#Jonas Cambien

[dustedmagazine]

Amadou / Cambien / Rempis — On The Blink (Aerophonic)

Dave Rempis has been a stalwart presence in Chicago’s scene for a quarter century, but when folks start writing books about him, they may view this past year as a pivotal moment. At the end of the summer, he stepped down from his roles as a board member and Improvised Music Series organizer for Elastic Arts, and recently he’s also spent more time playing out of town. Now comes On The Blink, which reveals his work with some new faces.

The CD documents the start of the saxophonist’s new trio with a pair of Belgian improvisers. Farida Amadou plays electric bass, and while she has garnered deserved attention for some encounters with veteran free music folk like Han Bennink and Steve Noble, she’s also worked in local punk and groove bands. Jonas Cambien is a pianist who has been based in Norway for fifteen years where he leads a tune-oriented trio that’s recorded for Clean Feed, but he’s also studied and performed Arabic music in Egypt. Both are a bit younger than Rempis, and each has been busy in diverse parts of the European improvised music scene, but neither has been well documented on American labels. Cambien and Amadou have some shared history, and after the latter played a one-off gig with Rempis late in 2021, the idea of this trio was hatched.

Both of the Belgian musicians use electronics to broaden their options, and Cambien also prepares his piano. Both of them play quite rhythmically, but neither is particularly concerned about imposing a steady time signature. This gives the music a heavy, lurching quality, with gaps where all manner of interactions and alien interludes take place. On “Exotropia,” the first of the album’s four long pieces, acidic surges, muted pops, and retuned string resonations erupt in proximity, complementing one another without locking into obvious patterns. Rempis waits a full four minutes before joining the fray; one might suppose he took some time figuring out what he could contribute to a duo that sounds quite complete unto itself. But once he’s in, he’s all in, playing quick, pungent tenor phrases that lure Cambien into more idiomatic free piano playing. But Amadou has none of that. She disrupts the rush with a series of muddy bumps, as though she’s methodically blowing up every woofer in a speaker showroom. This intervention pushes her and Cambien into more voltaic territory, which Rempis alternately sinks into and plays over.

Ice broken, the trio spends the rest of the album pushing and testing. For Rempis, this is new territory, and his playing here has an existential dimension, as though he’s reevaluating the merits and reasserting the virtues of his intense, jazz-rooted approach. For the Belgians, it’s a chance to incorporate a culturally and stylistically different tongue into their established dialogue. And for the listener, it’s a chance to hear something new made out of available parts, which this stuff is all about — right? So far, this trio has confined its gigging to the low countries; here’s hoping they tour more broadly, and that it sets the stage for Amadou and Cambien to make inroads into the USA.

Bill Meyer

[donospl]

Europe Jazz Media Chart - Maj 2024

Wybór nowości muzycznych, które pojawiły się w bieżącym miesiącu, dokonany przez grupę czołowych europejskich magazynów i witryn jazzowych. A selection of the hot new music surfacing across the continent this month by the top European jazz magazines and websites. Tomasz Dabrowski And The Individual Beings  Better (April Records) Krzysztof Komorek, Donos kulturalny, Polska Olivier Le Goas…

[burlveneer-music]

Aly Eissa, Ayman Asfour and Jonas Cambien - The Handover - longform piece for oud, keyboards, & violin

In The Handover, Aly Eissa, Ayman Asfour and Jonas Cambien explore the common and uncommon senses of Egypt's ritual music. It is clear that Aly Eissa's original composition is deeply rooted in Egyptian and Arabic traditions. At the same time, this band is one of the most progressive coming out of Egypt today. This is in big part thanks to Eissa, who has proven time and again to be not only an extremely skillful composer, but also a real visionary, combining tradition with modern experimentation. A performance by The Handover is typically one stretch without break: a long build-up that lasts for the duration of the concert. Towards the end of the performance, all the tension is released in an exuberant, joyful climax, when wild improvisations are driven forward on top of exciting dance-rhythms from rural Egypt. The Handover elegantly combines the delicacy of classical Arabic music, the raw expressiveness of Egypt's countryside music, and the spontaneity of free improvisation, carefully obliterating the artificial separation between acoustic and electronic instruments. Despite the remarkable absence of any percussion or drums, The Handover is an extremely groovy band, with an ability to slow down and accelerate the tempo in almost telepathic synchronization at exactly the right moments. Aly Eissa - Oud and composition Jonas Cambien - Keyboards Ayman Asfour - Violin Recorded live June 13th, 2023 at Rock Sound, Alexandria, Egypt

[freethejazzblog]

Free The Jazz #49 [for Mathangi Arulpragasam]

