#Modern R&B Stars

[musicianfiend]

Music Genre: R&B

How Rhythm and Blues Became the Heartbeat of Contemporary Sound In the ever-evolving landscape of music, where genres rise and fall like the tides, one thing remains constant: the enduring power of rhythm and blues, better known as R&B. This genre, with its roots deeply entrenched in the African American experience, has consistently reinvented itself to remain at the forefront of contemporary…

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#Classic R&B #Contemporary R&B #Contemporary R&B Acts #Contemporary R&B Stars #Modern R&B #Modern R&B Icons #Modern R&B Singers #Modern R&B Stars #Motown #Motown Artists #Motown Era #Motown Hits #Motown Legends #Motown Sound #Music #Music and Social Change #MUSIC GENRES #Music History #R&B #R&B Albums #R&B and Civil Rights #R&B and Civil Rights Movement #R&B and Funk #R&B and Gospel #R&B and Hip-Hop #R&B and Jazz #R&B and Pop #R&B Anthems #R&B Artists #R&B Artists of Today

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[dustedandsocial]

Top Several Hundred Records of 2020

My Top 11: 1. Slum Of Legs - Slum Of Legs (Harbinger Sound / Spurge) 2. Oily Boys - Cro Memory Grin (Cool Death) 3. Model Home - SE (Future Times) 4. Valentina Magaletti & Marlene Ribeiro - due matte (Commando Vanessa / Horn of Plenty <O) 5. Kris & Tavi - Kris & Tavi (Misophonia) 6. Still House Plants - Fast Edit (Bison) 7. None - Khneï Khneï Thnacapata Thnacapata (Unknown Precept) 8. Rychlicki / Kostkiewicz - Zapis (Absolute Fiction / Maternal Voice) 9. Rosso Polare - Lettere Animali (Klammklang) 10. Patois Counselors - The Optimal Seat (ever/never) 11. Impatiens - Scene At The River (Altered States) Favorite 20 That Weren't My Top 11: 12. Irma Vep - Embarrassed Landscape (Gringo) 13. FRKSE - Desecration Anxiety II (Iron Lung) 14. Merula - Sleep (Men Scryfa) 15. Al Karpenter - If We Can't Dream, They Can't Sleep!! (ever/never) 16. BbyMutha - Muthaland (the muthaboard) 17. Pose Dia - Front View (Bureau B) 18. SIR E.U - Midnight Train To Velvet (Self-Released) 19. Nightshift - Nightshift (Cusp) 20. Massicot - Kratt (Harbinger Sound / Spurge / Bongo Joe / Red Wig) 21. Alessandra Novaga - I Should Have Been a Gardener (Die Schachtel) 22. Zeroh - BLQLYTE (Leaving) 23. Swallow - Body Horror (ANA) 24. Pink Siifu & Fly Anakin - FlySiifu's (Lex) 25. Balans - Sam pravm (Kapa) 26. Bruch - The Fool (Trost / Cut Surface) 27. P22 - Human Snake (Post Present Medium) 28. ovrkast. - Try Again (do more.) 29. Chapelier Fou - Méridiens (Ici d'ailleurs) 30. Schisms - Speech Copy Rap Master (Fort Evil Fruit) 31. Új Bála - How the Cookie Crumbles (Czaszka Records)

Mozo Mozo - Mozo Mozo (Epileptic Media) Orion Moustache - EP02 (Noorden) Mentira! - Mentira! (Harbinger Sound) Leyden Jars - Gone (Outer Reaches) Last Call At Nightowls - Ask the Dust (Subsound) Gaffer - Gaffer (Helta Skelta) Inturist (Интурист) - Action! (Incompetence) Директор Всего (The CEO of Everything) - Самый занятой гражданин (Doing Great Music) Christos Chondropoulos - On Nature (12th Isle) Uptown XO - Culture Over Corporate  (1 Force United) Lichen Gumbo - Altered Village (Ikuisuus ‎/ Jumatsuga ‎/ Lal Lal Lal) The Worms - Back To The Bog (Hidden Bay) Kneeling In Piss - Music for Peasants EP (Anyway) Taste - Rope In The Closet ( If Society / Half Bear Half Cat / Roge Records) Flogging A Dead One Horse Town - Old Scum EP (MUZAI) BIG $ILKY (Psalm One & Angel Davanport) - BIG $ILKY Vol. 2 (Self-Released) Dame Area - La Soluzione É Una (Màgia Roja / B.F.E Records) Enir Da - Silence (Too Soon Tapes) Obnox - Savage Raygun (ever/never) Mike Cooper - Playing With Water (Room40) Nape Neck - Nape Neck (Self-Released) S.U.V. - Neoliberal Folk Songs II (Otomatik Muziek) Patrick Shiroishi - Descension (Thin Wrist Recordings) Pink Siifu - NEGRO (Self-Released) En Attendant Ana - Juillet (Trouble In Mind) Sergei Demin - Not Music Of The Day (Klammklang) Brandy - The Gift Of Repetition (Total Punk) Nyx Nótt - Aux Pieds De La Nuit (Melodic) Bearer - Precincts (ANA) Norms - Háború és fű (Mindig Otthon Punk Discs) Vertical Slump - Oubliette (Blank Editions) Lau Nau - Själö (With Sound Environments by Janne Laine) (Fonal) Model Home - One Year (Disciples) WOW - Falene (Maple Death) Santa Sprees - Sum Total of Insolent Blank (Leapantique) Edd Sanders - Sun Bleached & Hollow (Cadmus) Charlemagne Palestine - Ffroggssichorddd (Staalplaat) Loopsel - Loopsel EP (Mammas Mysteriska Julebox) Kuupuu - Plz Tell Me (KRAAK) (I forget whether I put the oriinal version of this on my year-end list last year. Here it is again though) QQ - Vanguard Youth (Skrot Up) DJ Speedsick - (All Releases) Armand Hammer - Shrines (Backwoodz Studioz) Lewsberg - In This House (12XU) Ubiquitous Meh! - Fecund With Love (Buried Treasure / Damnsonic) Schulverweis - Suppe (Neoprimitive) La Chasse - Meretrix ∕ Doloris (Donnez-moi du feu) No - Vol. 1 (Faustian Haus) David Nance - Staunch Honey (Trouble In Mind) Hun Bed - Brood I (Het Generiek) Młody Kotek & Niemy Dotyk - New Age Speedball (Enjoy Life) Aurat - Zeher (Etang Brulant) Addict Ameba - Panamor (Black Sweat) Sunset Flips - Between Two Sheds (Altered States) Small Bills (E L U C I D & The Lasso) - Don't Play It Straight (Mello Music Group) Nail Club - Collected Methods (Hot Releases) Maximum Ernst - Time Delay Safe (ever/never) Tim Hicks X The Dirty Church - Bullets (Humble Monarch) Lord Jah-Monte Ogbon - GOD Body & Soul Side B (Self-Released) Red Bennies - Futurist, Nihilist Post-Rock, Cyberpunk, Anti-Humanist Music (Chthonic) Tsap - Flickering Lyghte In Campsite (Altered States) Latex Cop - Privacy Policy (Cadmus Tape) Ka - Descendants of Cain (Iron Works) Violent Quand On Aime - The Movie Star (Simple Music Experience) Flaner Klespoza - Przygody i tajemnice (Nagrania Somnambuliczne) Budokan Boys - So Broken Up About You Dying (ever/never) Datblygu - Cwm Gwagle (Ankstmusik) Pays P. - Pays P. (Gravity Music) Somaticae - Amesys (In Paradisum) Kipp Stone - Homme (Self-Released) Sada Baby - Bartier Bounty 2 Tribalism3 - April on Mars (Collectif Coax) Men With Secrets - Psycho Romance and Other Spooky Ballads (The Bunker) Brainbeau - Infinite Ways (Good Samaritron) Landowner - Consultant (Born Yesterday) Jay & Yuta - Condemned Compilations (Research) Machine Woman - Dj Dolfin Snare 808 Machine (Take Away Jazz) Slowburn - Folketro (momeatdadrecords) Twinkle³ - Minor Planets (Marionette) Unglee Izi - notice & initiation au monde alterné T.1 (Lost Dogs Entertainment) Sick Urge - Structures of Domination (Puukotus-Levyt) German Army - Pulling at Principles (Flophouse) NAPPYNAPPA - IFEELJUSTLYKTHEIRART (Bad Taste) Social Stomach + Body Shame - Split (Bento) Pacific Yew - Squeeze Demo (Hot Record Societe) Isabella - Magnetica (Ehse) Trrma´ & Charlemagne Palestine - Sssseegmmeentss Frrooom Baaari (Jazz Engine) Astute Palate - Astute Palate (Petty Bunco / Eternal Soundcheck) Axel Larsen - Les Éléments Du Crime (Macadam Mambo) Post Spiderhole Ensemble - False Alarms and Excess Baggage (Kitchen Leg) Cash Kidd - No Socks Senyawa & Stephen O'Malley - Bima Sakti (iDEAL Recordings) Henny L.O. - Sages (Mutant Academy) True Sons Of Thunder - It Was Then That (Total Punk) Tim Gick - Não Há Laranja ∕ Scrying Glass Eye (Working Man Lay Down) Junk Magic - Compass Confusion (Pyroclastic Records) Person of Interest - All Tomorrows Parties (Exotic Dance) Pumice - Table (Soft Abuse) Max Nordile - Building A Better Void (Gilgongo) Mrs. Dink + Magnum Opus - Mrs. Dink / / Magnum Opus  (Soil) Swamp Harbour (Stinkin Slumrok, Bisk, & Sam Zircon) - Swamp Harbour (Blah) Camden Malik - Understand Me (10k) Heckadecimal - Critters (Kajunga) Geld - Beyond The Floor (Iron Lung) Drakeo the Ruler & JoogSzn - Thank You For Using GTL Senketsu No Night Club - 沈丁花 (Signora Ward) Jef Mertens - NO AMP (291) Tomaga ‎– Extended Play 2 (Self-Released) [R.I.P. Tom Relleen] Boldy James & The Alchemist - The Price Of Tea In China Shoreline Mafia - Mafia Bidness pisse - LP (Phantom / Harbinger Sound) Reymour ‎– Sarabande A Deux (CAF?) Goldblum - Goldblum (Het Generiek) Phil Struck - Schleswig-Holstein Aufnahmen (Séance Centre) Maths Balance Volumes - A Year Closer (Penultimate Press) Body Double - Milk Fed (Zum Audio) Low Flung - Oil in the Mangroves (Bedroom Suck) Chris Crack - White People Love Algorithms (New Deal Collectives) Krypton 81 - Tranquility Base EP (Dalmata Daniel) Akai Solo - Ride Alone, Fly Together (Break All Records) Gad Whip - Fanimal Arms (Gad Whip Recordings) Tygapaw - Get Free (NAAFI) Pamela_ and her sons - Pink Room (Self-Released) Etceteral - Ama-Gi (Kapa Records) Ghostie - Self Hate Wraith (Self-Released) Young Nudy - Anyways DrxQuinnx & Chase Baby - God Gooch & Blue Jesus EP (Bit Tape) Museum Of No Art - Museum of No Art (Séance Centre) Terrible Signal - The Window (Heart of the Rat) Bambi OFS - Yakka (B.F.E Records / Subsist) Zarabatana - Cum Raio (tsss tapes) Soberin Exx - Normal Islands (Liquid Library) Sylvain Darrifourcq, Manuel Hermia, Valentin Ceccaldi - Kaiju Eats Cheeseburgers (Full Rhizome / Hector) Günter Schlienz + Jeans Beast - Split (Econore) Hasufel - Lamentations of the Foul High Priest (So Called Hell) Delphine Dora - L’Inattingible (Three:four / Meakusma) Suburban Cracked Collective - Swimming Amongst The Dregs (A Colourful Storm) Military Genius - Deep Web (Unheard Of Hope) Mesa Of The Lost Women - Les Tables Noires (Specific) Ferocious (Bill Direen, Mark Williams, & Johannes Contag) - Ferocious (Rattle) Domestiques - Vol. 1 (Glass Modern) gogoj a.k.a Sheng Jie - oviparity (Maybe Noise / WV Sorcerer Productions) Midnight Mines - Live From The Mystery Plane (Independent Woman) Muro - Pacificar (Beach Impediment) Satan - Toutes Ces Horreurs (Jungle Khôl / Throatruiner) Scarlatine - Mimosa (Le Syndicat Des Scorpions) Vanligt Folk - Allt E'nte (Kess Kill) VOLE - Dej Bůh Pěstí (Stoned To Death) Upsidedown Flames - Creeps At Shows EP (Fuck Yoga) Zurich Cloud Motors - Do More Than Deconstruct​-​o (Zazen Tapes)

Buncha other records

Sweeping Promises record wasn't that good though. But if you guys like it when people take singing seriously, you should check out some of this music called "R&B"

[uneminuteparseconde]

