#just shapes and beats harmonic havoc

[jsabharmonichavoc]

Gang

I'm redesigning boss man so have these mfs for now

Cube and Lycan do have claws I just didn't feel like drawing them

Oh god it looks like cuda has see through shoes no hey stop

[elisbullshittery]

Uh

help i got trapped in an alternate universe and my characters are here and I think they're gonna kick me like a soccer ball cause I give them copious amounts of trauma and I'm so fuckin scared right now help agh OH SHIT THEYRE COMING

(ooc cut after this)

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oh god hi im eli i made this blog out of boredom, kinda a rp blog but its crackfueled anyways agh sideblogs with the characters that are tryna beat up eli (my sona) @atrocityeradicators this is barebones ngl @jsabharmonichavoc yea this ones less barebones anyways agh

[irrelevaantidiot]

animatic idea songs agh. its a LONG LIST OH MY GOD.

(Atrocity Eradicators)

Chonny Jash - The Bidding 6arelyhuman - XOXO Miracle Musical - Labyrinth Cavetown - Devil Town Ride the Cyclone - Noel's Lament MSI - Stupid MF Melanie Martinez - Evil Talking Heads - Psycho Killer Mother Mother - Baby Boy (friend showed me this song and now its a huge idea WAUGH) DEVO - Puppet Boy Mystery Skulls - Freaking Out Coldplay - Hymn for the Weekend SIAMES - The Wolf Rockwell - Somebody's Watching Me The Offspring - Gone Away SacriStuff - VIRUS Caravan Palace - Aftermath IDKHow - Choke Ghost and Pals - Reckless Battery Burns siouxxie - masquerade Saint Motel - A Good Song Never Dies Lil Soda Boi - Plug Me In Dead on a Sunday - Damnit Black Eyed Peas - Pump It Imagine Dragons - I'm So Sorry Griffinilla - Stay Calm Ck9c - You Can't Hide Shadrow - Never Be Alone Molchat Doma - Sudno bo en - my time (or our time, idk) Laura Les - Haunted (Harmonic Havoc) Chonny Jash - The Soul Eclectic Metallica - Master of Puppets Ghost and Pals - Pathological Facade Eyedress - Jealous MSI - Lights Out emily jeffri - do you remember me Peter McPoland - Digital Silence WHOKILLEDXIX - spy? Boney M. - Rasputin Dwilly - ugh The Buttress - Brutus (maybe?) DAGames - You're Better Off bo en - Pale Machine Mother Mother - Wrecking Ball TV Girl - Easier to Cry

uh yea anyways!

[un-nmd]

Recent listening—

John Zorn, Naked City (1989) Reserve judgement till after you’ve heard the likes of “A Shot In The Dark” or “You Will Be Shot” (detect a theme?) for in these Lynchian juxtapositions of the mundane and the visceral, Zorn and co-conspirators laugh in all the faces of the jazz purists, art music graduates, avant-garde cultists—compartmentalisers or cataloguers or labellers, basically. The madness was always there. Zorn was only woke enough to listen to the wind and precipitate what she betrayed of her lover’s broken heart, or hearts: New York, L.A., Chicago, either/or, doesn’t matter, once past a critical mass all tend to the same limit, the wind’s seen ‘em all and they’re all the same. Naked City’s a portrait of order gone to anarchy. Whatever identity the “Latin Quarter” once had is here presented as a frenetic collage of whims; predatory, music liable to combust at any given moment. Likewise “Siagon Pickup” for an oriental equivalent. But sometimes the omens are bad enough that you can anticipate the storm, and even enjoy it, revel in it when it comes. Like on “Reanimator” where Zorn’s freakout heralds some insane climax that’s euphoric for the awakened. And please don’t miss that it’s all awfully hilarious to them as they feel and know that these stoic truths are lost on those yet to accept that all’s gone to shit, yes, even in your ivory towers, your vaults and penthouses and corporation headquarters; there its only letting itself take a bit longer to be known, but chaos’ll come, so you might as well wise up and enjoy it.