1 - Irreversible Entanglements - Fireworks (from "Irreversible Entanglements", 2017 International Anthem)

2 - Jemeel Moondoc - Flight (From The Yellow Dog) (from "Muntu Recordings", 2009 NoBusiness)

3 - Platform - Début (from "Flux Reflux", 2017 Clean Feed)

4 - Ingrid Laubrock - Pothole Analytics (from "Serpentines", 2016 Intakt)

5 - Angles 9 - Pacemaker (from "Disappeared Behind The Sun", 2017 Clean Feed)

6 - Akira Sakata / Giovanni Di Domenico / Roger Turner / John Edwards - Tornado (edit) (from "15.01.14", 2016 OTOroku)

7 - Wayne Shorter - Witch Hunt (edit) (from "Speak No Evil", 1966 Blue Note)

8 - The Master Musicians of Jajouka Led by Bachir Attar with Material - The Bird's Prayer (edit) (from "Apocalypse Live", 2017 M.O.D.)

Listen to a new show each week on 8K, and find previous shows over at Mixcloud.

[fuitedejazz]

Jonas Cambien * Nature Hath Painted the Body | Clean Feed

Jonas Cambien - piano and composition :: André Roligheten - saxophones :: Andreas Wildhagen - drum

[jazzsotd]

90. Jonas Cambien Trio - “Copper Man” from “We Must Mustn’t We” (2018) on Clean Feed Records

[abigailswager]

No espere que el suministro de Bitcoin cambie, dice el desarrollador del nucleo Wlad van der Laan

New Post has been published on https://cfddesk.net/no-espere-que-el-suministro-de-bitcoin-cambie-dice-el-desarrollador-del-nucleo-wlad-van-der-laan/

No espere que el suministro de Bitcoin cambie, dice el desarrollador del nucleo Wlad van der Laan

Wladimir van der Laan, el desarrollador principal del software mas usado de bitcoin, tiene palabras duras para aquellos que participan en un debate en curso sobre si el suministro finito de la criptomoneda alguna vez aumentara.

Un desarrollador de habla suave de los Paises Bajos, van der Laan suele dudar en entrar en la contienda. Sin embargo, el respondio ferozmente a la idea en Twitter la semana pasada. Respondiendo especificamente a las acusaciones de que el equipo de desarrolladores de bitcoin estaba planeando aumentar el suministro, declaro:”Esto es una mentira. Es triste que sea necesario decir esto, pero nadie en su sano juicio propone cambiar la politica monetaria de bitcoin”.

A pesar del hecho de que el software esta programado para emitir 21 millones de bitcoins, un aspecto del codigo que requeriria que todos los que ejecutan la actualizacion del software de bitcoin cambien, no ha dejado de especular con los anos en que podria ser necesario realizar un ajuste. Mas recientemente, el desarrollador Matt Huong planteo la idea de aumentar el suministro de bitcoins en circulacion, de manera muy informal, solo como una forma posible de reducir las tarifas futuras.

Los comentarios fueron luego inflamados por un mal entendido, provocado por una unica publicacion en las redes sociales del evento anual de la Mesa Redonda Satoshi de bitcoin, una conferencia solo para invitados donde los CEOs, los miembros de la sociedad y los desarrolladores se reunen y discuten el futuro de la criptomoneda.

Sumado a la confusion, Jiang Zhuoer, director general del grupo de mineria de bitcoins BTC.TOP, argumento incorrectamente en el sitio chino de micro blogging Weibo que los desarrolladores han estado planeando aumentar la oferta.

Dada la naturaleza del debate, una parte clave de la propuesta de valor de bitcoin se deriva del hecho de que es un activo escaso, todos los incidentes anteriores han inflamado las conversaciones de Twitter.

Ahora, en una entrevista con CoinDesk, van der Laan habla de nuevo sobre el problema y le dice a este medio informativo:

“El aumento de la oferta, es antieconomico, y va en contra de la psicologia humana. No creo que la gente generalmente decida devaluar deliberadamente algo que posee. Y mucho menos cuando el precio ya esta en un nivel bajo”.

Una figura importante mas visible para la comunidad de desarrolladores de codigo abierto de bitcoin, vander Laan dirige una reunion semanal sobre el programa de chat IRC para discutir la hoja de ruta tecnica del proyecto. Ademas, el y los otros involucrados en el mantenimiento Jonas Schnelli y Marco Falke son la ultima linea de defensa al verificar los nuevos cambios agregados al codigo de bitcoin.

Utilidad minadora

Sin embargo, van der Laan considera que una postura que defiende la disminucion no solo del valor de Bitcoin, sino una de sus caracteristicas principales es la de diferenciarlo de otros proyectos digitales. “La escasez no es algo natural en el ambito digital. Copiar es natural”, dijo.

