#coalition music

[arguablyartworks]

I'll post the music video stuff once I've got it all set up, along with all the other stuff I made for school. (I've been doing a BUNCH of animations on paper. Paper! I don't even have an animation desk or punched paper for that!!)

YouTube

Spotify

[buzzcutbulldyke]

At SPOTL I got myself a Land Community Cookbook! It's a cookbook full of recipes from festies, both recipes that were actually served on the land (like these two!) and recipes that were just sent in by festgoers.

I made chicken satay salad and sesame noodles, which was apparently a common combination during fest. They were both DELICIOUS, I can see how they would be very popular on the land. It's a cold dish, which would be refreshing in the summer, and it has a LOT of flavor. I doubled the amount of noodles, as there was plenty of sauce and I didn't want it to go to waste, and I skipped the coconut because I'm just not a coconut fan, but it all worked so well.

If you want to support the WWTLC, go pick yourself up a copy from their website! It's FULL of very cool recipes I'm excited to try.

[empirearchives]

Strange incident in Berlin during the War of the 4th Coalition reported in Prussian newspapers

“After the unfortunate battle of Jena, Napoleon took up his headquarters in Charlottenburg Palace. He had barely gone to bed when the Prussian cavalry attack blared through the stillness of the night. Napoleon thought he had been ambushed and, startled, left his bed, rushed to the window and sounded the alarm. Everything rushes under the gun. The attack is blown again — and strangely enough — in the castle. An adjutant rushing from the Marble Hall finally solves the riddle. In that hall stands the Belloneon*, which His Majesty our King had had made by the acoustician Kaufmann in Dresden, a short time before that unfortunate battle, and which, on the King’s orders, had been provided with all the trumpet pieces of the Prussian cavalry. Napoleon’s curious companions had rummaged through the castle and had also come to the Belloneon in the Marble Hall. This strange instrument was examined and touched from all sides with genuine French curiosity. One happened to touch a small button that set the work in motion, and so it happened that a cavalry attack from 12 trumpets woke the Emperor from his sleep.”

———

*A Belloneon is a mechanical musical instrument consisting of many trumpets and kettle drums. The German Museum has a Belloneon with 24 trumpets and two drums (Inv.-Nr. 9654), built in 1805/06 by Friedrich and his father Johann Gottfried Kaufmann.

———

Original German:

»Nach der unglücklichen Schlacht bei Jena nahm Napoleon sein Hauptquartier im Schlosse von Charlottenburg. Er hatte sich kaum zu Bette begeben, als die preußische Cavallerie-Attaque durch die Stille der Nacht schmettert. Napoleon glaubt sich überfallen, fährt erschrocken von seinem Lager, stürzt an's Fenster und läßt Alarm schlagen. Alles eilt unters Gewehr. Die Attaque wird noch einmal geblasen - und sonderbar genug - im Schlosse. Ein aus dem Marmorsaale herbeieilender Adjutant löst endlich das Räthsel. In jenem Saale steht das Belloneon, welches Se. Maj. unser König von dem Akustiker Kaufmann in Dresden, kurze Zeit vor jener unglücklichen Schlacht, hatte verfertigen lassen, und welches auf Befehl des Königs mit allen Trompeterstücken der preußischen Cavallerie versehen worden war. Napoleon's neugierige Begleiter hatten das Schloß durchstöbert und waren auch zum Belloneon im Marmorsaale gekommen. Dieses merkwürdige Instrument wurde mit echt französischer Neugierde von allen Seiten untersucht und betastet. Man berührte zufällig ein kleines Knöpfchen, welches das Werk in Bewegung setzt, und so kam es, daß eine Cavallerie-Attaque von 12 Trompeten den Imperator aus dem Schlafe aufschmetterte.«

Source:

Wolf, Rebecca (2012). "Die Musikmaschinen von Kaufmann, Mälzel un Robertson: eine Quellenedition [The music machines of Kaufmann, Mälzel and Robertson: a source edition]" (pdf). Preprint (5). Deutsches Museum

[squirrelno2]

A sneak peek of my han solo and cody time travel team-up fic! (Why don’t I write comedy regularly I am vibing.) (also sorry no han solo appearances in this blurb)

“Cody,” Rex said. “What’s going on?”

