#he has no idea what bandcamp is

[wren-of-the-woods]

I was singing along to Fair today and I noticed something fascinating: it's possible that there are three characters in the song: "I," "he," and "she."

Most of the first-person material in the song is in the form of quotations (e.g. and he'll say "it's not fair how much I love you"). We certainly have two characters, "he" and "she", who speak to each other throughout the song.

At the beginning and the end, however, something different might be going on. The song opens with a few verses in first person with no reference to "he" or "she" (It's what my heart just yearns to say...the reason I was born). Because Joey Batey is singing, it's easy to assume that this is "he" narrating. That may be the intention. It's interesting, though, that directly after this it switches to third person: Cos outwardly he says I try so hard to make you laugh at me / And she, she does, she laughs...

A similar thing happens at the end, starting with "how unfair they'll sing." This verse is narrated by an outside perspective: something looking in on the couple from outside. Fascinatingly, the chorus that comes after this is the only one that does not begin with a dialogue tag, simply saying "it's not fair." It's almost like that first line is a moment of the narrator's perspective before it switches back to dialogue between the characters.

Is this narrator a different person, perhaps a friend of the couple? Is it the world? Is it destiny? Is it the stars that hum and hear them? Regardless, they seem to be just as in love with the story and the people as the couple are with each other, and I think that's beautiful.

TLDR: The narrator in Fair may be a seperate entity from the characters within the song, but they are just as in love with the story as the characters are with each other.

[noodlepigeon]

Red Vox Before Red Vox

Vinny started playing guitar in 2003, and started writing music in 2004. He and Mike met in college and bonded over a mutual taste in music, including rock bands of many styles and eras, but especially classic rock and grunge.

Vinny was part of a few small bands at this time. He often played guitar for and with his high school friend Bill, even playing bass for Bill as his first gig. Eventually, Vinny and Mike formed a band of their own: Davy’s Grey. Mike was on drums, and Vinny took the role of vocalist, guitarist, and primary songwriter. A mutual college friend of theirs, Phil, played bass.

Davy’s Grey was primarily a live band, performing sporadic shows before recording seven of their best live songs and compiling them into the 2009 EP No Cigar.

Davy’s Grey was a formative time for the future Red Vox members. Several songs written during this period would make their way onto Red Vox’s earliest releases, including Trolls and Goblins, which was later recorded as a charity incentive in 2015, and Long Lonely Night, the penultimate track on Red Vox’s first full-length album. Several songs off the Red Vox EP Blood Bagel also came from this era; its Bandcamp page credits Phil with “witnessing the real Blood Bagel playing some of these songs with us back in the day.”

Davy's Grey disbanded shortly after the release of No Cigar, beginning a five year period of little musical activity from its former members. Mike took on various drumming gigs, though little came of these ventures. Phil became a solo musician and producer. Vinny primarily focused on his YouTube channel and streaming on Justin.tv, later Twitch.tv – he would, however, release his solo album Sibilants in January 2011, and Odds and Ends, a short collection of Davy’s Grey demos and solo demos, in December 2011.

All the while, Bill – a pianist/keyboardist, vocalist, bassist, guitarist, and probably some other things – was busy playing and writing music. In 2008, he joined the Seconds along with Joe Pecora. The Seconds released their first album Slip Away in 2010 and their second, final album Monstro in 2013. Bill released his solo album Villain in 2010 as well. All three of these albums were recorded, mixed, and produced by Joe. Joe himself played in quite a few local bands – notably, the Sweathogs, which would later evolve into Happy Anarchy (for which he also recorded, mixed, and produced). All of these projects took place at his studio, the Red Room, in Staten Island, NY. Vinny has described him as “a local legend,” a well-earned moniker.

Bill and Joe with the Seconds. First image: Bill on far left and Joe on far right; Second image: Bill on far right, Joe immediately to his left.

Joe (second from left) with Happy Anarchy at Red Room Studio, SINY.

Vinny and Mike reconvened around 2014, deciding to dust off some of their old songs to record. Bill introduced them to Joe, and this simple idea would soon balloon into an album taking a year of their lives to record and costing thousands of dollars to make. What could go wrong?

[thefringespod]

Welcome wanderers to another #AudioDramaSunday! We're going to start off with the @tellnotalespod April Fools episode because I laughed so hard it was so chaotic. It was just a silly good time! Leanne and Asher did incredible work playing each other's characters. Also on the Tell No Tales front I am CONCERNED about the ACTUAL episode 7 because uhhhh what was Frank doing? I am also shaking Leo once again I love them but LEO TALK TO YOUR FRIENDS

@souloperatorpod episode 7 was excellent as always. Tessa Whitlock has 2 hands and I am going to convince myself that this won't end poorly. The end of the episode makes me ConcernedTM but. But nothing actually I'm scared of episode 8

@woebegonepod 152 has brought back my beloved Tex and he is doing suspicious things and im love him anyway. I don't know what he's up to and I don't know what Stinky is up to and honestly I don't know what Dylan is up to but gods I love Woe.Begone

I finally did as I said I was going to and listened to @audistorium and gods yall it's so fucking good!!! They also just launched a patreon so if you want to support the show (and I highly recommend it if you can) visit their patreon

The @grottopod season finale hurt me so fucking bad. The entire cast did an incredible job and it hurt me SO BAD. Athan has also released the album for the entire first season and it's absolutely phenomenal (and um. I might be on it?) Check it out on bandcamp! (It will be streaming at some point I just don't use Spotify or anything like that so idk)

The lovely folks behind Fawx & Stallion (@224bbaker ) have started their crowdfunding for s2! Fawx & Stallion is one of my favorite shows from last year, it's fun and funny and delightful. If you can support them, please check out their indiegogo campaign!

Pod Jam has officially kicked off and some of my delightful friends are working on @working-tidal-pod! They just announced their cast yesterday and it's amazing. I can't wait to see what they do!

Here on the Fringes, I finished my recordings for season 3 which still doesn't feel real. I've also started brainstorming some ideas for further patreon content! If you've enjoyed the show and want to support us, you can do so at patreon.com/PineTreePods

And over on @forgedbondspod I've been working on the second half of the show! The writing is 3/4ths of the way through, just working on the last arc of the show now. I can't wait to share what we've been working on with yall!

In personal news, I've made the difficult decision to leave my job as it was causing a lot of stress and exacerbating my mental health issues. Gonna take a bit of a break from Day Jobs to work on finishing out Forged Bonds and then will be getting back into the swing of things. In the meantime, this should mean even more time for podcasts (both my own and other peoples) which should help me reset before heading back into a Day Job. My to listen list is very long and I'm excited to chip away at it some!

[kristsune]

So I had this idea a while ago, to do little reviews for all of Tim Meredith’s songs because I feel like there isn’t enough love out there for them. So last week I decided to just Do It. I finished (including the two new songs he just dropped yesterday) I have it here under a readmore, or if you would prefer, you can just read the gdoc here, I only did the songs that were listed on his bandcamp (which you should absolutely go to) even though there are a few extra early ones on his youtube.  These were written in no particular order, basically whichever song I happened to click on next. Anyway, feel free to read and spread the word.

How to even describe Tim Meredith’s music. The way he can adapt to different styles and genres is honestly impressive. It’s probably got something to do with the improv background but it’s amazing how he can just … choose a style and write an incredible song for it. Everytime he drops a new song I am always impressed with what he has managed yet again. 

Disclaimer: I don’t have any musical education except being friends with multiple musicians for many years in which only small amounts of information have managed to seep into my adhd addled brain. So I apologize for the lack of musically correct terminology, this is a work of appreciation, not technical prowess. Also lyrics are generally the last thing I hear, so I may mention them here and there, but they aren’t my main focus for this.

Always Here 

I can’t quite express what it is about this song that I adore, but it absolutely has something to do with the deep rumble of the bass and the way it drives the song forward relentlessly. The effect on the vocals only adds to this. The fact that it goes minor definitely caters to my tastes specifically. The high tones that come in during the bridge have such a Bowie quality that is delightful and a perfect contrast to the rest of the song. (artwork: the mossy greenery adds such a vibe to the song)

Don’t Look to Me

This has been one of my favorites since it aired. The high vocals of the chorus, with the overlapping harmonies are beautifully done and how they are placed over each other makes me think of something being sung in a large hall or church, big and echoey. Additionally the offset of the lyrics “it’s what you chose” (and to a lesser degree “any other way”) makes it feel like you’re being surrounded, like its multiple people telling you this is what you chose, what you wanted. I adore how the vocals trail out with the music at the end. (artwork: the hot pink neon feels so right for the feeling, the tiles adding to the echo)

Sweaty (Near You)

I know this one was controversial at the release, but I honestly could not then, and still cannot understand why. People are honestly sleeping on this song and it makes no sense to me. It’s got a very sensual vibe without gendered lyrics. Sure “baby” is used, but if you don’t think baby could be used for any gender then that’s on you, not the song. The deep base with the sparse instrumentation with a fun noodly solo is just an excellent combination that works so incredibly well. (artwork: the b&w photo with dark maroon text is a perfect combination)

