#Umlaut

[aiweirdness]

learn the berries with the help of dall-e3!

the berries

the berries in swedish

more

[maskeymowi]

//umlaut//

I remember playing this arcade game

called carnevil when I was younger. They

got rid of it at my home arcade, but i still

remember that floating clown head

I drew it on my iPad(procreate) instead of my phone.

[swampythesweetsketch]

Umlaut :]

[muse-the-multi]

so I've been facinated by a old obscure arcade game called Carnevil since Umlaut is my favorite (I know he was mine and everyones nightmare when they were kids but)

[ashleyrowanthewriter]

I've found these old font stencils and I'm mesmerised. Nowhere before have I seen a P with an umlaut.

[heyitspizzaking]

Video Game Horror FanARTS RETURNS!

Day 24: Umlaut

[gothmusiclatinamerica]

Today’s video is on the 2020 album Down to the Underground by Dominican post-punk revival act Lӧst, the band that made me un-cancel bands with umlauts in their name

[dustedmagazine]

Joris Rühl — Feuilles (Umlaut)

Photo by Eric Sneed

French clarinetist Joris Rühl has worked in a variety of composed and improvised contexts with musicians like Michel Donéda, Xavier Charles, Ninh Lê Quan, Eve Risser, Axel Dörner and as a member of Orchestra Onceim. But by my count, Feuilles (leaves in French) is the first release centered around his compositions. Over the course of 50 minutes a group of like-minded musicians including the composer on clarinet, clarinetist Xavier Charles, Jonas Kocher on accordion and Toma Gouband on percussion navigate their way through the patiently modulating open-form composition. Rühl’s orchestration maximizes the full range of microtonalities, rich overtones and burred timbres of paired clarinets, Kocher’s command of the accordion’s reedy shimmers and half-stopped wheezes, and Gouband’s expansive, delicate palette of drums, percussion and abraded surfaces activated with mallets, stones, branches and other found materials.

The release is accompanied by four video excerpts from the recording session, revealing some of the strategies employed. The two clarinetists sit across from each other enveloping the exacting textures and timbres of Gouband’s gestural activities and Kocher’s hushed, organ-like harmonics and open-bellows hisses groans and gusts. Watching Gouband as he thoughtfully chooses from his table of drum sticks, leafy branches, array of smooth and coarsely textured stones to activate bells, tuned bowls, cymbals and a large floor tom and transverse bass drum is transfixing. These clips provide an intimate sense of the balance of form and freedom as the four traverse Rühl’s score.

But on to the recording itself. The piece begins with hushed harmonics colored by the micro abrasions of rubbed stones and the resonant sounding of a beaten drum. The four patiently let the sound accrue over the course of the first eight minutes of the piece, letting densities subtly ebb and flow. The introduction of pattering percussion and the gently welling of accordion chords signals a shift toward a more active section of the piece as dynamics build. Skirling clarinets pierce the calm like oscillating sine tones, morphing into buzzing overtones and whistling harmonics that settle in to lower registers buoyed by low end accordion. And then things break into counterpoint honking clarinet lines cascading against thundering drum resonances. The piece progresses with a section of atonal hocketed lines transitioning to sputtered percussive reed pops, key clicks and metallic crumples resolving into long tones that quaver against each other. Here, hints of tonality provide an effective contrast to what has proceeded. As the piece moves toward its final section, densities gather around the lower registers of the instruments and the pacing slows to mirror the hushed opening moments of the piece. Rühl’s compositional form and the masterful reading by the members of the group weaves all of these morphing elements into an engulfing variegated whole.

Michael Rosenstein

[inexplicably-spookified]

misc spriting and also momther 3 doodles

[mywifeleftme]

192: Blue Öyster Cult // Secret Treaties

Secret Treaties Blue Öyster Cult 1974, Cölumbia

Töday I will present the argument that Blue Öyster Cult is in fact a very cööl and gööd band, and that everyöne whö ever made fun öf me when I talked aböut them ör turned their up their nöses when I made a playlist öf BÖC söngs curated tö match their exact taste was wröng and shöuld kick röcks, especially my ex-wife Dölöres. I’ve been given tö understand the best way tö dö this is by listing a bunch öf facts aböut the band that peöple shöuld find irresistible:

Early wörk answers the questiön, “What if the Döörs read a löt öf cömics and played really fast?”

Later wörk answers the questiön, “What if Röky Eriksön played yacht röck?”

