#artist: stereolab

[haveyoulistenedtothisalbum-poll]

Tracklist:

Brakhage • Miss Modular • The Flower Called Nowhere • Diagonals • Prisoner of Mars • Rainbo Conversation • Refractions in the Plastic Pulse • Parsec • Ticker-tape of the Unconscious • Contronatura

Spotify ♪ Bandcamp ♪ YouTube

[bctvplarp]

[d1gnan]

🟣🟡lemon jelly + stereolab inspired bracelets🟠🟢

[nvskyprospekt]

renie ce que c’est d’etre humain

(deny what it is to be human)

[piesa2]

stereolab mass riff so good

[endorphinized]

^-^ !! MUSIC GAME !! ^-^

rules: pick a song for each letter of your url and tag that many people (or don't, it's up to you) - don't repeat same artists!

Excés de Vitesse - Marie Davidson

Non Ricordi - Quadro di Troisi

Die Liebe - Inhalt Der Nacht

O,ti Thes Esi - Xilina Spathia

Romantika - Brutalismus 3000

Pack Yr Romantic Mind - Stereolab

Hometown - French 79

It's Time to Wake Up 2023 - La Femme

Numbers / Computer World - Kraftwerk

IDORU - Grimes

Zerkalo - Soft Blade

Erotica - Techniques Berlin

Dazed - Dlina Volny

☆ @dogcurry @magnoliagrandiflora @angelmushroom @loukoumia @tiedye-witch @bakemono-o @apomuthopoihsh @ippokampos @glikozi @fawncel @alphafornacis @artetheconcretedevil @xfeedthevoidx @loukoumadess ☆

[defjux]

i'm looking for albums/artists that are similar to one or more of these albums i've been listening to recently, does anyone have any recommendations? i know it's a long shot and there's a few different genres on here, but i've been searching for a while and haven't really found much that stratches the same itch. anything that's similar to late era glassjaw, hiatus kaiyote, fleshwater, deerhoof, or yves tumor would be especially sick but general recs are appreciated too. here's the full list:

Glassjaw - coloring book

Yves Tumor - Heaven to a Tortured Mind

fleshwater - We're Not Here to Be Loved

Brutus - Nest

Hiatus Kaiyote - Mood Valiant

Alvvays - Blue Rev

NNAMDÏ - Please Have A Seat

Stereolab - Emperor Tomato Ketchup

Chelsea Wolfe - She Reaches Out To She Reaches Out To She

Bruno Pernadas - Those Who Throw Objects at the Crocodiles...

Genesis Owusu - Smiling with No Teeth

Cities Aviv - MAN PLAYS THE HORN

Cibo Matto - Stereotype A

The Callous Daoboys - Celebrity Therapist

U.S. Girls - In A Poem Unlimited

King Gizzard & The Lizard Wizard - Omnium Gatherum

Gouge Away - Burnt Sugar

Mike - Burning Desire

Gospel - The Loser

Mei Ehara - Ampersands

Melt-Banana - Fetch

Jeromes Dream - The Gray In Between

KNOWER - KNOWER FOREVER

Deerhoof - Milk Man

Liv.e - Girl In The Half Pearl

[toddandersonsblog]

hi! this is an introduction post, I suppose!

you can call me todd ☺️

my pronouns are she/her, but since I'm using todd's name and not my own, I don't care if you use he/him (or any) pronouns either

I speak english and greek!

I'm an infp (almost an ambivert) and a pisces (how predictable 😂)

I consider myself to be a yé-yé girl if I had to define my own aesthetic ☺️

my favourite films are dead poets society (obviously), amélie, 500 days of summer, and cheap smokes (or ftina tsigara/φτηνά τσιγάρα in greek)

my favourite musical artists are the beatles, the smiths, blur, nirvana, françoise hardy, graham coxon, elastica, radiohead, belle and sebastian, simon & garfunkel, stereolab, and many more!

