#Angular 10 Release

[astrology-by-sita]

DON'T SLEEP ON YOUR SECT LIGHT

apart from the asc lord, the sect light shows who you are. It also shows how you "shine" . It's also your health, wellbeing, vitality and stamina.

The sun is about ambition, power and authority. Authority of course comes with responsibility.

The Moon represents the mind - desires! Again, the mind desires , not the heart. Indulging to much in desires can affect you negatively though .

The sun prefers to be in an active diurnal sign (air and fire).

The Moon prefers to be in a nocturnal receptive sign (earth or water)

If the sun is in a nocturnal sign it gets frustrated cause it is forced to slow down. The moon in a diurnal sign is confused, wanting to speed up while desires take time to materialize fully on earth.

The bound ruler of the sect light shows the limits within which the sect light has to act. The luminarias rule no bounds, so they're always answering to the limits of some other planet. The sun would rather have a diurnal planet as its bound ruler, while the Moon, nocturnal.

TRIPLICITY RULERS OF THE SECT LIGHT

Now the serious work. The 1st two triplicity rulers of the sect light show the quality of life, wealth, happiness. The 1st triplicity ruler is about the 1st part of life. The 2nd triplicity ruler is about the 2nd part of life. The 3rd one is only supposed to support so they call it "cooperating ruler".

You can check the condition of each triplicity ruler to determine the happiness and wealth of the individual. Is the trip. ruler angular or succedent?

If so then it's a good indicator. Is it a benefic or malefic?

You can determine the exact timing of when the 1st triplicity ruler hands over to the 2nd using the minor years of the planets based on their synodic cycle.

Sun has 19 years.

Moon: 25

Mercury: 20

Venus: 8

Saturn: 30

Jupiter: 12

Mars: 15

There's a theory that you have to subtract 1 year to determine the age of the individual in which the shift occurred. For example if Jupiter has 12 years as a 1st triplicity ruler then the shift occurred when the person was 11 years old.

You can also use the ascentional times of the zodiac signs in the same way. There's a table of those in Chris Brennan's book. And if you're lazy like me, astro seek website will give you those automatically when you choose the Traditional Astrology option.

It shows them like this. This is from Shakira's chart. Let's use her as an example. Aquarius sun in 11h as the sect light - air triplicity in day charts is Saturn, mercury, Jupiter.

Saturn period is 30 years so at 29 years old a shift occurred for her. It was when she released one of her greatest hits in English, Hips Don't Lie featuring Wyclef Jean. Her Saturn is succedent in the 5th house of creativity. YES it's in adversity and retrograde but in its own bound.

Her 2nd triplicity ruler of the sect light is mercury in Capricorn. It is angular ! The ascentional time of Capricorn in her latitude (10°59'North) is almost 31°. So when she was 30 years old, that angular Mercury took over. During that time she was on her Oral Fixation tour, in which she visited 6 continents, and performed for the 1st time at the Grammy Awards. She was awarded "The Best Pop Collaboration with Vocals" for her hit Hips Don't Lie.

She released a song with Beyoncé, and she did the soundtrack of the movie adaptation of the famous novel "Love In The Time of Cholera". Tbh her songs are the only good thing about that movie which butchered a literary masterpiece. Anyway i digress...

This is the main point of this technique. I hope i was clear in explaining it. Study your sect light in depth. I am still learning just as you are .

Triplicity rulers for day charts for all elements :

Fire signs : sun, Jupiter, Saturn

Air signs : Saturn, mercury, Jupiter

Earth signs : Venus, Moon, Mars

Water signs : Venus, Mars, moon

For Night charts :

Fire signs : Jupiter, sun, Saturn

Air signs : Mercury, Saturn, Jupiter

Earth signs : moon, Venus, Mars

Water signs : Mars, Venus, moon

[black-arcana]

GARBAGE Announces Summer/Fall 2025 North American Tour

Influential alternative rock band GARBAGE will embark on a 31-city tour across North America this fall in support of their anticipated eighth studio LP, "Let All That We Imagine Be The Light". "Happy Endings" will see stops at New York's Brooklyn Paramount, Washington D.C.'s The Anthem, San Francisco's The Warfield and more. Tickets will go on sale April 4.

For over thirty years, GARBAGE's powerful live show has captivated audiences and continues to inspire worldwide adoration. "Happy Endings" marks GARBAGE's first extensive headline tour in the U.S. in almost ten years.

"Let All That We Imagine Be The Light", set for release May 30, is the follow-up to 2021's critically acclaimed "No Gods No Masters", praised in The New York Times as a "thrumming mix of goth and orchestral pop." According to singer Shirley Manson, the new album was forged out of the need to find an uplifting thread amidst the swell of chaos and extraordinary upheaval in the world.

GARBAGE consists of all four original band members: Manson, Duke Erikson, Steve Marker and Butch Vig. Over the 30 years since their inception in 1995, they have sold over 20 million albums. Their unique sound, songwriting and electric live performances have cultivated global admiration, chart success and critical acclaim. They are considered one of the most influential bands of their generation.

"Happy Endings" tour dates:

September 3 - Orlando, FL - Hard Rock Café September 5 - Pompano Beach, FL - Pompano Beach Amphitheatre September 6 - St Petersburg, FL - Jannus Live September 8 - Atlanta, GA - The Eastern September 10 - Nashville, TN - The Pinnacle September 12 - Cleveland, OH - Agora Theatre September 13 - Detroit, MI - Masonic Cathedral Theatre September 16 - Philadelphia, PA - Franklin Music Hall September 17 - Washington, DC - The Anthem September 18 - Boston, MA - Roadrunner September 20 - Brooklyn, NY - Brooklyn Paramount September 23 - Pittsburgh, PA - Stage AE September 24 - Toronto, ON - History September 29 - Chicago, IL - The Salt Shed September 30 - Newport, KY - MegaCorp Pavilion October 1 - Columbus, OH - KEMBA Live! October 3 - Madison, WI - The Sylvee October 4 - Minneapolis, MN - First Avenue October 6 - Kansas City, MO - Midland Theatre October 7 - Dallas, TX - The Bomb Factory October 12 - Denver, CO - The Mission Ballroom October 15 - Seattle, WA - Paramount Theatre October 18 - Spokane, WA - Knitting Factory Spokane October 20 - Vancouver, BC - Orpheum October 21 - Portland, OR - McMenamins Crystal Ballroom October 23 - Saratoga, CA - The Mountain Winery October 24 - San Francisco, CA - The Warfield October 26 - Reno, NV - Silver Legacy Resort Casino October 29 - Salt Lake City, UT - Rockwell at The Complex October 31 - Las Vegas, NV - The Cosmopolitan of Las Vegas - The Chelsea November 2 - Phoenix, AZ - The Van Buren

"Let All That We Imagine Be The Light" is unmistakably GARBAGE. All the hallmarks and signatures for which they are known are present here. Big angular guitars, precise, propulsive beats and cinematic soundscapes all lurk beneath Shirley Manson's unmistakable voice, her lyrics bristling with attitude. This is the sound of a group at the peak of their creative powers — characteristically harnessing sonic juxtapositions and moods to create an album that thrums equally with both light and shade.

Butch Vig says: "We used a lot of analogue synths and sound design on the album, as they seemed to fit the dystopian vibes we were all experiencing. We started recording the album with a clean slate, although given what's happening in the U.S. and the rest of the world, it's inevitable that the madness starts to infiltrate the songs. But we definitely wanted the record to have some hope, some light, to convey the feeling that people have the power."

Photo credit: Joseph Cultice

[skyeslittlecorner]

Tails for all! - Hades edition

Other parts: Kings | Gehenna | Tartaros | Avisos | Nilfheim | Abaddon | Paradise Lost

Foras

Long tail, scales looks similar to feathers, especially at the end and at the base. Extremely flexible. The scales are opalescent like his horns, rhombus-shaped and surprisingly soft. 

The monster in his coffin contracted with him sometimes thinks that Foras's tail is the tentacle of another monster and wants to play with him. And he let them.

The tips of the long scales at the end of the tail are slightly pink. Paimon and Eligos appreciate.

He would love to have decorations on his tail, but his scales are not suitable for placing chains. But has the same tattoo on the sides of his tail as under his eyes.

It's true that Leviathan didn't try to tear off his tail like he tried with his horns, but when Foras reports to him, he prefers the tail to remain invisible anyway.

Sensitiveness 9/10. He loves your little scratches and soon become all whimpering and needy. He will wrap his tail around you and touch you as greedily as he does with his hands, and the fact that the tail is soft and pleasant to the touch is even better. Seriously. It feels like freshly applied lotion.

If you're sitting on his lap facing him and you get too high in pleasure, he'll support your back with his tail like the back of a chair. And he loves seeing how limp and helpless you look in these moments.

Glasyalabolas

Very long, thin as two fingers and angular. The spikes at the base looks like scythes and are barbed to tear skin and saw bones. All blades are equally thin, the longest are the size of an elbow and become smaller the closer to the center. In the middle they disappear and start to grow again but towards the end, only from the inside of the tail. Crude, sickle-shaped blade at the end.

There are rumors that during a fight, poisonous smoke comes out of his tail and causes madness. But it's only a rumor.

When no one is watching, he likes to look at the city from the window, and he has his stuffed raccoon on his tail between the spikes so he can watch with him.

Because of how long and dangerous his tail is, Leviathan was wondering whether to make him wear some sort of cover.

He is very proud of his weapons of mass destruction. His tail is believed to be the most dangerous of all, and even Beelzebub with his poisonous whip admitted this.

Sensitiveness 6/10. The only thing he will feel is the blood of his enemies flowing down the spikes.

Okay, it was a joke. Maybe.

He does not want to hurt you. You are the only person who has seen that he is able to fold his blades in half. Their backs aren't that sharp, and he flinches when you touch them. You are prohibited from doing so. Playing with its tail is the only way to dominate him, and he won't let you do it.

Barbatos

It is relatively long for a tail. As thick as Foras’, but as long as Glasyal’s. It consists of two types of scales. The smaller, golden ones are the size of fingernails and cover the entire tail until the tip. The larger, black ones look like thorns.

It is said that when he is it irritated he can almost imperceptibly raise smaller, golden scales, which release the poison. It's nothing harmful. When it hits you, you feel as if you were burned by nettles.

Some scales are matte, others shiny. Only under the sun can you see that they create rose patterns like his hair.

He throws himself around in bed so much that his tail regularly lands on others. They didn't fight over it only because Foras didn't want to give Glasyal that satisfaction.

Most of the thorns are hidden, but a few of the longest ones are left at the end to hang jewelry on.

Sensitiveness 4/10. It’s rather a weapon-type tail, but because he can hide all sharp parts you have a lot of possibilities to play. Personally, what he likes best is wrapping it around you like a rose bush, in full sun and naked of course.

Orias

You chose to include him, so let's go! His tail most resembles Leviathan’s, but is beige instead of dark purple. It has tiny fins on its sides. Not sharp. It is also quite short, only reaching mid-calf, and ends with forks.

The devil's fork on the tip of his tail can also unfold a thin membrane, just like Leviathan.

If it weren't for the constant rejuvenation, he suspect that his tail would look somewhere similar to Leviathan. That would mean it'd be one of the most beautiful in all of Hell. On the one hand, he would like it, but on the other hand, he would look too adult. Small is good.

