Locked when Action Groups panel is open during Flight. This could cause firing unintentional staging while having the panel opened. * Fix issue with SEQ-3 search tags. * Fix inconsistency in the detection of hatch obstruction. * Fix click-through issue occuring with the main menu expansion dialogs. * Fix Action groups UI becoming non-functional on pressing the KAL's Action Groups button more than once. * Fix Kerbals rotating when walking on hills. * Fix System set to Time Zone that KSP can't handle from crashing the game. eg: Hong Kong. * Fix the Comet and Asteroid showing up in the Size3 Bulkhead filter. * Fix issue that prevented fairing panels from exploding when colliding. * Fix mistake in the 1.10 section of the changelog. * Fix the white rectangle showing in both Advanced Grabbing Units when rotating in the part picker. * Fix multiple comet comas blotting out the sky when a comet breaks up on reentry. * Fix lighting issues in Terrain System. * Fix issue with forward axis not updating properly. * Fix Fuel tanks could get stuck with no references to transfer resources when opening and closing PAWs while a transfer was being done. * Fix Kerbals neck showing when swimming. * Fix Grand Tour contracts need a new vessel to be built requirement. * Fix default helmet and neck ring settings not applying on first EVA. * Fix KSPedia continues to work as expected even after closing it abruptly while a slide was loading. * Fix Color values update correctly now in the color picker for HSV values and sliders. * Fix undo in editor with fairings changing materials on cargo bays. * Fix comet science contracts failing when sample has been collected but not yet transmitted or returned. * Fix the kerbal ladder sliding. * Fix Color values update correctly now in the color picker for HSV values and sliders. * Fix camera being too far from vessel when exiting map view in some situations. * Fix the Kerbals hands on fire idle arms shrinking at the end. * Fix Paws are automatically opened when hovering a cargo part over an inventory in the Editor. +++ Modding * Inventory system is now persisted as a list of protoparts instead of a comma-separated string of names. The old system is still there for compatibility, but the new one is preferred. * LightOn/Off events have been replaced with a toggle event on the PAW to reduce PAW redraw. The events still exist and can be triggered, but are hidden from the PAW. * Tech Tree now correctly reads all TechTree nodes from gamedata folder. * QuaternionD now supports LookRotation. * Implemented FlightVesselOverlays class to implement the Center overlays to be displayed in flight. * New pre-generated craft and locations capability for contracts in career games. * ModuleInventoryPart.allowedKerbalEvaDistance obselete in preference to GameSetting.EVA_INVENTORY_RANGE. * Parts now have a minimum Rigidbody mass minimumRBMass which affects how small the rigidbodies mass can be. Does not affect part.mass - which is whats used to calculate force, etc - but does affect rigidbody collisions. ==================== Making History 1.11.0 ===================== +++ Improvements * Added the option "All SAS Modes on all probes" to the Mission Builder Start node Difficulty options. The same option found in Sandbox games. +++ Localization * Fix mission validation report dialog not displaying validation options text in Chinese and Japanese. +++ Parts * Added colliders to all flag part variants. * Fix the LV-TX87 Bobcat Liquid Fuel Engine's attach rules, no more surface attach. +++ Bugfixes * Engine plates now shroud parts attached to nodes inside shroud from airstream. * Fix user is was unable to switch the GAP Vessel Token from Aircraft to Rocket after saving a mission with the Aircraft selection. * Change the error message when you try to launch a vessel in the SPH with the same name in the VAB or vice-versa. * Fix issue with Mission Builder when animating parts are toggled when the flight scene loads. * Fix the seam on the Making History suit helmet. * Fix active vessel not switching when explode part node fires in missions. * Fix undo in editor with fairings changing materials on cargo bays. ================== Breaking Ground 1.6.0 ===================== +++ Improvements * Added toggle to enable or disable a KAL controller. +++ Bugfixes * Fix InventoryModules adding mass to a part even if there was no cargo in it. * Fix floating Mun ROCs by adjusting the meshes. * Fix NRE in deployed science when retrieving experiment parts.

Kerbal Space Program 1.11: Some Reassembly Required is now available on Steam and will soon be available on GOG and other third-party resellers. You will also be able to download it from the KSP Store if you already own the game.

Happy launchings!

[dustedmagazine]

Dust, Volume 7, Number 7

What are Grandbrothers doing to that piano?

Greetings from under the heat dome, where shipments of vinyl are melting mid-journey and even the coolest of cool jazz sounds a little wilted by the time it reaches your ear. We are sitting in the shade. We are drinking lemonade and iced tea. We are looking for the window fans and lugging old air condition units up from the basement. We are, perhaps, headed to the community pool for the first time since our kids were young, though also, perhaps not. In any case, we are still getting through piles of recorded music, even in this heat, and finding some gems. Here are dispatches from the furthest reaches of Japanese psych, European free jazz, self-released indie folk, Irish lockdown angst, Moroccan raging punk and lots of other stuff. Contributors included Mason Jones, Jennifer Kelly, Bill Meyer, Tim Clarke, Bryon Hayes, Jonathan Shaw, Arthur Krumins and Chris Liberato. Stay cool.

Yuko Araki — End of Trilogy (Room40)

End Of Trilogy by Yuko Araki

These 16 tracks whoosh past in just 35 minutes, with most of them clocking in around two minutes in length. Many don't reach a conclusion: they simply end abruptly, and the next one starts. Araki manipulates electronics to create whirling, sizzling atmospheres of confusion, sometimes fast-moving burbles of percussion and synths, at other moments pushing distorted hissing and confrontational tones to the front. The aptly-named "Dazed" begins with a cinematic feel, then its galactic drones give way to static and metallic scrapes. "Positron in Bloom" is like a chorus of machine voices shouting angry curses into space, and "Dreaming Insects" sounds as if the titular creatures are being pulled downstream in fast-moving rapids. Oscillating between menacing and humorous, End of Trilogy's bite-sized pieces of surrealist electronics are never boring.

Mason Jones

 Alexander Biggs — Hit or Miss (Native Tongue Music Publishing)

Hit or Miss by Alexander Biggs

Alexander Biggs blunts sharp, stinging lyrics in the sweetest sort of strummy indie-pop, working very much in the Elliott Smith style of sincerity edged with lacerating irony. “All I Can Do Is Hate You” finds a queasy intersection between soft pop and tamped down rage, Biggs murmuring phrases like “I want you to fuck me til I can’t say your name,” but melodically, over cascades of acoustic guitar. “Madeline” is the pick of the litter here, a dawdling jangle of guitar framing knife-sharp lyrics about romantic disillusionment. “Miserable,” sports a bit of lap steel for emotional resonance, demonstrating once more, if you had any doubt, that very sad songs can make you feel better somehow. Biggs is good at both the softness and the sting, and for guy-with-a-guitar albums, that’s what you need.

Jennifer Kelly

 Christer Bothén 3 — Omen (Bocian)

Omen by Christer Bothén 3

Dusted’s collective consciousness has spent a lot of time considering Blank Forms’ recent publication, Organic Music Societies, which considers Don and Moki Cherry’s convergence of artistic and familial efforts during the 1960s and 1970s, as well as the two archival recordings by Don and associates, which shed light upon his Scandinavian musical activities. All three are worth your attention, but their liveliness is shaded by the awareness that almost every hopeful soul involved is no longer with us. But Christer Bothén, who introduced Don to the donso ngoni and subsequently played in his bands for many years, is not only among the living, he’s got breath to spare. This trio recording doesn’t delve into the African sounds that bonded Bothén and Don. Rather, the Swede’s bass clarinet draws bold and emphatically punctuated melodic lines, driven by a steaming rhythm section that takes its cues from Ornette Coleman’s mid-1960s trio recordings. This music may not sound new, but it’s full of lived-in knowledge and vigor.

Bill Meyer

Briars of North America — Supermoon (Brassland)

Supermoon by Briars of North America

New York-based trio Briars of North America take patient, painterly, occasionally cosmic approach to folk music. With “Sala,” Supermoon sounds like a backwoods Sigur Ros. A falsetto voice intoning a made-up language arcs elegantly over sustained waves of electric piano. Soon after, the album touches down into more grounded guitar-and-cello territory on pieces such as “Island” and “Chirping Birds,” which bring to mind Nick Drake, albeit less contrary or withdrawn. At the album’s midway point, the listener is carried into the aether with the eerie sustained brass and wordless vocals of the eight-minute “The Albatross of Infinite Regress.” A similar space is explored at the album’s end with the 12-minute “Sleepy Not Sleepy,” as strings and warbling synthesizer tones intermingle with the return of the made-up language. Though the band’s more conventional vocal-led songs, such as “Spring Moon,” are decent enough, Briars of North America touch upon something expansive and ineffable when they explore their more experimental side.

Tim Clarke

 Bryan Away — Canyons to Sawdust (self-released)

Chicago-based actor, composer and multi-instrumentalist Elliot Korte releases music under the moniker Bryan Away. His new album, Canyons to Sawdust, begins with what feels like two introductions. “Well Alright Then” is a Grizzly Bear-style scene-setter for wordless voices, strings and woodwinds, while “Within Reach” sounds like a tentative cover of Radiohead’s “Pyramid Song” that runs out of steam before it had the chance to build momentum. The first full song, single “The Lake,” gets the album up and running in earnest with its melancholy piano and string arrangement spiked with pizzicato plucks and bright acoustic guitar figures. Half Waif lends her vocal talents to “Dreams and Circumstance,” another highlight featuring some lovely interplay between guitar arpeggios and drum machine. One pitfall of exploring romantic musical territory is the risk of sounding a tad saccharine, and the weakest links in the album, companion tracks “Scenes From a Marriage” and “Scenes From a Wedding,” have the kind of performative tone you’d expect to find on the soundtrack of a mainstream romantic comedy. Elsewhere, though, Korte’s judgment is sound, and there’s plenty of elegant music to be found. Fans of Sufjan Stevens will no doubt find a lot to like, and it’ll be interesting to see where Bryan Away ventures next.

Tim Clarke

 Jonas Cambien Trio — Nature Hath Painted Painted The Body (Clean Feed)

Nature Hath Painted the Body by Jonas Cambien Trio

On its third album, the Jonas Cambien Trio has attained such confidence that it’s willing to mess with its signature sound. The Oslo-based combo’s fundamental approach is to stuff the expressive energy and textural adventure of free jazz into compositions that are by turns intricate and rhythmically insistent but always pithy. This time, the Belgian-born pianist Cambien also plays soprano sax and organ. The former, stirred into André Roligheten’s bundle of reed instruments, brings airy respite from the music’s tight structures; the latter, dubbed into locked formation with the piano and jostled by Andreas Wildhagen’s restlessly perambulating percussion, expands the music’s tonal colors. The tunes themselves have grown more catchy, so much so that their twists and turns only become apparent with time and repeat listening.

Bill Meyer

Ferran Fages / Lluïsa Espigolé — From Grey To Blue (Inexhaustible Editions)

From Grey To Blue by Ferran Fages

When discussion turns to a pianist’s touch, it’s tempting to think mainly of what they do with their fingers. But it must be said that Lluïsa Espigolé exhibits some next-level footwork on this realization of Ferran Fages’ From Grey To Blue. Fages is a multi-instrumentalist who functions equally persuasively within the realms of electroacoustic improvisation and heavy jazz-rock, but for this piece, which was devised specifically for Espigolé, he uses written music and an instrument he doesn’t play, the piano, to engage with resonance and melody. The three-part composition advances with extreme deliberation, often one note at a time, turning the tune into a ghostly presence and foregrounding the details of the decay of each sound. This music is so sparse that the shift to chords in the third section feels dramatically dense after a half hour of single sounds and corresponding silences. The elements of this music have been sculpted with such exquisite control that one wonders if Catalonia has looked into insuring Espigolé’s feet; her way with the piano’s pedals is a cultural resource.

