#i recently finished writing a dub for the full length song and

[spicyicymeloncat]

I will never not be losing my mind over the funny hatsune Miku game. Why is the hatsune Miku game so deep actually I’m screaming

[duhragonball]

Battle Tendency Liveblog JJBA Ch.48-52

This is the “Joseph vs. Straizo” arc, so I’ll just lead off with one of my favorite moments from the entire JoJo franchise, when Joseph furiously declares war on Straizo with tears in his eyes.   In the anime, voice actor Tomokazu Sugita delivered this with such intensity that it actually overshadowed the machine gun.

None of the dubs or translations can do it justice, including this panel from the JoJo’s Colored Adventure scanlation project.   This is a faithful translation of Joseph’s line, as far as I can tell, except they always leave off the last part: “宣戦布告だぜ!!”  In romanji, that’s: “Sensen fukokuda ze!!”    And it means  “This is war!!”  

But I’m getting ahead of myself.

Last time, we saw the Joestars treating their new friend Smokey Brown, to dinner at a fancy Italian restaurant.   Some mafia jerk caused trouble, Joseph whooped his ass, and then a second mafia guy apologized and shared a rumor he recently heard: Robert Speedwagon was found dead in a Mexican riverbed, apparently killed by a Tibetan monk.  

From there, we see that Joseph immediately realizes that this must have been Straizo, and Erina suspects that it must have something to do with the Stone Masks and the battle with Dio fifty years ago.   Smokey warns Joseph to consider the source, but Joseph is pretty sure it’s credible information, since mafia guys are all about money.   I’m not sure what that has to do with whether he’s telling the truth, though.   Either way, Joseph slugs the guy for just blurting out such terrible news in front of Granny Erina.  

Now, at this point, Joseph and Erina are making all these Phantom Blood references, and Smokey has no idea what they’re talking about.   And I think seeing this panel helped me understand Smokey’s role as a viewpoint character.  When the Part began, it seemed like Smokey was sort of the narrator for the thing, which works because he’s a good viewpoint character, and he seemed to be settling in as a sidekick like Speedwagon and Poco in Part 1.   But shortly after this he just vanishes from Battle Tendency altogether, and then he shows up at the end like it’s no big deal.   I never quite understood that, and I think this is the sort of thing that fuels the “Araki forgot” memes, but it actually makes a lot of sense.  

See, Smokey’s primary function is to be the viewpoint character, specifically for the readers who missed out on Phantom Blood.    BT is a direct continuation of the previous part, in a way that none of the other JoJo parts are.   Most of the main BT cast was deeply affected by what happened in Part 1.   A few of them lived through it, and the ones that didn’t have personal connections to it.    So they constantly talk about Stone Masks and Dio without really stopping to explain any of it.   Well, if you don’t know what they’re talking about, you can take heart in the fact that Smokey doesn’t know either.   So as long as he can keep up with the story, so can the uninitiated readers.  For now, all that matters is that he’s impressed by the Joestars’ great kindness, and he’s intrigued and disturbed by these hints of a tragic past in their family.  

And eventually, Smokey learns just what happened to the Joestar Family, or at least everything that the reader needs to know to follow Part 2.   But that doesn’t happen until near the end, which is why he shows up to hear the secrets revealed.   But for most of the story, he steps aside, because that’s mostly about Joseph dealing with events in the here and now, so Joseph can act as his own viewpoint character.  

But is Speedwagon truly dead?   The story flashes back to the previous night, after Straizo killed his own disciples and clobbered Speedwagon.   They’re in this temple where Speedwagon discovered more Stone Masks, like the one Dio used, but Speedwagon also discovered an immortal man petrified in a stone column.    Straizo was enlisted to destroy this “Pillar Man” with his Hamon power, but instead he wants to use one of the Stone Masks to turn himself into a vampire.  

Before he does this, he reads Speedy’s translations of the writing on the walls of the temple.    The ancient Aztec cultists who built it said that the Pillar Man was immortal and had many powers, but he was vulnerable to the sun, just like the vampires from Part 1.   But the writings warn that the Pillar Man created the Stone Masks because of this weakness, and one day, “when he befriends the sun, the world will be his.”  That doesn’t seem to follow, since the only thing the Stone Masks seem to be able to do is make new vampires, who are just as vulnerable to sunlight as the Pillar Man.   

Anyway, Straizo doesn’t seem to care.   He just doesn’t want to die of old age, and he’s become disillusioned with the Hamon power he has, so he’s turning heel and going full goth on us.   To avoid Dio’s mistakes, he plans to eliminate any witnesses, including Joseph and Erina.  Then he’ll go into hiding and figure out a long term plan, with the rest of the world unaware of his existence. 

You know, now that I write that out, I’m amazed by how similar that plan is to what Dio ends up doing in Part 3.   In Part 1, he set about turning a whole town into zombies, and planning to unleash them on the world without any real agenda.    But in Part 3 he eventually holed up in a swank mansion in Cairo and took great pains to stay hidden while he acquired more power.   Parts 5 and 8 carry that same idea even further, with villains who go to great lengths to cover up their very existence.   

At any rate, we only see Speedwagon pass out in this scene, so it’s unclear whether he actually dies or not.   Really, using Speedwagon in this way is a pretty smart play.   He’s an old man, and he was never going to survive another 50-year time-skip into the next part, so it’s safe to assume that Part 2 is his swan song.   But how will he die, and when?   It could be at the very start, or maybe somewhere in the middle.  

Anyway, Straizo just walks up to a cafe in New York to confront Joseph, and Joseph whips out a machine gun and shoots his ass.   This whole time, Straizo had assumed that the untrained grandson of Jonathan Joestar would be easy pickings, but Joseph’s a lot more skilled with Hamon than he expected, and he’s tricky too. 

As Joseph fires on Straizo, he recalls how worried Erina was about all this.   The story kind of glosses over it, but Joseph seems to have worked out Straizo’s entire plan.   I guess that’s not much of a stretch.   He and Speedwagon were together with a temple full of Stone Masks, and then Straizo turned on Speedwagon.    Why else would he do that, unless he used the Stone Mask to turn into a vampire like Dio did?   And once you arrive at that conclusion, it isn’t hard to figure out what Straizo’s next move would be.    And that’s how Joseph was so prepared for this.    After the shooting stops, Smokey freaks out about Joseph murdering a dude, but Joseph was expecting a vampire the whole time. 

I also like Joseph’s line in the flashback.   Erina isn’t worried for herself, but for Joseph, because it looks like he’s being pulled into this same tragic fate as the rest of the family.   But Joseph resolves to face this head on.    “If this is my fate, then I accept it.”  Pretty sure Will Zeppeli said the same thing when he discovered that he would die saving Jonathan.  

There’s similar “call-to-adventure” moments in the other parts.   Jonathan has his when he accepts Zeppeli’s offer to train him to battle Dio again.  Jotaro has his when he defeats and saves Kakyoin, then learns what’ll happen to his mother if he doesn’t go.   Josuke has his when Angelo shows up and he has to avenge his grandfather.   Giorno kind of always had a hankering to take on Passione, but I think things got serious once he had a choice between killing or sparing Bruno.  There could be no turning back from that point.  For Jolyne, it was the moment she had a clear path to escape the prison but decided to go back in because that was where her enemy was.    For Johnny, it was that one battle where he chose to crawl towards the danger to save Gyro instead of withdrawing to safety.   For Gappy... I’d have to study that a bit.   

But for Joseph Joestar, it’s this moment.  Erina never sent Joseph to learn the Ripple from the Hamon monastary, and she seems to have taken great pains to keep him out of trouble, but now trouble has come to them, and Joseph isn’t about to back down.   

So yeah, bullets don’t actually kill vampires, but Joseph was hoping to destroy his head with some of those shots, or at least slow Straizo down long enough to finish him off.   Instead Straizo reveals that he has the power to shoot high pressure fluid from his eyes, the same move Dio used to kill Jonathan at the end of Part 1.   He calls this “Space Ripper Stingy Eyes” which is either stupid or brilliant depending on your mood, I guess.   He used it to protect his head from the machine gun fire, and then he uses it again to shoot Joseph... except he hits Joseph’s reflection in a nearby mirror, and I guess he didn’t notice the real thing standing behind him.

What makes this fight so awesome is that these two are determined to kill each other, and they each have extremely simple moves to defeat one another, but they have all these tricks and schemes to protect themselves.   Joseph manages to hit Straizo with Hamon, but it does nothing... because Straizo was a Hamon master before turning into a vampire.   He can’t use the Ripple without destroying himself now, but he still knows how to defend against it.   For instance, he’s got this scarf woven from dead bugs, because it conducts Hamon energy far more effectively than his own body.    So it just absorbs Joseph’s attacks and disperses the energy harmlessly away.   

Does it really have to be made of dead bugs?   I feel like Tonpetti just told him that as a prank.   “No, really (snort!) the only thing that works is dead bugs.  (tee-hee!)   It smells awful but you have to wear it (ha!).”

But Joseph has his own tricks, like... putting a dozen grenades on his opponent’s back when he isn’t looking!  Seriously, there was zero opportunity for him to do this.    One moment he steps over Straizo’s body to see if he’s still alive, and the next moment he supposedly planted all these things on his scarf.   I get that he could pull a string connected to the pin without being noticed, but that’s the only part that makes sense about this.   It’s still awesome, though.   If Jonathan had access to explosives, Part 1 would have been a lot shorter.  

I really think this was the battle that set the tone for Stand Battles in later Parts.   Araki loves these off-panel tricks in combat, and they’re a lot easier to explain when all of your characters have magic super powers.   If Joseph had Hermit Purple in this fight, there’d be no problem at all.   He could just use Hermit Purple to snake through the ventilation shafts and hook up all the grenades.   In fact, it’s tempting to suggest that Joseph was unconsciously using Hermit Purple throughout Part 2, but I don’t want to get into that right now.

Anyway, explosions don’t stop vampires any more than machine gun fire.   Straizo’s body is in pieces, but the pieces just slither back together and regenerate.   Wait, wouldn’t his head have been vaporized in that blast?   Also, Straizo spends the rest of this battle in the nude, so we know that stupid scarf is out of the equation.   Why didn’t Joseph just go back in the cafe and finish Straizo off while he was still in pieces?

Again, it’s easy to say “lol Araki forgot”, but I think it’s a lot more sensible to suggest that Joseph forgot.   As clever as he is, he went in with the Ripple, a machine gun, and a dozen grenades, and Straizo had an answer to all three.   He doesn’t want to press the attack because he’s out of tricks.   All he’s got left is another Hamon attack, which means Straizo will see it coming.   Or he’s still worried about the scarf, and hasn’t realized that it’s gone now.    In any event, he’s running away, creating some distance before Straizo can make his next move.

Also, there’s a lot of bystanders gathering around, so it makes sense to take the fight elsewhere.   Some guy named “Bruty” tries to stop Joseph to impress his girlfriend, but that backfires spectacularly.  Was Bruty in the anime?  I feel like he wasn’t, but I don’t want to check. 

The one I do remember is this girl photographer.   Spider-Man hadn’t been invented yet, so in those days photographers just sort of wandered around with their camera, waiting for Spidey to debut.   This exploding vampire diner is the best she could do in 1938.  

I just really like this lady.   There’s a spark in her eye and I just assumed she would end up being Joseph’s love interest by the end of the story.    Well, we’ll get to that.  

Instead, she’s a hostage.  Joseph and Smokey run to the Brooklyn Bridge?   I guess?   It’s a bridge, I’m sure of that much.   Anyway, Straizo catches this lady and takes her with him to intercept them.   He threatens to kill her unless Joseph faces him again.   But Straizo offers to spare Joseph and never trouble him again if Joseph runs away.   This is because Straizo figures that if Joseph chickens out now, then he’ll never be a threat to Straizo in the future, no matter how powerful his Hamon abilities become. 

Joseph tries to call his bluff, but then Straizo rips out one of the girl’s teeth to prove he means business, and Joseph gets furious all over again.  I don’t think he was ever planning to abandon this fight, but he was probably hoping to get Straizo to give up his hostage at least.   Now he’s just pissed, and Straizo is impressed.  Joseph tries to act cool, but he just can’t hide his passionate feelings.    This is in stark contrast to Jotaro, who wagered his own soul in a poker game and bluffed his way to victory. 

So Straizo tries again with the Space Ripper Stingy Eyes, but this time Joseph blocks it with two shot glasses charged with Hamon power, and then he lands the decisive blow.   But before Straizo dies, Joseph demands to know why Straizo dumped Speedwagon and the others in the river.   Not only does Joseph want to give him a proper burial, but he doesn’t understand why Straizo would have dumped them in the river, since that was how Joseph knew to expect him.  

Wait, I thought Straizo wanted Joseph to know he was coming.   Oh well.

Anyway, Straizo explains that he had to do it, because the Pillar Man was absorbing the blood from his victims.   Straizo was worried that the Pillar Man might awaken, so he put them in the river instead to be safe.    Nevertheless, he suspects that the Pillar Man will reawaken eventually anyway, and Straizo now realizes that it will be Joseph’s destiny to face him some day.    Then Straizo just uses the Ripple one last time, and self-destructs. 

It always seemed strange to me that Straizo saw the danger of the Pillar Man and just left things the way they were.   Maybe he planned to deal with him later, or maybe he just didn’t know or care about it until Joseph defeated him, and he felt a moral obligation to warn someone. 