Death Grips, The Money Store (2012) Rather a lot to take in upon first hearing. Immediately plainly a refinement of the aesthetic put forth on Exmilitary but now with an entire studio to run around in these kids have wrought havoc on Mr. and Mrs. White’s 8-track ideal—couldn’t come up with a more fitting antithesis to De Stijl (and Mondrian’s, too) if you let the industry wallow another decade. So why’s this defunct Detroit duo in the mind?—cos where are the guitars, man? Every beat’s packed to near bursting with all manner of production craftsmanships (or gimmickries if you see it that way), MC Ride’s tripping bars overlaid—too much matter, really, to be dealt with on the first wave. But you appreciate the covenant this sonic assault bespeaks—this hip-hop New Complexity has room only to deepen from here. So steep in it, and by about round 3 or 4 (depending on how acute your lobes are) you’ll have undergone some sort of desensitisation to this violence in noise—and now you’re in a place to prophesy. Despite Ride’s barely discernible delivery (except on the eponymous hooks to nearly all 13) the ‘point’ of it all somehow gets itself across—it is, unlike the music itself, not very complex, and mainly involves embarrassing amounts of non-specifically directed anger. Dare I say it, there’s no filler on this, it’s a wild enjoyable ride and a happy side-effect to the maximalist production is there’ll always be something to tickle the ear. And when the hooks do come its a righteous clarifying of the chaos that would eventually get old if it stood alone. Plus, theorists can invoke an unholy marriage by ascribing some mutant Bartókian arch form: “Get Got” and “Hacker” as symmetrical sandwiching allegros, “Double Helix” as Nachtmusik? 

Ornette Coleman, The Shape of Jazz to Come (1959) If you’re hearing these albums in the same order I did you’ll get the same shock upon flicking on what you expect to be Coleman’s near-incomprehensible emancipated bebop and instead hearing a tune that’s actually perfectly singable, and moreover, one that you actually know—how’s that? Must be covering some standard which has somehow osmosed itself into your consciousness but—look it up, in fact its a Coleman original! And so where have you heard it before? Ah: Zorn. It seems then that those slurring drunkard articulations on the head to “Lonely Woman” embodied one of the few Coleman melodies (if not the only) that stuck itself to the underbelly of the hard bop canon—shape of jazz to come, indeed. But it wasn’t so much the heads that would (or were, at least, intended to) mould future generations—rather what lay in between: the emancipation of melody, yes, forget keys, forget harmonic structure, and while you’re at it throw your modal jazz out the window. I’ve always felt ‘harmolodics’ to be a poor term because really it ought to be just melody, that element of music which Coleman raised to the highest pedestal; melody alone, melody a priori. But as a pseudo-theoretic buzzword it does just fine.

John Coltrane, Offering: Live at Temple University (1966) First thing you notice is Coltrane’s uncomfortably, blatantly in the fore. There’s a need to turn it up so you can make out the other activity and by the time you’ve done so Trane’s tenor’ll be blaring out so loud it’s like he’s right by you. But the mixing seems to get more favourable as the numbers progress—or maybe you just adjust. Yes, revisiting, he’s up in your grill but not to intimidate. He’s there to send a very personal message. This was, after all, his penultimate live recording before he quit the grid in July of ‘67. He was getting close to something, and to tell it, he’s gotta get close to you. In the old quartet he might’ve had trouble getting so spiritual. You get the feeling that the mystic tendencies were more at home in this more familial second ensemble. There’s a communion of sorts. And technically they’re equally fine: Alice takes up right where McCoy Tyner left off and actually on her solos she’s more in line with her husband’s ‘sheets’ than her predecessor, part of the reason why the closer on this has replaced what used to be my favourite “My Favorite Things”: Belgium ‘65, check it here. And this is no mean feat as Tyner’s comping/the extended solo on that one’s where quartal harmony came of age, or at least in my experience. The opening to the Offering take’s also a real rarity: double bass goes at taut catgut like anything but cool. We’ve heard with what’s now alarming regularity the rhythm section’s other two rip loose free-form and its high time the other essential’s had a stake in the fun. But now let’s discuss what assures Live at Temple a place in legend. Drop in somewhere about halfway through “Leo”. Trane’s just finished up screaming outta his tenor. Rashied Ali’s going at it now, wild thing on the kit like a hurricane, whirling, whirling, an Almighty gnashing of teeth on calf hide for six or so minutes when all a sudden Trane comes—or is it Pharaoh?—some fella a-moanin’ like a lunatic at the rapture; Obeah Man, elder. Some sole black voice monophonic, like plainchant only infinitely more ancient. What, or whom, are they invoking? Seems they’re their own demons—that, or they’re oracles, come to preach the word in sonic semiotic, purveyors of the sound and the fury.