Lucky Boy

When this song premiered my first thought was the entrance song for a villain in a movie. I could see it so clearly in my head. It’s got drive, and movement, and attitude the way it kicks up into high gear into the chorus from the verse with that fuzz guitar. The incredible layers with all the different synth/organ sounds, paints such an image. Nevermind the vocals that fit so perfectly within all that. (artwork: The maneki-neko is such a perfect choice for this)

Numbers and Lights

This is another one I have difficulty describing quite what it is that I love about it. It’s rather lowkey all the way through and I rather enjoy the… almost the stops and starts, the way it gives pause before kicking back in, like the song needs to take a breath before moving on. Again, pretty sure this one turns minor in a way that caters directly to me. Small detail that really delights me is what sounds like the equivalent to crickets under the “Reid asks Reid tells”. (artwork: gotta love biflag color rep. always a plus)

Limb Controller

This song features Amy and was an early favorite of mine. It feels like a song that could and should be played at a disco, just making me want to dance. The synths are perfect and I love how they gain intensity in the bridge before coming back down for the verse. The contrast between Amy’s higher vocals to Tim’s rougher growly ones is a perfect combination. I’ve always loved the “I’ve already let him in, a puppet on his string” moment. (artwork: when videos were still being made, love the scifi vibes)

Never Loved

Another song that is a bit more lowkey, but still comes through with excellent vibes. This one is really all about the syncopation especially with the drums. Which includes the panning back and forth during certain portions, but especially during the time change. I also really love the effects on the vocals. The occasional splashes of a high stringed instrument, and the crash of a forward cymbal really just add to the atmosphere of the song. (arwork: something about being called never loved with what looks like kintsugi just kinda Hits)

Love Your Mind

The repeating pattern throughout this song is just So Good, I love everything about it, and then how other patterns build on top of it? Impeccable. There are so many layers but it's never too much or loses track of itself, never feels over complicated or discordant. I always end up tapping along to the pattern, sometimes difficult to choose which one to follow. This song is shorter, but never fails to make me smile. (artwork: love the chandelier with the many intricate patterns, feels like it matches the song perfectly in that way)

On Your Terms

Oh that bass line. *chef kiss* Absolutely the backbone of the song, helps create the perfect atmosphere for that distorted guitar. Tim always puts a lot into the vocals, but here it feels like there is a extra level of emotion that feels raw. The way the note is held for “on your terms” just kind of kicks me in the chest every time. (artwork: love that the fire is the only color)

Some Thoughts After Consideration

This song truly resonates with me on a molecular level. I have been working in retail for going on 18 years and I just feel this song in the depths of my soul. Something about the wobbly synths and strong beat with the soft vocals are just perfect. The transition to what almost feels like a … big musical number in a theatrical show for the chorus. Like I can just see big spot lights turning on the stage. Perfection. (artwork: can’t go wrong with a squawking seagull, theme on point)

Falling Away

This is another one of my favorites. It’s so soft and gentle, lilting piano blending so perfectly with the vocals, which build up in intensity for the chorus so beautifully. Again, I think this one turns minor key, though I’m not as sure about it as I am with the others. I don’t have a lot of words for this one, but it’s lovely in its simplicity. (artwork: always loved this one for no reason I can really define)

Regret Me Not

I love how this song starts off sounding like something like a medieval march. The most prominent thing about this song is of course those incredible harmonies all throughout. The whole initial build up, and how it switches halfway through is just incredible. There is so much depth in this short song. I don’t always pay attention to lyrics, but when I did look at them I was surprised and delighted by how uplifting they are. (artwork: another older one with a video. I am a sucker for nature anything, and this just being a series of nature shots particularly appealed to me)

Pacesetter

The deep rumbly bass paired with the panning distorted vocals is just an incredible driving force. This song has the kind of beat that will just go on forever. If it were a predator it would be a komodo dragon just relentlessly following behind, never losing sight, always there stalking forward. (artwork: the starting line for a racetrack is an excellent choice)

The Aftermath

This was another early favorite of mine. The mandolin is the star of this song, but it is surrounded by a wonderful arrangement that allows it to be so. The gentle piano with the soft vocals, the shakers and woodblocks all come together beautifully. I always adored the extended pause about ⅔ of the way through. (artwork: this is my favorite video, and I’m sure it took a lot of work to match all the timing so well. The way it ends with the snuffing of the candle 10/10 no notes)

Arcadia

The light bouncy acoustic guitar is so catchy paired with the light and airy vocals, just makes for a lovely song all around. Truly impressive that so much can be expressed with so few instruments. I always find myself nodding my head along to this one. (artwork: makes me think of marshmallow and then want something sweet, but then I remember it’s a rock face and then that makes me want to climb it. Too bad it wasn’t a marshmallow clifface)

Deep Air

This is one of those songs that I love because it’s so out of the usual wheelhouse. It’s chill and wonderfully lowkey, and truly does make you feel like you are just floating around in space. The NASA audio certainly only adds to that vibe. Even with all that I do really love how it still slowly builds towards a big end. (artwork: excellent space vibes, love it)

A Horrid Angry Goose

I remember the goose game stream quite fondly, and this song in response to that was an absolute delight. It’s a fun and funny song, but it also has genuinely fantastic harmonies, and a strong baseline. The build up in each verse into the chorus is just so good. I love how it tells the story of the game, but in such a delightful way. This song is a guaranteed mood boost and I’m so glad for it. (artwork: Goosey perfection)

What It Says About Me

Adore the intro to this, the panning on the string instrument is perfect, and then when the beat drops and everything just drives on. Again, the way the vocals harmonize is impeccable. Truly impressive. Also adore the almost call and response at about halfway through. (artwork: something about the rusted half visible ship feels sad, though I suppose it’s apt for the song)

Unremarkable Sin

The alternating rhythms for this are just so incredibly good, the way it starts and the way it changes when the drums kick in, giving it a bit of swing that is just really great. I really love the gentle vocals for this as well, they fit between the instrumentation so perfectly. (artwork: i love the vague religious vibes, which somehow also translate into the music but in a not actually religious way)

What’s Due

Another one that just kicks ass right out the gate. The rising synths just gives this song such energy. The layered and overlapping synths and rhythms makes it feel like it’d fit right in at a bar or a scene in a movie (bar scene in a movie?) Again the pause about ⅔ the way through adds such drama and it’s absolutely perfect. The processing on the vocals is fantastic and the delivery only adds to the overall attitude of the song. (artwork: bull terriers are one of my favorite puppies and this one is SO cute, bonus points for bi pride colors)

Breaking

The bass line with the panning distorted guitar is such a good combination. That plus the processing on the vocals, creates such a spacious atmosphere that feels melancholy (Though I suppose the lyrics probably add to that feelings). (artwork: love a good seascape, big fan of corals and anemones, and adds to the vibe of having already “fallen”)

An Imagined Sense

Another song that just makes me want to dance, The way this one goes from just a decent beat to kicking into high gear is so good. Again with the excellent doubled vocals/extreme delay just creating such a great balance with the synths. (artwork: the video for this is extremely hypnotizing and feels like you’re being sucked into the song, which feel right)

Walk Away

The really distorted bass paired with the really light piano synth and gentle cymbals is just a really excellent combination. I really love the repetition for the chorus, plus of course the lovely harmonies make for a really lovely chill song. (artwork: Always been a fan of viewing through an opening, but the broken down interior out into the green outdoors is very pleasing.)

Exquisitely Bad

The groove that is set as soon as the song starts is just impeccable. And that groove just doesn’t stop. I love the contrast of that deeper bass with the higher synths that alternate between ears. Something about how the vocals jump up during with the chord progression is delightful. Really just a killer song. (artwork: love the dilapidated house with green font, fit right in with the Halloween premiere)

Horny for Greece

I know this started as a song from stream, but it is genuinely a fantastic song. That funky piano that gives Stevie Wonder Vibes, the niche but perfect rhymes with excellent vocals, the syncopated drums. All just add up to great vibes. (artwork: having the title cut diagonal over the broken section of sculpture is perfection)

The Eventual

Always a sucker for a song with handclaps. Mixed with the woodwind and the harmonica creates such an interesting atmosphere. There is something about the double beat on the drums that I really enjoy. I also love the strong distortion on the vocals, really pulls the room together. (artwork: took me ages to realize the picture was flipped upside down, that being said, it’s still very visually interesting)

Wretched

The slow build with the offset synths that make almost a round, the drums start and stopping before they fade and the beat truly starts is just so good. It creates such tension. I love how the synths create almost waves throughout the song, pulling it along. I also adore the effects on the vocals, just fits so perfectly with the soundscape of the rest of the song. (artwork: it took me a little bit to realize what I had been looking at, but the textures are so good. Fits with the vibes)

More Time

The hard fuzz guitar is such a strong start for this song, paired with the very rock drums is just perfect. Just has excellent classic rock vibes. I really love the depth of emotion felt in the vocals, and the low doubled vocal is a perfect extra layer you sometimes don’t even realize is there adding to it. (artwork: not sure how or why, but the fire seems to just fit perfectly for this)

Can’t Happen Here

I absolutely love the piano intro for this, it really sets the whole mood. I absolutely love the vocals for this song. The almost call and response, the harmonies, just *chef kiss* fantastic. I also really love the fuzz guitar when it kicks in. Ramps the song to a whole other level. (artwork: love the roiling clouds for this one. Yet again, fits the mood perfectly.)

