#lanquidity records

[doomandgloomfromthetomb]

The B-52's - Roseland, New York City, April 19, 1982

I was in NYC for a couple of days earlier this month and though time was limited, I did of course find a minute to visit a local record store — Academy Records on W. 18th St. Digging through the $5 bin, I found a nice copy of the B-52's' David Byrne-produced Mesopotamia mini-album, which I've always loved, but have never had on vinyl before. A no-brainer! As I checked out, I noticed that Mesopotamia had been recorded at Bob Blank's Blank Tape Studio, and some quick Google mapping revealed that I was just moments away from where that studio used to be on 37 W. 20th St. A legendary spot, as a footnote in Jesse Rifkin's great This Must Be The Place details:

"[T]he studio's discography includes Television's seminal punk single "Little Johnny Jewel"; disco hits by Musique, Class Action, Crown Heights Affair, and Inner Life; groundbreaking remixes by deejays like Larry Levan, Francois Kervorkian, and Tee Scott; and no-wave/mutant disco albums by the likes of James Chance, Lydia Lunch, Lizzy Mercier Descloux, and DNA. It was the favored studio of genre-bending auteur Arthur Russell, and classic albums by Talking Heads (Speaking In Tongues), the Gun Club (Miami), Joe Bataan (Mestizo), Ashford & Simpson (Solid), the B-52's (Mesopotamia), Miami Sound Machine (Eyes of Innocence) and Sun Ra (Lanquidity) were all tracked there."

All that and Madonna's first single, too! New York City is like this, of course — a neverending web of connections, a labyrinth of layers upon layers upon layers. You could spend your life walking down its streets, discovering the strange stories behind every building's facade. I could never hack it there full-time, but god bless the people who can!

Anyway — the B-52's! What a wonderful band. Here they are at Roseland (239 W. 52nd St.) right around the time that Mesopotamia came out. A killer SBD tape, featuring an expanded lineup: Dave Buck and Ralph Carney on horns. We get a bunch of the new mini-album, plus plenty of stuff from their already stuffed back catalogue. As with any B-52's tape, I'm sure it's not as good as being there in person, but it's still one heck of a party. Nip it in the bud!

(Oh and hey — this old Pitchfork column of mine has more live jams if you need to further celebrate the miracle of the B-52's.)

[agonizedembrace]

79. our muses kiss for the first time ever 👉👈 verse is up to you 🥺

it had passed on hour three of recording when the band had finally taken a break. pop/stars coming along well -- but tensions seemingly beginning to run high as their producers just began nit picking the smallest things.

evelynn truly paid no mind either way, far too distracted within her own thoughts to give a shit over who came in early. she's the last to leave, not entirely surprised to see that ahri had exited set for fresh air.

no, her attention laid with akali.

the rapper who granted her such a smile upon the beginning of their session. bright eyed, sure, but evelynn understood exactly what truly laid within her intentions. she's well aware of the lingering (and attempt subtle) glances throughout the hours of recording. it was a mutual feeling. one that evelynn had been so inclined to ignore for so long.

until now, where she cannot anymore. inevitable, as always. a soul she recognizes -- she longs for. it had been why, that evelynn had been so touchy feely then, during that scene in the train. testing waters, to see if this was truly what was being seeked.

it is not hard to find akali, and perhaps the woman had waited on purpose for evelynn to finally exit the area as well. "hi, eve."

and her own smile is sultry, yet there's affection that dances in her golden hues as akali kicks herself away from the wall. they both know there's no need to be so close, the way they both naturally draw to one another. and evelynn is not one to shy away, a long and lanquid bite to her lip, fluttering gaze as akali begins to go on about their day.

it remains like this for a few moments, never agonizing -- entirely sweet in fact. because oh, evelynn knows just how deep she's fallen. and yet, there's always that inner dilemma; that such 'happiness' only lasts for so long. but oh does she long, especially so now, as evelynn finds herself shifting closer.

evelynn isn't one to hesitate, she never has been. it's why now as akali leans closer and she takes the moment. seize it, as some would say, and her hands take home (what a familiar and welcoming feeling) on the fronts of the human's shoulders. there's a warmth, once forgotten that flutters for all but a moment within her chest as a new flame reborn in akali's gaze.

their lips meet within seconds. there's no remorse in the way she likely cut off whatever the other was saying, the slight gasp that soon shifts into a moan as evelynn presses herself closer. the utter desire that reigns within her entire being, seeking nothing but akali. she shuts out the rest of the world (for what is it? her's is akali), focusing on that moment.

how her chest soars, how she hasn't been so delighted in such time. the ever powerful feeling as akali's hands become so snug on her waist, like they've been there before. and she moans, head tilting as their kiss deepens.

home.

[felixtam]

Audiovision Blog Post week 9

1. Research (technical, academic, creative practice)

I have begun further looking into the implementation of ambisonic audio in relation to vr capabilities. Following one of the previous weeks research around Ableton's ability to incorporate ambisonic audio into a vr video, I found a lot of problems with this as it is not a software that is specifically effective for it.