Wears jewelry on the tip of the tail, fancy, handmade chains made to order, matching the one on his horns.

He hates it when he gets older and his scales get hard. He prefers them to be soft and envies Foras because he doesn't have to do anything about it. Sometimes they argue about it because Foras would prefer his tail not to attract so much attention (his king's jealousy is wonderful, but dangerous).

Sensitiveness 7/10. He likes to wrap himself around your arms or legs the most. When you are naughty, he pricks you with the tip. Unfortunately, it is too weak to choke properly.

[adobe-outdesign]

If you are still talking about neopets designs, plz review lutari? I always wanted one of them

Lutari are probably most well-known for being one of the limited pets on the site, only being able to be made on their pet day and previously connected to the long-defunct Neopets Mobile game from back in the flip phone days. It's to the extreme where you can't even put one up for adoption, with them just running away instead of going to the pound. (Side note: TNT should re-release Lutari Island as a main site feature and make it so you can always create a Lutari while visiting. But I digress.)

Lutari are mostly just otters, but their very distinct, mottled markings, huge claws, and fluffy, curly tails are pretty distinct and make them feel unique, even though they're otherwise pretty straightforward. I like the amount of detail present; they have just the right balance of color, with white underbellies, black claws and noses, and two shades of the main color for their bodies, all of which is carefully balanced as to not be too busy. Overall, they're pretty dang nice... though they do have one drawback.

Considering that Lutari were released only shortly before conversion happened, you would think that they wouldn't have changed much other than losing their swimming pose (which is a shame, but a necessary change for customization). But in actuality, they actually changed quite a bit in various subtle ways, ending up with completely different proportions, markings, facial structure, and more. Here's a really great redraw that's more accurate to the original design, which really highlights the differences between the two:

The eyes are a completely different shape and the pupils are smaller, the mouth is smaller, the ears a completely different shape, the feet are weirdly elongated, the tail is less swirly... and they're such weird changes, because none of them actually have to do with customization.

Another good example of the changes made is Mr. Chipper, who was, weirdly enough, released prior to the Lutari species as a whole. He stands bipedally, and thus shows what a converted Lutari should've looked like. Also of note is the markings, which for some reason became weirdly angular on converted Lutari and less organic than they were originally.

And don't get me wrong, converted Lutaris are still fine, and are by no means ruined or anything like that. It's just a shame that they're less cute than they used to be, and that seemingly little care was put in to convert them properly.

Favorite Colours:

Maraquan: I went over this already in my Maraquan colour review so I won't go into too much detail here, but this design (based off a user submission) is beautiful. I love the use of an axoltle as a base, the pink and cream colors are lovely, and the gill ears are just perfect.

Pirate: While this design is pretty good as a whole, with a nice grey base with a few bright red accents and a properly cutthroat expression, it's the way they managed to seamlessly and subtly work a skull into the tail markings that really earns it a spot on this list. 10/10 no notes.

Faerie: While a little on the busy side, the faerie Lutari is quite pretty. The light green, blue and pink color palette works perfectly, and the beautiful swirled body markings work off of the Lutari's default markings perfectly. The wings also compliment it will, matching both the body colors and the intricate designs.

As an added benefit, you can also get a very pretty, less busy design out of this by using wings-be-gone, which arguably looks even better than the full color. I appreciate that kind of versatility.

BONUS: Camouflage isn't anything crazy, and it's not even all that camouflage-ish, but honestly I just really like this design. The use of a neutral palette and gradients creates a lovely and distinct color that's quite appealing for those who want a more realistic otter look or those, like me, who just like subtle and simple designs.

[moonsoulastrology]

Angular Houses of the Zodiac

Angular houses 1, 4, 7, 10 (AC, IC, DC, MC) are Cardinal sign houses and correlate to the equinox and solstice seasons. They catapult us into action and are associated with generating and releasing new energy. They represent the spheres of life.

1h personal identity; 4h home, family background, roots, ancestors; 7h personal relationships; 10h career and public life.

Having planets in any of these houses will oppose or square one another

(depending on degree of planet of course). Even if they don't exactly square or oppose one another, you still have the push and pull of polarity between these houses, with said planets, causing tension or friction as the houses automatically square and oppose each other.

This is generalized as planet roles play part in fully describing the aspect.

Planets in:

1h/7h opposition this can give a dilemma of personal will & individual identity versus relationships. How much of one or the other do you sacrifice to keep the balance? Too much towards the 1h you become self-centered to much in the 7h you give away part of your identity.

4h/10h opposition is a conflict of staying home or establishing a career. Childhood conditioning plays a huge role in how we function later in life and our roles in society.

1h/4h square, we are born unique, but to what degree does the home life(4) support or diminish our growing individuality(1)? We might want and like to be independent and free but the security and comfort of what we know and what was instilled in us may inhibit us.

4h/7h square is where we project a parent(4) onto a partner(7). This arises from a complex we grew from parent that didn't give the emotional support needed during our formative years. Typically this is the father, sorry guys but history shows it is typically daddy issues that projected.

7h/10h conflicts arising between career(10) and a relationship(7), giving us less time to form our keep important relationships. Too busy forming a career(10) gives less time for a relationship(7). Or vice versa. It can even have you seeking a relationship that's contingent on social status.

1h/10h square, society approval and validation may place restrictions on what we're naturally inclined to do professionally. Self-discipline is needed to create a career(10h) and this could limit your personal freedom(1h).

#Astrology #AstrologyPost #AstrologyCommunity #angularhouses #opposition #square #Cardinalhouses

[saturniandevil]

October 2024 Important Dates

AKA my notes on The Astrology Podcast's October Forecast, hosted by Chris Brennan and Austin Coppock.

Here's a graphic from honeycomb.co showing the exactness of planetary transits throughout the month as well:

September Recap: We're starting the month in the middle of eclipse season (there was a lunar eclipse in Pisces on September 17th). Chris talks about how the biggest intensity of events usually occurs within 10 days on either side of an eclipse. For example, on the 10th there was the US Presidential debate, which fell in Harris's 10th house/North Node and indeed represented an improvement in her public image. The Vice Presidential debate also takes place today, October 1st, right before the next eclipse. Another Pisces eclipse story is the second assassination attempt on Trump--Chris & Austin connect these to the close square of Uranus on his natal Mars and on top of his natal Midheaven. Using nativities, Chris points out that for the past 20 years the winning presidential candidate has had an eclipse in an angular house, which would point towards Harris winning. However, using zodiacal releasing, Trump is set to enter a new era of prominence in April of next year--whether from presidency or another set is unclear. There are a lot of factors indicating this year's election (and the time between then and the inauguration period!) will be confusing and full of surprises.

Another eclipse story is Israel's attack on Lebanon--the pagers were detonated on the day of the Pisces eclipse. The current war in Palestine began under last year's Libra eclipse, and escalation with Iran occurred along an eclipse as well. They predict October 2nd may very well be the date Israel starts a ground offensive into Lebanon, with implications of a regional war (A/N: this episode was recorded September 29th). There will be another eclipse in Aries before the nodes move off this axis, but the Pisces eclipse's coincidence with the electronics attacks and assassination of Nasrallah may be foreshadowing another 2 years of conflict.

The Pisces eclipse also highlighted Saturn's transit through Pisces: the OceanGate submarine wreck was finally found (crushed during Saturn rx), as well as the sunken wreck of the Erebus, a 19th-century polar exploration vessel. In other water disasters, Hurricane Helene ravaged much of the Appalachian US, the worst storm in a century for many cities and small towns. There were also devastating floods in Europe, Nigeria, and India and typhoons hitting much of East Asia.

October 2nd - Solar eclipse in Libra

Immediately afterwards, the Sun and Moon move towards a square with Mars, boding ill for world events with its significations of war, anger, and aggression. Eclipses on a particular axis often indicate a series of events over about a year and a half (this one began early October), so we know already know which stories are going to wrap up to make way for something new. In our personal lives changes may be for the better--for example, for one viewer this indicates the end of a relationship making room for a new one. Mercury has just separated from a cazimi with the Sun (11♎), and Mars is waiting at 15 Cancer to square all of these planets after they conjoin each other. The changes will take place abruptly, jarringly, and painfully for some. Eclipses shock us, even when they're positive. Mars-Mercury indicates arguments, fighting words, and foul language (goes direct at 17 Libra/Cancer on the 6th). Be careful with your words, as this may represent a longer conflict than you realize, as Mars enters its pre-retrograde shadow period soon after:

Like all retrogrades, Mars brings revisions, repeats, and unexpected delays. With Mars hanging out in the same few degrees of Cancer & Leo for awhile, we'll be spending a lot of time and energy in those areas of our chart. Mars retrograde can work well for those born under one, though--for Mars rx natives sometimes it's when big projects finally come to fruition with them.

During the Mars-Mercury conflict, we will have some support: Venus (14♏) will trine Saturn (14♓) on the 4th-5th, and on the 8th she'll (18♏) trine Mars (18♋) with reception. She comes in to offer a bit of a salve after the chafing of Mars contacts. Also on that day, soon-to-retrograde Jupiter (21♊) will trine Mercury (21♎) with reception, soothing some of the previous hard aspect to Mars. These are the kinds of situations where a terrible accident occurs, but you miraculously escape major injury. This can also represent extremes of good and bad happening at the same time.

October 6th - Mercury square Mars (discussed above)

October 9th - Jupiter stations retrograde He's going to hang out in the same few degrees of Gemini for a long time. See eclipse above for some details on transits leading up to this.

October 11th - Pluto stations direct From the 11th-13th Pluto, while slowing down and stationing, squares Mercury as the inner planet moves from Libra to Scorpio. We've been having Pluto stations in Capricorn since 2008-9, and this is the last he'll be in Capricorn for the rest of any of our lifetimes. Mercury brings the underworld planet's hidden matters to light: think investigative journalism, mystery stories, and exposés on dark scandals. Conversely, we can also see manipulation, control, and suppression of information by forces who prefer to remain in the shadows. Pluto is like a doorway to the underworld: it both plunges things into obscurity and brings up secrets from the depths. This is one last burst of intensity in late Capricorn/cardinal signs for those of us who've been feeling its effects--think of molting, with its vulnerabilities and benefits alike. This also marks the end of the United States' Pluto return--an uncertain evaluation of the next 250 years.

October 13th - Mercury enters Scorpio

October 14th - Sun square Mars While the Sun (21♎) squares Mars (21♋) with Jupiter (21♊) attempting to mediate by trining the Sun, Venus (26♏) opposes Uranus (26♉). With Uranus-Venus we may see some surprises in our relationships. (Chris notes Mercury is at 01Scorpio this day, same as Kamala Harris's natal chart, so the news will probably be about her.)

October 17th - Aries Full Moon, Venus enters Sagittarius

Normally we'd breathe a sigh of relief that eclipse season is over, but the luminaries (🌙:24♈,🌞:24♎) are coming right off a square to Mars (22♋), and are headed right into a square with Pluto (29♑). Thus, by the end of the month, Mars and Pluto begin to oppose each other, an intense configuration that will stay with us for the rest of the year thanks to Mars's retrograde. Don't ignore the little issues that Mars is highlighting in your life; nip things in the bud or keep an eye on them because the problems will only intensify over the next few months. The Mars-Pluto opposition will go exact right around election day in the US, or early November. Thus this full moon sets an ominous tone for the months ahead.