Bill Meyer   

 Grandbrothers — All the Unknown (City Slang)

All the Unknown by Grandbrothers

The duo known as Grandbrothers hooks a grand piano up to an array of electronic interfaces, deriving not just the clear, gorgeous notes you expect, but also a variety of percussive and sustained sounds from the classic keyboard. In this third album from the two—that’s pianist Erol Sarp and electronic engineer Lukas Vogel—construct intricate, joyful collages, working clarion melodies into sharp, pointillist backgrounds. The obvious reference is Hauscka, who also works with prepared piano and electronics, but rather than his moody beauties, these compositions pulse with rave-y, trance-y exhilaration. If you ever wondered what it would sound like if the Fuck Buttons decided to cover Steve Reich, well, maybe like this, precise and complex and shimmering, but also huge and triumphant. Good stuff.

Jennifer Kelly

 id m theft able — Well I Fell in Love with the Eye at the Bottom of the Well (Pogus Productions)

Well I Fell in Love With the Eye at the Bottom of the Well by id m theft able

Al Margolis’ Pogus Productions imprint has cast its gaze toward the strange happenings in Maine, netting a mutant form of electroacoustic wizardry in the process. Scott Spear is the one-man maelstrom known as id m theft able, an incredibly prolific and confounding presence in the American northeast. He draws influence from musique concrète and sound poetry, but adds a whimsical spirit, a tinker’s ingenuity and the comedic timing of a master prankster to his compositions. Sometimes this leads to the bemusement of his audience, but he tempers any surface madness with an endless curiosity and a playful sense of the meaning of the word music. Well I Fell in Love with the Eye at the Bottom of the Well ostensibly came to be via Spear’s desire to create a doo-wop tune. Only Spear himself knows whether this is fact or fiction, because it is clear from the opening moments of “Shun, Unshun and Shun” that this disc is full of sonic non-sequiturs, amplified clatter and delightful mouth happenings that are as far removed from doo-wop as possible. The madness is frequently tempered with beautiful moments: a broken music box serenades a flock of chirping birds in the middle of a mall, Spear hypnotically chants at a landscape of crickets, flutes pipe along to the patter of rain on a window. As one gets deeper into the record, the sound poetry aspects become more and more pronounced, such as on “The Curve of the Earth” and the closing piece, “Purple Rain.” Those seeking a humor-filled gateway drug into that somewhat perilous corner of the sonic spectrum would be wise to pop an ear in the direction of this frenetic assemblage of sound.

Bryon Hayes

Mia Joy — Spirit Tamer (Fire Talk)

Spirit Tamer by Mia Joy

Mia Joy turns the temperature way down on gauzy Spirit Tamer, constructing translucent castles in the air out of musical elements that you can see and hear right through. The artist, known in real life as Mia Rocha, opens with a brief statement of intent in a one-minute title track that wraps wisps of vocal melody with indistinct but lovely sustained tones. The whole track feels like looking at clouds. Other cuts are more substantial, with muted rock band instruments like acoustic and electric guitars and drum machines, but even indie-leaning “Freak” and "Ye Old Man,” are quiet epiphanies. Rocha sounds like she is singing to herself softly, inwardly, without any thought of an audience, but also so close that it tickles the hair in your ears. Rocha closes with a cover of Arthur Russell’s “Our Last Night Together,” letting rich swells of piano stand in for cello, but tracing the subtle, undulating lines of his melody in an airy register, an octave or two higher. Like Russell, Rocha sets up an interesting interplay between deep introversion and presentation for the public eye; she’s not doing it for us, but we’re listening anyway.

Jennifer Kelly  

 Know//Suffer — The Great Dying (Silent Pendulum Records)

The Great Dying by KNOW//SUFFER

It’s not inaccurate to describe The Great Dying as a hardcore record. You’ll hear all the burly breakdowns; buzzing, overdriven guitars; and grimly declaimed vocals that characterize the genre, which since the mid-1990s has moved ever closer to metal. But Know//Suffer have consistently infused their music with sonic elements associated with other genres of heavy music. Most of the El Paso band’s 2019 EP bashed and crashed along with grindcore’s psychotic, sprinting energy. The Great Dying is a longer record, and it slows down the proceedings considerably. There are flirtations with sludge, and even with noise rock’s ambivalent gestures toward melody: imagine Tad throwing down with a mostly-sober version of Eyehategod, and you’re more than halfway there. As ever, Toast Williams emotes forcefully, giving word to a very contemporary version existential dread. But there’s frequently a political edge to the lyrics on this new record. On “Thumbnail,” he sings, “I swallow what must be hidden / Hoping assimilation makes me whole / The whole that everyone thinks I am / Smiling under this mask knowing / I’m not hiding my face in public.” “Assimilation” is a loaded word, especially on the Southern Border, and it’s no joke walking around in public as a proud black man anywhere in Texas. Wearing a mask as you walk into Target? P.O.C. stand a chance of getting shot. Know//Suffer still sound really pissed off, but the objects of their anger seem increasing outside of their tortured psyches, located in the lifeworld’s social planes of struggle. That gives their grim music an even harder charge, and makes Williams’s performances of rage even more powerful.  

Jonathan Shaw  

 Heimito Künst — Heimito Künst (Dissipatio)

HEIMITO KÜNST by Heimito Künst

The debut album from Italian experimental instrumentalist Heimito Künst, recorded over several years in his home studio, uses an array of electronic and primitive instrumentation to create an overall woozy, dark atmosphere. From groaning, atonal slabs of organ, like a detuned church service, to murmuring field recordings and scrapings, these seven tracks are less like songs and more like unsettling journeys through sound. Pieces like "Talking to Ulises" blend quiet Farfisa tones and a wordlessly singing voice in the distance. Ironically, although the final track is titled "Smoldering Life", it's unexpectedly brighter, with major-key synth notes over the cloudy sound of a drum being bashed to pieces before ending with an almost gentle, summertime feel.

Mason Jones

Jeanne Lee — Conspiracy (moved-by-sound)

Conspiracy by JEANNE LEE

Lots of 1960s and 1970s jazz reissues offer beautiful music, but few redefine how liberating improvised music can be. Conspiracy, originally recorded in 1974 by Lee on vocals with an ensemble that includes Sam Rivers and Gunter Hampel, falls into the latter category without feeling forced. It combines sound poetry, the conversation of spontaneity, and grooves that don’t stay on repetition but still get ingrained into your brain somehow. Best digested in a contemplative sitting, the album demands you give your whole attention to the direction of the music and words mixed with extended vocal techniques. The sound shifts from a full-on medley of flutes, drums, bass and horns with voice, to more minimal experiments. The recording is clean and uncluttered, even at its busiest. A lushly enjoyable listen.

Arthur Krumins   

 Sarah Neufeld — Detritus (Paper Bag)

Detritus by Sarah Neufeld

Sarah Neufeld’s third solo album grew out of a collaboration with the Toronto choreographer Peggy Baker, begun before the pandemic but dealing anyway with loss, intimacy and grief. The violinist and composer works, as a consequence with a strong sense of movement, underlining rhythms with repeated, slashing motifs in her own instrument and pounding drums (that’s Jeremy Gara, who, like Neufeld, plays in Arcade Fire). You can imagine movement to nearly all these songs. “With Love and Blindness” rushes forward in a wild swirl of strings, given weight by the buzz of low-toned synthesizer and airiness in the layer of denatured vocals; you see whirling, bending, graceful gestures. “The Top” proceeds in quicker, more playful patterns; agile kicks and jumps and shimmies are implied in its contours. “Tumble Down the Undecided” has a raw, passionate undertow, its play of octave-separated notes frantic and agitated and the drumming, when it comes, fairly gallops. This latter track is perhaps the most enveloping, the notes caroming wildly in all directions, in the thick of the struggle but full of joy.

Jennifer Kelly

Aaron Novik — Grounded (Astral Editions)

Grounded by Aaron Novik

Aaron Novik is a clarinetist with an extensive background in jazz, klezmer, rock and in-between stuff, but you wouldn’t know any of that from listening to this tape. Its ten numbered instrumentals sound more derived from the sound worlds of 1970s PBS documentaries, Residents records of similar vintage, and Pop Corn’s fluke hit, “Pop Corn.” Recorded during the spring of 2020, when Novik’s new neighborhood, Queens, became NYC’s COVID central, it manifests coping strategy that many people learned well last year; when the outside world is fucked and scary, retreat to a room and then head down a rabbit hole. In this case, that meant sampling Novik’s clarinets and arranging them into perky, bobbing instrumentals. The sounds themselves aren’t processed, but it turns out that when recontextualized, long, blown tones and keypad clatter sound a lot like synths and mechanized beats. There’s a hint of subconscious longing in this music. While it was made in a time and place when many people didn’t leave the house, it sounds like just the thing for outdoor constitutionals with a Walkman.

Bill Meyer  

 Off Peak Arson — S-T (Self-released)

Self Titled by Off Peak Arson

Presumably named after the Truman's Water song — a fairly obscure name check, indeed — Off Peak Arson hail from Memphis, TN. Their debut EP's five songs are less reminiscent of their namesakes than of heavier, noisier bands like Zedek-era Live Skull, Dustdevils and Sonic Youth. Which is not a bad thing at all. The four-piece leverage the dual guitars to nicely intense effect, and with all four members contributing vocals there's a lot going on, at times blending an interesting sing-song pop feel with the twisty-noisy guitar. The band have a way of finding memorable hooks amidst sufficient cacophony to keep things challenging while also somehow catchy. Keep your ears open for more from this quartet.

Mason Jones

 Barre Phillips / John Butcher / Ståle Liavik Solberg — We Met – And Then (Relative Pitch)

We met - and then by Phillips, Butcher, Solberg

In 2018, ECM Records issued End To End, a CD by double bassist Barre Phillips which capped a half-century of solo recording. You might expect this act to signal the winding down of the California-born, France-based improviser’s career; after all, he was born in 1934. And yet, in 2018 he played the first, but not the last, concert by this remarkable trio, which is completed by British soprano/tenor saxophonist John Butcher and Norwegian percussionist Ståle Liavik Solberg. Recorded in Germany and Norway during 2018 and 2019, this CD presents an ensemble whose members are strong in their individual concepts, but are also committed to making music that is completed by acts of collective imagination. The music is in constant flux, but purposeful. This intentionality is expressed not only through action, but through the conscious yielding of space, as though each player knows what openings will be best occupied by one of their comrades.