I guess he could have destroyed the Pillar Man like Speedwagon wanted him to do in the first place, but it seems like Straizo didn’t realize that blood would wake him up until after he was already a vampire, and unable to use the Ripple.  For that matter, it remains to be seen if Hamon will work on Pillar Men.   

Anyway, what else is going on?   Oh, yeah, Europe is getting closer and closer to World War II.   The official start of the war is usually considered to be September 1, 1939, but Italy invaded Ethiopia in 1935, and Japan invaded China in 1937, and Germany annexed Austria and conquered Czechoslovakia in 1938, the year Battle Tendency is set.  So we’re in this weird time period where there’s Nazis in the story, and the British-American protagonist doesn’t care for them, but isn’t trying to kill them on sight.   I’ll be coming back to this topic later on. 

I think the main reason for including Nazi Germany in this story was to draw parallels between their goals and those of the fictional villains.    The Nazis believed themselves to be the “Master Race”, the most “evolved” people, and this made them worthy to rule the world.   Araki notes that they turned to all sorts of sci-fi/occult/fantasy stuff in their war.   Similarly, you have villains like Dio and Straizo turning to mysterious Stone Masks for spooky powers, and then you have the Pillar Man himself, who apparently sought the means to “befriend the sun” and rule over the world.    So the Nazis fit into this theme of trying to claim some sort of supremacy over other beings.  

But what’s their role in this story?   Well, the Germans have an “information base” in Mexico, run by a guy named Stroheim.   He makes pretty ladies shave him with a straight razor, and if he gets a nick he makes them lick the blood off, and then he threatens to cut off their tongues.   Also, he trained his dog to not eat treats until given permission. He’s a sick fuck, is my point. 

Wait, no, my point was that his staff discovered the bodies that Straizo dumped in the river, including Speedwagon, who’s still alive, somehow.      I guess Straizo was going to finish him off but he got in a hurry when he saw the Pillar Man absorbing the blood from the others.  Not sure how Speedwagon survived that ordeal, but Stroheim’s men have been taking care of him this whole time, and he was unconscious until recently, so it might have been touch-and-go for a while. 

            Back in New York, Joseph doesn’t know what this is all about, but he decides to go to Mexico himself to get to the bottom of it...

[thesunlounge]

Reviews 370: Coyote

I have been mostly absent as of late due to the pressures of completing my PhD studies, but now that the work there is finishing, I am trying to return to regular reviewing. And for months and months now, one of the records I’ve most wanted to discuss has been Coyote’s Buzzard Country, released last year on their home station Is it Balearic? Recordings. In fact, my delay has been so extreme that, not only has Coyote released an accompanying Buzzard Country Remixes 12”—which I will cover here as well—they have also dropped the incredible Return to Life 12”, and even announced a new 2xLP slated for the summer called The Mystery Light. But better late than never, and there is no way I can pass up the chance to at last write in depth about the music of Timm Sure and Ampo. I say “at last” because, despite the fact that I consider Coyote amongst my very favorite recording artists, you would be forgiven for not knowing that by scanning the Sun Lounge archives. Though I’ve had opportunity to discuss their work here and there via remixes (such as on Blank & Jones’ Relax: The Sunset Sessions 2 and Joe Morris’ Cloud Nine 12”), by some strange turn of fate, Coyote has released no vinyl of their own since this blog’s inception...something that only changed very recently. Indeed, prior to 2020, the last time the duo put out solo works on wax was their stunning 2016 run, which included the Song Dogs LP, the Fight the Future 12” on Clandestino, and the seventh EP in their long running self-titled series on Is It Balearic? Which is not to say they weren’t active, and in fact, Timm Sure and Ampo delivered a really great set of digital singles and EPs in collaboration with Music for Dreams, and additionally, they remained active with remix and DJ work. As well, Buzzard Country was due quite a bit earlier than 2020, but was unfortunately plagued by production delays. To at last get to the point, this is all a roundabout way of saying that I am really excited to have plenty of Coyote to write about now and in the future, so that I can finally pay proper tribute to this foundational duo of the modern balearic beat. 

As I’ve explored the balearic soundworld, Ampo and Timm Sure have always been beacons of light guiding me on my path, whether through their eclectic productions as Coyote, through the curation of Is It Balearic?, Über, and the Magic Wand edit series, or through their mixes and DJ sets, which are typically loaded with unheard treasures that lean towards the trippier and dubbier ends of the chill out spectrum. And it is this tendency towards the psychoactive that most endears me to Coyote, for the duo have always championed an authentic balearic spirit, one that foregrounds the music’s connections to the hippie hedonist heydays of Ibiza, to the second summer of love, and to a spirit of ecstatic abandon, one that is equally imbued with a magical sense of melancholy…of a feeling of being in paradise, but knowing it can’t last…as if the moments of revelatory magic—of wild nights dancing and sunrise comedowns—are tempered in real-time with senses of longing and regret. Which brings me finally to Buzzard Country, Coyote’s fifth full-length LP and a pitch-perfect encapsulation of their signature mixture of wistful melodic nostalgia and daydream seaside grooving. Across the album, baggy beats morph between downbeat disco, stoner dub, and world exotica while bottom heavy basslines work the body. Echoing vocal samples thread around hand drums tapestries, emotional washes of synthesis flow over radiant piano chords, and at crucial moments, the exotica guitar flourishes of longtime collaborator Saro Tribastone carry the mind away to lands of faraway fantasy. As for the Buzzard Country Remixes 12”, the A-side is given over to the Hardway Brothers, who brilliantly transform the album’s “Sun Culture” into varying landscapes of ultra deep Chain Reaction style dub wizardry. Then on the B-side, Woolfy vs. Projections and Max Essa respectively flip album stand outs “Shimmer Dub” and “Ranura de Marihuana” into their own specific strains of equatorial dancefloor euphoria, with each remix pushing the mind, body, and spirit towards maximal beach boogie mania. 

Coyote - Buzzard Country (Is It Balearic? Recordings, 2020) “Soaring” begins with buzzard calls and hovering breaths of synthesis evoking a new dawn. Ripples form in the ether via bubbling squarewave synth leads, and pulsating dub bass sits beneath a blanket of sighing strings. The carrion calls continue streaking through the mix and celestial pianos rain down while echoing playfully across the spectrum. Plucked bass electronics bounce in counterpoint and hesitate woodwind glimmers call to mind flashing laser lights beneath a beautiful sea surface…almost as if a flute has been transmuted into a rapid fire fractal vibration. At times the strings back away, leaving layers of rainbow colored ocean ambiance to flutter and dance, all before ending with white noise delay oscillations that mimic the swell of ocean waves. Then in “Soft Top Saab,” an echo-soaked voice muses on the sunrise, with chills running down the spine as the solar affirmations are increasingly surrounded by space age string synths, and by Sara Tribastone’s mystical guitar filigrees. Reversing melodies enter the spectrum and swell the heart while shakers and tambourines hold a gentle beat. Tribastone’s guitar serenades softly overhead, with plucked textures of synthetic wood and stone dancing in the background. Further delay-laced pianos fade into view, with the track ebbing and flowing…growing and receding…and sometimes backing down into understated back and forth between guitar and piano, wherein harmonious brass layers and swells of spectral space glitter moving at the periphery. The result is a conversational interchange between seaside melancholy and romantic nostalgia, one which is eventually superseded by cosmic flutters, soft six string dances, and the spoken spells of a reggae mystic, who gives thanks to the sun, and its bounty of restorative light.

Dusty acoustic guitars and sunrise vapors introduce “Shimmer Dub,” while dancing dub bass portends the first real taste of a groove. A rocking hypno-rhythm comes into focus and laid back snares guide the infectious glide, while tablas roll overhead and evocative vocal layers thread through the mix. Steel pan synths are seen through the titular shimmer and wavering wavefronts of blurred melody wash over everything, until the mix drops down into a haze of stoned exotica comprised of a minimalist pallet of tabla rhythms, bleary-eyed pads, and thrilling vocal incantations…the effect like awakening on the shores of some faraway ocean paradise, with visages of desert caravan rituals preceding in the distance. The dubbed out groove eventually resurges, with passages given over to extended echo percussion experiments and the fragile songs of tropical idiophones. Feminine vocals glow like some intoxicating gas of multi-hued magic, and springy basslines guide the body while hi-hats and snare work through a psychedelic skank. Smoldering currents of ether move through the stereo field and moments of subtle intensity erupt from the horizontal vibe out…with airy woodwinds shrouded in static, claps cracking, and hand drums creating webs of groove mesmerism. And as the beat starts to vaporize, echo oscillations set the air aflame amidst fantasy orchestrations.

“Ranura de Marihuana” bathes in echo acoustic guitars that seem beamed in from some distant past…these evocations of classical folk music futurized via layers of fx. An ecstatic scream washes the mix clean, and a four-to-the-floor kick drum emerges to pound in the void, while overhead, Flamenco-indebted guitars spin webs of magic and reverberating vocals call to the spirits of sea and sky….sometimes whispering, other times shrieking wildly into the night. Sub-earthen bass movements are felt more than head, with exotic dub lines moving far beneath the surface. Bongos and congas pop and nervous shaker patterns lead the downbeat disco strut, while guitars work through further Mediterranean hooks and Iberian flourishes. A moment is given over to heavy bass and kaleidoscopic hand percussion–with scatting vocals, reverberating snaps, and lost souls wailing in desperation–and when the groove snaps back, there are touches of tango kissing the preceding, which bring to mind a rose-in-mouth glide across some dark and mysterious dancefloor, wherein spindly psych folk guitar melodies work the mind and airy drum rhythmics entrance the body. The kick climbs back towards dancefloor strength, with desert mystic percussions moving all around the mix and vocals morphing though fever dream echo layers. Elements from across the track refract through oscillating delay machines, and touches of rave haunt the rhythms, especially as subsonic basslines and subdued breakbeats work together.

A single piano note brings light to the darkness in “Sun Culture” and layers of radiance rain down in the form of heart-melting piano chordscapes, with some of that Screamadelica soul bliss suffusing the progressions. Warming pads envelope everything and deep dub pulses walk down white sand beaches, with shakers and lysergic breaths giving shape to the groove. Hi-hats, snare taps, and beachside bongos enter and buzzing guitar notes give off waves of golden light while overhead, liquids drip from the roofs of ocean cliff caverns. The single piano note continues to glow while souflul chords hold the mind in a state of psychedelic rapture, and space age ethers blind all vision as they spread outwards, then recede. Coyote move the track progressively towards a state of horizontal bliss, with almost everything washing away except the summery piano incantations, which are so soaked in reverb as to generate billowing cloudforms with every single note. Hushed rhythms return and hand drums take on a slight sense of urgency while pads generate layers of oceanic warmth, resulting in an audial invitation to greet the rising sun, and a naturalistic tribute to crashing waves and drifting clouds.

Intergalactic pads breath in “Dos Canas,” with tones wispy and suffused with inner light. Palm-muting electric guitars dance like bubbles through the ocean blue, and a touch of kosmische ambiance is soon tempered by bulbous dub basslines and splayed out layers of percussion, wherein the mechanic and organic merge seamlessly. Electroid sketches and seed shakers move in time as a slow and low balearic skank emerges, with glorious tones of brass pulsing overhead before ascending to the heavens on currents of humid tropical air. Hand drums circle the mix as the heavy atmospheres recede, leaving vaporous rhythms and golden synth strands to intertwine. Heartwarming chords give off mirage shimmers as the dub bass works its way back in, bringing with it further layers of world drum delirium. Soft sirens pan before giving way to more of the ascendent brass synthesis, and hisses of white noise add layers of subtle psychotropia. Snares are blasted into bursts of desert sand and all throughout the mix, various strands of melody and harmony are caught within oscillating delay cycles…progressively distorting and roaring into the ether. Shakers and 16th note hi-hats lead the groove while bongos and idiophones dance playfully against the snare and kick, until it all breaks down into an ambient outro of serene static, sighing strings, and layers of phasing rainbow light.

“Feedback Valley” closes the show with synth incantations portending the glow of a glorious sunrise, while shakers generate an infectious shuffle. Tribastone and his acoustic guitar explore Flamenco landscapes and a four-four kick drums hits against the body while layers of synthesis radiate compelling colorations. Babbling voices ride a serpentine synth sequence and touches of acid bass move in support, with cut-off filters opening as the snare drops, creating a head-nodding and body bopping groove that lifts the spirit towards the sky. The sequential electronics are so effective as they bob and weave through the mix, creating an effortless vibe of beach dance perfection…of hands-in-the-air euphoria and the abandonment of all worry or fear. Additional touches of six string sunshine push the mind every towards the shores of Ibiza and during a breakdown into burning delay feedback, synthesizers filter into solar squelch and guitars drift towards psychedelic delirium. A slow yet anthemic snare roll calls to mind big room trance as it brings the groove back into focus, now with 3D synth snaps firing in the left ear as the ever-present sequence reduces to a calming purr. Tribastone continues letting loose threads of sunshine lysergia and points of synthetic light swell into magnificent globes of blinding incandenscence. And towards the end, an echo-shrouded choir of the sea sings beneath a brief guitar fantasia before it all washes away in a scream of oscillation.