my favourite shows are friends, new girl and freaks and geeks. I also like beavis and butthead (lol), house md, and gossip girl! I'm planning on watching gilmore girls as well, because it looks very interesting

my hobbies include playing music (particularly the guitar and the ukulele), singing, sketching, listening to music (I like way too many genres), watching films, watching youtube, writing down my thoughts, taking photos, making moodboards, reading, going on walks, listening to people, and making them laugh ☺️

fandoms that I guess I'm part of: dead poets society, it (the 2017 and 2019 films), romeo and juliet, the beatles, the smiths, blur/oasis, secret shanghai, maurice

some other random things about me: I still love watching cartoons, and one of my favourite books is le petit nicolas, which is a children's book 😂 my favourite comic book series is asterix and obelix. I have a few records and cds! sometimes, I like to play the sims. I also like playing chess and dominoes!! I'm very into fashion. oh, and I also want to learn to cook because I love mediterranean food so much!

here's my letterboxd, in case you'd like to be mutuals there, too! https://boxd.it/6zcdV

that's about it! I think that I have yapped enough. I'm using @thecutestgrotto 's beautiful dividers here ☺️

I've made lots of lovely friends on this app, and I'm hoping to meet many many more ☺️

peace and love! ✌️❤️

[bandcampsnoop]

5/22/24.

My Bandcamp shuffle has been playing a lot of Black Editions' reissue of Nagisa Ni Te's "Newocean". I love the sound of Japanese pop that sounds heavily influenced by either or both The Pastels and BMX Bandits.

Bruit Direct Disques (Paris, France) is releasing a new LP from Tokyo based artist Kenji Kariu. The only songs available are "Water" and "And Then There Was Light...". Both songs carry on the excellent Japanese indie pop tradition. In fact, the Bandcamp write up mentions Maher Shalal Hash Baz, Stereolab or The High Llamas.

[doomandgloomfromthetomb]

somesurprises :: The Aquarium Drunkard Interview

I've been a fan of Seattle's somesurprises ever since I heard their tape on the estimable Eiderdown label back in 2017-ish. The band's latest, Perseids, is the record that should make everyone a fan.

Led by songwriter/guitarist Natasha El-Sergany, somesurprises really knocked it out of the park with this one. It's a collection that'll remind you of many of your favorite artists (Stereolab, Yo La Tengo, Grouper, the Mazzy Star/Opal axis, etc) but never bows entirely to those influences. There's a strong point of view and thoughtful craft to every moment here. Check Perseids out, you're going to like it.

And also check out my Q&A with Natasha, which is up on Aquarium Drunkard right now! It's a good time. somesurprises is going on tour very soon, and I urge you to go see the band play! I'll be at the Denver show ... see you there?!

[fashionlandscapeblog]

Gen Xers on the 90s: Grunge (Nirvana, Pearl Jam, Soundgarden, Alice in Chains, Stone Temple Pilots), Britpop (Blur, Pulp, Suede, Supergrass, Oasis, The Verve, Coldplay, Manic Street Preachers, Spacehog, etc), alternative music (Radiohead, Björk, PJ Harvey, Weezer, Pavement, The Cranberries, R.E.M., The Smashing Pumpkins, Stereolab, Jane's Addiction, Yo la tengo, Beck, Garbage, Fugazi, Nine Inch Nails, Bush, etc), electronic music: trance, techno, etc (Daft Punk, The Chemical Brothers, Prodigy, Aphex Twin, Air, etc), Shoegaze/Dream Pop (My Bloody Valentine, Slowdive, Lush, Ride, Cocteau Twins, Mazzy Star, Pale Saints, Catherine Wheel, Cranes, Chapterhouse, etc), Trip Hop (Massive Attack, Portishead, Tricky, DJ Shadow, Sneaker Pimps, etc), rock (Guns n' Roses, Metallica, Red Hot Chilli Peppers, Rage Against The Machine, Megadeth, Faith No More, Aerosmith, Tool, etc), the era of one hit wonder pop rock songs, and so much more other stuff.

Late Millenials and Gen Zers on the 90s: Britney Spears, Backstreet Boys, and N'Sync.

The funniest part about it? What the latter claim summarize a whole decade in music are acts that only appeared in 1999 (yes, only until 1999! There were actually 9 years of music before them, you know?).

Even funnier? Madonna, The Spice Girls, Michael Jackson, Mariah Carey, Boyz II Men, Whitney Houston, Jamiroquai, Tupac, Dr.Dre, Kriss Kross, House of Pain, MC Hammer, Paula Abdul, Celine Dion, George Michael, TLC, Enigma, No Doubt, Colour Me Badd, EMF, Fatboy Slim, Brandy, Sheryl Crow, Lisa Loebb, , etc, etc, etc, etc had much more bigger hits lasting months in the pop charts than any of these artists they love to mention.

