Series of vintage photo mockups to commemorate Tarsier Studios turning 20 this year, featuring the main members of their pantheon in cultural clothing
Outfit descriptions and references below
Little Nightmares
Six - Japanese hakama, haori, and hair ornaments
Mono - Swedish Dalarna suit
Runaway - Embroidered Baju Melayu with headwrap
LittleBigPlanet Vita and Tearaway Unfolded
Sunshine - 19th-century Yorkshire dress with bonnet and lace shawl
Atoi - Scottish tartan kilt and flat cap
Sean - Regency-era suit with cybernetic motifs
Flounder - Ringmaster uniform with Russian punk rock motifs
Marianne - French folk dress with gothic accessories
Otis - Appalachian denim overalls with decorative trim
The Stretchers, Statik, and Fists of Plastic
Red medic - Mexican serape wrap and sombrero
Blue medic - Zoot suit with fedora and metallic accessories
Dr. Ingen - Victorian pinstripe suit
Hero - Hainanese bamboo dance costume
The City of Metronome
Ten - Irish-inspired coordination with walking hat and Galway boots
New - Bai and Hmong Hoa-inspired outfit with traditional headdress and Hong Kong embroidery
I do find it interesting how the Yokai Watch manga suggests that, the more advanced and stronger Jibanyan/Robonyan becomes, the less and less empathy he has for others.
Still talking about being a good and kind "Hero of Justice", while also wanting to force another Yokai to become his servant for his own selfish gain.
Juste created an Instagram for the first time of my life. And I have no idea HOW DOES IT WORK AAAAAAAAAH !
You can have a look, but I choose to make it in my mother tongue. So if some of you want to have fun reading in french, here you go !
https://www.instagram.com/boudierhelene/
Darren Cunningham AKA Actress begins his latest album in “Hell.” Silence, then scraping granular beats, a grey-scale palette, tapping into The Wicker Man vibe of Boards of Canada at their darkest. Yet in the background, faintly celestial tones sound, as if the trajectory is upwards via the grinding of dungeon tools and babble of dementing voices. As the rhythms mutate, the balance shifts more urgently between dread and hope. Resolution withheld for now, Cunningham spends the remainder of Statik in ascent, reassembling elements of club music into ambient soundscapes that flow over a glitchy crunch of percussive effects.
Gradually adding light and warmth Cunningham plays with dichotomies of movement and stasis, light and dark, insularity and co-existence. He treats his tracks like a scientist, studying the behavior of his musical molecules as they orbit and collide. As he introduces new elements there are moments of readjustment, of acceptance and reaction. Gamelans, RnB vocal samples, warm synth pads, thudding kick drums, sometimes upfront and smooth then pushed beneath vinyl crackle, reverbed, distorted, or atomized and reconstituted. For all this Cunningham seems more interested in a search for calm amidst the bustle. On “Six” his bass tones are like a thick carpet beneath the clicking beat. The static feels like the gentle lapping of wavelets against a dinghy. If there’s a portent of storm, it’s not coming this way. By “Cafe De Mars,” the music begins to swell and twinkle, the abrasive edges eroded to a background swish as Cunningham expands the track in concentric rings. There’s a couple of odd detours that somehow add to the mystery of Statik. The parping synth line in “Dolphin Spray” brings Falco to mind whilst the whipcracks and drones of “System Verse” sound like a malfunctioning submersible sinking to the seabed.
This is head music, discursive in a suggestive rather than rambling manner. As Cunningham pans across the channels, his sound design strikes the ears and creates synaptic leaps that draw pull the listener’s focus. Many of constituents will be familiar to fans of Boards of Canada, Two Lone Swordsmen and Aphex Twin and if the early tracks of Statik sound more challenging in their discordances, you will feel borne along by the idiosyncratic juxtapositions Cunningham creates.