I have now decided to look into an alternative way to do this through Adobe Premiere Pro. Premiere Pro offers a much wider range of vr implementations, specifically around ambisonic audio.

This tutorial I found on youtube runs through how to layer vr video and stereo audio properly. In the following week I aim to further complete its implementation following my resolution of sound design and score. This method of implementation incorporates the mapping of left and right panning in relation to the center of the video, therefore changing the direction of where the sound is coming from based on head rotation.

I have also begun looking into field recorders and finding one that is within my price range as I plan on purchasing my own one for future projects.

I looked through various sites and reddit pages to decide which one would be the best value and it seems the tascam range offer a lot of great options. I ultimately think however, I will stick to what devices rmit has for offer to rent at the moment as these devices are still out of my price range.

2. Reflection

In class we looked at a range of techniques to help drive immersion and draw the viewer in. In relation to my own video the idea of space vs energy plays a big factor in the consistency of my sound design. At the moment I feel there are sections that contain either too many conflicting sounds (the beginning section of the video) that take away from the initial immersion, as well as too little towards the end of the animation. I plan to balance this out as well as think more over prescriptive affect vs ambiguity in my score. In my score I feel that prescriptive effect is necessary in establishing the core emotion and that I have been quite effective in that so far, however its implementation within the opening sequences and how that transitions is still not quite that effective.

The pacing of my score also stays relatively consistent at the same bpm throughout. I will try and create a bit of variation through temporal control in order to slightly shift the lanquidity of certain sections. (a bit faster in the flashback sequences to reflect their age and lifestyle contrasting their present slow and old state)

In regards to the dream sequences, and more specifically the transitions between these sequences, I want to further push the chaotic affordances around my sound design. As the sick old man is perceiving these painful health spikes and coughing fits, I feel like this opens a window to allow more interesting and almost abstract sound elements. This will further accentuate the harshness of these episodes while also better contrasting the calmness of the flashback sequences.

3. Progress

My partners have given me a rendered scene from the animation within the vr formatting. This has allowed me to get a much better understanding for the environment and elements within the scene that I can articulate on. Due to this scene being from the middle section of the video I didn't spend too much time layering the sounds and mainly reused sounds from my previous animatic sound design as a lot of the elements stayed consistent.

I also plan to begin recording a lot of my own sounds in the coming week following monday's class, going through the processes of recording so I have a better understanding around how to do it properly. I have no real experience in recording my own sounds to a high quality, whilst thinking about factors such as gain staging, level balancing and environment setup. I hope that I am able to do this in conjunction with receiving the final animatic for the animation.

My partners are working very hard to try and complete it to the best of their ability, this is so I have an accurate source to work off and finish designing before I hand it back to them to make sure everything is to their liking.

This is the current progress of the short render that they have provided:

I am still having a bit of trouble working around the new formatting of the video, however am pretty confident I will have it all figured out in the coming week.

I have also continued working on my sound spotting in regards to the new animation render as there are both new and removed sounds that were not in the previous animatic. I still plan on integrating the use of the fluorescent light as a melodic motif used to transition the scenes. with the light being a key visual element in the composition now, this helps better involve this technique as the previous animatic did not even have the light visually present.

Bibliography:

Field recorders discussion

[colectivofuturo]

Adrian Magrys (Lanquidity Records) Isolation Selection

Adrian Magrys from the brilliant Lanquidity Records shares 10 jazz heavy albums from Eastern European countries, including Romania, Hungary, Poland, Latvia, Yugoslavia, Lithuania, Russia, Bulgaria, Estonia, and Czechoslovakia.

Listen on Spotify:

Or YouTube:

*Although we recommend Spotify

[something-higher]

Top reissues & compilations of 2021

The Same - Sync or Swim (Freedom To Spend)

Sync or Swim by The Same

Tangled Shoelaces - Turn My Dial - The M Squared Recordings and more, 1981​-​84 (Chapter Music)

Turn My Dial - The M Squared Recordings and more, 1981-84 by Tangled Shoelaces

Kurious - A Constipated Monkey (90s Tapes)

A Constipated Monkey by Kurious

Pylon - Chomp (New West Records)

Chomp by Pylon

Abner Jay - I Don't Have Time To Lie To You (Mississippi Records)

I Don't Have Time To Lie To You by Abner Jay

Linda Smith - Till Another Time: 1988-1996 (Captured Tracks)

Till Another Time: 1988-1996 by Linda Smith

Muziekkamer - Op Zee (Stroom)

Op Zee by Muziekkamer

VA - The Paths Of Pain (The CAIFE Label, Quito, 1960-68) (Honest Jon's Records)

The Paths Of Pain (The CAIFE Label, Quito, 1960-68) by Mendoza Suasti

VA – A Heart In Splinters (More From The CAIFE Label, Quito, 1960​-​68) (Honest Jon's Records)

A Heart In Splinters (More From The CAIFE Label, Quito, 1960-68) by Gladys Viera

Bogdan Raczynski - Muzyka Dla Imigrantów (Mondoj)

Muzyka Dla Imigrantów by Bogdan Raczynski

MC Solaar - Prose Combat (Polydor)