Des concerts à Paris et alentour en gras : les derniers ajouts :-: in bold: the last news Mars 02. DIIV – La Gaîté lyrique ||COMPLET|| 03. Napalm Death + EYEHATEGOD + Misery Index + Rotten Sound – La Machine 03. Scorpion Violente + Air LQD – Quai de Bourbon 03. Handle + CIA Debutante + David Fenech – Espace B 03/04. The Mission – Petit Bain 04. David Fenech & Laurent Perrier + Phanes – Quai de Bourbon 05. Dorian Pimpernel + Mooon – Supersonic (gratuit) 05. TZII + Sacrifice Seul – Quai de Bourbon 05. Instant Voodoo + Laurence Wasser – Le Zorba 05. Orange Blossom : “Sharing” avec les machines de François Delarozière – Élysée Montmartre 05. King Dude + Biere noire – La Boule noire 06. Frustration + Italia 90 – Le Trianon 06. Electric Fire + Fantazio et les Turbulents (Sonic Protest) – Les Voûtes 06. UVB76 + Gaël Segalen – Café de Paris 06. France + Autrenoir + Aho Ssan + Astrid Sonne + Keki + Janomax – La Station 06. Violent quand on aime + Officium + Matière danse – Espace B 06. Chris Liebing + AZF – Dehors Brut 07. Sourdure – La Lingerie|Les Grands Voisins (gratuit) 07. L’atelier d’éveil musical du centre social Raymond-Poulidor + Foudre rockeur (Sonic Protest) – Les Voûtes 07. Substencia + Eastel + MZA – tba 07. Dave Clarke + Kuss + Murd + Toscan Haas – Dehors Brut 07. ABSL + Mind Matter + NN aka Primitive Tribe – Caves Lechapelais 07. Alcest + Birds In Row + Kælan Mikla – La Machine ||COMPLET|| 07. Ensemble intercontemporain joue Steve Reich : cinéconcert sur un film de Gerhard Richter – Salle Pierre Boulez|Philharmonie ||COMPLET|| 10. Tempers + Alessio Peck + Josee Laïka – Supersonic (gratuit) 10. Jerusalem in my Heart + Méryll Ampe et les élèves de l’Ensapc + Lucretia Dalt (Sonic Protest) – La Dynamo (Pantin) 10. Arnaud Rebotini : live pour “Fix Me” d’Alban Richard – Centre des Arts (Enghien-les-Bains) 11. Mopcut + F-Space + We Use Cookies + Astra Zenecan (Sonic Protest) – La Station 11. Morrissey – Salle Pleyel 11. Nada Surf + John Vanderslice – La Cigale ||COMPLET|| 12 Thomas Bégin + JD Zazie (Sonic Protest) – La Muse en circuit (Alfortville) 13. Russian Circle + Torche – Bataclan 13. Jean Jean + All Caps + Quadrupède – Quai de Bourbon 13. Bernardino Femminielli – Le Zorba 13. Emptyset + Hair Stylistics + Méryll Ampe (Sonic Protest) – L’Échangeur (Bagnolet) 13. Ballaké Sissoko & Vincent Segal – Le Colombier (Ville d’Avray) 14. Panico Panico + Tabatha Crash + Cosse – ESS’pace 14. Lonely Walk + Tamara Goukassova + Shock – Espace B 14. Why The Eye + WAqWAq Kingdom + Maria Violenza + Fleuves noirs + Jean-Marc Foussat + Julia Hanadi Al Abed + Pierre Gordeeff (Sonic Protest) – L’Échangeur (Bagnolet) 15. Nosfell (Mondial du tatouage) – Grand Halle de La Villette 15. Das Synthetische Mischgewebe & Anla Courtis + Ricardo Dias Gomes & Loïc Ponceau + Seijiro Murayama & Florian Tositti + Phanes – Les Pianos (Montreuil) 16. Hällas + La Secte du Futur + Meurtrières – La Maroquinerie 17. Chelsea Wolf – La Gaîté lyrique ||COMPLET|| 18. Pelada + Eye + Fiesta En El Vacio (Ideal Trouble) – Petit Bain 18. Lee Scratch Perry & Adrian Sherwood + 2Decks + Zaraz Wam Zagram (Sonic Protest) – Église Saint-Merry 18. This Quiet Army & Tom Malmendier + John Robin-Bold – Quai de Bourbon 19. HP (Haswell & Powell) + Inga Huld Hakonadrottir & Yann Legay + Asmus Tietchens + Regreb “2 Cymbals” (Sonic Protest) – Église Saint-Merry 19. Boubacar Cissokho (Paris Music) – Bibliothèque historique de la Ville de Paris 19. Maulwürfe – Musée d’Orsay 20. Bleib Modern + Order 89 + Blind Delon + IV Horsemen + Paulie Jan + Codex Empire + Opale + Panzer + DJ Varsovie (fest. des souvenirs brisés) – Petit Bain 20. Jon Hopkins – Salle Pleyel 20. Martin Kohlstedt + Manu le Malin joue Barbara (Paris Music) – Musée des Arts et Métiers 20. Yan Wagner + Madben (Paris Music) – Cathédrale américaine 20. Monolithe noir + Paulie Jan – Quai de Bourbon 20. Senyawa + Bonne humeur provisoire + Black Trumpets (Sonic Protest) – La Marbrerie (Montreuil) 20. Paula Temple + 16H07 b2b Ket Robinson + Ma Čka – Yoyo|Palais de Tokyo 20. Ellen Allien + Shlømo – Dehors brut 20. Ensemble Dedalus : "Occam Ocean" d'Éliane Radigue – Le Studio|Philharmonie ||COMPLET|| 21. Stephen O’Malley – Médiathèque musicale de Paris (gratuit) 21. Mind/Matter + Die Orangen + Mitra Mitra + Qual + Rendered + Verset Zero + Years of Denial (fest. des souvenirs brisés) – Petit Bain 21. Container + Muqata’a + OD Bongo + Diatribes & Horns + Jealousy Party + Urge + Wirklich Pipit + Me Donner + Cancelled + FLF + 2Mo (Sonic Protest) – Le Générateur (Gentilly) 21. GZA – La Marbrerie (Montreuil) 21. ABSL + Anetha + Hektos Oaks + High Future + Randomer + Sugar – tba 21. Front 242 + She Past Away – Élysée Montmartre ||COMPLET|| 21/22. Laurie Anderson : "The Art of Falling" – Cité de la musique|Philharmonie ||COMPLET|| 22. Mike Cooper + Yann Legay + Will Guthrie & Ensemble Nist-Nah + Cheb Gero (Sonic Protest) – théâtre Berthelot (Montreuil) 24. Skemer + IV Horsemen + Silly Joy – Supersonic (gratuit) 24. Joe Gideon – Espace B 24. I’d M Theft Able + Teenage God + Suicide Motorhead + Notre Travail bénéfique – Le Balto Otlab (Montreuil) 25. Low House (Eugene S. Robinson & Putan Club) + Moodie Black – Petit Bain 25. Wrekmeister Harmonies – Espace B 25. Buzzkull + Kontravoid + Crystal Geometry – Badaboum 25. Kumusta + Crash Normal – L’International 25. Li Li-Chin + Onceim & Li Li-Chin – Église Saint-Merry 25>28. Èlg + Vincent Epplay & Timo Van Luijk + Dominique Petitgand… (Fest. Interférences) – Centre Wallonie-Bruxelles (gratuit) 27. Lebanon Hanover – La Gaîté lyrique 27. Baston – L’International 27. Maggy Payne : « Crystal » (diff.) + 9T Antiope + John Wiese + Matthias Puech + Nihvak (fest. Présences électronique) – Studio 104|Maison de la Radio 27. Mongolito + Biere Noire + Bisous De Saddam + Léa Jacta Est + Club Passion (Croux fest.) – Café de Paris 28. Ensemble Links : "Drumming" de Steve Reich + Cabaret contemporain joue Kraftwerk – théâtre de la Cité internationale 28. Iannis Xenakis : « Mycenae Alpha » (diff.) + Marja Ahti + Rashad Becker + Nina Garcia + Kode9 (fest. Présences électronique) – Studio 104|Maison de la Radio 28. Cut Hands + NAH + Shit&Shine + France Sauvage + Burris Meyer + UVB76 (dj) – Petit Bain 28. Satan + Noyades + S.O.L.A.N + Traitors + Accès de faiblesse (Croux fest.) – Espace B 28. Denis Frajerman + David Fenech – Plateforme 28. Balladur + Bracco + Coeval + Bajram Bili (dj) – La Boule noire 28. 14anger + Brecc + Oguz + Fuerr + Draugr + Atim – tba 29. Ivo Malec : « Recitativio » + Eve Aboulkheir + Richard Chartier + Lee Gamble + Will Guthrie & Mark Fell (fest. Présences électronique) – Studio 104|Maison de la Radio 31. M!R!M – Espace B 31. Leandro Barzabal + AVC + Vulcanizadora – Instants Chavirés (Montreuil) Avril 01. Lea Bertucci – tbc 02. The Futurians + CIA Debutante – Instants Chavirés (Montreuil) 02. Shannon Wright + Melaine Dalibert (Piano Day) – La Marbrerie (Montreuil) 03. Kuniyuki Takahashi & Henrik Schwarz + Hugo LX & DJ Nori + Akiko Nakayama (Japan Connection fest.) – La Gaîté lyrique 03. Tamara Goukassova + Constance Chlore – Le Zorba 03. Victoria Shen + Meryll Ampe + Golem mécanique – Instants Chavirés (Montreuil) 03. CocoRosie – Le Trianon ||COMPLET|| 04. Hiroaki Umeda + Nonotak + Aalko + Make It Deep Soundsystem (Japan Connection fest.) – La Gaîté lyrique 04. Satoshi Tomiie & Kuniyuki + Hiroshi Watanabe + DJ Masda + Akiko Kiyama + Daisuke Tanabe + Intercity-Express (Japan Connection fest.) – La Gaîté lyrique 04. Ash Code – Espace B 04. 2kilos &More & Black Sifichi + Plurals – Le vent se lève 04. OOIOO – Lafayette Anticipations 04. Katie Gately – Sacré 04. Wow + Laura Palmer – L’International 06. Julie Doiron – Espace B 06. Bauhaus – Grand Rex 08. Föllakzoid + UVB76 – Espace B 09. Will Samson + Northwest + Lyson Leclercq – Le vent se lève 09. The Chap + Rubin Steiner Live Band – Badaboum 10. Ventre de biche + Badaboum + Videodrome + A Ten Year Later + Paolo Tecon + Le Compas dans l’œil – La Station 10. Manu Le Malin + Popof + Nout Heretik + Noisebuilder + Electrobugz + Krïs Heretik + Broke Heretik + Aness Heretik + Split Heretik + Tom Buld'r.Heretik + Limka + Le Jall + Boubou Antinorm17 – tba 11. Infecticide + Astaffort Mods + Mono Siren – Supersonic (gratuit) 11. IAMX – Café de la danse 12. VTSS + Hadone – tba 14. Lucy Railton & Joe Houston jouent "Patterns in a chromatic field" de Morton Feldman – Instants chavirés (Montreuil) 14/15. Metronomy – La Cigale 16/17. Metronomy – La Cigale ||COMPLET|| 17. Facs + ISaAC – Petit Bain 18. Siglo XX – La Boule noire 19. Rome + Primordial + Moonsorrow – La Machine 20. Big ‡ Brave + Jessica Moss – La Boule Noire 23. Volkor X + ToutEstBeau + Aphélie – Supersonic (gratuit) 23. Health + Pencey Sloe + Dead – Petit Bain 24. Parade Ground – L’International 25. Selofan + Jupiter Jane – Supersonic (gratuit) 25. Tim Tama + Vladimir Dubyshkin + Trym + Regal + Parfait – tba 26. Pharmakon + Deeat Palace + Unas (Ideal Trouble) – Petit Bain 26. Igorrr + Author & Punisher + Otto Von Schirach – La Cigale 27. Dean Wareham joue "On Fire" de Galaxie 500 – Petit Bain 27. Caribou – L’Olympia 27. The Foals + The Murder Capital – Zénith 28. Ulver – L’Alhambra 29. Protomartyr – La Boule Noire 29. Movie Star Junkies + Sam Fleisch + Tibia – Gibus 30. Conflict + The Filaments – Gibus Mai 02. Richie Hawtin – T7 05. The Sonics + Messer Chups – Trabendo 06. hackedepicciotto + Laurence Wasser – Espace B 07. Laurent Perrier & David Fenech – Souffle Continu (gratuit) 07. Trrmà – Le Zorba 08. Max Richter : "Infra" + Jlin + Ian William Craig – Cité de la musique|Philharmonie ||COMPLET|| 09. Max Richter : "Voices" – Salle Pierre Boulez|Philharmonie 09. Jonas Gruska + Leila Bordreuil + Jean-Philippe Gross + Kali Malone (fest. Focus) – Le 104 09. Extrawelt + Oxia + Popof + Wuza + O'Tawa – Le Kilowatt (Ivry/Seine) 10. Iannis Xenakis : « La Légende d’Eer » + Folke Rabe : « Cyclone » et « What ??? » (fest. Focus) – Le 104 10. Max Richter : "Recomposed" & "Three Worlds" – Salle Pierre Boulez|Philharmonie ||COMPLET|| 11. Cannibale + Frankie and the Witch Fingers + Euromilliard – La Maroquinerie 11. The Electric Soft Parade + Tim Keegan – Petit Bain 13. Wire – La Maroquinerie 13. Austra – Badaboum ||COMPLET|| 14. Aksak Maboul + JFDR + Powerdove (Le Beau festival) – La Boule noire 15. Palberta + Michelle Blades + Good Morning TV (Le Beau festival) – La Boule noire 16. Tops + Corridor + Polycool + Myriam Stamoulis + La Veillée Pop (Le Beau festival) – La Station 16. Black Midi – Carreau du Temple 19. Swans + Norman Westberg – Le Trabendo 16. Hermann Kopp & Lorenzo Abattoir + Fusiller + Sang-Foutre – Quai de Bourbon 20>24. Giant Swan + Otoboke Beaver + Sinead O’Brien + Kills Birds + Vanishing Twin + Kit Sebastian + Jardin + Rouge Gorge + Derya Yildirim & Grup Şimşek + Holy Fuck + Gabber Modus Operandi + Balladur + Crystallmess (dj) + Squid + Glitter + Black Country, New Road + Murman Tsuladze + Tôle froide + Sorry + Donny Benet + La Créole + La Récré + Lewsberg + Lido Pimienta + Moesha 13... (Villette sonique) – La Villette 20. The Jesus & Mary Chain jouent “Darklands” + Carla Del Forno (Villette sonique) – Grande Halle de La Villette 21. Yves Tumor + Pottery + Disq (Villette sonique) – Trabendo 22. Robert Aiki Aubrey Lowe + Kristin Anna (Carte blanche Stephen O’Malley/Villette sonique) – Grande Halle de La Villette 22. Kim Gordon (Villette sonique) – Cabaret sauvage 22. François Bayle : « Le Projet Ouïr » + Marco Parini : « De Parmegiani Sonorum » + Yan Maresz (fest. Akousma) – Studio 104|Maison de la Radio 23. Tout Est Beau (Villette sonique) – parc de La Villette 23. Julien Négrier + Hans Tutschku : « Provenance-émergence » + Félicia Atkinson : « For Georgia O’Keefe » + Warren Burt + Michèle Bokanowski (fest. Akousma) – Studio 104|Maison de la Radio 24. Philippe Mion + Pierre-Yves Macé : « Contre-flux II » + Daniel Teruggi : « Nova Puppis » + Adam Stanovitch + Gilles Racot : « Noir lumière » (fest. Akousma) – Studio 104|Maison de la Radio 23/24. Damon Albarn – Salle Pierre Boulez|Philharmonie ||COMPLET|| 25. The Church – Petit Bain 26. Minimal Compact – La Machine 30/31. Paula Temple + Dave Clarke + Ben Klock + Len Faki + 999999999 + VTSS b2b Shlomo + DVS1 + François X… (Marvellous Island) – île de loisirs de Vaires-Torcy Juin 01/02. The Dead C – Instants Chavirés (Montreuil) 03. Bambara – Espace B 04. Phill Niblock + Tim Shaw – Instants Chavirés (Montreuil) 05. And Also The Trees – La Maroquinerie 06/07. Four Tet + Nils Frahm + Park Hie Jin + Modeselektor… (fest. We Love Green) – Bois de Vincennes 12. The Breath of Life + Box and the Twins – Gibus 13. Flat Worms (Ideal Trouble) – Gibus 14. Nick Cave & The Bad Seeds – Bercy Arena 18. Acid Mothers Temple – Espace B 27. Meryem Aboulouafa + Nicolas Godin (Days Off) – Cité de la musique 28. Ensemble Social Silence joue “Music for Airport” de Brian Eno (Days Off) – Studio|Philharmonie 28. Wooden Elephant joue “Kid A” de Radiohead (Days Off) – Amphithéâtre|Cité de la musique 29. Alva Noto & Ryuichi Sakamoto + Echo Collective joue “12 Conversations with Thilo Heinzmann” de Jóhann Jóhansson (Days Off) – Salle Boulez|Philharmonie 30. Emilíana Torrini & The Colorist Orchestra + Agnes Obel (Days Off) – Salle Boulez|Philharmonie Juillet 01. Apparat – Le Trianon 01. Arandel : “InBach” (Days Off) – Amphithéâtre|Cité de la musique 02. Orchestre de Paris : “Symphony No. 1 "Low"” de Philip Glass + “Music for Ensemble and Orchestra” de Steve Reich (Days Off) – Salle Boulez|Philharmonie 03. Perfume Genius + Anna Calvi  (Days Off) – Cité de la musique 04. Nicolás Jaar : musique pour la pièce chorégraphique “¡miércoles!” de Stéphanie Janaina (Days Off) – Studio|Philharmonie 04. Kevin Morby + Andrew Bird Symphonique (Days Off) – Salle Boulez|Philharmonie 04. Boy Harsher + Partiboi69 + Otim Alpha + Jonny Rock + La Famille Maraboutage + Catu Diosis… (Macki Music) – Parc de la Mairie (Carrières/Seine) ||COMPLET|| 05. Ben UFO + Jamie Tiller b2b Orpheu The Wizard + Murman Tsuladze + The Pilotwings + Flegon… (Macki Music) – Parc de la Mairie (Carrières/Seine) 05/06. Suzanne Vega, Ensemble Ictus & Collegium Vocale Gent : “Einstein on the Beach” de Philip Glass (Days Off) – Cité de la musique 07. The Rapture + Sons of Raphael (Days Off) – Salle Boulez|Philharmonie 17. Björk – Seine Musicale (Boulogne-Billancourt) 17/18. Grim + Galerie Schallschutz + Am Not + Linekraft + Deathpanel + Detrimental Effect + African Imperial Wizard – Les Voûtes 18. Oh Sees – Cabaret sauvage 20. Björk – Seine Musicale (Boulogne-Billancourt) Août 29. Massive Attack (Rock en Seine) – parc de Saint-Cloud Septembre 27. Mudhoney – La Maroquinerie 30. Peter Hook & The Light : Joy Division. A Celebration – Bataclan