Coyote - Buzzard Country Remixes (Is It Balearic? Recordings, 2021) The Hardway Brothers take “Sun Culture” into ultra-deep territory across two versions on the A-side, with the first being the very aptly named “Balearic Channel Remix”…which is of course a reference to the work of Mark Ernestus and Moritz von Oswald. Underground warehouse kick drums pound beneath hissing space fluids, as a low down Chain Reaction-style groove emerges, though with its eyes locked on a melting sunset panorama. Liquiform chords flow into cold industrial caverns and string synths suffuse the reverberating spaces with splashes of sunshine, while sub bass motions vibrate the soul. Shadowy tracers flit across the sky and DMT vibrato waves squiggle at hyperspeed, yet their effect is blunted and muted. Claustrophobic clouds fade in then out while melodic piano chordstrokes reflect in strange ways off of glowing walls of stone, their effect like gemstones glimmering underwater, yet with their luster sanded away by the march of time. Muted dub chords are caught in crackling delay chains and the deep kicks and jacking bass never relent in their heads down, hands-in-the-air stomp. Snares are reduced to a whisper and shaker patterns cause head-bobbing hypnotism as funky chords bring touches of liquid fusion grooving…only as if proceeding in the middle of a dub techno fever dream. Insectoid chitters move in from all corners of the mix, sawing sirens swirl into screams of feedback, and all the while, drum circle flourishes are shattered into a web echoing delirium.

Next comes Sun Culture “(Hardway Brothers Meet Monkton Uptown),” which sees the bass going even deeper somehow, as growling riddims menace the mind and rattle the ribcage. We soon find ourselves in another subaquatic dub techno dopamine dream, wherein kick, snare and hi-hat lock in for maximal hypnotic effect. Sometimes the bass guitar of Duncan Gray seems to take on a post-punk drug chug edge, and at some point, the rhythms pull away, leaving chopped up voices to decay into the void. Bassline and beats return and streaks of feedback sing softly over everything, while fogs of seafoam move at the outer edges of the stereo field. Clouds of solar static are seen from millions of miles away and traces of flamboyant fuzz guitar are submerged into a pooling vortex of deep dub delirium, emerging stretched out and mutated into currents of neon starshine. Gray's melodic basslines serenade through the underground club grooves, those funky chords return to sing their 70s fusion songs within layers of sighing feedback, and increasingly, the mix is overwhelmed by distorted blasts of drug-induced haze. Abstracted voices filter from one ear to the other…their unintelligible spells of esoteric mystery pushing the mind ever further towards astral activation. And towards the ends, the original tracks Primal Scream-style piano chord structures can just be heard amidst feedback fires, delay detritus, and morphing vocal abstractions.

In the Woolfy vs Projections mix of “Shimmer Dub,” the original track’s hand percussions intermingle with gurgling rhythmic fluids…the effect like wandering upon some tribal jungle ceremonial. Big blasts of downer synth bass are soaked in reverb, repetitive synth pulses tickle the mind, and pillowy arpeggios flow into view while those familiar synthetic steel drums shine in the sunlight. Fingers roll across myriad skins as the kick drum drops away, leaving the mind to swim in a world of equatorial energy. Then, as the bass drum resumes–with shakers never relenting–a new bassline emerges, bringing with it a heavy touch of wiggling squiggling Italo boogie. The vibe is hesitant…anxious even…with a persistent refusal to lock in, and as bass bursts grow in intensity, the rest of the mix begins reverberating into a balearic dreamscape. Following a delirious pause, the track explodes into flamboyant disco funk perfection, as sweltering chord hazes melt from the sky and bouncing basslines join an infectious and tropically tinged body groove. Chords scat, virtual marimbas dance, synthetic steel pans shimmer across the spectrum, and swells of white light synthesis overwhelm the mind...the whole thing as massive a groove as there could possibly be. Touches of electro kiss the rhythms and futuristic synth riffs fire as we back down into a swinging breakbeat, with rapid keyboard riffs locking into heady funk cycles and stadium-sized tom tom fills splaying out across the stereo field. Guitar licks are soaked in sunshine as they lead a dubwise swing, and as we explode once more into the block rocking groove, double time shakers and hats push the vibe towards dance party mania…all as coral-colored leads rush through star ocean fx clouds.

Max Essa’s take on “Ranura de Marihuana” sees a four-four kick smacking with infectious disco dance energy and hand percussion flowing all around. A snare crack introduces another groove indebted to Italo boogie, with big bottomed synth basslines accentuating the vibes of beach dance euphoria. Shakers spread into sandy clouds of atmosphere and heatwave pads sweat and squelch as starlight arppegios race across the sky. The vibe of Ibizan melancholia is here perfected, causing body and soul to merge in hedonistic ecstasy, and though the track resembles one of Essa’s characteristic blue ocean dancefloor cruisers, its a little slower and baggier than usual, which fits completely with Coyote’s zoner stoner vibe. Seascape pianos bring a peaktime fee and at certain moments, the groove momentarily recedes, only to rush back in on an infectious snare crack. Ivory melodies are increasingly strange and psychotropic as they flutter across the mix, with decaying vibration tails carried away on an aqueous breeze. The radiant piano chords and vocalizations from the original swim into the stereo field as Essa barrels down into a heavy bassline stomp, with every pulling away aside from smeared out voices and 70s prog rock pads that evoke a string orchestra tuning to the sounds of the stars. Further clap cracks bring back layers of equatorial euphoria and the vocals are used to incredible effect, with echoing snippets repurposed as anthemic hooks. Pianos continue their alien dance over relaxed disco rhythms and snapping funk basslines, and as we move towards the end, claps and basslines fire rapidly as vocals morph through slapback oscillations…all before dropping into one last expanse of seaside dancefloor magic, with dub disco beats, infectious world percussion rolls, and a pleading voices diffusing towards a gorgeous sunset horizon.

(images from my personal copies)

[silvereddaye]

Are there any Luke and Vader AUs you'd like to write but haven't already/ ones you're working on? I was just browsing through your fics for the 72762nd time and I noticed that you do already have a lot of great AUs, but I was just curious?

I’m so sorry about not responding to this faster. I should have. 

Let’s start with what I already have:

Current Luke and Vader fics: In the Past and Runaway. Both of these are . . . hahaha . . . on pause while I work on IRL stuff as well as do some other behind the scenes stuff with these stories. I have every intention of working on these more.

From ficlets to fics: I have both my dragon AU (which I have yet to come up with a good name for) and my Born a Sith AU where I have plots for a full-length fic. I’ve purposely put off writing these multi-chapter fics until I finish something else so I’m not taking on too many projects at one time, but I’m really bad about starting new stuff anyways. 

Getting a sequel: The Lord of Fashion series will get its sequel: Luke, Prince of Fashion eventually. I have started it, but it’s come and go with it. 

Upcoming One-Shots: I’ve started writing one one-shot called Song Bird which is about Luke and Vader/Anakin being born with wings. A wing fic. There’s also singing. There’s another one-shot called Into the Shadow Lands (the WIP with the horses) that’s a magical fantasy AU. I posted a ficlet on here called The Red Prince, and it has been requested I expand upon it further, which would be nice.  I have a one-shot WIP called Scared I Would Lose You, about a Luke raised as a Sith mostly by Palpatine finally gets to live and get to know his father, and realize Vader isn’t living up to Palpatine’s lies. I’ve got a bit of a crackfic currently dubbed the Mrs. Doubtfire AU, where a suitless Vader still puts on the suit so he can become the nanny of Luke and Leia as its the only way he can spend time with his kids. I also have the weird WIP of telling a Luke and Vader story but told from the POV of the Executor. Yes as in the star destroyer. 

Vague Ideas: I recently have been toying in mind with a modern-day superhero AU. In which Anakin raises the twins. He is secretly a supervillain known as Darth Vader, and Luke is a vigilante hero known as Red Five. The catch is that the story starts off with them both knowing each others’ other identity.  And Vader has given his son an ultimatum: stop being a vigilante or join him. Luke is like “No.” 

[cxhnow]

Chloe and Halle Bailey, Jeremy Scott’s Newest Front Row Stars, on Beyoncé, Their New Album, and the Black-ish Spinoff

When they first entered Jeremy Scott’s New York showroom Friday, Chloe and Halle Bailey were a bit overwhelmed. They were confronted by a kaleidoscope of colors, a daunting array of garments, and a wide mandate in the designer’s archives. That is, the sisters—who are musicians, actors, and protégées of Beyoncé signed to her Parkwood Entertainment label—had arrived with a deceptively simple assignment: to select looks for the designer’s Spring 2018 show, which they planned to attend that night. But that left them with a lot of choice.They eventually emerged, as they often do, with coordinating looks. “We’re the same, but we’re different as well,” Chloe said. “We like to incorporate that through our fashion.” She opted for a black sleeveless minidress printed with trompe l’oeil butterflies formed out of two pistols in blues, pinks, yellows, and greens, with blue and black calf-hair platform shoes, while her younger sister selected the same print in a silk motorcycle jacket, paired with distressed Levi’s and platform heels in black with yellow flowers—“our favorite pieces, and the ones that were cohesive with one another,” Chloe described.These were the looks that hung in the wardrobe of their Midtown hotel room Friday evening, just more than an hour before the show was scheduled to begin. It was a crisp, early fall night, and as they explained their selection, the doorbell rung a couple times—at one point, to let their dad Doug, who is also their manager and frequent fashion show companion, in, and then to welcome in a room-service delivery of spaghetti. (“I love carbs,” Chloe later said enthusiastically—especially as vegans, which she and Hall have been for more than two years now.)

Though Friday marked their first time at a Jeremy Scott show—and their first show of the Spring 2018 season—the sisters are now nearly fashion week veterans. They attended their first fashion show, Tory Burch’s Spring 2017 runway, almost exactly a year ago, proceeding to sit in the front row at the Louis Vuitton show later that season (along with Sasha Lane, their “dear friend,” as Chloe described her). Then, earlier this year, the sisters got a glimpse of the other side, making their runway debut at Dolce & Gabbana’s Fall 2017 show. They sauntered down the runway in minidresses, tiaras, and red boots—holding hands all the while.“It’s like a different stage,” Halle said, comparing walking a runway to performing music. Still, “it was very different for us because we’re used to, we go on stage, we sing, and we feel this, like…” She exhaled with a sigh, a release of tension. “We worked so hard.” When they finished their brief lap of the runway, by contrast, “We were like, ‘Oh, that’s it? Cool.’” (She added, as a disclaimer, “but it was really fun.”)The sisters had just arrived in New York the previous day, fresh off a week of filming the first few episodes of Grown-ish, the new Black-ish spinoff in which Yara Shahidi’s character Zoey Johnson departs for college. Chloe and Halle already get mistaken for twins “all the time,” they told me in unison (perhaps an understandable misconception, considering they speak in unison, often finish each other’s sentences, and dress in coordinating looks), so it probably won’t help that, in the series, they play twin track stars Skylar and Jazz.The Bailey sisters were already close friends of their co-star Shahidi—last year, she described Chloe and Halle as her “BFFs”; they also share a fan in Michelle Obama—so being cast alongside her, as well as fellow Dolce & Gabbana model Luka Sabbat, was “a great feeling.” And though Chloe and Halle are now best known as musicians, they acted on screen as children growing up in Atlanta, making Grown-ish something of a return to form for both. (Indeed, as we drove to the show later that night, the sisters’ mom Courtney pulled out her phone to show me an image of Chloe, at age three, with Beyoncé, then 21, from the 2003 movie-musical Fighting Temptations, in which Chloe played a younger version of her eventual mentor’s character.)Chloe and Halle were making the most of their New York Fashion Week sojourn. In addition to the Jeremy Scott show, they stopped by a party hosted by Refinery29, where they finally met Issa Rae, the creator and star of Insecure, for the first time. They both avidly watch the series, which featured their song “Red Lights” in its first season, and it appears the admiration is mutual: On Thursday, Rae told them she was “so excited to see you guys’ acting debut,” Chloe recalled with a small gasp. “I was like, You know?”