Mars signifies cutting, separation, and conflict, while Pluto takes themes to their utmost extremes, making the small massive and the massive small (think of a mushroom cloud explosion borne from mere atoms colliding). Combined, this indicates annihilation, survival responses, severe overreactions, power struggles, aggression & confrontations, manipulation and control. Other keywords are ruthlessness, forcefulness, and lashing out at perceived enemies, real or imagined. Pluto really enjoys hidden power as well--we may fall for decoys of where the real power lies. Unfortunately this strongly overshadows the US election. Overall, with Pluto involved we can't see clearly, so paranoia and conspiracies abound. It can also indicate horrific acts coming to light, like CBS News publishing the first photographs of torture at Abu Ghraib during the Mars-Pluto opposition of late April 2004, and financial developments like the 2008 bank crashes.

In our personal lives, this may be a period of extreme mental or physical exertion where you accomplish more than you thought possible. Austin cautions us not to react to negative things in a way that makes the situation worse, which is our impulse with Mars in Cancer. Sometimes we have to accept that events beyond our power--control what you can and accept what you can't. Uranus in Taurus will also get folded into this background tension via sextile with Pluto.

October 22nd - Sun enters Scorpio

October 25th - Auspicious electional date

This is a difficult month, but if you have to do something important, the 25th is a good time. A few different times will work; Chris likes around 3PM local time, adjusting until the Ascendant is at about 20 Aquarius. This makes the ruler Saturn in the 2nd house in a day chart, good for financial matters. The Leo Moon applies to a sextile with Jupiter, boding well for earthly events--as long as you can catch it when the moon is applying (at a lower degree; moving towards the aspect) rather than separating (at a higher degree, moving away). (Viewers on the West Coast of the US, for example, may have to move it back a day.) With 20Aquarius rising you get a nice, supportive trine from Jupiter in the 5th house, good for games and leisurely activities. Venus in the 11th house is also helpful, and in Denver they were able to get her near the Midheaven as well, though it's not a dealbreaker if you can't get that to line up. Venus in the 11th, ruled by Jupiter, does well with friends and alliances. Furthermore, though she is applying to a square with Saturn, in this chart it has her in contact with the Ascendant ruler, affirming and supporting you and the actions you take at this time. Not recommended for health or routine matters with a cranky day chart detriment Mars in the 6th house, and beware of Pluto in the 12th house of hidden enemies and self-undoing. Thus, it's not ideal, but we can get some things done.

October 28th - Venus square retrograde Saturn Venus would normally be happy to get out of her detriment Scorpio and into a neutral sign like Sagittarius, but she has to get past this square to Saturn before she can really party. However, this does put her in a whole-sign opposition to Jupiter while being received by him (in his domicile), giving a silver (copper) lining to everything else going on. When one benefic is setting, the other is rising for us.

October 30th - Mercury opposes Uranus (not pictured) At 25 of Scorpio and Taurus respectively, this may be an "October surprise" news scandal (or events in our personal lives).

[raointean]

RoP Teaser Trailer Breakdown!

First of all, I would like to say, I'm SO PSYCHED for this season! (Especially since we're going to get to see Elrond in action 🫠)

So, it starts off with a shot of saurbrand with Durin voicing over saying, "An evil, ancient and powerful, has returned!" Obviously, the shot is referencing Sauron and how he’s ancient, powerful, and evil, but I think that that's not what Durin is actually talking about in-universe. I think he’s actually referencing the balrog!

Honestly, given the scenes of panic and destruction in Khazad-Dûm we see later in the trailer, I think there's a good chance the season finale will deal with the fall of Khazad-Dûm at the hands of the balrog.

The next shot is this roiling mass of... things that take on a spider-like form. Obviously, that's going to be Shelob.

Next is a clip with Galadriel and Elrond, along with three elven warriors in a defensive circle. I'll be honest, I have no idea where they are or who/what they're fighting, but I am LIVING for Galadriel's braid crown. Gorgeous, practical, 10/10.

Also, we finally get to see Elrond fight! He toted that sword around all last season and didn't pull it out once! And, I love his new hair! Robert Aramayo, bless his heart, has a VERY angular face and the slicked back style was doing him no favors. It could just be messy hair in this one scene, but it's beautiful.

Next is a shot of the hands of one of the Rhûnic witches we saw last season with blood on her hands. Maybe some kind of blood sacrifice?

After that is a similarly lit shot of a temple (?) with a swarm of moths. I... have no idea what that's about, but I'm excited to find out!

Then there's a brief voice-over of either the Stranger (whom I maintain is definitely Gandalf) or maybe one of the southlanders? saying, "He worms his way inside your mind." As the scene cuts to the golden tree in Lindon as worm-like roots come out of the ground and begin to spread.

I think it looks a little like the mass that made up Shelob, but I don't really know what significance that could have? I can't imagine her crossing Middle Earth to bite the tree like Ungoliant did, but who knows. I also don't know the significance of who's speaking, but that's mostly because I can't tell who's speaking.

Then there's a quick cut to orcs and trolls on the move, presumably in Mordor.

After that, we're back in Ost-in-Edhil as Celebrimbor is watching a bright, orange light with a dark shape in the middle, like someone's coming through. It almost looks like... an eye 🤔

It's GOT to be the coming of Annatar. There's literally nothing else it could be!

Someone else, either Galadriel or Míriel, says "I think he has been here... I think he has been here all along!" Obviously, they're talking about Sauron and how he's been spying on them, making me think it's Galadriel speaking.

Then a shot of Ost-in-Edhil in confusion as Annatar stalks through the town square, a smirk on his face. This could be the beginning of the end of Ost-in-Edhil (and Celebrimbor) but I really don't think they'd do that so soon. Maybe he just got done with the Dwarf rings?

Next, there's a shot of Númenor's coastline along with the release date (August 29th!) then a shot of Galadriel and Elrond on horseback going... somewhere. There's mountains and my first thought was Númenor, but that wouldn't really fit. Maybe this is the discovery of the hidden valley?

What do we think?

Then, it's Míriel in the ocean with a giant sea-monster, possibly the one that attacked the southlanders' raft. I think she's having some sort of vision. Like a "this is the final fate of your people" sort of thing. That or Ar-Pharazon made her walk the plank lol.

Then there's shots of Disa, King Durin III, and a boulder breaking a bridge in Khazad-Dûm as someone says, "Every soul in middle earth is in danger," reinforcing my idea that we're going to see Khazad-Dûm become Moria. Also, Disa seems angry, and Durin III seems to be stuck in a cave? Coupled with the LITERAL BROKEN BRIDGE, it almost makes me think that Disa's gone full Lady MacBeth and is trying to get her husband into power.

Then a shot of Elendil in a crowd being pushed back by soldiers. Maybe something to do with the Faithful? Maybe Míriel's being executed? I have no idea.

The next shot is of Galadriel screaming which, while beautiful to hear, had no context, so I have no clue what it is. It's immediately followed by an orc licking his knife.

Next is a shot of a city (I think it's Lindon, but it could be Ost-in-Edhil or Armenelos) with the words "Darkness will bind them" immediately followed by a shot of the three elven rings on people's fingers. One is definitely Galadriel, another Gil-Galad, and I THINK the other is Celebrimbor.

Then the leaves of the great tree in Lindon turning from green to gold very quickly (I have no idea what that is. Could just be them showing off the tone?)

Durin III picks up a ring of power. I could really see this being a major point of conflict in the coming season. We already know that political tension is rising in Khazad-Dûm: Durin IV has been disinherited by his father, Disa wants Durin IV to be king, Durin III is against mining mithril while Durin IV and Disa are all for it, and presumably there's a brother in there somewhere who would very much like a chance at the throne. A ring of power in that situation would be like throwing a torch into a tinderbox!

Next, we see Arondir flipping and shooting an orc with Isildur in the background, which means we're going to see Arondir and Isildur team up! Not as cool as Elrond and Isildur would be, but there's still plenty of time for that. I think Arondir is probably trying to help him get home to Númenor.

After that is a shot of Númenor with a GIANT eagle coming in for a landing and then it switches to a shot of Ar-Pharazon drawing his sword in front of the eagle.

Y'all, this is INTERESTING! Giant eagles are signs/emissaries/agents of Manwë, the head dude of the valar! In book canon, Númenor is destroyed and Ar-Pharazon dies because he challenged the valar in his pursuit of immortality. Here, it looks like he's swearing to fight FOR the valar, like he has the backing of the gods. I NEED TO KNOW WHAT'S HAPPENING IN THIS SCENE OR IT'S GOING TO EAT ME!!!

Next is a shot of Theo crying, probably at his mom's funeral. (Bronwyn is dead, folks. Super dead. I don't know how it happened yet, but it will probably be offscreen as I heard the actress has decided to take a break from acting. We need to be respectful of that though, even if it leads to weird narrative choices, because real world problems trump fantasy 😔)

Then, there's a short shot of Isildur looking up (🤷‍♂️) and, more importantly, a shot of flaming catapults firing on Ost-in-Edhil.

There's one of two things this could be. Either, it's Sauron's army trying to conquer the city to get to the rings, or more likely, it's elvish forces (led by Elrond?) trying to free Ost-in-Edhil from Sauron's hold and rescue Celebrimbor. If THAT’S the case, it makes more sense that the Galadriel and Elrond riding horses shot was them finding the hidden valley, AND that means we might also get to see Celebrimbanner 😈.

Next is a shot of the new Adar, who doesn't look half bad, followed Gandalf the stranger in Rhûn hitting his staff on the ground and I think creating a wind. I think we're really going to see him come into his power this season!

Then, we see Galadriel pulling back a FLAMING arrow and blowing up a regiment of orcs. Then Elrond leading a cavalry charge. I'm guessing this is all during the attack to break the siege of Ost-in-Edhil.

After that, a very disheveled looking Celebrimbor drops seven (SEVEN!!! ALMOST DEFINITELY THE DWARF RINGS) into the forge fire. If I had to guess, I would say this shot is some time during his captivity and maybe he's escaped and is trying to destroy the rings of power he knows Annatar/Sauron had a hand in.

Next, we cut to a shot of Annatar in the debris of the forge (possibly destroyed when Celebrimbor tried to destroy the rings?) surrounded by sword wielding elves. Interestingly, they do NOT look like Elrond’s forces. Instead, they look more like Celebrimbor's own workmen. We can also see Celebrimbor in this shot WITH A MISSING HAND!!! (Seriously, what is with the Tolkien stories and losing a hand? First Maedhros, then Beren (as well as someone else I can't remember right now) and now poor Celebrimbor!?)

Galadriel gasps, "He is Sauron" and Annatar turns his hands and explodes the guards away, which immediately cuts to an explosion in a mountain valley. The smoke clears to reveal what I think is going to be the foundations of Barad-Dûr.

All in all, I think we're in for a TREAT this season with lots of Elrond, lots of dwarves, and LOTS of Celebrimbor whump. Honestly, I think we may even have a shot at seeing Celebrimbanner during the season finale! I doubt we're getting the fall of Númenor yet, the the fall of Khazad-Dûm is DEFINITELY on the table. SO EXCITED!!!