“Nothing to worry about,” Cody said. “If the Kaminoans want everyone to know, they’ll say something.”

“Sure it’s not about the Jedi who showed up out of nowhere?”

This uninvited speaker was Fox. Cody threw up his hands. If he were a few years younger, he might have thrown his rations with them, specifically at Fox. Because he was a fully-grown clone with the maturity to match, he did not, and Fox sat down next to Bly unimpeded.

“What Jedi?” chorused every vod who’d heard.

“There are no Jedi,” Cody said. He glared around himself until most of the vode had backed off. Luckily for him, none of the others around them had yet developed an immunity to Cody’s death glares. Batchmates were the worst, but at least his seemed to be in short supply here so far.

“That’s not what I heard,” Fox said. He fancied himself the galaxy’s greatest spy, which meant Cody had a lot of very vivid memories of a young Fox getting stuck in vents and singing his own theme music. He’d mostly outgrown his more harebrained schemes, but Fox’s insistence that he should know everything and couldn’t possibly mess up one of his convoluted plans remained. It was annoying enough that some days Cody missed the theme music.

[victoriapedroza]

Devendra Banhart @ Kitchen Sink Festival 2

Fundraiser for Los Angeles Food Coalition

The Lodge Room. December 19th, 2023

purgatorie

[eternal--returned]

Lana del Rey (ft. Jack Antonoff) ֍ Hey Blue Baby (Live at The Ally Coalition Talent Show) (2018)

Hey blue baby Put that Hank Williams on It's your little blue baby Callin' for her favorite song Get out that whiskey Pour it right quickly Put them hallway lights on I hope one day you can remember Our love before it all went wrong

But the only stars we saw were in the sky Not the boulevard And the only thing we wanted was to be free And the only girl you had eyes for played downtown At the local bar That was me She was me

Do what you have to do Just know your baby's back here waiting Just know she thinks you're really cool

[sonic-emporium]

Usher in the rally cries Revolution’s here again The emperor’s bonds are broken As free he shall remain

Escape, through narrow, was demand While his reign remained in view This fight for France, ‘till bitter end He must see it through

Coalition forms of many lands Against Napoleon, west to east The dogs of war will take to arms And soon will be unleashed

Prussian, Russian and Austrian All follow British lead At allies’ helm is Wellington Who must make his foe concede?

Foreshadowed man of destiny Soon you will be forced to see Nations aligning against you Marking the time your reign is through (And you will see your hundred days come to an end) Foreshadowed man of destiny Soon you will be forced to see Nations aligning against you Marking the time your reign is through (It lies before you, fate shall befall you)

Quickly, the allies gather force Near the Franco-Belgian line While 124,000 French March there in double time

As the battle begins Napoleon springs his audacious plan He’ll attack them on two fronts Splitting up his warring band

As the Prussians sound retreat Behind they leave 12,000 slain Most of their force is still intact And will live to fight again

Wellington, who felt the loss of 5,000 men Would feel more under cannon fire Bombardment from the French

Foreshadowed man of destiny Soon you will be forced to see Nations aligning against you Marking the time your reign is through (And you will see your hundred days come to an end) Foreshadowed man of destiny Soon you will be forced to see Nations aligning against you Marking the time your reign is through (It lies before you, fate shall befall you)

Of all the wars I have waged To propel my nations might For this I’ll be remembered From now ‘till the end of time If to the victor go the spoils I may die an impoverished man For in the end, irony Has dealt the cruelest hand

The French force was swift and sure But their attack would be repelled And though their center battered The Anglo-Dutch line would be held

As fate or skill would have it An army moves from the east The Prussians who slipped through his hands Would soon spell his defeat

French lines now all broken And being open to attack The emperor has no choice And the old guard pulls him back

45,000 wounded or dead When the fight was finally through On a three mile square of battlefield Near a town named Waterloo

