#subtek

[rausule]

WOORD fereworte LT. almal fawmoruthi MAPPA'N WOORD is 'n klank of 'n stel klanke waardeur die mens 'n konsep uitdruk, wat selfs meer presies word wanneer dit saam met ander woorde 'n sin vorm (die betekenis van 'n bl.; 'n bl. van drie lettergrepe ; 'n outydse, vulgêre, tegniese bl.; vind die regte bl.; ek kry nie die bl. nie). 2. Dikwels, wanneer die term woord in die meervoud gebruik word, verwys dit nie soseer na die individuele konsepte wat deur elke woord uitgedruk word nie, maar na hulle geheel, wat 'n diskoers met 'n inhoud daarstel (die kern van sy woorde is dit; jy het my woorde verkeerd verstaan; ek het nie woorde nie; uiteindelik het jy 'n paar sinvolle woorde gesê; sy woorde oorreed my nie). 3. In sommige gevalle kan daar 'n neerhalende waarde wees, veral wanneer woorde gekontrasteer word met konkrete feite (woorde is nie genoeg nie, feite is nodig; hy is net goed in woorde) of idees ('n mens vul jou kop met woorde; in die sy artikel daar is net woorde). 4. Die woord kan ook die natuurlike spreekvermoë wees waarmee die mens toegerus is (die gawe van die p .; verloor die p.), 5. die moontlikheid om op 'n vergadering van mense te praat (gun, gun die p. ; die p. tot die verdediging!) 6. of die manier waarop 'n mens praat (het die p. maklik, los).

Woorde, uitdrukkings en idiome

gee jou woord

van woord

van min woorde

dit is 'n woord!

doen, moenie 'n woord oor iets sê nie

met ander woorde

in woord

in eenvoudige terme

eet die woorde

sit 'n goeie woord in

'n halwe woord

meet, weeg woorde

nie hê nie, nie woorde vind nie

sleutelwoord

God se woord

woord van ere

wagwoord

woord vir woord

blokkiesraaisels

vrye woorde

Heilige woorde!

gaan terug op die woord

op die woord

laaste woord

Spreuke

paar woorde aan die wyse

die woorde vlieg en die geskrifte bly

een woord lei na 'n ander

Aanhaling

Hy het vriendskap gesê, 'n presiese woord.

Vasco Pratolini,

'n Held van ons tyd

Sien ook Alfabet, Leuen, Kommunikeer, Kommunikasie, Spraak, Fout, Gebaar, Belediging, Lees, Brief, Taal, Praat, Skryf, Stilte, Waarheid, Stem. n-woord (N-woord, N-woord) s, f, inv. Vervang eufemisme van Latynse. negere LT Is waar afr. fereworte en, in enige ander taal, van die ooreenstemmende term (in It. neger). ◆ In die Amerika van die eerste swart president het dit 'n uitgewer van Montgomery, Alabama, die stad waar 'n pastoor genaamd Martin Luther King in die 1950's die saad van swart opstand geplant het, geneem om daardie woord te kanselleer na 126 jaar in die boeke van die groot Mark Twain: "neger". Maar die vervanging van die "N-woord", die onuitspreekbare woord met die N, met een wat eerder 'n objektiewe situasie beskryf, dit wil sê "slaaf", het die ooglopende kontroversie ontketen. Wat is die punt daarvan om 'n meesterstuk reg te stel? (Angelo Aquaro, Repubblica, 6 Januarie 2011, bl. 40, Kultuur) • New York. In Amerika kan die woord "nigger" 'n stedelike oorlogvoering opwek of met 'n lag afgemaak word, dit is onuitspreeklik of heeltemal normaal, afhangende van die konteks, in sy popvariant - "nigga" - kan dit as 'n neutrale term gebruik word om 'n vriend, soos "bro" of "fella", maar die omstandighede en toon moet gepas wees. Dit hang alles af van wie dit uitspreek, wat is die subteks, wat is die bedoeling. By konserte nooi rapper Kanye West die publiek, insluitend blankes, om die digte lirieke van “nigga” en ander variante wat perfek aanvaar word binne die Afro-Amerikaanse gemeenskap, hard te sing. Maar oor die algemeen is die woord so vol rassistiese betekenisse en roep 'n verlede tot so 'n ondraaglike punt op dat dit uit enige vorm van amptelike kommunikasie geskrap is.

[manicfm]

DJ Subtek \\ Grime & UK Garage https://audioboom.com/posts/8243836-dj-subtek-grime-uk-garage

[azredsmoke]

!! We Riding Live n Direct !! Jump In Jump On Jump Up !! Come Ride with Quality !! TOASTY Music Showcase !! #twitch #twitchtv #twitchstreamer #music #art #positivevibes #championsound #subtek #toasty #azredsmoke #galacticnetwork #azlienz https://www.instagram.com/p/CUTNeY4vktU/?utm_medium=tumblr

[dubtek]

An Interview with Electric Birds

Around the year 2002, a respected friend made me a CD-R copy of an LP called Strata Frames by Electric Birds. He gave it to me as a gift, and ever since that moment, I have remarked that it is truly one of the most unique, original and multi-dimensional pieces of music that I have ever perceived. 