Como ejemplo, senalo la gestion de derechos digitales (DRM), donde las empresas emplean tecnologias para tratar de impedir que los usuarios copien archivos digitales agregando tecnologia a los archivos para rastrearlos o hacer que los archivos sean dificiles de copiar. Pero estos esquemas a menudo se rompen con el tiempo, dando a las personas la posibilidad de copiar archivos nuevamente.

Como lo expreso Van der Laan, tratar de mantener los archivos escasos “falla una y otra vez”.

Es por eso que Bitcoin es unico, dijo. Los bitcoins son escasos, a diferencia de muchas otras cosas digitales.

El continuo informando:

“Bitcoin es un experimento interesante en el sentido de que trata de afirmar la escasez digital, al *hacer que todos comprueben* que no hay trampas, no por parte de los desarrolladores, ni por los mineros, ni por la Agencia de Seguridad Nacional”.

Eso no quiere decir que podria no haber problemas con las reglas implementadas inicialmente por bitcoin.

“Uno podria argumentar que las reglas iniciales de Satoshi, creador de bitcoin son mas o menos arbitrarias, pero como son fijas y deterministas, son predecibles y faciles de proyectar hacia adelante y de precio”, dijo van der Laan.

A sus ojos, ahora que las reglas sobre emision estan aqui, estan aqui para quedarse.

“El desafio aqui es mantener la escasez, todo lo demas es facil y automatico”, agrego.

Moneda sin lider

Pero hay otra parte clave de toda esta discusion.

El argumento clave de Zhuoer fue que los desarrolladores de bitcoin acordaron aumentar la oferta y hacian planes, como si cambiar esta propiedad de bitcoin fuera algo que pudieran hacer con un chasquido de sus dedos.

Esa es una proposicion controvertida. Debido a como la tecnologia de bitcoin funciona, o se supone que funciona, bitcoin no tiene un conjunto de lideres que pueden decidir cambiar la forma en que funciona la criptomoneda en un capricho. Es sin lider y eso es lo que lo distingue de otras monedas. La posicion de Van der Laan incluso se describe en el sitio web de Bitcoin Core como “limpieza”.

Van der Laan argumento que si los desarrolladores detras de Bitcoin Core alguna vez trataron de imponer algo asi, la gente no deberia seguirlos.

“Si el software que dice ser ‘Bitcoin Core’ alguna vez propone esto, te recomendaria que ejecutes el software sin este cambio, ya que esta comprometido”, dijo en su tweet inicial.

Cuando CoinDesk pregunto cuanto poder tiene el grupo de desarrolladores de voluntarios alrededor de la moneda, Bitcoin Core, y si los desarrolladores posiblemente podrian impulsar un aumento de la oferta si decidieran hacerlo, el explico: “Ciertamente *espero * que ese no sea el caso. Siempre he tratado de prevenir esto”.

“En el momento en que un equipo de desarrolladores se vuelve inmune a la controversia (es decir, la gente incluso los seguira de manera incuestionable a traves de las bifurcaciones, incluso llamando a esas ‘actualizaciones’), el sistema esta esencialmente centralizado”, argumento, aludiendo claramente a otras criptomonedas que han realizado cambios radicales en su codigo.

Ethereum ha pasado porvarios tenedores duros en los ultimos anos. Y la comunidad considera a cada unode ellos como un conjunto de “actualizaciones” para mejorar la tecnologia, en lugar de como puntos de centralizacion posibles, como lo hace Van der Laan.

Wladimir piensa que bitcoin esta mas descentralizado de esta manera.

El afirmo:

“Dado que incluso las pequenas propuestasde cambio de nivel de consenso pueden desencadenar grandes discusiones enTwitter y Reddit. Creo que Bitcoin esta en un estado mejor que, por ejemplo, ethereum o cualquier otra criptomoneda en ese sentido”.

Referencia: coindesk.com

Descargo de responsabilidad: InfoCoin no esta afiliado conninguna de las empresas mencionadas en este articulo y no es responsable de susproductos y/o servicios. Este comunicado de prensa es solo para finesinformativos, la informacion no constituye consejo de inversion o una ofertapara invertir.