Foreshadowed man of destiny Soon you will be forced to see (of destiny!) Nations aligning against you Marking the time your reign is through (And you will see your hundred days come to an end) Foreshadowed man of destiny Soon you will be forced to see (the tragedy!) Nations aligning against you Marking the time your reign is through (It lies before you, fate shall befall you)

[gracejones]

some supplemental reading where the Ken Burns documentary (severely) lacked

[nuagederose]

we’re all stardust, baby 🌟

ig: badmotorartist 

[dodinaslesavage]

Texas Hippie Coalition - Hell Hounds (2023)

[njararna]

god i know ive been going on and on about voltron but im just like. so compelled by it genuinely. also the hate s4 got was kinda undeserved bc its a serious upswing from s3 (aside from a rough first ep). i enjoyed the voltron show unironically i love their little power ranger poses it made me laugh

[sinceileftyoublog]

Calva Louise Interview: Closer to Free

Jess Allanic of Calva Louise

BY JORDAN MAINZER

At the last festival they played before Riot Fest, UK-based rock band Calva Louise were met with a bit of confusion and perhaps a little skepticism. "We're British," they purportedly joked to the crowd, following with a half-hearted, "Innit?" Lead vocalist and guitarist Jess Allanic is from Venezuela, bassist Alizon Taho from France, and drummer Ben Parker from New Zealand, so the seaside town of Blackpool, England, on the Irish Sea coast, is the band's adopted home after "squatting" around London when they formed seven years ago. At the festival, whose lineup skewed folkier, they received more rapturous applause from the metalhead crew than the crowd themselves. "We felt like Marty McFly in the 50s," Allanic told me over a Zoom call earlier this month. "'I guess you guys aren't ready for that yet...but your kids are gonna love it.'" At Riot Fest, on the other hand, the crowd, showing up at the Roots Stage at 12:15 PM, was both ready for and loved the band's hook-laden pop-metal.

Ben Parker of Calva Louise

Calva Louise have gone through a few shifts before arriving where they are now. I first heard them on their pop rock, clean vocal-laden debut, 2019's Rhinoceros, released on Modern Sky UK. The album didn't do as well as the label had hoped, so the band was dropped. 300 Entertainment picked them up next for their sophomore record Euphoric, which featured the more aggressive sound with screamed vocals the band is known for today on songs like "Belicoso". But that label didn't work out either. Calva Louise views their struggles as a blessing in disguise. Now, they self-release, free to take their burgeoning aesthetic in any way they please, learning music and video programs themselves to fulfill their ambitious artistic visions. This year, the band has released four singles, the sneakily thumping "Third Class Citizen", melodic but industrial "Feast Is Over", tempo-hopping "Oportunista", and earlier this month, the dramatic "Square One", each with its own visual-universe-building video. (The songs will appear on an upcoming mixtape, now set for release in December.) Even their live shows are, for lack of a better term, DIY. For instance, when Allanic started recording more intricate piano parts in songs but didn't want to rely on such an inflexible instrument live, Taho bought wood and metal and built her a sliding keyboard so she doesn't have to move from her microphone stand. "I'm not very coordinated when I walk in general," she joked, "So running from one place to another to play a part, I'm gonna fall."

Allanic next to the sliding keyboard Alizon Taho built

At Riot Fest, the band certainly showcased their coordination--at least on their own instruments. Allanic's vocal control, from whisper to scream, on "Third Class Citizen" perfectly meshed with the song's rhythmic barrage and chiming keys. Her fast-picking and Parker's trapdoor stop-starts on "Oportunista" recalled the best of one of the day's later bands, Code Orange. Though they still needed to rely on pre-recorded backing vocals to play songs like "Square One", the band is surely but slowly finding ways to become more efficient with the resources they do have, all the while building in momentum to hopefully allow them some future financial flexibility. "We don't do things for show," Allanic said. "We try to do things that will help us put [out] a clearer image of what we want to express. We don't know how to communicate it yet, because we're just three people and the money is an issue." Calva Louise recently received a grant, which will help and on which they recognize they'll increasingly need to rely as an independent band. And they're even open to being signed again to a label--that is, as long as they're finally given the creative control that every artist deserves.