[dustedmagazine]

Dust Volume 10, Number 10

The Ex

October closes with a macabre flourish — blackened gardens, elaborate yard displays of skeletons, Halloween, the day of the dead, a terrifying American election.  We music lovers react in various ways, some turning to darker, more ominous musical textures, others seeking solace and distraction, still others ignoring the backdrop completely and listening to what they would listen to anyway.  And so, we gather another wide-ranging dust, spanning sounds inspired by a Bolivian earthquake, pogo-friendly snappy jangle, a crust supergroup, a celebration of the Ex’s 45 years in music, and much more.  This month’s contributors include Jennifer Kelly, Bryon Hayes, Bill Meyer, Jonathan Shaw, Christian Carey, Ray Garraty, Tim Clarke and Ian Mathers. 

Alma Laprida — Pitch Dark and Trembling (Outside Time)

Alma Laprida is an experimental artist and musician from Argentina, here playing a medieval stringed instrument—the tromba marina—through a 21st century array of effects pedals and an 18-inch subwoofer. The instrument, with its yards-long strings and vibrating bridge, is, by itself, capable of unusual sounds. Its natural timbre hovers between a cello and a trumpet. But fed through Laprida’s electronic rig, the sound turns harsh and ominous, blistering and dissolving into tones so low you feel rather than hear them. This album comes from a live performance at Bard College in 2023, taking as its subject Laprida’s experiences during an earthquake in Bolivia. In the long, “Trembling,” low, sustained vibrations make the air tremble, while trebly, metallic sounds skitter and rattle, like pots and pans clattering in the shock. A clock ticks in the foreground, steady on top of roiling, shifting undercurrents. “Vibra,” the other lengthy track, looses then subdues the tromba’s brassy sound, letting the echoes linger for long, not-quite-empty minutes. A corrosive blare interrupts, a foghorn in a world of mists and uncertainty, then clear string tones and its scratching echoes. Pitch Dark and Trembling distills an ambient unease into sound.

Jennifer Kelly

Artificial Go — Hopscotch Fever (Feel It / Future Shock)

This Cincinnati quartet produce a short, sharp brand of post-punk that induces spontaneous pogoing. Hopscotch Fever is Artificial Go’s debut, but it could easily be mistaken for an unearthed gem from late-1970s England with its snappy rhythms and chiming, angular guitars. Vocalist Angie Wilcutt (Corker) adopts an English accent as she sings charmingly, her lyrics unfolding in an energy-filled stream of consciousness that keeps pace with the bouncy backbeat of songs like “Payphone,” “Aphrodisiac,” and the band’s calling card “Artificial Go.” Cole Gilfilen (Corker, The Drin), Micah Wu, and Claudio Thornburgh round out the band’s lineup. Like a game of hopscotch, their churning jangle is a lot of fun but comes to a halt far too quickly. Hopscotch Fever is full of earworms. Its effervescent spirit lingers in our brains long after the music stops.  

Bryon Hayes

Black Toska—The Orphan (Self-Release)

The Madrileño goth punks in Black Toska return with six more haunted, synth-swathed, night visions, revisiting a sound Dusted described in early 2023 as “like John Spencer without all the arch theatricality or Rocket 808 in less of a growl and more of a croon.” If anything The Orphan is even more ominous than Dandelion was, with corrosive guitar sound tripping a hole in “Little Dead Bird” and a fever-dream unease percolating through “The Only Thing We Need.” The best cut is the title track, intimating baroque dangers its flowers-of-evil flare of wah wah and mannered vocal melody. “Who can steal a baby?” asks Victor Garcia, his elegant, jaded voice hemmed in by wild surges of electrified dissonance, as you’re left to consider that bad things—and compelling music—flourish in the shadows.

Jennifer Kelly

Paul Bryan — Western Electric (Paul Bryan Music)

The title might cue you to ponder your power situation, but the intent is more oblique. Bassist-programmer-producer Paul Bryan took Sonny Rollins’ Way Out West, an exercise in restriction that happened to open doors of conceptual opportunity for everyone who was feeling confined by the piano’s roll as the chord cop of bebop. But Bryan, whose cv. includes production and arrangement work with Jeff Parker, Josh Johnson, and Aimee Mann, is a plugged-in kind of guy, so his restriction involved writing the material on a little Yamaha keyboard and recording it with a trio comprising Jay Belleroe on drums and Josh Johnson on alto sax. Since you can’t completely separate a studio dude from his gear, there’s some processing and programmed drum, which results in the album having a soft jazz-funk feel that is uncluttered, but hardly minimal. Western Electric is the answer to a question that few might ask; what if you subtracted the guitar and the layered production from Jeff Parker’s New Breed?

Bill Meyer

CPC Gangbangs — Roadhouse (Slovenly)

CPC Gangbangs is back after a long hiatus and not a bit tamed. The Montreal garage punks with ties to Les Sexareenos and Spaceshit flared out in 2007 and reappeared (some of them) as Red Mass. But 17 years later and without explanation, they bash and slam and clatter again, serving up two covers and one original, all flayed and confrontational like it’s the rock-is-back aughts all over again. CPC Gangbangs jack up Louisiana swamp rock “Going Back to Philly” on agitated city-boy jitters. They blast through “Rock ‘n Roll Enemy #1” from the SF proto-punks Crime with furious intent. They haunt Bo Diddley’s grave site with a rackety beat in “Roadhouse.” It’s referential but never reverent, well-informed but never studious, good stuff.

Jennifer Kelly

Deadform — Entrenched in Hell (Tankcrimes)

Sort of stupid to reference the notion of “supergroup” in relation to a subgenre as witheringly anti-commercial as crust, but Deadform hits all the right notes, as it were: three dudes who have Oakland’s concrete ground into their bodies, and who have played crucial roles in bands as storied as Dystopia, Stormcrow and Laudanum. Dino Sommese (of Dystopia, and also Noothgrush and Ghoul) has the most recognizable name, for listeners beyond the Bay Area and outside of crust’s stinky, dirty milieu, and he pounds the skins and hollers with energy belying his 50-some-odd years. But all the players (including Brian Clouse and Judd Hawk) are all in. Entrenched in Hell doesn’t move beyond crust’s characteristic properties: lotsa nasty metal-tinged guitar parts, some sludgy yuck clotting up the bloodstream, the smell of filthy dreadlocks, and so on. It’s a heavy record, the second half of which hits especially hard. Check out “Peacekeeper” and especially “Fetid Breath.” Then pick yourself up off the dank floor of whatever squat you passed out in and play the tunes again.

Jonathan Shaw

Efterklang — Things We Have in Common (City Slang)

Danish post-rock band Efterklang has been releasing recordings for 20 years, as well as producing an opera in 2015 and making music through core members’ side projects. Things We Have in Common is the culmination of a trio of albums, beginning with Altid Sammen (2017) and continuing with Windflowers (2021). This time out, the group doesn’t eschew its characteristic experimentation, but several of the songs evince a gentle, art pop vibe, particularly “Plant” on which singer/cellist Mabe Fratti guests, “Getting Reminders,” with Beirut and “Animated Heart,” featuring the choir Sønderjysk Pigekor. Efterklang on its own is persuasive too. “Shelf Break” has an artful use of vocoder against oscillating synths and abundantly syncopated percussion. “Leave It All Behind” combines whispered vocals, keyboard arpeggiations, sustained sine tones and a drum thwack on alternating beats. Taken as part of the trio of recordings, Things We Have in Common is its hopeful conclusion.

Christian Carey

The Ex — Great! / The Evidence (Ex Records)

In 2024, the Ex are celebrating their 45th year by putting out their first new music in six years. It’s just two songs on a 45-rpm record (although they’re also throwing a celebratory shindig in Amsterdam and Mechelen late in November). Not many bands last 45 years, and of those that do, it’s pretty rare for them to put out work you’d want to hear as much as the songs that first drew you into their camp. The Ex are not a common band. The quartet of Terrie Hessels, Andy Moor, Arnold de Boer, and Katherina Bornefeld are still engaged with the moment; the words to these two song address current realities with a combination of elliptical expression and blunt veracity. They’re still engaged with each other, locking into these tough, intricate, but fat-free tunes with combustible chemistry intact. And they’re still tuned into the joy and outrage that’s infused their work across four and a half decades. That’s pretty rare.

Bill Meyer

Jill Fraser— Earthly Pleasures (Drag City)

Electronic composer Jill Fraser has been making music for commercials and films, as well as performing New Age pieces live, since the 1970s. Earthly Pleasures is her first album release in a while. It demonstrates her versatility with vintage gear such as the 1978 Serge Modular synth and newer resources such as Ableton Push 3. “When We Get to Heaven” is a ten-minute long track that uses these resources to make a diaphanously appealing arrangement. “Amen 1” and “Amen 2” are more aphoristic, the first with clouds of harmony and a sci-fi sounding ascent, the second with sparking bell timbres, oscillating percussion, sampled voices, and a fluid keyboard part. Earthly Pleasures closes with “I Stand Amazed,” with trebly, widely spaced synths. Fraser has suggested that the theme of this album is, “What happens to our music when we die?” History suggests that mileage varies, but while she is earthbound, one hopes Fraser has more recordings to share.

Christian Carey

Häxenzijrkell — Portal (Amor Fati)

German maestros of bummer black metal Häxenzijrkell are back with another slab of downtempo musical maelstroms, engineered to drag you into a terrible, soul crushing void. That description and the band’s sonic profile sound a lot like blackened doom, but somehow the music on Portal scans as straight-up black metal — at least to this reviewer’s ears. The best tracks are at the end of the record: “Assiah” and “Aeon” drone, churn and distend like the effects of some of that legendary brown acid, which we aren’t supposed to eat. There’s nothing especially lysergic (to invoke that too-trivially used term) about the textures or production of Portal. It’s more the nightmarishness of the tunes, the mechanical edges on the band’s sound, the taste of something metallic at the back of the tongue — all that stuff accumulates, alongside the deliberate, glacial progress of the songs. Soon that glistening, awful wall of ice looms over you. You can see your face on its glassy surface. You know it’s a bad idea to stare, but you can’t help yourself. It’s excruciating. It’s entrancing. You are through the Portal.

Jonathan Shaw

Boldy James & Harry Fraud — The Bricktionary (Boldy James / SRFSCHL)

The Bricktionary is the fourth Boldy James’ tape this year and apparently not the final one. The producer Harry Fraud has also been too busy lately, spreading himself too thin. The good news is that Boldy is good even on generic beats (probably half of his output has been on some unknown guys’ production). It’s the kind of street music which never forgets that it’s an art and not a report card. The best track here is “Shadowboxing.”

Ray Garraty

Danny Kamins — Retainer (Sound Holes)

“Solo Horn,” declares the J-card art, and it does not lie. This tape presents Texan Danny Kamins playing sopranino and baritone saxophones at home, alone. It would appear that he spent his lockdown time developing his circular breathing. On the small horn, his examinations of patterns that subtly vary and throw off flurries of orbiting overtones feels like an homage to Evan Parker’ solo soprano work. Parker got there first with such authority that he has made it hard for other people to do it and not simply sound like him. Kamins sounds great but doesn’t quite overcome the challenge of differentiation. The baritone is another matter. Kamins sculpts massive ribbons of tunneling, rippling sound to consistently compelling effect.

