#all gist

[dustedmagazine]

James Elkington and Nathan Salsburg — All Gist (Paradise of Bachelors)

In this third album of guitar duets, James Elkington and Nathan Salsburg perform a complicated sort of dance, their separate instruments executing, light and agile motifs, sometimes in concord, other times slightly out of sync. The melody refracts through their separate interpretations, so that you often feel like you’re hearing it from multiple angles or doubled with an echo. Though some of the songs have a twinge of melancholy, most of them explode with joy. Their two instruments chase each other like dogs at happy play.

Elkington and Salsburg pick up their musical conversation after a long hiatus. Ambsace, their last collaboration, came out in 2015. But like the best reunions, this one is free of awkwardness. They treat each other with warmth and respect throughout. The guitars tangle but never step on one another, each player leaving space for the other.

The pair also makes judicious use of other talent to bolster and deepen their sound. The opener “Death Wishes to Kill” gets a firm grounding from Nick Macri’s acoustic bass; he lends a steadiness to this playful tag in thumps that resonate and mark time without staking too prominent a place for themselves in the sonic mix. But even more striking is the wild skirl of violin that Wanees Zarour adds, wheeling around the guitar line in a throaty emotional timbre. Zarour played on the last Elkington/Salsburg disc. He is a Palestinian-American multi-instrumentalist and academic who teaches at the University of Chicago.

“Nicest Distinction” shows how the foundation that Elkington and Salsburg lay down can be opened up and expanded.  It begins in stately ritual, a madrigal with a little blues introduced in the way the phrases end with a vibrating bent notes.  It’s just the two of them for a good long while, one strumming splayed chords, the other picking a melodic path in and among the meditations. Yet this long piece kicks into a gallop towards the end, with wild tom-tom fill and woodwinds played by Wednesday Knudsen.

All Gist will likely be lumped into the folk category, being acoustic and not quite modern. Still there is really only one actual folk tune on it, the mortality-shaded frolic of “Rule Bretagne,” based, per the title, on the music of seagoing France. Well, maybe not. “Explanation Point” digs pretty deep into country blues, the notes sliding and tumbling down a sunlight rambling path. Here, as elsewhere, melodic lines zing off each other then carom back for a moment of concord.

But really, the most interesting cuts veer the furthest from conventional folk. “Well, Well Cornelius,” originally written for piano by the British composer Howard Skelton, offers a radiant procession of chords framed by the regular architecture of picking. It is serene and unhurried and really quite beautiful. So, is “Buffalo Stance” a Neneh Cherry song you might remember for its pop-locking hip hop beat and strobe lit video. These artists distill it down to melody—a tune you might not have focused on the original, very different version—and transform the cut into a gentle, bucolic ramble. Ironically, in the video, Neneh introduces her song with an aside of “how melodic” which feels like sarcasm, but these two guitarists heard it there all along. Just lovely.

Jennifer Kelly

[sinceileftyoublog]

James Elkington & Nathan Salsburg Interview: Poise, Levity, and Easygoingness

Photo Credit: James Elkington and Nathan Salsburg

BY JORDAN MAINZER

All Gist (Paradise of Bachelors), the third album of guitar duets from exploratory, thoughtful players James Elkington and Nathan Salsburg, sounds like what it is: two longtime friends and collaborators playing together, equal parts casual and focused. Since their 2015 album Ambsace, each has been busy, separately and together. Elkington's released three solo albums, played as part of Eleventh Dream Day, Brokeback, and Jeff Tweedy's live band, and recorded with Steve Gunn, Nap Eyes, and many more. Salsburg's dropped a bevy of albums and has played on records by Bonnie "Prince" Billy, Shirley Collins, and others. Meanwhile, the two have come together on four records by Salsburg's partner Joan Shelley, and Elkington produced Salsburg's Psalms, his 2021 album of arrangements of Hebrew psalms. Their duo records, however, are born of the most natural collaboration, each bringing to the table melodies they think--perhaps know--the other will respond to, combining them, and being open to feedback or changing gears entirely.