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[zombiemusica]

Contagiemonos con la nueva música de Jonas Cambien – We Must Mustn’t We (2018)

[podilatokafe]

awesome jazz: Jonas Cambien, Adrian Myhr – Simiskina (2017) Πηγή: awesome jazz: Jonas Cambien, Adrian Myhr - Simiskina (2017)

[dustedmagazine]

Jonas Cambien’s Maca Conu — Maca Conu (Clean Feed)

Belgian keyboardist, composer and improviser Jonas Cambien is based in Oslo, Norway. The new ensemble that he introduces on Maca Conu includes names that you’ll surely recognize if you give the contemporary Scandinavian jazz scene much of your attention. As well as being a member of Cambien’s trio, which has recorded three albums for Clean Feed, drummer Andreas Wildhagen is a member of the Andreas Røysum Ensemble and Paal Nilssen-Love’s Large Unit. Alto and tenor saxophonist Signe Emmeluth is also a member of Røysum’s band, as well as a strong solo artist in her own right. And bassist Ingebrigt Håker Flaten, whois a veteran of the Thing, School Days, and countless other associations with the likes of Rodrigo Amado, David Murray and Rob Mazurek, brings encyclopedic experience and unstoppable rhythmic drive.

Given the band’s versatility, it would be a missed opportunity to mine a single sound. Cambien does the opposite, using instrumental doubling and a spinning compositional compass to give each of the album’s nine tracks a singular character. “A Terrible Misunderstanding” opens the record with a Steve Lehman-like staccato attack, with Emmeluth’s alto and Cambien’s  piano darting in and out of its remorseless, mechanistic cadence like hungry birds. On “Question The Answer,” Håker Flaten’s bowed bass and Cambien’s Ace Tone organ conjure a brooding, Alice Coltrane-like vibe, only to have the whole band blow it up with a jittery, free jazz tussle. The leader layers piano and organ over a quick, loping groove on “Holy Fishtail,” melding the sonorities of vintage Ethiopian jazz to the frantic pace of a New York commute. And Håker Flaten switches to Minimoog and Cambien to soprano saxophone on “Pseudoscience,” which suspends high, flickering reed formations over a baleful groove.  

The variety of approach reflects the breadth of Cambien’s experiences. He grew up learning classical piano, and then headed to Norway to immerse himself in jazz. More recently, he’s spent some time in Cairo; in the first half of 2024 he will also appear on a record by The Handover that melds Arabic and improvisational methodologies. But Maca Conu doesn’t feel like a work of gratuitous flexing so much as a celebration of possibility.

Bill Meyer

[donospl]

Co w jazzie piszczy [sezon 2 odcinek 7]

premierowa emisja 21 lutego 2024 – 18:00 Graliśmy: Rebeka Rusjan Zajc “Illusion” [fragm.]z albumu “Prelude” – Clean Feed Records Friends & Neighbors “Cecil” z albumu “Circles”– Clean Feed Records Jim Baker/Steve Hunt/Jakob Heinemann “Mozart” z albumu “Horizon Scanners”– Clean Feed Records Scheen Jazzorkester & Cortex “Weaving” z albumu “Frameworks – Music by Thomas Johansson” – Clean Feed…

[maritereyanalo]

Design Remix

Hola Ana lo!

¿Cómo estas? Yo honestamente no sentí el temblor, estaba dormida pero al día siguiente cuando desperté y vi en las noticias lo que había sucedido me dio mucha tristeza y aflicción porque como tu dices, de pronto todo sucedió en un fin de semana. Me alarma muchísimo la situación puesta en un contexto ambiental porque creo que estos fenómenos no están sucediendo por simple coincidencia, todos tienen una causa y esa causa se deriva de nuestra inconciencia ambiental y el rumbo desenfrenado que hemos estado llevando en nuestra toma de decisiones que involucran un impacto ambiental.

Ahora creo que es momento de sacar a flote lo mejor de nosotros como humanidad, sin distinción de género o nacionalidad sino vernos como un mismo ente y apoyarnos, ayudar a todos los damnificados de Oaxaca que ahora necesitan de nuestra ayuda y impulsarnos como nación para salir adelante a pesar de las adversidades que se interpongan en nuestro camino sin ponerles nombre y apellido (Donald Trump), veamos esto como una oportunidad de unificación, fortalecimiento de nacionalismo y progreso.

Estoy de acuerdo contigo respecto a que somos renovadores del mundo, y estamos en continua búsqueda a soluciones que faciliten y cambien nuestra perspectiva de los problemas, en tanto a eso quiero contarte algo de lo que vimos en la clase de Epistemología del diseño, de la generación de conceptos a partir de otros.

La mayoría de las cosas si no es que todas son una copia un re-planteamiento, una adaptación, una inspiración, una mezcla de algo ya existente. La clase se baso en la premisa del “Design Remix” que algo idealmente se crea bajo 3 pasos la copia, la transformación y el re-de nteamiento o 3 pasos la copia, la transformaci.el "e laptaciplanteamiento de un concepto para convertirlo en algo “Nuevo”.