Like why??? Why?? It makes me want to smash my head against the wall. This is historical revisionism. Please just STOP it, stop describing a decade you didn't experience if you were younger than 12 years old.

[impracticality]

4, 20, 6, 9 😎

heh,

4. Is there a song you love but don't like its music video?

What an excellent question. I have no idea. I tend to only remember music videos when they're good, and in my old age I don't even really watch them anymore. This is going to send me down a music video spiral...okay, after thinking about it, I can say that I always found the music video for Miss World by Hole to be a bit boring. They could have done more there, I think

6. Who's an artist you really like but it's embarrassed to admit it?

oh I have no shame. You know this. Anyone who has seen my blog knows this. However, I thought really hard about this question, and I did find something

9. Do you have a favorite band?

^ famously never knows how to pick a favorite anything. I don't know. When I was fifteen it was nirvana, which has to mean something. I feel like the best version of myself's favorite band is stereolab but the truest version of myself's favorite band, but for the truer version of myself it's got to be the magnetic fields by default.

20. A song or album from the 2010s:

great question...let's go with Julia Holter, In General

[omegaremix]

Omega Radio for January 9, 2013; #6.

Smiths, The “How Soon Is Now”

Pains Of Being Pure At Heart, The “Heaven’s Gonna Happen Now”

Mika Miko “Capricorinations”

No Age “Every Artist Needs A Tragedy”

Elliott Smith “I Got A Question Mark”

Slits, The “Typical Girls”

Stereolab “Ping Pong”

Stereo Total “Lunatique”

Pussy Galore “You Look Like A Jew”

Les Rallizes Denudes “Dream” (live)

Alexander Von Borsig “Helmut, 25, Medizinstudent”

Einsturzende Neubauten “Yu-Gung” (Adrian Sherwood RMX)

Z'ev “Shake Rattle & Roll”

Vatican Shadow “Missing HMM364 Squadron Purple Foxes Assassins”

Siouxie Sioux & The Banshees “Dear Prudence”

Marquee and rainbow broadcast.

[confield]

PSA

If you're into any of the following bands/artists: Autechre, Ryoji Ikeda, Pan Sonic, alva noto, Bernard Parmegiani, Alice Coltrane, Pharoah Sanders, TODAY IS THE DAY, Peter Rehberg, Merzbow, Oval, Yasunao Tone, Pierre Schaeffer, Pierre Henry, Hecker, Unwound, Albert Ayler, Sun Ra, John Cage, Muslimgauze, Jan Jelinek, Anthony Braxton, Farmers Manual, Daphne Oram, Mira Calix, Einst��rzende Neubauten, Eric Dolphy, Karleinz Stockhausen, Maryanne Amacher, Edgar Varèse, Iannis Xenakis, Laurel Halo, Fennesz, General Magic, Gescom, Ramleh, Prurient, Vladimir Ussachevsky, Pauline Oliveros, William Basinski, Luc Ferrari, Matthew Shipp, City of Caterpillar, Kouhei Matsunaga, Sensational, Mike Ink, Coil, Nobukazu Takemura, Halim El-Dabh, Martin Tetrault, Tod Dockstader, Matana Roberts, Chicago Underground Quartet, Microstoria, Vladislav Delay, Sonny Sharrock, Beatrice Dillon, SND, Mark Fell, Mika Vainio, Robin Rimbaud, Darkthrone, Christoph de Babalon, Toshimaru Nakamura, Steve Roden, Lithops, Nisennenmondai, Tackhead, Aaron Dilloway, Henry Flynt, Foehn, Yamantaka Eye, Portraits of Past, Pg99, Maxwell Sterling, Slint, Big Black, Russell Haswell, Sébastien Roux, Loraine James, Surgeon, Terrence Dixon, Underground Resistance, Dopplereffekt, Plastikman, Wolfgang Voigt, Robert Hood, Cecil Taylor, Matmos, Kangding Ray, Hijokaidan, Babyfather, Team Doyobi, Paul Lansky, Art Ensemble of Chicago, Soul Oddity, Kid606, Hugh Le Caine, Actress, Klein, Sven-Åke Johansson, Porter Ricks, Luciano Berio, The Third Eye Foundation, Grischa Lichtenberger, Replikants, Genocide Organ, Joji Yuasa, The Jesus Lizard, African Head Charge, Drive Like Jehu, Peter Brotzmann, Sonic Youth, Jawbox, Chino Amobi, Luke Vibert, James Ferraro, Florian Hecker, Tim Hecker, Eyehategod, Gorgoroth, Basic Channel, Maurizio, Steve Reich, Mouse on Mars, Burial, The Future Sound of London, Dean Blunt, Susumu Yokota, Skream, Benga, Farben, Polvo, Keiji Haino, The Black Dog, LFO, The Bug, SOPHIE, Global Communication, B12, Jlin, Stereolab, Pole, Kraftwerk, Yellow Magic Orchestra, Juan Atkins, Wormrot, Oli XL, Napalm Death, Orchid, Bitch Magnet, Codeine, Microstoria, Moss Icon, Frank Bretschneider, Joey Beltram, Jeromes Dream, A Guy Called Gerald or DJ Manny