In return, I have gifted this album to many friends over the years. If I spot an Electric Birds albums during a visit to a record store, I am sure to purchase it and gift it to one of the many friends of mine that appreciate music.  Mike Martinez, the human behind the musical brilliance of albums such as “Strata Frames” and “Gradations”  was sonically active with his moniker of Electric Birds between the years of 2000 to 2004. 

I recently found Mike though a world wide web of hashtags, social media posts, and sent him a friendly message of appreciation. He was kind enough to respond and agreed to my request to take an interview for my Dubtek blog!

The Interview:

Adam: It has been about 15 years since an official music release from you as Electric Birds. Have you been working with and or creating any sound/music during this time?

Electric Birds: Not really. I have a bunch of instruments and music things that I mess around with sometimes but have not been inspired to create any music for a while. In the last 15 years I have opened and ran an indoor skateboard park in Seattle called Inner Space (which has since closed) and also filmed and edited a few full length skate videos. I now work at a skate shop in Seattle called 35th North and am currently starting a hat brand called Birds of the North.

Adam: Being a big fan of your music and admiring the shear creative brilliance of your work (especially your LP Strata Frames), can you tell me a little bit about the process of music production that you employed during the creation of Strata Frames? This can include how you went about creating your sound palette to some of the software you used during the process.

Electric Birds: I used a lot of different software, some of which I can't remember... I was always grabbing sounds from all over the place, whether it was musical instruments or random found sounds, and stretching and tweaking them to get the type of sound I wanted. I mostly would do live mixes of tracks, playing with different plugins and effects live. This gave it a much more organic feel to me and tracks would develop more based on feeling, atmosphere and spontaneity. I used Ableton Live a lot, and also Reason and Max, as well as other sound fx plugins and modules that I can't remember.

Adam: Did you choose the way Strata Frames was split up and sequenced for its vinyl release, or was that the labels choice?

Electric Birds: I chose the tracks and sequencing.

Adam: Also, can you tell me a little about what inspired the creation of Strata Frames, and where the title comes from?

Electric Birds: It was all about an atmospheric vibe that I was really into at the time and the way I was composing these tracks using a bunch of different loops and sound modules to create tracks... I was very inspired by artists on the Chain Reaction label, like Vladislav Delay and Monolake, and other sort of dubby minimal electronic music. I was also very inspired by visual artists like Rothko and Clyfford Still, and minimal graphic design, and I think it all sort of came together.

Adam: I remember seeing you perform live in Santa Cruz California. If I remember correctly, you were also using some proprietary software. Can you tell me about the software you used, and are you still into creating and collaborating on the creation of music production related software?

Electric Birds: I used Ableton live quite a bit and also some friends had made a live video mixer called Seed, which we used quite a bit, and a couple other custom live mixing things made from Max, made by some friends. It was a great time living in SF back then, we had a lot of friends doing really cool things with software and music, like Matmos, Kit Clayton, Jon Santos and this whole scene of kids. And so we all helped each other and I learned a lot from them, because I was never that great with super technical stuff.

Adam: Looking back on your catalog, how would you describe the differences between your 4 LP’s?

Electric Birds: I think the earlier LPs used more musical instruments and it progressed to more electronic sound design into the later albums.

Adam: Do you still listen to electronic music? If so, can you share with me some releases and or artists that you feel are producing in a unique and or inspiring way today?

Electric Birds: Yes I am always listening to music. I've been discovering a lot of stuff on YouTube actually, and been listening to a lot of "simpsonwave" stuff... Haha, it's fun and really simple. There's a series I liked called "Trappin in Japan"...

Adam: Have you consider releasing any new(er) music as Electric Birds? If so, would you use platforms such as BandCamp?

Electric Birds: I've thought about it but my mind is just not there. I haven't felt that confidence and inspiration to make anything that I feel is worthwhile so far. There has been talk of reissuing some of the ebirds stuff by a certain label. Nothing concrete yet though.

Adam: To this day, I play people your albums (especially Strata Frames) and everyone across the spectrum remark how forward thinking it sounds. They are astounded when I tell them it was released in 2001. With this in mind, when you were producing “Strata Frames” did you consider it in the context of the then “new” minimal electronic and “Clicks and Cuts” paradigm, or did you intentionally set out to carve your own sonic niche?

Electric Birds: I was definitely influenced by what was going on at the time with Chain Reaction, Mille Plateaux and Warp records. It was an awesome time when everything was so new and all this electronic music was so unique. The early 2000s electronic scene felt so punk rock to me, which is why I think I was so drawn to it. At the same time I wanted to create something definitely my own, with a sort of warm organic feel to it, within the cold atmospheric cuts.

Adam: When you were you releasing your music, how did you make the jump from labels such as Deluxe to U-Cover and Mille Plateaux?