Sun Ra - Lanquidity (Strut)

Lanquidity by Sun Ra

White Light / Jo Bogaert - Whale (Stroom)

Whale by White Light

Sylvia – Sweet Stuff (Wewantsounds)

VA – Longing for the Shadow: Ryūkōka Recordings, 1921​-​1939 (Death Is Not The End)

Longing for the Shadow: Ryūkōka Recordings, 1921-1939 by Seki Taneko

[subtlereferencetomyinterests]

The Ballroom

Ao3,  MasterPost

Relationships: Roceit

I know how to write Roman, in theory. In practice, it takes hours to get right. And yet, I love him. Oh! And I actually remembered to insert the italics this time, so, you’re welcome :3.

Warnings: Self-Doubt, Delusions/Hallucinations (they r not that bad), slight Trust Issues (Janus, obvs), Established Relationships, First ‘i love you’, Mentions of Greek Mythology, References to Musicals (Hadestown Hadestown Hadestown!! they sing Wedding Song together ok??), and I vaguely imply that Roman has ADHD because of course I do. 

Word count: 2,443

Every side had a room. Duh, common knowledge. The inhabitants of the Mindscape constantly barged in and out of each other’s domains without so much as a knock, usually to no more reaction than an irritated sigh. It wasn’t like it was a big deal to anyone, much like an actual family. If a trait wanted absolute privacy, well, they always had somewhere else to retreat to.

Thus brings us to the Extensions. It was well understood that you never visited one without express permission from the side who owned it. They were entirely personal settings, specific to the ‘individual’ that used it. The Extensions shifted and changed over time, just as each side’s representation, outlook, and even definition changed, but there had been a certain consistency upheld throughout the last three or four years. 

Roman’s was a theater, beautiful and ornate with a high-ceiling and perfect lighting, which of course always followed him. Logan’s was a planetarium, allowing the user to view any part of the night sky, and providing essentially all known information on astrology for those that wanted it. Patton had a garden, always filled with fresh produce and hundreds of different types of flowers; humble fountains and birdbaths were dotted along the narrow brick path that ran through the large space, at which he could often be found resting with a bunch of chrysanthemums. Remus’ was, predictably, a museum filled with almost innumerable odd and grotesque objects and devices from history- it also served as an art gallery, on occasion, offering a strange sort of beauty. Virgil’s had changed the most over the years, but it had seemed to settle on something of a vinyl record library, complete with bean bag chairs to lounge in while you listened: perfectly fitting for the hipster emo that he was at heart.

And that left Janus. Of course, no one besides the snake himself had ever seen his Extension, and for a good long time he’d intended it to stay that way. It was his business and nobody else’s- why should he want to invite someone into such a personal environment? 

But then he went and made the mistake of falling for just the someone to answer that rhetorical question. Someone who would surely be overjoyed to see it, and whom Janus loved dearly enough to maybe possibly let him.

It was a ballroom. Obviously Roman would love something like that. 

When Janus first began contemplating showing his boyfriend the Extension, he’d wanted to do something along the lines of a masquerade. He quickly deemed it excessive for Roman’s first visit, though. Just a standard setting, then! But, no, Janus didn’t want to have any of his prop people distracting his very easily distracted partner, so that was out of the question. So he would stay simple. Simple didn’t get a big reaction. Simple could be brushed under the rug if it went somehow awry (and was also less likely to go awry). Simple let him breathe.

Yet somehow it remained terrifying. Honestly, Deceit was second-guessing letting Roman in even as he was leading them down the lengthy hallway, feeling regret clawing at him with each muffled thump of his heeled boots on the carpet. 

“I want to show you something.”

“Oh? And what would that be, Loveliest Lie of All?” 

“You’ll see when we get there. Come along, before I change my mind.”

Janus extended a gloved hand, which Roman took with enthusiasm. He was raring to go without even the slightest idea what they were doing. It was a hopelessly endearing quality. 

“Whatever it is, I’m sure I’ll love it but half as much as you.”

“Only half?” Janus teased, narrowly avoiding returning the ‘L’ word, yet again (he wanted to, God did he want to, but the word died on his tongue every time).

Roman didn’t bat an eye at his deflection, merely leaning forward with a sappy smile.

“Naturally; nothing can match you, my dear.”

Yeah, no, he was committed now. This was, without a doubt, happening. Janus continued to lead his boyfriend along the hall, fielding all questions until they finally came upon the door. It was far taller than the ones around it, colored a bright canary-yellow. The trait took a deep breath and turned to Roman, whose face was bright with recognition as to what kind of entryway this was.

“This is your-”

“Yes.”

“You’re really going to show me-”

“Yes.”

“Oh,” Roman traced a hand down the door frame, as if it would shatter at a firmer touch. His eyes were wide with excitement, a grin stretching across his lips.

Janus felt as though his stomach were doing cartwheels.

“Well, then, what are we waiting for?” It was a genuine question; Deceit was open to suggestions for reasons to wait. But Roman clearly hadn’t picked up on the hesitance, too caught up in his own exuberance. 