Bill Meyer

Round Eye — Culture Shock Treatment (Paper +Plastick)

“Culture Shock Treatment,” the lead-off track from this unhinged and ecletic album, swings like 1950s rock and roll, a sax frolicking in the spaces between sing-along choruses. And yet, the gleeful skronk goes a little past freewheeling, spinning off into chaos and wheeling back in again. Picture Mark Sultan trying to ride out the existential disorder of early Pere Ubu, add a horn line and step way back, because this is extremely unruly stuff. Round Eye, a band of expatriates now living in Shanghai, slings American heartlands oddball post-punk into unlikely corners. Frantic jackhammer hardcore beats (think Black Flag) assault free-from experimental calls and responses (maybe Curlew?) in “5000 Miles, “ and as a kicker, it’s a commentary on ethno-nationalist repression (“Thank…the country. Thank…the culture”). “I Am the Foreigner” hums and buzzes with exuberance, like a hard-edged B-52s, but it’s about the alienation that these Westerners most likely experience, every day in the Middle Kingdom. This is one busy album, exhausting really, a whac-a-mole entertainment where things keep popping out of holes and getting hammered back, but it is never, ever dull.

Jennifer Kelly

 So Cow — Bisignis (Dandy Boy)

Bisignis by So Cow

This new So Cow record is a mood. Specifically, that mood during the third and “least fun” of Ireland’s lockdowns, when you head to your shed and bash out an album about everything that’s been lodged in your craw during a year of isolation — including, of all things, the crowd at a Martha Wainwright show (on “Requests”). And while sole Cow member Brian Kelly might have dubbed the record Bisignis, the Old English word for anxiety, it’s his discontent that takes center stage. “Talking politics with friends/Jesus Christ it never ends” Kelly sings on early highlight “Leave Group” before employing a guitar solo that could pass for some seriously fried bagpipes to help clear the room. This album takes the opposite approach of The Long Con, the project’s 2014 Goner Records one-off where So Cow made more complex moves towards XTC and Futureheads territory but obscured its greatest weapon: Kelly’s deadpan wit. And while a couple of these songs overstay their welcome with their sheer garage punk simplicity, others like “Somewhere Fast” work in the opposite way and win your ears over with repeat listens. “You are the reason I’m getting out of my own way,” Kelly sings, and in doing so has produced the project’s best full-length in a decade. So what? So Cow!

Chris Liberato 

 Taqbir — Victory Belongs to Those Who Fight for a Right Cause (La Vida Es Un Mus)

Victory Belongs To Those Who Fight For A Right Cause by Taqbir

In our super-saturated musical environment, another eight-minute, 7” record of scorching punk burners isn’t much of an event. But the appearance of Taqbir’s Victory Belongs to Those Who Fight for a Right Cause (the title is almost longer than the record itself) is at the very least a significant occurrence. The band comes from Morocco and features a woman out front, declaiming any number of contemporary socio-political ills. So there’s little wonder that the Internet isn’t bursting with info about Taqbir; you can find a Maximumrocknroll interview, some chatter about the record here and there, and not much else. It must take enormous courage to make music like this in Morocco, and even more to be a woman making music like this. The long reign of King Mohammed IV has edged the country toward marginal increments of cultural openness — if not thoroughgoing political reform — but conservative Islam and economic struggle are still dominant forces, combining to keep women relegated to submissive social roles. And the band is not fucking around: their name is a Moroccan battle cry, synonymous with “Alu Akbar!” Their repurposing of that slogan in support of their anti-traditionalist, anti-religious, anti-capitalist positions likely makes life in a place like Tangier or Casablanca pretty hard. The songs? They’re really good. Check out “Aisha Qandisha” (named for a folkloric phantasm that ambiguously mobilizes the feminine as murderous and rapacious monster): the music slashes and burns with just the right dash of melody, the vocals go from a simmer to a full-on rolling boil. Taqbir! y’all. Stay safe, stay strong and make some more records.

Jonathan Shaw

 TOMÁ — Atom (Self-Release)

Atom by TOMÁ

Tomá Ivanov operates in interstices between smooth jazz and soul-infused electronics, splicing bits of torchy world traditions in through the addition of singers. You could certainly draw connections to the funk-leaning IDM of artists like Flying Lotus and Dam-Funk, where pristine instrumental sounds—strings, piano, percussion—meet the pop and glitch of cyber-soul. Guest artists flavor about half the tracks, pushing the music slightly off its center towards rap (“A Different You featuring I Am Tim”), quiet storm soul (“Outsight featuring Vivian Toebich”), falsetto’d art pop (“Catharsis featuring Lou Asril”) or dreaming soul-jazz experiments (“Blind War featuring Ben LaMar Gay”). Thoughout, the Bulgarian composer and guitarist paces expansive ambiences with shuffling, staggering beats, roughing up slick surfaces with just enough friction to keep things interesting.

Jennifer Kelly  

 The Tubs — Names EP (Trouble In Mind)

Names EP by The Tubs

“I don’t know how it works” declared The Tubs on their debut single, but they’re diving right in anyways on its follow-up, Names, with four songs that explore the self and self-other relationship. Their cover of Felt’s “Crystal Ball” tightens the musical tension of the original in places but still allows enough slack for singer Owen Williams to stretch the lyrical refrain — about the ability of another to see us better than we see ourselves — into a more melancholy shape than Lawrence. Of the EP’s three originals, Felt’s influence is most obvious in George Nicholls’ guitar work on “Illusion,” especially when the change comes and his lead spirals off Deebank-style behind Williams while he questions his connection to his own reflection. “Is it just an illusion staring back at me?” “The Name Song” is the longest one here at over three minutes, and in a similar way to The Feelies, it feels like it could go on forever, which might prove useful if Williams adds more names to his don’t-care-about list. “Two Person Love” is the best track of the bunch, though, with its classic sounding riff that swoops in and out allowing room for the chiming and chugging rhythm section to do the hard work. The relationship in the song might have been “pissed up the wall,” as Williams in his Richard Thompson-esque drawl puts it, but The Tubs certainly seem to have figured out how this music thing works.

Chris Liberato

 Venus Furs — S-T (Silk Screaming)

Venus Furs by Venus Furs

Venus Furs sounds like band, but in fact, it’s one guy, Paul Krasner, somehow amassing the squalling roar of psychedelic guitar rock a la Brian Jonestown Massacre or Royal Baths all by himself. These songs have a large-scale swagger and layers and layers of effected guitars, as on the careening “Friendly Fire,” or hailstorm assault of “Paranoia.” A ponderous, swaying bass riff girds “Living in Constant.” Its nodding repetition grounds radiating sprays of surf guitar. You have to wonder how all this would play out in concert, with Krasner running from front mic to bass amp to drum kit as the songs unfold, but on record it sounds pretty good. Long live self-sufficiency.

Jennifer Kelly

 Witch Vomit — Abhorrent Rapture (20 Buck Spin)

Abhorrent Rapture by Witch Vomit

Witch Vomit has one of the best names in contemporary death metal (along with Casket Huffer, Wharflurch and Snorlax — perversely inspired handles, all), and the Portland-based band has been earning increasing accolades for its records, as well. They are deserved. Witch Vomit plays fast, dense and dissonant songs, bearing the impress of Incantation’s groundbreaking (gravedigging?) records. Does that mean it’s “old school”? Song titles from the band’s previous LP Buried Deep in a Bottomless Grave (2019) certainly played to traditionalists’ tastes: “From Rotten Guts,” “Dripping Tombs,” “Fumes of Dying Bodies.” And so on. This new EP doesn’t indicate any significant changes in trajectory or tone, but the songwriting makes the occasional move toward melody. See especially the second half of “Necrometamorphosis,” which has a riff or two that one could almost call “pleasant.” If that seems paradoxical, check out the EP’s title. Is that an event, a gruesome skewing of Christianity’s big prize for the faithful? Or is it an affective state, in which abject disgust somehow builds to ecstatic transport? Who knows. For the band’s part, Witch Vomit keeps chugging, thumping and squelching along, doling out doleful songs like “Purulent Burial Mound.” Yuck. Sounds about right, dudes.

Jonathan Shaw

 yes/and — s-t (Driftless Recordings)

yes/and by yes/and

This collaboration between guitarist Meg Duffy (Hand Habits) and producer Joel Ford (Oneohtrix Point Never) is an elusive collection of shape-shifting instrumentals. Each piece is built around Duffy’s guitar, yet the timbre and mood tends to switch dramatically between tracks. The album’s run-time is fairly evenly split between dark, atmospheric pieces, such as “More Than Love” and “Making A Monument,” and hopeful, glimmering miniatures, such as “Centered Shell” and the wonderfully titled “In My Heaven All Faucets Are Fountains.” “Learning About Who You Are” looms large at the album’s heart, as nearly eight minutes of hazy, wind-tunnel drone pulses and reverberates across the stereo space. Despite the variation in tone, each track stakes out its own territory in the tracklist, and it’s only “Tumble” that comes across as an unrealized idea. While it’s only half an hour, yes/and feels longer, its circuitous routes opening up all kinds of possibilities.

Tim Clarke

[aion-rsa]

Why You Should Watch Young Royals

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This article contains some spoilers for Young Royals. 

WIth an overabundance of teenage-oriented romance shows on television at the moment, it can be hard to conjure up a reason to watch yet another one. Every streaming service seems to have something in the genre to fit a need, whether that be a gay protagonist, a female hero, or an ensemble cast. It’s very difficult to stand out amongst the crowd because there are very few places left untapped in exploring adolescent life styles. 

Enter Young Royals, a Swedish-produced LGTBQ romance drama that was released on Netflix at the beginning of July. When Prince Wilhelm (Edvin Ryding) is sent to boarding school by the Queen after getting in some trouble at a nightclub, he feels out of his element and overwhelmed with expectations. His only reprieve from the rigidity of this environment comes when he meets Simon (Omar Rudberg), a kind and charismatic child of an immigrant mother. 

Prince Wilhelm and Simon’s burgeoning relationship eventually turns into one of the most evocative and explorative love stories in contemporary queer TV. A keen understanding from the writers and actors of what can make a show like this stand out amongst a repetitive crowd of competitors is what will hopefully lead to enough viewership for many more seasons. Here are some more reasons you should watch Young Royals.

The Teenagers Actually Look and Behave Like Teenagers

Far too often the young people in coming-of-age entertainment vehicles look, act, and feel a little too mature for actual teens to relate to on any sort of deeper level. The actors who are casted infamously have birth dates well before the people they are portraying on-screen (Darren Barnet, who plays 16 year old Paxton Hall-Yoshida on Mindy Kaling’s hit series Never Have I Ever, is a whopping 13 years older than his character!) Not only does this force an unrealistic standard of beauty on the viewers to live up to, it also breaks up the immersive quality that truly great TV possesses to transport us to different worlds that connect to our own.

Edvin Ryding is 18 and Omar Rudberg is 22. With faces spotted with pimples and makeup sparsely used to mask other superficial blemishes on the actors, the people in this show seem like they could show up at any secondary school in your neighborhood and fit right in. This provides an authenticity to the storytelling that you simply don’t get with the majority of teen romance media. Perhaps the reason for such realism is because European filmmakers strive for higher artistic standards when filming, shunning the degrading expectations of sexiness and maturity that directors in the United States have grown obsessed with. Whatever the reasoning behind it is, the show’s casting is a breath of fresh air. 

The Story Skips the Often-Redundant Coming Out Journey

I want to start by getting one thing very clear: the coming out journey is one of the most important tropes used in LGBTQ movies and television; I wrote a whole essay on how Love, Victor’s exquisite and heartfelt depiction of this plot point helped me come out of the closet in my own life. When done properly, this storyline can be both inspirational and important to the young queer community. The problem is that far too often the coming out process is the only focus, and all of the other dynamics of gay teenage life get shelved and under-examined. 

