#spacey odyssey

[the-haunted-office]

[randomvarious]

Today’s compilation:

Space Night Vol. VI by Aural Float 2001 Downtempo / Trip Hop / Lounge / Dub / Future Jazz

Don't wanna bury the lede here, so up front, I'll just say that this is simply one of the greatest collections of chillout tunes that I've ever heard in my entire life. But before we dive right into it, there's some paragraphs-long context that bears explaining the story behind this whole Space Night series in the first place, so here we go!

Back in 1993, three guys named Gabriel Le Mar, Pascal F.E.O.S. (a trance pioneer in his own right), and Alex Azary teamed up to form Aural Float, a trio that would become known for their breathtaking ambient and chillout music soundscapes. Together, they would release three albums and launch an audiovisual odyssey of sorts called Space Night. Originally starting in the club as a brilliant mesh of ambient music and footage shot from outer space, Space Night would eventually make its way into homes all across Germany, as a national television station there called BR granted Aural Float the opportunity to develop their own club-night concept into programming.

Sometime in 1994, Space Night would replace BR’s overnight test cards every Sunday through Thursday, and now the show has been on the air for over 25 years, achieving serious cult status as millions of people can say that they've blissfully drifted off and woken up to it. And there's plenty of Space Night videos on YouTube too, if you want some prime material to both really zone all the way out to and also have blow your mind 😌🤯 .

Here’s one:

But along with that popular TV program also spawned a series of Space Night compilations. Through 15 releases over 15 years, Aural Float and a couple others managed to compile some of the greatest collections of spacey ambient, downtempo, and chillout tunes ever created. And this fantastic 2001 double-disc that I'm posting about today is the sixth installment from the series.

Now, my last chillout compilation post wasn't too long ago, and I said that it made for a great showcase of German-made chillout, specifically, which isn't a country that you probably tend to associate with very chill vibes. And this turns out to be another one of those comps. You may think of Germany as rooted in cold, mechanical industriousness, and a lot of their techno music is very much a reflection of those broad, national characteristics, but despite them not having a warm southern coastline or almost any islands of note, Germany really still has possessed the capacity to produce some of the most stellar chillout fare that this planet's ever borne witness to.

And this release here more than proves the point. Not every song on these two discs is made by Germans—both DC-based chillout pioneers, Thievery Corporation, and the eclectically electronic London duo, Groove Armada, show up on the second disc—but a majority of them seem to be. And by that same token, not all of these songs match the same outer-space ambience that you'd expect either, but most of them seem to: majestic and/or celestial string pads get paired with blends of rich piano melodies, ringing xylophone notes, or futuristic lead synths; and there's lots of dubbiness too, either in the rumbling basslines, or in the echoing of each melodic note, which, naturally, connotes a seismic amount of unknowable vastness.

Almost every single song on here is phenomenal, but there are some that are still a bit more striking than others. A German guy who goes by Fresh Moods gets two slots on disc one: first, he provides a sweet hand-drum driven remix that initializes as a poolside vibe, but then alters course for space, and then he gets his own tune five minutes later in "Decisions I Made," which is some slow-moving and crunchy, space-hypnotic trip hop psychedelia.

Soon after that, Montréal's Jaffa supplies some really soul-piercingly sublime synth chimes on "Interlude," which is another song that also comes with a dose of psychedelia—this one by way of nice keyboard improvisations—and a bed of strings as well. Really groovy and lush stuff there.

And the set's penultimate track is excellent too: "Blue Sky," by Germany's üNN, sort of sounds like if the Twin Peaks soundtrack was trip hop-flavored. It has that same 80s/early 90s synth vibe to it and is also comparable to Jan Hammer and Miami Vice as well. A really lovely tune that stands out from the rest of this marveling herd.

I continue to say the same thing over and over, but it really bears repeating here: this turn-of-the-millennium chillout era yielded an enormous glut of terrific music. Some of it became underground-popular, thanks in large part to Café del Mar, but most of it still remains criminally slept on and unfortunately ignored. And this 2001 German double-disc that was compiled by Aural Float is just another one of the many shining examples that I'll keep on outlining here until I run out of these kinds of comps and mixes to post about, which is something that will probably *never* happen, because that pile of CDs is almost as vast as space is itself 😅.