#agenda concerts #concerts à Paris #gigs in paris #Paris music #paris gigs #live music

[acesotonic]

acesotonic reviews | Logic: “Confessions of a Dangerous Mind”

hello everyone! welcome to the first album review on this blog. i have always been reviewing music from all walks of culture, languages and ‘genres’ on my instagram, but i figured putting it on an actual blog would be way neater. and because my opinion is so important, it’s more accessible in this format. so without further ado, enjoy!

Logic’s latest 16-track release, “Confessions of a Dangerous Mind”, had me feeling all sorts of emotions; and not all of them for the better. Some tracks were so good on their own, and some tracks made me question, “Why is this here?”. 16 tracks is long. Especially when Logic himself kept emphasising how any upcoming album would be his last... then proceeds to release another album. That makes the 16 tracks seem way longer than it should.

We begin with the first song that takes the name of the album title. The instrumental begins with a pleasant melody, and reminds you that this is indeed a Logic project. When he begins to rap, his flow is calm and emotional which grounds the listeners into this track at its most foundational level. He gets sentimental and sensitive about the album’s main themes, success and its demons that haunt the mind. But the snare comes off at some points as disruptive; an odd alien semi-grunge hit. The chorus gets lyrically cheesy (which will pop up again later), especially when Logic starts to sing (this too). I would think it was a decent start to the album, but more weak than it was strong.

The next track Homicide, a pre-release featuring Eminem, remains my favourite off of this album. Logic’s rap is rapid-fire, his lyrics are hilarious and his rhyme is impeccable. He switches into characters with his voice, which makes the song prominent. The hook is playing its role as a hook, and transitions into Eminem’s verse cooly. The older rapper’s flow felt fresh, a mix of modern styles but still very much nostalgic sounding with old school sandwich-rhyme schemes. The ending is still odd to me - funny - but does not reduce the quality of the track in any way. Eminem’s feature was a good one, fully fleshed out and utilised. An addictive track indeed. A total repeat.

Unfortunately, Wannabe and clickbait take the album to a downturn when it was just starting to climb. Wannabe feels out of place and almost lacked in the content it intended to have. Similarly, clickbait suffers from cohesive and juicy lyrics. Some bars that had references were fun, but that was only 2 or 4. There’s a cheesiness that is starting to pop up in these weaker tracks, either through Logic’s serious attempts at vocalising melodies or other ways.

The next piece Mama/Show Love that features YBN Cordae does not veer off from passable. The saving grace of this track’s first portion was YBN’s rap - with great content and rhyme. When the beat switches to the Show Love section, Logic’s rap feels more magnetic compared to the Mama section. This makes me feel as if the first half of this piece was not necessary. The melody of the instrumental felt a bit cheesy compared to the previous sounds as well.

It is at this point listening to Out of Sight that I realised I was getting bored. “ALrEaDy?!”. Yes. And I don’t like that. The instrumental does not have anything special to it, almost too consistent with no risk (which is contrary to the album’s themes). There is no strong hook and leads me to question the purpose of the track in this record. The next song Pardon My Ego is slightly better with some unique sampling in the beginning. Logic’s flow and some of the funny lyrics make the track’s safety net. But again, the instrumental sounds repetitive after awhile. There is no lasting impact on my ears and mind.

I started to get excited again for the next track COMMANDO, but only because it features G-Eazy. Many have said that his rap has no personality, but many have also said that he has a distinct voice and accent. I believe in the latter. The instrumental starts to sound more trendy, which I thought made sense since it featured a new generation rapper. G-Eazy had the more interesting flow compared to Logic; fast, rhyme-filled, funny and had cool switch-ups. However... it was too short. Logic’s powerless segment in the beginning made up the bulk of the track, which made COMMANDO almost forgettable.

The next song Icy also has a feature, by Gucci Mane. Logic in the beginning hook uses a high-pitched voice that comes off as comedic, but his carefree and funny lyrics make up for it ever so slightly. Gucci’s segment has a mediocre delivery, but some creative lyrics. Again, it is a very short feature which could’ve expanded to make the song more entertaining. The hook starts to get a little annoying towards the end of the song, though the overall instrumental is quite cool. In the following track Still Ballin featuring Wiz Khalifa, the roles are reversed. Logic’s flow was straightforward with clean lyrics, while Wiz’s bars were basic and fundamentally useless to the song’s theme of hustling. This is when I rather the feature not be... well... featured. Though the song speaks of something important in the life of a reckless artist, the hook comes off as lazy and does not make the song important to the album lineup.

The following track Cocaine again gets me questioning the purpose of it in the record. The instrumental is your typical arpeggio piano-based hip hop beat which is nothing I’ve not heard before. Nevertheless, Logic’s lyrics in the second half of the song get very personal and emotional. It delves into the reality that drugs and poison in music sell better than real and traumatic stories. The 808s laid out across the track becomes progressively crazy and is the most distinct aspect of the instrumental. These 2 things have made Cocaine a tolerable piece.

At the 12th track Limitless, the album almost becomes irredeemable. The record could have stopped at 10 or 11 tracks... and when the 12th one is not of high quality, a listener’s stamina drops. This track is sonically boring, and Logic’s sudden singing comes off as out of tune to my ears. The hook was bland with a repetition of “you the man”, and the existence of this whole song in the album is vague. Although, the album starts to pick up a little bit in Keanu Reeves. Logic’s flow is not stellar, he sounds bored sometimes, and the flute sound in the instrumental feels random. The piece may seem forgettable, but some of the self-referential lyrics are entertaining enough for me to keep listening. Also, the second half of the song is where his flow picks up and reminds me again of Logic’s true potential.

With 4 tracks left, Don’t Be Afraid To Be Different features Will Smith who takes a very short first verse that is lyrically featureless. The chorus has a weird-sounding synth that does nothing to amp up the track’s quality. It is also so loud during Logic’s verse that I can barely be immersed in his part. The hook is overly repetitive and does not help to make the track cohesive, like it is one whole element. But what makes this track decent is the instrumental in general, with a slight callback to It Takes Two by Rob Base and DJ EZ Rock; with the rugged-sounding shakers and drum pattern. Will’s flow, while plain, was cute and nostalgic with references to his Bel Air days. It kept a part of the album a bit more interesting and colourful, to reflect the album art minimally.

As the record comes to an end, it hits hard and suddenly gives us pretty amazing final pieces. BOBBY features sampling with an attention-grabbing intro and background ad-libs chanting “Bobby!”. Logic’s lyrics are raunchy and whimsical, showing off his confidence and presenting himself as an original entity. He gets very personal about his cultural identity as well, but masks it with the funky beat that gives listeners a slightly uneasy feeling being able to access his “dangerous mind”. I do wish the drums went back to a consistent 4/4 beat after awhile and stopped going into half-time, because I was yearning for more speed in this up-beat sampling. Featuring his father’s lament about how great his son is is a sweet touch, and makes the song even more personal and unique. It adds more character to the record, even though at an arrangement stand-point, BOBBY feels oddly placed.

Finally, we reach Lost In Translation. It begins with a wistful 2000s R&B vibe with electric piano and a bit of organ rotations in the background. The bass is soulful. The drum set is muted and very much old school, taking you way back to the times of Ashanti and Ja Rule. Then almost 50 seconds into the track, the beat switches up. It still retains the soul and blues elements in the bass and electric piano. The drums, however, have become more hip hop and so is the drum pattern. I guess it is to keep the track melded into the mainly hip hop album... but I wouldn’t mind a full-on cool R&B-reminiscent outro. And then, the beat switches up for a second time. The bass has become much stronger, and electric piano melodies are funkier. Logic’s flow is so good, with catchy rhyme schemes and edgy references to Hannibal Lecter’s passion for human flesh. His rap is on-going and fresh. Suddenly though, a Japanese narrator starts to speak. I have not found an accurate translation of her segment but one thing’s for sure, she says “Rattpack, motherf***er”. The general gist of her part translates to “Thank you very much for your help” (Logic_301). This could be referring to how this album grapples with themes that may seem distant and unaccessible to most of Logic’s listeners, but uniting them all as music-lovers at the echo of his label. But why Japanese? The purpose is still unknown - at least to me. Some have argued that this is cultural appropriation, but I will leave this to Logic himself to explain. Overall though, an entertaining track with a pleasant and atmospheric finish.

Conclusion

“Confessions of a Dangerous Mind” sinks deeper into an abyss of half-starred quality at almost every track. While very few from the many 16 selections of songs stand out to be great, like Homicide and BOBBY, majority of the album barely skims the surface of “passable”. We expected to see a raw and unedited form of Logic on this record. Instead, it came off as unsealed and unready to be released into the wild. The good songs are very strong, while the weak songs are absolutely underwhelming.

4.75/10

#music: review #logic #logic: coadm #acesotonic #confessions of a dangerous mind #critique #young sinatra #bobby tarantino

[doomedandstoned]

Uncle Acid: The Veil is Lifted

~By Jamie LaRose~

Photographs by Burning Moon

'Wasteland' (2018), the latest offering from Uncle Acid and the Deadbeats, will melt your brain. This pleasurable trip induced via neuron-altering sound will send you on a ride into the void of dilapidated humanity, then back to earth in an awakening.