I am looking for a sugar baby to spoil with a $5000 weekly allowance. DM me if you are interested.

[rainydawgradioblog]

Interview with Samba Jean-Baptiste

The other day I came across an article about AI bots mass-releasing auto-generated music on Spotify under different names. A concept as democratic as “unfettered access to music by way of streaming services” was bound to be corrupted by bad actors. Artists are consigned to grueling tour schedules in order to make a living because streaming pays them in Monopoly money. Pitchfork is gone and the writing is on the wall for Bandcamp, because curation is now being handled by algorithms. It’s important to keep in mind that any artist releasing music today has to navigate a culture in which there’s more out there than ever before, it's all at the tip of one’s  fingers, and everything except for the music itself is worse than it used to be. 

The topic of how the internet has shaped music came up frequently in my discussion with Samba Jean-Baptiste, an independent artist out of Brooklyn. I discovered his work after seeing Dean Blunt’s music video to “Felony” (his best song? I’m ready to make the argument), and the Algorithm decided I might like a video titled “talk / pleasure.” Behind a camera that might be a flip phone, somone offers Jean-Baptiste directions: “Wait, look off that way, and start the song. Then just start doing your shit.” The music plays and we hear Samba’s subdued voice over acoustic guitar strumming. He crosses a wide urban boulevard. All of it is easy and unforced. 

“Talk / Pleasure” was released on Cardinal, a project that’s difficult to categorize and beautiful and disarming. Jean-Baptiste chiefly uses acoustic guitar and his voice to create stripped-back art pop, as if the Young Marble Giants grew up listening to Stereolab instead of Lou Reed. The relationship between skilled yet raw guitar playing and more attuned peripheral production toes a line between an open mic performance and sound leaking from someone else’s headphones. There’s some really incredible interplay between organic and auto tuned vocals on “Windows.” The string and warped piano accompaniments on “A Wish Slanted” perfectly compliment Jean-Baptiste’s rhythmic strumming. It seems like he’s drawing from so much, because he’s had access to (and has seeked out) so much. The internet has given us windows into every corner of musical expression imaginable. If you’re an artist, how do you reckon with that, how does it find its way into your art? I didn’t want to put words in Jean-Baptiste’s mouth, so I reached out to see if he’d be interested in an interview for the Blawg. 

He was kind enough to agree back in early December; we spoke over the phone for about 40 minutes. I think he was playing Dave Bixby in the background. In addition to the internet’s impact on the music landscape, he touched on song-writing, looping, and Veeze. Hope you all enjoy it. Please, check out Cardinal on Spotify, Apple Music, Youtube, and Bandcamp (before it’s subscription based).

Can you tell me a little about yourself? 

Yeah, I’m 22, about to be 23, I live in Bedstuy, Brooklyn, I cook at a Japanese Breakfast restaurant that’s also in Brooklyn. That’s kinda what I do four days a week. I grew up in Massachusetts playing classical music, me and my sister, I played Cello, my sister played violin and we grew up playing in the Boston Symphony Orchestra. That’s where I gained a lot of interest in music, because when I wasn’t playing cello, everyone would be showing off like, what pop song [they] could play on the piano, and from there everything trailed into, you know, writing a little song about a crush or something when I was a kid. 