Janus took a deep breath. He pulled the door open, and the two sides were immediately enveloped by brilliant golden light.

The ballroom was a showy place, which mightn’t have seemed to be the deceitful trait’s nature, at first glance- but, oh, did Janus adore just a dash of gaudiness. 

Roman already knew this about him. Roman knew a lot of things that took a careful eye and a lot of trust. 

Janus took the first step forward, holding Creativity’s hand in his and leading him into the baroque construct. The door snapped shut behind them, leaving them in glowing light cast down from crystalline chandeliers. Above them arched the ceiling, displaying murals of greek myths in perfect detail. The paintings danced and shifted around each other, even moving down the walls, as they played out dozens of ancient stories. It was like an animated oil painting, however impossible that would sound to a real human. 

Soft music filled the ballroom, drifting around the pair. Janus usually dressed his Extension up with fake guests; people of his own design for him to talk and laugh with. It felt safe, reassuring even, to be completely in control of things, including your compatriots. But now, the room was empty, save for him and his real guest. Janus turned his gaze back to Roman, trying to disguise his nervousness.

“Well?” 

Roman crosses his arms over his chest. He clicks his tongue, giving the surroundings a sweeping glance. At best, he’s unimpressed, at worst, he’s outright disdainful. 

“All that buildup, really, for this? What is even the point of such an Extension, Janus?” Roman’s intricately designed shoes clack against the hardwood floor as he further examines the room. He stops in the center, whirling to face Janus. “I’d hoped that this big reveal would make up for all of your other failings as a partner, but I suppose you’re just fated to disappoint me! And it took you months to show me this waste of architecture? Now, that’s just pathetic.”

With a scoff, Roman leaves. 

The scene Janus had unconsciously played came to an abrupt end. He staggered, blinking his eyes back into focus. Roman wasn’t looking down at him, gaze cold and unwavering; rather, he was spinning around the room as he drank in the decorations. He quite looked like he’d never had a malicious thought in his entire life, joyful as he was.

“Oh, Jay, this is gorgeous! Not as much as you, of course- but it is just astounding,” he beamed at Janus, who offered a smirk in return and rolled his mismatched eyes (though he could feel the human side of his face flush bright at the compliment). Before he had a proper response, however, Roman’s gaze caught on something behind him. The trait crossed the room in just a few strides. 

“Is that…?”

Janus turned on his heel and followed, his eyes landing on the painting that distracted his prince. The tale of Orpheus and Eurydice, a colorful-yet-accurate depiction, ‘painted’ in a somewhat impressionist style. It was easily one of Janus’ favorite myths; evidently Roman was a fan just the same. 

“I’m glad you like it,” the honesty was bitter on his tongue. It was well worth it. “I find mythology inspiring, to say the least.” 

Creativity ran his hand along the mural, a giddy laugh escaping him. Without the slightest of warnings, he spun around and grabbed one of Janus’ hands in both of his.

“Lover, tell me, if you can- who’s gonna buy the wedding bands? Times being what they are. Hard and getting harder all the time,” his singing was elated and bubbly, the lilt of one well-familiar with the lyrics he recited. Janus laughed and leaned into his partner. 

“You want to be Eurydice?”

“Just play along!” 

Janus sighed, far too fond for the exasperation he’d been aiming for, and pulled Roman in close. He settled his hands at The Prince’s hips, leading them in a mostly formless dance.

“Lover, when I sing my song, all the rivers sing along. And they're gonna break their banks for me, to lay their gold around my feet. All a-flashing in the pan, all to fashion for your hand. The river’s gonna give us the wedding bands,” once, Roman had told him his voice was honey, slow and sweet. That conversation came back to him, bringing a lanquidity to his singing just so he could soak in the lovestruck expression it earned him. 

“Lover, tell me, if you're able, who's gonna lay the wedding table? Times being what they are. Dark and getting darker all the time.”

Their simply patterned steps led them in wide circles around the room. Janus subconsciously let the jazz that usually rang across his ballroom slip away, only to be replaced with the instrumentals to their ballad. 

“Lover, when I sing my song, All the trees gonna sing along, And bend their branches down to me, To lay their fruit around my feet. The almond and the apple, And the sugar from the maple. The trees gonna lay the wedding table.” 

And so on they continued for the song’s duration- taking their turns with the lyrics, eyes only for each other despite the beauty of their surroundings.

When Janus reached the last line, he drew out the note until his voice faded to nothing more than a lingering hum of the tune. Softly, his standard background music returned to accompany them as the remnants of their duet slipped away. 

They eased to a gentle sway. Roman dropped his head onto Janus’ shoulder with a sigh.

“Thank you.”

“What for, my dear?”

“Bringing me here. Trusting me,” Creativity mumbled into his collar. 

“Of course,” Janus whispered, letting go of the side’s hips to properly wrap his arms around him. 

Roman raised his head, just enough to look Deceit in the eyes. 