Young Royals gives you a negligible amount of hand-holding when it comes to spelling out the sexuality of the two protagonists: Simon mentions in one conversation with his dad that he is gay, and Wilhelm’s own musings are so focused on the former that we know immediately how smitten he is with his charming classmate. There is a little bit of internal denial from Wilhelm when he tells Simon he “isn’t like that” after they share an awkward first kiss, but we know he’s kidding neither us nor his lover. 

The intense romantic energy is so new, raw, and real that there is no need for anybody to come out; it’s obvious that these two are gay as hell for each other and that discovery is absolutely beautiful. As mentioned, though, Wilhelm is a part of a royal family and publicly coming out as a celebrity is a whole different topic that the show sets up nicely for in a possible second season.

Sexual Expression is Explored on an Emotional Level

The show is rated TV-MA, but it can’t possibly be for nudity or graphic sexual expression. The passion between Wilhelm and Simon is certainly physical to an extent, but the little things, the tiny moments of young love are so much more meaningful than watching two actors maul one another like wild animals or porn stars. Short kisses in the forest, holding hands while watching a movie, and dropping off a quick breakfast in class are all amongst the enviable acts of emotional desire that are displayed from the characters. 

TV shows rarely understand what actual love looks like in the real world. It isn’t always 12 hours spent in the bedroom or excessive PDA in front of classmates and family. It’s what two people feel about each other that words can’t possibly describe. It’s an emotion that bonds a couple into one. Wilhelm tells Simon when professing his love midway through the season that nothing in his life feels real except for how he feels about him (a line improvised by Edvin Ryding). That’s so much more than a one-night stand or a cheap hookup and it’s something every other teen rom-com should learn from and aspire to emulate.    

A Delicate Discussion on Classism in Relationships 

A melancholy sticking point in the relationship between Wilhelm and Simon is their difference in social class. Wilhelm is the second-in-line to the throne of Sweden while Simon is the poor son of an immigrant mother who cannot afford to live on campus at the boarding school the characters attend. When the two boys are together, money and celebrity status become irrelevant. It’s an absolutely beautiful give and take where both kids get to learn how attraction has nothing to do with societal expectations and pressures, but keeping a relationship definitely does. 

When their love affair gets leaked in a sex tape á la Kim Kardashian, Wilhelm is expected to hide his sexuality and his desire for someone low on the social ladder. The way both young men work together to figure out a common ground solution is simultaneously touching and heartbreaking, as homophobia within the Swedish Kingdom makes the love forbidden and creates the main tension in the finale’s climax. Classism is such an underutilized topic in romance stories and Young Royals does a great job finding that fine line between forcing the issue and exploring it thoroughly. 

A Small, Strong Cast

Many shows that follow a romance struggle to give equal screen time to both parties. It can be tempting to flesh out the main protagonist more fully than divide attention among both characters. If you add in supporting roles around the couple it can get really flimsy in the hands of a shoddy screenwriting team. 

This show only has three true supporting roles: August, Sara, and Felice. This leaves plenty of material for both Wilhelm and Simon to be equals in spite of the central focus being on Wille. When you get to see the POV of each person independent of the other, it becomes a much richer experience and you are more easily able to sympathize with both young men instead of taking sides during a conflict. Their personal lives, especially their unique family dynamics help inform the audience about the romance. By the end of the six episodes, you feel like Wilhelm and Simon are amongst your own social circle because you know them intimately. That just doesn’t happen with most coming-of-age series. 

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All six episodes of Young Royals season 1 are available to stream on Netflix now.

The post Why You Should Watch Young Royals appeared first on Den of Geek.

from Den of Geek https://ift.tt/3hzINwo

[gigslist]

6 Voiceover and Radio Casting Calls - Paid Remote Jobs

Short Film, TV, Commercial, Corporate and Comedy Radio Talk Show

6 Voiceover Casting Calls - Paid Remote Jobs

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Subcultural - an interactive audio show examining interesting subcultures

VOICEOVER

REALITY TV & DOCUMENTARY COMEDIANS & IMPROV

PAID WORK FROM HOME

Deadline: May 1, 2021 4:59 PM

Company Spoon Radio

Clint Sears, Head of Content

Production Description

Looking for a CREATOR/HOST to develop their own weekly, interactive, hour-long Spoon Originals audio show (please see http://spoonrad.io/originals) on the Spoon Radio network app based around the following concept: "Subcultural: A quirky and interactive exploration of the most unique groups in and outside of society." This show will be a PG to PG-13 exploration of interesting subcultures (here are just a few examples: https://en.wikipedia.org/wiki/List_of_subcultures.) The host will research and breakdown a new subculture each week while finding ways to keep the interactive audience (chat, polls and live call-in audience guests) engaged. This is a concept to build the show around but in the end it will be 100% YOUR show. Feel free to explain YOUR take and how you'd tackle it.

Roles

Host/Creator (WOC strongly encouraged to apply!)  (Voiceover): Female, 18-23

The creator/host will do their own research, develop the content and book their own guests (if they want them).  This is our concept but it will be YOUR show! 

If you are naturally curious, gregarious and can get others excited about the things you are into, then you are the person we need.

Rehearsal and Production Dates & Locations

No professional equipment needed, we pride ourselves on the audio quality of our technology.

Compensation & Union Contract Details

Professional Pay: $100/Weekly

Key Details

Seeking talent:

Nationwide (United States)

https://www.linkedin.com/in/clintisawesome

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Pillow Commercial

Actors / Actress at Home Shoot for Online Ad (Pillow)

ONLINE COMMERCIALS & PROMOS

PAID NONUNION

Deadline: May 10, 2021 5:00 PM

Company

Stephen Tegel, creative dir. Production states: "[Stephen] has helped dozens of national brands create high-volume ads and sales campaigns with well-known doctors, spokespeople, and marketing professionals."

Casting an online advertisement. Note: Actors will bring to life real stories from real customers.

Roles

Man (Lead): 31-39

this character brings life to a real customer’s story using our product

We are looking for a man in his 30s who has a great attitude and personality to record themselves at home promoting one of our products a pillow. The production process includes: downloading a free video teleprompter app into your Iphone , loading the script up on the app, filming yourself reciting the script + additional b-roll shots, and exporting the scripts via gmail/google drive. To be eligible for this role, you must additionally have a basic knowledge of framing and lighting as well as a basic understanding of google drive. If you own a tripod, that is a plus, as some of the shots need to be hands free.

Required Media: Headshot/Photo, Video Reel

Required Skills: Acting Techniques: Improvisation

Woman (Lead): 22-65

this character brings life to a real customer’s story using our product

We are looking for a woman between 20s-60s who has a great attitude and personality to record themselves at home promoting one of our products - a pillow. The production process includes: downloading a free video teleprompter app into your Iphone , loading the script up on the app, filming yourself reciting the script + additional b-roll shots, and exporting the scripts via gmail/google drive. To be eligible for this role, you must additionally have a basic knowledge of framing and lighting as well as a basic understanding of google drive. If you own a tripod, that is a plus, as some of the shots need to be hands free.

Required Media: Headshot/Photo, Video Reel

Required Skills: Acting Techniques: Improvisation

Shoots the month of April

Compensation & Union Contract Details

StipendPays $140

Seeking talent from: Newport Beach, CA

More Details

Please include a headshot and if you do have a video reel, feel free to submit that as well! If hired, you’ll be shooting with a Commercial Director who has shot ads for several large national campaigns. His focus here is finding actors capable of delivering powerful, emotional performances: men & women who can bring dramatic stories of transformation to life.

Shooting instructions

information about the product and script will be provided

consumersteve@gmail.com

13237428551

https://www.linkedin.com/in/stephen-tegel-99a13822

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Telehealth Explainer Web Video

VOICEOVER: CORPORATE & INTERNET VIDEOS (VOICEOVER)

PAID WORK FROM HOME NONUNION

Deadline: April 13, 2021 4:00 PM Company Ergo Possum Ltd. (Client: TeamHealth)

Production Description

Seeking a female voiceover professional, 40s-60s, to narrate a 45-second web explainer video for website, social media, and email use. It's a lightly comedic piece focused on the relatable frustrations of conventional doctor appointment scheduling, and the better alternative provided by telehealth services.

Roles

Narrator (Voiceover): 40-60

Comforting, relatable narrator with a sense of humor about the craziness of conventional healthcare appointment scheduling who also speaks with some enthusiasm and authority about the alternative offered. Final piece is 145 words.

Record remotely. Must have access to professional recording setup and provide completed recordings with your own resources.

Professional Pay: $200 - $300 Perpetual license to use the voiceover in this one piece, which itself has a likely shelf life of 18 months but may be used beyond that if needed.

Note: "We do not have any non-compete stipulations and talent are free to pursue other opportunities with similar clients."

Key Details

Seeking talent:

Worldwide

913-284-1366

philipwh@gmail.com

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'Kiss Of The Incubus'

 FILM & DOCUMENTARY (VOICEOVER)

PAID NONUNION

Deadline: May 7, 2021 8:19 AM

Company: Acid Unlimited, Black Fog Pictures

Cory A. Jones, writer-dir.-prod.

Production Description

Casting "Kiss Of The Incubus," a feature-length film. Synopsis: An erotic psychological horror story about a young woman's struggles to liberate herself from a toxic past only to be faced with a powerful sex demon that visits her in the night. Production states: "Candidates should be aware that this production will feature some very strong material with regard to Sexuality, and some Horror Violence/Gore. May not be suitable for everyone, please keep this in mind when submitting. Looking for strong, confident, responsible, and professional talent of all experience levels." Note: Still accepting new submissions for secondary lead; Jonelle.

Jonelle (Supporting): Female, 25-45

Richly textured supporting/secondary lead role that will require a highly talented and open minded actress to portray. Jonelle is our lead character; Lillian's Girlfriend of almost 4 months. She is a confident, tomboyish, fitness-oriented, openly Lesbian professional bartender. She takes her work, and lifestyle seriously, but does not take herself too seriously. She has a sassy, sarcastic sense of humor, but is always sincere and humble. Having been a romantic free-wheeler for some time; her deepening connection with Lillian is motivating her toward desiring a more serious relationship. Her outward confidence masks an emotional sensitivity that comes with deep rooted self compassion struggles resulting from Jonelle's complicated personal history. She should be a relatable, and lovable character whom the audience will naturally want to root for. Note: Full nudity required for two simulated sex scenes, one shower scene and two non-sexual nude scenes where the actress will be in simulated bondage. Only talent who are comfortable with nudity and sexuality as part of their performance should apply. Pays $450/day and is available to Nonunion talent.

Ethnicity: Ethnically Ambiguous / Multiracial, Latino / Hispanic, White / European Descent

Required Media: Headshot/Photo, Cover Letter

Requires Nudity: Yes

Required Skills:

Sports/Fitness Dance Comedy Acting Techniques: Drama Training Rehearsals expected to commence in late April in Lodi, CA; tentatively begins shooting in Aug. in Lodi and Sacramento, CA.

Professional Pay: $450/DailyPays $450/day. Travel expenses, hotel, and meals will also be provided.

Seeking talent from: Lodi, CA; Sacramento, CA; San Francisco, CA; Los Angeles, CA; Reno, NV

https://www.linkedin.com/in/cory-jones-96098329

https://www.productionhub.com/profiles/details/225332

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Voiceover for Animated Television Series

VOICEOVER: ANIMATION & VIDEO GAMES (VOICEOVER)

PAID WORK FROM HOME NONUNION

Deadline :June 8, 2021 4:59 PM

Company: New Ray Studios

Lisa Swanson, casting dir.