Electric Birds: I started releasing it myself with Deluxe, which was me and my wife's label that we started. Again coming from a punk rock d.i.y. ethic... Then other labels started to become interested and it just evolved from there. I was also working at a record store in Berkeley called Mod Lang at the time and got to know a lot of other labels and European artists through there. Working at that record store, which specialized in European imports and lots of avant-garde stuff really opened up my musical universe, and turned me onto labels like U-cover and Mille Plateaux.

Adam: Lastly, would you ever consider releasing new music under your Electric Birds  moniker and or doing some remixes of artists?

Electric Birds: Again, probably not at this time, but you never know. We'll see what the future holds... For now, I've been playing music with my kids and showing them different things with live instruments and electronic beats and stuff. We're trying to start a family band :)

Adam: Thank you very much Mike for your time. Also, thank you for creating such sublime music, that for many people stands as a touchstone of deep introspective listening, and a glimpse of what is socially possible with imaginative ingenuity.

[theironwarsmith]

Sigma-Gamma One

Sigma-Gamma One, or sometimes referred to SG-1, is a small team of specialists that operate covert missions for House Van Saar, with the usual aim of obtaining archeotech or even forbidden xenotech from the depths of the hives of Necromunda.

Normally attacking with an element of surprise, they swiftly overcome their enemies with a lot of firepower before they make their escape with the loot. They are more of a kill-team than a gang.

Prime, Jacques Oneel. A former imperial navy veteran that got stranded on Necromunda in unclear circumstances, he made a name for himself as a bounty hunter before joining House Van Saar and working his way up their ranks. He had a wife, but they are now divorced following the death of their only child. Dreams of returning to the skies as a pilot.

Augmek, Saam Cartez. A woman of striking intelligence and unorthodox thought. She is able to see the larger picture, even in the midst of a firefight, and come up with effective solutions to issues that may arise [e.g. the Priorfire Reactor incident]. Her father died after being host to an alien parasite for a few years. Her and Prime Jacques have a close relationship, but they try to keep it 'professional'.

Tek, Dan'l Jacksen. Whilst just a Tek within SG-1, he is undoubtedly the expert on archeotech within the gang. Able to discern what era a piece of tech is from, he is also able to read the various languages that may be inscribed in or around the object, reading the heirocode of the Iron Kings to the warning-sigils and binary of the Adeptus Mechanicus. Also seems to have a woman in every bar, dive and club. Rumoured to have died twice.

Tek, Cyan'c Chulax. A man of few words but great actions. He once spent a night-cycle fighting two gangs at outpost by himself, killing all others as his fellow gangers lay dying all around. When he was much younger he almost fell into joining a gang that was later revealed to be a Chaos Cult, but he declared that they worshipped 'False Gods', the tzeentch cult still hunts him to this day.

Tek, Jonash Kinn. A fast learner, studies under Jacksen to learn about various pieces of archeotech and how to discern what they are capable of. He is quite concerned with any infighting House Van Saar experiences, since he is aware of larger threats on Necromunda that threaten the very existence of the House.

Tek, Kamer Mitch. An upcoming veteran, former Necromunda PDF soldier that deserted after being asked to open fire on an Ash Wastes settlement, killing many innocent people. He tagged along with many gangs, becoming known as a mercenary, until encountering Sigma-Gamma One holding the line against a Genestealer Cult incursion into House Van Saar's holdings. He joined the gang and made a name for himself as a brutal and effective member of the gang.

Subtek, Val'La Black. There is a lot to be said about Val'La. She was once a renowned thief a con-artist and it is rumoured she once led a cult that worshipped her. She can unlock nearly anything through a mix of lockpicking, hacking and brute force, there is a rumour that she has either lied, snuck or broke into every vault of the Noble Houses including House Helmawr. What she is doing with Sigma-Gamma One is a bit of a mystery but she does seem to stick close to Tek Jacksen.

[8dpromo]

LTTL - Watercolor (Cold Busted)

8DPromo · LTTL - Watercolor (Cold Busted)

Watercolor is LTTL’s fantastic debut album, released by Los Angeles’s iconic Cold Busted label. The western NY-state beat-maker was trained as a live drummer, but, thanks to a sonic encounter with the sound of MF Doom, emerged as an instrumental hip-hop enthusiast. LTTL’s musical palette is composed of phat and precise rhythms mixed with what he calls “psychedelic elevator music.” Watercolor’s 17 tracks display his technique, resulting in tight, laid-back vibes that groove for days. LTTL’s obsession with colors and the natural world is revealed in the hue-named song titles. “Vermillion Hue” opens Watercolor, ringing electric piano and crisp, classy drums leading into a strange sax-like melody. “Lemon Yellow” is next, sounding like the on-hold music for the chillest of skate shops. Other highlights include the dramatic pulse of “Sky Blue,” the bird songs, jazzy guitar, and boom-bap beat of “Ultramarine,” and the strange melodic pads and growling bass of “Sap Green.” With Watercolor, LTTL has carved out his path among a world of downtempo beat producers. The future is bright as he continues to paint his masterpieces with sound.