Bill Meyer

Seiji Murayama / Jean-Luc Guionnet — Balcony Inside (Ftarri)

Multi-instrumentalist, graphic artist, composer, improviser, film-maker, etc.; Jean-Luc Guionnet is a confirmed polymath. On Balcony Inside he and frequent collaborator Suijiro Murayama perform a duet for church organ (Guionnet) and snare drum, cymbal and voice (Muriyama). But it might be more accurate to say that they play with space. There’s the apparently capacious interior of the Taborkirche, which Guionnet represents with massive chords that beat against the walls. And there’s the space inside your head, which is likely to be rearranged by Muriyama’s horror-movie-victim cries and emphatic, elastically rhythmic beats. A seasonal suggestion: pipe this music loudly out of your house on Halloween, and keep a tally of how many are drawn by these massive sounds and how many avoid your house.

Bill Meyer

The Necks — Bleed (Northern Spy)

It’s impossible to guess where The Necks might head next, whether live or on record. Their new album, Bleed,is a single 42-minute track that unfolds patiently in an episodic fashion. There are no conventional rhythms from Tony Buck; instead, he punctuates the space with chimes, bowed cymbals and snare and tom rolls that suggest something ominous is about to happen. Sparse, sustained piano notes from Chris Abrahams are left to hang in the air — listen carefully and you can hear breathing in the room — or Abrahams switches to organ and projects pulsing clusters of notes into stereo space. In an unexpected turn, an electric guitar appears, with accompanying tube amp hum. Lloyd Swanton’s bass is largely absent, save for occasional isolated octave plucks, or some ominous bowing. When the piece coalesces in its final stretch with two piano chords, bass and guitar, the music is begging to continue in this vein for at least twice as long as it does but is cruelly cut short. That’s The Necks for you: always expansive, always surprising, always tapping into music’s eternal potential.

Tim Clarke

Rich the Factor — The North Face Whale, Vol. 3 (WE MFR)

We mostly listen to Rich the Facc’s music because of his gruff voice. The North Face Whale, Vol. 3 is another sample of his voice. The big mistake would be to try to pay attention to what he’s saying on these songs. It is some usual nonsense about how he’s “on money mission, not on dummy mission.” Even after dozens of replays no song off this tape stays in memory. But it’s fine. You have only one question: how is The North Face Whale, Vol. 3 any different from Vol. 1 and Vol. 2?

Ray Garraty

Colin Andrew Sheffield — Moments Lost (Sublime Retreat)

Sound source resonates with subject on this brief minimax (a 3” CD embedded in a 5” plastic disc) CD made by Colin Andrew Sheffield, an electronic musician who resides in Austin TX. Sheffield’s preferred method is plunderphonics; he mines his own media collection for sounds to be procured and (most of the time) processed into music of his own. Moments Lost is a soundtrack made from soundtracks. Sheffield has marshalled a mass of samples from movies, mostly string passages that imply moments of pause, reflection, transition and loss, and layered and sequenced them into a 20.33” sequence of sounds daub association and reverie like a painter might daub paint. Played at low volume, it could be your next go-to ambient recording. But if you spend time listening closely, perhaps while peering at the sleeve’s stills from a film that Sheffield played along with the music when he first presented it at the Molten Plains Festival in Denton in 2023, you might find your physique and consciousness sinking deep while you hit the play button over and over.

Bill Meyer

Chelsea Wolfe — She Reaches Out to She Reaches Out to She (Loma Vista)

Considering Chelsea Wolfe hasn’t put out a solo LP since 2019’s Birth of Violence, and that was basically a folk record, casual fans may well wonder what kind of upheavals led to this very different seventh album. On a personal level there have been plenty (sobriety, relationships changing, learning to live alone, etc) and that combined with additional pandemic time spent working on the demos led to Wolfe going in a more electronic direction and deliberately seeking an outside producer (Dave Sitek of TV on the Radio, many others) to transform the songs. The result is further in a darkwave/trip-hop direction than the already protean Wolfe has previously gone, and also one of her most consistently engaging records. Whether on the noisier, spikier bursts of “Whispers in the Echochamber” and “Eyes Light Nightshade” or the more delicate likes of “The Liminal” and “Place in the Sun,” there’s a beautifully sung and relentless Gothic vibe to the whole thing that’s extremely satisfying. Wolfe may well choose to move on again after this, but it’ll be a bit of a shame if she does.

Ian Mathers

[fetznerdeathrecords]

Insineratehymn - Irreverence of the Divine

Death Metal from Los Angeles, California, U.S.

Hailing from Los Angeles, Insineratehymn have managed to position themselves in the taste of underground extreme Metal fans with their powerful Death Metal clearly influenced by classic bands, giving a masterclass in 90’s Death Metal, from the spiraling vortexes of early Tampa to the sewage to come from New York, through to eerie emanations from Europe and the dissonance at the dawn of the new millennium. Naturally, the band bend those classic tropes in a variety of ways, all of which bespeak their own identity. Scuzzy, slicing, clanging, angular, brutal beatdown, ignorant stomp, or just straightforward killshot: no weapon is left aside. Simply, Insineratehymn are Death Metal for Death Metal maniacs, by Death Metal maniacs who understand and appreciate the rich-yet-codified history of the genre.

1. Revelations... 01:02 2. Irreverence of the Divine 04:07 3. Cosmic Abominations 04:29 4. Delusive Omniscience 05:47 5. Sempiternal Suicide 04:14 6. Mephitic Anamnesis 03:21 7. Covenant of the Virtuous 04:37 8. Visage of the Infinite 06:29 9. Acolytes of God’s Disease 03:57 10. Empyrean Desolation 01:07

Release date: April 21st, 2025 via @memento.mori.label@rottedliferecords@ancient_urn_records

@insineratehymnofficial

[fivepercentgodsandearths]

Let's talk science. Here are my top 10 reasons why I reject the Nation of Islam's belief that the Moon was made 66 trillion years by an evil Black Scientist, who dug near the center of the Earth, filling it with dynamite and separating the Earth from the Moon.

1. Due the extreme temperature and pressure, it's virtually impossible to dig anywhere near the Earth's core. We barely had the technology to drill 7.5 miles below the Earth's surface before the drills overheated and broke. For the NOI Moon deportation belief to be true, without any empirical evidence, we would have to ASSUME that the technology existed.

2. Radiometric dating of the Earth, Moon, Mars, meteorites, in fact most of the material in Solar System, dates back to roughly 4.5 billion years ago. This is one reason scientists think our Solar System formed from the same collapsed cloud of gas and dust about 4.6 billion years ago. For the NOI Moon deportation belief to be true, without any empirical evidence, we would have to ASSUME the Solar System is far older ("trillions of years ") than the data show.

3. Archaeological and genetic evidence suggests the age of anatomically modern Homo sapiens is about 200,000 to 300,000 years old. For the NOI Moon deportation belief to be true, without any genetic or fossil evidence, we would have to ASSUME that humans have existed for trillions of years.

4. The object that impacted the Earth 66 million years ago, partly responsible for the extinction of the dinosaurs, released more kinetic energy than almost any other event in Earth's history. The Chicxulub meteor imoact released 100 Teratons of TNT. But it was not sufficient to overcome the gravitational binding energy between the Earth and the Moon.

In contrast, the energy released by the Mars-size bollide ("Theia") that separated Luna from Earth was equivalent to 8,000 Teratons. This means it was about 80 times more energetic. 1 Teraton is equal to the energy released when detonating 1 trillion tons of TNT. So, 8,000 Teratons would be the energy equivalent of 8,000 trillion tons of TNT. That's the weight of about 50,000 Mt. Everests.

For the NOI Moon deportation belief to be true, without any empirical evidence, we would have to ASSUME someone had the expertise, equipment, materials, manpower and facilities to transport and store this amount of TNT. Even then, it would take several decades (or longer) to produce.

5. Gunpowder is a mixture of potassium nitrate, charcoal and sulfur. Dynamite is primarily nitroglycerin and some sort of absorbent material (like clayshells, or sawdust). Moondust, on the other hand, is composed of silicon dioxide glass, plus iron, magnesium, calcium and other trace materials. No lunar rocks or soil samples taken from the Moon contained any trace of explosives, gunpowder, or any artificial, man-made substances whatsoever. For the NOI Moon deportation belief to be true, without any empirical evidence, we would have to ASSUME either a.) traces of gunpowder does exist in the Luna rock and soil, we just haven't detected it yet or b.) scientists have discovered but there is a global conspiracy to conceal it.

6. The impact craters from comets and asteroids bombarding the lunar surface have a frequency and distribution that's consistent with a 4.5 billion year model of the Solar System, not a 66 trillion one.

7. Tidal forces, from the gravitational interactions between Earth and Moon, are causing the Moon to recede from the Earth at a rate of roughly 1.5 inches per year. This is approximately the rate our fingernails grow.

Over the course of trillions of years, the gravitational forces would have weakened significantly as the distance between the Earth and the Moon increased far beyond what it currently is today. Eventually, this weakening of gravitational forces would have lead to a gradual reduction in the rate of tidal transfer of angular momentum. However, the geological records (preserved in ancient tidal rhythmites in sedimentary rocks formations) do not reflect trillions of years. We also put retroreflectors on the Moon during the Apollo missions, so we can use laser ranging to measure the distance from Earth to Moon with precision and the measurements are consistent with a theoretical model of the Moon being 4.5 billion years, not 66 trillion years.

8. Our Sun is a yellow dwarf. A G-type main-sequence star and is about 4.6 billion years old. It's age was measured by radiometric dating of meteorites, isotopic information, and from observing the life cycle of other stars in the Universe. Based on our understanding of stellar evolution, the Sun will exhaust its hydrogen fuel in about 5 billion years and become a red giant star.

If the Sun were "trillions" of years old, it would have already exhausted its hydrogen fuel, travelled through all of the stages of stellar evolution, from yellow dwarf to red giant to planetary nebula to white dwarf and, finally, a cold, dark object called a Black dwarf.

9. If the Earth were "trillions" of years old, then we would see evidence of that in the fossil record, archeology, geology, climate, ocean sediments, genetic, paleontology, etc. We don't. Everything we discover is consistent with a 4.5 billion year old planet.

10. Cosmic Microwave Background Radiation, the redshift of galaxies, the fact that the farther away a galaxy is from Earth, the faster it appears to be moving away (Hubble's Law), and many other forms of observational evidence (gravitational lensing, stellar evolution, nucleosynthesis) serve as signatures of the universe expanding from a small, hot dense state about 13.8 billion years ago. We would not expect to see, nor could we explain, these phenomena, if the universe was trillions of years old.

By Supreme Scientist Allah (facebook)

[lowpolynpixelated]

PS2 Review: Killzone AKA: The most 7/10 shooter that you should play

Killzone is, if nothing else, a fantastic look into a time where competitiveness managed to permeate the entirety of the gaming landscape. Coming out in the era of “The Halo Killer”, Killzone manages to be both above average in comparison to the games it actually stands toe-to-toe with (think Call of Duty and Medal of Honor) as well as underwhelming in what it actually set out to do, kill Halo. What was left in the end was a game that on its own is a fine enough shooter for its time, but really only shines as the beginning of a series that got better with age and successive releases.