Production Description

Casting voiceover talent for an animated television series in pre-production (being prepped for a pilot). Specifically seeking female voice artists who can perform a young boy's voice ranging from 6-12 with an American dialect. Also casting various male and female adult roles.

Roles

Josh (Lead) (Voiceover): Female, 9-12

Languages: English

Accents: Midwest American

Required Media: Voice Reel

Recording remotely.

Professional Pay

Seeking talent: Worldwide

An email application to casting@newraystudios.com.

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'Cold Feet'

CATEGORY:

FILM: SHORT FILMS (VOICEOVER)

PAID WORK FROM HOME NONUNION

Deadline: April 20, 2021 4:59 PM

Company: Hawk Zindell, prod.-dir.

Description

Casting "Cold Feet," a short film. Synopsois: Based loosely on Poe’s “The Tell-Tale Heart," "Cold Feet" is a psychological horror/comedy about a young woman who’s navigating the frustrating world of wedding planning, while being haunted by an extremely tacky wedding dress.

Roles

Olivia (Lead): 24-28 pays $250. 

Olivia is a stressed-out young woman trying to plan her wedding. She is a perfectionist (she's the girl with the desk drawer dedicated to her artfully organized bullet journal supplies), loves beautiful things (she’s the girl with the Instagram life you want), but most of all Olivia likes peace, quiet, and being left alone. Unfortunately, those things are in short supply, both as her family and friends pester her about wedding planning details, and as a terrible wedding dress mysteriously appears and seems to haunt her.

Ethnicity: All Ethnicities

Required Media: Headshot/Photo, Video Reel

Brenda (Supporting): Female, 55-60 pays $100 (audio-only role). Olivia’s well-meaning but intrusive future mother-in-law. If Olivia has a minute, Kathy just has a few more questions about where to seat Uncle Teddy.

Required Media: Headshot/Photo, Audio or Video Reel

Rehearsal and Production Dates & Locations

Shoots May 8 and 9 in Colorado.

Stipend: $100 - $250Pays $250 for two shoot days, with pre-production time and pickups as needed. Supporting role pays $100.

Key Details

Seeking talent from:

Boulder, CO; Denver, CO

https://www.linkedin.com/in/hawk-zindell-5833025a

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[publicworksgallery]

I’m Not Trying to Change Anything, I’m Just Changing—Sonnenzimmer x AppleButter Animated

Painting robot p_a_i_r by AppleButter Animated & Sonnenzimmer 2019

28 September 2019 — 3 November 2019

Our collective ideologies are always one step behind our impulses. We fear the changing world, but we embrace material innovations, oftentimes unaware of their implications. Our actions are recorded and commanded through various layers of labor: from human gesture to robotic movements. Our impulses end up as part of a greater process, one we don’t fully grasp yet. In the exhibition “I’m Not Trying to Change Anything, I’m Just Changing”, we explore this conundrum through a series of graphic works, animation, and objects.

These works visit the crossways between gesture and intention and aim to collapse the space between seeing and feeling to encourage a shift in perspective.

Programming Events

Opening Reception Saturday, September 28 7 - 10pm

Artist Talk and Panel Q&A with Ashley King Thursday, October 3 6 - 9pm

Public Works Pop-Up Shop Series: Sonnenzimmer and AppleButter Animated Saturday, October 12 12:30 - 5:30pm

Publication Release and Screening Saturday, October 26 7 - 10pm

JDOAWDSMALT(#11), Painting created by: jaxamme dimaltide osybear aplji wheelspin denthos seb222 meszupil amusedanarchist lepslazuli themonsterman332 With p_a_i_r (Painting Audience Instructed Robot) by Jackson Ammenheuser and Megan Jedrysiak 2018

Artist Bios

AppleButter Animated

AppleButter Animated are Megan Jedrysiak and Jackson Ammenheuser — a Chicago based animation duo. Since 2014, they have been making experimental shorts and commissioned animations together as AppleButter Animated. Their experimental film work has screened in the United States and internationally. Their creative practice delves into expanding the perception of animated media by experimenting with production practices, scale, and authorship. Their creative process is rooted in subconscious play versus conscious editing, thriftiness, and collaboration. Jackson and Megan expand their efforts in graphic and motion process by taking elements of digital animation (graphics, motion, sound, automation) and presenting them in physical space. https://www.applebutteranimated.com/

Sonnenzimmer

Sonnenzimmer is the collective practice of artists Nick Butcher and Nadine Nakanishi. They opened their print shop in 2006, so they could screen print with as many colors as they felt compelled to use in order to investigate the pictorial plane through improvisation and experimentation. After producing an estimated 57,000 printed works by hand (as of 2019), and exploring this in a decades-worth of exhibits and performances, they have come to the conclusion that the graphic impulse is the cornerstone to understanding our times. These thoughts have been formulated in their publications such as Graphic Arts Future (2015), Graphic Arts Future: Corporeal Knowledge (2017),  Shape Song (2018), and I’m Not Changing Anything, I’m Just Changing (2019); and have been exhibited at Hatch Show Print in Nashville, Shape Song (2018); at the Arts Club of Chicago, Sonnenzimmer: Graphic Timeline (2016); at Kunsthalle Schaffhausen, Switzerland, Greige Fabrik (2016); University Galleries in San Marcos Texas, The Past Is A Stranger, The Future is a Guest (2015); as well as performed at Yale School of Art, Print Catalyst (2018); Aalto, Helsinki, Graphic Arts Future (2017); the Arts Club of Chicago, Enactment (2015); the Museum of Contemporary Art Chicago, Dubbing Stills (2015). Sonnenzimmer feels strongly that the graphic thread generated by humans or non-humans will be center stone to de-siloing the arts and thus reshaping humanity. This understanding might help us re-sculpt our relationships to one another and our environment. They ask of you, will you be ready to be “Wind, River, and Eraser” all at once? https://www.sonnenzimmer.com/

3D scanned portrait by Jackson Ammenheuser and Megan Jedrysiak 2019

3D scanned portrait by Jackson Ammenheuser and Megan Jedrysiak 2019

Hello from the Hammerspace ( R ) by Sonnenzimmer 2019 vinyl gloves, bells, grommets dimensions variable

Image as Afterthought by Sonnenzimmer 2019 monoprint on stuffed canvas, grommets, binder clips 38 x 28 inches

Print (title tba) by AppleButter Animated & Sonnenzimmer 2019 Robot aided, 7-color screen print

Our gallery is not accessible by way of elevator. If there are any ADA accommodations needed for a patron's enjoyment of this event, please contact josh@someoddpilot.com

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[cecila03k884420-blog]

Listen To Pop! Exploring A Musical Genre

I know that Google has a Music Timeline, but it surely's horrendous. Something special has been taking place lately outdoors the confines of club music's established genres. We're referring to the rapidly shifting soundscape of styles generally known as "experimental club," a time period that, in its ambiguity, leaves room for the complete range of music grouped within. It's immune to labels and disdainful in the direction of historical past, with an something-goes angle that renders terms like "highbrow" and "lowbrow" meaningless. It thrives in a digital milieu the place artists are nodes in a decentralized internet. However it does not only exist in the ether—this publish-regional ethic still has anchors in lived social scenes, every of which tailors the sound to its context. This yr, Latin American labels, collectives and sounds proved to be a few of the most fun nodes in that community. Prince's music had a direct and lasting influence: among songwriters concocting come-ons, among producers engaged on dance grooves, amongst studio experimenters and stage performers. He sang as a soul belter, a rocker, a bluesy ballad singer and a falsetto crooner. His most immediately recognizable (and broadly imitated) instrumental fashion was a particular sort of pinpoint, staccato funk, outlined as much by keyboards as by the rhythm part. However that was just one among the many kinds he would draw on and mix, from laborious rock to psychedelia to digital music. His music was a cornucopia of ideas: triumphantly, brilliantly kaleidoscopic.

The vary and variety of Queen's music is sort of unmatched within the rock world, a fact proved to astonishing diploma by the wide range of artists that carried out at the 1992 Freddie Mercury Tribute Concert following the singer's dying. Broadway stars rubbed shoulders with rock legends, metalheads and pop heroes, and everyone was capable of finding a great Queen track that fit their type completely. The evening was capped by George Michael's tackle this music, as seventy two,000 followers take part for the chorus. Jazz is commonly performed by ensembles (although single artists can play as properly), Http://Www.Audio-Transcoder.Com with significance laid on their capacity to play off one another, and improvise ex tempore. The improvisational fashion of jazz links it to Indian classical music, which also values improvisation over repetition of set melodies. This intrinsic commonality has produced numerous collaborations between jazz and Indian classical artists. Pt. Ravi Shankar, www.goodreads.com who ceaselessly collaborated with Western musicians, is one of the most well-known Indian musicians within the West. John McLaughlin, a famous jazz guitarist, shaped fusion ensembles with Western and http://cecilmendiola180.wikidot.com/blog:1 Indian musicians similar to Zakir Hussain and Vikku Vinayakram. Originated as Rock & Roll" in the United States, Rock music has been rocking the world for the reason that 1950s. It is a type of music that began really round string devices, however now makes use of other modern instruments too making it a bit of troublesome to give it an accurate definition. Its loud and strong beats make it standard among the youths. Some of the rock stars who've popularized the culture embrace Little Richard, Invoice Haley and Chuck Berry whereas rock bands like Pink Floyd, The Doors, Metallica, Nirvana and Megadeth are the trendy bands who have taken the culture by storm.

Electronic music is strictly what the name suggests: music made with digital instruments. The category of digital music can best be understood in distinction to the categories of acoustic or conventional music, like classical, jazz, or folk. Nevertheless, because musical traditions like classical, jazz, and people are incessantly recorded using digital know-how, amplified utilizing microphones, and distributed over the internet, it may be tough to differentiate the excellence between electronic and non-electronic music in the 21st century. With this in thoughts, we are able to perceive the concept of digital music as rising out of the 20th century's remarkable revolutions in computing, electronics, and digital expertise. Throughout the twentieth century, pioneering engineers, inventors, and musicians constructed machines that might produce music in ways that had previously been unimaginable. The variations between Jazz and Blues music are highlighted of their origins; although each had been popularised in Chicago, Jazz gained more traction in New York and Blues was largely embraced in Texas. Further, the composition of the 2 genres is different, with Blues heavily reliant on vocals and Jazz on instrumentals. Blues music relies on folklore and thus relays history and stories which were passed on from generation to era. Some argue that Blues music took Jazz and added vocals to it with a purpose to create Blues music; nonetheless, historical past disputes this as both genres originated at the same time in several settings. Rock monsters Led Zeppelin are one of many biggest, hardest rock bands ever, and the four individual members are all a few of the finest gamers of their era too. Robert Plant, John Paul Jones, John Bonham, and Jimmy Page stand head and shoulders above their contemporaries as particular person musicians, and their skills mixed to create some of the heaviest rock of their technology. In truth, Communication Breakdown is usually cited as the primary heavy steel song. Whether you imagine that or not, the band's affect is simple and their status as British rock gods is untouchable. Before we have a look at the findings, it's essential to note that the way in which that such information is gathered influences the result. The kind of songs standard on streaming websites like Spotify aren't essentially the sorts of songs fashionable on the radio. To get essentially the most broadly representative results, we'll be taking a look at both the highest genres when it comes to dwell performances and the preferred musicians in accordance with Pandora 2017 streaming numbers Lastly, to give you a style of the music every state has individually produced we'll take a look at the most well-liked bands that have come from every state A handful of artists from major metropolitan areas might dominate the highest of the charts at any given second, but that doesn't mean that each state hasn't contributed their own distinctive artists to America's musical tapestry.