Kennecott

I desperately love the percussion in this song, both the unusual patterns and the sounds used. It creates such a cool landscape for the song. And the interest doesn’t end there. The part where the sound pans quickly from left to right with the rhythm is just so incredibly good. This song is just an experience from start to finish. (artwork: I never quite figured out what this one was, an aerial shot? of the beach? My brain always just made it out to be an abstract painting but I am currently realizing that is incorrect. Still fits the vibe though, feels scattershot like the song.)

On Notice

(sidenote: I have barely listened to this one, because I tend to listen to my youtube playlist, and I found while making this that this song is only on bandcamp, so I haven’t listened to this one nearly as much as most of the others despite it being released about a year ago)

The sheer amount of Radiohead Vibes for this is absolutely incredible, and as someone who absolutely adores Radiohead, I love it. I love how the vocals come in and out, I love the almost droning instruments in the background. Additionally, on the delay on the vocals is fantastic, and I love the pause like ⅔ the way through. Excellent. (artwork: Love the b&w, looks like black marble. Great look.)

Better from Further Away

I love the simple clean (upright?) bass in the opening, with the soft drums. Again, I am a sucker for harmonies and I love them on the chorus. The juxtaposition of the very chill relaxed song, to the somewhat ridiculous (read: amazing) lyrics is very good. (artwork: Love this video, especially the close up zoom on the sheep when they are mentioned.)

Friend of Mine

I love how gentle and soft this whole song is. The piano and soft drums working so well together with the gentle lyrics. I really love it when the piano kind of goes into double time. (artwork: Love a good red sunset. Excellent.)

In The Dark

I love how this starts out with what feels like very 80’s movie synths, and then just shifts into a very chill song. Not sure why but it does give very 80’s Jim Henson vibes. Like I feel this should be in the Dark Crystal or Labyrinth or something. Maybe it’s the lovely harmonies that I can see being sung by small fuzzy puppets. Also I absolutely adore the horns throughout. Perfect 10/10. (artwork: I think 3 puppets should in fact pop out of the three holes to sing those harmonies.)

Now We’ll Never Know

This song is so very pretty. The simple bass and ringing guitar along with the gentle vocals. Yet again, the harmonies on the “oohs” are beautiful and I love them, especially paired with that gently picked guitar. (artwork: love a good dilapidated staircase. The green lettering is a perfect match.)

[cryogenically-frozen]

I've started reading Jealousy by @chinateacup recently. I should have done it sooner. It goes without saying as an Ishimondo fan I love it. It's holding my attention and reading doesn't usually do that so that speaks to the quality of it.

SPOILERS and implied SPOILERS beyond this point, both for the Danganronpa fanfic Jealousy and the musical Bloody Elle.

I have made this post because the whole thing reminds me of a musical called Bloody Elle. It's about a woman getting a crush on the new girl at her workplace and slowly realising that she is gay. It's available on Bandcamp but I can put songs here so I will because, if you like Jealousy, I may be able to provide you with some new songs for your favourite blorbo:

1)Stop the World:

This reminds me of Taka realising he's got a crush on Mondo. It has the lines "I don't know what I've been feeling but it hasn't gone away" and "what the f**k is happening?" to give you an idea of what the general idea of the song is. Makes me think of early Jealousy Taka as he's having realisations.

2)What Am I Feeling?

This one reminds me of Mondo's reaction to Taka and Aoi being touchy feely at the carnival and finding out they kissed. The entire thing takes place while the singing character (Elle) is stress smoking, and Mondo does smoke in Jealousy. The song has the lyric "When he grabbed her hand, I couldn't understand... And then he kissed her... F**king Hell." And "My heart just spat out my chest and I realize I'm shaking I'm a right f**king mess, don't know what to do with my hands." It's very Mondo but also slightly Taka, just to a lesser extent, mostly the urgency and quick rhythm and, as a fellow sensory buddy, this feels like when I'm overstimulated.

I don't know if Mondo realizes he's crushing on Taka don't spoil it please I'm only on chapter 5.

3) You and Me

Literally either of them. They are enamoured. They are in love. The song is great and cute. If your a fan of Mondo using slang there's some at the end. Basically they entire musical features it. Granted, it's British slang but it counts. "I think you're mint, I'd put your name in gold print, I'd buy you a car if I wasn't skint."

That's all I've associated with Jealousy for now. I may find more as I keep reading but if you want to listen to the whole album you can. It's all very ishimondo, it's just these are like direct parallels I've noticed. Just trying to my bit for my fellow Ishimondo lovers.

[dustedmagazine]

Listed: Jad Fair

Photo: Brian Birzer

Jad Fair’s music has been described as “art punk,” “primitive rock,” “naive pop,” and “experimental,” though none of those labels quite capture what it is. Never encumbered by the conventions of songwriting or technical virtuosity, or the idea that an instrument should be tuned, the guitarist/singer/visual artist always made the music that felt most natural. It’s not an experiment, he has said. It just is.

In the mid 1970s Fair started Half Japanese with his brother, David. In 1980 they released their famously audacious debut, a triple album called Half Gentlemen/Not Beasts. It was a raw explosion of teenage boy id. The brothers, both on vocals, indulged obsessions (girls, mostly) over discordant guitars and drums that bubbled and burst like boiling water.

Half Japanese has released many records since, in addition to the mountains of music that Fair has put out over the years, solo and in collaboration with Daniel Johnson, Yo La Tengo, Teenage Fanclub and many others. Over the course of 2021 he released two albums a week on Bandcamp, and then started making music with singer/songwriter/multiinstrumentalist Samuel Locke Ward. They just released their second record, Destroy All Monsters about which Dusted’s Margaret Welsh wrote that “In its warmth and sincerity, Destroy All Monsters straddles a strange line: It impersonates flimsy holiday novelty but resonates on a deeper level. Here are some of Fair’s favorite records.

It’s difficult to just choose 10 albums. There are so many albums that I love.

The Shaggs — Philosophy Of The World

I first heard Philosophy Of The World in 1979. I was given a cassette of it and immediately took to it. It was like no other album I’d heard. The music and lyrics are so sweet and sincere. I was very pleased that I was asked to do cover art for the release of The Dot Wiggin Band’s album Ready! Get! Go!. When I saw Dot’s band perform I was surprised to see that the musicians were reading music. I asked Dot about it and was told that the music for the Shaggs was written out.

The Modern Lovers — The Modern Lovers

In 1974 I read an interview of Jonathan Richman in Andy Warhol’s Interview magazine. I was impressed with what Jonathan had to say. When the Modern Lovers album was released I sent away for it and was floored by it. It’s a super fine album.

Spider John Koerner — Some American Folk Songs Like They Used To

Spider John Koerner is one of my favorite folk musicians. It’s a shame that very few people have heard the album. I think it’s his best.

Lord Invader — Calypso Travels

I’m a huge fan of calypso music. Lord Invader is a great calypsonian. I love the way he sings and his band is top of the top.

The Stooges — Fun House

I grew up in Michigan and when I was a teen, most of my favorite bands were from Michigan. Michigan had The MC5, The Stooges, Question Mark and the Mysterians, Destroy All Monsters and Motown. I felt I was living in the best state for music.

Daniel Johnston — Hi How Are You?

In 1984 my band Half Japanese had a tour with a stop in Austin. Daniel’s manager (Jeff Tartakov) gave me a cassette of Daniel’s album. During the tour we played it over and over in the van. I know many amazing musicians. What’s rare is a musician that is also a fine lyricist. Daniel was one of the best. He was a genius, and I was so lucky to have worked with him.

Bob Dylan — Basement Tapes

I like the relaxed feel of the songs. Bob Dylan and the Band were such a great match. Super fine songs and super playing.

Howlin Wolf — The Complete RPM and Chess Singles

In the early 1970s, I bought a lot of albums of Howling Wolf. It’s hard to beat Howling Wolf as a performer. He had power and charisma.

NRBQ — All Hopped Up

NRBQ is my favorite band. When I lived on the East Coast I would go to see them anytime they had a show in Maryland or DC. Definitely the finest live band I’ve seen.

James Brown — Live At The Apollo

It’s hard to pick just one James Brown album. He released so many great albums. Live At The Apollo has James in top form. It’s a brilliant performance. It’s star time!

[sibyl-of-space]

Yesterday, myself and a group of friends released THOUSANDS OF PIXELS IN YOUR HANDS. This is a 6-track collaborative concept album of original art and music themed around the GameBoy Advance console. The album in full is viewable above with timestamps for each piece. For individual track uploads/BandCamp release (planned for the near future), check the NeoCities Page where they will be embedded when available.

Tracklist:

Sealed Chamber by Error Sparrow (Vapor) ft. digital art by DarthButcher

Fuchsia Zone by ZeroJanitor ft. mixed 2D+3D gif by Aaron (AReallyFrog)

When the Levee Remakes by Joey Puricelli (CaptHayfever) ft. mixed media cross stitch by nyankat

My Internal Battery Has Run Dry by Leo ArcanaXIX ft. photography by DarthButcher

Liquid Crystal by Revolver Project ft. digital art by Marcus Bower (SpriteDude)

Adventure's End by Monstrman ft. painting by nyankat

Piece descriptions below readmore.