Setting

Here’s where Killzone shines in particular. The world that the game and its sequels take place in is an intensely interesting sci-fi future with stellar designs scattered all throughout the experience. From the Helghast’s sleek and angular technology to the ISA’s more chunky militaristic look the game has a strong sense of identity in its world and world building. The game sets itself up as follows: In the not so near future of 2357 humanity has taken to the stars in a halcyon age of planetary colonization under the banner of the Interplanetary Strategic Alliance, the ISA. One of these colonies was started on a mining planet known as Helghan (named after the mining company that purchased the planet and created the colony). The planet itself is harsh, with a poisonous atmosphere and barren surface that not only killed many of the colonists who tried to settle the planet, but mutated them over time as well.

Now known as the Helghast, the colonists instituted their own civilization on their new home. One which idolized the ideals of authoritarianism and militarism. Hellbent on revenge the Helghast have now taken to the stars yet again to invade the very worlds that abandoned them, starting with the planet Vekta. Pretty cool premise, right? A revenge conquest across the stars held by a planet of mutated colonists with hyper advanced military technology and unwillingness to forgive. The game features an absolute feast of chunky military sci-fi with a distinct world-war 2 game feel. Sadly, I don’t particularly think that Killzone does a very good job at realizing its world outside of its impressive looking cutscenes.

Visuals

With such interesting premise behind the overall setting you would think there would be a wealth of environmental worldbuilding, this is sadly not the case. The very first level sees you making your way through bland muddy grays and browns as you fight group after group of the same enemies. To give credit where credit is due, the overall aesthetics of Killzone are strong. The Helghast and their sleeker more geometrical approach to their more advanced technology contrasts wonderfully with the more plucky olive green squared off angles of the ISA. The characters themselves, enemies and NPCs alike, work wonders in differentiating the opposing sides.

Helghast are clad in black and grey, with standard units having an imposing silhouette enhanced by their bright orange combat goggles. As more enemy types are introduced the design is further iterated upon. Captains will wear military caps instead of helmets, elites have bulky armor and a distinct lack of a helmet showing off their pale skin. Meanwhile the ISA wear uniforms akin to the UNSC marines from Halo. Sporting olive drab and sets of armor pads and plenty of pouches for ammunition. These differences continue into the spectacular weapon design of the game. Helghast weaponry takes on their stark angular design sensibilities while the ISA use weapons and tech that looks closer to things we use today.

Sadly the art direction of the setting begins to fall apart when examining the world of Vekta and the areas of it you fight through. While there are some standout areas in the perilous journey from a coastal city all the way into space to assault one of the captured orbital defense platforms, most of it is going to be painted in dull grays and dim greens. There isn’t much visual distinction within the game’s 11 levels, and even less environmental world building to help flesh out its setting. A few vending machines here, a monument there, but in between those little flourishes are vast sums of empty space. Urban environments with massive empty buildings and streets, mountains with the same rock asset used over a dozen times in one area, it all amounts to a game that could have more interesting visual design but simply doesn’t.

We never get to learn what kind of world Vekta is. What sorts of people live there, what Vektan society is really like. Even the shopping mall is almost completely devoid of anything that would signify it as an urban shopping center. With so much empty space taken up by bland, washed out textures, it’s hard to truly feel as immersed in the experience as you would playing something like Halo or Warhammer 40K Fire Warrior. The graphics themselves are quite impressive for the PS2, but the way they’re utilized leaves much to be desired.

Level design

I do want to preface this section of my review with something positive. Killzone does have good levels. In particular the city park and mall towards the beginning of the game, swampy jungle later on, and ISA missile base near the end all stand out as memorable levels packed with fun shootouts and set pieces. However, it’s everything else where the game tends to lose me. The game’s first two chapters, Helghast Assault and Vekta Evacuates, have almost nothing that stands out against their endless barrage of flat urban hallways and barely winding mountain passes. Combined with predictable enemy placement and blandly set up areas littered with very little cover, the game struggles to make things truly engaging until its third chapter. It doesn’t feel like an invasion despite all the destruction around you. It tends to feel more like walking through a paintball arena filled with buildings that only exist to have the same three shootouts inside. Very little sense of verticality, flat terrain, and long stretches of emptiness all plague its weaker levels. 

“Empty” is I think the best descriptor I have for those weaker parts. In particular the mountainous levels of the late game and the earlier beach assaults feel almost vapid in comparison to the denser design of the levels I mentioned at the beginning of this section. It’s such a stark contrast in design that causes some whiplash when moving from level to level.

Gameplay

Now we get into the real meat of any game. How does it play? I think in Killzone’s case I would have to describe it as a mixed bag. On one hand the core shooting and weapons available to you feel pretty good, but on the other there’s a lot of little things that hold it back from feeling as loose or fluid as it probably should. For starters none of the weapons allow you to ADS (aim down sights) making firefights a hassle at a certain range. Combine this with the frankly confusing spread patterns of many of the game’s guns and you’ve got shooting that feels nearly impossible to be accurate at. There were times where I had the generously large crosshairs of the Helghast’s main infantry rifle, the StA-52 Assault Rifle, over an enemy but not a single one of my shots managed to land before its 50 round magazine was depleted.

It’s particularly frustrating when you’re trying to take out particularly dangerous enemies such as the Helghast Elites who often wield large machine guns or explosive weapons like grenade launchers, and not a single shot you fire hits where you’re aiming. I should also mention that this issue seems to be wildly inconsistent. Other times when I was hovering above an enemy outside of any range I thought I’d be able to hit at, I was able to put them down in a matter of three shots or less. Randomizing the ability to effectively and accurately take down enemies is just as maddening as it sounds, and is only made worse when nearly every enemy in the game has perfect pinpoint accuracy seemingly regardless of difficulty. Going hand in hand with the overall frustration caused by little things within the core gameplay, the game manages to feel very clunky and slow to move around and fight in.

This is partly due to the fact that Killzone suffers from framerate issues as well as stuttering during certain loading areas, but that’s just one part of it. Aiming manages to feel either too loose or too sluggish with not a whole lot of a sweet spot in between.One of the most tedious features is that most intractable spots in the environment have to be initiated by a button prompt. This includes vaulting over certain cover, climbing ladders, crawling through vents, and even using a melee attack on an enemy at close range. Most of if not all of these actions lock you into animations where you’re still vulnerable to gunfire. Crawling is particularly dangerous due to the baffling decision to not allow you to reload while on the ground. Now this isn’t all to say there aren’t parts that work well. As mentioned before, the gunplay manages to be satisfying despite its shortcomings.

Each weapon feels unique in your hands with varying fire rates, accuracy, and alt-fire capabilities to really shake up combat. A favorite of mine is yet again on the StA-52 which has an underslung shotgun capable of firing a single shot before needing to reload. The variety doesn’t stop there though. Underbarrel grenade launchers, silenced shots, proximity mines, laser guided missiles, there’s absolutely no shortage of fun ways to mow down Helghast as they throw themselves at you wave after wave.

Story

Killzone’s narrative is what I would be most inclined to call serviceable. It’s nothing groundbreaking but it doesn’t really need to be. The Helghast successfully invade Vekta after the orbital defense grid protecting the planet is mysteriously sabotaged. You then find yourself in the boots of one Jan Templar, an ISA soldier tasked with finding ISA General Vaughton who has one of the two keys needed to reboot the defense grid which will allow the Vektans to take down the Helghast fleet in orbit. Over the course of the game it is revealed that General Adams, and ISA general overseeing the SD platform defense grid, is a turncoat and kills Vaughton as he arrives in space. A Helghast general by the name of Lente is let aboard and behind to oversee usage of the SD platforms to send missile strikes to Vekta’s major cities. All the while Templar and the other three playable characters, Shadow Marshal Luger, Heavy Weapons specialist Rico, and half-Helghast spy Hakha, fight their way to the SD platform to stop Adams from annihilating the earth fleet coming to provide reinforcements to the ground troops on Vekta.

Like I said, it’s nothing groundbreaking.  A classic twist of an inside job putting the odds against a plucky group of heroic soldiers who manage to come out on top despite it all. So little of the game actually has the story in the spotlight with cutscenes providing most of the context. Where the game’s weakness lies is in the characters themselves. All four playable characters are incredibly one note, with Rico in particular becoming grating very shortly after his introduction. His “hate all Helghast” attitude and tendency to spout off loud hateful things at Hakha for his heritage make his writing the weakest of the bunch. It’s hard to really take off any marks for the story when it’s so simple and takes more of a guiding role to the gameplay and objectives.

Conclusion and comments

If you’re read through to the end of this review you’ve probably gotten the impression that I think Killzone is a bad game. In actuality I mostly find myself in a frustrating middle point between very much enjoying my time and being put off by its shortcomings. In the realm of “the Halo Killer” Killzone did not succeed in its goal. Halo would go on to be one of the most influential and beloved series within the gaming landscape, but Killzone itself would also go on to have a lineage of its own.

I do like Killzone and would probably put it firmly on a must play list of games to play on the PS2, but the plethora of flaws and edges hold it back from being something that I could readily recommend to everyone. This is also the point in the review where I mention that the sequel, Killzone 2, is one of my favorite PS3 games ever, but that’s for another time. As it stands, Killzone is a perfectly fine game on its own. It didn’t break new ground or kill off another franchise, but it did create an intensely interesting sci-fi world and a solid, if not flawed, FPS experience on the PS2. If you ever feel yourself itching to play something that fits that description and have already played through Halo too many times, give Killzone a shot.

Extra notes

Should you actually wish to go play Killzone after reading this, good! It's a solid shooter that has plenty of good action to offer, even if it is a bit lacking. If you do though, I have some suggestions on exactly how to play it. My playthrough was done on the Nightly builds of the PCSX2 emulator. PCSX2 is, in my experience, by far one of the best PS2 emulators available and ran the game flawlessly start to finish. My suggestions come more in the flavour of tweaks to use in said emulator, one to be exact. Killzone is many things but one thing you'll probably realize is that it's SLOW. Unbearably so in some segments and animations, such as crawling, reloading, and climbing/descending ladders. I played this entire game on 1.25X speed via the emulation settings available in PCSX2. I cannot recommend this enough if you give it a shot yourself. Making the movement and combat pacing more in par with something like Call of Duty 2 and Halo Combat Evolved makes this game not only way more playable, but way more fun.

[purpleeivy]

Day 14 of my Unsurprising Sketch Releases, this time it’s Saiki’s best friend, Takeuchi Riki. Wait no, Nendo Riki, I’m always getting the two mixed up. Anyway, want some ramen pal?

I may have had to google Nendo’s dad’s name for that joke, which i just realised has the implication i’m a spirit medium like Toritsuka lmao. Time for the stuff

Negatives. Very angular face again. This is definitely something i’ll need to work on, so it’s good that my list of stuff to draw currently only contains people. I didn’t shade his shirt, because I wasn’t sure i’d be able to properly make it look different from the black lines on the uniform. I forgot to add the neck lines, whoops. Also the lines are thicker than i would have liked them to be, but that’s my fault because i don’t currently own a pencil sharpener, so i’ll try and get one tmr.

Positive. The hair, however bad a style it may be, looks good imo. The eyes and face are also pretty good, aside from the nose a little bit. As with Saiki the uniform looks good and like he is actually wearing it.