Whereas I was consuming my meal I could see that Mr. Miyagi sat down at a desk that was positioned in the midst of the restaurant, it seemed like he was looking the Web. The restaurant was almost full, but not with lot of vacationers, I may only see one other table where I heard they spoke English to one another. The others appeared to be from Thailand. The evening was excellent Thai-genuine till I all of the sudden heard loud music from the audio system: "Baby lock the door and turn the lights down low" It was Josh Turner, which roared out of the speakers - not only load, very load. A smiling Mr. Miyagi was playing Turners nation hit-track "Your song" for the whole restaurant, and he performed it repeatedly - not two times - not thrice, during my 2-hour dinner he will need to have performed it about ten to 12 instances.

[thurmanweisz5-blog]

Common Mexican Music Genres And Their Traits

Bear in mind the halcyon days when musical genres had distinct lines? This same fundamental level additionally means that sociologists of tradition and students in associated fields ought to proceed with caution when making generalizable claims concerning the ostensible decline or continued significance of genre as a boundary making device. Rather, style boundaries may simultaneously be highly porous in some complexes and extra impenetrable in others. For single or small N case-studies of musical genres, the properties of genre boundaries unearthed might not signal wider tendencies, however slightly the meso-degree complexes through which the genre or genres beneath question function. People originates from the German word "volk", meaning folks, and due to this fact a reasonably inclusive time period. The word most commonly utilized by a culture to consult with itself is "individuals". But because the meanings of phrases change, people came to be related to the "widespread people". At the moment, the use of "folk" is deeply enmeshed in American political discourse. It's a means for politicians to specific affiliation with the American working and center courses. Within the US, the imagined center class is conceived because the frequent individuals. In music, folk was initially used to describe traditional song and most popular music genre 2018 dance. The originator of the work was unknown and therefore it grew to become the property of the folks, along with stories and different types of mental property.

Basically something you hear on the radio or see at a pageant mainstage is Progressive Home (unless it is electro house or its bastard stepchild Large Room). It is jumpy, enjoyable, and the definition of music made with one purpose - to bop to. Progressive Home is likely one of the genres that is changed essentially the most over time. The Deadmau5 track I posted above is a more traditional and true take on Progressive Home, while most songs these days labeled as such are a lot, a lot totally different (like this and this ). Sadly, the quality of Progressive House has dwindled prior most popular music genre 2018 to now years with the overuse of synths and rancid melodies that sound almost identical to their contemporaries'. Nonetheless, it's still the very best-grossing genre in Digital music right now. Lari White , Daryle Singletary and Accomplice Railroad founding member Doug Secrest are among the many nation musicians who have died in 2018. White died after battling most cancers , and Secret additionally struggled with a protracted illness earlier than his dying, while Singletary's demise at the age of forty six shocked Nashville's music group. Purple Dust nation artist Brandon Jenkins was additionally tragically younger when he died in March after experiencing issues following heart surgery he underwent in February. He was simply 48 years previous. "Information of the history of Canada ", wrote Isabelle Mills in 1974, "is crucial in understanding the mosaic of Canadian folk song. A part of this mosaic is supplied by the folks songs of Canada brought by European and Anglo-Saxon settlers to the brand new land." 12 She describes how the French colony at Québec brought French immigrants, followed before lengthy by waves of immigrants from Great Britain, Germany, and other European nations, all bringing music from their homelands, a few of which survives into the current day. Ethnographer and folklorist Marius Barbeau estimated that nicely over ten thousand French folk songs and their variants had been collected in Canada. Lots of the older ones had by then died out in France. If this summoned visions of bopping round your living room to the Sonic soundtrack, put together to be upset (although you can do that when you visit Spotify's gaming portal The right way to Discover the Good Music to Take heed to While Gaming How one can Find the Excellent Music to Take heed to Whereas Gaming Video video games at the moment are considered an artform, and their soundtracks are an important ingredient. Nevertheless, typically it's essential to take heed to one thing else whereas gaming, www.audio-transcoder.com which is the place Spotify comes into its personal. Read More ). What's jazz to you? Is it the marginally irregular rhythms? The acquainted sound of an upright bass? Or is it the freedom to interpret and improvise? Naturally, there isn't a single answer to this question. By its nature, jazz evades strict definition — particularly when its influence is so huge, and what jazz was" has since transformed into a whole bunch of various kinds and genres. Continuing on our recent exploration of the methods jazz has influenced rock, pop, and hip-hop , I wished to look into how digital artists are infusing jazz into their work.

The past few a long time have seen hip-hop grow from underground phenomenon to niche market to omnipresent juggernaut, listened to across the globe and influencing music of each style. The place as soon as rap could have been too outré for Executives to tune in, it has now permeated tradition to such a level that, for all intents and functions, rap music is pop music. And while Executives could have little data of or curiosity in old-faculty rhymes, artists like Kanye West or Drake may be just too popular to ignore. The popularity of nu-metal dramatically deteriorated when music started getting higher within the early 00s. Let's face it: guitar music was pretty shoddy at the flip of the century until The Strokes got here along and washed it all away. As a substitute, nu-metallic grew to become insanely widespread - abdomen this, Linkin Park's ‘Hybrid Principle' is the fastest selling debut of the twenty first century - but only because guitar music was in the doldrums. Now, like cockroaches crawling out of a log after a long winter, these bands are rearing their baseball-cap-clad heads, clawing for a revival.

American traditional music is also called roots music. Roots music is a broad class of music including bluegrass , nation music , gospel , previous time music , jug bands , Appalachian folks , blues , Cajun and Native American music The music is taken into account American both because it's native to the United States or as a result of it developed there, out of overseas origins, to such a degree that it struck musicologists as one thing distinctly new. It is considered "roots music" as a result of it served as the basis of music later developed within the United States, including rock and roll , contemporary folk music, rhythm and blues , and jazz Some of these genres are considered to be traditional people music.

[jazzviewswithcjshearn]

Antonio Sanchez & Migration: Lines In The Sand (CamJazz, 2019)

Antonio Sanchez: drums, voice, additional keyboards; John Escreet: piano, Fender Rhodes, Prophet synthesizer; Thana Alexa: voice and effects; Matt Brewer: acoustic and electric bass; Chase Baird: tenor saxophone and EWI. Elad Kabilio: cello on “Travesia” and “Long Road”; Nathan Shram: viola; Paola Gonzalez, Karla Gutierrez, Jonathan Mendoza: spoken word on “Lines In The Sand”.

The eighth album from drummer and composer Antonio Sanchez, Lines In The Sand functions compositionally as a sort of direct follow up to the album length Meridian Suite (CamJazz, 2015). More than anything, it  packs a moving sociopolitical message about what it means to be an immigrant in the United States. A stunning album with incredible musicianship and rapport between  the drummer vocalist Thana Alexa, saxophonist Chase Baird, keyboardist John Escreet and bassist Matt Brewer. it will also satisfy fans longing for cinematic compositions since the final album of the Pat Metheny Group, The Way Up (Nonesuch/Metheny Group Productions, 2005).

The Album

Sanchez uses his experience as a Mexican immigrant turned legal citizen as inspiration, but the album is something that can tell the story of all immigrants in this country regardless of their origin.  He also further fleshes out a few themes found on Bad Hombre using them as compositional grist for the mill, and taking them to new places.  For instance the opening of “Travesia” with it's 9/4 arpeggio is an extension of the arpeggio found on the former recording's “Nine Lives”.  The drummer fashions some rich written melodic material that takes full advantage of the expanded role that vocalist Alexa now has in the ensemble.  More so than ever she is a completely integrated member of the ensemble, through the use of several effects boxes, not only is she a singer, and instrument, but also synthesizer blending in naturally with Chase Baird's tenor saxophone and EWI with melody lines and tons of texture.  Nathan Shram's viola combines with Elad Kabilio's cello to create a virtual string section for a rocking section inspired by Radiohead ten and a half minutes into the piece. Sanchez used Logic to add some barely imperceptible MIDI to add some weight to the multi tracked viola and cello parts that are a segue to Escreet's energetic piano solo with Matt Brewer's power packed Paul Jackson spiced electric bass behind him.  “Long Road” brings strong emotion through melodic development of a simple seven or nine bar phrase sung by both Alexa and Sanchez heavily layered, Sanchez's drums adding commentary to a piece that brings ultimate melancholy.  “Bad Hombres Y Mujeres” reprises the bass line of “Bad Hombre”, but augmented by a mind melting, twisting melody with Alexa and Baird in unison.  Ultimately the knottiness turns into a memorable hook, and a thrilling battle between Baird's EWI and Escreet's Prophet synthesizer exploding into the cosmic atmosphere before a Sanchez drum solo, and the band grooves out on a 7/4 section to fade out.  “Home” is also reprised from Bad Hombre featuring Alexa's vocals, and turned into a nice pop song.  The title track at 26 minutes is quite moving summarizing thematic material from the suite and featuring  deeply emotional poem readings of “At The Wall, US/Mexico Border 2020” by Paola Gonzalez and Karla Gutierrez, and “Blood Country” by Jonathan Mendoza offering a satisfying close.

Sound

Lines In The Sand features expert engineering by Sanchez himself with assistance from long time engineer Pete Karam.  There are a lot of sub details in the mix such as panning, doubled snare hits, bouncing reverb and texture. The drums are very present in the sound stage with Alexa's layered vocals and effects providing a lot of sound stage depth in the foreground and background, Escreet's piano and Rhodes thick, and full bodied.  The mastering by Danilo Rossi is very dynamic and captures the peaks and valleys of the music, and Sanchez' hand at post production has become even more adept since his soundtrack work and Bad Hombre.

Closing

Overall, Lines In The Sand proves to be the most complete statement thus far of Antonio Sanchez as a composer to date.  Over the course of 8 albums in 12 years, the compositional growth has been stunning and with Migration he has a band that perfectly marries the composed and improvised aspects of the music. Indeed he has learned and applied multiple lessons from his membership in Pat Metheny's ensembles, and the format of Migration is akin to that of thee Metheny Group in that it's an open forum for genre less exploring and players with distinct personalities make their mark on the music.  An excellent and inspiring effort.

Music: 10/10

Sound: 8.5/10

[psitrend]

Interview with the Artist & Photographer Pixy Liao

New Post has been published on https://china-underground.com/2020/10/12/interview-with-the-multidisciplinary-artist-pixy-liao/

Interview with the Artist & Photographer Pixy Liao

The photography of Pixy Liao

Pixy Liao: the balance of power in a romantic relationship with authenticity and vulnerability.

Born and raised in Shanghai, Pixy Yijun Liao is a multidisciplinary artist who currently resides in Brooklyn, NY. After graduating with a Bachelor of Science degree, Pixy moved to the United States to pursue an MFA in Photography at the University of Memphis. Pixy has garnered awards and accolades for “Experimental Relationship”, an ongoing photography series she started in 2007. In her artwork, she explores the question of gender identity and women’s representation in today’s world. She restores what is being sexualized in womanhood and shifts it into an opposite weapon. Collaborating with her male muse boyfriend, Liao dismantles relationship stereotypes. She takes a deep inspection at love relationships, often reversing the power dynamics between a man and a woman to humorous effect, and challenging the expectations imposed.