“I love you,” he announced, open and honest and completely unexpectant- everything that Janus wasn’t. It was the same way he always said it; with a fierceness as though he was proving his point in an argument, yet somehow remaining gentle and caring. A mere statement, one that never even hinted at a need for response. It simply was, a fact thrown into the world with reckless abandon. 

Nothing terrified Janus more. But, between the duet and Roman’s reaction to the Extension, Janus felt something a bit more foreign than fear welling in him. 

Bravery.

“I love you, too.”

Roman pulls back from their embrace, a cruel laugh falling from his lips. He fixes Janus with a patronizing glare.

“Oh, you love me, do you? You sure know how to show it,” he taunts, backing further away from the snake. There is something dark that glints behind his eyes. “I only tell you that I love you a million times a day, to radio silence, and it’s only now you deign to reciprocate? Barely any fanfare, as though such a confession alone makes up for all the doubt you’ve brought me?”

Janus tries to speak, to make use of and flaunt his eloquence, to orchestrate those perfect sentences to craft himself some semblance of a defense. But all he can do is choke. 

“I don’t know why I ever expected better from you. It’s obvious that you can’t change, Deceit.”

And Roman leaves. 

Except he didn’t. It wasn’t real. Janus squeezed his eyes shut for just a second, blinking them open to see the real Roman- who, thankfully, seemed to be too preoccupied to take note of his… episode.

Roman was wide-eyed, completely still in Janus’ arms. He tilted back, and for a petrifying second the deceitful side thought he really was going to let go, but thankfully he didn’t go far. The Prince gripped tightly to Janus’ shoulders, holding on as if to keep himself steady. He let out a shaky laugh- soft and reverent and nothing like his nightmare version’s cackle. Because he wasn’t that, despite what Deceit’s mistrusting mind would try to convince him. 

“You said it,” Roman said at last, his voice small but his smile wide.

“I’m aware,” finally, am I right? Janus bit his tongue on that. I’m sorry, he couldn’t find the strength to say. I mean it, I’ve meant it for so long, please believe me, also went unspoken. What he settled on was:

“This is the easiest thing in the world for me.”

“I’m so proud of you.”

“Why? You tell me-” a shiver chased down his back, “-you tell me you love me a million times a day.”

“Yes, I do that. I suppose it’s just in my nature, after all. Regardless, it would be wrong of me to expect you act like me, because you’re you. And ‘you’ happens to be someone I love very, very much.”

Janus let out a breath he hadn’t known he was holding. 

“... I love you, too.”

Roman chuckled, bonking his nose against Janus’ affectionately.

“Two in one day? I must be the luckiest man in the world.”

“Shut up, I’m only to make up for lost time. Don’t get used to it.”

“Of course not, my love.” 

Janus sighed- relief, mostly, but infatuation crept its way into the sound. He picked up humming to the light melodies that played, resuming the swaying movements that had been forgotten in the face of confessions. Roman followed his lead, his grin delightfully infectious. 

“We should get back soon,” the artistic trait admitted, sounding very much like he considered it someone else’s problem- one that he did not intend on concerning himself with, at that. Janus hummed, feigning deep thought. He let his head fall against Roman’s shoulder, eyes falling closed as he responded. 

“Just one more song, Darling?” 

“Oh, if you insist.”

“Insist I do.” 

Roman stayed.

@shrimp-crockpot

[thewickedsound]

Lanquidity Records release a lost Sun Ra Arkestra recording, their first ever performance in Poland in 1986.

Lanquidity Records release a lost Sun Ra Arkestra recording, their first ever performance in Poland in 1986.

Sun Ra Arkestra’s mix of free jazz, spiritual jazz and avantgard and communist Poland in 1986 are such a two opposite things. Just an idea that Sun Ra with his Arestra played live concert during the 13th International Jazz Piano festival in Kalisz in 1986 is massive.

Probably this historical and political background (even for Sun Ra fan) makes this album even more special.

Thumbs up for Adrian…

[burlveneer-music]

Hawkwind - Rangoon, Langoons - here’s a weird one: two instrumentals from “Astounding Sounds, Amazing Music” reissued along with a remix of each (by Cherrystones) on a 12″ single (and the vinyl apparently went like hotcakes, so you’ll have to be content with a download)