Random bs

I spent about 10 minute on the nose istg this is the best i could do in that time.

It’s 2am cus i need to wake up at 6 tmr morning as I have college starting. It won’t affect my drawing, I just might post sooner than usual.

Im terrified of bugs/insects and there’s so many of them in my house because of the current weather in the uk and i just… *shudders*

Stream Koala by Will Stetson

ok think i’m done for now, as always

Good morning, good afternoon or good evening, and goodnight from me.

love you all <3

(ref image)

[saturniandevil]

July 2024 Important Dates

AKA my notes on The Astrology Podcast's July Forecast, hosted by Chris Brennan and Austin Coppock. We're going into this month right off of Saturn stationing retrograde on June 29th, and Neptune following suit on July 2nd.

June Recap: June was heavily influenced by the activity in Gemini, including a Venus cazimi and a stellium with other fast planets. The second half of the month felt heavy influence from Saturn finally getting within conjunction distance (10 degrees) of Neptune in Pisces. Right after the Venus cazimi on June 3rd, Claudia Sheinbaum was elected president of Mexico. Aside from Venus's association with women, the indigenous astrology of Mexico is also based on Venus cazimi cycles. Another Venus story is the launch of the Boeing Starliner--last month our hosts looked at the electional chart for its planned launch and noted that Mercury conjunct Uranus boded ill--and indeed an electrical problem caused them to postpone the launch until June 5th, when the Moon was in Gemini (with 4 other planets). However, with a Leo rising its chart ruler the Sun was separating from Venus and approaching a square with Saturn, and indeed there have been delays with bringing the astronauts back.

On the day of the Mars-Pluto square Hunter Biden was convicted on gun charges. A similar Mars transit showed up in politics with Donald Trump's conviction in May: Trump was convicted with Mars squaring his natal Saturn (ruler of the year for him), in the 9th and 12th houses respectively, fitting for a trial (9th house) over keeping secrets (12th house). There was also a Mercury-Uranus conjunction on his Midheaven (sudden development in public life), and on the July 11th, the day of his sentencing, the Mars-Uranus conjunction will be on his Midheaven. In Hunter Biden's case, Mars conjoined his natal Saturn, when he was convicted of illegally buying guns while under the influence. Saturn was also transiting his Midheaven, and with the North Node there natally it can indicate ill or shadowy reputation (A/N: in Pisces it also fits that he's known for his excessive drug use).

The second half of the month was dominated by a Saturn-Neptune conjunction in Pisces. A new AI video generator was released and saw an explosion of use, including animating still images. It's becoming increasingly difficult to determine what's real and what's an illusion--though in June with many planets in Gemini, we saw a lot of play with this technology.

The final news story this month is the US presidential debate, which occurred within 24 hours of Saturn stationing retrograde in Pisces--a debate between the two oldest presidential candidates in US history. Biden did horribly during the debate, and Saturn's subsequent station occurred right on Biden's Imum Coeli; during the debate the Moon was conjunct Saturn as both approached this point. At the same time, Uranus was transiting Trump's Midheaven while sextiling his natal Venus (ruler of his 10th house), and he did unexpectedly well in this debate for someone who doesn't care about telling the truth in public speaking. With Saturn generally, this debate has risen pressing questions around age and fitness for public office. Speaking of debate timings, Ronald Reagan's astrologer Joan Quigley would schedule debates for times that were good for Reagan and bad for Carter...and indeed this debate is scheduled unusually--it's much earlier than usual. The next debate is scheduled for the Pisces eclipse in September, in Biden's 4th house/Kamala's 10th house (A/N: Trump's 8th; not angular). Back in the year ahead forecast, Chris said there were three big factors in favor of Trump and one in Biden's favor: that eclipse in an angular house. However, the 4th house is also associated with endings (due to being located underground), and considering recent events, could bode ill for the aged president. (A/N: there's also speculation that Biden was experiencing a dementia symptom known as "sundowning" during the debate, and the 4th house is located deepest beneath the earth)

July Forecast:

The main energies this month will be Saturn-Neptune in Pisces as both planets station early in the month, Mars conjoining Uranus, the Capricorn Full Moon in the 21st, and Mercury-Mars tensions as they almost reach a square.

July 2nd - Neptune Retrograde, Mercury enters Leo Neptune-Saturn confusion has been present for us for a week or so already. We're having a difficult time predicting what events mean for the future. Other significations are the line between illusions and reality, idealism vs. limitations, disillusionment or disappointment when dreams collapse, confusion, fatigue or sapping of one's emotional energy, lack of mental acuity, side effects of age leaving to lack of clarity or focus. Whatever age you're at, you may feel the physical effects catching up to you as the conjunction approaches. Austin brings up that superhero movies have just about run their course (Iron Man was released in 2011 as Neptune first entered the sign), and now we're collectively tired of imagining this genre as Neptune gets within 4 minutes of the next sign. Saturn nearby adds an extra level of negation. With AI tools, boundaries are dissolved and new methods for creativity are being introduced as we gear up for Neptune/Saturn in Aries--expect to see new genres. Other Saturn-Neptune keywords include escapism, addiction, sensitivity and compassion. Chris also notes seeing tensions between science and religion or skepticism and belief: large numbers of people, including conservative influencers, are converting to Christianity at the same time as scientific skepticism rises--and astrologers may find ourselves on the negative end of both. Anyone with significant placements at 27-29 Pisces or other mutable signs should pay attention. A Neptune-Mercury trine softens communications; it's a good time for heartfelt conversations.

As soon as Mercury enters Leo it puts him in opposition distance to Pluto, foreshadowing the rest of the inner planets doing so later this month. Paranoia, power plays, and manipulation abound, though investigative journalism and hidden truths can come to light. However, Mercury moves closely into a happy sextile with Jupiter soon after.

July 2nd - Selected Elections for the month (not pictured) This month Chris has two elections, both on the 2nd, to try and take advantage of the Jupiter-Moon conjunction before Mars and Uranus start to complicate things.

The first chart is at about 1:00PM local time so that the Ascendant trines Jupiter in the 9th house, the Moon is applying to a conjunction with Jupiter, and the Ascendant ruler Venus in Cancer is in the 10th house, forming a trine with Saturn. The flowing, nurturing energy in Cancer and Pisces is highlighted in this chart (see New Moon for more). The downside is that you bake the Mercury-Pluto opposition into things, so beware of paranoia in communications.

The other variant of this chart is later in the day with Sagittarius rising:

At about 5:30PM local time, this gives you Jupiter in the whole sign 7th house in a day chart with the Moon still applying to a conjunction. This one is oriented more towards other people. These are much different than the electional charts earlier this year where he encouraged us to take advantage of the stellia; now we're entering more challenging territory.

July 5th - New Moon in Cancer

Both luminaries (14♋) apply to a trine with Saturn (19♓) soon after, while Venus (22♋) is within a loose conjunction of them in Cancer. Meanwhile, Mercury (5♌) sextiles Jupiter (9♊) in Gemini with reception (Jupiter is in Mercury's sign). Saturn's trine is constructive, helping us figure out how to work within our limitations and distribute our burdens more evenly. With Venus and Cancer there brings a connotation of caring for and nurturing something that can't survive without you like a child, pet, or house plant. And with care, duty is not far behind. Think sweet and compassionate. Mercury sextile Jupiter on the 8th will continue some of these good vibes for us.

July 11th - Venus enters Leo Venus is getting further from the Sun and begins to rise more and more visibly as the month progresses. When she's fully out from under the beams, we can finally see the results of work that was hidden while she was close to the Sun. We'll also see a return of themes from the Venus retrograde in Leo last year, but it's different for two reasons: 1) Venus is traveling direct and very fast through the sign, and 2) Pluto in Aquarius opposes her immediately upon ingress on the 11th-12th. Venus in Leo's fun-in-the-sun vibe is marred by shadow for the first few days. Significations include interpersonal paranoia, power plays in relationships and (my addition:) issues of control regarding women. In happier news she (12♌) will sextile Jupiter (12♊) on the 21st right in time for the next lunation, at the same degree where she stationed last year. Jupiter will assuage harsh Pluto aspects for planets transiting Leo this month.

July 15th - Mars conjunct Uranus This occurs on the 14th-15th at 26 Taurus, tightly conjunct the fixed star Algol. Mars-Uranus is already quite volatile, with Mars going fast and Uranus shocking or igniting it. Think accidents (warehouse explosions, for example), interpersonally "exploding," and in wolrd affairs violence such as wars. The US dropped atomic bombs on Japan under Mars-Uranus, and has the signature in its natal chart. This already volatile configuration is conjunct malefic star Algol, known as the head of Medusa, in Chinese astrology as the entrance to the Mansion of Corpses, and in Arabic as Ra's al-Ghul ("head of the monster"), from which we get the word "ghoul." Historically Algol coincides with terrible events, for example the bombing of Guérnica. Austin predicts that most personal lives will be unaffected, but that something atrocious will happen in one of the active conflicts going on right now (though hopes he's wrong about it). Algol also figures strongly into the British royal family, the chart of the European Union, and the modern state of Israel. The Republican National Convention will also begin under this inauspicious alignment. July 16th sees the Moon lighting up all this activity, so it's an inadvisable time to start new ventures.

More generally, Mars-Uranus brings sudden upheavals, rebelliousness, challenging the status quo, impulsiveness, unpredictable behavior & acting on whims, and a strong drive for freedom and independence--for example, the January 6 capital debacle happened right as Mars entered Taurus and began approaching conjunction to Uranus. On the positive side, this can indicate starting new adventures and innovative ideas. Mars and Uranus are both antisocial, so it's advisable to strike out on your own, even just for a few days, instead of trying to get everyone else on board or fighting over different directions. Fierce individualism abounds, though Mars-Uranus can also be quirky and spontaneous--Robin Williams had this aspect in Cancer. Thankfully, Mars leaves Taurus about a week later, leaving Algol's intensity behind.

July 20th - Mars enters Gemini In a new sign, Mars is headed for a conjunction with Jupiter in mid-August, though he'll square Saturn almost immediately after. Funnily enough, that's when the Democratic National Convention takes place--which we already know is going to be a mess. Austin points out the Jupiter-Mars conjunction will be at 16 Gemini, the same degree that Venus conjoined the Sun in June, connecting those events. Mars-Jupiter can be heroic and overcoming...but that requires something to heroically overcome. The lunation really kicks things off:

July 21st - Full Moon in Capricorn

A lot of different aspects are happening at once here. The Moon and Sun oppose each other at 29 degrees of Capricorn and Cancer respectively, with the Moon immediately moving towards a sextile with Neptune (29♓), and then conjoining Pluto (0♒) upon her egress from Capricorn. We'll see an immediate shift in tone with news stories foreshadowing the next month of Mars in Gemini. Mars is, by degree, in exact contra-antiscia to the Moon here. Meanwhile, Venus (12♌) sextiles Jupiter (12♊), so positive things are happening at the same time as this tense lunation. However, Merucry (26♌) squares Uranus (26♉), bringing tensions in communication. This will be one of the more memorable days of the month--ongoing negative developments will rear their heads, some nice things will happen, some unexpected things will happen, and the next day the Sun enters Leo, opposing Pluto in Aquarius.