And the rest of the world was really robbed by not having the Space Night TV show exported outside of Germany too. A show like that definitely would've gone a long way towards raising chillout music's profile, overall, when there was such a strong current of it pumping through largely unnoticed at the time. It would've fit perfectly on a few different US cable networks too, like the Discovery Channel, TLC, or The Science Channel, and the breathtaking visuals along with the great music would've probably helped to heighten and activate some more peoples' sense of wonder as well. A lot of late night programming has a way of achieving a dedicated cult status, and I really see no reason as to why a show like this wouldn't be able to in the US. It seems broadly appealing enough and also very soothing. But, alas, at least we can watch some of it on YouTube now, right?

Highlights:

CD1:

Tosca - "Suzuki" dZihan & Kamien - "Homebase" Wamdue Project - "Instrumentation" Sven van Hees - "Tsunami" Enrico Riva - "The New Economy (Fresh Moods remix)" Index ID - "Planisphäre" Fresh Moods - "Decisions I Made" De-Phazz feat. Pat Appleton - "Anchorless" Jaffa - "Interlude" Wondabraa - "Starfish" George Pallikaris - "Natural Being" Azure Taint - "Glasrauch" Amphotic - "Spacetalk"

CD2:

Thievery Corporation - "It Takes a Thief (version 2)" Pre Fade Listening - "Free George Lingo" Groove Armada - "Serve Chilled" Chicane - "Low Sun" Chris Zippel - "Summerblink" Soehngenetic - "Din Atrium" Drøn - "Rem" The Sushi Club - "Koi" üNN - "Blue Sky"

[mrjellybeanz]

(Video) Roadrun Cmoe - "Farrakhan"

(Video) Roadrun Cmoe – “Farrakhan”

Dallas rapper and serial entrepreneur, Roadrun Cmoe released his new, official video for “Farrakhan” today. Shot at La Ropaland, the streetwear designer-turned-rapper floats over the spacey beat with his syrupy lyricism and signature Texas drawl. “Farrakhan” is found on Roadrun Cmoe’s recently released project, Codeine Odyssey (Purple) [November 11th]. Watch the video for “Farrakhan” HERE. Texas…

[askwendyokoopa]

"This remix... cover? Whatever, it gave me a brilliant idea, or even if it sucks, this is my blog so you're going to hear about it anyhow! You know how I've always said that Super Mario Sunshine seems like it was written for me, specifically? Like they were going to go the cartoon route and have one or two Koopalings per game going forward; and for the first one, Wendy needs a mom. A mom that's barely 5 years older or something, but Dad needs a woman around to handle the things he doesn't understand. Which covers a lot of ground. Galaxy could have Iggy, maybe? He's always been a bit spacey. Ludwig and Larry Galaxy 2, Lemmy 3D Land, Morton and Roy 3D World, and then we all appear for Odyssey.

Regardless, that was the original plan, but this song got me to thinking... why wait so long? We all know that waste of oxygen only exists because Hudsonsoft was too lazy to model us in Mario Party 1, so they instead had 7 generic 'Koopa Kids.' Then Miyamoto designed his own Koopa Kid because of copyright issues, and apparently still butthurt that he didn't design the 7 of us, and because he's a dick. What if, during the Gamecube era, instead of rushing all the games out, they actually spent time on them? Spend more than one year on Melee, fix all those bugs, give Ganon an actual moveset instead of that embarrassing rush job you did that still haunts us 20 years later. For Super Mario Sunshine, model Bowser's actual children. Then you don't have 20+ years of pointless discourse over a character who never should have existed in the first place.

What does all of this have to do with 'We Will Rock You?' IDK, what if instead for that scene where he confronts the watery Shadow Mario, he encounters another, and another, and then four more Marios come snapping in like the Turks of FF7? Final Fantasy 7 and also 9 have very We Will Rock You-esque songs in them, just FYI; like much closer than 'A Boy and His Blob' are to Indiana Jones. Then we all take off our masks and Boom! Bowser's teenaged terrors strike again! A much better game, 11/10 would actually like this version. 2003 would have still sucked for the Mun, but at least I would have turned out okay!"

((Gee thanks.))