But for all the activity in New York, by Sunday, they would return to Los Angeles to continue filming Grown-ish. The Freeform series, which is slated for premiere early next year, was just one of several projects Chloe and Halle were juggling. For example, back in Los Angeles, the sisters had the opportunity to pay homage to their mentor (and rumored fellow vegan) for her recent 36th birthday. Her mother, Tina Knowles, “wanted to do something spectacular for her daughter,” Halle said, so she recruited some of Beyoncé’s closest friends and collaborators to recreate a now-iconic image from the Lemonade visual album—Beyoncé in a wide-brimmed hat, a black dress, a bib necklace, and two thick braids. Knowles provided each of the participants—including Serena Williams, Michelle Obama, Ingrid, and even Beyoncé’s daughter Blue Ivy as well as Chloe and Halle—with a hat, braids included. She photographed the whole thing on an iPhone.Plus, earlier in the summer, they released a new project entitled The Two of Us that they described, upon its debut, as neither album nor mixtape, and that presages a full-length album they hope to complete soon.“All of the songs were rejects we knew weren’t going to make the album, but we still kind of liked,” Chloe explained as a makeup artist blotted electric blue shadow onto her lids. “We warped them together into one long song. It was really fun to create, because it’s, like, 25 minutes long.” But their album is coming, too: “It’s like, 85, 90 percent done,” Halle explained, adding that they were hoping to begin releasing new music early next year.They write, record, and produce their own music at their home studio in Los Angeles; once in a while, Beyoncé will drop in like a fairy godmother with feedback.“She allows us to have our own mind and our own thoughts and creativity,” Chloe said. “Her main thing, she wants us to do what we want to do,” Halle added. “She’s like, ‘Let the world catch up to you. You girls’ talent is so immense, don’t dumb it down for the world.’” It’s a message they also communicate on “Simple,” one of The Two of Us’s standout songs: 

“No, I’m not calling anybody out, it’s just people telling us, ‘Oh you know your stuff’s too complex for the average ear to get it. Maybe you should just be simple,’” Chloe murmurs, singsong.“We hope that one day we’ll be legends, because legends break barriers and don’t follow the rules, you know?” Halle said.Though Chloe and Halle had just met designer Jeremy Scott earlier in the day, he has long cultivated relationships with musicians: Björk was reportedly his first celebrity client, and his inner circle currently comprises Katy Perry, Miley Cyrus, and Madonna. The sisters slipped into their Scott-designed looks—“Oh, come on,” their mom, Courtney, cried approvingly when she saw her daughters transformed—and Chloe daubed her favorite oil, which she dubbed “the smell-good” and smells of cotton candy, onto her wrists. A last-minute change of hoop earrings for studs, and they were ready to go: The four Baileys hurried out to the car that would shepherd them downtown to Spring Studios. (Back in Los Angeles, Chloe had just passed her driving test and obtained a bright blue Mini Cooper she christened Cleo, making her her own chauffeur.)When they arrived at the show, Chloe and Halle took their seats just down the front row from Lionel Richie and Jimmy Iovine, who their mother introduced as a “legend.” They sidled up to Erika Jayne of The Real Housewives of Beverly Hills, of which, apparently, they are big fans, and began chatting animatedly with the reality star. The lights dimmed, and Scott’s retrospective of a show got underway, with models like Karlie Kloss, Sofia Richie, Gigi Hadid, Devon Aoki, Coco Rocha, and even Liberty Ross, the ’90s supermodel married to Iovine, making their way down the runway in Scott’s silver-sequined club kid attire.After the lights came back up and before Chloe and Hall dissolved into the crowd, they offered their final review: “It was fantastic,” Chloe said. “I loved how it shined under the lights.”“I liked all the sparkles,” her sister echoed. “Beautiful.” [s]

[more photos from this event]

[fmdtaeyongarchive]

↬ i just wanna free somebody.

date: early 2019.

location: n/a.

word count: 1,641 words not including lyrics.

summary: n/a.

notes: creative claims verification for free somebody.

it begins at the start of the new year in the confines of an old bc entertainment studio that ash is very familiar with. he wants to try writing something different than anything he’s ever written before. that’s what he tells his producer friend (can he call him his friend yet? senior? colleague? colleague sounds best).

well, he wants to write a lot of things different than what he’s every written before, but he has to start with something, he expands in the low light of the studio. he can’t pump out an endless stream of creatively challenging songs just because he wants to. ambition is a taste he’s come to enjoy again, after years of lacking it, in the form of song creation, but it won’t do well to bite off more than he can chew.

it feels like he takes too big of a bite anyway. a few sessions with other producers and composers go by with only stray scraps of songs to show, most of which hadn’t been contributed by him, and ash starts to doubt his own ability. he’s not at the point where he can reinvent the wheel, he laments on one late night (not that time is easy to tell within the dark, soundproof rooms of the studio unless he pulls out his cellphone to check its digital clock) and the producer he’s found to keep him company one night looks at him silently from across the room.

“you’re being stubborn again.”

ash pauses and shakes his head in confusion. he wants to ask what the hell that means, all he’s been doing is trying to expand his horizons which, honestly, is pretty much the exact opposite of being stubborn, but he has too much respect for the other man to argue with him so forwardly. “i’m not trying to be stubborn,” he says instead. he rubs at his eyes and sighs as he stretches his arms over his head in an attempt to drag the fatigue closing in on the corners of his mind out of him. that never works, no matter how hard he tries to turn the metaphorical literal.

“if you want to make something different, it doesn’t have to be something no one’s ever heard before. you’re not going to have much luck with that. the human race is hundreds of thousands of years old and we’ve been making music for a lot of our existence. i’d bet nearly all of it if i was a wagering man. you’re not going to create something completely new and that’s not our job. challenge yourself instead of challenging the entire history of mankind and our artistic accomplishments. you like to act like you can handle every single task you put on your checklist, but you’re one person, taeyong. start acting like it.”

ash nods and he feels like he’s been scolded. he’d known he wasn’t going to be able to create an entirely new invention in the form of a song, but he’d let the reminder of that slip away in his singular vision of wanting to create something groundbreaking instead of more of the same he’d become known for. besides, this is the idol industry. ash loves pop music, but the bc entertainment studio wing isn’t going to be the site of any breakthroughs to change the entire course of music history any time soon. he’s deluding himself if he pretends like it is. there’s ambitious optimism and then there’s an utter lack of self-awareness and ash doesn’t want to wind up as that person too far up his own artistic ass to see the difference.

his ballads have more often than not been the work bc has dubbed satisfactory without as much reworking required, so ash promises himself to stay away from those in his mission to step outside of his comfort zone. but still, it would be pointless to expect himself to create a genre he has no experience making. ash kwon’s attempt at death metal or polka would be a disastrous way to start a new year.

ash spends a few hours listening through the depths of his music library and jotting down ideas for genres and styles he doesn’t find himself creating as often to bring up in the next writing session with some of the other producers. upbeat pop becomes a common theme of what he hasn’t been writing recently. that doesn’t surprise him. ash doesn’t often finish the songs he begins writing that fit that descriptor, as his own sound leans far from upbeat. it wouldn’t fit for one song out of an entire album track list to be a bright party song, and that isn’t what most people he’s worked with come to him to write for them either.

when he sits down with that in mind, he hums through melodies and taps out rhythms with a pen on his desk until he finds ones that grow into a longer form that he transposes onto his computer. it turns into a funky instrumental, a retro 80s dance take (ash is inspired by a uk house song he stumbles upon on one of his forgotten playlists) mixed with enough modern electronic pop to push him beyond the basics. the other composers and producers he brings in to help him throughout the process have to come in to keep him from making the song melancholic or subdued even when the production thins out during the chorus for what he imagines to be a strong powerhouse vocal lead. making it, he knows this won’t be a song for him, and he’s not sure it’ll ever find its way to release by anyone else either — he can’t see any of the usual people he shows his work to seeing it, quite frankly, and he thinks its value would be depleted if it were to be done as a group song—, but that’s something that had been on his list of new year’s resolutions — sell some songs off instead of gifting them to build his profile as a songwriter.

the near-final demo version of the instrumental is decided on among all of the producers and ash asks if he can try to write the lyrics to it. he’s inspired by what they’ve all created together and he wants to write its lyrics too. they agree, and ash spends a few days in his studio dedicating himself to nailing down lyrics. he has an idea of what he wants the words to encompass thematically; the first word that comes to mind when he listens to the song is freedom. ash can envision the song being played at a huge open air music festival mid-spring. thanks to becoming a trainee at thirteen and an idol at sixteen, ash hasn’t been to any of those sorts of festivals, but he does have a glamorized notion of what they’re like in his head.

after a few rough drafts, ash stumbles upon a phrasing that burrows its way into his heart. i just wanna free somebody. it’s a notion ash instantly circles and underlines among the mess of more easily disposable ideas that lean more obviously romantic in nature. freeing somebody is certainly worthy of being a romantic notion and ash plays with that as he scribbles out more ideas that build an image of a relationship, one that’s purposefully vaguely anywhere between a one night stand and soulmates. the specifics of that don’t matter in the context he’s writing because, in his mind, the two people involved don’t care anyway.

when that near-final draft lays in front of him, though, he’s struck again with the feeling that he’s playing it too safe and not stepping outside of his norm. love. wow, that’s a new topic for you, ash, he mentally derides himself.

it’s a few nights later when he’s hard at work on a different song, one that’s supposed to be for his next album but doesn’t feel anything like him that he writes a lyric that pulls his mind back to the track he’d been working on previously.

i hope that you find your true self.

he tacks on the hook to see how well it works in his head before committing to it fully.

i wanna free somebody.

of course that’s the path he could take the song down instead. the other song is quickly abandoned as ash returns to his aptly-named “free somebody” draft. he keeps the verses and most of the chorus, but scraps most of the pre-chorus and fits in the new line in place of what had previously been a repeat of a truncated take on one of the chorus lines. he reworks the parts he’d trashed to fit his new vision better. at other parts, he removes lyrics from entirely and goes back to make the instrumental synths more compelling to stand on their own. music is already freeing; ash can attest to that himself as someone who would rarely use the word free to describe himself.

the first drafts of the song had suffered by being weighed down by ash’s instinct to inject romantic storytelling, but this time, he doesn’t need a full story. he focuses on the goal of freeing somebody for the length of a song instead and it can be a romantic freeing, yes, that is clear from the parts he keeps, but it can simply reflect the goal of the song itself too.

he records his own voice for the demo though he thinks he’s unable to do it justice due to not having the sort of female powerhouse voice he sees singing it one day, but when he gets the news the song has been sold off to gold star media, he lets a small bud of hope blossom that it’ll wind up in the hands of someone capable so it can see the light in all its glory one day. its message had really grown on him.

[doomedandstoned]

Gandalf The Green Returns with ‘A Billion Faces’

~Doomed & Stoned Debuts~

Hailing from Leeds, England, this is GANDALF THE GREEN. The stoner-doom trio is one of a handful of younger bands comprised of members in their late-teens and early-twenties that have been impressing us lately, joining company with Montana's Wizzerd, Toronto's Horse Lung, Portland's SAOLA and Ape Cave, as well as Witchers Creed from Sweden.

Something interesting I've observed about what I'll dub the Dopesmoker generation is their affinity for large-scale compositions. Horse Lung shot for Bach-like complexity with their fugal composition Rattenkönig and have just released a pair of tracks clocking in at 18 and 28 minutes respectively on 'ἔσχατον' (2019). Likewise, Ape Cave released the massive double album, 'Language of the Earth' (2018), with Sleep producer Billy Anderson, who actually invited these kids to come in and record it after hearing their 2016 album Pillars of Evolution.

With Gandalf The Green's latest single, we find them similarly thinking on a grand scale. The near fourteen-minute epic "A Billion Faces" is the foretaste of the glory to come, as the band readies to release their full-length via APF Records this fall. Staged in three interlocking segments, the track is a real trip and holds up well to repeated listens. Execution-wise, Andrew Flint (guitar, vox), Jack Walker (drums, vox), and Danny Wrigley (bass guitar) have never sounded tighter as a unit. Compositionally, the fuzz-trippers show they can achieve balance and depth within a big-picture framework, without betraying flow or nuance. Fans of Slomatics and Conan will surely find this a joy to listen to from start to finish.

I think the band describes it best: "A 13-minute psych-infused stoner doom filth fest. All the tone. All the distortion. Titanic-sized knuckle-dragging gnarly riffs amped into pure oblivion through a Matamp rig of doom. We are excited for you to hear it." Look for "A Billion Faces" out Thursday, March 28th, as a digital download via APF Records, with artwork by Dominic Sohor Design.

Give ear...

An Interview with

    Gandalf The Green

For those new to Gandalf The Green, tell us about how you formed and your history.

It started with Andy writing a bedroom demo for 'The Right' in 2015, we'd previously been in a deathcore band together (we know, we were 16, cut us some slack) and knew we all liked slow and heavy music, so got in touch and we started rehearsing with ghetto equipment in Andy's bedroom in Huddersfield. The name came from a friend who'd just bought a Gandalf style pipe and we found the pun hilarious for a Stoner Doom band, so we used it. We released our Debut EP 'King of the Ashes' in September 2016 as a 4-piece band with two guitarists, though soon after we split with our drummer and put Jack behind the kit as a trio. After that things began moving properly. Since then, we've been gigging more, collecting more equipment, and worsening our tinnitus by turning up louder. In the last year or so we've finally started getting proper slots on festivals and local gigs, though we're still yet to play a headline show!

What music has influenced your sound, and who are your musical heroes?

Our philosophy is that we want to play stupidly low-tuned, crushingly heavy music, but not in a way that sounds too evil or miserable, then combine that with trippy, ambient cleans for a huge dynamic change. Someone once put it eloquently as 'The brutality of Mordor with the serenity of the Shire.'

From a writing perspective, our main influences are Conan, Sleep, YOB and Elephant Tree. Though with all the spacey ambient bits it's quite difficult to pin exactly where a lot of that comes from, mainly just going a bit nuts with effects and seeing what comes out.

AF: My musical idol is forever Dave Grohl, even if this band doesn't sound much like his stuff. My favourite guitar players are the ones for the bands listed, plus Tony Iommi, of course.

JW: We all listen to very varied stuff, so there’s all sorts, but for this genre my influences are, Yob, The Body, Elephant Tree, Khanate, Om, Weedeater, Windhand, BongCauldron. Musical heroes? Fenriz, Willie Nelson, Hank Williams III, Mike Scheidt.

DW: My influences change around a lot but probably The Body, Sleep, Conan, Thou and Full of Hell. As for heroes the first that comes to mind is Jordan Dreyer.

What’s been your favourite gig to play so far?

AF: I'd say Gizzardfest 2018 as it was our largest crowd, but one of my amps blew up during sound check so I was a bit miffed. Other than that, the Holy Spider Promotions show Terence Larkin booked at the Mulberry Tavern in Sheffield last year was brilliant. A tiny, sweaty venue crammed with people who were really digging the music.