Emotional Rescue starts a non-defined set of reissues where some of the label’s favourite artists have lesser known, but (cult) classic songs unearthed, remastered, reappraised and then reinterpreted by contemporary producers and fans, for today’s DJs and collectors alike. To start, the idea of the legendary British psychedelic band Hawkwind appearing on the label might come as a surprise, but when the nature of songs and remixer involved is explored it makes perfect sense. Following the departure of Lemmy to the Motorhead hinterlands, the band’s sound took a wider but more defined style, including their burgeoning interest in electronics. With that, the 1976 album Astounding Sounds, Amazing Music contained a song that has become a secret spin for the more leftfield and adventurous. The Aubergine That Ate Rangoon – itself referencing cult psychedelic band Dr. West’s Medicine Show and Junk Band’s alien invasion opus The Eggplant That Ate Chicago – with it’s use of loops, synthesiser and motorik drumming is a short instrumental that has gained cult status in its own way. Focusing on much of Hawkwind’s musicality in one song, mixing psychedelia, fusion and humour with a killer groove, all in one short blast of repetition meets experimentation. This is backed with the album’s other stand out, in the beautifully laidback stoner vibrations of City Of Lagoons. Lanquidity rules as West Coast meets Floyd touches abound. A hazy Gilmour style guitar and heavy phasing and reverb drums underpin space rock key solos that carry you to the horizon. An Esteemed excavator, musician, compiler and oracle, the choice of Cherrystones to rework these instrumentals is a given. With two decades of production chops from beats, breaks and jazz for the likes of Stark Reality, Twisted Nerve and Brutal Music to the abstract, psychedelic acoustics for Whatever We Want Records, he has gone on to become a respected composer of soundtracks for Adidas, Stone Island and YMC. His heavy retake of The Aubergine pulls up the drum and bass and overlays freeform synth stabs atop a warped Riley arpeggio loop that takes the smoke hazed original and give it doses of codeine and rum. To close, his City Of Lagoons rework becomes ‘Head’ outtake overkill. Trippin’ beyond the light fantastic.

[baxters-art-blog]

Taste Art! A Multi-Sensory Evening of Eastern European Gems!🤩✌🏻 Today from 19:00-21:00 Romanian Cultural Institute in London 1 Belgrave Square, SW1X 8PH London, United Kingdom "We join forces with Contemporary Lynx Magazine, the foreigner’s guide to contemporary art and culture from Poland and Central Europe, for a sensational evening of immersive art and music to celebrate the magazine’s latest issue. The event brings together Romanian performance artist Alex Mirutziu and Polish visual artist Piotr Krzymowski, who will be presenting their latest projects. The evening will be rounded off with a live DJ set offered by Adrian Magrys of Lanquidity Records, who will be playing Eastern European vibes from vinyl. The event is organised jointly by Contemporary Lynx and the Romanian Cultural Institute, with the support of the Embassy of the Republic of Poland in London and the Polish Cultural Institute. Part of the Polish Heritage Days Festival." https://www.facebook.com/events/663295267463302/ . . . . . #BAM! #BAM!it #abstract #acrylic #art #artcall #arte #artgallery #artist #artnews #artshow #artwork #callforart #colour #creative #drawing #drawings #fineart #graffitiart #graphic #graphicdesign #illustration #ink #ukart #singaporeart #painting #buyart #sellart #artsy #singapore https://www.instagram.com/p/Bxho87cnxbx/?igshid=1i2kettq9s7ld

[deepartnature]

Lanquidity (Definitive Edition) - Sun Ra (1978/2021)

“That’s how Sun Ra responded when Philly Jazz Records owner Tom Buchler visited the late jazz giant at his Philadelphia apartment early in the summer of 1978 in an attempt to discuss the upcoming studio session that would yield the album Lanquidity. In the liner notes assembled especially for a new expanded double-disc edition of the album, Buchler recalls his expectations. ... Of course, anyone familiar with Sun Ra can easily picture the train of thought those conversations must have followed, which is easy to reconstruct thanks to multiple longform monologues with Ra expounding on likeminded topics that are now available online. By the time he met Buchler, Ra—born Herman Blount, but later changing his legal name to Le Sony’r Ra—had advanced his central message for decades. ...”

With 1978’s Lanquidity, Sun Ra and His Arkestra Tried Their Hand at Funk on a Galactic Scale

Bandcamp (Audio), Soundcloud (Audio)

Discogs (Video)

amazon

[noloveforned]

life kept no love for ned off the air the past couple weeks but i'm happy to announce that after fifteen months i'm actually doing my show live from the wlur studio tonight! we've also moved back to the pre-pandemic showtime, so tune into wlur at 8pm for two hours of live radio!

no love for ned on wlur – may 28th, 2021 from 5-7pm artist // track // album // label yankee bluff // darkened kitchen // everybody hits // lame-o monkey 101 // french feelings // rusts, smuts and heart rot // sister raygun meggie brown // fast coffee // journey of goodbye 7" ep // no town dogbreth // blockhead // get out 7" ep // anxiety machine ducks ltd. // it's easy // get bleak ep (expanded) // carpark * packs // clingfilm // take the cake // royal mountain * exnovios // luz espacio tiempo // luz espacio tiempo digital single // ground control squid featuring martha skye murphy // narrator // bright green field // warp * earth girl helen brown // feed me // earth cassette // empty cellar sun ra // where pathways meet (alternate mix) // lanquidity (definitive edition) // strut monocot // simple unison // directions we know // feeding tube joão pais filipe and julius gabriel // cause yourself to rise, gong // paisiel // rocket isaiah collier and the chosen few // part ii. humility // cosmic transitions // divison 81 evan parker quartet // all knavery and collusion // all knavery and collusion // cadillac black diamond // aerosonic // chant // shifting paradigm jaimie branch // theme 001 // fly or die live // international anthem navy blue // not a lot to fear // navy's reprise // (self-released) billy woods and kenny segal // spongebob // hiding places // backwoodz studioz georgia anne muldrow // love call groove // vweto iii // foreseen entertainment samm henshaw featuring keyon harrold // still broke // still broke digital single // awal recordings aloa input // the other rainbow // devil's diamond memory collection // siluh nicholas krgovich // plants // this spring- songs by veda hille // tin angel johanna samuels // song for sid // excelsior! // mama bird * los carradine // la vida de brian // academia rocanrol // bobo integral acid house kings // a little dancing // a little dancing digital single // labrador tangled shoelaces // oceans away // turn my dial- m squared recordings and more, 1981-1984 // chapter music * denotes music on wlur’s playlist

[colectivofuturo]

SUN RA ARKESTRA - LIVE IN KALISZ 1986 (Lanquidity Records Double LP). 