[musicarenagh]

The Creative Process of Richard Berger: Insights into 'Retrovert' Now I am really excited to introduce you Richard Berger an amazing artist based on LA. His latest album Retrovert is really a perfect piece of work – the combination of deep and inspiring lyrics, melodies on the guitar, spacey synths, and fat grooves is great, and it just makes you want to bob your head to the beat. Songs like “Another One” and “Ignore Me” are simply those songs that would make your ears happy. Richard, especially, has this funky rhythmic flair and quite expressive melodic sensibilities with synthesizer-driven emotive quality. There are sounds lifting from the classic songs of The Beatles and the psychedelic indie sounds from Tame Impala. But he makes the sound completely his own – nostalgic but modern at the same time. Even more impressive is the fact that Richard is a completely self-produced musician who also has a day job and works as a researcher at one of the largest film studios in Hollywood. Oh well, what can I say, they are the original multi-taskers; talk about wearing many hats!But his passion for music remains as passionate as before. I was able to have a brief interview with Richard on how he comes up with ideas, his sources of inspiration, and his experiences as an indie artist. I asked him everything I wanted to know, and I am excited to share the conversation with everyone. Prepare yourself for the musical odyssey of Richard Berger with these magic songs! Listen to Retrovert below https://open.spotify.com/album/1H9UnKG4IhyaMcojDPItI2?si=ACddhdOMS5i5Syr1urCDQg Follow Richard Berger on Spotify Soundcloud Bandcamp Youtube Instagram What is your stage name No stage name - Richard Berger is my real name. Is there a story behind your stage name? No stage name Where do you find inspiration? So many different places - hard to say just one thing - I generally just like to make time for myself on one of my keyboards and just play and tune into whatever comes. What was the role of music in the early years of your life? Music has been one of the most important things in my life ever since I can remember. My earliest memories are of the Beatles and Beach Boys - I could not get enough of their music. Then I discovered Steve Wonder, Steely Dan and Fleetwood Mac and so many I can’t name. Discovering new music and new artists is still to this day one of my favorite things to do. There is nothing quite of finding a new artist that blows you away. Are you from a musical or artistic family? Not really - my grandmother played piano but nobody in my immediate family plays an instrument. Who inspired you to be a part of the music industry? Funny - I don’t really feel like I am part of the music industry. I have been writing and recording music since I was a teenager, but my first official release was an EP back in 2018. And as an independent artist that self-distributes music, I don’t feel a connection to the “music industry” per se. I have met some great independent artists and I like the idea of being part of that community. How did you learn to sing/write/to play? I started playing piano as a young kid and took to it right away, but as young kids often do, I lost interest and rebelled against the more formal aspects of taking classical piano lessons. But I still loved playing around on the piano. And, when I bought my first synth in high school, everything changed for me. I just started writing my own songs. In college, I took some music theory and jazz classes which helped me understand what I was writing. When I started recording my songs, I would always find someone else to sing as I am not a natural singer. Over time, I started singing background vocals and eventually lead vocals on some songs. It is really only in the past 5 years that I have focused more on singing. I am always learning. [caption id="attachment_55634" align="alignnone" width="1080"] I started playing piano as a young kid and took to it right away, but as young