I. SEALED CHAMBER | Music by Error Sparrow (Vapor) | Digital Art by DarthButcher

Musician Notes: Sealed Chamber is an instrumental ode to the legendary Pokemon of the Gen III pokemon games (Ruby, Sapphire and Emerald), specifically Regirock, Regice and Registeel. It's an ambient, dungeon synth-kinda track meant to capture the mystique of the elaborate quest through Hoenn's secret areas - undersea, underground and elsewhere - that the player undertakes to find all three Regis. The instrumentation is 100% Pokemon RSE soundfont (with some effects and such thrown in).

Artist Notes: Digital watercolor and ink pen using Adobe Fresco on iPad. May has heard the legend of three bionic beasts and finally thinks she has come upon the cave of legend. She has searched far and wide across Hoenn to try to find the entrance and after a series of trials, her quest may prove fruitful. What she doesn’t know is that while she searches for them, they stand alert to her presence ready to pounce when the moment is right. Stylized with inspiration from Ken Sugimori for a watercolor aesthetic, my first time working with the medium.

II. FUCHSIA ZONE | Music by ZeroJanitor | GBA 2D+3D Gif by Aaron (AReallyFrog)

Musician Notes: Inspired by the translucent pink Game Boy Advance model, officially known as the Fuchsia model. Instrument samples are taken from Sonic Advance 3, and the voice samples are from the LingoJam robot voice generator.

Artist Notes: I created this little animation by exporting the frames from Blender, drawing over them in Aseprite, and then exporting them as a gif. I think the gif struggles a little but I’m happy to have gotten to try combining 2d and 3d animation!

If you’re interested in homebrew games for the gameboy family there are a few collections of roms (.gb/.gbc/.gba) on my itch page I try to keep up to date.

III. WHEN THE LEVEE REMAKES | Music by Joey Puricelli (CaptHayfever) | Watercolor + Cross-Stitch Mixed Media by nyankat

Musician Notes: Arr. for voice, jaw harp (x2), shaker, wood handles, bongos, drumkit, & Casio PK-5.

I had the opening lines of the first verse looping in my head for weeks before I finally had time to hash out the rest of it. There really were a metric buttload of remakes on this system; this song cites 38 (though maybe I’m cheating to include Game & Watch Gallery) & that’s just where I stopped researching because I thought I had too much. My nickname for Kirby in verse 3 came from the American NiD commercials, which for some reason used the theme song to the 1960s spy show Danger Man.

Artist Notes: Watercolor on paper and Aida cloth, cross-stitch. As soon as Joey laid out his idea I was inspired to do a mixed-media piece. This is basically a reimagining of the old Pokemon Kanto intro screen, in a forest clearing, with one side cross-stitch/“low res” and the other watercolor/“high res.” I asked Joey what else he might end up referencing besides Pokemon and went from there. (I presented him with a word map before starting the actual design; this piece was an absolute boatload of work. But I’m pleased to say I captured his intended vibe on the first try!) The full piece depicts Nidorino, Kirby, Piranha Plant, and Samus (low res) vs. Gengar, Meta Knight, Baby Mario on Yoshi, and a Metroid (high res). Let me tell ya, stitching on Aida that you’ve already painted is very difficult! But it made for a really cool effect. Thank you for the collaboration (and your patience lol), Joey!

IV. MY INTERNAL BATTERY HAS RUN DRY | Music by Leo ArcanaXIX | Photography by DarthButcher

Musician Notes: My concept for this was to sample sounds from doing a GBA cartridge internal battery surgery and use those sounds as instruments. I took inspiration for the form of the song itself from "Clockwork" from Castlevania: Circle of the Moon, a GBA game with both an internal battery and a banger soundtrack.

Artist Notes: Shot on a Sony a7IV, Sigma 24-70mm f2.8 DG DN, 70mm, 1/40s, f/7.1, ISO 1000. Nothing says cartridge repair more than actually dismantling a cartridge and beginning to conduct surgery. Utilizing photography with a strong key light, contrast of the system on one side and additional cartridges behind it, and some mild post-production to bring out the colors, this piece tells a story of frustration that a beloved game may have seen its last days.

V. LIQUID CRYSTAL | Music by Revolver Project | Digital Art by Marcus Bower (SpriteDude)

Musician Notes: This song began with the intent to write a dark-step inspired drum & bass track using the Game Boy Advance internal synthesis. I set out researching the best homebrew Tracker/DAW for the console, and discovered that my ancient flash cartridge wasn't fully compatible with the majority of them. As a solution, I used a branch of LSDJ which maintained compatibility with the GoombaGB wrapper for GBA.

I opted for a harsh and bright industrial guitar style to compliment the harsh synth and percussion sampling of the GBA, which may sound familiar to older Revolver Project fans. All of the percussion and the majority of the synths were originally voiced using the GBA's internal synth and sample abilities. They were then heavily edited on a PC DAW, into the final sounds you hear. Notable exceptions include some bass sounds, which were created using a semi-modular Behringer Neutron.

I hope after listening to this, you'll be inspired to fire up a GBA and play your favorite Metroid or maybe a racer. Just remember to turn a light on if you're playing on an original model, don't let that LCD stay dark. ☻

Artist Notes: AI was pretty much the perfect match for me, as we’ve worked together many times in the past and we always seem to be on the same wavelength. In fact, he suggested “neon lights and cyberpunk” for the theme of the piece after I had already started drawing just that. Other than that, it’s pretty much just a fast-paced super-foreshortened actiony sci-fi piece. The guy is just a random cyberpunk dude I made up, and the drones are supposed to kinda look like metroids.

VI. ADVENTURE'S END | Music by Monstrman | Acrylic Art by nyankat

Musician Notes: I wanted to make a song that really captured the finality of finishing a game on the GBA. In reality it’s more about the experience of completing all your games in general, but since it’s GBA themed I added some flavor. The intro/outro was written on my guitar first, then I made the rest in my DAW.

Artist Notes: Acrylic on canvas, 8 in. x 8 in. I listened to a very early draft of Tim’s piece, which reminded me of the ending screen of Mega Man 2, where he walks away through different landscapes. This evolved into the piece it is now, with a person facing away from the viewer with a guitar over his back, next to a GBA set on a table and showing the message “Thank you!” I’m not particularly strong in figure drawing, so I asked Tim to pose as a reference, and I think that turned out quite well. I also asked him if he wanted the GBA or the curtains a specific color: The GBA is silver like the one he had growing up, and the curtains are OG GBA blurple. Thank you for the collaboration, Tim!

[mywifeleftme]

361: bill bissett & The Mandan Massacre // Awake in Th Red Desert

Awake in Th Red Desert bill bissett & Th Mandan Massacre 1968, See/Hear Productions (Bandcamp)

(From “mor memoreez uv marvara reel konversaysyun,” scars on the seehors, Talonbooks 1999)

That’s a sample of how poet bill bissett’s writing looks on the page, phonetic and arbitrary, intuitive and free, while also checking the reader from taking any word for granted. The poems are frequently conversational in tone, but the way you have to sound out his writing to understand it means the reader's cadence ends up replicating the idiosyncratic singsong way bissett speaks. The 84-year-old remains a one-of-a-kind live performer, doodling all over the line between spoken poetry and song. He croons nonsense lullabies and pastiche ragas, shakes a maraca, intones mantras until their familiar words lose all their sense, even dances a little. It’s funny—I wouldn’t recommend his writing to someone unfamiliar with the avant-garde, but I would confidently take just about any open-minded person to see one of his shows. He has the affect of a holy fool or a joyful monk, and basically anything he does makes more sense in the context of his corporeal presence.

Back in 1968 though, bill was a wild young man, and Awake In Th Red Desert, his LP with backing “band” Th Mandan Massacre, is full of noisy freakouts and some patience-testing explorations. The Massacre includes four percussionists, some trained (jazz drummer Gregg Simpson) and some not (poet Martina Clinton, bill’s then-partner); electric guitar; two flutes (one a toy); and cutting edge Buchla Box synthesizer by the otherwise unknown Wayne Carr. Response to Red Desert has been pretty mixed—one of its Bandcamp uploads even warns, “Please preview the tracks before downloading. There are no refunds.” I suspect many listeners don’t make it past the first side of the record, which often sounds like what it is: clattering free improvisations around bissett’s sung or shouted recitations. On the flip though, things mellow out for some fascinating minimal synth explorations, bissett doing his visionary thing on a haunting electronic field (see “fires in the tempul”). “she, still and curling” is particularly freaky, Carr making sinister cricket noises with his Buchla, tape of bissett’s voice chopped up into hypnotic loops, layered and manipulated till it sounds like a collage of short wave radio transmissions. The ramshackle noise of the early tracks eventually returns on the awesome “now according to paragraph ‘c’”: bissett reads what (initially) seems like a found text that gets weirder and bolder as the poet works himself into a lather, the Buchla’s bleak tones tattered by the percussion squad’s stiff beat.