Long thought lost and now refound and restored thanks to Lanquidity Records, legendary live recording of the Arkestra’s first visit to Poland at a time of growing unrest against Soviet occupation. There couldn’t be a greater call for freedom, especially of the mind and soul, than Sun Ra’s music. Herein, Arkestra classics such as “Children of the Sun” can be found next to mindbending improvisation, such as on ”Infinity Drum Intro”. Like the best of Ra’s releases, essential. 

Out now on digital and double 180g vinyl: 

https://lanquidityrecords.bandcamp.com/album/sun-ra-arkestra-live-in-kalisz-1986

[budaallmusic]

Sun Ra ‎– Lanquidity #PhillyJazz 1978 🇺🇸 US Alto Saxophone, Oboe, Flute – #MarshallAllen Baritone Saxophone – #JulianPressley Baritone Saxophone, Flute – #DannyRayThompson Bass – #RichardWilliams Bass Clarinet, Flute – #EloeOmoe Bassoon, Flute, Oboe – #JamesJacson Congas [Congo Drums], Timpani – #Atakatune Executive-Producer – Richard Barry, Tom Buchler Guitar – #DaleWilliams, #DiscoKid Percussion – #LuqmanAli, #MichaelAnderson Recorded By – Bob Blank, Joe Arlotta Synthesizer [Arp], Electric Piano [Fender Rhodes], Organ [Yamaha], Organ [Hammond B3], Synthesizer [R.A. Moog Minimoog], Piano, Bells [Orchestral], Keyboards [Crumar Electronic Keyboard], Composed By, Arranged By, Producer – #SunRa Tenor Saxophone – #JohnGilmore Trumpet – #EddieGale Trumpet, Flugelhorn – #MichaelRay Voice [Ethnic Voices] – #EddeThomas #JamesJacson, #JuneTyson, Sun Ra https://www.instagram.com/p/CBZEjt6p1Lw/?igshid=1wgf1pa2eigtf

[tinymixtapes]