kids often do, I lost interest and rebelled against the more formal aspects of taking classical piano lessons.[/caption] What was the first concert that you ever went to and who did you see perform? The first concert I went to was Billy Joel when I was in high school. Thinking about it, you asked what inspires me….every time I see live music, I am inspired. How could you describe your music? I really have a hard time describing it because I tend to blend genres, so it really depends on the song. Also, I really prefer not to put my music in a box and let the listener decide for themselves. If pressed, I will describe it as melodic, introspective - retro vibes but with a fresh new take. Describe your creative process. It really just starts with making time to play and being open to what comes to me. I find myself playing some chord progressions that set a mood which inspires me to further express the way I am feeling. I almost always focus on developing melodies on top of the chord changes and then find the words that more or less fit the melody. But my process is really about the music first, lyrics second….but only in sequence, not in importance. What is your main inspiration? If you mean my main inspiration to make music - the answer is simple - I don’t have a choice. It is something I just have to do to be who I am. At times, it is the most pure way to express myself. What musician do you admire most and why? I could not possibly pick one. There are so many musicians I admire for various reasons. I would say Stevie Wonder’s music has played an important role for most of my life. Of the newer artists I admire, Kevin Parker has created some of my favorite music in recent years. Both of these artists write, play multiple instruments, and have incredible voices. There are so many others I could go on and on about. Did your style evolve since the beginning of your career? Yes - for sure. Even when I have gone back to revisit songs I have written years ago…the new version of it sounds very different from how it started when first conceived. I think my musical style has evolved due to a combination of personal growth and the ever-evolving access to new music and new artists that influence and inspire me. Who do you see as your main competitor? I don’t. This is not a competition. I love discovering other artists and I love making music. What are your interests outside of music? Spending time with my family and friends. I am also a huge cinephile. If it wasn't a music career, what would you be doing? That’s an easy one. Music is not my career. I run a R&D tech lab for the major motion picture studios. I suppose for now I am a just part-time artist. Maybe some day that will change. What is the biggest problem you have encountered in the journey of music? The biggest challenge for an independent artist like me is to find their audience. The good news is that it is far easier than ever before to get access to the tools you need to create really high fidelity music. That said, I read somewhere that there are over 40,000 songs uploaded to Spotify every day - and that is just one music service. So, how does an indie artist rise above all the “noise” and find their audience? Please let me know. https://open.spotify.com/artist/63h8Z4eF860KJ1M83WHiVu?si=Zgg1Zbw6Rb2JPGyHJhD5tg If you could change one thing in the music industry, what would it be? There is no silver bullet to fix the music industry. Any time you mix business with art, there are going to be challenges. I wish it was easier for indie artists to find their audience and for fans to find the new music they will love. I really do hope that people continue to appreciate and embrace new music and the connection they can make to the artist. I know I really appreciate people who listen to my music. Why did you choose this as the title of this project? “Retrovert” is the perfect name for this album. My definition is - A dreamer to say the least - someone who appreciates a past time or condition.

What are your plans for the coming months? I am putting a band together to play some shows here in Los Angeles. I am excited to play the album in front of a live audience. Do you have any artistic collaboration plans I am always open to collaboration with other artists. I have reached out to a couple people so we shall see…stay tuned. What message would you like to give to your fans? Thanks for listening. I hope you enjoy the music as much as I enjoyed creating it.

[slimvision]

Christina's World

It would've been 2005 or 06, when we were living in Jamaica Queens, four of us in a two bedroom. Christina's World, the spooky, spacey prairie scene of the lone, broken woman in a flimsy pink dress, apparently trying to crawl toward what appears to be a haunted house, reminded me of home.

What is it about this image that is so hypnotic to me I don't know. Maybe it's that its truly a female protagonist. It reminds me of David Bowie's Major Tom; it reminds me of the Wizard of Oz; it's the whole Odyssey.

I got it framed in a manic fit. Sometimes when I have no money I spend wildly, the way people get tattooed when they break up with someone. Even with the 50% off sale it was $400. For a picture frame. The poster itself not worth the paper it had been printed on fifteen years ago.

It didn't make sense what I was doing and I knew that. The tall grumpy Gen Xer working at the art store had to roll out the poster with white gloved hands, which we both knew was absurd. "Ah, Christina's World," said someone snarkily, and the gen xer broke into an embarrassed smile. They were friends who hadn't seen each other in many years- they had shared big plans once upon a time. I could tell the guy wasn't from New York, and so had to say something nasty; we were all embarrassed. Christina's World. How corny, how played out. I felt defensive but said nothing. "I'm sorry about my friend," the Gen Xer said, after they'd made coffee plans and the guy shuffled off. I shrugged and smiled.

I didn't want to explain that even though my baby had been brought home to a buggy, ghost ridden apartment, whose windows had been boarded up, and now we had rats in the walls and electric that blinked on and off, she would at least see posters in proper frames. That this was something I could do for her.

I carried the poster home on my head with her strapped to my belly. It enshrined a woman reaching for a home.

In the weeks following, an apartment fell into my lap with round the clock sunlight, eight huge windows, a room for her, a room for me, each with a generous closet, and three closets in the hall besides. Honey colored hardwood floors, a hallway she could run down, four times the size of our old place. I put Christina across from my bed, and look into her world every morning. What now? I ask her. What next? What is the house now that we're home?

[newmusickarl]

Top 50 Albums of 2022

17. Last Night In The Bittersweet by Paolo Nutini

I must admit I had completely forgotten all about Paolo Nutini’s existence.