I snagged this off Montrealer Alex Moskos, who oversaw the reissue for Massachusetts-based avant-garde label Feeding Tube, and getting this thing back out there has clearly been a labour of love for him (the production quality is impeccable; great explanatory liner notes too). Are there 500 people who want this record? I’m not sure. But for fans of bissett, sound poetry, freaky music, and early electronic, this’ll be of interest. One idea: tell people Awake was the work of a solar death cult leader from the Pacific Northwest who disappeared during an eclipse and they won’t be able to keep the damn thing in stock.

361/365

[corvidcall]

"oh haha everyone uses the same played out songs on all their playlists" "wow you all only listen to mainstream stuff like taylor swift you gotta branch out 🙄" WELL GUESS WHAT my favoritest album ever has been purchased on bandcamp by a total of 10 PEOPLE

its a beautiful album of 22 exactly 2 minute long chamber folk songs, and it was made by a guy i went to high school with. idk if hes even still actively making music because i haven't talked to him in over 10 years. idk if he even thinks about this album half as much as i do. do you have any idea the level of derangement i have to endure about this. no. you couldn't possibly.

anyway listen to II by Leon Headstrom its dope

[talenlee]

Decemberween ’23 — The New Music From This Year

New Post has been published on PRESS.exe: Decemberween ’23 — The New Music From This Year

How do you listen to new music?

I understand it’s really common for most people to listen to music in their cars or using systems like Spotify, which I don’t like and don’t drive. That’s right, I don’t like cars and I don’t drive Spotify. I listen to podcasts when I travel, usually, and I listen to music while I work at my computer, because I want something that affects my mood while I’m doing, like, this work.

Frustratingly, just because it’s usually there and ad-free, I let Youtube throw mixes at me. Then when I’ve noticed I’ve done that enough that some songs are part of my personal lexicon, I go and acquire those songs some other way, whether bandcamp (in the case of small bands) or

I want to nakedly recommend an mp3 collection to you. You don’t need special software to manage it. You can just dump all your music in a great big heap and use the search function on any mp3 player you like to find the songs you want. You have paid for music, you have paid for the right to use it in different forms, spotify subscriptions are not paying artists and they are rent-seeking on things you can buy directly, or in many cases have already bought.

Anyway, here’s the stuff that I added to my mp3 collection this year.

The Lads are a Christian band from New Zealand I listened to as a kid. I re-found them on Youtube this year. They’d had a song that stuck in my head, an idea that I’ve been trying to stick to, which is if you need a reason to make a change in your life, anything will do. Why not make a big change on Arbor Day, a day you probably had no idea was a day on your calendar?

Arbor Day - The Lads // Arbor Day

Watch this video on YouTube

I mean this isn’t amazing music, but I like having it on hand, you know? The detritus of what we are. Not all of us were influenced by absolute bangers. Sometimes the idea that ‘you can make changes to your life for any given arbitary reason’ is a good thing and it doesn’t matter that much that I got it from a band of dorks who moved to Nashville to sing songs to megachurch kids (which is their spot now).

Sub-Radio - Stacy's Dad (Full Video)

Watch this video on YouTube

Next up, a parody song. Stacy’s Mom is a banger of a song about having a crush on an older woman (and the song doesn’t, like, go anywhere with it). Then we get a delightful genderswapped version here, which I hesitate to call a ‘parody’? It’s the same song, basically, it’s just a different orientation with the same comedy bent.

One thing I do find a little awkward is, now I’m starting on being ‘in my forties’ (man that feels weird to say), hearing someone talk about ‘is he learning about the Civil War’ like – so what?! So what if that’s a thing that interests me!? How did I get read like that?

AJJ - "Brave As A Noun & Survival Song" (KVRX Library Session)

Watch this video on YouTube

The band Andrew Jackson Jihad, for, perhaps sensibly obvious reasons, changed their name recently. This meant they made an announcement on Youtube at some point and I noticed that (‘AJJ on their name announcement?’ what did AJJ mean?) and that meant I listened to some of their music, annnnnd I like it! I’m told they make Folk Punk, which sounds to me like nonsense but I also am firmly of the opinion that there’s nothing quite so punk as making very specific categorisations that everyone around you must adhere to, right?

BANG! - Last Life AMV

Watch this video on YouTube

Thanks to the Last Life Youtube series of Minecraft Hardcore Lets Plays –

What are you laughing at –

I wound up listening to some cool music that was made as part of animatics by cool fans of the series, too. And while sometimes that meant learning about something cool like the band AJR (who are not the same thing as AJJ, thanks file sorting),

Curses - Last Life Animation

Watch this video on YouTube

Or something interestingly indie and creepily jazzy, like The Crane Wives (and I’m sure I’ve shared this before, surely it was in my list of new music last year),

W.I.T.C.H | Double Life SMP

Watch this video on YouTube

Or maybe even something else normal people like like Devon Cole’s WITCH, it did also mean I wound up appreciating a song…

Sharks | Life Series Animatic

Watch this video on YouTube

By Imagine Dragons of all people.

Animatics are great. They recontextualise songs and the recontextualisation means that now I have a story for these songs to be about and not just, like, Imagine Dragons’ latest car ad.

The Killers - A Pirate Looks At Forty (Jimmy Buffett Cover) HQ

Watch this video on YouTube

I think I shared this earlier this year too, but it’s the Killers cover of A Pirate Looks At Forty. I may be a bit overly maudlin about anything to do with Jimmy Buffett this year, since this is now the point at which I know that he’s had to leave the party.

Yofukashino Uta

Watch this video on YouTube

Also, this year I listened to a bunch of Anime OPs, because I was watching more anime this year. And the anime this year that I liked just happened to have OPs that I think are great, so I added them to my list. In the vein of ‘sounds like just cool music you might seem international and interesting for listening to,’ there’s the band Creepy Nuts! They do Japanese hiphop and, in addition to the songs from the Call of the Night anime soundtrack, you should also check out Song for the Prodigies.

Summer Time Render - Opening | FULL HD [1080p]

Watch this video on YouTube

The opening of Summer Time Render sounds to me like jangly folk rock? I think people call it College Rock? Problem here is I don’t even know this song’s name. It’s just The Opening To Summer Time Render, which is my favourite anime of the year, like it just absolutely whips ass, so I hear this song and I remember how that show makes me feel, from its first embarrassing opening of boobs and butts to its astoundingly sweet conclusion.

"Mobile Suit Gundam the Witch from Mercury" Textless version of opening "The Blessing" by YOASOBI

Watch this video on YouTube

The opening to Witch from Mercury has a similar effect, but I really like the way it has this, like, descending step effect? The staggering of it, it sings like dancing, and I love the way it feels like it’s responding to its own anxieties.

I have no idea what this song is saying.

TVアニメ『リコリス・リコイル』ノンテロップOPムービー｜ClariS「ALIVE」

Watch this video on YouTube

I think that the opening and ending of Lycoris Recoil whip ass. There’s this thing the opening does which I think anime openings love doing, which is this sort of crooning that turns into a high, wide arc and then abruptly stops and regathers its footing?

Paripi Koumei Ep5 ED

Watch this video on YouTube

Perhaps obviously, Ya Boy Kongming, an anime about music in Shibuya District, has nothing but bangers in its soundtrack. Everything, even the song by the Evil Bad Band That Sucks are good, but I especially like this cover of Kibun Jojo for the ending that adds instrumentation and a rap verse as the series progresses.

Shikimori's Not Just a Cutie - Opening | Honey Jet Coaster

Watch this video on YouTube

On the other hand, Honey Jet Coaster is just… like, energetic sugary pop music, it feels completely artificial and I have no reason to recommend it. Much like everything to do with Shikimori’s Not Just A Cutie you kinda have to get something out of it on a very superficial level, because there is nothing going on here.

(That’s a lie, the song is voiced as if it’s a boyfriend singing about Shikimori, but the vocalist is a woman who sounds like Shikimori, and it describes how Shikimori is a ‘better boyfriend than him’ but you know, so what.)

The Truck Got Stuck - Corb Lund

Watch this video on YouTube

Now a hard swerve from songs I absolutely cannot sing to songs I absolutely can. I learned about Corb Lund this year! He’s a Canadian country musician, who I learned about after a comedian who appeared on Behind The Bastards told a story about how one time, a racist on a neo nazi website reviewed his set he did opening for Corb Lund, and was so upset he realised that Corb Lund might not be racist enough for him.

Anyway, truck got stuck.

Roll Northumbria (Loud Version)

Watch this video on YouTube

Continuing Canadian songs I can sing along to, The Dreadnoughts dropped an album late last year, lot of good songs but especially good is this version of Roll Northumbria, which is a song I already liked, but this time rendered as a big loud stomping song.

Sidle Up

Watch this video on YouTube

Also, something that a lot of bands I like have in common is how good they get when they say, turn forty and stop carrying around a focus on high school. That’s what happened to the Littlest Man Band, which is actually a spinoff band from Reel Big Fish, a 90s Ska Band One And A Half Hit Wonder. I have liked Reel Big Fish all through the years, but on a few tracks, as a gag, they let their member Scott Klopfenstein just do a wholly soulful rendition of a totally different style.