We had the chance to visit with Uncle Acid founding member Kevin Starrs about the new album and his own inspiring musical journey. He also indulged some unusual fan questions.

Come trip with us.

"At the end I was sick everywhere."

I was curious about the narrative underlying 'Wasteland.' Is it a follow-up to the story behind 'Mind Control' (2013)?

It’s funny, I never really thought of much similarity between the two albums. There is an underlying theme of manipulation, propaganda, and things like that, which were sort of touched on in Mind Control. Wasteland is a little more fragmented, almost like fragments from a memory disc or something like that, that’s all been shattered and thrown together. So although all of the songs relate to each other, it’s not so much of a linear story as the other albums are.

That makes sense. The title track seems to encompass a wide array of styles, from the 1960s to present, with its melodies, harmonies and psychedelic dissonance. I feel like a time traveler. Do you think music is a true form of time travel?

Yeah, you know, you associate memories with certain sounds. In this particular track, as you say, there are so many different influences on that. It wasn’t really intentional, that was just the way it kind of panned out in the end. That’s actually one of my favorite tracks of the album, just the way it turned out. I think it came out really great.

I agree. Mind blowing.

Thank you.

"Even if we have a pristine recording, I’ll do whatever I can to destroy it."

I had my headphones on, I sat back, and I kind of lost myself in that track “Exodus” after I had listened to the album and I found myself startled. This has happened before, when I was listening to that Jimi Hendrix song, “The Stars That Play with Laughing Sam’s Dice,” for the first time. I got into the groove with "Exodus" and there’s this weird, kind of heartbeat sound coming in and it took me off guard. I almost forgot I was listening and then it snapped me into a different place.

That’s great. I mean, that’s sort of the idea of it. It’s to mold you into a false sense of security, then you’re going along and all the sudden it stops -- that part about the mercenary or whatever, that sawing sound like somebody’s skull is being sawed open and gets stuck into the brain, and there’s all kinds of panning and effects that swell around your brain. Especially if you say you listened to it on headphones, it can be quite disorientating. When I finished this album, finished mixing it and listened to it straight through for the first time, at the end I was sick everywhere. For whatever reason, it made me feel very uneasy, I don’t know if it was the music or because I had worked on it so hard, but it was quite strange to just vomit after you’ve finished an album like that.

It almost surrounds the part of your brain where you’re unable to escape from it. It makes sense to have felt that way, that’s how it happened for me, as well!

Nice. I’m glad.

So what's the story behind 'Wasteland'?

It was based not in a desert wasteland, but a city wasteland, with large, boned-out buildings. Loads of propaganda and things like that. The story just evolved as I was writing it.

Before this interview, I asked fans is they had some questions for you. Here's an unusual one to start: "How do you feel about spirit animals?"

Spirit animals. You know, I’ve never really thought about that.

Like if you have a dream or event that involves an animal coming to you?

I don’t know. I don’t think I’ve ever experienced that sort of thing.

Seemed like something that was possible.

Well, maybe. I mean, I’m not really sure what kind of spirit animal I would be, to be honest.

Another fan question I got frequently was, "Who's Uncle?" Are you?

I guess that would be me, yeah. I started it and I used that name in the beginning “Uncle Acid” just because, you know, I didn’t think it was going to get anywhere. It was just kind of a small project and I wanted to remain anonymous. It made sense to take a name like that, but as the band grew a lot bigger and it became an international thing, I didn’t want it to become a character that I had to play -- you know, some fucking whatever -- so I thought, "We’ll scrap the idea and I can just use a different sort of name" and became K. R. Starrs and then Kevin Starrs. There’s just all different kind of ways of putting it, so it can be quite confusing for people.

You go by many names, perhaps you have not settled yet? There’s probably another form that will somehow emerge.

Yeah, yeah, yeah. There could be, yeah.

"It was just kind of a small project and I wanted to remain anonymous."

I had another fan question, "Would consider doing a Cactus cover in Uncle Acid style?" They suggested “One Way or Another.”

You know, I’ve never really thought about doing a Cactus song. I guess “Evil” would be a good one to do. That was the first Cactus song I ever heard, so that could work. It’s always good to do sort of unusual songs for covers. I’ve got a couple of ideas that we could use as B-sides if we ever need them, strange covers that maybe people would be a little bit surprised with.

I had a somewhat strange request from someone who asked if you could live in their basement, because it wasn’t doomy enough. In relationship to that, I was wondering if you’ve gotten strange fan requests and what the strangest request might have been.

It tends to happen in the U.S. amazingly. I remember meeting someone and he wanted me to sign his pickle jar. He had like and empty, large pickle jar. He was very adamant. I don’t know what he was going to put in it, but he was adamant that it needed to be signed by me.

That can go in a lot of different directions. Like, you’ve signed a jar that something can go into.

It could be some body parts -- anything, really. I mean, you never know.

I live in Florida by way of Portland, Oregon and the last time I saw your band was in Philadelphia, you were playing with Danava. I know you’ve toured with them a couple of times and I’m a huge fan, as well. How you did like touring with Danava and what other bands have you enjoyed sharing the stage with?

We’ve been pretty lucky, as we’ve gotten to tour with a lot of really great bands. Static Vision, I really love what they’re doing. We’ve got Blood Ceremony coming up here and we’re really excited about that, we’ve been looking to tour with them for a long time. I’ve been a fan of theirs since their very first album and I love everything that they’ve done. It’s always just been difficult to get schedules to match up. We finally got a window of opportunity to tour, so we are really looking forward to that. And, of course, as you say, Danava -- one of the best, the best band in America, in my opinion. Greg’s always been very supportive of us, as well, so we always have a good time touring with those guys.

In the album, I hear a kind of '80s metal influence with theatrical stylings muffled down into psychedelic tones and that brain-mesh we spoke about. What are some of your most notable influences to date?

Pink Floyd is a huge influence, especially on this one. Pink Floyd, as well as Roger Waters solo stuff. He makes albums that are very immersive, it goes back to using sound effects and spoken word, and sound samples of voices. He always does that on his albums and it makes it immersive for the listener, adding a sort of paranoia feeling to it sometimes. So, yeah, Pink Floyd, I love that band. Neil Young is a huge influence, as is Simon and Garfunkel.

I always assume that people aren’t going to like it.

You have a style that transcends time. Someone could recognized Uncle Acid as a band from the '60s, but with the modern attributes of mixing and mastering. It feels so expansive. You’ve been able to cover so much ground, using musically recognizable forms from each era without replicating the bands that influenced you. How do you pull off this unique sound?

I just write to my particular tastes. I always assume that people aren’t going to like it. So, if you have that in mind, any sort of good reaction is going to be unexpected, really. We’re not trying to recreate anything that’s happened in the past, I just have a specific sound that I like. Sometimes that’s contrary to what’s going on currently, especially on the production side.

A lot of the metal production is very clean and you can hear every single element of the drums and everything is perfectly in place. It’s all really sterile and I really don’t like that sort of thing, so I go in the exact opposite direction. Even if we have a pristine recording, I’ll do whatever I can to destroy it, run it through preamps, and turn everything up. I make it sound kind of disgusting, the opposite of what’s popular at the moment. We use a mixture of analog and digital, as well. There is a place for digital in recording, you can make it sound really good. We’re not specifically trying to recreate anything from the past, but I guess because our music production is so different from a lot of the modern productions. People just assume that it’s trying to be like that.

Speaking of the modern production in relationship to your process, do you use vintage equipment in recording?

It’s a mix, really. A lot of the guitars we use are new, made in the last 10-15 years. I’ve used an amp from 1958 and an amp from 1972 and then an amp from 2005. Whatever sounds good, basically, we’ll use. In the studio that we used, they had a lot of great, old vintage equipment, stuff that’s been in there for 50 years. Microphones and tape machines and echo chambers that we used were used on classic records, and we got to use them.

The recording studio that you use, do you know of the history of the equipment that you have been able to record with?

Yeah, we’ve recorded at Sunset Sound in Los Angeles for the main tracking. That’s where the first couple of Van Halen records were made, Neil Young recorded there, the Stones, Zeppelin, The Doors. I mean, it’s just a who’s who, all these classic albums were made there. There is something about those rooms that held a sort of vibe to the place, which definitely helps. You feel this sort of leisure gain, because you’re playing in a place where you know so much great music has been recorded. You want to up your game a little bit to match that.

"Question everything and keep your mind open."

It sounds like that studio would be very filled with their presence in a way, if you have that sort of sentiment about spaces.

Yeah, absolutely!

Do you have a message to the universe from Uncle Acid or Kevin Starrs?

Question everything and keep your mind open. That’s it, really. In a lot of our albums, we present stories where if people would question things maybe it wouldn’t have turned out as bad for the people on the albums. A lot of the time, people just fall for the propaganda, they fall for what they’re told, and it always ends terribly for them. All of our albums have that theme of just things going terribly wrong for people.

Question Your Destiny

Jamie LaRose reviews Uncle Acid's new heart-stopping spin

The fifth album by Uncle Acid and the Deadbeats, 'Wasteland' (2018 - Rise Above Records), is filled with questions -- questions one needs to ask to avert the miry void of a dismal, propaganda-filled eternity. Uncle Acid is Kevin R. Starrs (lead guitar, vocals, organ) and the Deadbeats are Vaughn Stokes (rhythm guitar, backing vocals), John Rice (drums), and Justin Smith (bass). The narrative of these songs begs us to interrogate our reality by asking "What's real?" In a dismal, decayed, apocalyptic world, the way to find escape is through a journey. From beginning to end, the psychedelic melodies will keep the soul alert through its dark night. The album contains extreme mastery of a personal style orchestrated by the infamous Uncle Acid himself. Trust me when I say it will affect your brain chemistry.

The storyline of Wasteland has us constantly second guessing ourselves as we're guided by the tones of insanity. “See Through You” will gives a launching point into space. It sounds as if you are being launched into a rocket where you will meet this very tune in the expansive voids of outer worlds. The best way to experience the album in the most immersive way would be to listen with a nice pair of headphones. The intricacies of the chaos created will become so intense that you have to wonder if you’re listening to something interdimensional. After speaking with Kevin Starrs, the creation comes to life in a different way, yet everything makes sense when he explains that the reaction you feel was intended.

Music Video by Gryphus Visuals

Kevin Starrs has gone by many different names throughout his time with the band, yet his style always remains outstandingly individualistic and organic. There are hints of many different styles throughout the record, from groovy psychedelic rock and '80s hair metal to the futuristic possibilities of unknown noise. It is apparent that the influences he referenced most, such as Pink Floyd, come into play in the writing process. Even though the nature of this record has obvious influences, drawing from a wide array of inspirations, there is not the slightest indication that it is contrived in any way. The style is well-developed by Uncle Acid and the Deadbeats and thus distinctly their own.

There is something about this writing style that focuses intricately on brain invasion. The final track, “Exodus,” is a great example of neural integration within this musical masterpiece. While listening, I became entranced by the lulling melody of the swaying guitar riffs, quintessential Uncle Acid vocals, and the snazzy high hats. This comforting sound is like a rocking chair, with a quality of restless relaxation. Finding myself enraptured by this hypnotism, I sank further into a state of calmness. This came towards the end, right when a decision must be made. In the outro, I was awakened to memories of the album in its entirety, as if I was waking from a dream. The enrapturing nature of this song affected me greatly. I felt confused, lost. As soon as I realized I was still listening to the album, I awoke a new person with a piece of myself curious to hear my own heartbeat. It wasn’t my heartbeat, was it? No, it was the awakening.

Film by Billy Goate

Overall, the experience of listening to the new Uncle Acid album for the first time was much more than I ever expected. Each time I hear the songs in succession, I encounter an invasion in my head. Finding the truth is hidden within the questions we ask ourselves and Uncle Acid has let us in on this discovery. In order to find oneself, we must take a look inward. If that doesn’t work, take a look at your realm of outward influences and you will discover yourself once more in the Wasteland.

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#D&S Interviews #Uncle Acid & the deadbeats #Doom #Stoner Rock #Occult Rock #Fuzz #Rise Above Records #Jamie LaRose #HeavyBest18 #Photography #Nicolas Winand #Burning Moon #Doomed & Stoned

[dottodotfestival]

DOT TO DOT FESTIVAL ANNOUNCES ARTISTS FOR FIRST EVER AUTUMN EDITION OF THE MULTI-VENUE FESTIVAL

Tickets for Dot To Dot are priced from £25 and available now through alt. tickets!*

Dot To Dot Festival have announced the first artists to join the bill for their 2021 event, this year taking place in September; the first autumn event in the 16 year history of the award-winning festival with a reputation for bringing the hottest new talent to city-centre stages.

This year’s event continues Dot To Dot’s rich tradition of championing emerging talent, with the announcement that SPORTS TEAM will headline the festival in Bristol and Nottingham on the 25th and 26th of September respectively. Since last playing mid-way down the D2D bill in 2018, followed by a breakout 2019 for the 6-piece band, Sports Team have garnered an unparalleled reputation for excellent live shows that are guaranteed to be injected with raw energy. Their consistency in both performances and releases, have also earnt them a high standing as one of the best British bands right now, championed by the likes of DIY, 6 Music, NME and many more. 2020 saw the band release their debut album, Deep Down Happy, to much critical acclaim and a Mercury Prize nomination.

Frontman Alex Rice said: “Can’t wait to be back, this’ll be the first time we’ve played our debut album since it was released in 2020. A two night inter-city headline feels the right way to dip our toes back in.”