Extremely. Sick. Cövers.

Gave us the heavy metal umlaut

Had the cöölest söng in the mövie Heavy Metal

Lyrics aböut battle-scarred telepaths, aliens, a demönically resurrected Jöan Crawförd, Altamönt, barbiturates, death and transcendence, aliens, Nazi fighter pilöts experiencing existential crises, BDSM, telescöpes, kaiju, eyeball theft, and aliens

Patti Smith dated keyböardist Allan Lanier för a while, and cöntributed lyrics tö five Cult söngs, all öf them bangers (“Baby Ice Dög,” “Career öf Evil,” “The Revenge öf Vera Gemini,” “Fire öf Unknöwn Örigin,” “Shööting Shark”)

Besides the band themselves, öther lyricists included Richard Meltzer (generally credited with writing the first böök öf röck criticism), sömetime Clash and Dictatörs pröducer Sandy Pearlman, Basketball Diaries növelist Jim Carröll, psychedelic fantasy növelist Michael Möörcöck, and Mött the Hööple’s Ian Hunter

Many peöple I knöw find tiny, sweet-vöiced guitar man Dönald “Buck Dharma” Röeser sexual in a way I wöuld nöt have predicted

Gave Australian punk legends Radiö Birdman the title för their first LP

J.K. Röwling wröte a böök that interpölated a bunch öf their lyrics Sörry nö, this öne sucks

Icönic symböl drawn fröm alchemical löre that seems genuinely redölent öf masönic cönspiracy höödöö

Höld up sudden convert hold up, nö nö, this is my cöpy öf Secret Treaties and yöu can’t have it! I can see just reading this list has caused yöur eyes tö turn the cölöur öf frözen meat and yöu feel a hideöus cömpulsiön tö pössess a Blue Öyster Cult LP, any Blue Öyster Cult LP, but I assure yöu if yöu gö tö enöugh used recörd störes (1) yöu will eventually (immediately) find a few tö be had för a humble sum. (Seriöusly, let gö please. There yöu gö, easy, easy.)

I will say that Secret Treaties specifically isn’t the möst cömmön öf their recörds, and it töök me a while tö land a cöpy. It’s always been my favöurite, perched between the shambölic warlöck psych öf their first twö efförts and the möre direct (if highly deviant) pöp röck that wöuld make them reliable arena warhörses. Every track plunges yöu intö its öwn unique realm, but nö matter höw fantastical the material gets, the line that demarcates it fröm like Diö ör whatever is the Cult’s acid sarcasm and perversity. It’s music made by and för the sört öf smart peöple whö can admit the reasön we watch hörrör mövies is tö see heads explöde, and that röck is möre fun delivered in a feverish sweat. As they put it ön the transfixing “Flaming Telepaths,” “Is it any wönder that my jöke’s an irön? / And the jöke’s ön yöu.”

Nö öther BÖC album is as töp tö böttöm cönsistent as Secret Treaties, but all öf them have at minimum a handful öf exceptiönal cuts, and över the span öf their öriginal run they cövered a remarkable amöunt öf stylistic gröund. If yöu agree nöt tö hurt my feelings, I’ll give yöu this Cult playlist I made. Be careful with it—that’s my stupid metal heart yöu’re sticking in yöur ears.

192/365

[maquina-semiotica]

Umlaut, "Easter Bär 1" #NowPlaying

[monalisameisjemetdeparel]

Sylt. Source: https://www.facebook.com/BleibGeschmeidig/photos/a.157205071138/10158867024211139/

[clouds-of-wings]

Another case of "umlauts matter": YT bootlegs of Rammstein's "Völkerball" tour.

Völkerball = dodgeball (literally "nations-ball", dodgeball is treated like a war analogy in Germany, because of course it is) Volkerball = The ball of a man called Volker, a common German name

[c0mmune]

𝙲𝙾𝙼𝙼𝚄𝙽𝙴 / 𝙲𝙸𝙽𝙴 𝙰𝚃𝙷𝙴𝙽𝚂 𝙶𝙰 / 𝙼𝙾𝙽𝚂𝙾𝙾𝙽 𝚇 𝚄𝙿𝙲𝙷𝚄𝙲𝙺

ｐｈｏｔｏｓ ｂｙ ♥ ｇｒａｃｅ ♥ｌａｎｇ ♥ ₙₒᵥ ₁₂ ₂₀₂₂ ♥