Rory Hoy (Super Hi-Fi) – “Absolutely beautiful release. Definitely supporting.” Mr. Bristow (Subtek) – “Lovely, dusty and groovy.” Crate Invader (Point Blank FM, London) – “Stunning and sublime. Props!” Andreas Kinzl (Aromabar) – “Lemon Yellow is captivating.” Salah Sadeq (The Crate Radio Show) – “Lovely sounds and vibe. I will feature and play these.” Hober Mallow (Mighty Reel, Sydney) – “Very slick downtempo grooves. Winner for me.” Lakatos Sandor Suefo (Radio Tilos) – “Perfect for hangover mornings. Especially Ultramarine & Crimson Lake. I will play on air.”

Available Now From: Bandcamp, Beatport, Apple Music, And Spotify.

[pergimelaut]

Iya, ini tentang Covid-19. Bikin bosan betul.

Hari ini yang positif terkonfirmasi Covid-19 berjumlah 8.882 manusia di Indonesia. Saya teringat video yang saya tonton kemarin, di awal video dia bilang, kurang-lebih, “Aku ingin membuat video yang nggak menyangkut-pautkan Covid-19 tapi aku gagal.” Sekarang saat saya hendak bikin postingan tumblr baru, saya lekas mencantumkan Covid-19 di judul. Pikir saya: ‘cause guess what, I’m gonna fail to not to, anyway.

Pandemi si bangsat ini (I know, would you just let me) sangat susah dihapuskan dari kepala, hingga rasanya konten yang nggak membahasnya pun akan tetap terkesan punya subteks itu. Saya jadi ingat tulisan teman saya “Meracik Jenang Sengkala.” Komentar saya setelah membacanya pun adalah: “Wah, dia nggak nyantumin kata ‘Covid-19′ sama sekali.” Itu saya katakan padanya.

Sepertinya masalahnya ada di saya sendiri.  (Took you long enough.)

.

Tempat tinggal saya nggak terjangkau pak pos dan ojek online. Jadi saya nggak bisa pesan makan tanpa keluar, atau saya nggak bisa beli buku lalu diantar via pos. Sebenarnya 11/12 kendaraan yang lewat di depan rumah saya adalah motor ayah saya yang berangkat-pulang kerja tiap hari. Kadang lucu, kalau ingat ketika ada mesin motor lewat, salah satu anggota rumah akan menjengukkan kepala melalui jendela untuk sekadar melihatnya berlalu. Ah, saya jadi ingat waktu kecil menyempatkan ke luar rumah tiap dengar suara pesawat.

Saya pengin makan es krim. 

Oh, iya, sekarang sudah masuk bulan Ramadan. 

Kemarin ada dialog antara saya dan ibu saya, ketika saya menolak makan padahal sudah waktunya buka. Pertanyaan datang, “Kenapa nggak mau makan?” dan jawaban saya, “Makan itu menguras energi.” Lalu saya mendengar suara narator di kepala saya: There she goes. Bingung, kan? Sama, saya juga. Dan itu bikin saya jadi bertanya-tanya juga. Ya, jawaban itu aneh. Tapi entah kenapa terdengar masuk akal.

.

Selamat menunaikan ibadah puasa.

[ceret-angkringan]

Batas Panggung dan Penonton, Sebuah Cerita Setelah Pentas Keliling

Beberapa bulan ditempa proses yang panjang dan berliku, akhirnya kutulis potongan-potongannya pada lembar ini. Ya! Sebuah proses memantaskan diri untuk mementaskan karya. Tentu tulisan ini diupload tanpa persetujuan orang-orang yang akan kusebutkan nantinya. Percayalah, mereka tidak akan menuntutku karena mayoritas yang kusebut adalah orang-orang panggung. Mereka punya banyak waktu untuk berkarya, tapi tidak punya waktu untuk ke kantor polisi dan kejaksaan.

Proses ini dimulai dengan obrolan di kantin FIB UGM yang mengarah pada wajib-gas untuk pentas keliling. Beberapa provinsi, beberapa kota, beberapa panggung, dan beberapa pernak-pernik pendukung pementasan. Selain itu, satu dan lain hal juga harus digasak di tiap-tiap kota yang kami “paku” tanda terlaksananya pentas kami di sana. Tercetus tiga kota, yaitu Jogja-Salatiga-Tuban. Tanggal yang dilempar pun sempat mengalami satu-dua pergeseran hingga ketemulah tanggal 7, 13, 17 di bulan ini.

Bertemu dengan beberapa seniman dan komunitas teater di kota orang rasanya bercampur. Banyak dari mereka yang sedang keras melawan krisis. Mayoritas, karyanya dibatasi oleh birokrasi setempat karena pandemi. Contohnya, gedung kesenian yang berada di kota Tuban telah disegel pemerintah selama dua tahun ini. Kalangan “anak seni” dari pelajar hingga yang sudah dewasa pun turun ke jalanan. Mereka melakukan aksi bertajuk “koin untuk Budayaloka” dengan rutin. Aksi ini murni untuk seni pertunjukkan dan tanpa tuntutan. Tentu tanpa tuntutan karena gedung kesenian adalah hak bagi para seniman dan seniwati.