Comenzando por las películas (los covers y knock offs) podemos ver que la misma versión de una canción fue adaptada desde Zeppelin pasando por beastie boys, Enigma y hasta llegar a Eminem, te aseguro Ana lo que no habías escuchado mucho sobre Zeppelin o Enigma pero seguramente sobre Eminem si, y cuando escuches la canción de Zeppelin pensarás : “Esta canción se parece mucho a la canción de Eminem.” Cuando en realidad los creadores de la cancion son los que nosotras pensaríamos que son los que la copiaron cuando realmente no es así. Pero también leyendo lo que me contaste en la última carta acerca de Björk pensaba que había creado piezas originales, pero si están basadas e inspiradas en algo: la naturaleza.

Todo esto me lleva a pensar si en un futuro los diseños basados en los creadores y pioneros del diseño como la BauHaus, Artemide, el movimiento De Stijl y sean transformados y re-planteados en otros diseños y productos pero a fin de cuentas siempre se conserva la esencia de la fuente de inspiración y se piense que son los originales mientras que son la adaptación de otras cosas.

 Otro aspecto interesante que surgió fue el éxito que tienen las cosas se debe a la familiaridad que tienen con otros productos o versiones anteriores, y hace todo el sentido ya que todo aquello que nos resulta familiar nos da mas confianza, le tenemos menos resistencia y es mejor aceptado por la sociedad. Este concepto de familiaridad le da cierta validación a el copiar, transformar y re-plantear ya no es simplemente por falta de creatividad o innovación sino que para facilitar la inducción de una idea o un producto nuevo tomando una idea existente y creando variaciones del mismo, como se ha hecho a lo largo de toda la historia desde los tiempos del Modelo-T; Henry Ford no fue el creador del automóvil, pero el tomo todas las partes ya creadas por Carl y Marta Benz simplemente eficientó el proceso en la cadena de ensamble y lo hizo más económico, en pocas palabras tomo los elementos ya existentes y los hizo viables. Ahora como te decía antes con las canciones mucha gente piensa que Henry Ford fue el creador del automóvil.

 Esta falta de reconocimiento fue lo que nos guió a la transición de ideas a la propiedad intelectual, a mi parecer es un arma de doble filo ya que puede protegernos cuando alguien quiere tomar nuestras ideas pero no nos permite desarrollar algo nuevo a partir vemos nuestras de algo existente por todas las limitantes que hay, cuando copiamos justificamos pero cuando nos copian verificamos es decir esta bien siempre y cuando nosotros somos los que copiamos, esta mal pensar así, pero ¿Tu no lo haces?.

Nos sentimos aludidos y enojados cuando ideas en otros lados y dejamos del lado la posibilidad de que alguien hubiese llegado a la misma solución al mismo tiempo en diferentes circunstancias, los famosos descubrimientos múltiples te mencionare algunos que me impresionaron Charles Darwin y Alfred Russell Wallace formularon la misma teoría simultáneamente, Hilary Koprowski, Jonas Salk y Albert Sabin crearon la vacuna de la Polio independientemente, mientras Einstein formulaba y publicaba la Teoría de la relatividad también  Henri Poincaré, Olinto De Pretto, y Paul Langevin trabajaban en suposiciones muy parecidas, Alexander Graham Bell patentó el teléfono mientras Kungliga Telegrafverkets llegaba a la misma aproximación. Pensamos que somos los únicos que estamos llegando a la solución pero realmente no es así, como comentábamos antes: muchos más están estudiando los mismos problemas y llegando a aproximaciones parecidas a las nuestras, a fin de cuentas vivimos en el mismo entorno enfrentándonos a los mismos problemas, no somos seres aislados por lo que debemos entender que lidiamos con lo mismo y llegamos a lo mismo. ¿Tu que opinas? ¿Honestamente, te gustaría patentar tus productos para evitar que los copien o estarías abierta a la mejora de los mismos?.

 Te mando un saludo y un abrazo!

-Maritere

[veonoticia]

Humor: Las redes sociales estallan ante la llegada del Papa Francisco a Colombia

06/09/2017

El papa Francisco partió este miércoles de Roma con destino a Colombia para promover una paz “estable y duradera” en un país polarizado tras el acuerdo con la guerrilla que puso fin a un conflicto de más de 50 años y que dejó miles de muertos.

Fuente: Venezuela al Día

La llegada de el Pontífice a Colombia, tiene a los ciudadanos colombianos y América Latina en vilo y las redes sociales explotaron en cientos de “memes”, demostrando las expectativas y los preparativos por la llegada del “mensajero de Dios.