July 22nd - Sun enters Leo Leo season starts off with the Sun opposing Pluto. For the next 20 years, every time the Sun enters Leo, it will oppose Pluto. The Pluto in Leo generation (mid-40s to 1959; Baby Boomers) will feel Pluto's opposition especially strongly, and the dozens of countries created right after WW2 have Saturn conjunct Pluto in Leo in their charts. We'll see what survives this 20 years and what fades away into history as Pluto opposes all that was built when it was 180 degrees away. Chris brings up that generationally Pluto in Leos may be resisting handing off the reins or trying to seize power back when they're past their prime. Austin brings up the accelaration of celebrity culture as a great distraction from those who are actually powerful during Pluto in Leo....maybe we'll get sick of it over the following decades. In other fixed signs, transiting Pluto now squares natal Pluto for Millennials (Pluto in Sagittarius), who are now having to wrestle with beginning to really age in their 40s.

July 25th - Mercury enters Virgo Communications become more direct and quick with Mars in Mercury's sign, but Mercury is going to retrograde close to a square with Mars at the end of the month, so we may expect some miscommunications, misunderstandings, and sharp words. Swift, smart, clever, and cool. Things may get argumentative and contentious.

By the end of the month, retrograde Saturn (18♓Rx) is moving into square distance from Jupiter (14♊), who will in turn square Neptune later--a signature that brought inflation recently. Saturn is trying to rein in Jupiter, who expands Neptune's dissolution of boundaries. Mars in Gemini further aggravates things. July leaves us on a bit of a cliffhanger.

[brushandneedles]

Thelonious Monk: Architect of Jazz Innovation and Uniqueness

In the rich tapestry of jazz history, the name Thelonious Monk stands as a beacon of innovation, unpredictability, and sheer artistic brilliance. Born on October 10, 1917, in Rocky Mount, North Carolina, Monk emerged as one of the most influential figures in the world of jazz, leaving an indelible mark on the genre with his distinctive approach to composition and improvisation. Step into the enigmatic world of jazz with our Thelonious Monk-inspired T-shirts, a sartorial ode to the timeless eccentricity and musical genius of the legendary pianist.

Early Years and Musical Upbringing

Thelonious Sphere Monk's musical journey began in his early childhood. Raised in New York City, Monk's exposure to music came primarily through the church, where his mother, Barbara, served as the church organist. Monk's early interest in the piano was nurtured by his family, and by the age of 11, he had already begun to showcase his prodigious talent.

Innovations in Jazz Harmony and Rhythm

Monk's impact on jazz is perhaps most prominently felt in the realm of harmony. His unique approach to chord voicings and dissonant intervals challenged the conventional norms of the time. Monk's compositions, such as "Round Midnight" and "Blue Monk," are characterized by their unconventional harmonic structures, marked by angular melodies and unexpected chord progressions.

His use of dissonance, often incorporating clusters of notes played in close proximity, created a sense of tension and release that was revolutionary in the jazz landscape. Monk's harmonic innovations laid the foundation for future generations of jazz musicians to explore new possibilities in tonality and expression.

The Pianistic Genius

Monk's distinctive pianism is immediately recognizable. His percussive and angular playing style, coupled with his penchant for dissonant chords, created a sonic signature that set him apart from his contemporaries. The rhythmic complexity of Monk's playing, characterized by unexpected accents and pauses, added an additional layer of intrigue to his performances.

His influence on piano technique and style extended beyond his compositions. Monk's idiosyncratic approach to the instrument, with his use of staccato accents and unexpected pauses, challenged the conventional norms of jazz piano playing. His innovations continue to resonate in the work of countless pianists who have drawn inspiration from Monk's groundbreaking style.

The Birth of Bebop and Monk's Role

The 1940s saw the emergence of the bebop movement, a revolutionary shift in jazz characterized by rapid tempos, complex harmonies, and intricate improvisation. Monk played a crucial role in shaping the bebop sound, collaborating with pioneers such as Charlie Parker and Dizzy Gillespie. His compositions, including "Well, You Needn't" and "Epistrophy," became emblematic of the bebop era.

While Monk's contemporaries were often at the forefront of the bebop movement, Monk's own unique contributions were sometimes overshadowed. His compositions, though revered by fellow musicians, did not always find immediate commercial success. Nevertheless, Monk's uncompromising commitment to his artistic vision and his refusal to conform to established norms set him apart as a true innovator.

The Legendary Monk Quartet

In the mid-1950s, Monk formed the legendary Thelonious Monk Quartet, a group that featured John Coltrane on tenor saxophone, Wilbur Ware on bass, and Shadow Wilson on drums. This quartet, often hailed as one of the greatest in the history of jazz, produced some of Monk's most iconic recordings.

The partnership with Coltrane, in particular, was a meeting of two musical giants. Coltrane's fiery and expressive playing complemented Monk's idiosyncratic compositions, creating a synergy that elevated both artists to new heights. The recordings from this period, including the album "Thelonious Monk with John Coltrane," are celebrated as masterpieces of jazz collaboration.

Monk's Compositional Legacy

Thelonious Monk's compositions have become an integral part of the jazz repertoire. His tunes, characterized by their memorable melodies and intricate harmonic structures, continue to be studied and performed by musicians around the world. "Round Midnight," arguably Monk's most famous composition, has been recorded by countless artists and remains a jazz standard.

Monk's compositional style was rooted in a deep understanding of the blues, and his ability to infuse bluesy sensibilities into complex harmonic settings contributed to the enduring appeal of his music. His compositions often featured unexpected rhythmic twists and turns, keeping both musicians and listeners on their toes.

The Jazz Vanguard: Monk's Impact on the Genre

Beyond his contributions as a pianist and composer, Monk played a pivotal role in shaping the broader landscape of jazz. His unapologetic commitment to originality and innovation encouraged other musicians to explore their own unique voices. Monk's impact extended beyond the confines of bebop, influencing the development of post-bop, free jazz, and avant-garde jazz.

Monk's insistence on individual expression and his rejection of musical conventions opened doors for future generations of jazz artists to embrace their creative instincts. His influence is evident in the work of avant-garde musicians such as Cecil Taylor and Ornette Coleman, who drew inspiration from Monk's fearless approach to musical exploration.

Challenges and Recognition

Despite his undeniable genius, Monk faced challenges in his career. His unorthodox playing style and sometimes unpredictable behavior led to periods of public misunderstanding. In 1951, Monk's cabaret card was revoked in New York City, a setback that restricted his ability to perform in local venues for several years.

However, Monk's fortunes began to change in the late 1950s and early 1960s. With the support of fellow musicians and growing recognition of his artistic contributions, Monk experienced a resurgence in his career. In 1964, he appeared on the cover of Time magazine, a significant acknowledgment of his status as a jazz innovator.

Later Years and Recognition

In the latter part of his career, Monk continued to tour and record prolifically. His later albums, including "Monk's Dream" (1963) and "Criss-Cross" (1963), showcased his enduring creativity. Monk's impact on jazz was further recognized when he was awarded the prestigious Grammy Lifetime Achievement Award in 1997, a fitting tribute to his lasting contributions to the genre.

Monk's Persona: Quirks and Eccentricities

Thelonious Monk's persona was as distinctive as his music. Known for his distinctive sense of style, which often included distinctive hats and sunglasses, Monk's onstage presence reflected his offbeat approach to life. His penchant for abrupt pauses during performances, as well as his sometimes enigmatic behavior, only added to the mystique surrounding the man and his music.

Legacy and Influence

Thelonious Monk's legacy endures not only through his recordings but also through the impact he had on the evolution of jazz. His uncompromising commitment to originality and his fearless exploration of musical possibilities continue to inspire musicians across genres. Monk's influence can be heard in the work of pianists ranging from Herbie Hancock and Chick Corea to modern innovators like Brad Mehldau.

Monk's compositions remain a rite of passage for jazz musicians, a testament to the enduring power of his musical vision. His contributions to jazz harmony, rhythm, and composition have left an indelible mark on the genre, ensuring that Thelonious Monk's legacy will resonate through the ages as a testament to the boundless possibilities of artistic expression in jazz. Embrace the avant-garde flair of jazz with our Thelonious Monk T-shirt, embodying the quirky elegance and groundbreaking creativity of the legendary pianist.

[bandcampsnoop]

10/20/23.

Several years ago, I went through a punk phase. I mean a specific kind of almost "math punk". Short, choppy, angular songs in the mold of Devo. The Coneheads, Ausmuteants, and Isotope Soap are all examples from posts that serve as examples.

Madrid, Spain's Waldo Faldo fit nicely into this genre. These songs are short and catchy. When I saw the cover art, I kind of assumed this was a band from the 1980s and some of the unsold 7"s were being put up on Bandcamp. But no, Waldo Faldo are a current band. "Nueva Especie Humana" is their 2nd 7" single. It looks like it is self-released.

[thebowerypresents]

Blonde Redhead Come Home to Close Out Tour for New Album at Brooklyn Steel

Blonde Redhead – Brooklyn Steel – November 10, 2023

For all the painters renowned for their mastery of the use of contrasts, not enough bands get the credit they deserve for the same. Blonde Redhead, as their name almost implies, are wizards of contrasting sounds. Their Brooklyn Steel concert on Friday night kicked off with an immediate juxtaposition, taking to the stage playing through some ethereal guitar loops before jumping headfirst into the jagged angular guitars that begin “Falling Man.” It hit like a hard and sudden rain descending out of a misty fog. “Yet I am just a man still learning how to fall,” sings Amedeo Pace with his strained tenor voice punching through. This is followed by (and in contrast to) “Dr. Strangeluv,” with its lush and expansive landscape of sounds, this time filled out by Kazu Makino’s delicately singing as if she were floating above the song. 

There are only three members in Blonde Redhead, but their sound is so much bigger and their songs have so many layers spilling out of them that repeated listens often reveal something new. When played live, these opportunities to get pulled in are everywhere. For me, this hit the hardest during “SW,” with my ears for the first time noticing the brooding, rattling hum of the guitar that undergirds the song. Come the chorus, the refrains of “It’s not” and “I am” bend guitar strings toward Amedeo’s words like gravity.  

Brazilian (and New York City-based) percussionist Mauro Refosco joined the band for the final night of the tour. He was featured on Blonde Redhead’s recently released 10th LP, Sit Down for Dinner, including the hypnotically mesmerizing “Snowman,” which slowly builds in polyrhythms like, dare I say, a rolling snowball. 

“We’re getting forgetful in old age,” said Amedeo, excusing Makino taking a pause to track down a piece of paper before a song. “It’s not old age, I’ve always been like this,” answered the rhythm guitarist. Another thing Makino’s always been is strikingly beautiful, moving along to their songs like they’re waves washing over her. At times Amedo joined her in dancing, his lanky frame extenuated by his white jumpsuit, with the two of them flanking Simone Pace on drums. This is a band that’s long been in lockstep, for twin brothers Simone and Amedeo Pace, likely since birth. 

Their set closed with the shoegazing masterpiece “23,” which blows through with so much force only to end in some scattered guitar whispers and rhythms, the remnants of a tornado of a song that just blew through. —Dan Rickershauser | @D4nRicks

Photos courtesy of Dana Distortion | distortionpix.com