Eight years since the Scottish singer-songwriter last released an album, that was long enough for him to fade out of my memory altogether. That’s not for disliking his music either – although I really wasn’t keen on his debut These Streets, there were plenty of moments on his subsequent releases (Sunny Side Up and Caustic Love) that I played a lot at the time. However, in today’s current climate of hypersonic music release schedules, taking eight years out is a big risk as there’s no guarantee you’ll be able to get back the same spot that you left behind. Thankfully for Paolo though, just a few songs were all it took to instantly remind me of why he was always such a heralded songwriter.

Whilst his last two records saw him evolve from his soul-pop origins to explore more diverse sonic landscapes, bringing in elements of jazz, country and R&B, Paolo takes things even further on his magnificent fourth album, Last Night In The Bittersweet. Across the album’s expansive sixteen track odyssey that clocks in well over an hour, he bounces between those previously deployed stylistic traits, but also throws in a few new ones as well – most notably new wave, indie rock and ambient electronica. It all makes for a dazzling, eclectic and richly textured listen.

The first part of the record in particular is simply one of the best opening six track runs I heard in the whole of 2022. Opener Afterneath begins ominously before Paolo’s vocal screeches engulf the space, carrying with them strong shades of Zeppelin-era Robert Plant. From there the track rumbles on like a freeform jam session, overlaid with Paolo’s hypnotic spoken verse and snippets of 1993 classic crime film True Romance (which Tarantino even gets a songwriting credit for here). It’s a startling beginning to the record, as Paolo then brings things back to more familiar territory with stunning soulful rock track Radio (which you can hear above), with its glistening guitars and spine-tingling, repeated cries of “I want love.”

Lead single Through The Echoes is up next, an exquisitely crafted, stripped back love song where Paolo’s heartfelt vocals are the star of the show. Acid Eyes then might be my favourite from the record, with its instantly memorable refrain and jangly melancholic guitars, sounding a bit like Because of the Times-era Kings of Leon. Stranded Words may be branded as an interlude but is a great track itself, with Paolo’s Celtic tones speaking softly in a hymnal-like way over some quiet synths. Subsequent track Lose It then rounds off this incredible opening run, entering from the other end of the spectrum as a raucous guitar-driven rock track but with a tinge of gospel thrown in too.

However, it’s not just the opening section where this album radiates out the speakers, there are plenty of gems lurking in the latter half of the record too. Everywhere starts off quiet and subdued before erupting into a huge crescendo of soaring guitar riffs and soulful cries. Children of The Stars is then a wonderfully mesmeric and bluesy number whilst Desperation is a pulsating Strokes-esque jittery rock track, which culminates in probably the album’s finest guitar passage. The album then eventually draws to a close with epic penultimate track and seven-minute-long ballad Take Me Take Mine. Once your ears have wandered through its labyrinth of spacey synths and dreamy guitars, Dylan-inspired acoustic track Writer then ends the record on a heartfelt and reflective note.

You almost get the sense this was Paolo’s lockdown project, with him passing the time by just having fun with his instruments and exploring these different sounds. The album art for Last Night In The Bittersweet is Paolo sat in a room with an array of instruments around him and that really is the record’s whole vibe - like you’re sat in a room with him as he’s playing you this eclectic range of songs. Whilst I still think it may be a touch too long, on the 12 or 13 tracks where it does hit, you’ll be completely swept away by the raw brilliance of Paolo’s vocal and songwriting talents.

Best tracks: Radio, Acid Eyes, Through The Echoes

Listen here

[c-40]

A-T-2 385 Dope Library Music With A Space Theme

Holst's suite The Planets written as what the composer described as "a series of mood pictures" (in a music lesson at school we were told to close our eyes listen to this piece of music and let images appear infant of our eyes) I'd argue it was very influential in the development of space music. Mainstream public interest interest in space travel is believed to have come from a Soviet youth magazine published October 2nd 1951 which outlined how two men might fly to the moon and back, thus kickstarting the Soviet lunar programme. This is published in the US and the space race is born. The Space Shuttle era begins in 1981