#EsUnMilagro que en Bogotá arreglen calles, cambien alumbrados y maquillen la ciudad en menos de una semana ¿Sin estudios? ¡WOW! 🤣🖕 http://pic.twitter.com/45U5aQZpru

— AsíSon_LasCosas… (@LasCosasSon_Asi) 6 de septiembre de 2017

Se espera, que el Papa Francisco reciba a la Conferencia Episcopal Venezolana en la capital colombiana para tratar la gran crisis humanitaria que vive Venezuela, donde los venezolanos pierden la vida no sólo en manos de la inseguridad, sino también por la gran crisis alimentaria que azota a la nación.

Aquí una prueba del humor colombiano:

#EsUnMilagro ¡El Papa va a montar en Transmilenio! http://pic.twitter.com/Ksxb7vnYUf

— Panchiq (@elPanchiq) 6 de septiembre de 2017

#BienvenidoFrancisco

Esos del Q’hubo son unos loquillos. http://pic.twitter.com/4kNpj26Ade

— Gol Garracol (@ElGolGarracol) 6 de septiembre de 2017

#FelizMiercoles y Bienvenido Francisco, #EsUnMilagro tener por aquí http://pic.twitter.com/kouZLdPr2p

— Jonas the Wolf (@jonasthewolf11) 6 de septiembre de 2017

#BuenMiercoles Bienvenido Francisco! 👇 http://pic.twitter.com/vkwSrktWEC

— Wilmar Barrera 🚴🚵 (@ElAnubisdijo) 6 de septiembre de 2017

Yo como ciudadano Vzlano esperando el papa en Bogotá @pedrogarciao #BogotaLaCasaDelPapa #ModoPapa http://pic.twitter.com/IYZIK0aP42

— Carlos Peña (@CarlosEscolar2) 6 de septiembre de 2017

#EsUnMilagro http://pic.twitter.com/vbnncuc53J

— MANUEL MARIÑO(victor (@VctorCordon1) 6 de septiembre de 2017

¿Cómo están hoy en la escala de Francisco? Yo 👋 👍 #ModoPapa http://pic.twitter.com/Xl4ZHkSm40

— Cristhian Pulido G. (@Cristhanchopg) 6 de septiembre de 2017

Mi bendición a tofos los periodistas, fotógrafos, camarógrafos que tienen que (tenemos que) cubrur la visita del papa. Ya estoy en #ModoPapa http://pic.twitter.com/Mn0b9ea2cI

— Natalia y punto. (@journal_hunter) 6 de septiembre de 2017

Como diría mi amigo @riverasoyyo : “ahí les dejo la inquietud”… #ModoPapa #unpocodehumor #FelizMiercoles http://pic.twitter.com/Ga4ID1iWHd

— ZALMAN (@Zalman5K) 6 de septiembre de 2017

La inocencia y ternura de nuestros niños a la espera del Papa Francisco #modopapa #ElPapaCol http://pic.twitter.com/kHdGv4Ez1I

— Episcopado Colombia (@episcopadocol) 6 de septiembre de 2017

from WordPress http://ift.tt/2wGZWNb via IFTTT

[pasmjbepy]

Mañana, Culto de la Palabra! Hay que aprender a escoger, ya que hacerlo no es cuestión de suerte sino de sabiduría. Lo que escogemos ahora determina nuestra vida en el futuro, por lo que es necesario que aprendamos a evaluar las opciones con base a nuestros valores y principios cristianos. La Biblia dice: No vivan ya según los criterios del tiempo presente; al contrario, cambien su manera de pensar para que así cambie su manera de vivir y lleguen a conocer la voluntad de Dios, es decir, lo que es bueno, lo que le es grato, lo que es perfecto. (Rom.12:2) Cuando Dios vio sus acciones, que se habían apartado de su mal camino, entonces Dios se arrepintió del mal que había dicho que les haría, y no lo hizo. (Jonas 3:10) (em AD Betel Paraguay)

[dustedmagazine]

Dust, Volume 7, Number 7

What are Grandbrothers doing to that piano?