JW: Yeah Gizzardfest was really cool, but for me I'd say that Sheffield gig, it was Mulberry Tavern with Khost, Oak, Ritual King, Regulus and Stonelung. When we went onstage the venue was rammed so the atmosphere was great for us, it WAS proper sweaty but that's the best way.

DW: Got to agree with Gizzardfest I was amazed by the amount of people there and the reception we got cancelled out the problems by a long shot for me.

King of the Ashes by Gandalf the Green

How do you look back on your 'King of the Ashes' EP two and a half years on?

We recorded it for £0 in Andy's bedroom with whatever mics we had on hand and did the drums with some University students. Other than 'The One Ring', it's not very representative of our sound these days though, as we were finding our feet and trying lots of writing styles, with speedier Stoner Rock tracks like 'King of the Ashes' and 'The Right', which we don't really play these days.

It's fun to see how the tracks have evolved for our live performances though, 'The One Ring' now screams with feedback, has reverb swells and washed out cleans, while 'Old Toby' has a massively slowed down outro riff and stereo panning oscillating delay at the beginning. If you enjoy the debut, definitely come check us out live to see how it's evolved.

AF: I'm still pretty happy with it and loved the super DIY bedroom recording. I felt the production quality came out great, given the circumstances. Seeing how I’ve changed my vocal style and tuned my guitar down so much lower makes comparing the new and old material interesting.

JW: I have a lot of fond memories from that time writing and recording, but since we were so new to it all it doesn't quite have as good sound quality as I'd like. It's alright, but we've grown as a band and the stuff we're writing now has a way more unique sound and is better in every way I can think of.

DW: I still listen to it a fair bit honestly. I think it still holds up, but I'm excited to start showing how we've developed over the past few years and how we come across out of a bedroom. What music are you digging right now?

AF: Right now I'm on a massive hype for the gnarliest, darkest stuff I can find, such as Grey Widow, Coltsblood, Ommadon, Bismuth, and Glasghote, and I imagine these bands are going to work into my writing style for our next release.

JW: I listen to a shit load of country, like every day, maybe even more than I listen to metal. Artists like Benjamin Tod, Willie Nelson, Hank Williams III, Jesse Stewart, Crywank, The Native Howl, etcetera. But for this genre the stuff on rotation right now is bands like Windhand, Grime, The Body, Yob, Bell Witch, Ommadon, Bismuth, Sloth Hammer, Primitive Man, Elephant Tree, Goblinsmoker, Tuskar.

DW: I've been binging on grindcore and hardcore recently, a lot of Full of Hell and Wormrot on repeat. Other than that the new Body Void EP has been blowing me away every time I listen.

You’ve recently signed with APF Records. Which bands on the label do you share an affinity with?

AF: The reason we approached APF to begin with is because we love so many bands on the roster, it's hard to pick out a few! Personally, I'd say BongCauldron, Battalions, and Under, though there really isn't a bad band on APF.

JW: BongCauldron, since they were the main influence on me (and I think the others too) when starting this band. They were one of the first bands to help me get into this kind of music, since I found them when Andy's old band supported them in Bad Apples years ago and through that found more doom/stoner bands.

DW: Yes, BongCauldron, for pretty obvious reasons. Also I've been listening to Under- Stop Being Naive a lot since seeing them at Gizzardfest they've got such a unique and crushing sound.

photo by aevjohnston

Tell us about "A Billion Faces" -- what’s it about, and how did the track come together?

AF: It was the first track I wrote after we tuned down to drop F and bought a bunch of new effects, so I was really playing with all the new toys and trying to make something with a big dynamic change from the gentle intro to when it kicks in. We've been performing it live for a while, so the song's evolved over time to include the sexy wah solo and, because Jack and Danny love noise music, we added the noise/screaming section in the outro. The original demo was only 9 minutes compared to the final 13!

We were approached by a friend of a friend (Alex Tune, assisted by Jake Bonnett) who needed a band to record for his University coursework, it seemed mutually beneficial, and we'd get to record in the gorgeous Phipps Hall and borrow a bunch of Huddersfield Uni's Matamp equipment for free to use with ours, so we took him up on it. We live recorded the track in December 2018 and mixed and mastered the track ourselves, so again got away with paying £0 for the release. It sounded lovely in the room, but we really didn't expect the final product to sound quite as good as it did. Lyrically, the track is about parallel universes and how, if they exist, every different possible version of you exists somewhere in a big infinite tree of possible yous, experiencing the best and worst things all at once. I was wondering where I'd be if I'd taken a different turn in life and moved to a different city, and I realised that there'd be a version of me in a parallel universe where I did move there, wondering right now where he'd be if he took the turns I did. We're both thinking about each other amongst a billion different versions of ourselves, but unable to know who the other is and what their life is like.

The song comes with a cracking video. How did that come about?

A friend of the band, and vocalist/guitarist in Andy's other band, Andrew Johnston (he uses the moniker 'AEVJohnston' for music) offered to help. We thought it'd be a crime to not get video footage of us performing in such a beautiful venue, so he came along free of charge, brought his fancy lighting rig, bathed the room in green light, rented a couple of cameras from the University, and filmed us while we recorded. We edited the footage ourselves cut from various different takes we did. Again, we paid nothing for the video because we're cheap (do you see a theme?).

JW: Shout out Johnston for being a sick bloke, nice one mate it turned it really well, thank you. Sadly though, I don't think the video shows just how beautiful that room really was. Like the video is great, don't get me wrong, but actually being stood in that room with that lighting rig made it look gorgeous. Such a great atmosphere for it. Again, cheers Johnston, that was a huge help, I think the video of it really brings this release together.

What’s your plans for the rest of 2019?

We're working on our next release, of which we have over half an hour written already. Andy is busy with University, and the other two of us with real life things. Put simply, in 2019 we want to push to play more gigs and write more music. Hopefully we'll have another release done or out by the end of the year. We're aiming not to fuck about as much for it as we did for this one, because it took a long time to get going.

If your house was on fire and you could grab one thing from it before it burned down, what would that be?

AF: My Green Matamp GT1 amplifier, it's like my child.

JW: My bong, it's like my child.

DW: My cat, it's like my child.

Finally: anything to declare?

JW: Yeah, we just want to say how much we appreciate everything that's happened to us since finishing the single. We love every one of you who's checked us out or gave us a chance. Big shout out and lots of love to Andrew Field for signing us to APF, to every promoter for putting us on and every one of you for listening. It means the world to us, thank you.

AF: We also love all the sound guys who keep telling us to turn down on stage, even if you don’t love us.

☮

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[bottomshelfreviews]

My Top 20 Albums of the 2010s

There was a lot of great music released this decade, so narrowing my list down to twenty was incredibly difficult. The albums listed here are ranked according to my enjoyment of them and the sentimental value I attach to them.

20. Batushka - Litourgiya (2015) | Label: Witching Hour Productions

Many have hailed Batushka as being one of the most interesting black metal acts to emerge in recent memory, and I’m inclined to agree. The Polish group reminds me of everything that drew me to black metal in the first place. Their 2015 debut, Litourgiya, is atmospheric, sinister, and overall sounds larger than life. The inclusion of Eastern Orthodox chants in their sound only further contributes to the sense of doom and gloom this record evokes.

19. Knuckle Puck - Copacetic (2015) | Label: Rise Records

If any of you were into or even vaguely aware of the pop punk scene in the early to mid-2010s, then I am sure you’ll recall what YouTuber Finn McKenty and others have affectionately dubbed the “sad boy era” of pop punk. This new crop of bands, who dominated the Vans Warped Tour lineups of the first half of the decade, had more in common with emo than they did the “goofier” pop punk bands of years past. Copacetic, in my opinion, was the perfect marker for the decisive end of this era. Although the time in my life during which I mainly listened to this genre of music is over, I still find myself revisiting this record over and over again. 

18. Lingua Ignota - All Bitches Die (2017) | Label: Profound Lore Records

Lingua Ignota (the stage moniker of multi-instrumentalist Kristin Hayter) is truly a force to be reckoned with. Hayter’s music is punishing and heavy, and her stage performances are no different. Beyond the brutality, however, there is beauty, and an important message to behold. A survivor of domestic abuse herself, Hayter pens what she calls “survivor anthems,” using her music as a method through which to process her experiences. 2017’s All Bitches Die is a hurricane of rage, delivered through both beautifully-sung vocals and harsh growls from Hayter. Lingua Ignota is an artist to keep an eye on, and although she just released another full-length, 2019’s Caligula, I cannot wait to see what she does next.

17. Vein - Errorzone (2018) | Label: Closed Casket Activities

This spot very nearly went to the 2017 release, Forever, by hardcore heavyweights Code Orange. Although it is difficult to tack a genre onto Massachusetts band Vein, they have been welcomed into the hardcore scene with open arms, taking it by storm following the release of this breakout album. After attending the record release show for Errorzone at the Billerica Masonic Hall during the summer of 2018, I immediately became entirely and utterly obsessed with this album. If you are a fan of hardcore, metalcore, or nu metal, then this album has something for you, and all of these genres are mixed in a way that doesn’t come off as tacky. After seeing Vein for the second time this past summer as one of the opening acts for straight edge hardcore legends Have Heart at one of their Worcester reunion shows, I only became further convinced that Vein are hardcore’s next big thing. 

16. BROCKHAMPTON - SATURATION trilogy (2017) | Label: Empire

Okay, so I’m technically cheating with this one, but it makes sense to me to consider all three SATURATION albums as one cohesive unit. Formed in Texas but now based in Los Angeles, hip-hop collective BROCKHAMPTON took everyone by surprise when they released three albums back-to-back spanning summer to winter 2017. Since then, BROCKHAMPTON have gone on to attain considerable success and popularity, but for me, nothing they do will truly match the “magic” of SATURATION. Doing nearly everything themselves, these young men are among the hardest-working musicians in the industry today. While I may be partial to certain albums in the trilogy over others (cough, cough, SATURATION III), each album is full of bangers and appears to be a hip-hop classic in the making.

15. Chelsea Wolfe - Hiss Spun (2017) | Label: Sargent House

A seasoned musician by the time Hiss Spun dropped, the 2017 record was Chelsea Wolfe’s fifth full-length. While I love a majority of Wolfe’s discography, in my eyes, Hiss Spun is her crown jewel. This album is sludgy, gloomy, and heavy, but as always, Wolfe’s songwriting reflects her childhood roots of being raised listening to folk and country music. Wolfe has explained that the lyrical themes present on this album have to do with various health issues she has faced, and her writing’s focus on the body as a vessel can be downright unsettling at times, but in the best way possible. Hiss Spun is cathartic but uncomfortable, a space that Wolfe is more than content to dwell in.

14. Against Me! - Transgender Dysphoria Blues (2014) | Label: Total Treble Music

Punk band Against Me! were already a seasoned and established group by the time Transgender Dysphoria Blues was released, but, it was their first full-length outing since vocalist and guitarist Laura Jane Grace came out as a trans woman. The album’s lyrical focus on the struggles of gender dysphoria and not feeling like you belong in your own body is not only refreshing, but needed. Not only that, but it’s just a damn good record. Lead single “True Trans Soul Rebel” is anthemic while lyrically dealing with a challenging topic. Other tracks, like “Black Me Out” and “Unconditional Love,” are bonafide punk bangers that are all too tempting to jump around to. Transgender Dysphoria Blues is not only Against Me!’s most important record, but it also just may well be their best record.

13. Lorde - Pure Heroine (2013) | Label: Universal

In my opinion, Lorde is THE pop musician of the 2010s. Still a teenager when her debut album dropped and when lead single “Royals” was dominating the airwaves, Pure Heroine introduced Lorde as one of the most interesting new voices in popular music. Not only that, but its lyrical critiques of wealth and consumerism were a challenge to the pop status quo of the time. While I wasn’t too fond of “Royals” upon my first few listens to it on the radio, I became far more appreciative of Lorde when I listened to Pure Heroine in full for the first time. It has catchy hooks and a lot of the other usual hallmarks of pop music, but the memorability of the album established Lorde as a new kind of star and separated her from the rest of the pack. “Tennis Court” and “Glory and Gore” are still favorites of mine, and although I adore her sophomore release Melodrama, I’m still convinced Pure Heroine is Lorde at her best.

12. FKA Twigs - MAGDALENE (2019) | Label: Young Turks

British singer FKA Twigs had been quiet for a long time leading up to the release of 2019 full-length MAGDALENE. Prior to its release, her last project had been the 2015 EP M3LL155X. And oh boy, was the wait worth it. MAGDALENE is perhaps her most breathtaking work yet, everything sounding lush and ethereal. Taking inspiration for the title from the Biblical Mary Magdalene (there’s even a track on the album named for her), MAGDALENE explores emotion, womanhood, and the ways in which the two are intertwined. The lyrics to single “home with you” reflect the nurturing nature and caregiver status that women are typically expected to uphold: “I didn’t know that you were lonely / If you’d have just told me, I’d be home with you / I didn’t know that you were lonely / If you’d have just told me I’d be running down the hills to you.” Even the lyrics to radio-ready “holy terrain,” which features American rapper Future, reflect a desire to be wanted by a partner once “I’m yours to obtain.” MAGDALENE is a record that demands the listener’s attention from start to finish.