All Gist, specifically, carries the distinct quality of the Chicago winter during which it was recorded: You can picture Elkington and Salsburg sitting around the kitchen table, each culling from their vast repertoires and tendencies, creating something to warm their bodies and hearts and perk their heads and ears, unaware of any blusters outside. The songs are reflective of their shared artistic interests and inspirations, and they're rounded out by the presence of musical contemporaries with whom each has fostered relationships over the years. Opener "Death Wishes to Kill", which takes its title from T.F. Powys' Unclay, sports lilting guitar melodies that offer an affable sway, along with Wanees Zarour's violin solo. The minimal "Explanation Point" bounces along a groove that sounds bigger than it is, almost gestalt, as Jean Cook's strings and Anna Jacobson's brass shimmer. Moments of percussion come from other instruments like hand drums ("Long in the Tooth Again"), along with Wednesday Knudsen's woodwinds ("Nicest Distinction"), or as part of the sheer tactility of guitar scrapes and textures. The self-reflexive "Numb Limbs" gets its title from the physical aftereffects of playing a song that took forever to come together; you feel the spritely guitar picking and breakneck tempo in your own fingers.

Of course, All Gist has a few interpolations, namely a gentle, quiet, start-stopping version of Howard Skempton's "Well, Well, Cornelius" and a taut, concise combination of two traditional Breton dance tunes in "Rule Bretagne". Easily, the most unexpected song on the album is a version of Neneh Cherry's classic late 80s jam "Buffalo Stance". Oscillating and slowed down to an expanse, one guitarist plays Cherry's lyrical line, the other the song's instrumental melody, making something both recognizable and nostalgic as well as emblematic of the duo's adventurous nature. That combination, indeed, is the gist of Elkington and Salsburg.

Earlier this month, both guitarists answered some questions over email about All Gist, their creative process, covering songs, and their sometimes-overlapping, oft-diverging taste in art. Read their responses below, edited for clarity.

Photo Credit: Joan Shelley

Since I Left You: Why was it time again to make an album together? James Elkington: We’d been talking about it since we made the last one, but the truth is that we’ve both just been too busy. I started making solo records again after the last one, plus I got to produce one for Nathan, and we both help out with Joan Shelley’s records, so it never felt like we weren’t working together anyway. We were just working on projects in a different way. I think that Nathan and I both think there’s something about the duo’s music that is different from the other things we do, so we were keen to get back to it at some point. Fortunately for us, we got an invitation to play at a guitar festival in Chicago, and we used that as an excuse to start working on new material. I should also mention that our wives kept bugging us to do it again.

SILY: How was your collaboration on All Gist unique as compared to your other records together, and how was it similar? JE: We hadn’t played together like this for something like 7 years, so I was interested to see if we could even do it. But our writing together was as quick and easy as it ever was, and in that sense, it was really similar to how we worked before. Nathan has always worked with longer forms than me, but this time, I wanted to follow his lead a bit more in terms of writing longer pieces with less changes and more textures. We weren’t concerned this time with being able to play all of this stuff live, so we left more space for orchestration and overdubs. Nathan Salsburg: We’ve each lived through a world of experiences in the past ten years, musical and otherwise. Now that we’re each squarely into our middle age, I think the poise, levity, and easygoingness that should be attendant on this period of life show up in the music at [the] pitch they didn’t in the past.

SILY: Was there a lot of improvisation in the process of combining the different instrumental motifs you each brought to the recording session? JE: Because we don’t have a great deal of time to work together, we find things go much quicker if we come up with rough musical sketches by ourselves and then present them to the other. Nothing is ever written in stone, and the level of trust is very high. Anything Nathan suggests for one of my ideas is going to improve it. Both of us are more concerned with coming up with something that sounds cohesive and keeping the ball rolling than having any personal agenda for how this thing should be, and we always leave enough space for us to be surprised by what we end up with. I rarely have any idea what Nathan is playing, but I like how it sounds when it’s finished. We did experiment with recording something completely improvised and liked the results, but it sounded like a different record, so we didn’t use it. Maybe that’ll be the next one.

SILY: How or at what point in making each song do you determine whether it needs more musical accompaniment, from other instruments and/or players? JE: That’s a good question, and I’m not sure I have an answer, but the plan seems to be to write a piece that can stand by itself for the two guitars, record that to our satisfaction (which is nearly always the first take we can manage that has all the right parts), then start throwing other instruments at it to see what sticks. Most of that approach is me in my studio adding things and then taking them off again. There are certain pieces where, as were writing them, we can hear that a solo instrument would sound great in a certain part. Wannees Zarour’s solo in "Death Wishes To Kill" was like that. There are songs, like "All Gist Could Be Yours", where for a repeating chord sequence to have the effect we’re going for, its going to need a lot of support from other instruments, and we talked about that as we were writing it.