And uh, then he went and made his own band that just does those songs and they’re great.

blink-182 - ONE MORE TIME (Official Video)

Watch this video on YouTube

Talking about things from the 90s that got better as they matured, Blink 182 have a single this year. Apparently it’s part of an album I have no interest in listening to, but this single, on its own, phew. Just fantastic vibes and a real improvement on their baseline sound. It’s Blink 182, but with just a lot more musical competence and fewer mangled half-rhymes.

I thought after I was done with single paragraph summaries I’d go back through the article and bulk it out with more details, to get up to the word count I wanted. Turns out I’m at one and a half times my word count, oops!

Check it out on PRESS.exe to see it with images and links!

#Decemberween2023

[sinni-ok-sessi]

The Deacon of Dark River

Hello friends, spooky season continues and I am here once more with a translation of one of my favourite Icelandic ghost stories, this time The Deacon of Myrká. This one is also a Christmas story! A gift for all seasons. This one also comes with a song version: Djákninn á Myrká by Rósa Ingólfsdóttir. And apparently there was a ballet too, which sounds cool as fuck and if anyone has a recording, hmu. The music for that, by Alex Cook, Hlér Kristjánsson and friends, can be found here on Bandcamp.

As with Bjarna-Dísa, I am translating the text from Snerpa here.

There are some notes for people unfamiliar with Icelandic placenames and folklore conventions at the end of the story - these will give added context to some events, but are also mild spoilers. There are also content warnings.

The Deacon of Dark River

In earlier times, there was a deacon at Myrká in Eyjafjörður; no mention is made of what he was called. He was courting a woman called Guðrún; according to some accounts, she lived at Bægisá, on the other side of the Hörgá River, and she was a serving woman to the priest there. The deacon had a grey horse, and rode him often; he called the horse Faxi. One time, a little before Christmas, it happened that the deacon went to Bægisá to invite Guðrún to a Christmas party at Myrká, and he promised her that he would meet her at the appointed time and accompany her to the party on Christmas Eve. The day before the deacon had gone to invite Guðrún, there had been a heavy snowfall and it was icy out: but the same day that he rode to Bægisá, there had been a rapid thaw, and as the day passed, the river became impassable because of the rushing water and ice floes, while the deacon was delayed at Bægisá. When he left there, he thought little of what had happened during the day, and expected that the river would still lie as it had before. He crossed over Yxnadalsá by bridge; but when he came to Hörgá, the river had burst its banks. He therefore rode along the bank until he reached Saurbær, the next farmstead over from Myrká; there was a bridge over the river there. The deacon rode onto the bridge, but when he came to the middle, it collapsed beneath him and he fell into the river. The next day, when the farmer at Þúfnavellir rose from his bed, he saw a horse in riding gear at the far end of the hayfield and thought he recognised Faxi, the horse of the deacon of Myrká. He was surprised at this, because he had seen the deacon leave the day before, but was not aware he had returned, and so soon suspected what must have happened. So he went down to the end of the hayfield; there, as he had thought, was Faxi, all wet and in a sorry state. Then he went down to the river, out along the point called Þúfnavallanes; there he found the deacon washed up lifeless on the farthest point of the promontory. The farmer went immediately to Myrká to tell them the news. The deacon was badly injured in the back of the head from the ice floes when he was found. Like this, he was brought home to Myrká and buried the week before Christmas.

From the time that the deacon went to Bægisá up until Christmas Eve, no news passed between Myrká and Bægisá about this event, because of the thaw and the flooding. But on Christmas Eve, the weather was calmer and the river had gone down in the night, so that it seemed a good idea to Guðrún to go to the Christmas party at Myrká. As the day wore on, she went to get herself ready, and when she was well on the way with that, she heard a knock at the door; another woman went to the door, which was next to her, but saw no one outside, and it was neither bright outside nor dark, because the moon waded through the clouds and drew them back and forth. When this girl came back inside and said she hadn’t seen anything, Guðrún said, “The game must be for me, and of course I will go out.” She was then entirely ready, except that she had yet to put on a cassock. Then she took up the cassock and put on one sleeve, but flung the other over her shoulder and wrapped it about her like that. When she came outside, she saw Faxi standing in front of the doors and a man next to him that she thought must be the deacon. It is not said that they exchanged any words. He took Guðrún and set her on the back of the horse and he himself sat in front of her. They rode like this for a while, not speaking. Now they came to Hörgá, and the river was high in its banks, and when the horse plunged forward off the edge, the deacon’s hat lifted up at the back, and Guðrún saw his bare skull. At that moment, the clouds drifted away from the moon; then he said:

The moon rises, the dead ride; can’t you see the white mark in the back of my skull, Garún, Garún?

And she was startled at this and fell silent. But some say that Guðrún lifted up his hat at the back and saw the white skull; then she had had no choice but to say, “I see that which is there.” No more is said of their conversation, nor of their journey, before they came home to Myrká, and they dismounted there in front of the lychgate; then he said to Guðrún:

Wait here, Garún, Garún, while I bring my Faxi, Faxi up to the yard, the yard.

Having said this, he went with the horse; but she looked into the churchyard. There she saw an open grave and became very afraid, but to save herself, she grabbed hold of the bell-rope. At that moment, she was seized from behind, and it was fortunate for her that she had not had time to put on more than one sleeve of the cassock, because so mightily was she gripped that the garment split apart at the shoulder-seam of the sleeve that she had on. And the last she saw of the deacon’s journey was that he flung himself with the torn cassock, which he was still holding, down into the open grave, and gravedirt from both sides was swept in on top of him.

And there is this to tell about Guðrún, that she rang the bell continually until the inhabitants of Myrká came out and found her, because she had become so afraid from all this that she dared neither leave nor stop ringing the bell, because she was almost certain that she had encountered the revenant corpse of the deacon there, though she had not previously heard of his death, and she was later certain of it, when she got word from the people of Myrká, who told her the whole story of the deacon’s death, and she in return told them about the journey of the two of them. That same night, when everything was over and the lights had been extinguished, the deacon came and sought out Guðrún, and there were so many wicked tricks that everyone was woken up, and no one slept that night. Half a month after this, she could never be alone, and needed a watch kept over her every night. Some say that the priest had to sit by her bedside and read psalms.

Now a sorcerer was summoned from Skagafjörður in the west. When he came, he had them dig up a large stone from the end of the field and roll it back to the main hall. During the evening, when it grew dark, the deacon came and wanted to get into the farmstead, but the sorcerer forced him south in front of the hall, and settled him there with many great wounds; then he rolled the stone down on him, and there the deacon rests to this very day. After that, all the hauntings at Myrká ceased and Guðrún began to be more lively. A little later, she went home to Bægisá, and it is said by people that she was never the same as before.

~

Notes: There are some ~potentially significant~ names that appear in this narrative. They’re not suspiciously apposite, but it might be nice for the reader to know that the deacon’s home of Myrká means Dark River, with many of the other placenames in the story also containing the river suffix -á, and that the first syllable of the name Guðrún refers specifically to the Christian god (as opposed to goð for other gods). The undead and other unholy creatures are generally held to be unable to pronounce the name of God. This is perhaps because, somewhat unintuitively, it's pronounced Gvuð. It's also worth knowing that Christmas Eve is generally considered a deeply haunted time in Icelandic folklore and many supernatural events occur on it.

Content warnings: death by drowning, the undead

[lavendermanna]

listening to this jpegmafia album tonight bc i was scrolling thru bandcamp's best of 2023 list and im pretty sure @bugboypip played it for me me at some point last year and its rly good, y'all. i used to thing danny brown's voice was too weird and goofy for me to enjoy (and this is coming from someone with a self-proclaimed love of vocalists who sounds like muppets) but this album has convinced me that whatever the fuck he's doing can be good, actually. and peggy's production is just fucking amazing. this shit is inspiring, listening to this made me want to open up a daw and start fucking around. its so chaotic it feels like theres so many ideas packed into everything. also i just looked up what an SP-404 looks like and apparently this guy made this entire album on a sampler that looks like a fucking Sci-Fi- Device out of 80s star trek?? like hot damn

[finalgirl2020]

musings on lost music (not an essay just a glorified infodump (trying to get my thoughts in line))

been listening to a bunch of covers of a lost song that only exists as a lil snippet of the chorus

this lost song that only exists as a lil snippet of the chorus

(this infodump is not about ulterior motives it is just the jumping off point)

the title is speculative, as of course nothing else from this song is known to exist online. anyways the covers are super interesting to me because they're not really quite covers of the song, but moreso new songs that just share a chorus since they're all super different, like they tend to go for an 80s pop vibe since the original snippet sounds pretty 80s (frankly i think it sounds like something out of an exercise video myself) but beyond that they all kinda just write a new song around the chorus.

anyways all that got me thinking about lost media (specifically lost music) and all the ways that music can go lost, particularly outside of the mainstream scene.

like ok, before the digital age yeah there's a LOT of lost underground music. for instance the current leading theory on the identity of the mystery MF DOOM collaborator mr. fantastik is that he was an underground artist who rapped under a different name (pure mathematics) but of course like most underground music his potential discography is lost to time probably forever.