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

Yuko Araki — End of Trilogy (Room40)

End Of Trilogy by Yuko Araki

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

Mason Jones

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

Hit or Miss by Alexander Biggs

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

Jennifer Kelly

 Christer Bothén 3 — Omen (Bocian)

Omen by Christer Bothén 3

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

Bill Meyer

Briars of North America — Supermoon (Brassland)

Supermoon by Briars of North America

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

Tim Clarke

 Bryan Away — Canyons to Sawdust (self-released)

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

Tim Clarke

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

Nature Hath Painted the Body by Jonas Cambien Trio

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

Bill Meyer

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

From Grey To Blue by Ferran Fages

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

Bill Meyer   

 Grandbrothers — All the Unknown (City Slang)

All the Unknown by Grandbrothers

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

Jennifer Kelly

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

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

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

Bryon Hayes

Mia Joy — Spirit Tamer (Fire Talk)

Spirit Tamer by Mia Joy

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

Jennifer Kelly  

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

The Great Dying by KNOW//SUFFER

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

Jonathan Shaw  

 Heimito Künst — Heimito Künst (Dissipatio)

HEIMITO KÜNST by Heimito Künst

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

Mason Jones

Jeanne Lee — Conspiracy (moved-by-sound)

Conspiracy by JEANNE LEE

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

Arthur Krumins   

 Sarah Neufeld — Detritus (Paper Bag)

Detritus by Sarah Neufeld

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

Jennifer Kelly

Aaron Novik — Grounded (Astral Editions)

Grounded by Aaron Novik

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

Bill Meyer  

 Off Peak Arson — S-T (Self-released)

Self Titled by Off Peak Arson

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

Mason Jones

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

We met - and then by Phillips, Butcher, Solberg

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

Bill Meyer

Round Eye — Culture Shock Treatment (Paper +Plastick)

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

Jennifer Kelly

 So Cow — Bisignis (Dandy Boy)

Bisignis by So Cow

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

Chris Liberato 

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

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

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

Jonathan Shaw

 TOMÁ — Atom (Self-Release)

Atom by TOMÁ

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

Jennifer Kelly  

 The Tubs — Names EP (Trouble In Mind)

Names EP by The Tubs

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

Chris Liberato

 Venus Furs — S-T (Silk Screaming)

Venus Furs by Venus Furs

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

Jennifer Kelly

 Witch Vomit — Abhorrent Rapture (20 Buck Spin)

Abhorrent Rapture by Witch Vomit

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

Jonathan Shaw

 yes/and — s-t (Driftless Recordings)

yes/and by yes/and

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

Tim Clarke

[abigailswager]

No espere que el suministro de Bitcoin cambie, dice el desarrollador del nucleo Wlad van der Laan

New Post has been published on https://cfddesk.net/no-espere-que-el-suministro-de-bitcoin-cambie-dice-el-desarrollador-del-nucleo-wlad-van-der-laan/

No espere que el suministro de Bitcoin cambie, dice el desarrollador del nucleo Wlad van der Laan

Wladimir van der Laan, el desarrollador principal del software mas usado de bitcoin, tiene palabras duras para aquellos que participan en un debate en curso sobre si el suministro finito de la criptomoneda alguna vez aumentara.

Un desarrollador de habla suave de los Paises Bajos, van der Laan suele dudar en entrar en la contienda. Sin embargo, el respondio ferozmente a la idea en Twitter la semana pasada. Respondiendo especificamente a las acusaciones de que el equipo de desarrolladores de bitcoin estaba planeando aumentar el suministro, declaro:”Esto es una mentira. Es triste que sea necesario decir esto, pero nadie en su sano juicio propone cambiar la politica monetaria de bitcoin”.

A pesar del hecho de que el software esta programado para emitir 21 millones de bitcoins, un aspecto del codigo que requeriria que todos los que ejecutan la actualizacion del software de bitcoin cambien, no ha dejado de especular con los anos en que podria ser necesario realizar un ajuste. Mas recientemente, el desarrollador Matt Huong planteo la idea de aumentar el suministro de bitcoins en circulacion, de manera muy informal, solo como una forma posible de reducir las tarifas futuras.

Los comentarios fueron luego inflamados por un mal entendido, provocado por una unica publicacion en las redes sociales del evento anual de la Mesa Redonda Satoshi de bitcoin, una conferencia solo para invitados donde los CEOs, los miembros de la sociedad y los desarrolladores se reunen y discuten el futuro de la criptomoneda.

Sumado a la confusion, Jiang Zhuoer, director general del grupo de mineria de bitcoins BTC.TOP, argumento incorrectamente en el sitio chino de micro blogging Weibo que los desarrolladores han estado planeando aumentar la oferta.

Dada la naturaleza del debate, una parte clave de la propuesta de valor de bitcoin se deriva del hecho de que es un activo escaso, todos los incidentes anteriores han inflamado las conversaciones de Twitter.

Ahora, en una entrevista con CoinDesk, van der Laan habla de nuevo sobre el problema y le dice a este medio informativo:

“El aumento de la oferta, es antieconomico, y va en contra de la psicologia humana. No creo que la gente generalmente decida devaluar deliberadamente algo que posee. Y mucho menos cuando el precio ya esta en un nivel bajo”.