Cover art by Chris Fallon

SILY: Do you have a backlog of other people's songs you think might be fun or fulfilling to cover or reimagine as a guitar duet? What makes a song fit for a cover from your two artistic voices? JE: Well, I’m a little concerned that there’s a potential novelty aspect to our doing a lot of covers, but maybe it's okay. We certainly didn’t go out of our way to think of any for this record. Nathan suggested "Buffalo Stance" early on just because he loved the song and all the parts. I was resistant at first, just because I thought there wasn’t enough there for us to work with harmonically, but there’s so much good stuff going on with the synths and the bassline in that tune that it became more a process of picking and choosing what aspects of the song we wanted to shine a light on, at what time. Our Smiths cover from the last record is like that, too. It switches from the guitar line to the vocal depending on where we’re at or what seems to be most important, so I suppose we have a system for doing this. I think the only criteria we have for picking a song is whether one of us really really likes it and the other one can get their head around it.

SILY: "Death Wishes To Kill" takes its title from a T.F. Powys novel you both read. Do the two of you tend to recommend books, films, albums, etc. to each other a lot? Do you ever find you're about to recommend the same thing to one another? JE: I was going to write that we don’t have a huge amount of overlap, but I’m remembering going to his house when we hadn’t known each other long and being confronted with what appeared to be a wall of my own books. Its not as if we like exactly the same things, but there are some writers and records that we both like that NO-ONE else I can think of likes, so when Nathan suggests a book, I usually get to it pretty quickly. I think Nathan was reading the Powys novel, Unclay, and sent me a screen shot of one of the passages in the book with the caption "this is for you" underneath. He also sent me a link to an Australian liquor store commercial from the early 90’s because he knew it would make me laugh for a day and a half, and it did. NS: I remember we made common cause over Max Beerbohm not long after we met—Zuleika Dobson, maybe—but yeah, we each have some preoccupations that the other couldn’t give much of a shit about. Like, I can’t say mid-century British horror movies do a whole lot for me. I’m remembering when Jim spent the better part of an hour trying to explain the appeal of U.S. Maple, and I can’t say he succeeded. And Jim couldn’t care less about rural American string-bands of the late 1920s. But when we have an overlap—Unclay, say, or the totally under-appreciated Yorkshire singer-songwriter Jake Thackray, or Alan Partridge—and yes, these overlapping things do tend to all be English—it’s always stuff we’re super, super jazzed about.

SILY: Can you tell me about the cover art for All Gist? NS: The artist’s name is Chris Fallon, an old friend of mine from when I lived in New York City 20+ years ago. He’s a phenomenal painter, and I love his figures, his palette, and the scenes/settings that he dreams up. I asked him to create a portrait of us, and this is what he did. He’s never met Jim and hasn’t seen me in quite a few years, but I feel like he nailed something of Jim’s and my dynamic, equal parts earnest, bizarre, silly.

[inkskinned]

okay i almost never address the very small amount of internet fame i have. and sometimes yes it sucks. people often repost my work, or clip it out of context, or flat-out steal it. but like it can be very funny. once a follower dm'd me to say a guy on hinge was pretending to be "inkskinned", and actually had even started his own insta. when she said "i've followed her for years i don't think you're her", he said - actually r.i.d is like seven people, we just made those initials up. (rude). when i found his insta and messaged him, he begged me to just lie and say he was r.i.d because "it's hard for men to date."

once someone said she should be allowed to plagiarize my work because she was a body-positive influencer and that if i "made a big deal" about this and "got her cancelled", i would be doing damage to my own community and i was never "actually" an ally.

i bear these things with the aura of a martyr, the way my catholic father raised me to. i message privately. i handle things quietly and quickly. i do not complain because i am very, very, very, very blessed and i know that. mercy and gentleness literally pour out of me every morning when i wake up, and then i have to mop the floors for how very Good i am.

however today is the first time i have ever had a very specific problem that neither requires me to correct this person nor throw them to the dogs but is somehow worse than years of hatemail, reddit thread death threats, and pinterest reposts:

someone quoted me and just got it, like, a little wrong.