Read my conversation with the band below, edited for length and clarity.

Alizon Taho of Calva Louise

Since I Left You: Have you been using your live shows to road test the songs you've been writing?

Jess Allanic: When we finish the song, I go through all the possibilities on Logic. Alizon and Ben go over their parts until we figure out the best it can be. We have to rehearse every day to be able to play it physically. If we had more resources and didn't have to work, we'd just be rehearsing 10 hours a day until the song is ready. The gigs really help. 6 months ago, we started playing these songs, and now, we have to think about things like, "Where do I take the mic on stage?" or "When do I breathe?" It's like we have to have a musical director. Gigs are like the experiment, playing the songs constantly and figuring out what we have to change. [For instance,] we'll even change some drum parts [as a result of playing live] and rerecord them. The first time we ever played "Third Class Citizen" live, we knew it was good, but I wore a corset on stage and realized I couldn't breathe the whole song. [laughs] Someone recorded it and put it on YouTube, and it's just me out of breath.

Alizon Taho: There are definitely things playing live teaches you that nothing else can.

SILY: You've been releasing videos alongside the new songs. How important is your visual identity, especially live?

AT: The project is not just music. It's a whole multi-disciplinary project from comic book to the videos Jess makes. It's a big story. The visuals, it's super important they convey that story and make everything link together.

JA: It's hard with the means we have--the availability of gear and computers and knowledge of programs--to get to a level where you make people understand what's happening. We spend a lot of time learning how to do things. Alizon has spent so many hours learning how to program a live rig he built himself. We're really lucky we live in a day and age where technology is available to people like us and we don't have to go through university to study programs that cost a lot. You can get so much out of an online course for $100.

AT: We're still experimenting, too.

JA: How can we DIY something that could cost so much money? How can we trick the system?

AT: The live shows, especially headlining sets, we want it to be more than three people on stage playing music. An actual full visual experience. Every time we've gone on tour, we've tried new things, with projected videos Jess made, DIY lights. I think we're getting better.

SILY: You recently got a grant from The FAC, too.

AT: That will be even more helpful for the videos. You have to make every little detail yourself, otherwise. Now, we can buy some assets.

JA: There was a grant we were applying for for years but never got it. When we did the first video for "Third Class Citizen", we were at the limit. I was really hoping to get some grants because we weren't going to be able to do any more videos. It's such a relief. [Now,] we're hiring a studio.

AT: Usually, it's a green screen in a spare room somewhere. The grant will allow us to step up the production.

JA: And the narrative, because we can work with actors and a scriptwriter. The story is very complex. We're working with a guy in Spain who is a film YouTuber. He's helping us write the script. For the next video, we want to go as far as we can. I love how fast technology is going for videos. I don't know about the rest of [technology], but for art and cinema, the next step will be more studios with LED screens. You'll just need to have the idea and it won't be impossible to accomplish something really good with a small studio. I'm really excited where that's going.

SILY: Is your mixtape coming out this month as planned?

JA: It will be out in December now.

AT: When we started releasing these songs, we got management, which we never had. We got an agent in the US. Plans started changing a little bit with the team growing and more people helping us. We were talking to some labels and things like that, and the mixtape got postponed a little bit because of logistics. The special edition vinyl from the UK is still coming out next week. Good for [those people,] they bought it first. Digitally, it will be December 1st with the videos we are working hard on at the moment. When you're an independent band, things happen like this.

SILY: You have a half hour set early in the day at Riot Fest. How do you go about curating a setlist for people who might not have heard you before? How do you present yourselves in that short timespan?

AT: Just smash the bangers. [laughs] It's probably coming down to what we want to show, the songs we feel are the most representative.

JA: All the new songs, the songs from the mixtape. There's an intro, interludes with bits of the story of the music videos. It's really dense, but in a good way. We're trying to play who we are now. We are kind of eclectic. When we started, we played a different sort of genre of music. That was us, but we were signed [to a label] and had to obey certain rules. We couldn't be 100% free. This set, what we're planning to do for Riot Fest, we've been rehearsing religiously every day. We want to play the heaviest music we have. We want to try to show every little facet of what we do. Kind of like when you have tasters of beers. Hopefully it works.