Una figura importante mas visible para la comunidad de desarrolladores de codigo abierto de bitcoin, vander Laan dirige una reunion semanal sobre el programa de chat IRC para discutir la hoja de ruta tecnica del proyecto. Ademas, el y los otros involucrados en el mantenimiento Jonas Schnelli y Marco Falke son la ultima linea de defensa al verificar los nuevos cambios agregados al codigo de bitcoin.

Utilidad minadora

Sin embargo, van der Laan considera que una postura que defiende la disminucion no solo del valor de Bitcoin, sino una de sus caracteristicas principales es la de diferenciarlo de otros proyectos digitales. “La escasez no es algo natural en el ambito digital. Copiar es natural”, dijo.

Como ejemplo, senalo la gestion de derechos digitales (DRM), donde las empresas emplean tecnologias para tratar de impedir que los usuarios copien archivos digitales agregando tecnologia a los archivos para rastrearlos o hacer que los archivos sean dificiles de copiar. Pero estos esquemas a menudo se rompen con el tiempo, dando a las personas la posibilidad de copiar archivos nuevamente.

Como lo expreso Van der Laan, tratar de mantener los archivos escasos “falla una y otra vez”.

Es por eso que Bitcoin es unico, dijo. Los bitcoins son escasos, a diferencia de muchas otras cosas digitales.

El continuo informando:

“Bitcoin es un experimento interesante en el sentido de que trata de afirmar la escasez digital, al *hacer que todos comprueben* que no hay trampas, no por parte de los desarrolladores, ni por los mineros, ni por la Agencia de Seguridad Nacional”.

Eso no quiere decir que podria no haber problemas con las reglas implementadas inicialmente por bitcoin.

“Uno podria argumentar que las reglas iniciales de Satoshi, creador de bitcoin son mas o menos arbitrarias, pero como son fijas y deterministas, son predecibles y faciles de proyectar hacia adelante y de precio”, dijo van der Laan.

A sus ojos, ahora que las reglas sobre emision estan aqui, estan aqui para quedarse.

“El desafio aqui es mantener la escasez, todo lo demas es facil y automatico”, agrego.

Moneda sin lider

Pero hay otra parte clave de toda esta discusion.

El argumento clave de Zhuoer fue que los desarrolladores de bitcoin acordaron aumentar la oferta y hacian planes, como si cambiar esta propiedad de bitcoin fuera algo que pudieran hacer con un chasquido de sus dedos.

Esa es una proposicion controvertida. Debido a como la tecnologia de bitcoin funciona, o se supone que funciona, bitcoin no tiene un conjunto de lideres que pueden decidir cambiar la forma en que funciona la criptomoneda en un capricho. Es sin lider y eso es lo que lo distingue de otras monedas. La posicion de Van der Laan incluso se describe en el sitio web de Bitcoin Core como “limpieza”.

Van der Laan argumento que si los desarrolladores detras de Bitcoin Core alguna vez trataron de imponer algo asi, la gente no deberia seguirlos.

“Si el software que dice ser ‘Bitcoin Core’ alguna vez propone esto, te recomendaria que ejecutes el software sin este cambio, ya que esta comprometido”, dijo en su tweet inicial.

Cuando CoinDesk pregunto cuanto poder tiene el grupo de desarrolladores de voluntarios alrededor de la moneda, Bitcoin Core, y si los desarrolladores posiblemente podrian impulsar un aumento de la oferta si decidieran hacerlo, el explico: “Ciertamente *espero * que ese no sea el caso. Siempre he tratado de prevenir esto”.

“En el momento en que un equipo de desarrolladores se vuelve inmune a la controversia (es decir, la gente incluso los seguira de manera incuestionable a traves de las bifurcaciones, incluso llamando a esas ‘actualizaciones’), el sistema esta esencialmente centralizado”, argumento, aludiendo claramente a otras criptomonedas que han realizado cambios radicales en su codigo.

Ethereum ha pasado porvarios tenedores duros en los ultimos anos. Y la comunidad considera a cada unode ellos como un conjunto de “actualizaciones” para mejorar la tecnologia, en lugar de como puntos de centralizacion posibles, como lo hace Van der Laan.

Wladimir piensa que bitcoin esta mas descentralizado de esta manera.

El afirmo:

“Dado que incluso las pequenas propuestasde cambio de nivel de consenso pueden desencadenar grandes discusiones enTwitter y Reddit. Creo que Bitcoin esta en un estado mejor que, por ejemplo, ethereum o cualquier otra criptomoneda en ese sentido”.

Referencia: coindesk.com

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