[reallybigshark2]

birth year of ASOIAF characters if AGOT took place in 2025:

a lot of the characters in ASOIAF were aged up for the show (with good reason in a lot of cases) but one thing that always strikes me about the books is how YOUNG most of them are.

so here are what their birth years would be if the books started in 2025 (pretend their birthday this year already happened).

this based on ages in AGOT- if we meet the character later I added a year or so depending on the book (also I split groups by decades for ease of reading).

Aemon: 1926

Tywin: 1970

Jorah: 1985

Davos (if ACOK is 2026) and Oberyn (if ASOS is 2026): 1986

Robert Baratheon: 1989

Ned: 1990

Stannis: 1991

Catelyn: 1992

Jaime, Cersei, and Lysa: 1994

Drogo: 1995

Littlefinger: 1996

Sandor: 1998

Tyrion: 2001

Viserys and Renly: 2004

Theon: 2006

Shae and Brienne (if ACOK is 2026): 2007

Loras: 2009

Jon, Robb, Samwell, and Margaery: 2011

Daenerys, Joffrey, and Meera (if ACOK is 2026): 2012

Sansa: 2014

Jojun (if ACOK is 2026): 2015

Arya: 2016

Bran and Myrcella: 2018

Tommon: 2019

Robert Arryn: 2020

Rickon: 2023

please comment if I got anything wrong/forgot anyone! (characters whose ages are too ambiguous I didn't include)

[ughmerlin]

WHAT COULD'VE BEEN... 11 years after "The Diamond of the Day" (24.12.2012) Merlin returns (in/sp.)

[buggachat]

does anyone else form their headcanons of marinette and adrien largely on the basis of "they have to be opposite each other"? like, creation and destruction, yin and yang, etc. like Marinette being late all the time and sleeping through her alarms? so she's probably a deep sleeper? So that means, by the laws of my lovesquare headcanons according to my brain, Adrien has to be a light sleeper. Marinette is a chaotic creative person and I can imagine her just having so much STUFF all around and living in organized chaos. so therefore Adrien likes his spaces neat and clear. (also something something creation and clutter vs destruction and emptiness) you know??? ???? ? adrien and marinette headcanons just cant be independent of each other in my brain. they are always intrinsically linked

[invinciblerodent]

Ngl, some people's "I wasn't allowed to be an irredeemably evil shitbird, ergo Veilguard is not an RPG" argument is extra funny to me, because I don't actually think there is a conceivable narrative in which, if your Rook did something as objectively amoral as selling people into slavery, they wouldn't wake up the next morning floating untethered in the raw Fade with Neve's bootprint on their ass, and the Lighthouse no more than a distant blip on the edge of their vision.

Like there is a lot to get into here that I just don't have the time or the spoons to go through, but I'd argue that one of the biggest strengths of Veilguard's writing is that the main cast are all very well-defined characters with their own sets of morals, ethics, and goals, and they collectively have more than enough of a backbone that if Rook did something that proved them incapable of leading the team to the story's climax and/or proved them to be of no benefit to them, they wouldn't fail their quest: they would just swiftly and efficiently get rid of Rook.

[darlinglute]

i think it's extremely fun to pair rook and solas together in any regard, no matter if he previously was being romanced because as clear narrative foils, having an enemies to lovers (and in tandem, bitch4bitch, hater x hater) dynamic feeds into that delicious 'whenever I see you I see myself and I hate that' and 'you are everything I hate about myself' soup.

I once saw a post with a collection of quotes that had this certain vibe, in the 'you and I are the same' (negative) way. if i had a quote to represent them it would be:

so shipping them feels very complex and interesting to think about, because, like in that one dialogue

(first of all, like c'mon) furthermore it's the cycle. rook is to solas what solas was to elgar'nan, there are several times in the game, especially the end, where they can see each other in each other. even if you dont see it in a shipping lenses (which you dont have to!) this is a juicy story.

moreover, at the end of the game if rook outwits solas by giving him the fake ritual dagger, solas not only recognizes that he was out played by 'wits alone' he also says that he's met his match. this mimics the several stories of fen'harel who uses his wits, wisdom etc to get out of a situation

(example: the story of fen'harel, andruil and anaris, solas goading them both into fighting each other so he could get out paralleling solas making rook fight the gods and in addition a thousand other enemies in order to get himself enough time to get out of the fade prison without rook getting ahead of it)

the betrayal too, i don't have much to say that hasn't been said already about the prison switcheroo, (evokes solas's betrayal of felassan yada yada) other then it's really tasty.

