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wallpaperpainter · 4 years

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16 Things You Won’t Miss Out If You Attend Painting Mural | painting mural

Rebecca Shabad

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9h ago / 11:36 AM UTC

President Donald Trump is appointed to accommodated Monday morning with Attorney General William Barr afterwards yet addition night of protests beyond the country, including a cardinal that angry violent.

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Trump is appointed to accommodated with Barr abreast in the Oval Appointment at 10:30 a.m. ET, according to the official White House schedule. At 11 a.m., Trump is appointed to host a video teleconference affair with governors, law administration and civic aegis admiral “on befitting American communities safe.”

Trump’s affairs appear afterwards a weekend of agitated clashes amid protesters and police and aggressive annexation in above cities beyond the U.S., with the Civic Guard deployed to abounding areas.

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Peter Jeary

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10h ago / 11:03 AM UTC

Violent protests afterwards the police killing of George Floyd abide to ambit the United States.

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And China is watching.

“I can’t breathe,” wrote Hua Chunying, a backer of China’s Foreign Ministry, in a tweet on Saturday — a advertence to final words accurate by Floyd as badge officer Derek Chauvin knelt on his close

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kelanfilms · 4 years

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Valerie

Dir. Euan Brockie

DoP: Claire McCarthy

Starring: Mark Jeary & Deborah Whyte

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nuclearblastuk · 7 years

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If there’s anything prog bands like to do, it’s put out big, sprawling concept albums. Last year was full of them, and I’ve already lost count of how many have been done so far this year. Not that this is at all a complaint, mind you, I love concept albums. So when I got the new Threshold album to review and discovered that ‘Legends Of The Shires’ was a sprawling 83 minute double album I was quite intrigued. I knew the band mostly by reputation, so was excited to delve into the album, and the band. I was not disappointed.

Although it is a concept album I can’t say much about the overall plot of the story. Firstly because without the lyric sheet, and accompanying artwork I’m not positive about everything, and second, because the band has been deliberately quiet about details, with keyboardist Richard West saying “It’s like when you watch a movie preview and they tell you the entire story in three minutes. With music, you don’t want it to be as one-dimensional as some movies are. You want to provide space for people to put themselves in the story, so I don’t want to say much more!” What they did say is that it is about a nation (or perhaps an individual; which I feel makes more sense) finding their way in the world. The album also marks the return of vocalist Glynn Morgan to the band for the first time since 1994, a move I enjoyed thoroughly. They also made the conscious decision to write a deeper and more complex album than their previous album, ‘For The Journey,’ which, from the tracks of that album that I listened to, they seem to have done admirably.

The album starts off slowly with the acoustic “The Shire (Part 1)” and sets the mood of the album up nicely with the narrator vowing to make it on their own, and leave their rural settings. The song bleeds directly into “Small Dark Lines” which starts the heavy riffing and manic drumming that are a hallmark of the album. Morgan’s vocals, in contrast to many prog metal or power metal vocalists, do not sound like his testicles are in a vise grip; instead they are a grittier mid-range style which I find quite refreshing and I think fit the music better than a higher ranged singer would. The first thing that was readily apparent is that unlike many prog bands, Threshold is not afraid to write really catchy, but still interesting music. The chorus of “Small Dark Lines” will get stuck in your head for days. And while guitarist Karl Groom certainly shows some nice chops, his heavy and memorable riffs are what really stands out to me, not only on this song, but the rest of the album as well.

This is followed up by the first lengthy track of the album, the 12 minute “The Man Who Saw Through Time” and it’s a fantastic example of prog metal done well. It contains the requisite lengthy instrumental section where Groom shows off his soloing skills, but also is cemented by the excellent bass work of Steve Anderson which, unlike too many metal albums, is actually clearly audible and gives song the proper weight and heaviness that it deserves. Johanne James also takes the opportunity to show why he has won numerous Best Drummer awards over the years. Like the rest of the band, his drumming is not super flashy, or overwhelming; instead it concentrates on fitting and driving the music. West’s moody key work floats over the whole thing, and he takes off on some nice runs which bring out the more progressive elements of the band’s music.

The band shows off a more melodic, almost power metal side with the heavy, but essentially ballad driven, “Stars and Satellites” and their tendency for writing big sounding choruses is again pushed into the forefront. In this way, and their overall approach, they remind me quite a bit of Vanden Plas, which is not at all a bad thing. The fact that they focus more on songwriting than bowling you over with feats of technical prowess might cause some prog fans with limited musical appreciation to turn their noses up at this album, but they would be doing themselves a serious disservice. I love mind melting complexity and blazing speed as much as the next guy, but to be honest eventually that sort of a thing becomes a one trick pony and after a while you wonder if the band can do anything other than play fast, like actually write songs. Threshold takes the time to prove they can write good songs as well as play their instruments.