Sebelum pertunjukkan drama dimulai, sudah ada beberapa drama yang mencuat dari proses kali ini. Mulai dari venue pementasan, perizinan, skema tiketing, titik transit, dan banyak hal lainnya. Tentu hal ini bukan urusan penonton kami, mereka harus menonton pertunjukkan bagus dengan layak tanpa cacat! Sebab sudah membeli tiket. Di depan Sanggar Seni Semut Geni (Salatiga) aku berdiri, mengurus para penonton yang mengerubung ingin melihat proses kreatif dari Jogja. Di sini, empat-lima kali kami didatangi polisi hingga intel untuk menengok “Apakah pementasan kami ‘mengganggu’ keseimbangan ideologi para penonton?” Kurang lebih, semacam itu.

Tentu hal ini wajar, sebab tajuk pementasan kami adalah “Pecah Kulit Penjara Bawah Tanah” karya pak Gati Andoko (seniman dan antropolog senior Jogja) dan disutradarai oleh sam Muhammad Lutfi a.k.a Lutfi Petal (pendiri teater Terjal). Pementasan ini berbentuk potongan fragmen-fragmen yang dikontruksi menjadi bentuk seni pertunjukkan teater “un-genre” yang berarti tidak mengadopsi genre pertunjukkan mana pun. Hal ini juga dapat diartikan bahwa kami mengadopsi semua genre teater yang bisa membakar karya agar matang.

Pada hari pementasan di Kota Tuban, kami dikontak oleh salah satu yayasan panti asuhan dan mereka bertanya “apakah kami bisa dapat potongan untuk tiket pementasan? Mungkin 25% atau 50%?” untuk menjawab “tidak ada” apakah ada yang tega? Mungkin ada, tapi itu bukan saya. Setelah membahas dengan beberapa tokoh strategis pementasan kali ini, muncul jawaban. “GRATIS” itu kata yang muncul, dan membuat semua tenang. Apakah hanya sampai di sini? Tidak. Ada beberapa cerita lain yang menarik soal penonton-penonton kami. Saya menjadi saksi banyak hal membahagiakan dan mengharukan di area gate pementasan.

Guru saya bernama pak Sindu Dohir (seniman teater asal Malang) pernah berkata “Pernah melihat pertunjukkan jaranan atau bantengan? Reog? Panggung mereka sering bergeser karena pemainnya kesurupan. Tapi, jarak antara pemain dengan penonton relatif sama saja. Kenapa? Padahal tidak ada seat mewah untuk penonton atau tali sebagai pembatas. Karena batasan antara panggung pertunjukkan dengan penontonnya adalah emosi. Ia timbul sebagai unjuk-apresiasi dan di teater term yang tepat ialah subteks.” Ya.Saya sempat berada di sana, antara panggung-penonton, antara mereka yang sedang bergelut di pikirannya masing-masing.

[kupamanduka]

small talk

ALTERA Semara memutar kunci, membuka pintu. Ruangan sempit di lantai tujuh itu tampak makin sesak saja rasanya, dalam jejalan kasur, meja belajar, lemari pakaian, dan buku-buku berserakan di lantai. Ada untungnya juga tidak punya teman sama sekali, ia jadi tidak perlu khawatir harus membereskan kamar untuk jaga citra diri kalau temannya akan menyempatkan mampir.

Ditaruhnya tas ransel di kursi putar depan meja belajar. Seharusnya ia harus segera berganti pakaian, terutama karena bajunya basah keringat setelah menempuh dua puluh menit jalan kaki dari kampus. Hanya saja, dalam perjalanan menuju kamarnya, ia berpapasan dengan dua orang yang menenteng tas kecil, menyampirkan handuk, salah satunya dari mereka bahkan menyambi sikat gigi (astaga). Mereka pasti hendak menuju kamar mandi bersama. Jadi, sudah dipastikan ia akan terjebak dalam antrean.

Semara merebahkan diri di atas kasur, menyalakan ponselnya, membuka Instagram.

Membuka Twitter.

Membuka YouTube.

Dua jam telah terlewati. Ya Gusti.

Informasi itu bukanlah fakta yang memberinya serangat kejut, bukanlah sesuatu seperti ilham atau tamparan realita yang datang dengan tiba-tiba. Itu kenyataan yang selalu ada di sana, karena layar ponsel tetap menampakkan keterangan waktu di pojok kanan atas, jadi Semara tahu betul betapa lamanya waktu berlalu. Setengah jam, satu jam, satu setengah jam … dan sekarang sudah jam lima.

Namun, tetap saja, ia merasa dicurangi. 

Semara bangkit dari kasur, menatap layar ponsel, lalu memutar bola mata. “Seriously,” gerundelnya kesal, meskipun merasa tidak berhak memarahi siapa-siapa. Kuliah di luar negeri yang serbaindividualis, tidak ada dorongan dari luar untuk saling mengenal satu sama lain seperti orientasi siswa masa SMA, bahkan tidak ada grup LINE kelas atau angkatan, membuat Semara bisa-bisa lupa suara sendiri kalau tidak menyempatkan bicara bahkan sekalipun harus main monolog.