Official site | Instagram | Youtube | Pimoband

You decided to leave a career as a designer, and inspired by Michelangelo Antonioni’s “Blow-Up” you started your career as a photographer. Can you tell us about the main challenges of the beginning? What motivated and kept you determinate?

When I went to study photography in the US, my idea of becoming a photographer was very vague. I didn’t know what type of photographer I wanted to be or what type of photos I wanted to make, I just thought that I could be a photographer so that I could make work with a minimum level of other people’s interference and hopefully be as rich as the photographer in the film. It took me a while to figure out what kind of photos I truly enjoy making. I tried landscape, portraits, fashion photos, and even wedding photos. Until I started making the “Experimental Relationship” project, I finally felt I was making my own photos. I enjoy it so much that I don’t even think about quitting.

How to build a relationship with layered meanings (2008), © Pixy Liao

At the beginning of the “Experimental Relationship” series, did you have any doubts about exposing an intimate part of your relationship? What was Moro’s very first reaction? Both Chinese and Japanese cultures place a strong focus on family. Have you asked yourself any questions about their possible reactions?

I used photography as an excuse to get to know Moro. So he had always been my model since the very beginning before the Experimental Relationship project. He has always been very supportive and rarely rejected my photo request. And I didn’t think of the photos as exposing an intimate part of our relationship because these are staged photos, not documentary photos.

When I first started making the project, we were both international students in the US. We were far away from our family and peers. I purposefully kept it a secret from our families. I don’t think it was possible if I could start the same project living in Asia. It was a time that I used the advantage of living by myself in a foreign country to allow myself to grow into the person I wanted to be.

A powerful woman point of view, with a brilliant sense of humor.

Try to live like a pair of Siamese twins II (2009), © Pixy Liao

You rethought the role of the male as a muse, and you flip it with humor too. How much in the series of images is stage photography, and how much spontaneous? In some of your shoots, you are also the model. What does it mean to you?

Probably more than 90% of the image is staged. My project is concept-based. I rarely do a photoshoot without having a plan first. That being said, I don’t fully control every detail in the photos. I choose location, clothing, position, basic pose, but there’s always room for improvising. Especially for Moro, I encourage him to improvise based on the situation I created. So his facial expression and body gestures are more of his own. When I’m in the photos too that creates more uncertainty to the photos cuz I cannot see the photo when taking it. Actually, I wasn’t even sure when the photos will be taken cuz Moro is the one who takes the photos a lot of times. I think it is a performance or even a game we do in front of the camera.

Her most well-known series “Experimental Relationship”, which received a special mention at Paris Photo Festival, is an ongoing project that paints her long-time relationship with her Japanese boyfriend Moro

Homemade Sushi (2010), © Pixy Liao

Your images are also historical documentation of your relationship over time. Do you look at your early photos, even with the eyes of those who look at distant memories? How do you feel about reviewing certain moments or periods of the past? What do you hope viewers will understand through your images?

One gem of doing a long-term project like this is that you have recorded the precious time that you have spent with loved ones. When I see my old photos, I’m always more forgiving. I found many old missed photos that are worth publishing through this. When I just take a photo of myself, I’m always very critical of the image of myself. Maybe I don’t look good enough in one photo or maybe I didn’t pose the way I wanted. But years later, when I look back, I would think how silly I was. The younger self will always look better. After I get past the point of my own image issue, I can discover other good things about a photo and find some missed good old images.

She has created a vastness of different artistic projects, in which she imagines and portrays a role where women are not dominated but dominate. Her works deal with the exploration of issues such as identity and intimacy.

Image: The woman who clicks the shutter (2018), © Pixy Liao

I don’t expect the viewer to understand my images in a certain way. I want them to respond to them, whether they like them or dislike them or the images make them question something. It’s also an experiment on how people respond to this relationship.

During her photography studies orientation in the States she met her Japanese partner Moro, that was studying in the music department.

It’s never been easy to carry you (2013), © Pixy Liao

Is there one of your intimate portrayals from your series that you are more connected to or that marked a significant moment or change in your relationship? Can you share with us the story behind it or any meaningful event from the backstage of the photo shooting set?

The photos do not always come out the way I envisioned because when I take photos of us together, I could only imagine how we’re gonna look like in the photos. For example in the photo called “It’s never been easy to carry you”, there is a lot of empty space on the top part of the photo. It was not like how I planned it to be. Because Moro is quite heavy for me, his weight kept pushing me down during the photoshoot. When I saw the scanned image, I was very disappointed because the composition is not what I wanted. But later, I realized that the photograph is actually telling the truth. The fact that he is heavy for me to carry pushes me out of my ideal position in the photo, it’s also a metaphor of our life. I always imagined myself as a strong woman, but actually a lot of the time I struggle with the burden of our relationship, just like in the photo, his body pushes me down. After realizing that, I started to like this photo and named it “It’s never been easy to carry you”. There’s always a difference between what you desire and what you actually get. Even with all the staging, there are always things out of my control. I’m just learning to accept those.

Wu Zetian is a female figure who made a great impression on me when I was a girl. … It’s hard to imagine growing up without even one queen in your culture, which is why I think she is really important, especially to Chinese girls.” – Pixy Liao

Ping Pong balls (2013), © Pixy Liao

From Shanghai to the States. You have lived in Memphis, and now you are based in Brooklyn. Which were the biggest advantages, which main differences did you notice that helped you to grow as a person and as a photographer?

I started studying photography in the US. The biggest advantage is that I live in a new environment away from my family and peers. That gave me a great space for me to grow without being interfered with. The difference between Memphis & Brooklyn is huge. Memphis is a very photo genetic city. And there are many places to take photos. When I moved to Brooklyn, the photo opportunity is much much less. But it’s a great place to live as an immigrant in the US. Now, most of my photos were taken when I’m traveling.

Play Station (2013), © Pixy Liao

You have been working in the world of photography and art for many years. What do you think the role of gender has in contemporary photography? Does gender still matter? Are women slowly changing art and photography?

I think gender always matters. It helps people to see things from a different point of view, a photographer’s point of view. Everything about the photographer matters, his/her gender, race, cultural background, etc,. Are women changing art and photography? That’s not depending on the photographers. The photographers are just making their own photos. It depends on the platforms and audience who want to see those photos. I think the world today definitely wants to see more female photographers’ work or LGBTQ or BIPOC photographers’ work. It’s a good sign that we have a more diverse view of the art world now. I hope it’s not just a trend.

I make art based on my feelings growing up as a girl in China, and on how I feel as a woman in today’s world.” – Pixy Liao

Soft Heeled Shoes (2013), © Pixy Liao

In the age of social media, do you think that world cultural differences in love relationships have leveled off? Do you think that the new generations overcome prejudices and taboos more easily than those of the past? What do you think has changed since you started your project “Experimental Relationship”?

Yes. I definitely notice that people of my generation and the generation before me think about love relationships much differently than the younger generation like Gen Z. For them, it’s much more common to accept the idea of gender fluidity and they don’t judge people much who are in minority groups. I also know it doesn’t come easily. It comes from generation and generation of people’s hard work to make those “taboo” things more seen. Thinking about the artists/people that influenced me and the people who influenced them. And it’s slowly changing the world. I have been making this project for more than a decade. I just recently (in 2018) felt comfortable showing the work in public in China (in a photo festival). The response I got from the audience was encouraging. That is not something I could imagine happening 10 years ago, maybe not even 5 years ago. But it’s getting ok now.

Me, him and the audience are all connected by the cable release.” – Pixy Liao

Golden Mouse (2014), © Pixy Liao

You used the “female gaze” also in other artwork, sculpture, and other processes, like A Collection of Penises, Man Bags, Soft Heeled Shoes, and Breast Spray. Are they collateral projects or somehow related to your main photography work? Are you working on something new?

Yes, my work is based on my female experiences. I think my other works are equal to my photo work. They might be not so much about the heterosexual relationship, but more focus on the female experience. I am working on a conceptual work about female leadership.

In China, girls are normally encouraged not to work hard and rather to find a man to rely on; conversely, men are told to man up and to be brave.” – Pixy Liao

Red Nails (2014), © Pixy Liao

In addition to photography partners, you and Moro have together a band: PIMO. Can you tell us about this project?

Our band PIMO is a totally different story. Moro is a musician. Our roles switched to what we do in photography. We started collaborating in music in 2011. In our band, Moro is the leader. He would compose, perform, record, basically do everything, while I just sing in the band. We usually work on lyrics together. We call ourselves a toy rock band. We sing songs about our common interests in life, like cats and grandmas. You can listen to our music at pimo.bandcamp.com

PIMO – Oppai Is Everywhere Live from Home

Hang in there (2015), © Pixy Liao

Carry the Weight of You (2017), © Pixy Liao

What limits of your relationship did working together in photos and music projects help you to overcome, and what did it help you strengthen? Being involved in a synergetic multileveled artwork collaboration evolved your relationship?

The photo project has made us partners. This project is based on our relationship and grows with our relationship. At the same time, this project has become part of our life. In the beginning, he would just do as I said, but now he participates more. He truly understands what I’m doing and he contributes his ideas or reactions during the photoshoots. If I stop shooting for a long time, he encourages me to take photos again. The more we continue in the project, the better we know each other and trust each other.

And the music project is a good balance for us. In photos, I’m the director. In music, he is the leader. For me, it’s both an enjoyment and also my way of paying him back.

Two Heads (2019), © Pixy Liao

Temple for her installation (2019), © Pixy Liao

Featured image: The woman in the red robe (2018), © Pixy Liao Photo courtesy of Pixy Liao

#ChineseContemporaryArtist, #ChinesePhotographer, #ChinesePhotography, #FemalePhotographers

[amsterdamwhitney]

Amsterdam Whitney December Exhibition Group Press Release

AMSTERDAM WHITNEY GALLERY, 531 West 25th Street- Ground Floor-Chelsea, New York City, is proud to showcase in its glittering and glamorous DECEMBER 12, 2018-JANUARY 22, 2019 Holiday Extravaganza Exhibition, which is highlighted by its 17th Annual Holiday Fete on Saturday, December 15th.  In the spirit of the NYC-Chelsea Holiday Art Season, AMSTERDAM WHITNEY GALLERY is showcasing unparalleled artworks from talented artists spanning the U.S. and the globe whose works illuminate the vigorous creativity flourishing in the abstract, figurative and natural realms. Celebrating four resplendent Holiday group exhibitions, a link of thematic excellence unites these four exhibitions, offering Chelsea art lovers artworks of sublime superiority.  Evocative and dynamic, this exciting Amsterdam Whitney Holiday exhibition exudes an alluring glow with stunning luminous creative energy reflecting an ethereal combination of works which challenge the boundaries of artistic creativity. Pulsating with mesmerizing synergy and sparkling creativity, these holiday treasures are visual gems of sophisticated, eclectic and evanescent representations of the world as they shine the spotlight on a universal artistic language. Reflecting the revitalizing penetration of compelling global ideas in our culture, this cross-continental conversation in art will dazzle the senses during the holiday season for both art acquisitors and art aficionados alike with its incandescent aesthetic explorations of the visual realm. 