Music Review: Klein - Tommy

Klein Tommy [Hyperdub; 2017] Rating: 4.5/5 Three years ago, Total Freedom released 10,000 Screaming Faggots, perhaps the most provocatively defining moment in a string of totalizing mixes that hog-tied culture in a progressive and cataclysmic roast. Similarly, in many ways, 2017 music is still self-seriously jigging around in the wake of Ashland Mines’s “Wrong Choice Mixfile for Versus Tokyo,” a diabolical and revelatory tome that still world-eats the entirety of vapid model-DJ culture with sheer, vivid genius. After the tumult, and through the thick of it, NON, the cross-continental diasporic experimental nation-state, ascended as the legitimate axis of necessary sonic and cultural dissent against this vapidity. The ambassadors of a musical and political insurgency, NON heralded music culture to remain vigilant against the visible and invisible cultural structures that create binaries in society and, in turn, distribute power. Given music’s flawed and deeply entangled state in relation to these systems of power, NON, in so many ways, changed everything. A futuristic music is a political music, aware of its devious responsibility for our flawed situation, relentlessly in critique of its advances — against and within cultural production but towards its dissolution, its revelation. The complete acceleration and flattening of electronic music production — not only the various genres and subgenres of club music, but also bedroom music, lo-fi music, R&B, pop, etc. — is a situation we can’t really reconcile given our current technology. And what do we hear? How do we listen to it? After the visions of destruction, after hearing four CDJs fire mech-sounds over three Beyoncé a capella tracks pitched in ascending half-steps, after listening to James Baldwin’s “Staggerlee Wonders” read amidst explosive dust and VSTs glowing brightly inward like hot coal, can we listen? What are we feeling? Within the destruction, what intimacy does the sequencer, the sample, the synthesizer afford? After so rigorously listening to “the sounds of the future,” the sounds recede like a mirage — and where is our audio future? Klein understands and composes to the progression of intimacy that our future is implicated within. With her early experiments, her debut ONLY, and now definitively on Tommy, the London-born, Nigerian-English artist has produced a singular work constructed with respect to, inside of, and in accessory to this futuristic intimacy. Witty and truly fun, Tommy is a covenant to how our progressive audio is elementally wrapped up in the localized moments of process: inseparable, bound. The record embraces threadbare culture and celebrates it, placing it into the flux of personal vision. Klein internalizes deeply-damaged cultural materials to arrive at a psychedelic craft that perhaps feels more advanced than the critical musics that preceded her, emphasizing not just a musical revolution, but a revolutionary music: hypnotic and visionary like Sun Ra Arkestra, effervescent and omnivorous like Yves Tumor, seductive like B2K, indomitable and brooding like Foo Fighters. Klein’s overall production treatment has a special sound, somehow smooth but always on the verge of clipping — or not clipping, but “clipped.” You can hear digital snips and cuts pockmarked like scars on the audio material. A spectrum of glistening rainbow CD hues smeared onto asphalt grain, Tommy is introspective, chill, and tense, with a relentless buzz that recalls DJ Escrow’s wily digital noise, chilled by the concrète field recording timbre of the Macintosh microphone. The spectral, thinned-out, wraith-like sounds render her soulful voice taut, without the grime MC’s live fidelity, a layering move that abandons Mark Fischer’s assessment of Afro-futurism and Hauntology in favor of pure entanglement, the haunting of the now, the demonology of our intricacy. The result is a diffuse masterclass into the psyche of a liberated musician’s workflow that is actually experimental in its affects, its tactics, its textures. “Prologue ft atl, jacob samuel, thisisDA, Pure water, eric sings” is a rapturous moment that invents new audio mythology while simultaneously dissolving all iconography in its encompassing sound. A true masterpiece of modern vocal music, the piece transposes an ecstatic media breakdown into celebration and, perhaps as a result, triggers a profound meditative affect. “Prologue” wields technology and instrumentalizes cascading audio flows toward utopian migration toward futuristic music. In an interview with The Quietus, Klein states, “‘Prologue’ is so intense. I was listening to that the other day and I was so triggered, it’s so intense! If you get through those first five minutes, the record’s pretty much a wrap.” The “wrap” is a massive, joyous moment that feels both avant-garde and spiritual; or, at least, one can hear an advanced communion ritual taking place in its wavelengths. Across the EP’s acts, themes, reprises, farewells, and prologues, Klein enlivens dead sound. The rolling errant voices and rumbling pianos of “Act One” sound like stones being rubbed, knocked around, and plunked in water; yet the raw materials are animated in a gorgeous consort with soul — skipping around freely, without gravity. The drum & bass pads that proceed on “B2K” conjure an urban isolation that has become Hyperdub’s signature across its pantheon, as plodding keys gloomily circle two-second trimmed break-beats that slice the mix. It’s a dazzling display — truly strange, entrancing, out of tune, out of time. “Everlong,” Klein’s “Foo Fighters Moment,” treats the brooding guitar strum as erratically as any other “dead sound” on record. It’s a deeply layered, unusual take, as stems of jungle breaks are shorn into the sound of photo snapshots, like an acid-worn beat from Actress’s Ghettoville. Meanwhile, a gut-wrenching, sandblasted loop trips over itself into the the mix, bellowing into monstrosity. Quite differently, “Farewell Song” is a tragic-ecstatic ballad in the manner of Sun Ra’s Lanquidity. As a lumbering, full-spectrum blip emulates the tonality of a Fender Rhodes, Klein’s voice rises and falls in the mix, nonchalantly gone like a lullaby of the next century. Samples of an argument between kin arise, revealing the audio’s damaged, knife-cut fidelity, only to trick a fade out into abrupt silence. Tommy is exhausting, refreshing, new — a collection of neo-songs written in the dust of so many fallen artifices. Klein’s distinct compositional mindset is a celebratory riff on dark, bluesy motifs, interlocking grooves, and tactical electronic music. Sequenced and layered into an unbelievably rich audio experience, the release treats its material like 10,000 Screaming Rocks thrown into sound, brought into life for just one audio moment, as they gave themselves to be heard in their animated, accelerated state. All the while, a lone voice wanders through their chorus, toward its dissolution, its revelation — laxly riffing through the muck. http://j.mp/2fV6G1e

[stan-fm]

Sun Ra - Lanquidity

Sounds like?

large lazy bluesy jazz

Moods

Sun Ra at his most groovy

Thoughts

This kicks off with a bore but picks up quick with 'Where pathways meet'; a swinging jazz track with elements of rock and blues that give it a pretty hip feel. It's got an appealing imperfection, it falls in and out of time as if it's of not much importance.

'That's how I feel' continues the vibe but things get a little sleepier. Rhodes solos take the place of the electric guitar and a nocturnal atmosphere sets in. There's some type of hand drum on these tracks and it sounds like they recorded it by putting the microphone in the drum to get this fantastic tone.

A groovy outing from one of the legends in avant-garde jazz.

More Info

https://www.discogs.com/Sun-Ra-Lanquidity/release/12601284

Listen!

Youtube

https://www.youtube.com/watch?v=238Dh6N9GLg

https://www.youtube.com/watch?v=rf-OxkoTNp4

https://www.youtube.com/watch?v=w_KLSKSX2PM

https://www.youtube.com/watch?v=L5vRHbQoTlc

https://www.youtube.com/watch?v=TtVmUKcI5l4

Spotify