11. We Came Out Like Tigers - Agelessness and Lack (2012) | Label: Dogknights Productions

Out of the same UK town that produced The Beatles came “blackened skramz” outfit We Came Out Like Tigers. I discovered this group via Bandcamp, and they were my entryway into learning that there was an entire subgenre of bands that combined two of my favorite genres: black metal and screamo/skramz. Even with all of the wonderful music I subsequently dove into, We Came Out Like Tigers’ 2012 release Agelessness and Lack still stands out as a favorite of mine. The first track, “An Introduction,” includes folky guitar and spoken word lines before you’re thrust into the sonically complex “Sous Les Pavés La Plage.” The complexity is exactly what continues to make me revisit this album. The band is constantly switching between quiet and loud, and for a young band at the time, they had completely mastered when to make a song big and when to tone things down. Agelessness and Lack is both punishing and delicate. Sadly, We Came Out Like Tigers are no longer together, but this record will long outlive them.

10. Animal Flag - Void Ripper (2018) | Label: Triple Crown Records

I almost gave this spot to Animal Flag’s beloved 2016 record LP, however, Void Ripper was a record that I could not get out of my mind. On this record, the Massachusetts band covers genres varying from pop punk (“Candace”) to post-rock (“Fair”), and this variance pays off. Void Ripper may come off as a thematically dark record to many, but the hope present in it is palpable. The track “Stray” utilizes the metaphor of a stray dog to convey the message of feeling lost in life. Interestingly, religion and the doubting of one’s faith is a constant theme throughout the album. The track “Why” states, “No god above / There’s evil all around,” and “Fair” asks, “Do you feel close to God yet?” Questioning of faith is a common experience for those who were raised religious, only adding to the relatability of Animal Flag’s work. Sonically stunning and lyrically heart-wrenching, Void Ripper, to me, is Animal Flag’s magnum opus. 

9. My Chemical Romance - Danger Days: The True Lives of the Fabulous Killjoys (2010) | Label: Reprise Records

Anyone who knows me personally knows that My Chemical Romance are, and have been, my favorite band. Their 2010 release Danger Days: The True Lives of the Fabulous Killjoys was their last full-length prior to their infamous breakup in 2013. Danger Days is not my favorite My Chem album by any means, and it was polarizing for many long-time fans when it dropped. It marked a huge musical shift for the group and sounds more like a straight-up rock and roll album than anything else they’ve ever released. The concept for the album was based around a comic book series frontman Gerard Way was working on at the time, a series that would eventually begin to be released during the summer of 2013. Like anything My Chem had ever done, everything about Danger Days was meticulously thought through and on brand. Lead single “Na Na Na (Na Na Na Na Na Na Na Na Na)” is a slick rock and roll anthem, and tracks like “Bulletproof Heart” and “S/C/A/R/E/C/R/O/W” are personal favorites of mine. On this album, lead guitarist Ray Toro truly shines with some of the best musicianship he’s ever displayed during his time in the band. Danger Days is both glam and futuristic, a party at the end of the world.

8. SZA - Ctrl (2017) | Label: Top Dawg Entertainment

SZA’s Ctrl is one of those records that possesses the power to instantly transport me back to where I was when I first discovered it. It was the fall of my freshman year of college, I had just gone through a breakup, and I was unsure of what I was really doing in life. The R&B singer’s reflections on life, love, and feeling undesirable (the song “Supermodel” is a good example) had struck a chord with me, as they did with countless other listeners. The themes present on SZA’s debut album are melancholic, but it’s through this melancholy that SZA is able to convey relatability and hope to her fans. This relatability, to me, is especially present in the song “Prom,” in which SZA laments, “Am I doin’ enough? / Feel like I’m wastin’ time.” Ctrl is great, soulful stuff, just how all good R&B should be, and above all, it’s filled with earnest honesty. Undoubtedly, Ctrl is a record that I will carry with me for the rest of my life.

7. Ghost - Opus Eponymous (2010) | Label: Rise Above

Many have pegged Swedish band Ghost as the breakout metal group of the decade, and I couldn’t agree more. Hard rock and metal publication Loudwire even named frontman Tobias Forge as their metal artist of the decade. Although their debut effort Opus Eponymous is not the record that propelled them into stardom, it effectively set the groundwork for the hallmarks of their sound present on subsequent albums. Part of Ghost’s appeal is, of course, their theatrics. Forge masquerades as a demonic anti-Pope in Papa Emeritus I, and the rest of the band is filled with masked “Nameless Ghouls.” Beyond their creative “devil church” concept, Ghost just makes damn good music. Forge is an astounding vocalist and has a real knack for crafting sticky melodies. I’ll never forget the first time I heard “Ritual,” with its catchy introductory riff (great opening riffs seem to be Ghost’s “thing” now: think “Square Hammer” or “Mummy Dust”). Although themes of Satan and the demonic are common in a lot of heavy music, this was the very first time fourteen year-old Kayla had heard anything remotely of the sort. The same goes for the equally-catchy “Stand By Him,” and their ode to blood countess Elizabeth Bathory, “Elizabeth.” Anyone who is aware of my current love for black metal will likely laugh at this, but upon first listen, I was horrified yet enthralled. Even after years of being a fan of this band, I can still say with confidence that Opus is full of the catchiest metal songs I’ve ever heard. 

6. Lana Del Rey - Born to Die (2012) | Label: Interscope Records

Lana Del Rey, up until her critically acclaimed 2019 record Norman Fucking Rockwell!, has historically been met with mixed reactions. However, it’s her major-label debut Born to Die that made me fall in love with her. Del Rey set herself apart from the upper echelons of the pop world with her deep, sultry vocal register and love of old Hollywood glamour. Her music has a grand, lush, cinematic quality to it—think of the track “Ride,” taken from the extended Paradise edition of this record. It’s hard to say anything about Born to Die that hasn’t already been said, but like countless other records on this list, Del Rey’s debut possesses major sentimental value to me—I’ll never forget hearing “Video Games” for the first time. Some have critiqued Del Rey for her melodrama, but I believe this melancholy attitude is what makes Lana Del Rey, well, Lana Del Rey. Born to Die was a new kind of pop record, one that was dreary and marked by a self-aware sadness.

5. Turnover - Peripheral Vision (2015) | Label: Run for Cover Records

Turnover was, and still is, a band well-loved by kids who listened to pop punk and emo. When Turnover decided to reinvent themselves in favor of a more shoegaze, dream pop-infused sound for their second record, it paid off extremely well. Peripheral Vision effectively made Turnover the torchbearers of this sonic shift within the pop punk/emo scene, but in my opinion, no band or release since has come close to touching them. Not even Turnover themselves with their later releases. Peripheral Vision is dreamy and atmospheric, and at times, feels like a warm hug. Its melodies are infectious and stay with you, like in tracks such as “Humming” and “Take My Head.” This record reminds me of a warm spring day. Peripheral Vision opened a lot of minds, including my own, and was one of the catalysts that pushed my music taste beyond the pop punk I was so comfortable with. From here on out, Peripheral Vision is the record I’ll choose to play on a sunny day.

4. The Wonder Years - The Greatest Generation (2013) | Label: Hopeless Records

The Greatest Generation marked a shift in maturity for The Wonder Years. It is undoubtedly their masterpiece, dealing with issues varying from vocalist Dan “Soupy” Campbell’s mental health struggles to coming of age in the suburbs. In my eyes, The Greatest Generation is the defining record for this era of pop punk, and I believe its appeal and relatability allow for it to expand its reach far beyond the pop punk scene. “The Devil in My Bloodstream” is a heartbreaking take on dealing with depression, and “We Could Die Like This” provides a snapshot of monotonous suburban life, even including the brand of cigarettes Campbell’s grandmother smokes and the lyrics, “If I die, I wanna die in the suburbs.” The album ends triumphantly with the seven minute-long “I Just Want to Sell Out My Funeral.” With The Greatest Generation, The Wonder Years have achieved what I think is the defining coming-of-age record of the decade. 

3. Balance and Composure - The Things We Think We’re Missing (2013) | Label: No Sleep Records

Do you remember that part of the decade when it seemed that every pop punk/emo band had taken some sort of influence from 90s grunge? With their second record, Balance and Composure put out the best album to come from that era of the scene. The Things We Think We’re Missing was a huge leap away from the band’s first effort, Separation. From the immediate nuclear blast of an opening track in “Parachutes” to the slower (but still raucous) closing track “Enemy,” Balance and Composure compiled a collection of tracks that was instantly memorable and iconic. Even more toned-down moments, like the acoustic track “Dirty Head,” are still laced with the same desperation and aggression. The guitar work on this thing is incredible, and frontman Jon Simmons’ vocal performance soars. I listen to this album probably about once a week, and I foresee it continuing to be in my rotation for a long time. Make no doubt about it, this record is filled with angst, but as I get older, I feel like The Things We Think We’re Missing grows alongside me. 

2. Movements - Feel Something (2017) | Label: Fearless Records

I haven’t felt this way about a new band in a very, very long time. California’s Movements are such an incredibly special band and convey emotion in a way very much unlike most of their contemporaries. After an impressive first EP with Outgrown Things, I was hoping for Movements to continue to deliver with their debut full-length project. And, oh boy, did they deliver. Feel Something mixes elements of post-hardcore, emo, and spoken word in a refreshing manner, despite the fact that this type of genre-blending was certainly not invented by Movements. Frontman Patrick Miranda’s lyrics are pensive and thoughtful, and delivered in a manner that grounds the notion that he knows what he’s talking about. The lyrics to opening track “Full Circle” are delivered with an earnestness that only a person who’s experienced the lows of depression themselves could possibly be capable of. Miranda perfectly captures the monotony of going through the cycle of depression: “It comes in waves and I’m pulled below / It’s not subjective, it’s clinical / Drown myself in the undertow of all my imbalanced chemicals / And the cycle comes full circle.” Even the song “Deadly Dull,” which is centered around living with Alzheimer’s and having all of your memories be erased “every time you fall asleep,” gives the impression that Miranda has had first-hand experience with what he’s singing about. For such a young band, Movements have perfected the craft of emotive music in a manner that few others have. 

1. The Hotelier - Home, Like NoPlace is There (2014) | Label: Tiny Engines 

Not only is The Hotelier’s sophomore effort my favorite record of the decade, but it might also be one of my favorite records of all time. Massachusetts’ The Hotelier marked their place in the 2010s “emo revival,” but, to me, Home, Like NoPlace is There is more than just an emo record. It’s intensely personal and conveys grief like no other. It’s personal because of the simple fact that many people likely have a topic covered on this album that they can relate to, from losing a loved one, to struggling with your identity, to being in a toxic relationship. The most popular song on the record, “Your Deep Rest,” features vocalist and bassist Christian Holden lamenting over their friend’s suicide and wondering if they could have done more. Holden sings, “I called in sick from your funeral / The sight of your body made me feel uncomfortable.” “Housebroken” utilizes the metaphor of a dog relying on its owner to convey the message of feeling stuck in a toxic relationship. The album ends on a triumphant note with “Dendron,” and with it, you get a sense of closure, as if the emotional journey the album took you on is wrapped up neatly with a nice little bow. Despite this closure, this album stays with you for a long time, and listening to it requires your full attention. The Hotelier are a special band, and Home, Like NoPlace is There is one of those records that only comes around once in a lifetime.

Honorable Mentions:

- Citizen - Youth (2013)

- Daughters - You Won’t Get What You Want (2018)

- Pianos Become the Teeth - The Lack Long After (2011)

- Behemoth - The Satanist (2014)

- Title Fight - Hyperview (2015)

- Kanye West - My Beautiful Dark Twisted Fantasy (2010)

- Grimes - Art Angels (2015)

- Mount Eerie - A Crow Looked at Me (2017)

[sometimesalwaysmusic]

THE PALE LIGHT

After cutting his teeth with For the Mathematics and Higher Rights, Robb Barnes (RB) was looking for a new challenge: enter The Pale Light. We spoke about his history playing music, love for vintage keyboard sounds, ideal meal companions and the end of the world. Check out Future Eaters and read on! 

VITALS

Facebook: https://www.facebook.com/thepalelightmusic/

Twitter: https://twitter.com/the_pale_light

YouTube: http://bit.ly/2oYgXQW

Latest Release: Future Eaters (LP, Mar 2017)

Upcoming shows: Stay tuned!

SA: How did The Pale Light come to be? RB: The Pale Light came about in early 2016. I was thinking of starting a podcast and then got some gear to record. Once I had it, I thought to myself, "I've got some gear on hand - why not try to record some music instead?" I had stopped writing music for awhile. I would write some tracks to jam with friends, and I would still play guitar regularly, but I had dropped regular writing since Higher Rites (my last band) dissolved in 2010. The experience was pretty liberating; modern technology makes it feasible to write and record all instruments and put out a decent-sounding record. So the band was simultaneously a way to explore audio engineering and to start working on music again in earnest. It was also a chance to indulge my growing interest in vintage keyboard sounds. 

SA: What bands, musicians or artists would you cite as the biggest influences on your sound? RB: The bands that influenced my old music continue to resonate today - groups like At the Drive-In, the Mars Volta, etc. But I think the biggest influence on the Pale Light's sound is probably Operators, a band led by Dan Boeckner (Wolf Parade, Handsome Furs). I love the synth sounds on that album, and there's a real energy when the keys are paired with a bad-ass rock band. Other influences include Interpol, the Strokes, Twin Shadow, the Cure and Nine Inch Nails.