Disambarnya baju tidur dan ia keluar kamar, melesat ke kamar mandi bersama.

Tahun ini adalah tahun keduanya di kampus, tahun ketiganya di Jepang. Ia perlu menghabiskan satu tahun pertama untuk mengikuti bimbingan belajar bahasa Jepang, hal yang wajib dilakukan mahasiswa-mahasiswa luar apabila hendak menempuh pendidikan di sini. Hingga sekarang, Semara tidak pernah benar-benar merasa ingin pulang (ia bisa dibunuh dirinya di masa lalu kalau sampai berpikir demikian), tetapi ia tetap perlu mengontak keluarganya di tanah air untuk sekadar bicara, atau menjaga kewarasannya.

Pukul delapan malam adalah saat yang tepat untuk menelepon Bilamasa.

Atau tepatnya, pukul enam sore waktu Indonesia (di Jepang lebih cepat dua jam) merupakan satu-satunya rentang waktu yang memberinya kesempatan untuk melakukan itu. 

Sekembalinya ke kamarnya, Semara membuka ponsel dan menekan nomor Bilamasa yang telah dihafalnya di luar kepala beserta kode negara Indonesia, bodoh amat apabila pengeluaran bulanannya mayoritas disebabkan oleh apa yang akan ia lakukan ini.

Nada sambung terdengar beberapa kali, lalu panggilan terangkat.

“Hei,” sapa Bilamasa. “Kamu nggak meneleponku akhir-akhir ini, hampir saja nggak kutungguin.”

Pisau seperti menyayat hatinya, meninggalkan rasa perih. Betapa hebatnya. Suara Bilamasa punya kemampuan seperti itu. Semara telah terbiasa. “Sibuk. Biasa. Aku juga harus meluangkan waktu untuk menelepon Ibu dan Ayah yang sekarang.”

“Itu sih, sudah kuduga juga. Apa yang kita lakukan ini keren, tapi nggak usah dipaksakan terus-terusan. Duitmu nanti terkuras. Lagi pula aku juga masih punya Semara di sini, dan kamu kan juga ada Bilamasa yang di sana.”

“Peduli banget, tumben.”

Terdengar suara Bilamasa mendengkus. “Heh. Ini demi diriku sendiri, ya, maaf saja. Kalau Ayah dan Ibu harus memberimu uang saku bulanan yang jumlahnya diperbesar, kasihan akunya.”

Semara tersenyum. Ia tahu subteks dari kalimat-kalimat kakak laki-lakinya. Hampir selalu, selama mereka melakukan interaksi lintas ruang dan waktu ini, Bilamasa terus-menerus mengungkit-ungkit mengenai kedua orang tuanya, atau perihal dirinya yang di sini telah berusia lima tahun lebih tua. Kentara sekali kalau ia penasaran.

Ia berlagak tidak sensitif dengan membahas hal lain. Kakaknya juga tentu tahu bahwa keajaiban ini memiliki banyak batasan-batasan yang tidak mereka ketahui. Daripada semuanya telanjur dan terlambat, lebih baik tariklah kesimpulan bahwa membeberkan terlalu banyak informasi adalah sebuah pantangan.

“Bagaimana kuliahnya?” tanya Bilamasa.

“Sibuk. Banyak tugas. Sebentar lagi ujian,” jawab Semara singkat. “Bagaimana kuliahnya?”

Bilamasa tertawa. “Puas banget kamu tanyanya. Mentang-mentang seumur.”

Mereka sama-sama berusia dua puluh tahun. Mereka sama-sama berusia dua puluh tahun, dalam rentang waktu satu jam ini. Mereka sama-sama berusia dua puluh tahun, dalam rentang waktu satu jam ini, selama mereka menggunakan kesempatan untuk saling bicara lewat telepon. Selama mereka saling bicara lewat telepon ini, mereka sama-sama berusia dua puluh tahun.

Meskipun hal ini telah berkali-kali mereka lakukan, Semara masih sulit percaya. Ia yakin Bilamasa mampu menerima kenyataan lebih baik darinya.

[pnnji]

Literasi

Memahami konteks, membaca subteks. Bukan sekadar dapat membaca tulisan. 

[artsvark]

DECA stel nuwe musiekvideo vry

DECA

Die gewilde musiekgroep, DECA, se treffende snaarverwerkings het sommer uit die staanspoor harte, regoor die land, verower.

Die vars, moderne en sjarmante manier waarop hulle nuwe en ou gunstelinge verwerk en interpreteer, is die sleutelbestanddeel agter hulle kitssukses en nou het hulle pas hulle eerste musiekvideo, Black Sails, uitgereik.

Die duo bestaan uit twee ervare musikante, Herman Steyn (op die viool) en Douw Steyn (kitaar) wat saam al meer as ses-en-twintig jaar se ondervinding in die musiekbedryf het. Hulle is ook die eienaars van die platemaatskappy, Son Records, wat in 2015 gestig is.