AT: We have to be really disciplined during the set itself since it's 30 minutes. We have to be as condensed as possible.

JA: We had to time tuning our guitars. We do a mockup every day we practice. We try to time it, and I memorize exactly what I'm going to say. We try to make a good impression. Maybe people will want more. Hopefully, people will like it.

SILY: Can you talk about your most recent song, "Square One"?

JA: The mixtape is extremely DIY. It was the most DIY and cheap thing you can think of. We recorded the instruments in the kitchen. Our friend mixed and mastered it almost for nothing. For us, this is what we can do with no resources. "Square One", most of the vocals are gang vocals because there's not much time to rerecord them. It's one reason we wanted the mixtape to be self-released, to make it the purest form of DIY. I don't think it can get more DIY. It gets clearer and clearer through the process. The next song will be four videos in one, to make a short movie. We're calling it a mixtape and not an album to express that there are no resources put into these songs. That's the best we can do with just us, an interface and getting the stems to our friend. We're really lucky. We have the chance for songs to get into playlists. They're there with bands who have the best production, where you can hear how good it sounds. I feel proud that it's there in those playlists. It's been good.

SILY: Your first two full-length albums were on labels, but the mixtape is being self-released. Why did you go independent?

JA: We started the band in 2016. We're foreigners and didn't know anybody in England. Alizon had to learn English. It was pretty hard. We were squatting in London. When we got an offer to sign, we had to go through the terms. I think we did well in getting the opportunities, because they wouldn't have come otherwise, but because we [initially] obeyed a bit too much, [we didn't end up working] the way labels expected us to be working. We were signed to an English label [Modern Sky], and they were expecting much more reception than we got. We got dropped, which was great for us, and then we got signed by another label [300 Entertainment], but it was the same thing: We couldn't do what they wanted. If people don't understand you, it won't work. It didn't work with the second label. But then we had the freedom to do exactly what we wanted. To us, that was the best thing that could have happened, to have 100% freedom to make our own decisions and strategy, even marketing strategy like Instagram and TikTok. We don't have PR or radio people, but we did what we could and saw what happened. Nothing against labels--and we still want to sign to one--but this wasn't a decision and was just what we had to deal with. We got an offer for a label ages ago, but it was to do exactly what they say, which hadn't worked in the past. We got dropped, owed so much money, and were broke, unable to record or release new music. So we're self-releasing this and will be able to profit a bit from it. We own our publishing, the songs' masters. We can buy food, and that's good!

[empirearchives]

According to the historian and musicologist Maynard Solomon, Beethoven wrote on the pages of his Piano Concerto No. 5, “Austria rewards Napoleon” (“Östreich löhne Napoleon”). It was later dubbed as the “Emperor” Concerto.

[oldemagickrecords]

Wizzerd - Doom Child

[musiceater]

Texas Hippie Coalition "The Name Lives On"

Aterra com un tro el 7é àlbum d'aquests Texans, comandats per Big Dad Ritch a la veu.

Continuen amb la seva essència però un pel més soft, apropant-se al Southern-Rock amb "Built for the Road", molt en la línia Molly Hatchet pel seu motiu major a la intro i on, per contra, el seu tema més fosc ens el presenten amb "Keep My Name Out Of Your Mouth" (m'encanta el títol) que ens recordarà als Hellyeah i el, ben segur, tribut que els hi fan als germans Darrell (R.I.P.). Totalment oposat a aquesta composició, trobem la balada "I Teach Angels How to Fly", la cançó més fluixa d'aquest TNLO.

En línies generals, és un bon treball, contundent, no es fa pesat (podria haver durat més de 36 minuts) i sona molt bé i surenyo (poder no en el sentit clàssic del so però si en l'actitud), cosa que s'agraeix, ja que sembla que la música darrerament no està pel tema.

[sinsofsinister]

listen Sarah Schachner has done a fuckin great job with the MW soundtrack i love it (this is my fave piece) but something about Extraction Point from 2009!MW2 just hits different