John Cage composes Imaginary Landscapes No.1 in 1939. In the 1950s with the onset of the space race there was a boom in space films. The film Forbidden Planet came out in 1956, it's soundtrack was made entirely electronically (reportedly to get out of paying musicians and union rates), this helped solidify a connection between space and synths. Electronic music is considered to be futuristic in nature, and in the 1950s it was (in 2022 watching films set hundreds of years in the future but they're still dancing to 1990s electronic dance music is a bit of a joke.) In 1963 Doctor Who appeared on UK television screens with it's electronic theme music realised by Delia Derbyshire using musique concrète tequniques. Like with the John Cage piece I mentioned the sounds electronics can produce often sound alien, sound can be manipulated way beyond what a musician playing wind, strings, percussion, or a voice can do. In that way these sounds might be considered futuristic or even emanating from outer space. Electronic instruments also seem more scientific, it's often called tech, closer to computer laboratories and rocket controls than pianos, saxophones, drums, or guitars

We tell stories about space. Star Wars ushers in a renaissance of space fiction and it remains popular to this day. Ridley Scott's second space film Bladerunner comes out in 1982, which has one of my favourite soundtracks

Space library records are popular with fans of electronica and they usually have great sleeve artwork. That space library albums have a funky beat makes no sense at all, there's nothing particularly spacey about drum breaks, still I am drawn to them

Gaston Borreani recording under the name Galaxy for De Wolfe

Galaxy - Jupiter

Again for De Wolfe Unit 9 who did two space titled albums Delta and Over The Moon. Also check Fission Chips from Over The Moon and Omicron (before it was the name of a covid19 variant and we believed in progress and the future, ah! innocent times) from Delta

Unit 9 - Pi

Earforce Band - Sky Racer brilliant German one off for UBM Records. Bassist Dieter Petereit and drummer Willy Ketzer were both in the fusion band Passport. Space is big enough from harpsichord

Roger's New Conception - Expectation from the album Infomatic 2000. Roger Roger & Nino Nardini sounding like something from the 1960s or 70s. Sleeve artwork is nicked from the CTI album Moon Germs by Joe Farrell and isn't a million miles away from the sleeve for China Crisis' debut album designed by Peter Saville Associates. Anyway, beats

Christian Chevalier - Strange Pop from the album Christian Chevalier & Alan Feanch - Space Résonance. Alan Feanch followed up with sister album Flash Résonance: Space Dream

Miha Kralj - Jupiter from the Yugoslavian state owned record label PGP RTB album Odyssey

Roland Brocquet - Epsilove another French offering, this one from the album Robot Rose "Claviers Synthétiseur"

The Astral Dimension - Black Holes from Italy, not to be confused with Astral Sounds. A spooky ambient one this

[crunchy--milk]

Watched space odyssey, why the fuck does HAL remind me of Michael (the distortion), and also, why am I so fucking distressed over HAL

[goldenworldsabound]

howdy!

I'm back for the moment!

It will be different than before though! My new rules for myself include not having tumblr installed on mobile, and so I won't be on nearly as much as I was (during the work week I expect to be around verrryyyyyy little).

So. HI! I missed you all though!

I do want to say that given how inconsistently I anticipate being here, I really, REALLY encourage you to tag me or send me your art/fic/moodboards/etc - anything you want me to see! If you don't send it to me or tag me, you should probably assume I won't see it at this point...which is a shame because I love to see your love for your faves and your fantastic SIs! So please don't be shy.

[elle-eedee]

with each new word phil lollar types into his blackgaard chronicles manuscript i become a little bit more unhinged

[chrissykissy]

help me! 

i broke apart my insides

help me!

i got no soul to sell

help me!

the only thing that works for me

help me get away from myself

[brokehorrorfan]

Moon will be released on 4K Ultra HD (with Blu-ray and digital) on July 16 via Sony Pictures. It has been remastered in 4K and features newly remixed with Dolby Atmos Audio, along with the original 5.1 audio mix.

Director Duncan Jones (Source Code, Warcraft) approved the upgrade. Sam Rockwell, Kevin Spacey, Dominique McElligott, Rosie Shaw, and Adrienne Shaw star in the 2009 science fiction thriller.

The disc includes never-before-seen deleted scenes, among other extras new and old. A full list is below.