SA: Thus far in the band's lifetime, what has been your biggest success? RB: So far it's been writing, recording and producing a full length on my own. No fancy studios, no guest musicians, no producer - just me in my basement, agonizing over kick drum sounds, synth sounds and getting a sweet sound out of my old amps. The whole experience was challenging, but also very exhilarating. From a creative standpoint, it was also liberating. I love playing with other musicians, but there's something very cool about being able to sculpt every sound on an album yourself.  

SA: On the other hand, what is the biggest challenge you have faced, and how have you dealt with it? RB:  I think the biggest challenge has been psychological: convincing myself that this is something I could commit to again. I tried really hard with my older bands - I put a lot of money and time into practicing, touring, recording, gear, etc. Because I took my past projects so seriously, I ended up pushing other things away - important things like finishing school, investing time in relationships, and getting a reliable or rewarding job. Now I'm at a different stage in life, and I'm working on a way to integrate music into my daily rhythm in a way that balances with other priorities, while not at all sacrificing the music or the live show. I think I have the formula now, at least conceptually. Time will tell if I'm right.  

SA: How do you approach the song-writing process? RB: Well, it used to be very bass-driven or guitar-driven. I would think of riffs and then write around them, usually with a fast tempo and Latin rhythm. That was the case with For the Mathematics and to some extent for Higher Rites. Now, with the Pale Light, a lot of it starts with keyboard sounds. I play around with different melodies using different keyboard sounds until something cool starts happening, and that usually materializes into a riff or chord progression. Then I write around that. As someone whose main instrument is guitar and not keys, it's liberating in part because I don't really know what I'm doing. What key am I in? Does this song have a major or minor scale? These questions get answered in time, but when I start the songs I often have no idea what's actually going on, technically speaking. It's also cool from the vantage point of a guitarist and vocalist, because it leaves so much space for those instruments.

SA: What are your thoughts on the Ottawa music scene? RB:  It's been awhile since I was fully engaged in it, but I'm looking forward to jumping back in. I think Ottawa is underrated. At the end of For the Mathematics, I was living in Montreal. Higher Rites lived and died in Toronto. Both of those cities are wonderful places, and I have musician friends who are doing quite well in the Toronto music scene, but I'd rather be in Ottawa. It's a good size, and there's a sense that the musicians who stay here are committed to building community. In Toronto, there's this expectation that you're in the big leagues and you have to be a little more vicious or self-interested, or something like that. In Ottawa, I never felt that way. People here love music and they want to help others who love music. It's as simple as that.  

SA: Your recently released album, Future Eaters, is described as being about 'creeping fascism and the end of the world' on your Bandcamp page. Can you unpack that description a bit more, and has what influences your song-writing changed over the years? RB: Lyrically, all three bands share a kind of autobiographical approach, with heavily reliance on metaphors and other imagery to make the messages sound more universal and less awkward. When I was in For the Mathematics, a lot of the lyrics dealt with interpersonal relationships. To a certain extent, that remained true in Higher Rites. Now that I'm happily married, there's not much drama to report on the interpersonal level, and so that doesn't manifest itself lyrically anymore. But I am heavily engaged in the environmental field, and the political field to a certain extent. The lyrics on Future Eaters reflect a sense of loss and dread at the dawn of the Age of Trump, but also point to more systemic concerns. Many scientists now argue that we're entering a new geological age that they dub the Anthropocene. This age is characterized by the dominance and pervasive impact of humans. I look around and all I see is impending climate catastrophe and supposedly enlightened humans chewing up the natural world, either literally (eating animals) or figuratively (oil and gas development, cascading biodiversity loss, rampant ocean acidification, plastics pervading our water bodies, etc.). This album is about reconciling my life as an activist with my hopes for the future, and my angst about the utility (or lack thereof) of political engagement.

SA: Given your history with bands of a variety of genres, what made you want to follow this style with this band, and how has your song-writing approach compared or contrasted with past projects? RB: On this project I finally had the opportunity to slow things down a bit. I really wanted to build long, lush passages of sound where melodies could really stand out. And as a writer this meant I needed to rely on something beyond the usual guitar-bass-drum dynamic to keep it all in place. So this project really allowed for experimentation with keys and drum machines. This was also an occasion to really be heard as a vocalist - to stop yelling and to start singing, allowing the words to stand out be understood. In the past, I distorted the hell out of my vocals and then usually buried them in the mix. This time I set out to be understood, and to let the message of the music stand out. As for what led to it, I think it has something to do with coming of age in the 80s and 90s. Although Nirvana and Metallica are what really got me into being a musician, that stuff was predated by some pre-grunge and non-metal 80s and 90s stuff that also feels like a part of me. Stuff like old U2, Bruce Springsteen - even Sinead O'Connor. Some of that music is hugely dependent on good synth sounds, and it was fun to try to recreate some of that feel while remaining rooted in the indie rock world.  

SA: You have the change to sit down for a meal with three musicians, dead or alive. Who are they, and why? RB:   Kurt Cobain, Cedric Bixler-Zavala and Julian Casablancas. I started playing guitar because of Nirvana. If I could talk to the ghost of Kurt Cobain, I'd ask him what was going to come next after In Utero. I started taking touring seriously because of At the Drive-In, so I'd like to thank Cedric for blazing a trail and just being this fount of restless creative energy. As for Julian Casablancas, I modeled the songwriting approach and aesthetic in For the Mathematics after the Strokes, as much as that might not sound obvious. I've always enjoyed his tendency towards sonic experimentation, even when it doesn't work out. I'd like to hear what makes him tick.  

SA: After the successful release of Future Eaters in March 2017, what comes next for The Pale Light this year? We wish you guys the best, and good luck! RB: Well, I'm getting a band together and we're going to start playing live soon. I'm super excited. I'd like to bring some serious energy to the live show, which should be interesting given the tempo and mood of the album. I think it'll work. Stay tuned!

[gwynnew]

'Emmet Otter's Jug-Band Christmas' turns 40: An oral history of Jim Henson's holiday Muppet musical

‘Emmet Otter’s Jug-Band Christmas’ (Photo: Sony Home Pictures Entertainment/ The Jim Henson Company)

When it comes to Christmas specials, either Emmet Otter’s Jug-Band Christmas is among your favorites, or you haven’t seen it yet.  Jim Henson’s captivating musical, starring an ensemble of delightful Muppet critters, has never attained the holiday ubiquity of, say, A Charlie Brown Christmas (with which it shares a gentle humor and sincerity) or the subsequent The Muppet Christmas Carol, releasted in 1992, two years after Henson’s death. For years, it was impossible to find on home video. Nevertheless, Emmet Otter and his friends have maintained a devoted fanbase since their special first aired in December 1977, a following that’s bound to grow now that a 40th anniversary edition of Emmet Otter’s Jug-Band Christmas has been released on DVD.

The 53-minute film tells the story of Ma Otter and her son Emmet, who live a simple but joyful life by the river in Frogtown Hollow.  With Christmas around the corner, mother and son know that they’re too poor to buy each other gifts, so each secretly enters the Frogtown Hollow talent contest in hopes of spending the prize money on Christmas.  Emmet, with his woodland friends, forms the jug-band of the title, but must ruin his mother’s income-generating washtub to make a washtub bass; Ma decides to perform a song, and makes a similar, O. Henry-esque sacrifice. When the talent contest takes a surprising turn, Ma and Emmet think all is lost — until they receive the best Christmas gift they never expected.

In addition to being a heartwarming piece of entertainment, Emmet Otter’s Jug-Band Christmas was a landmark film for the Henson Company. More cinematic and ambitious than any of the Muppets’ previous television projects — with full sets, animatronics, and puppets custom-built for the story — the special paved the way for Henson-produced feature films like The Muppet Movie and The Dark Crystal. Even as he moved onto bigger things, Emmet Otter remained a favorite project of Henson’s throughout his life. His collaborators, including Muppet performers Frank Oz and Dave Goelz and songwriter Paul Williams, still feel the same way. As Goelz told Yahoo Entertainment, Emmet Otter “got right at the essence of Jim’s philosophy — the decency, the sense of giving. And we need that more than ever these days.”

To celebrate the 40th anniversary of the Emmet Otter’s Jug-Band Christmas premiere, Yahoo Entertainment had a conversation with Oz and Goelz (soon to be reunited onscreen in director Oz’s documentary Muppet Guys Talking), who spoke together for the first time about their Emmet Otter memories.  Yahoo also talked to Williams, who shared the stories behind timeless songs like Ma Otter’s ballad “Our World.” Here is the oral history of Emmet Otter’s Jug-Band Christmas, from three of Henson’s closest and most devoted collaborators.

Emmet Otter’s Jug-Band Christmas (Photo: Sony Home Pictures Entertainment/The Jim Henson Company)

Jim Henson and his crew shot Emmet Otter’s Jug-Band Christmas in Toronto in March 1977. (The Muppet Show had premiered five months earlier, and Henson’s puppets were still best-known as residents of Sesame Street, then in its eighth season.) The hour-long film, based on a children’s book of the same name by Russell and Lillian Hoban, was adapted for the screen by Muppet Show writer Jerry Juhl.  To write the songs that were crucial to the musical story, Henson approached singer-songwriter Paul Williams, one of The Muppet Show’s early guests and the writer of contemporary radio hits like the Carpenters’ “Rainy Days and Mondays” and Three Dog Night’s “An Old-Fashioned Love Song.”

Paul Williams: I just hit it off beautifully with Jim and with the Muppeteers right from the start. I loved their humor. I love that there was kind of a dark edge to them, with all the bright and sparkly stuff they were doing. But Jim said, “We’re gonna do a special based on a children’s book called Emmet Otter’s Jug-Band Christmas.” And he also mentioned that down the line, they were going to be be tackling their first feature-length motion picture, and that he thought this would be a great introductory thing to see how well we worked together. It was interesting because the kind of music that it required was very different than anything I’d ever done.  It was what I would refer to as “Americana.” 

All of the characters in Emmet Otter’s world, more than 30 including non-speaking roles, were played by six puppeteers, Henson included. Frank Oz, the Muppets’ star performer, puppeteered Ma Otter — but unusually, the man behind Miss Piggy, Fozzie Bear, Animal, Bert, Grover, and Cookie Monster was dubbed with the voice of another performer, singer Marilyn Sokol.   

Frank Oz: I would be thrown in jail if I tried to sing those songs. Songs that beautiful needed a beautiful voice; it was always intended that way. I just performed it with the dialogue live, and then in post-production Marilyn put her voice in. But Marilyn had already recorded those songs, so on set I could sing to Marilyn’s tempo and feeling and everything. And she was a beautiful singer. 

Watch Ma (voiced by Marilyn Sokol, puppeteered by Frank Oz) and Emmet (Jerry Nelson) perform ‘Ain’t No Hole in the Washtub’:

Dave Goelz, best known for the character of Gonzo, had just recently become a Muppet performer. He started out as a builder in the creature workshop, where he built several of the puppets for Emmet Otter. In the special, he played Wendell porcupine, Emmet’s slow-witted but lovable best friend.

Dave Goelz: Wendell Porcupine was a breakthrough for me at the time, because I’d only done one season on The Muppet Show and I was really a beginner. And I had some success with that character just ad-libbing in the studio. You know, Wendell had a crush on Emmett’s mother. He just loved her and he wanted to spend time with her and it was all kind of strange. But that was just off-camera.

Oz:  And can I say, since I did the mother: I don’t think that obsession was truly platonic.

Goelz: [laughs] I wasn’t gonna go there.

Oz: No, Wendell was a great character, Davey. I love Wendell. He’s so pure. 

Rounding out the cast were fellow Muppet performers Jerry Nelson, who played Emmet; Richard Hunt, who played Emmet’s bandmate Charlie; and Eren Ozker, who played the minor female characters (and had been the only female performer on the first season of The Muppet Show).  All of the performers played multiple creatures; for example, every performer in Emmet Otter’s cuddly jug-band doubled as a member of their ill-mannered rock-and-roll rivals, the Riverbottom Nightmare band.

Goelz: In the bad guy group, I had this catfish. And I had fun doing the fish because we built a squirt mechanism into him so he could spit water. That was his wise-guy thing. Frank’s was that he was extremely tough, his word was law. [laughs] And it was just fun to do these idiots.

Oz:  My guy [Chuck] — he was the leader of the group. In high school, you know when you’ve got the bad guy everybody follows, and he’s a guy who just is so cool? I saw him that way. He reminds me of guys in high school that I was scared of. [laughs]

Goelz: Oh yeah, absolutely. “I’m not hungry, I’m huuuungry.” [laughs] Oh, I loved it. Frank oftentimes will find a moment like that, and it will just be a standout in a whole television show or film. In Muppet Christmas Carol, it was Sam Eagle talking to young Scrooge about a career in “business.” The obscene lust that Sam Eagle had for “business!” Just finding those little moments that you never, ever forget.

Emmet Otter’s Jug-Band Christmas (Photo: Sony Home Pictures Entertainment/ The Jim Henson Company)

The songs in Emmet Otter’s Jug-Band Christmas are meant to sound like timeless American standards, songs that Ma Otter and her family would have been singing for generations. A few titles were suggested by the book, but the majority were invented from scratch by Paul Williams, who found working with Henson and the Muppets to be uniquely inspiring.