Joining Sports Team for D2D’s 2021 edition, are British alternative rock band, PALACE. With two albums under their belt and sold out tours at home & abroad, the London trio will be bringing their revered, shimmering indie rock to D2D. Their anticipated latest EP Someday, Somewhere was released in October and builds on the beautiful sound and image they have curated over the previous 6 years, lending promise to atmospheric live performances ahead.

Dublin 4-piece GIRL BAND will also be showcasing their tremendous live reputation in Bristol and Nottingham this September. Highly regarded and renowned for their genre-defying cataclysmic noise and infamously ferocious shows, a taste of which can be heard on their 2020 Live at Vicar Street release, but will really need to be seen first-hand to be believed.

DO NOTHING return to Dot To Dot Festival for 2021. Since emerging through 2018 & 2019, and with debut EP Zero Dollar Bill released in 2020, the Nottingham band have fast become one of the UK music scene’s most exciting prospects; with frontman Chris Bailey’s acerbic & quick-witted lyricism, their driven post-punk-meets-Talking-Heads sound, and a formidable reputation for exquisite live shows. 2021 has already seen the 4-piece release 2 singles in anticipation of their second EP, Glueland, expected March 12th.

Elsewhere on the D2D 2021 line up is genre-bending rap artist, SAM WISE. A member of cult London rap crew, House of Pharaohs, who name Frank Ocean among their fans. The Kennington native has also notably featured on tracks by the likes of Octavian, winner of BBC Sound of 2019, as well as building a solid reputation that is entirely his own through the release of his mixtape, Sorry You Were Saying, showcasing his witty storytelling, impeccable flows and fluid approach to genre and tone.

South-East London collective STEAM DOWN will bring their energetic live show to Bristol and Nottingham. Since forming back in 2007, Steam Down have received two Jazz FM awards, which include ‘Live Experience of the Year Award’ and ‘The Innovation Award’; accolades that clearly emphasise the impact and importance they’ve had on the UK’s flourishing jazz scene throughout the decade.

OSCAR LANG will bring his ever-growing, genre-crossing back catalogue to Bristol and Nottingham this autumn, showing no sign of slowing down following the release of two EPs and one album in 2020. Also fresh from a new release; their debut album, Speed Kills, London’s loudest breakout band CHUBBY AND THE GANG are certain to make an impression at Dot To Dot this year, if the 28 minutes of the album itself are anything to go by. The unruly punk energy and hardcore kid sensibilities displayed throughout the record are guaranteed mosh pit starters that will have crowds spilling pints and screaming gang vocals back at them.

Also on board are minimalist rock band YARD ACT who have been gradually dropping proto-punk/post-punk infused singles since mid-2020, with just a handful of singles and a handful of gigs, they have already earned themselves a tip as “one to watch” from The Guardian back in August. Likewise, self-described ‘dream pop trip hop’ three-piece, DRUG STORE ROMEOS’ appearance at Dot To Dot will certainly be one to catch, after being named for Annie Mac’s AMP London emerging artist series in 2020 and generating further buzz with the release of three singles during the year.

Singer-songwriter AARON SMITH has amassed 8 million+ Spotify streams of his sincere and communicative songs since growing up in the small Scottish town of Polmont, and joins the Dot To Dot bill, as does Birmingham-based rapper KOFI STONE, whose debut album, released in 2019, included features from Loyle Carner, Maverick Sabre and Ady Suleiman, and saw him truly arrive as one of the most exciting rappers on the UK hip-hop scene, thanks to his soulful and introspective flow. New Zealander MOLLY PAYTON will bring her powerful voice and the melancholic vulnerability of her songs to the festival; a relative newcomer, Payton released several attention-grabbing singles throughout 2020, culminating in two EPs. 

British R&B and trap artist S-X is set to perform, having released an impressive three LPs since 2018, as well as gaining notoriety through working with numerous artists as a record producer, including YouTube star KSI, who he occasionally joins on Celebrity Gogglebox, and with a debut album on the way LOW ISLAND will be at Dot To Dot this September, bringing both uplifting electronica and intimate ballads to crowds at the multi-venue metropolitan festival.

Dot To Dot Festival prides itself on seeking out the freshest emerging musical talent and 2021 is no exception, particularly with the appointment of Sports Team as headliners, a mere 3 years since they first played the festival. Dot To Dot organiser and Director of Live at DHP Family, Anton Lockwood, said: “After having to postpone our 2020 event, we couldn’t be happier to be announcing D2D 2021. We simply can’t wait to celebrate live music with some of the most exciting emerging acts this year – Dot To Dot has always been about seeing your new favourite band in the middle of the day and your favourite band as headliners. We’re sure Sports Team became a lot of people’s new favourite band when they played in a late afternoon, smaller stage slot 3 years ago, and having them as headliners now really demonstrates this approach and ethos.”

Completing the bill so far, and filling some of those smaller stage slots that this year’s headliners have graced in the past, are: Bristol-based, queer punk-trio, GRANDMAS HOUSE who combine a love of post-punk with surfy melodies; the unconventional songwriting and pop-leaning sensibilities of MOA MOA; Manchester-based post-punk trio LIINES; WALT DISCO, who draw influence from ‘80s post-punk legends and modern-day art-pop chic; The sweet bedroom pop of 18 year old TINYUMBRELLAS; Crouch End quintet, SAD BOYS CLUB, with their emotive and ambitious indie-pop sound; JOEY MAXWELL, whose bedroom pop is R&B infused and layered with blunt lyricism; Space-rock five-piece, finding romance and humour in everyday life, JUNODREAM; LIZZIE REID and her songs of love, loss and heartbreak from Glasgow; the atmospheric soundscapes of epic proportions created by ELLYSSE MASON; the amorphous creative entity that is FOLLY GROUP, encompassing a group of friends whose practice spans various disciplines; Full-time busker turned indie tastemaker favourite, TAYO SOUND; the macabre stories, told over ear shredding guitar and rattling drums of WYCH ELM; Plus many more still to be announced.

Tickets for Dot To Dot are priced from £25 and available now through alt. tickets: https://bit.ly/3syZyKX

*Subject to Site Permissions and Licensing

With the announcement of the government’s roadmap detailing plans to lift social distancing restrictions by 21 June, we are so excited to be able to bring D2D back to the streets of Bristol and Nottingham in September this year. We’ll be working really hard to ensure we can deliver the Dot To Dot that we all know and love in the most safe and enjoyable way possible. Should there be any changes to government guidelines which cause us to reschedule or postpone the festival, rest assured your tickets will be valid for the new date or refunds will be available.

Subscribe to Dot To Dot’s social media pages on Facebook, Twitter and Instagram, as well as online at www.dottodotfestival.co.uk to stay up to date on the latest line up announcements and to keep yourself in the loop for all things Dot To Dot.            

[jonathantaylorthomas]

Taylor Swift’s “Reputation” reckons with the tempo and tone of the rest of the pop landscape for the first time.

Taylor Swift is known for the kiss-off, the eerily intimate way she dismantles those who have wronged her. She is a songwriter and performer who has long thrived on antagonism (it’s one of her two poles; the other is swooning), and no pop star of the modern era has communicated the contours of her disappointment with such emotional precision and melodic sophistication.

“I Did Something Bad,” which comes third on her new album, “Reputation,” has all the hallmarks of a classic Swift assault: lyrics about men who are out of their depth sprinkled with just enough details to imply grave shortcomings.

But the chorus is something different: “They say I did something bad/Then why’s it feel so good?” On the surface, it’s an awakening, but really, it’s a takedown. The target is herself — her innocence, her naïveté, the way in which striving to be flawless is perhaps the ultimate flaw.

The bombastic, unexpected, sneakily potent “Reputation” is many things: It’s the first album on which Ms. Swift has cursed (“damn” doesn’t count); it’s the first time she has sung about consuming alcohol (and repeatedly at that); and it’s the vehicle for her most overt songs about sexual agency. Ms. Swift is 27 now, and the things she used to deny herself — in song, at least — are no more.

But it is also Ms. Swift chasing that good feeling, pushing back against a decade of following her own instincts. And it works. “Reputation” is fundamentally unlike any of her other albums in that it takes into account — prioritizes, actually — the tempo and tone of her competition. “Reputation” is a public renegotiation, engaging pop music on its terms, not hers.

And even though what’s au courant in pop — post-Drake lite-soul noir, or gothic but plain dramatists like Halsey and Selena Gomez — doesn’t necessarily play to Ms. Swift’s strengths, she barrels ahead here, finding ways to incorporate it into her arsenal, and herself into it. Some things are lost, to be sure, but it turns out that Ms. Swift is as effective a distiller of everyone else’s pop ideas as she was at charting her own sui generis path.

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That means a shift away from her signature melodies to an approach that uses her voice as an accent piece, or seasoning — the difference between songs that are 24K Taylor and ones that are merely Taylor-plated. It means a continued de-emphasis — one that began on her last album, “1989” — of the sorts of dense narratives that were so integral to her early career. It means that on a few songs here, Ms. Swift is doing something at least a little bit like rapping. (I’m sorry, the old Taylor can’t come to the studio right now.)

Make no mistake: these are jarring propositions. And yet Ms. Swift commits to them and thrives, an act of liberation from her past, and also a calculation about what the marketplace can bear.

That’s because after “1989,” all that was left for Ms. Swift to do was make pop songs the way most other superstars do. All the songs on “Reputation” are produced either by Max Martin with his associates, or by Jack Antonoff with Ms. Swift. Both men are longtime collaborators of hers, and both have had an outsized role in shaping the sound of current pop.

Where they bring Ms. Swift is into soft-core pop-R&B, with synth-thick production that moves at a sensual gallop. “Delicate,” one of the album’s standouts, could pass for a Drake-Rihanna collaboration. Here, Ms. Swift whisper-sings with a newfound attention to rhythm. (She also sings through a vocoder on part of the song.) Something similar, but even more outré, is happening on “Dress,” which — with Ms. Swift’s blushing exhales — sounds like something the club-soul revivalists AlunaGeorge might make.

These songs emphasize the cadence of her singing, not the melody or range. And on a few other songs here, she breaks into a kind of intermittently unconvincing talk-singing. This is a persistent theme on this album: borrowing styles and approaches from black music, then softening them enough to where Ms. Swift can credibly attempt them.

The most striking example of this is “End Game,” a smoothly swaggering thumper featuring Future and Ed Sheeran. That Ms. Swift would go sigh for sigh with Future’s warbles would have been unthinkable five years ago, but here, in a twist, the person who sounds least at home is Mr. Sheeran.

The ideas that Ms. Swift and her producers are borrowing from have been long simmering in the pop mainstream. (Nothing here has the same jolt as when she imported a dubstep drop into “I Knew You Were Trouble,” in 2012, back when that was still novel.) What’s notable, though, is that she hasn’t gone to the innovators of these ideas, but rather used Mr. Martin and Mr. Antonoff as alchemists and filters.

That approach also serves another purpose, which is to protect her from the limitations of her voice. A few songs here — “Don’t Blame Me,” especially, which faintly recalls Madonna’s gospel-choir era — call out for melisma, or a soul-informed vocal approach that blends the tough and the nimble. But those are not Ms. Swift’s gifts. She is as strong a singer as ever (even if this album doesn’t much let her loose), but much of her singing here is done piecemeal.

That’s because almost all of these songs are the sum of very different parts; many move in several different directions, one hard turn after the next. Guitars, when they’re present, are generally distant in the mix.

This kind of structural maximalism is becoming a hallmark of pop-era Swift. “I Did Something Bad” has the energy of a revving motorcycle, and the first two singles, “ … Ready for It?” and “Look What You Made Me Do,” both use harsh sounds and urgent buildup segments to theatrical, bruising effect.

This is the work of both producers: Mr. Martin and his team handle most of the album’s rowdy first half, and Mr. Antonoff is dominant on the more emotionally focused second half. Ms. Swift’s tone changes throughout the album as well — in the beginning, she is indignant and barbed, but by the end she’s practically cooing.

She still has adversaries in her sight; there are jabs at Kanye West, and also at an ex-boyfriend or two. But here, too, she turns the magnifying glass around. Some of the most caustic and aware songwriting on this album is about herself. “Getaway Car” is about what happens when you leap blithely from one relationship to another. Ms. Swift is at her imagistic best here: “The ties were black, the lies were white/in shades of gray in candlelight/I wanted to leave him, I needed a reason.”

This is familiar Swift stuff — or at least, what was once familiar Swift stuff. On this album, it’s no longer the priority. The album closer, “New Year’s Day,” is the only acoustic song, and also one of the best written (though it feels as indebted to Mr. Sheeran as to Ms. Swift).

It is also probably the only song here that, upon first listen, doesn’t prompt the existential question of what, exactly, constitutes a Taylor Swift song in 2017. In making her most modern album — one in which she steadily visits hostile territory and comes out largely unscathed — Ms. Swift has actually delivered a brainteaser: If you’re using other people’s parts, can you ever really recreate your self?

#reputation

[jerepars]

The Con Extended Chapter Notes

Hyperlinks appear in blue (underlined on mobile). The story is posted here. Direct link to this chapter is here.

Jughead had been right when he’d said anything between us would be different. Special. Maybe it was because we’d waited so long to be together. Maybe it was because we’d come to understand the gravity of our attraction and affection for each other, culminating in love. Sometimes when we laid in bed together, skin to skin, holding hands and staring into the depths of the light in each other’s eyes, it was like we each had everything the other needed to be whole.

This paragraph made me think of "For The Nights I Can't Remember" by Hedley, so then I reworked it when I remembered the part that goes I just wanna hold your hand, stare at you like you’ve got everything I need.