but music in the digital age isn't exactly safe either. like in 2018 myspace lost ALL user uploads added before 2015, 12 years worth of files uploaded as early as 2003, you can see this in action by going to any old myspace page, where the bulk of the images and audio are completely broken and just do not exist anymore (for a specific example just try going to toms page its a travesty)

the obvious first question is: "well, where were the backups?" and hey

GOOD QUESTION, we don't fucking know. my personal theory is they didn't have any. because consider, this is myspace during it's decline, why the fuck would they go through the additional expense to back up all this media that people have uploaded, that's just an additional expense. now i'm not saying myspace nuked the uploads deliberately, there's not really any evidence i know of to back that up. most sources seem to say it really was accidental. but what i'm saying is i would NOT be surprised if it was deliberate.

now since myspace was so popular among indie musicians in the 2000s you can assume that this would basically be the burning of the library of alexandria for indie music, and yeah it basically is that. there IS some good here though, the internet archive was able to archive music from 2008-2010 (via an academic study) although i am unsure of how comprehensive it is. even assuming it is comprehensive that's still only 2 years out of 12. there's still a LOT missing in all this. you can go check out their dragon hoard if you like, it even has a web player that lets you search around it easier (since the filenames are not exactly readable)

ok so what this made me think about is hey, what if this happens to bandcamp?

because like its no secret bandcamp has not been exactly on very stable ground lately, its a service that generates a fairly steady income but its profit margins are still generally lower than most other music marketplaces on the web. but steady income is not enough to be successful in the web space you need PROFITS.

so basically bandcamp got sold to epic games in what might be one of the most baffling acquisitions i've seen (i really have NO idea what epic wanted bandcamp for) which basically just ended up with the company getting gutted by layoffs and union busting and getting passed along to songtradr, a music licensing service, which just gutted bandcamp's workforce further. and this precarious future for bandcamp makes me think "hey, what happens if bandcamp goes under?" because i'm sure there's a lot of stuff on that site that might not be posted elsewhere, i mean its way less likely than back in myspace days since there are just SO many places to put your music now so it wouldn't quite be library of alexandria tier like myspace. but still it just gets me thinking about how nothing on the internet is really up forever like people say. like yeah that's a good principle to go by in some cases, assume you cannot truly delete something. but it is also good to assume that even if you can't delete something there's no guarantee someone else won't for you

anyways bleh i kinda hate how i write long form but i might as well throw this out, just an infodump on things ive been thinking about lately. i dont know how to end posts

[bronanlynch]

this one has a muffin recipe which hopefully makes up for the extended discussion on gender in a disappointing YA novel. anyway. happy wednesday

listening (podcast): keeping up with Palisade, where the table friends are as usual entirely on their bullshit. love a story that asks the real questions like, what if you follow some guy into a public bathroom and then it turns out he's in charge of the fucked up evil intelligence organization that used to kind of be in charge of the entire planet.

I'm also going back and listening to the Great Gundam Project episodes on original Gundam, which they did at the very beginning since they're going in chronological order and it is so funny to go from later episodes where I'm like "wow these people are so smart and know so much more about Gundam than I do" to "wow these people are so smart and are doing some incredibly insightful analysis considering they don't know shit about Gundam"

also this was a Media Club Plus week. Jack made lots of fun observations about Killua and his relationship to violence and also Gon that will be very interesting to revisit in like a hundred episodes. god I love dramatic irony

listening (music): for once in my life I'm listening to new music, from a self-described "flaming queer power pop" band from New Jersey called Teenage Halloween (I would say they're more punk than that description implies to me, the lead vocals especially are very classic punk, by which I mean rough and hoarse and shouty in a good way). here's their bandcamp, I think my favorite tracks are Takeaway and Getting Bitter, but they're a fun band and they have a sound that I enjoy. and also for normal reasons I like when people sing about New Jersey and/or living in a shitty suburban town

reading: finally finished Leigh Bardugo's Rule of Wolves (last book in the Grishaverse series). some wild tonal dissonance at the end because it's supposed to be a hopeful ending where the future is going to be better and maybe Ravka as a country can change and be better, except the main characters spent the past two books inventing industrialized warfare and that is not something that can just be undone?? they have missiles now??? sorry but once you introduce missiles to your fantasy setting I no longer believe that the future will be kinder & less violent than the past. also, the gender. it's time to talk about gender again. Nina's love interest Hanne, who has repeatedly been uncomfortable presenting as feminine, kills a guy who sucks and steals his identity, and talks about feeling more like themself because now they're not seen as a woman. this is the part that I like, it's fun and interesting and I think it's cool when trans people do regicide (the guy was a prince). the parts I feel conflicted are the way Nina reacts with such disappointment that Hanne no longer looks how they used to (though she does come around to the idea), the fact that all of this comes from Nina's perspective (when Nina has spent the entire duology waxing poetic about what a beautiful woman Hanne is, when Hanne is explicitly uncomfortable with being seen as beautiful or a woman) with nothing from Hanne's point of view, the fact that this reveal happens at the very end leaving no space to see how this changes their relationship moving forward or to see Hanne exploring what their transition means to them, and the way it ties to something Bardugo said, back between the Six of Crows duology and this one, where she said that the next time she wrote Nina, her love interest would be a woman. and don't get me wrong, I love that Nina's bisexuality is very present on the page. however. Idk. that doesn't seem accurate and it feels clumsily handled like. sorry that's a transmasc butch who deserves a girlfriend who isn't constantly thinking about how pretty they were when they were forced to have long hair

however, in books that I'm enjoying much more, I'm reading The Death I Gave Him by Em X. Liu, a near-future sci-fi Hamlet retelling about trying to create a scientific cure for death in which Horatio is the AI of the unethical science lab and also (I think, based on what I've read so far) in love with the Hamlet figure. it fucking rules. I'm a known fan of Hamlet & Hamlet retellings, and also when the setting is alive & sentient & loves you, and also relationships between people and like, non-humanoid intelligences (it's kind of like the reverse of a possession romance, instead of the god/robot/etc inhabiting the human the human is the one doing the possession). also, I think the sense of paranoia & claustrophobia from the original Hamlet is done really well here, in a way that works well thematically and also feels. Idk. I'm trying to figure out a way to say this without psychoanalyzing myself on main but it's a very compassionate depiction of the Hamlet figure's mental state that's just. nice to read. anyway. structurally I love that it's framed as though it's someone's thesis about an incident that they've researched, so there are bits that are excerpts from phone logs and trial transcripts and things like that. I'm partway through but it's extremely good so far

watching: continuing to keep up with the TGCF donghua (for once I've seen the newest ep before posting this), which continues to be a good fun time, even if the cr*nchyroll subtitles are pretty awful (both in terms of typos and also the way they sub gege as Lian). but I do like this arc! it's fun! Hua Cheng and Xie Lian are in love!

watched a few more episodes of Hunter x Hunter to keep up with MC+ and I've gotta say, I enjoy Hisoka as a character a lot more than I did the first time I watched this. I am not immune to when a fucked up guy with a cool design murders people with playing cards. however, even though Kurapika didn't do much in the assassin/battle royale bit of the Hunter Exam, Kurapika is still my favorite

moving on to the normal amount of Gundam we watched, we finished Zeta! god. Zeta my fucking beloved. I think the ending pays off a lot of the stuff about Newtypes as a stand-in for human connection, by which I mean it fucking rules that the Zeta Gundam has ghosts in it and that Kamille can defeat Scirocco, who does not form equal partnerships with anyone or listen to their advice, by listening to the advice of his (dead) friends who live in his brain & his robot. also like, I still don't like Reccoa's plotline overall but her confrontations with Kamille & Char do a lot of good characterization work for both of them (Kamille refusing to believe that she's not just really deep undercover! Char uninterested in hearing her reasoning and attacking immediately but still unable to kill her and surprised by that!) and also I love her final fight with Emma. her and Emma killing each other is yuri, to me. on a design note, I think I tend to prefer the mobile suits in 0079, because under no circumstances do you have to hand it to the Principality of Zeon but they knew how to make a grunt suit with some fun shapes in a way that the Federation/Titans simply do not apparently. however! shout out to the Qubeley. what a neat-looking robot

and of course, immediately after finishing Zeta we started ZZ so. that also is a thing I watched. the tone whiplash from the ending of Zeta with a bunch of people dying and a kind of bittersweet victory to the beginning of ZZ was wild. Judau is so much more of a plucky YA protagonist, and there's so much more of a tone of, these kids are going to do some wacky shenanigans. like, Yazan goes from horrifying to a comedic figure. which is not to say it's bad! I am enjoying it! but sometimes it kind of feels like an entirely different creative team (which I know it's not, I know this is still very much still Tomino. but there's such a major vibeshift). my favorite thing about ZZ so far is all of the class stuff, it's nice to have that as a lens to view this setting (an extremely predictable thing for me, guy who loves stories about class conflict, to say). but I like having protagonists who are concerned about their own economic stability (though it does raise questions of like, is Bright getting paid?? by whom??? is he getting paychecks from the Federation still/again?? who is paying for Kamille's hospital bills??? Tomino please show me the Argama's budget spreadsheets). my other favorite thing is that Bright is still here, even though he is very tired and deserves a vacation. he has Such big single parent energy now, good luck to him. my other other favorite thing is that Roux Louka exists, she's a lot of fun so far