The second disk opens with “The Shire (Part 2)” an obvious sister piece to the opening song. And it begins in the same way; same music and lyrics for the first minute and a half as Part1 before morphing into a new direction as the narrator goes into further plans to break out of where he is, and the music takes on a heavy, guitar driven sound, while still maintaining the main melody of the song. It works as an effective setup for the rest of the disk. The song moves directly into the heaviest song on the album, “Snowblind,” a song driven by jaunty riffing and almost jackhammer drumming and vocals. The strong melodies that make up such a part of Threshold’s style are still very much present, but the signature element is certainly the more aggressive nature of the majority of the song. “Snowblind” also features another heavy, yet extremely memorable chorus which works its way into your ear, and takes up residence there. This one of the more ever-changing songs on the album, as soon as you get comfortable with a catchy moment, it abruptly changes direction and does something else, often in a heavier manner than before. Despite being relatively short (just over 7 minutes) it is arguably the most progressive song on the album in my opinion.

The story of the album is wound up with the final three songs starting with “The Shire (Part 3).” Unlike the first two parts it does not share the melody or lyrical approach. It is instead an airy piano driven track that serves more as an introduction to the following song than anything else. It is unique for fans of the band however as former bassist and founding member Jon Jeary makes a vocal cameo on the track. The following track, the 10 minute “Lost In Translation,” finds the narrator forced to stop and look at where his deeds and actions have gotten them, the regrets, and things that didn’t go as planned, compiling to make them who they are, and forcing them to come to grips with it. Musically everything is tied nicely together, with all the elements of the album coming together for a fitting conclusion, it’s melodic, plenty heavy and the vocals are an easy highlight.

The album closes with the sound of birds and piano with “Swallowed” as our narrator finds himself back on the farm where everything started. And, more importantly; their finding peace within for being who they are, and for where they are in the world. The second half builds into a melodic guitar driven ballad, and things end in a peaceful and ultimately satisfying manner not only for the protagonist, but the listener as well. At least that’s my reading of it.

With ‘Legends Of The Shires’, Threshold have created a highly engaging, and at times very beautiful epic for which they are justifiably proud. Through the two disks, they take the listener on a journey of frequently heavy and very memorable music that fans of song oriented progressive metal will find hard not to enjoy. As a newcomer to the band I can assert that it is an excellent introduction to their music, and imagine that longtime fans of the band will find plenty of things to be excited about as well. Highly recommended.

#metalwani #Threshold

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national-theatre-scotland-blog · 7 years

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Mariem Omari’s Starter for 10

Mariem Omari is an activist, playwright, and performer previously based in the Middle East and Africa. Her Starter for 10 residency examined the silence and shame associated with mental health problems in young Scottish men.

Starter for 10, offers aspiring theatre-makers a funded residency of £2,500 to help them develop their skills, networks, or explore a new idea for a piece of theatre.

Mariem filled us in with how she spent her time at Rockvilla, the National Theatre of Scotland’s new creation centre.

“The big idea is a verbatim piece that started out as an exploration of the circumstances surrounding men, their silence and the impact on their mental health. But as I continued doing interviews with individuals for the piece, and spoke to my mentor and adviser, John McCormack from the Scottish Recovery Network, about what was emerging, I changed focus. The men I was interviewing were referring traumatic childhood experiences that, in time, impacted on their mental health and led them to 'breaking point'. So that's what I focused on in the play I worked on for Starter for 10 - the impact of childhood trauma on men and how that unfolds in their lives. The last interview also gave me the name of the play, One Mississippi.

The Starter for 10 residency was fantastic! I got to work with six incredible, creative men to depict the real stories of the brave men I interviewed. Umar Ahmed, who directed the work, is such a force. He has such a clear and insightful way of approaching new work, especially verbatim. His primary motivation is to 'put the truth on stage'. This combined with the measured advice from dramaturg, Steve Barnes, helped me refine the script.

I needed to see if the play worked as piece of physical verbatim theatre - which is what I like to create. So for three days I watched Mark Jeary, Ikram Gilani, Scott Kyle and Manjot Sumal tell the stories of the interviewees with so much honesty. Each day they lifted, pushed themselves harder (literally a full body combat workout to warm up!!), and finally, they blew us away at the showing on the final day. And as a result, I knew I had a play.

Rockvilla was a great space for all of us to work in. None of us had worked there before, so we were all excited about using the new space. It was great having access to the National Theatre of Scotland’s Artistic Development and Technical teams who let us know that they were there to support us and the work. That's such an important thing to have, especially when you are taking risks with new work. And we had access to unlimited tea, 'real' coffee and apples - what more could you ask for?!

Thanks to a focused feedback process at the end of the showing and the insightful comments of the audience, I have the ending of the play! I am now ready to go back and finish the final draft. I'd like to bring the team back together to see it in its entirety, and with the support of the arts and mental health communities, tour Scotland and the rest of the UK.

Photography by Beth Chalmers.

#national theatre of scotland #nts #starter for 10 #Mariem Omari #mental health

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