Food For Animals, Belly (2008) These D.C. fellas put out a remarkably consistent aesthetic and with more personality than you might expect from hip-hop in the industrial vein. That is, what you might expect is: An incoherent, arbitrary mish-mash of overvolted sawtooths, saturated found noise, and other cheap effects; at heart no more than a glorified dubstep. That’s where Christgau was coming from with Death Grips as “Skrillex-as-Unabomber or Skrillex-sans-fun”. But this, like Hill’s trio, is undeserving of such scoffing critique. Any incoherence (and sure, there’s plenty) is but part of a higher level narrative that itself is coherent. Hear it like timbre composition—argument between textures drives the musical conflict. Timbre variation dictates form. And sure, the jargon’s a little dry so let’s talk application: lyrically “Belly Kids” retells the ubiquitous suburbian nostalgia that we also found on the Arcade Fire’s Grammy laureate. As words cast mind’s eye far back, music evokes some sort of youth decay in reverse; the same motion but in sonic terms. The opening’s the hardest the beats ever get on this. Only one direction to go from there. So we ease up and ease up, harshness tempering at each fresh verse, vector very clear, then arrival at the final lines, delivered nude, final lines and the final element: the word. And you know them because they’re self-same to those that were spoken in the apocalyptic beginning. Brahms would be proud. A similar clarification but more on the scale of the Tristan resolution occurs between “Maryland Slang” and “Tween Fantasy” in which the former’s verse is resurrected (Mahler would be proud) before the latter’s velvet shimmering manifold, a thousand tiny chimes in a gentle breeze. And there are many more gems to be found in this urban gizzard (hints: “Shhhy” sample, preprise/main event) but I’ve written enough already.

[auskultu]

Album Review: The Grateful Dead

Richard Goldstein, The Village Voice, 13 April 1967

A good album, like those long lasting cold remedies, is filled with tiny time capsules which burst open at their own speed. Cuts that astound at first fade as subtle ballads emerge. Great blasts of noise vanish as haunting melodies appear. A line suddenly hits home...a phrase...a shade of meaning, and the whole album becomes something else again.

The shape of a good album changes constantly. A review can never be anything more than a synthesis of moments. When technical trickery wears thin, and novelty loses its appeal is the time to evaluate a piece of work. The test of time doesn't mean very much; repetition is all. The good albums stick; the great ones transmigrate.

The Grateful Dead, San Francisco's most highly touted tock band, have released an album which is a perfect illustration of this time-gap principle. It is straight, decent rhythm and blues - some of it so civil it passes for dull. Certainly, this is no "psychedelic" music. It doesn't fuzz, except in spots. It doesn't squeal inside your head like a dentist's drill. It isn't even in a minor key. In fact, on first hearing the Grateful Dead is the Butterfield Blues Band in Merry Prankster drag. "The Golden Road to Unlimited Devotion" turns out to be plain old rock with vocal harmonies that remind you of the Mamas and the Papas, of all things. "Beat It on Down the Line" is the kind of putty R and B Barry Goldberg stretches into a 20-minute magnum opus. "Good Morning Little School Girl" has a raunchy, funky sound. Lines like "I wanna put a tiger, baby, in your sweet little tank" fulfill all criteria for blue eyed soul, a la Eric Burdon. 

Further on, there is "Sitting on Top of the World," a snazzy touch of bluegrass, "Cream Puff War," with a modified Young Rascals vocal, "Morning Dew," with instrumental lines right off the Jefferson Airplane album (listen to "Today" alongside this cut) and a 10-minute blues excursion which breaks no rules, stretches no boundaries, and won't even rankle your middle ear. Ten minutes that don't deafen is just not psychedelic, man. And a lust-song with implications - baby, what ever happened to acid passivity?

I don't think this album has much of a future with the underground. It dispels utterly the treasured myth that the psychedelic experience automatically turns a musician to specific forms of expression - like atonality, baroque harmonics, or raga. The Grateful Dead give the lie to most technical embellishments which have become psychedelic symbols in our music. The people who first decided that any musician worth his head has to wreak electronic havoc were businessmen. Straight or stone, a rock band is a rock band.

The Grateful Dead play music with an optimistic simplicity that is the San Francisco sound. All the pyrotechnics of the recording studio are forsaken for a straight, "live" effect. It feels spontaneous; it sounds honest. The Dead are in utter interaction on this album. Theirs is the kind of leaderless co-operation you seldom find in rock 'n' roll, and the tightness in their music shows it. The Grateful Dead are a musical community.