[sublimerences]

Wammy kids Evangelion au… aka pain and suffering squared

[wavesoutbeingtossed]

My only one // I'm not the one

My smoking gun // Two graves, one gun

My eclipsed sun // A moment of warm sun

This has broken me down // Just how low did you think I'd go before I'd self-implode

My twisted knife // My spine split from carrying us up the hill

My sleepless night // My friends said it isn't right to be scared every day of a love affair

This has frozen my ground // Wet through my clothes, weary bones caught the chill

Stood on the cliff side screaming, "Give me a reason" // You say that I abandoned the ship, but I was going down with it

Your faithless love's the only hoax I believe in // You swore that you loved me, but where were the clues?

Don't want no other shade of blue but you // You sacrificed us to the gods of your bluest days

No other sadness in the world would do // How much sad did you think I had in me, how much tragedy?

My best laid plan // I didn't opt in to be your odd man out

Your sleight of hand // I founded the club she's heard great things about

My barren land // And I'm pissed off you let me give you all that youth for free

I am ash from your fire // I died on the altar waiting for the proof

You know I left a part of me back in New York // I left all I knew

You knew the hero died, so what's the movie for? // You left me at the house by the Heath

You knew it still hurts underneath my scars from when they pulled me apart // I'm just mad as hell cause I loved this place for so long

You knew the password, so I let you in the door // I stopped trying to make him laugh, stopped trying to drill the safe

You knew you won, so what's the point of keeping score? // My white knuckle dying grip holding tight to your quiet resentment

You knew it still hurts underneath my scars from when they pulled me apart, but what you did was just as dark // Every breath feels like rarest air when you're not sure if he wants to be there

Darling, this was just as hard as when they pulled me apart // Stitches undone

My only one // Pulled him in tighter each time he was drifting away

My kingdom come undone // I kept calm and carried the weight of the rift

My broken drum // I stopped CPR, after all it's no use

You have beaten my heart // The spirit was gone, we would never come to

[toffee-beans]

🐙✨Calling all Octonauts!✨🐙

These lovely characters were also helped designed by @littlemisspostit !! Everybody say thanku Nugget

[wakayrd]

Thinking about Loop and Phantom of the Opera similarities. Does Sif and/or Loop make those comparisons and jokes about it? (i love your theatre au so so so much its so fun)

I went a bit of a different direction with this ask because I was thinking about it from Siffrin's perspective (plus I love doodling hehe). Loop probably has made lots of references but doesn't refer to themselves as a phantom. It's kinda too on the nose in a way.

The most helpful phantom ever!! They spend all their time at the theatre, they might as well clean up and make sure things go smoothly!

... That look, just for a moment.

The next day, Loop was back to normal, Siffrin won't make references to The Phantom of the Opera anymore, but Loop will from time to time. Siffrin doesn't know why this happened, nor how to ask if joking about Loop having a "Christine" was what caused them to react in such a way. Maybe they lost something, or had to give them up... Little bonus doodle, Siffrin's paint clothes:

[tim-per-tantrum]

What's my favorite pastime you ask? Absorbing the plot of a show I've never watched via fanfiction osmosis. You think I've watched that show? Wrong bitch.

I read a convoluted fanfic, looking up characters as I went and then binge read half of AO3 and determined the plot based on what stayed consistent.

I will join every fandom and not ever interact with the source material and nobody can stop me

[rabbitinthemeadow]

Alas, the cradle of my heart waits elsewhere || One

[camellcat]

school hard is my most rewatched episode by a mile and it always makes me forget how the fuck sprusilla could ever possibly break up. they're SO good they're perfect to me here. despite the fact dru clearly isn't doing well they still feel like equals. spike is choosing to take care of her because he loves her, he adores her, and it shows. dru loves his attentions and loves giving them right back as best she can

and hey I see the spuffy even this early on and I love the spuffy.... but without dru?? ur telling me dru leaves later??? there'll be no dru???? that's just wrong

[s2pdoktopus]

I said it's embarrassing that I made a lot of these but it's really cute in my head (⁠≧⁠▽⁠≦⁠) I wanna draw it