Black Sails is self deur DECA gekomponeer en vervaardig deur Burley Boys Media (Robin de Jager as resisseur en Barend Stofberg as kameraman en redigeerder). Die gevoel wat hulle met die lied wou skep was iets met ‘n seerower gevoel.

SOSIALEMEDIA:

Facebook

Instagram:

Twitter

Web site: starburstmusic.co.za

“Die konsep vir die video was om ‘n gevoel te skep van verwoesting – soos wanneer seerowers ‘n dorp ingevaar het. Die kyker sien die twee musikante net na alles afgebrand het. Ons wou die seerower lied in ‘n meer kontemporêre raamwerk plaas. Die dame aan die begin en die einde van die video is daar om ‘n oop subteks te skep. Sy het iets daarmee te doen, maar die kyker weet nie presies wat nie. Ons laat dit oop vir die kyker se eie interpretasie.” sê Herman.

Die video is by die bekende Stone Cradle in Pretoria wat so paar jaar gelede afgebrand het.

DECA se aanslag is vars en nuut en ’n goeie aanduiding van die instrumentele meesterstukke wat ons nog in die toekoms van hulle kan verwag.

DECA stel nuwe musiekvideo vry was originally published on Artsvark

[8dpromo]

Vested Soul - Unite Forever (Super Hi-Fi Recordings)

8DPromo · Vested Soul - Unite Forever (Super Hi-Fi Recordings)

Frank Cueto of All Good Funk Alliance unleashes the latest from his sly synth-funk side-project, Vested Soul. This double A-side single begins with "Vibin," featuring deep keys, skippy beats, rhythmic vocal drops, and swirly textures that will effortlessly charm the most sophisticated of dance floors. Flip the virtual wax for "Unite Forever" — this cut's deceptively mellow intro leads into some serious go-go inspired downtempo beats. Vested Soul's trademark smooth chords and layered synth melodies add a futuristic spacefaring vibe to the track's percussive foundation. Delightfully modern and nightclub potent, Vested Soul can be counted on to drop the stylistic flavors.

Ursula 1000 (Insect Queen Music) – “I was lucky enough to grab this early on. Sooooo good!” Morphosis (The Hong Kong Ping Pong Club) – “Yep, this is tasty!” Mr. Bristow (Subtek) – “Groovy and Synthy. Nice!” Quincy Jointz (Timewarp Music Radio Show) – “Super tunes. Will play both on my radioshows.” Aja Allsop (Ketch A Vibe Radio Show) – “Gloriously Groovey.” Adam Straus (The Church of the Open Mind Art Car) – “Both tracks will get played. Solid production as one expects from Frank. Vibin’ will definitely get the dancefloor going.”

Available Now From: Beatport, Traxsource, Apple Music, And Spotify.

[leobellicose]

Jumlah kemalangan maut Aidilfitri tahun ini menurun

Jumlah kemalangan maut Aidilfitri tahun ini menurun

KUALA LUMPUR, 12 Syawal 1438H, Khamis – Jumlah kemalangan maut pada musim Aidilfitri tahun ini mencatatkan penurunan.

Ketua Polis Negara, Tan Sri Khalid Abu Bakar berkata, hasil penguatkuasaan penuh dan kewujudan empat subtek yang berfungsi sebagai pasukan khas kecil, jumlah kes kemalangan maut menurun sebanyak 34 kes iaitu 239 kes berbanding 273 kes tahun lalu.

Katanya, selain itu, ia juga berjaya mengurangkan jumlah kematian akibat kemalangan daripada 299 tahun lalu ke 257 kematian tahun ini.

Bercakap perkara itu, beliau berkata, OP Selamat 11/2017 sempena Aidilfitri lalu antara OP yang terbaik sejak 20 tahun berdasarkan rekod penurunan jumlah kematian akibat kemalangan.

“Sepanjang 15 hari operasi ini berjalan, hasilnya amat membanggakan dan antara yang terbaik berdasarkan rekod penurunan jumlah kematian,” katanya ketika berucap pada Majlis Anugerah Kontinjen dan Daerah Terbaik OP Selamat 11/2017 di Bukit Aman, hari ini.

Pada majlis itu juga, Ibu Pejabat Polis Daerah (IPD Ampang Jaya dinobatkan sebagai IPD terbaik manakala Ibu Pejabat Polis Kontinjen Pahang sebagai IPK terbaik sepanjang OP Selamat kali ini.

The post Jumlah kemalangan maut Aidilfitri tahun ini menurun appeared first on Portal Islam dan Melayu.

Credit kepada admin sumber asal Artikel Portal Islam dan Melayu di Jumlah kemalangan maut Aidilfitri tahun ini menurun via Blogger http://sayupgema.blogspot.com/2017/07/jumlah-kemalangan-maut-aidilfitri-tahun.html

[linkfilter]

The story of 50 classic arcade cabinets discovered after 30 years inside a derelict ship.