Listen to this album a third and fourth time. You will begin to sense some of the subtle restraint with which this group approaches a song. In "The Golden Road" for instance, a single note of dissonance at the end provides a brilliant cap to the song. "Good Morning" contains a barely notable change in rhythm on the final word of the refrain "Can't yuh hear me crying?" But it is poignant in its sparsity. "Cold Rain" has a fine contrapuntal bridge thoroughly integrated in the body of the song. "Cream Puff War" juxtaposes the discontinuity of two distinct rhythms, and is therefore hard to take. Finally, there is "Viola Lee Blues," the extended pop song. It opens with a dissonant chord - short and disciplined - but then it settles into the basic blues pattern. There are some dull stretches in this cut. The musical bridge is so long it becomes a separate composition. But the intensity builds up very gradually to an impressive peak. This is no rave-up, where the decibels start high and end in a barrage of white noise. There is concise improvisation here, which stops before it bores (it takes an artist to know where to stop a bridge these days). "Viola Lee Blues" never really ends; it just fades away in an irrelevant drum roll.

The Grateful Dead will let you down if you're expecting some of the unbearable auditory torture that goes by the name of revelation these days. But, at the first sign of hi-fi headache, cabaret intestinal distress, or malaise-of-the-scene, I intend to slip this disc on my meager phonograph and relax while the time capsules flower.

[jsabharmonichavoc]

Got silly and decided to paint a landscape scenery from paradise. Yes I know the sunlight through the mountain looks bad I am not a professional painters I'm just a broke artist w crappy acrylic paint from a five below and 3 year old expired paint (/hj on the expired part) but I had FUN damnit :]

Anyways if that painting looks similar it's because it's from HERE yes they look nothing alike but I needa go to bed it is 11 pm

Anyways I like having irl versions of stuff from my au like paintings so I will paint more 🔥

[jsabharmonichavoc]

Trips

I hate him so much /neg

Also learned how to import fonts into my art program which is really neat and spared my hands, naturally the omori font (gaegu) was picked but I regret not using the jsab font

[jsabharmonichavoc]

First order of business slight redesigns

Too lazy to scale heights, take this instead

[jsabharmonichavoc]

Painting style practice but I did it on ibis and not my regular art program

Pretty but respectfully what the hell

[jsabharmonichavoc]

Alone, waiting for the sun to rise.

Hi sorry for like

Shoving random characters down y'all's throats like usual

I just love this bastard more than like most of the actual important characters 😟

Comfort guy that's all

Also speedpaint where it took me til halfway through the drawing to realize I forgot to press record

🩷Text divider made by me! 🩵

[jsabharmonichavoc]

Hey

I discovered JSAB four years ago and thought it looked cool so I made art of it

This was made on Feb 14 2020! I got into it in June 2023 due to a friend and realized it would be 4 years since I made this

I decided to redraw it as my current au and it looks like SHIT 😭

JUMSPCARE WARNING CYAN AND BLIX LOOK LIKE SHIT.

anyways it was fun even if the end result wasn't what I was happy with :] ik the bottom space is empty I just didn't know what to put there

[jsabharmonichavoc]

The stuff Shiro does after the library closes aka climbing into the tallest book shelf and chilling until it's like 4 am

anyways hi I'm working on a script and storyboard so I'm gonna dump some art while I do that, I did this in school instead of actually participating

Also my hand hurts from writing on every single spine im

But yeah some comic cameos in the spines >:) and jsab songs and me losing my mind

[jsabharmonichavoc]

I decided to go to the park today, got struck with inspo!

Cube!! My fav!! Also stuck some references in there lol

[jsabharmonichavoc]

I

I have a TOYHOUSE NOW.

Linking the specific folder so it doesn't get mashed with my side project stuff. Ignore the side project stuff this is a jsab account not the side project account

(THANK YOU @trash-jsab :gaybuthuman:)

[jsabharmonichavoc]

Welp

I got willpower to work on the comic again, though I DO wanna post in between updates and stuff soo

Poll, what do u guys want?

Would appreciate if u voted!

[jsabharmonichavoc]

Itslike 3 am and I can't sleep so I uh made this the arms llfok like SHIT but it's okay cause thdhfe3ntk real arms anyways anyways my fav goober alleaprnatly cause likefk yea ANYWAYS SHIROS OUTFIT FOR A FUTURE EPISODE MWHAHAHAHA >:]