 HERALDING the RESPLENDENT represents three gifted artists who navigate the abstract convergence of gesture, line, shadows, and texture to create truly emotive non-objective compositions. By dynamically defining their oeuvre with passionate synergy, these talented artists offer illuminated global works that are intriguing hallmarks of the non-objective art world.  Contemporary Florida abstract expressionist painter RONI LYNN DOPPELT's Magical Glow" series are incandescent, acrylic on canvas paintings that are spectral optical projections which ignite human consciousness into thoughtful contemplation of universal desires, emotions and experiences.  With a color wheel reflecting kaleidoscopic gem-toned hues of red, green, blue and yellow, her "Magical Glow" series is a virtuosic celebration for the holiday season.  Ireland based, American artist and doctor, PAUL HARTEL creates abstract compositions which are infused with the purity of the moment as he paints a playful sense of freedom and an energetic vibrancy. Celebrating the inner sprit, Dr. Hartel’s undulating forms are rhythmically improvisational and stylistically energetic.  Layering his mediums, NEIL KERMAN's dazzling mixed media works achieve unusual and tantalizing tactile surface textures as each paint and ink interacts with the next. Controlling and manipulating the paint by working horizontally, Mr. Kerman experiments with different pigments, paints, and mediums such inks, dyes, and spray paints to establish his distinguished impasto and animated sense of buoyancy.

 SUBLIMINAL SOUL-STICE synthesizes to reveal three individualized, symbolic multifaceted sensory figurative visions which introduce the viewer to gifted artists whose compositions are expressionist paradigms of luminescence. Echoing invisible visceral emotions which translate intangible thoughts into insightful, incandescent paintings, the art sparkles with the innermost depths of the soul. Celebrating the feminist experience with  a subtle harmony of light and color, PENELOPE CHIUSANO's whimsical and fantastical "Me Two-Bosom Revolution" collection  is inspired by the "Me Too" movement and creates a unique feminist blend of traditional and modern motifs within the work by combining varying textures from water media, textiles, and hand written text. CAROL CREEL's "Magic Realism" paintings transform ordinary objects into extraordinary fantastic visual experiences reflected on nocturnal backgrounds as they metamorph into a magical, enchanted realm.  Influenced by comic book illustrations, Japanese-based SHIGERU K’s animated figurative digital prints and gestural acrylic paintings encapsulate universal human experiences, inviting the viewer to participate in the human relationships which he illustrates.

  EQUINOX of ABSTRACTION manifests a charismatic abstract visual cavalcade of four dazzling international abstract masters whose distinct artistic lexicon defines their syntax of individual self-expression with emblazoned creations. Employing minimalist artistic language integrated in his art, Ecuadorian artist, CHRISTIAN BAKKER's abstract quest is to translate onto canvas the non-representational, divergent realities of shape and color, transcribing them to a complete fulcrum of expressive sensations.  Distilled from the soul of nature, France based artist, ARMELLE BOCCARD’s visceral abstract works infuse her oil canvases with a fulcrum of expressive sensations, resonating with the emotional essence of the cityscapes.  French-Canadian artist, VERONIQUE  DOUCET’s intuitive work, is free from the constraints of logic, gravity, and reality, as it allows the polarities of creation and destruction, expansion and contraction, discord and coalescence, to find balance between the real and the imagined world. Celebrating the abstract journey of life, Florida artist BECKY VAN PELT’s expressionist acrylic canvases investigate the expansive possibilities of a non-objective universal language as each composition creates a unique narrative which organically encapsulates divergent visions.

 VIRTUOSTIC CELEBRATIONS is a masterful exhibition of contemporary cultural prisms exploring identity and perception. This spectacularly talented quartet of artists metaphorically illustrates their trans-luminescent visual sensations of humanity. Contemplative and exciting, the featured artists reflect on perceptions of both the internal and external self.  Celebrating the symbiotic union between the animal kingdom and the human realm, DOMINIQUE ALBINSKI ‘s powerful sculptures resonate with breathtaking beauty and awe-inspiring technique as they express the universality of the animal realm.  Reflecting his fascination with the external realm, landscape artist and renowned Portraitist, LEONID GERVITS's landscape paintings explore the relationship of the land and the sea, echoing the beauty and energy of nature. Tempered with a delicate ambiance, his landscape compositions balance the fragile beauty that humanity shares with nature.  Widely recognized for his classically-inspired portraits; Leonid Gervits' commissioned portraits reflect the influence of 19th century masterful portraits by John Singer Sargent and Boldini.  PHYLLIS SHIPLEY’s harmonic compositions sing with a luminescent palette evocative of both celestial and ethereal realms.  Drawing inspiration from the floral and musical realms, Ms. Shipley’s lyrical compositions are abstract reveries which reverberate with symphonic precision, as she deconstructs reality with expressionistic iconic images. Laden with stunning visual dexterity as they are with emotional meaning Canadian-based TAMMY TAYLOR depicts the majesty of the animal kingdom with piercing clarity. Profoundly technically adept, the artist depicts the individual character and personality of each animal, compassionately illustrating the animal’s unique spirit.

[thelumenlake]

jjoseph brownn / Chalk Flint Remains (Islands series III) - released 16/05/22

LISTEN/BUY: https://thelumenlake.bandcamp.com/album/chalk-flint-remains-islands-series-iii

VISIT:  www.dear-bones.com/remains

"Full of the type of ambient, beautiful electronic compositions made popular by the likes of Brian Eno and The Grid, 'Chalk Flint Remains' would be a stunning listen by itself, though the layering of media adds a beautiful depth in contextualizing and the staging of the piece...

... Innovative Newcastle artist jjoseph brownn (takes) a multi-media, multi-disciplined approach to his new album...supporting his new music with various audio-visuals the listener can explore as a 3D landscape."

Damian Robinson for Narc magazine (May 2022)

"Beautiful!"

Faye MacCalman, 'Implode Explode' for CAMP Radio (May 2022)

I was thinking of homes. All the homes I had been in and what they meant to me. I was thinking about distance. Physical and emotional ones. I was thinking about transformation and metamorphosis and the point at which we decide to embark and the point at which the art of change becomes clear. And I was thinking about how all of these things intensify the ethereal or romantic or nostalgic attachment to places and people that raise the dirt and drudge to magical proportions. I was thinking about violence and fear. The many ways fear enables violence against those spaces, demands their destruction or ruins their safety. I was thinking about the unfamiliar. The call to adventure or the seeds of fear. And I was thinking about the slippery state a home can inhabit where at any moment it can slide into an unwelcome aspect, from familiar to uncanny and the states of revelation or fear that emerge. I was thinking of friends, the beautiful, joyful, funny, creative, insightful people who know all this too. I would like to thank the following people for being there and doing the thing. Will Hammond for making sublime noises on “And So Amazed Them All” and putting up with my vague notes once again. Spot on. The members of Composer Club for listening and providing excellent feedback and ideas and mostly turning up on time. For anyone who had to put up with noise which includes, but isn’t limited to, my brother, the inhabitants of Unit EB, the inhabitants of 12 HPV, the inhabitants of 12a HPV, etc. Maria Ferrie for an amazing photography time and plenty of great insights and revelations into the nature of an image. Rachel Heavey for a stunning music video that transcends all we were taught in college. Finally, John Harries for finding a home, in every sense, for this to work and for always attempting to understand. 

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jjoseph brownn is a musician from the bleak southwest who now stays put in Newcastle upon Tyne. They do all sorts of things in their spare time but mostly those things are improvising and exploring music with friends, building new instruments when the old ones are frustrating, writing code in max, fiddling with electronics, writing and illustrating zines and taking photographs. Right now they are: a resident at Slacks Radio with a show called “The Dream Lens”; erstwhile member of Dyvers Alarums, the environmental improvisers; really getting down to learning the uilleann pipes. The past included a monthly DIY music video project compiled into an EP called “Unread Notes”. In the future are plans for some nice punk chaos with local musicians. For a better time, go and visit their website:  www.jjosephbrownn.co.uk.            

[deathbycollage]

Join LIFT/PIX/ad hoc for a free screening by AgX, a film collective in the Boston area. The screening takes place at the PIX Film Gallery, 1411 Dufferin St. (near Geary), Unit C, July 14, 8:30pm. What is AgX?: As the materials and processes of filmmaking rise in cost and well-crafted equipment is disposed of by institutions, filmmaking tools are rapidly falling into the hands of artists who are now encouraged to explore and reimagine the roles of chemist, colorist, technician, machinist… AgX members harness all of their individual skills to realize otherwise complicated or expensive undertakings, such as screenings, performances, classes, workshops, bulk ordering photochemistry and film, rescuing and repairing equipment. Open to collaborating with a broad array of artists, students and organizations, AgX supports a unique, diverse community of filmmakers, photographers and interdisciplinary artists — both novice and experienced — who convene, create, teach, inspire and learn from one another. Our physical space provides a comfortable communal area where members engage in shooting film, processing, contact printing, optical printing, animation, editing, screenings and dialogue, as well as and endless variety of events and experiments. AgX Screening Program PIX FILM Gallery, Toronto, July 14th, 2018 Program curated by Anto Astudillo, Susan DeLeo and Ernesto Livon-Grosman Transpose To transfer or shift, to change the usual, normal relative order or position... A program of selected films from the American AgX Collective on the theme of transposing, shifting and dispersing as in a memory or recollected experience. Wenshua Shi. Senses of Time 2018 – digital – 5:05 min Senses of Time depicts the lyrical and poetic passage of time. The work reflects on time and focuses on defining subjective and perceptual time with close attention to stillness, decay, disappearance, and ruins. Peaches Goodrich. Winter Island 2016 – digital – 3:12 min Shot & hand processed in Salem + Beverly, MA on November 20, 2016 Using only in camera editing, fades, cross fades, multiple exposures, and back winding, this film was shot on Winter Island on 100' of B&W 16mm film Stefan Grabowski. Nova Remnants 2016 – digital – 10:32 min A nova remnant consists of matter left behind by a cataclysmic nuclear explosion, causing the intense and sudden brightening of a star. Due to the relatively short timespan over which they occur, nova remnants generally no longer exist by the time their light reaches us on Earth. Ethan Berry. Transit 2018 – digital – 4:05 min Reflections on traveling through space and time. Susan DeLeo. Your Darkness 2018 – super 8 to digital – 5 min A lyrical journey with super 8mm film and sound. A stream of consciousness piece conceived from dark wanderings and trance like states in and out of the western landscape Sarah Bliss. Orange Band 2017 - digital – 4:44 min A contemporary landscape that explores the posthuman and post-industrial, searching out new ways to engage the body on the land. By engaging the camera apparatus as a literal extension of my body, I bridge interior and exterior worlds, blurring the edge of what is "me" and what is "outside me.” Psychogeography made palpable. Robert Todd. Flowerbed 2017 – 16mm – silent- 3 min Flowers and their ways. Douglas Urbank. Portrait 2017 – 16mm – silent – 5 min An imagined portrait, handmade, improvised, stream of consciousness. Brittany Gravely. Astrology 2018 – 16mm – 3 min An ancient artifact, an alchemical algorithm, astrological archaeology. Robert Todd. Oblong Box 2016 – 16mm – 7:30 min Resting places: The weight of distances between lives brought together via passageways through and to the ends of things. Stefan Grabowski. Le Trésor 2016 – 16mm – silent – 1 min Walking through Saint-Aquilin-de-Corbion, July 2016. A light rain fell steadily, slowly saturating my clothes and leaving me with a lingering chill, followed by a violent fever and a sleepless night. The treasure I found there was dingy and tarnished, but precious still.