But life didn’t slow down for anyone. By winter, Jughead had begun working on his novel—his eventual final project for his MFA—and I was back in a performance cycle for the Joffrey Ballet’s only mixed repertoire program for the season, Modern Masters. In March, a touring month for the ballet company, Jughead and I came up on our first few weeks of being away from each other since getting together. I was out of town for four weeks, one of which fell during Jughead’s spring break. One of the two limited-run productions performed on tour, in Los Angeles, was a 1930’s retelling of Romeo & Juliet, of forbidden love set against a backdrop of wartime and political conflict. The ballet about the star-crossed lovers only served to make me miss my boyfriend even more. Absence really did make the heart grow fonder. And yes, we were in love, though I was sure we’d be without the tragic ending.

A bunch of little research details in this paragraph. The Joffrey Ballet has Modern Masters on the docket for February. In March, company members will be on tour in Los Angeles for Orphée et Eurydice and Romeo & Juliet. A look at the photos and description of Romeo & Juliet on the venue's website shows that it is definitely not a classic staging of the tragic tale.

Sidenote: I feel like the Joffrey schedule for the 2017-2018 season worked so perfectly for this story. First with Giselle and now I got to mention Romeo & Juliet, something that keeps coming up in canon? Just like the last time I allowed a R&J reference though (in We're Getting a Divorce, You Keep the Diner), I feel the need to say that the play's not called Romeo & Juliet, it's The Tragedy of Romeo and Juliet. So Betty most definitely better be saying that they won't end tragically, like she did in 2x05, and not just straight up R&J.

Final note for this section, SAIC's spring break, according to their calendar, is March 15-18, 2018. The Joffrey Ballet will perform Orphée et Eurydice in LA on various dates from March 10-25, 2018, and Romeo & Juliet on select dates from March 9-17, 2018. So if this were real life, Betty really would be out in LA during Jughead's spring break.

Why does this matter? Why am I like this?

It was the summer that brought about our next long distance challenge. Given the promise of a teaching assistant job with SAIC’s writing department for the next fall, Jughead was able to quit his job at Papyrus to enjoy the summer, which allowed for him to make a sizeable dent in his novel and visit his family. He left for Ohio the second week of June, stopping by to get Jellybean before they both made their way to Riverdale. I would have joined them, but I’d been sought out by some of my favorite Joffrey Academy faculty to participate in the June junior summer intensive session as a mentor. It meant chaperoning a group of nine- to eleven-year-old kids, walking them to and from the dorms, being available to them during lunch and breaks if they wanted to chat with someone in the dance profession (or even as a confidant if they wanted), and accompanying them during the weekend activities for their two-week stay in Chicago. Joffrey dance contracts were from August to May, so company members didn’t get paid during the summer, and the mentoring gig was a relatively painless way to make a little summer cash.

Joffrey Academy summer intensives are, of course, real. Betty would be mentoring students in "Junior Summer Intensive Level 2" because that's the only one that had a June session. I read the entire Summer Intensives FAQ to make sure Betty's brief stint as a mentor was something that actually exists. There are a few paragraphs that mention chaperones and their roles, so it all works out.

Once I was in front of Jughead, he had the same mirth in his eyes as he’d had on the night we shared our first kisses. I grimaced at him and teased, “Oh, honey, you didn’t need to get all dressed up for me.”

“Here I was, excited to see you—counting down the minutes—and that’s the first thing you have to say to me?” Jughead scoffed with mock seriousness.

“You didn’t even shower, did you?” I retorted.

He smiled haughtily and angled his chin down before he wiggled an eyebrow at me. “Do you want to come over here and find out?”

Just a thought...I want way more moments in canon where Jughead shows off his sense of humor (and we aren't just told he has that sense of humor) like Polly's baby shower in 1x08 when he says "What, organizing a baby shower? It's totally on my bucket list," and Betty just smiles at him knowingly. That's the tone I imagine this part would have.

As their gift to their dad for his 50th birthday, Jughead and Jellybean decided they would spend the summer in Riverdale with him, to create new family memories he could look back on and appreciate when, late at night, he had a freight train running through the middle of his head. I thought he was lucky his kids loved him that much, and glad he’d come so far that their plan was viable. I got choked up just thinking about the Joneses flourishing not just individually but as a unit as well. After all the unfortunately true stories I’d heard about their tempestuous past, I knew how much it meant to Jughead for them to thrive.

A quick shout out to the lyrics At night I wake up with the sheets soaking wet and a freight train running through the middle of my head from Bruce Springsteen's "I'm on Fire". I've definitely referenced this one before, but I can't help it, man, it's The Boss at his best and earlier in the chapter there is mention of driving through New Jersey.

#je repars notes

[roundtheworldrambles]

Hong Kong, China - Part 2

Day 67 – Hong Kong 

Waking up to an overcast morning, Christie and I pulled on our gym clothes and running shoes to begin the ascent up Victoria Peak. Starting at HKU and climbing to the summit, we followed the Lung Fu Shan Fitness Trail, winding up the 552-metre mountain. After far too much time on overnight trains and in transit over recent weeks – it was nice to stretch our legs and get some exercise in! (And not to mention…work off a bit of our dim sum consumption! ☺)

Victoria Peak

As we arrived at Victoria Peak, we were quickly joined by swarms of tourists emerging from the tram – and were very happy about our decision to hike! Stopping for a quick matcha break, we strolled around the walkways near the peak, taking in the impressive skyline and harbour below. 

Using Christie’s MapsMe app (our trusty guide throughout China – showing trails as well as roads!), we began to hike down the mountain, rapidly leaving the buzzing crowds behind. As we descended, we wound along Old Peak Road through the forest, passing a series of lavish properties– with sky-high prices to match the equally stunning views! Although the descent was a bit of a kneeknacker for us, walking provided us with a fascinating glimpse into this prestigious, secluded neighbourhood. 

Nearing the Mid-Levels, we decided to “off road” it a bit more, taking a hard left onto one of the tiny trails shown on MapsMe. This narrow, overgrown footpath was unusual, located in the forest directly above a block of pastel apartments hugging the base of the mountain. We followed the path along a crumbling channel, leading to a landslide of rocks, and up steep steps hewn from bare rocks. Long chains lined the vertical ascent, providing much needed stabilization. The trail seemed a bit mysterious to us at the time – with very little traffic, many technical sections and overgrown fences. I later Googled this trail – and with the limited info I could find, it appears that this was a section of the Cheung Po Tsai Ancient Trail – a secret path used by an infamous pirate (of the same name) several centuries ago! 

Mid-Levels

Taking a break the afternoon, I amped myself up to wash my clothes for the first time since Greece, as I had gotten pretty creative with “acceptable” outfits over the previous days – the definition of “clean” becoming more and more loosely interpreted. Having passed 2 months of travel at this point, my makeup routine had been pared down to sunscreen and mascara, my hair was usually in a braid, and I was repeating outfits constantly. Low maintenance was taking on a new meaning for me, and I was beginning to relish the minimalism and simplicity of long-term travel. There was something incredibly freeing about knowing exactly what belongings I had with me (down to the number of socks!), and exactly what purpose they served. Any new item to be added had to be carefully considered, as I would ultimately be carrying it. 

I also began to notice a few other inner changes as I moved beyond the trip’s two-month mark. The nervous anticipation I often experienced when arriving in a new country or city began to wane. In the past, I would usually deal with this by hyper-planning an itinerary, knowing exactly how I would spend my few weeks off, and mapping out every step I would take to get from point A to B to C. Although my organized, planning personality never switched off, around this time I noticed that my threshold for dealing with uncertainty and unpredictable situations had significantly increased. As I become more at ease in the new and wonderful places I was discovering, I also noticed a change in my ability to be present – something I have always struggled with. The combined simplicity and novelty that comes with long-term travel felt like its own kind of medicine, encouraging a lifestyle where I could “stop and smell the flowers” (or in Hong-Kong’s case, incense and dim-sum!) and really appreciate the current moment. In my trip journal, I promised myself that I would bring elements of this lifestyle back to Canada with me. 

As the evening fell, Christie and I walked over to Central Pier, where we boarded one of the historic Star Ferries to cross the harbour to Kowloon. Chatting with our parents earlier in the afternoon, they told us that they also took the same ferry on their world trip – over 30 years earlier! Turning back while we traversed the busy waterway, the sparkling skyline of Hong Kong rose behind us, framed by the dark silhouette of Victoria Peak. Massive neon billboards and light displays were mounted on many of the skyscrapers, their vivid colours reflected in the rippling water of the harbour. 

Symphony of Lights

Disembarking at the pier, we walked along the Tsim Sha Tsui waterfront on time to catch the Symphony of Lights, Hong Kong’s nightly light, music and laser show. Almost 50 buildings on both sides of Victoria Harbour are involved with this nightly show, setting the city and water ablaze with sparkling light displays, choreographed to music from the Hong Kong Philharmonic Orchestra. Incorporating traditional Chinese flutes and strings, and Mandarin singers, the Symphony of Lights was completely mesmerizing. 

Following the light show, Christie and I began to explore the neighbourhood of Tsim Sha Sui, meandering along wide, modern boulevards packed with luxury retailers, navigating through a scramble of shoppers hurrying in every direction. One of the main shopping areas of Hong Kong, this neighbourhood is home to many high-end flagship stores, often with long lines trailing outside their entrances. Hong Kong’s reputation as being a “city that never sleeps” was perfectly exemplified in this neighbourhood, as the crowds only seemed to grow as the evening went on. Wandering away from the large shopping crowds, Christie and I stopped for our final dinner together in Hong Kong, before she returned to Canada the next morning! 

Tsim Sha Tsui

Day 68-69 – Hong Kong  

After a glamorous breakfast of microwave noodles (our umpteenth of the trip!) Christie boarded the metro to the airport. I missed her almost immediately. The two of us had travelled together many times before, but nowhere as big or as different as China. It was pretty amazing having her around for this part of my trip – and aside from our not-so-occasional bickering (as sisters do!) we make pretty good travel buddies. Christie always challenges me to think outside of the box, and no conversation or topic is ever off the table. I’m very thankful to have her as my sister, and know for a fact that having her around makes me a better person. This trip was no exception. 

Fortunately, I had blocked most of my remaining 3 days in Hong Kong for a bit of R&R and trip planning – which I quickly realized how much I needed. Scanning through the news after Christie left, stories had begun to pour in about Mount Agung, an active volcano in Bali - which was erupting! A large plume of volcanic ash had risen several kilometres into the air around the volcano, disrupting hundreds of flights in the region. Somewhat problematic, as I was set to fly to Bali, Indonesia in less than 72 hours! Given that the airports in both Bali and Lombok looked set to close, I jumped into action - brainstorming alternative plans, and crowd-sourcing other suggestions for diving destinations between China and Australia. 

I ended up re-routing my flights to Cairns, Australia, skipping over Indonesia completely. I was very keen to do my open-water diving certification at this point in my trip, and was thrilled to be returning to the reef. The Campbell family had taken a trip there over a decade earlier, where we spent a few days snorkelling in some of the most spectacular waters I have ever seen. Fortunately I was able to find last minute accommodation in Cairns, and crossed my fingers that I would be able to enrol in a dive school once I arrived. 

Day 70 – Lantau Island

Well rested for my final day in China, I ventured down to the Central Pier in the morning to board a high-speed ferry to Lantau Island, the largest outlying island of Hong Kong. A mountainous area scattered with fishing villages along its shores, Lantau Island has a much lower population density than the rest of Hong Kong – and was a welcome reprieve from the hustle and bustle of the city. Travelling to Lantau Island by Ferry was equally enjoyable – the weather was mild enough to sit above deck and admire the city’s skyline as it got progressively smaller. 

Star Ferries

Arriving at Mui Wo Ferry Pier, I boarded a local bus to the fishing village of Tai O. Winding through the luscious forest around Lanteau Peak, we passed by the beautiful sandy beaches of Pui O and Tong Fuk along our route. After a scenic 20-minute journey across the island, our bus arrived at the picturesque fishing community. An incredible example of a traditional Southern Chinese fishing village, stilt homes lined a narrow ocean inlet, built to withstand the rise and fall of the tide. Framed by a backdrop of mountains, Buddhist temples and shrines could be seen in the distance, nestled into the surrounding hillside. 

Tai O Fishing Village

My strongest memory of Tai O was the smell – as it was indeed a very active fishing port. As one vendor joked with me, “good for the eyes, not so much the nose!” Meandering through the narrow stilted streets and rickety bridges, I took in all the harbour activity, with small boats putting in and out of the channel, packed full with nets and rigging. Tai O continues to operate a traditional seafood market, with massive quantities of fresh and dried seafood for sale (from a full-size, dried shark, to pufferfish that have been blown up and turned into decorative items!). Small boat tours are also frequent, taking visitors out into the nearby ocean to search for the rare pink dolphins that inhabit the waters. 

I walked through the length of the seafood market to the footbridges entering the stilted neighbourhoods. Leaving the tourism hub behind, I spent the next half hour wandering the footpaths and bridges lining the channel, circling back around to my starting point. I appreciated getting to see the community that has been built around this one industry of fishing. Even away from the main market, fish were everywhere – drying on corrugated tin roofs, being hauled out of boats, and being cleaned and filleted in people’s homes, their doors wide open to the footpaths outside. 

Dried Fish and Seafood for Sale in Tai O

Returning to the main village, I boarded another bus, which began to wind up the mountains to visit the highlands of Ngong Ping, located near Lantau Peak. Most famously known for being home to the Tian Tan Buddha, or “Giant Buddha”, this sacred site was easily visible long before we arrived – with the bronze Buddha standing at 34-metres tall! 

Walking through Ngong Ping Village towards the Giant Buddha, and through the gates of Po Lin Monastery, I was surprised to immediately notice cows – everywhere. Grazing next to the landscaped walkways of the monastery, the cows were thoroughly unperturbed by the passing groups of people. In Buddhist Culture, cattle are considered to be sacred, and it was clear in Ngong Ping that they had the run of the place! 