playing: still working my way through Ace Attorney 5. Aura is back and I love her! also I'm becoming invested in the concept of Clay/Apollo, partially because I am not immune to Apollo wearing Clay's jacket and partially because I love when you go to Aura's lab and Apollo is there talking to her, and he immediately realizes that Aura and Metis were in love even though Aura denies it, and her loss of Metis is paralleled with Apollo's loss of Clay. there's something compelling to me there as a story about queer grief, and mourning someone's loss even when you can't talk about exactly what they meant to you

making: we've made a couple of recipes from the Skyrim cookbook (cheese fondue, glazed carrots) (not at the same time to be clear. those were different meals) and they both turned out pretty tasty. however, the most exciting thing we made was the muffins from this post. they are, in fact, extremely good. we doubled the recipe because what would we do with an extra half a can of pumpkin

drinking: one of Lamplighter's pride beers from this summer was a sour ale with butterfly pea flower & lemon, and I'm trying to drink through the summer beers in our fridge to make room for all of the autumnal ciders. this one's tasty! again, love it when beers are citrusy & floral

writing: still working on a zine fic that I can't share yet, and also the extremely Palisade spoiler-y Integrity fic from a few weeks ago (to be fair I haven't gotten to the spoiler-y parts yet, instead I'm continuing to be possibly the only person in the fandom who cares about Orbit Shard). also, predictably, I've started writing Gundam fic. predictably, it's Emma/Reccoa and instead of getting to the kissing part Emma is introspecting about ideology

[hospitalterrorizer]

diary30

10/4-5/2023

wow, 30 of these.

i don't know what to put here today, i did work on a song, i got the riff(s) down and the drums so it needs a bassline, there's a part that can use some synth accompaniment, that's cool, i cannibalized some parts/ideas from the synth demo thing i posted the other day, and i also used that guitar sound in an older song cuz it seemed like it'd fit.

now i'm thinking if i ought to go re-record some vox for that old song, who knows, i should decide that tomorrow because it's late now, and i make dumb decisions about stuff when i get in my head and it's late.

i guess now, i'm just thinking about the band the hellp. i quite like them, i think they're super exciting and also maybe one of the more complicated things to hit the scene in a while, not cuz of the sea change people into them/this current thing (which you can call indie sleaze but the band denies it and they're mostly ahead of everyone doing that right now (sidenote, it's very interesting to me how there's people from soundcloud making this jump, in particular 2hollis, this guy i dislike completely musically and i think he might suck socially/politically (miladymaker associations but does that mean anything if you live in nyc really?))). but the aside brings us to one of the complexities w/ the hellp which is their association with that whole new york thing that's basically skewed super reactionary. it's not a complexity because it's like, something you have to weigh in value, but it's complex because of the reasons someone might decide that they're at least doing something right, it's all newyorker selfsuck obv but it seems hugely appealing for artists/anyone who believes that there's a lack of sorting out of noise from signal rn, they're super obsessed with bareness and expressing reality really and so on (thinking back on the thoughts i was having about the obsessions these people have w/ stock images aesthetically). they often have really bizarre misreadings of leftist writers, bataille, byung chul han, even like, marx, baudrillard (noah dillon, singer of the band, is also a photographer, he seems very influenced by baudrillard when he talks about his photography and never names him, but the shadow of poststructuralist theory looms large over his work and how he conceives of himself, it seems). if i could imagine any reason for people to want to tether themselves to that scene, i'd say it's maybe one of the things most able to confer, by association, some kind of meaning, place, and status. coming at a time where everyone feels pretty dislocated and disabled when it comes to making art and it being received at all, really, that seems basically valuable, it's so niche and arcane that if you do blow up, who is going to know or care, or catch the weird things you say in interviews, and if you stay niche and arcane, you've got a base somewhere at least who will rep your merch and buy your music on bandcamp so that way you can feel like you're kind of a success, or something. it's only i guess complex if this stuff catches you in any way, the music, the ugliness of that scene, and two guys who, from what i know, are basically nice and normal if weird, one made a slightly exploitative feeling documentary about native reservations and addiction, it's very short and i feel like its heart is in the right place, maybe, or maybe it's just looking to shock you with poverty porn, i can't tell entirely, it feels like it wants to expose you to truth and how it feels to be there, and not say anything about it, and not say anything about the things that are in any of those people's lives, faith and the army are paid to w/ special attention, and i guess it's evident how destructive they are but in presentation of the band, he talks about how america has no faith anymore, and no patriotism, and it's almost with a kind of apathy he says this, he cares obviously, but there's also a remove. i can only read it as a callout to everyone else who is just like that. it's not like i need people making music to be perfect, so it's not like i'm upset these guys are weird, it's just fascinating to me, i don't think they're fascist, i think they might just be trying to fit in with something and looking for something to jump off of to give the music some kind of cache/meaning so it can work, work meaning, i dunno, lyrical content to use, a place to criticize from, a character and visual history to engage with. they want to be about america, in a super total way i think, they also really want to be about girls or femininity in some way. the video for tu tu neurotic really brings that home i think.

something something, vapidity, sincere embrace of some kind of trashiness (so you can tell why i love them) the lyric "we're addicted to the pain so it just won't leave"

tu tu neurotic also has very strange lyrics in reference to native people too, that feel basically connected to the stereotypes he probed in his short. he also says "faggot hides outside the closet" and i don't mind because it's kind of a genius lyric, i'll bat for that one. their lyrics are kind of a cluster of nothings that run through a head.

i'm gonna see them live here, next week, w/ yves tumor, which is like crazy exciting i guess. i still haven't listened to yves' new record, but i love the last one.

also i bring up nyc a lot here, but the hellp are an la band, which makes their efforts to fit in funnier/sadder, like they're displaced no matter what, no matter where they are.

thinking about them made me write a tiny bit, that's funny, they started the story i've been working on sort of, or they helped locate the sort of place the narrator's stuck in.

now i'm listening to crystal castles. i'm #stupid.

i want glasses that take up half my face. just so i can really achieve the look, and the internet's gone out, that's so annoying, i hope i don't lose any progress on this or anything.

okay it came back, or i dunno, maybe.

cox are so stupid/annoying with it, they throttle stuff for no reason it seems like, inexplicable and stupid.

i wonder if tomorrow i'm gonna get to record vox or anything or not. i'm up until 4 now, so annoying i am so stupid. i also feel ugly suddenly. exciting stuff, i spent maybe 40 minutes plucking hair from my face just now i think i dunno maybe less but it felt like a while. it's important to do that so i don't feel maximum ugly, and instead i just feel regular ugly until i get manic and then i think i'm kind of pretty and the cycle repeats until i have a bad day and feel maximum ugly anyways and think about killing myself 100 times in a row.

anyways i feel like maybe it's good that i put pictures in these because it sort of helps me feel like i'm actually scrapbooking parts of my life for real or something and this is the 30th one and there's a selfie i didn't post from when i went to the movies and whatever. i dunno. it's vain i guess. i'm vain because when i was 9 years old i saw that girl who stood on a table looking crazy/creepy and everyone called her creepychan and i thought i should be just like that. now i'm just oversharing in a really sad way. whateverrrr.

it's so easy for me to get into a mood. i'm not even in a bad mood really. if someone were talking to me i guess i would be but since i'm alone i'm just kind of sad. almost said something insane that doesn't need to be said. i don't feel tired at all though.

today was mostly very normal. not a lot happened, i felt good even at points, i think this sudden bout of whatever is just because i'm crazy and i wish lighting was good all the time, and i don't think it's like, cope, to think maybe lighting is bad and it treats my face bad and that i'm not actually misshapen, but i can't help but think/feel that anyways,

so, byebye!!

[tagohd]

Couple things going on here: 1) I added a new melody, and 2) I thought it would be neat if it slowly transitioned from 8-bit to "real" instruments, so I did that. (Also, as a reminder, the original version of this song is available on Bandcamp.)

So, the "lore" here is that this is the theme of the protagonist's hometown. (The protagonist's name is Luke Campbell, btw; not sure if I've mentioned that before.) This town is basically in the middle of Bumfuck, Nowhere, and there's absolutely nothing to do, hence Luke calls it "Boringsville" instead of its actual name (which I still haven't come up with). Anyway, plot happens, Luke goes on a grand adventure, yadda yadda yadda, and at some point he returns to Boringsville, but he has a new appreciation for it. Yeah, it's a sleepy little farming town, but the people make living there worthwhile (or something sappy like that).

That's kinda what I was trying to represent by having the instruments change. The broader idea here is that this is the soundtrack for an imaginary video game with a vaguely defined plot, so maybe it's a dynamic soundtrack and the instruments get replaced as you forge relationships with the other residents or rebuild the town or something. I think it makes more sense as separate tracks, but I spent longer than I should have working on this, so I'm just going to post this.