My family is from Haiti. That’s important to me. In middle school I used to just make beats so I was really into dubstep and a bunch of stuff on youtube. I was always big on youtube, listening to people make beats at home, and then soundcloud blew up, which gave so much access to random nooks and crannies to the country and world for that matter. Got into songwriting a little bit. Used to make a lot of different sounding stuff to now. Picked up guitar, somehow, and I guess that landed me to where I’m at now. 

Songs like “Better Now” from Cardinal feature a lot of looping. Do you find that to be a big part of your process? 

It’s funny because looping, from making beats in middle school, looping is such a big part of it. You make something, you loop it, you progress from there. But by the time I realized I could be playing actual instruments in my recordings, I still had that mentality. I’ll record something and think: “this part is great, I’m just gonna loop it.” And it doesn’t feel unethical. Cause for me, for a long time, looping other people’s music was like, “you’re going to hell, you’re not making music” but somehow my eyes have opened up and my ears have opened up to so many new ways of sound creation, rather than seeing it like “you have to create from the sound up like you’re fucking Beethoven.” You can hear something and make something out of that and that’s ok. It’s not yours, it's everyone’s. 

Looping is really interesting too because everytime you hear something or see something you can see something new about it. There’s albums I’ve listened to kajillions of times and it’s like I’m learning something new about it every listen. The same thing can happen with a simple loop, it’ll just be new information, newly perceived information each time. So yeah loops are super important to me. 

When you’re writing a song, do you have an idea of what you want the finished product to be, or does it evolve naturally over the course of the entire process?

Definitely the latter. That’s funny I was talking to my dad *today* that when I make songs, or work on an idea, I have to like make the whole song, just so that when I go back to these drafts, I can see the full blueprint. [...] It’s definitely a process. If I write a song in one sitting, I’ll kinda just… show a friend. That’s not the stuff I like releasing. 

How did Cardinal become more acoustic than your previous album, Pandora? 

It wasn’t so much a conscious decision to be like, I have to be different from the last record, but it was a conscious decision in my process. Because Pandora was made while I was still primarily recording through my laptop, and like, there’s guitar on there, but it’s all pitched up, and my voice isn’t in my natural cadence. But in the same way I realized I could use my instruments and play them in my recordings, I was like damn. That feels natural. I can also just sing in my natural low voice, I don’t have to be reaching for something that I’m not. So it sort of just trailed in that direction naturally. 

I was wondering if playing the cello made picking up guitar easier, or otherwise informs your guitar playing? You said you “stumbled on guitar,” which sounds like a bigger undertaking than you make it out to be. 

Yeah, picking up guitar was pretty simple for me because of that knowledge, but like, there’s six strings on a guitar [compared to cello’s four], so I’ve found new ways to approach an instrument, because there’s a learning curve there. A lot of my songs, if you listen to them, it’s all the same chords, because I only know so much, and sometimes I’m fucking lazy and I know certain chords and they make me feel good enough. 

Also it's funny because some songs are written on different guitars. “I Could Have Cried” was written on a guitar with five strings (the high E is gone) because my roommate didn’t finish stringing it. The other one I got in London, that one plays “Talk/Pleasure” and “A Wish Slanted” and it has four strings because two of them snapped. Each weird situation lends itself to a new creation, which is like a huge part of my process anyway. Error is so acceptable, if not sought out. 

The stream of consciousness of it? Less premeditated? 

Right. There’s a mix too though. I love when records have noise added after cause that’s real. You can only listen to so much perfect, cookie cutter stuff.

When you were making Cardinal, were there any major songs or artists that you took inspiration from? 

Nah I had no influences, I came up with this shit. I’m playing, of course, of course, there’s so many. I feel like a lot of people are finding my music through like Dean Blunt youtube wormhole, and he’s for sure one of my big influences, like all my influences are like 30+ year old black people doing their thing. But the main influence is music that sounds like wind, water, grass, and that all relates to guitar.

I wish I had a list of my influences, cause on this record there’s a lot you know? I had a lot of people in my life showing me new things, because I’m so closed minded often. And I like to try to surround myself with people that will show me something new. A lot of inspiration is what’s new to me. 

I think wind, water, grass sums it up great. Wrapping up, would you have any recommendations for me and the good people of Rainy Dawg Radio as a whole? Movies, music, books, etc?