Tian Tan Buddha

I arrived at the base of the stone stairs leading to the Giant Buddha, and began to climb the 268 steps to the top. Altars filled with smoking incense lined the stairs, with Buddhists stopping every few steps to bow and pray. Facing North, this Buddha is pointed towards China, intended to act as a guardian for the mainland. Arriving at the top of the stairs to the Tian Tan Buddha, the scale was more impressive than ever. With an incredible view over the lush landscape of Lantau Island and the nearby Po Lin Monastery, the Giant Buddha is sitting cross-legged on a lotus throne, circled by six smaller bronze statues, facing the Buddha to provide offerings. Meandering the walkways and grounds of the monastery for some time, I caught a bus back to Mui Wo, boarding a ferry back into the city just as evening fell. 

Bronze Statues providing offerings to the Buddha

For my final evening in Hong Kong, I headed out to Causeway Bay, one of the busiest neighbourhoods on the island – and centered around one thing: SHOPPING. I hopped off the MTR in Causeway Bay and first headed to Hong Kong’s Times Square. Although much smaller than its NYC counterpart, seeing this neon-lit square at night was impressive, packed with high-rises filled with thousands of shops and boutiques, multi-storied shiny billboards, and a blur of video screens in every direction. “Overwhelming” would be an understatement when describing this neighbourhood! The massive, vertical malls in this compact area had everything one could possible want to buy – from high-end fashion, electronics, skin products, novelty snacks, vintage finds – the list goes on and on. I spent the next few hours going up and down on elevators in different buildings, getting thoroughly lost in the consumer chaos around me. Amidst Hong Kong’s shopping pandemonium, I was thrilled to stumble across Triple O’s – a favourite Vancouver burger joint, and a welcome taste of home after almost three months on the road. Not a bad way to end the China leg of my trip!

Times Square in Causeway Bay

#china

[blackkudos]

James Jamerson

James Lee Jamerson (January 29, 1936 – August 2, 1983) was an American bass player. He was the uncredited bassist on most of the Motown Records hits in the 1960s and early 1970s (Motown did not list session musician credits on their releases until 1971), and is now regarded as one of the most influential bass players in modern music history. He was inducted into the Rock and Roll Hall of Fame in 2000. As a session musician he played on 30 Billboard #1 hits, as well as over 70 R&B #1 hits, more than any other bass player in both categories.

In 2011, Jamerson ranked third in The "20 Most Underrated Bass Guitarists" in Pastemagazine.

Biography

A native of Edisto Island (near Charleston), South Carolina, Jamerson moved with his mother to Detroit, Michigan in 1954 and began playing in Detroit area blues and jazz clubs. His son, James Jamerson, Jr. (1958-2016), was also a professional bassist.

Motown years

Jamerson continued performing in Detroit clubs after graduating high school, and his increasingly solid reputation started providing him opportunities for sessions at various local recording studios. Starting in 1959, he found steady work at Berry Gordy's Hitsville U.S.A. studio, home of the Motown record label. There he became a member of a core of studio musicians who informally called themselves The Funk Brothers. This small, close-knit group of musicians performed on the vast majority of Motown recordings during most of the 1960s. Jamerson's earliest Motown sessions were performed on double bass, but in the early 1960s he switched to playing an electric Fender Precision Bass for the most part.

Like Jamerson, most of the other Funk Brothers were jazz musicians who had been recruited by Gordy. For many years, they maintained a typical schedule of recording during the day at Motown's small garage "Studio A" (which they nicknamed "the Snakepit"), then playing gigs in the jazz clubs at night. They also occasionally toured the U.S. with Motown artists. For most of their career, however, the Funk Brothers went uncredited on Motown singles and albums, and their pay was considerably less than the main artists or the label received. Eventually, Jamerson was put on retainer with Motown for one thousand dollars a week, which afforded him and his ever-expanding family a comfortable lifestyle.

Jamerson's discography at Motown reads as a catalog of soul hits of the 1960s and 1970s. His work includes Motown hits such as, among hundreds of others, "Shotgun" by Jr. Walker & the All Stars, "For Once in My Life," "I Was Made To Love Her" by Stevie Wonder, "Going to a Go-Go" by The Miracles, "My Girl" by The Temptations, "Dancing in the Street" by Martha and the Vandellas, "I Heard It Through the Grapevine" by Gladys Knight and the Pips, and later by Marvin Gaye, and most of the album What's Going Onby Marvin Gaye, "Reach Out I'll Be There" and "Bernadette" by the Four Tops, and "You Can't Hurry Love" by The Supremes. According to fellow Funk Brothers in the 2002 documentary Standing in the Shadows of Motown, Gaye was desperate to have Jamerson play on "What's Going On," and went to several bars to find the bassist. When he did, he brought Jamerson to the studio, who then played the classic line while lying flat on his back. He is reported to have played on some 95% of Motown recordings between 1962 and 1968. He eventually performed on nearly 30 No. 1 pop hits—surpassing the record commonly attributed to The Beatles. On the R&B charts, nearly 70 of his performances went to the top.

Style and influence

Jamerson is noted for expanding the musical style and role of bass-playing in the popular music of the time, which (in 1950s and '60s R&B, rock and roll, and country) largely consisted of root notes, fifths and simple repetitive patterns. By contrast, many of Jamerson's bass lines relied heavily on chromatic runs, syncopation, ghost notes and inversions, with frequent use of open strings. His nimble bass playing was considered an integral part of the "Motown Sound". He transcended the standard "bass line" and created a duet with the singer, melodic, but still very tightly locked with the drumgroove. Prominent bassists who have claimed Jamerson as a primary influence include James Brown's Bernard Odum, Bootsy Collins, Abraham Laboriel, Pino Palladino, Alan Gorrie, Rick Danko, Anthony Jackson, Jack Bruce, John Entwistle, Bernard Edwards, Jason Newsted, Jaco Pastorius, John Patitucci, John Paul Jones, Robert DeLeo, Rick Skatore, Mike Watt, Billy Sheehan, Joel Shipp, Geddy Lee, Victor Wooten, Paul McCartney, Mike Mills, Suzi Quatro, Matt Noveskey, Tommy Shannon, Matt Rubano, Phillip Chen and Michael "Flea" Balzary.

Post-Motown career

Shortly after Motown moved their headquarters to Los Angeles, California in 1972, Jamerson moved there himself and found occasional studio work, but his relationship with Motown officially ended in 1973. He went on to perform on such 1970s hits as "Rock the Boat" (The Hues Corporation), "Boogie Fever" (The Sylvers), and "You Don't Have to Be a Star (To Be in My Show)" (Marilyn McCoo and Billy Davis, Jr.) and also played on Robert Palmer's 1975 solo album Pressure Drop. But as other musicians went on to use high-tech amps, round-wound strings, and simpler, more repetitive bass lines incorporating new techniques like thumb slapping, Jamerson's style fell out of favor with local producers and he found himself reluctant to try new things. By the 1980s he was unable to get any serious gigs working as a session musician.

Death

Long troubled by alcoholism, Jamerson died of complications stemming from cirrhosis of the liver, heart failure and pneumonia on August 2, 1983, in Los Angeles at the age of 47. He left a wife, Anne, three sons, James Jamerson Jr., Ivey (Joey), and Derek, and a daughter Doreen. He is interred at Detroit's historic Woodlawn Cemetery on Woodward Avenue.

Recognition

James Jamerson (as is the case with the other Funk Brothers) received little formal recognition for his lifetime contributions. It was not until 1971, when he was acknowledged as "the incomparable James Jamerson" on the sleeve of Marvin Gaye's What's Going On, that his name even showed up on a major Motown release.

Jamerson was the subject of a 1989 book by Allan Slutsky (aka "Dr. Licks") titled Standing in the Shadows of Motown. The book includes a biography of Jamerson, a few dozen transcriptions of his bass lines, and two CDs in which 26 internationally known professional bassists (such as Pino Palladino, John Entwistle, Will Lee, Chuck Rainey, and Geddy Lee) speak about Jamerson and play those transcriptions. Jamerson's story was also featured in the subsequent 2002 documentary film of the same title.

In 1999, Jamerson was awarded a bust at the Hollywood Guitar Center's Rock Walk.

In 2000, Jamerson was inducted into the Rock and Roll Hall of Fame, part of the first-ever group of "sidemen" to be so honored.

In 2003, there was a two-day celebration entitled "Returned To The Source" which was hosted by The Charleston Jazz Initiative and Avery Research Center of The College of Charleston.

In 2004, the Funk Brothers were honored with a Grammy Lifetime Achievement Award.

In 2007, Jamerson along with the other Funk Brothers was inducted into the Musicians Hall of Fame in Memphis, Tennessee.

In 2008, James Jamerson was awarded the Gullah/GeeChee Anointed Spirit Award.

In 2009, Jamerson was inducted into the Fender Hall of Fame. Among the speakers was fellow legendary Motown session bassist and friend, Bob Babbitt.

In 2009, Jamerson received a Resolution from the SC House of Representatives.

In 2012, Jamerson received the Hartke, Zune, Samson 2012 International Bassist Award.

In 2013, he along with the Funk Brothers received their Star on the Hollywood Walk of Fame.

In 2014, Jamerson received a State Resolution from the South Carolina Senate.

Jamerson's equipment

James Jamerson's double bass was a German upright acoustic bass that he bought as a teenager and later used on such Motown hits as "My Guy" by Mary Wells and "(Love Is Like a) Heat Wave" by Martha and the Vandellas.

Jamerson played mainly the Fender Precision Bass, but is known to have briefly used a Fender Bass V and a Hagström 8-string later in his career.

His first electric bass was a 1957 Precision Bass, refinished in black, with a gold anodized pickguard and maple fretboard, nicknamed "Black Beauty". That bass was a gift from his fellow bass player Horace "Chili" Ruth. In the sixties, that bass was stolen.

After his 1957 Precision Bass was stolen, he acquired a stock 1962 Fender Precision Bass which was dubbed "The Funk Machine." It had a three-tone sunburst finish, a tortoise-shell pickguard, rosewood fretboard and chrome pickup and bridge covers (the latter containing a piece of foam used to dampen sustain and some overtones). On the heel of the instrument he carved with ballpoint pen the word "FUNK". He typically set its volume and tone knobs on full. This instrument was also stolen, just days before Jamerson's death in 1983. To date, it has not been found.

James Jamerson used La Bella heavy-gauge (.052–.110) flatwound strings which were never replaced, unless a string broke. He didn't particularly take care of the instrument, as he stated: "The gunk keeps the funk", and it is possible that the neck eventually warped, as many claimed it impossible to play. While this made it more difficult to fret, Jamerson believed it improved the quality of the tone. Early in the '70s, a producer attempted to modernize James Jamerson's sound by asking the bassist to switch to brighter-sounding roundwound bass strings, but Jamerson politely declined.

One aspect of James Jamerson's upright playing that carried over to the electric bass guitar was the fact that he generally used only his right index finger to pluck the strings while resting his 3rd and 4th fingers on the chrome pickup cover. Jamerson's index finger even earned its own nickname: "The Hook". Another aspect of Jamerson's upright playing which carried over was his use of open strings, a technique long used by jazz bass players, to pivot around the fretboard which served to give his lines a fluid feeling.

Jamerson's amplifier of choice at club performances was an Ampeg B-15; in larger venues, he used a blue Naugahyde Kustom with twin 15" speakers. On both, the bass was typically turned up full and the treble turned halfway up. On most of his studio recordings, his bass was plugged directly into the custom-made mixing console together with the guitars from Eddie Willis, Robert White and Joe Messina. He adjusted the console so that his sound was slightly overdriven and had a mild tube compression.

References

Further reading

Taylor, Harold Keith, The Motown Music Machine. Jadmeg Music Publishing, 2004

Andr, Motown Bass Classics. Hal Leonard Corporation, 1998

Posner, Gerald, Motown : Music, Money, Sex, and Power. Random House, 2005

Rubin, Dave, Motown Bass (Bass Signature Licks). Hal Leonard Corporation, 2000

Dr. Licks, Standing in the Shadows of Motown: The Life and Music of Legendary Bassist James Jamerson. Hal Leonard,1989

External links

James Jamerson at the Rock and Roll Hall of Fame

James Jamerson's recorded bass parts isolated

Partial discography

BassLand James Jamerson page

James Jamerson Transcriptions and Educational Resources

James Jamerson at Find a Grave

Wikipedia

#James Jamerson

[thehungrykat1]

Valentine’s Day Staycation at the One Bedroom Suite of New World Makati

Last week, I had one of my most memorable Valentine’s Day celebrations ever during our overnight staycation at New World Makati Hotel. We usually book hotel stays during our previous Valentine’s dates, but this one was packed full of activities and dining experiences from beginning to end. Plus, we even had a soothing massage at their spa to end an exhilarating night.

New World Makati is a world-class five-star hotel located just beside the popular Greenbelt commercial areas in Makati. The hotel features 584 gorgeous guestrooms and suites with a modern vibe and hints of Oriental influence, together with several exquisite dining options inside the hotel. The large and spacious hotel lobby welcomes visitors as they enter the hotel from the busy and oftentimes crowded retail and shopping hubs just outside.

We have stayed at New World Makati several times before and we usually book their Residence Club Deluxe Room (Read: Business Luxury Redefined at New World Makati’s Residence Club). This time however, we were booked at the One-Bedroom Suite which is one room category higher. This is an even bigger option with 54 square meters of relaxing space and a separate living room with cable television for a cozy afternoon. A Nespresso coffee machine and tea making facilities are also included in the suite.