[8dpromo]

Kovacs The Hun - Mirror World (The Content Label)

8DPromo · Kovacs The Hun - Mirror World (The Content Label)

The Content Label travels to Budapest to enlist Kovacs the Hun, for an evocative new album titled Mirror World. Born Nándor Kürtössy in the northern Hungarian town Balassagyarmat, Kovacs is known for his Mana Mana Records imprint, his groundbreaking album Five Finger Discount under the name Savages, and his projects Savages y Suefo and Vega Ass. A talented trumpet player, Kovacs dips into a well of varied musical styles for Mirror World. In his sonic palette, hip hop, jazz, and eerie soundtracks mix colorfully with experimental treatments and European musical influences. The Mirror World reflects all of Kovacs' fascinations — sounds and genres coming together on a collective surface. At times, the Mirror World resembles chamber jazz — or, perhaps, ‘murder jazz’ — with brushed drums, lurking horns, and cunning keys providing the backbone. Flavored drops of percussion, turntable scratches, or rhythm hints glimpse at contemporary roots, but Kovacs presents something that’s outside-of-time. He stretches out on the instrumental tracks, displaying moods that move freely from ominous to reassuring. Guest artists add to this bubbling concoction: jazz musician Andras Wohorn adds instrumentation to the creeping strut of “Manimals” and “Glimpse of Hope,” The Audible One drops urgent verses on “Phoney,” guitarist Marton Suto plays spacious guitar on the worldly “The Countdown,” and MC/poets Guante and See More Perspective inject social commentary into “Long March.” Kovacs' Mirror World is a distinctive statement, not quite sounding like anything else. The album’s ten tracks, impeccably produced and musically proficient, are an adventure in listening. Embark now on a sonic journey.

Danny Ward (Moodymanc) – “I really like this release. Great vibes all around.” Jaymz Nylon (Nylon Recordings) – “This LP is a crucial piece of music.” Kid Loco (Flor) – “Brilliant & Haunting. This is a really good record.” Mr. Bristow (Subtek) – “Dusty & Crunchy – just the way I like it. Great work!” Quincy Jointz (Ibiza Global Radio) – “Nice one. I like Phoney and New Dawn Coming.” Crate Invader (Point Blank FM London) – “This is a work of genius.” Floored Capri (Kane FM) – “This has an almost spiritual, cosmic jazz kinda vibe. Really feeling it.” Dr. Best (Radio Z, Germany) – “Wow, this is a really nice album.” Linos Pascal (Linos On Canvas Radio Show) – “Full support from Greece!” Jon Fugler (XLNT Radio Show) - “This is good, quite outstanding actually. Almost impossible to date, it’s quite unique, and has been on repeat here.”

Available Now From: Bandcamp, Juno Download, Beatport, And Spotify.

[8dpromo]

Jayl Funk & Quincy Jointz Ft. Georges Perin - Give Me Love (Søndae Records)

8DPromo · Jayl Funk & Quincy Jointz Ft. Georges Perin - Give Me Love (Søndae Records)

Jayl Funk and Quincy Jointz are long-time legends in the nu-funk movement, known together for their perennial dancefloor staple “Fresh Funky Dude,” recorded back in 2009. At long last they’ve joined forces once again for another blazing track sure to also join the ranks of nu-classics. “Give Me Love” features the powerhouse vocals of Greek soul singer Georges Perin over a sexy non-stop disco groove. The tune is uplifting and catchy, filled with piano riffs, slinky bass, and vibes for days. It’ll turn a frown upside down. A pair of top notch remixes propel the tune in exciting new directions. Jack & Jointz, the duo of Quincy Jointz and Thorsten Walter, dip “Give Me Love” in smooth, funky soul waters — the crisp drum track, expressive keys, and sax riffs bring the foundations of the song further to the fore. The second mix is courtesy of Andy Bach (Young Society Records) who adds a rousing soulful house music flavor. This one’s perfect for the late night crowd, building elegantly over 4-on-the-floor beats as George Perin drives home the song’s hooks. Another fantastic single from the always on-point Søndae Records.

CMC (Roca Records) – “The original is a pure disco burner.” Mr. Bristow (Subtek) – “Funky vibes, great stuff!” Belabouche (Midnight Riot) – “Great vibe on all of these.” Richard Hardcastle (Solid State) – “Good package. Very nice song and 3 very playable mixes.” Kid Loco (Flor) – “Soulful. Elegant. Let’s dance!” Anatoly Ice (Icebound) – “Nice one! Goes straight into my virtual DJ bag.” DJ Osric (Black and Blue Show) – “Lovely vibe across all 3 versions here. Keep up this good work please!” Andy Wilson (Ibiza Sonica) – “This is quality. Good song with a great singer, and a really solid, funky groove.” misterG (Green Arrow Radio Show) – “The sexy is dancing over your way with these tracks. Get some!” Wilbour Craddock (Groovewest) – “Love the Nu-Disco vibe. The subtle Nile Rodgers sounding guitar grooves takes you back to a simpler time but with a modern feel.”

Available Now From: Beatport, Juno Downoload, Apple Music, And Spotify.