Hell yeah. I just finished this book called Your Love is Not Good, by Johanna Hedver… Movies? I’m still learning about movies. Two or three things I know about her. I’m into Jean Luc Godard, that slice of life stuff where nothing happens, cause it’s just like looping music to me. Music? I’ll just give you what I’ve been into recently, cause I have huge influences but they’re probably everybody’s. I’ve been listening to this song called “Tea in Bed” by Blessed and Blushing. That shit’s incredible. I’ve been listening to this song called “Everybody Knows” by Glucose. I’ve been listening to a Serge Gainsbourg record, The History of Melody Nelson. I’ve been listening to Veeze, you know, Ganger. There’s so much shit. There’s so much out there. Michael White is this great jazz violinist, I’d definitely recommend him.  Forma Norte, that guy’s incredible.

Who’s that, Forma Norte? 

Yeah, you know what’s funny is I found him on my “related artists,” online, and sometimes I find stuff I really hate through that. But sometimes I think “damn this guy’s awesome, how’s he related to me?” 

It’s so interesting to hear an artist’s perspective of their “fans also like” on Spotify. 

That first one I said, Tea in Bed by Blessed and Blushing, is just blowing my mind recently. I’m like, “who is sitting down and making this shit?,” it’s so good. And that’s what’s crazy is there’s so much music now, it’s like, is there even a point in trying to make a career out of this? No. I don’t think so. Which I think is lending itself to the best music ever, cause people are like “there’s no fucking way I’m gonna make a career out of this, I might as well just make what I want, whatever I want.” 

You used to have to deal with the label, but now everything is just, “yeah go for it.”

It’s such a blessed time in that regard, but at the same time… let me chill on that. Let’s say, Marvin Gaye, “I Want You”? We’re not getting that right now. And that’s no hate to right now.  But it’s just like that was a whole different way of living, thinking, moving, breathing you know. It’s just a whole different way of recording. 

But we’re so blessed to be able to do exactly what we want without the idea of needing to make money off it. Obviously it would be nice. But it’s unlikely so people are just making cool shit. And I’m really thankful for that. 

You can find Samba Jean-Baptiste on Instagram here and YouTube here. Once again, listen to Cardinal any way you get your music. 

[dustedmagazine]

Jim White — All Hits: Memories (Drag City)

Reasonable enough, perhaps, that drummer Jim White, after four decades in the trade and with a sprawling resumé of indie rock collaborations (not to mention percussion duties in the Dirty Three!), would only now get around to releasing his first solo album. After all, drums by themselves offer a challenging compositional palette, at least in certain idioms. However White, who is deeply respected by his peers, makes some clever moves on All Hits: Memories which clear the way. The first move is to turn toward free jazz, where solo percussion is a bit more familiar than in indie rock. Without doubt he has the chops, too, shifting between groovy phrases and episodes that expand and branch rhizomatically. While it would be difficult to pinpoint his central references here, and while I suspect that difficulty is intentional, it's hard not to hear Milford Graves in the room.

The second move is to play/think not just in rhythm but in sound; each song contains at least one or two rewarding sonic surprises, as White plays with room echo or drags a stick around the ride like a sound bath meditation bowl. These moments give somatic depth and draw the ear in close. It is a chestnut, but headphones add a lot to hearing this album.

The third move is working with brief songs, most of which are essentially vignettes (with just a couple of exceptions). There is a feeling here not unlike, say, J Dilla (and without drawing generic comparisons otherwise), who in his own solo work built breathtakingly complete musical worlds in 30 seconds, only to leave them aside for the next lush thing. White builds worlds similarly, extending the kit in gorgeous ways in rapid fire assemblages of ideas.

Lastly, there is a feeling of manipulation in much of the album's production, an insinuation of treatment in the studio. I have no idea whether that is the case, and I prefer not to check. In the mid-1990s many artists, perhaps fascinated with new studio tools ready to hand in bedrooms and apartments, played with the blurred line between live performance and post-hoc manipulation. (See e.g. the gorgeous, nebulous percussion on Stereolab's Parsec (1997)). There are elements of All Hits: Memories that seem to be looking backwards, perhaps to the aesthetic concerns of that moment, or to earlier moments of sonic synthesis (there are Stranger Things-like retro swells on several tracks). The title itself, of course, feels like a tongue-in-cheek, playfully self-aggrandizing glance backwards. There is a whole lot converging here.

Benjamin Tausig