Special features:

Retrospective conversation with director Duncan Jones and journalist Joe Utichi (new)

Deleted scenes (new)

Fan art poster gallery (new)

Audio commentary with director Duncan Jones and producer Stuart Fenegan

Audio commentary with director Duncan Jones, director of photography Gary Shaw, concept designer Gavin Rothery, and production designer Tony Noble

The Making of Moon featurette

Creating the Visual Effects featurette

Science Center Q&A with director Duncan Jones

Filmmaker Q&A at the Sundance Film Festival

Whistle - short film by Duncan Jones

Theatrical trailer

Sam Bell (Sam Rockwell) is nearing the completion of his 3-year-long contract with Lunar Industries, mining Earth's primary source of energy on the dark side of the moon. Alone with only the base's vigilant computer Gerty as his sole companion, Bell's extended isolation has taken its toll. His only link to the outside world comes via satellite messages from his wife and young daughter. He longs to return home, but a terrible accident on the lunar surface leads to a disturbing discovery that contributes to his growing sense of paranoia and dislocation so many miles away from home.

[smallestbrown]

for the @d20zinejam i ran a starstruck odyssey fashion zine called 💫 COSMIC CHIC 💫 i’m so pumped by how cool everyone’s pieces turned out, it was a blast to put together

you can check out the zine here + see all the absolutely incredible work made for the jam here!

[ID: illustration of norm takamori in a pink cowboy outfit on a spacey background. he looks to the side, grinning, and has one leg kicking up towards the viewer. one hand tilts his pink cowboy hat, the other holds a revolver. pixelated font reads: COSMIC CHIC a starstruck odyssey fashion zine.]

[xyloophones]

Hey Cher, seen you posting abt dimension 20 a bit, and yeah I could Google it but it looks very cool and I'd rather hear it from you if it's that cool 💜

helloooo my beloved pal <333 yes yes lemme talk about dimension 20 !!

dimension 20 is an actual play dnd show (theres also an audio only version if you prefer podcasts !) !! there are several campaigns, some with wildly different settings & different players, most of them DM'd by brennan lee mulligan who is an INCREDIBLE storyteller. d20 has a diverse cast & really memorable characters and i've kind of passively watched for a while but i recently finished watching one of their campaigns and Fell In Love

i'm just gonna list the campaigns ive seen so far in order of my favorites:

fantasy high. 6 teens go to a high school that like. specializes in adventuring parties, found family and shenanigans ensue. everyone is gay and neurodivergent. i'm very attached to the characters and their dynamics with each other AND the npcs <33 season one is on youtube for free, however season 2 is my favorite bc it contains probably my fav dnd npc to ever exist (i am an ayda aguefort stan until i DIE). i'm making my way through The Seven right now, which is a spin-off of another adventuring party that are friends with the original 6 in seasons 1 & 2.

a starstruck odyssey. fun campy space romp feat. more found family. this one is has the same players and dm as fantasy high! it has a sci-fi spacey setting and the party is the crew of a spaceship that looks like a giant hotdog. the fights in this one are absolutely wild.

the unsleeping city. an urban magic setting in new york city! another one with the main player cast and dm and once again the party dynamics and character relationships are just !!! so good !!! you will cry over a rat man !!!!! i think these two seasons definitely made me the most emotional. i aspire to get to this level of world building in my own writing.

a court of fey & flowers. ok this one is still ongoing but !!!!!! the only reason it's not number one on this list is because it's not done yet but hsajkf holy shit it's so good?? it's dm'd by aabria iyengar and it's basically using dnd in a regency fey setting to play around with high society gossip and court expectations and AAAAA i have never been so invested in wanting someone to roll well when sending shady letters to other members in the court. it's so good.

there are a ton more campaigns + one shots but i'm still making my way through them! unfortunately, most of it is only available with a dropout subscription so i'd recommend watching the first season of fantasy high on youtube to see if you like it before diving in!

if anyone else has any questions about dimension 20 feel free to send me an ask!! i could probably talk for hours about my favorite characters and details but i'll leave it here <33

real quick edit: if anyone needs trigger/content warnings for things please send me an ask !! every episode has content warnings in the description, but some campaigns in general have darker themes so let me know if you need warnings !)

[curlykytta]

Tropes YYY left for dead:

Non-consent/Rape/Assault

Jealousy

Lack of communication

Cheating

Unresolved love triangles

Lying

“Gay panic”

Enemies of the couple/non-supportive friends (or worse, friends trying to sabotage)

Manipulation

Homophobia

Tropes YYY Brought to Life: 

Spacey Odyssey Love Story

Washing Machine Alternate Universe

The tree fairies from Sleeping Beauty as apartment managers

Nott and his bottomless bag

Found family