 Williams: There’s such an amazing energy that you get working around Jim. I think the more calm you are, the easier the flow of the creative source. If I get tense and say, “Oh my god, I gotta finish this,” things slow down a little bit. But if you can stay as relaxed as Jim seem to be? The songs just poured out of me.

Oz: Paul got the spirit of Muppets and Jim. Not everybody can, you know? People don’t often get the fact of the sense of purity and the sense of play and the sense of integrity of character. They sometimes, as an adult, try to make things clever or funny. But Paul just approached it the same way Jim did, and we did. He had that ability to, in a way, be one of us in the musical realm.

Williams: I think the big mistake that a lot of songwriters make when they’re writing for a musical is to try to write a hit song. And I never did that.

Goelz: But you know, he wrote this lovely song “Barbecue” — “Barbecue lifts my spirit, I swear it never fails” — you know, it made me want barbecue whenever I heard it. And then he turned right around and created this incredible spiritual, “When the River Meets the Sea,” that seems like it’s been around forever. It’s so eternal and it’s so profound. I used to sing it to my kids every night when we put them to bed.

Watch (from left) Harvey Beaver (Jim Henson), Charlie Muskrat (Richard Hunt), Emmet Otter (Jerry Nelson), and Wendell Porcupine (Dave Goelz) sing ‘Barbecue’:

Williams: I remember eating barbecue, and that I would always get it under my nails. I think maybe the first line I got was, “The sauce mama makes’ll stay there forever if you dare to get it under your nails.” And I think that because I was such a middle-of-the road writer, writing for the Carpenters and Three Dog Night, that that first line is very personal: “When you meet somebody who don’t like soul food they still got a soul, and it don’t mean that you ain’t got rhythm if you don’t like rock and roll.” There’s probably a little bit of something defensive in that about, no, I’m not part of the Laurel Canyon, Crosby-Stills-Nash-and-Young crowd, or that hardcore rock-and-roll, Rolling Stones music is not what I wrote. But just because I don’t write rock and roll doesn’t mean that I don’t have a soul. [The next line is] “If your taste’s like mine you like cider not wine” — which is interesting because I’m 27 years sober now, but at the time I definitely preferred wine. But I thought, it’s for the kids. 

Oz:  The music was just the most beautiful stuff. Paul’s written other stuff for us and it’s beautiful, but somehow this is really extraordinary.

Williams: I love the way that “Our World” and “Brothers” come together at the end. You know, I’m an old hippie. In the ’60s I was up in San Francisco with flowers in my hair like everybody else was, and my love beads and my tie dye T-shirts and camouflage pants and work boots and long hair and a top hat with a feather in it. So “Our World” is very, very much in that spirit. It’s a little hymn, you know? It’s like a little hymn. 

Watch The ‘Our World/Brothers’ medley from ‘Emmet Otter’s Jug-Band Christmas’:

When characters perform songs in the story, they actually “play” their individual instrument parts. The tracks were pre-recorded, so they weren’t making the music live — but the Muppeteers put enormous effort into getting it right.  

Oz: We all worked hard on that. If you look at Wendell playing the jug — Davey got that jug track, and he rehearsed that jug track alone. I got the washtub track with a single string. We each got our own part and rehearsed it, and then when it was mixed together, we knew our parts. And we always took pride in the fact that we didn’t fake all that stuff; we really rehearsed that very well. We’d do that for The Muppet Show too.

Emmet Otter was a labor of love for all involved, but days of shooting with puppets could be repetitive and tedious. This is illustrated, hilariously, by an outtake reel of a single shot included on the DVD. (Watch it below.) In the 10-second shot, Ma (Oz, pre-voice dubbing) and Emmet are standing outside a music store that is being trashed by the Riverbottom Nightmare band. A drum is supposed to come rolling out of the door and land in front of them. When the drum doesn’t land in the right place, Henson resets the shot again, and again, and again, a total of 33 times, while the puppeteers ad-lib between takes.

Oz: The drum rolling was classic. I remember we rehearsed it. Jerry and I were underneath the set, just like all the other performers, so we’re in two holes. And in the rehearsal it landed beautifully, perfect  — so we thought, we’ll do it again. It must have been 30, 40 takes? But Jim would not give up. We’d be there all day long.

Watch The outtakes reel for the drum-rolling scene:

Goelz: That’s the thing that differentiates the Muppets: nobody else is crazy enough to do this.

Oz: It’s true. These days you have CG, and it’s just not as much fun because you can always throw money at something and do it. But when we did it with Jim it was real time. And so you had to be a little bit crazy – and Jim was, in that regard. He would just do anything. And I think Davey’s right, nobody actually understood the depth of experience we went through to fulfill Jim’s vision.

Goelz: That commitment is so deep and so persistent. It was actually a lesson about life, too, for me anyway. I went on from there and I thought: If something’s really important, you do whatever it takes.

Oz: What was funny to me was, that take was like shooting dice. There’s no way you could control that drum! [laughs] It was just blind faith that it would do it again.

Goelz: It’s probably worth saying that Frank and Jerry were in a lot of pain during that, because underneath that set, when you have your arm stuck in a hole, there are all these beams that go right through where your head is supposed to be. And so your head can’t be where it normally is on your shoulders; you have to put it off to the side somewhere. And it hurts like crazy. And when you go over and over like that for as long as that was, you’re in a lot of pain. And in spite of that you have to perform; you have to compartmentalize it.

Oz: And that’s what we learned from Jim. And Dave does the same thing and Richie Hunt did the same thing — all of us did the same thing, where I say, we just sustained the pain to get the performance. All of us did.

Goelz: And at the same time, Frank was still throwing in ad libs after every failure. 

As a puppeteer, Goelz had his own unique physical challenge on Emmet Otter set: performing the catfish in a full tank of water during the Riverbottom Nightmare Band’s performance. (Watch it below.)

Goelz: That was a scary thing, because the set-up was, the fish tank was built into the set. It had a hole in the upstage side, away from the camera, and a wetsuit arm glued securely into it so you could fill the tank with water, put the arm inside the wetsuit on, and then somebody would put the puppet on your hand. And I was sitting on a forklift truck; there was a palette on a forklift truck that held me at the right height so I could put my arm into this tank. I remember just the whole time I was terrified that somebody might come along and turn the switch, and if that palette went down, my arm would just be cut off like a guillotine! [laughs] I think Frank knew that and he really loved it.

Oz: I love anytime when somebody else is in pain. Sure. [laughs]

Goelz: Especially me, for some reason.

Oz: Oh there’s many reasons.

The Riverbottom Nightmare Band performs their signature song. Performers include Dave Goelz as the catfish dancing in the water tank and Frank Oz as lead singer and keyboardist Chuck. 

Though filled with old-fashioned charm, Emmet Otter actually employed a savvy blend of age-old puppetry techniques and cutting-edge animatronic technology. Engineering wizard Franz “Faz” Fazakas, a frequent Muppet collaborator, designed the rowboat that could be steered along the set’s 50-foot river, and rigged versions of Ma and Emmet that could be operated via remote control while they were on the water. 

Goelz:  The boat was super high tech. The radio-controlled Emmet and the radio-controlled boat worked together so Emmet could row it around, just like a real rowboat.

Oz: And while the boat was being rowed around, Ma could be singing, because of the remote control. However, when it got into a closer shot, Jim just put the boat in front of the river — so we’re on the studio floor, and the camera’s shooting at us past the river in the background.

Goelz: For close-ups, they wanted to use hand puppets for better manipulation than you can get with a remote control figure. Same thing was done in The Dark Crystal actually, same exact technique.  But then on the same shoot, we also had puppets marionetted. So occasionally in long shots, you’d see Emmet walking across this big wide shot as a marionette. And that was very primitive; they looked pretty silly walking along with their feet kicking out as they walked. But to me it’s all part of the charm. I just love that it’s that way.

‘Emmet Otter’s Jug-Band Christmas’ (Photo: Sony Home Pictures Entertainment/ The Jim Henson Company)

Emmet Otter’s Jug-Band Christmas premiered on Canadian television in December 1977, followed by an HBO premiere in 1978 and a network premiere on ABC in 1980. The critically acclaimed special provided a groundwork for the Muppets’ feature films, which took Henson’s detailed world-building, groundbreaking special effects, and Muppet-specific cinematic techniques to a new level.  Williams went on to write songs for The Muppet Movie, The Muppet Christmas Carol, and the 2008 stage adaptation of Emmet Otter. The tale of Frogtown Hollow continued to hold a special place in the hearts of those involved — including Henson, who included one of Emmet Otter’s songs in the musical program he designed for his memorial service (held in New York City on May 21, 1990, five days after his death).  

Williams: The last thing that I ever expected was to hear “When the River Meets the Sea” at Jim’s funeral. It was an especially emotional moment in the funeral for me. But I think that the songs in Emmet Otter, and the way that Emmet Otter rolled out, is exactly what Jim wanted. I think it’s a gorgeous little jewel of the Muppets at their best.

Oz: If people made Emmet Otter these days, they would make it for little children. We never made it for children. We just did it for ourselves, and so we enjoyed it for ourselves.

Goelz: None of us talked about it — especially Jim — but I think that this show represented Jim’s philosophy very accurately. And I think in all of our work, a part of it may have been that we were trying to show a world the way we’d like the world to be.

Oz:  It’s such a chancey thing that Jim always did, which is take a chance on real purity and sweetness. We don’t want cloying, we don’t like cute — but sweet is legitimate. And Jim just went for it.

Goelz: You know, we just did two shows with the Muppets at the Hollywood Bowl back in September. They were literally like these long, extended Muppet Shows. And we had packed houses, eighteen thousand people in the audience. You could just feel their hunger for decency, and innocence and whimsy. The world really wants that right now.

Watch Ma Otter sing ‘When the River Meets the Sea’: 

Read more from Yahoo Entertainment:

‘Labyrinth’ Turns 30: Brian Henson Shares Memories of David Bowie, Jim Henson, and the Grouchy Goblin Hoggle

Frank Oz admits ‘it hurt’ to give up Muppets, says they’ll never be as ‘touching and soulful’ (exclusive)

‘Princess Bride’ at 30: Cary Elwes on the scene he dreamed up, his battle scar, and those extreme fans

[moosterrecords]

Oh Boy Records to Release John Prine Beyond Words

Prine's first ever songbook featuring a selection of his favorite songs, photographs, and stories

Oh Boy Records is pleased to announce the release of John Prine Beyond Words, available for purchase via https://johnprine.com on April 18th. Beyond Words includes over 100 photographs from Prine's personal collection, copies of handwritten lyrics showing the creative process with select commentary, and lyrics with guitar chords for 60+ classic Prine songs. Watch the trailer for Beyond Words here. The book retails for $34.98 and is currently available for pre-order with free shipping (within in the U.S.). For fans of Prine, the general consensus of this release is it's about time, as a songbook has been requested at the merch table for years. Personally curated, the book is for both the studied Prine fan and the next generation of songwriters newly discovering his work. Beyond Words is a rare glimpse into the inner workings of the man No Depression Magazine dubbed "the poet laureate of our everyday experience." Beyond Words is new territory for both Prine and Oh Boy Records, as this is Prine's first ever songbook and the label's first foray into book publishing. Decidedly indie, Oh Boy was founded in 1981 by Prine and his manager Al Bunetta, and is the second oldest artist owned independent label in the country; the oldest in Nashville. For your listening pleasure, Oh Boy created a Spotify playlist to complement the content of Beyond Words. For more information, please visit http://johnprine.com/. For review copies, please reply to this email. About John Prine: Two time Grammy-award winner, John Prine, is a singer songwriter who, from his eponymously titled first LP release in 1971, has continued to write and perform songs that have become central to our American musical heritage. Classics like, 'Angel from Montgomery,' 'Sam Stone,' 'Paradise,' and 'Hello in There' speak to the everyday experience of ordinary people with a simple honesty, and an extraordinary ability to get right through to the heart of the listener. With his career spanning more than 40 years, Prine continues to perform at sold out shows all over the US, Canada, and Europe. Among the many awards and accolades John has received in recent times include is his 2003 induction into the Nashville Songwriters Hall of Fame, and an Americana Lifetime Achievement Award for songwriting. In 2005, Prine was honored at the Library of Congress by US Poet Laureate Ted Kooser and in 2016 was awarded the prestigious PEN New England's Song Lyrics of Literary Excellence Award. Prine has become for many, not just a well loved and appreciated songwriter, but a bonafide American treasure. About Oh Boy Records: Oh Boy Records is an independent American record label located in Nashville, Tennessee and founded in 1981 by Grammy Award-winning songwriter John Prine and his longtime manager Al Bunetta.  The label has released more than 40 audio and video recordings by singer-songwriters Prine, Kris Kristofferson, Daniel "Slick" Ballinger, Shawn Camp, Dan Reeder, and Todd Snider-- along with a dozen reissues of classic country music artists. In 1980, Prine finished his recording contract with Asylum and moved to Nashville. Rather than sign with another label, he decided to start one of his own, and was joined by Bunetta. The new Oh Boy label's first release was a red vinyl Christmas single with Prine singing "I Saw Mommy Kissing Santa Claus" on the A-side and "Silver Bells" on the B-side. The first full-length release was Prine's Aimless Love in 1984. Oh Boy is the second oldest artist owned independent label in the country, and the oldest in Nashville. ###