The master’s bedroom comes with a comfortable king-sized bed and its own flat screen TV. The elegant décor, warm colors and plush furnishings add to the residential feel of the rooms, with mood and task lighting creating a soothing ambience. This is combined with beautiful views of Makati City and the busy metropolis down below.

Inside the master’s bedroom is a marble bathroom and bathtub with a walk-in shower room and essential Elemis toiletries. The One Bedroom Suite is probably one of the more older rooms compared to the Deluxe Room which looks more modern and newly renovated, but it does offer a bigger space for families with children.

One special perk of staying at the One Bedroom Suite is that it comes with exclusive access to the Residence Club Living Room, a comprehensively equipped, tastefully designed space in which guests may relax or work. The ambience is private, warm, and cozy with floor-to-ceiling windows inviting abundant natural light. Think of it as an extension of your hotel room that you can share with just a few others.

Guests can relax and enjoy refreshments while viewing the stunning cityscape. Newspapers, magazines, and a couple of televisions can also be found inside. Not just that, the Residence Club Living Room serves complimentary breakfast, all-day refreshments, afternoon tea, and evening cocktails. Basically, you don’t have to leave the Residence Club floors during your stay because everything you need is right here.

I usually spend my lazy afternoons inside the Residence Club Living Room for their afternoon tea which offers some delightful beverges and snacks. Cookies, and mini cakes are on the table from 3:00pm to 5:00pm daily while you can get all sorts of drinks like sodas, juices, coffee, tea, or even hot chocolate. After that, I usually go back to my room for my afternoon nap.

New World Makati also features a big outdoor Swimming Pool on the third floor for those who want to stretch their muscles and take a dip. You will often see families here during the weekends and holidays so it was full of guests that Valentine’s afternoon. They also have a well-equipped Fitness Center with a sauna and spa for fitness buffs. The Residence Club Living Room actually turns into a cocktail party every night from 5:30pm-7:30pm for their complimentary Evening Cocktails where a variety of bubbly drinks and gourmet canapes are presented exclusively for guests at the Residence Club. However, we had something more special planned for that evening.

The Lounge is a cozy bar located on the ground floor lobby of New World Makati. It is open 20 hours a day so you can enjoy everything from breakfast to a nightcap. The beverage and cocktail lists are extensive, with live jazz, R&B and pop bands from 8:30pm onwards.

We heard about a special promotion at The Lounge this month so we went down for an early happy hour session. The Lounge serves unlimited Prosecco Romio Extra Dry wine daily from 4:00pm to 8:00pm at only P888 per person, so it was a perfect pre-dinner activity for Valentine’s Day.

Our good friend Francine Arias, Marketing Communications Manager of New World Makati Hotel, was also able to join us that evening. It was a busy day for her so we ended up as her Valentine’s dates. It was really fun catching up with her after our last lunch at Jasmine (Read: Unlimited Yum Cha at Jasmine in New World Makati). The Lounge also offered bottles of champagne or sparkling wine starting at P2,500 each with a free box of decadent pralines during Valentine’s weekend.

After our long and lively happy hour discussions, it was time for our Valentine’s dinner date just next door at Café 1228. The cafe is New World Makati’s all-day dining restaurant featuring a lavish buffet and five interactive cooking stations, plus a full à la carte menu available throughout the day.

It was a very special evening so the restaurant was covered with elegant displays of red roses, bubbly wines, and an overall romantic vibe. Each guest was given a complimentary glass of wine to accompany their dinner. A live band was also playing classic love songs and melodies for couples like us spending their Valentine’s here.

The buffet spread featured a Seafood Station including prawns, crabs, and mussels that you can have cooked according to your liking. The Chinese station was also busy preparing dimsum and hot bowls of noodles.

The prized Lechon or roasted pig can be found at the Asian section which also features other Southeast Asian favorites.

The main highlight was the carving station where you can get unlimited servings of their Prime Rib Steak cooked according to your preferred doneness. We kept coming back for more of this juicy steak which really made our Valentine’s dinner memorable.

Of course, there are also some Valentine’s themed desserts on display like the Strawberry Yogurt Trifle. Ice Cream, pancakes, and other sweet treats were available for all diners throughout the night while they enjoyed the live music.

Guests staying at the hotel during Valentine’s weekend were also surprised with a complimentary heart-shaped chocolate meringue and a bottle of sparkling wine served inside their rooms during turndown service (flowers not included). We already had too much to drink that evening so we opted to do something even more relaxing.

We ended our Valentine’s evening with a soothing massage at the Marahai Spa on the third floor. Marahai comes from the local Bicol term marahay – to be well – and you will really be well with any of their body treatments and massages that will soothe your body, calm your mind and refresh your spirit. This is available daily from 10:00am to 12:00mn but you can also avail of these treatments inside your own rooms until 1:00am.

The next morning, we woke up from our restful sleep and headed downstairs for a buffet breakfast at Café 1228. Guests with access to the Residence Club Living Room actually have a choice to get their breakfast at the club lounge or at the cafe, but the selection here is definitely wider. Breads, pastries, and donuts are just some of the items you can find on display each morning. The flakey Pain Au Chocolat is one of their signature items that you should try.

Hakao for breakfast? Why not? This is my favorite dimsum item and I am always excited to see in included in the breakfast menu.

Cafe 1228 offers a different kind of bacon compared to those I encounter in other breakfast buffets. Theirs is a thicker and leaner version, so you get more meat than fat. I like this version a lot since I don’t have to feel too guilty when eating it.

The Pancake and Waffle Station is a good place to finish breakfast with their customizeable waffles that you can sprinkle and douse with unlimited strawberries, syrup, and whipped cream.

But if you want a bit of privacy and exclusivity during breakfast, then just head straight to the Residence Club Living Room where they will prepare an a la carte breakfast just for you. Breads, hams, salads, and cheeses are also on display at the buffet table but your main course will be made upon order.

Since we had our buffet breakfast a bit early, we decided to have a second breakfast at the Residence Club Living Room which is available until 11:00am. We ordered the Minute Steak, a thin-cut rib eye roll steak with caramelized onions and scrambled egg. This served as our early lunch and we enjoyed it with hot chocolate.

The best thing about our Valentine’s staycation is that we could ask for late check-out all the way until 4:00pm, depending on availability. We were in luck, because our overnight stay turned out to be almost two whole days of fun activities and gastronomic dining adventures. Our visits to New World Makati are always memorable, so I’m sure we will be spending many more special occasions here at one of our favorite Makati hotels.

NEW WORLD MAKATI HOTEL

Esperanza Street corner Makati Avenue, Ayala Center, Makati City

8811-6888

www.newworldhotels.com/manila

www.facebook.com/NewWorldMakatiHotel

#NewWorldMakati #NewWorldHotels #ValetinesDay #Staycation #Makati #Cafe1228 #ResidenceClub #Suite

[shehab]

That said, there is plenty of Pop 2.0 in Rihanna, the most modern of all pop singers. She is fluid — a singer, a rapper, a toaster — equally comfortable with R&B ballads, EDM thumpers and dance hall slither. And there is flexibility in Beyoncé, too; her rapping on “Everything Is Love,” her collaborative album with Jay-Z this year, was impressive, but she is such a ferocious singer that anytime she veers from that, it feels like only a dalliance.

How a New Kind of Pop Star Stormed 2018

[uneminuteparseconde]

Des concerts à Paris et autour

Août 09. Paul Seul + Daoud + December + Détresse collée + Oko + Pute-Acier + Tropical Horses + Sentimental Rave (Qui embrouille qui) – La Station 10. Bajram Bili + Dimitri Rivière + Donarra + Elen Huynh + Harshlove + Jardin + Marylou + Myako + Netsh + Security + Théo Muller + Verset Zero (Qui embrouille qui) – La Station 11. AZF + Bracco + Dentelle + Les Fils de Jacob + Forme étrangère + Teknomom + Hasar De Doria + The Driver + Puzupuzu + Romain de Ferron + Aubry + Betty + Graal + Marcorosso + Mermaid Express + Nathan Zehef + Peev + Sina + Soul Edifice + Von Bikräv + Waldman... (Qui embrouille qui) – La Station 11. Dj Varsovie + Blndr + Illnurse b2b Panzer + Paulie Jan + Blind Delon + Verset Zero – La plage de Glazart 14. Chrysalide – Le Klub 20. Front Line Assembly + Die Krupps – La Machine 24. Fatamorgana + Cyclikweetos – Le Klub 24. Anastasia Kristensen (dj) + Black Merlin (dj) + Scratch Massive (dj) + Drame (Station électronique) – La Station 24. Blush Response + Codex Empire + Sarin + Melania + Philipp Strobel – tba 24. Die Antwood + Carpenter Brut + Dirty Projectors + Parcels... (fest. Rock-en-Seine) – Domaine de Saint-Cloud 25. Nordkapp + Rape & Revenge + Mecano Lacrymo – L'International (gratuit) 25. Awesome Tapes From Africa – Petit Bain 26. L'Ocelle mare + Sholto Dobie – musée sans bâtiment|40, rue Denis-Papin (Pantin) (gratuit) 26. Samuel Kerridge + Claro Intelecto + Ploy (Station électronique) – La Station 26. Jessica 93 + Idles + The Black Angels + Bonobo + Justice... (fest. Rock-en-Seine) – Domaine de Saint-Cloud 28. A Place To Bury Strangers + Entracte Twist – Petit Bain 30. Francky Goes To Pointe-à-Pitre + Tonnerre – Supersonic (gratuit) 31. Boys Noize + Randomer + Kris Baha + Lokier – Docks Eiffel 31. Kontravoid + BadBad + Froe Char – Espace B 31. Acid Mothers Temple + Bambara (Le Beau festival off) – Glazart

Septembre 01. Sholto Dobie – Cneai (Pantin) (gratuit) 01. Lilthics + Fiasco + Mamiedaragon – Espace B 01. Ropoporose + Eskimo – Olympic café 01. Ariel Pink + Vox Low + Cut Worms + Volage + TH da Freak (Paris Inter. Fest. of Psychedelic Music) – La Machine 02/03. Molly Nilsson + Petit Fantôme + Dead Sea + Faux Real + Saint DX... (Paris Inter. Fest. of Psychedelic Music) – tba 04. Thee Oh Sees +  Male Gaze + Prettiest Eyes (Paris Inter. Fest. of Psychedelic Music) – La Cigale 05. Jean-Luc Guionnet & James Rushford – Cneai (Pantin) (gratuit) 05. Feist – L'Olympia 06. Jean-Luc Guionnet & Anna Gaïotti – Cneai (Pantin) (gratuit) 06. Amelie Lens – Rex Club 07. Conflict + Humandogfood + Social Experiment – Le Gibus 07. Astrid Gnosis + Myss Keta + MLML + Bonnie + AJa + Sentimental Rave + Mechanical Heaven + Deeat Palace (Comme nous brûlons fest.) – La Station 08. Bisou de Saddam + Ex Mio – Zorba (gratuit) 08. Jean-Luc Guionnet &  Jason Kahn – Cneai (Pantin) (gratuit) 08. Lyzza + Countess Malaise + La Chasse + BadBad (Comme nous brûlons fest.) – La Station 08. Death Grips – Elysées Montmartre 09. Rrose + Gael Segalen + Rose Mercie + Elen Huynh (Comme nous brûlons fest.) – La Station 11. Sete Star Sept + Brutal Blues + Claude – Instants chavirés (Montreuil) 12. Matt Elliott & Vacarme + Lucas Ravinale & Loup Uberto – Centre Barbara-FGO 12. Delgres + Dan Stock + Poppy Ackroyd – La Maroquinerie 13. The Oscillation + Lumerians – Petit Bain 14. Qual – Supersonic 14. Dylan Carlson – Instants chavirés (Montreuil) 15. Monolith + Hypnoskull + Empusae + Meta Meat + Diaphane (fest. de la musique electro-industrielle) – Petit Bain 16. Jean-Luc Guionnet & Seijiro Murayama + Eve Aboulkheir + Jules Négrier + Max-Louis Raugel – Cnap (Pantin) (gratuit) 19. Fumo Nero + Chafouin + Siren's Carcass – Cirque électrique 20. The Brian Jonestown Massacre – La Cigale 20. Jean-Philippe Gross + Franz Hautzinger + Jealousy Party (fest. Crak) – église Saint-Merry 21. Chris Abrahams + Tarawangsawelas + Low Jack (fest. Crak) – église Saint-Merry 21. Crisis + Plomb – Petit Bain 22. Eve Aboulkheir + Prune Bécheau + Jean-Luc Guionnet + Muddersten + Ingar Zach – Cneai (Pantin) 22. On Ceim & Le UN ensemble : "Time Elleipsis" + Le UN ensemble : "Unkino" (fest. Crak) – église Saint-Merry 22. The Wedding Present – Point FMR 22. Zëro, Virigine Despentes & Béatrice Dalle – Auditorium du théâtre (Chelles) 22. Paula Temple + LSD + Tommy FourSeven... (Dream Nation fest.) – Docks de Paris (Aubervilliers) 23. Spiritualized – Cabaret sauvage 24. Holy Esque + Jaguwar – Supersonic (gratuit) 24. Oneohtrix Point Never (Red Bull Music fest.) – Le 104 26. Sleaford Mods + Consumer Electronics – Le Trianon 26. Chassol + Thomas de Pourquery + Flavien Berger + Jacques + Ala.Ni + Quentin Rollet + Gaspar Claus + Jocelyn Mienniel + Low Jack + Lucie Antunes + Christine Ott + Serafina Steer + Ghedalia Tazartes + Mathieu Edward + Mélissa Laveaux (Red Bull Music fest.) – Cabaret sauvage 27. Part Chimp – Espace B 27. Yuzo Koshiro & Motohiro Kawashima + Kode9 & Koji Morimoto + Oklou & Krampf + Teki Latex & DITC + Konx-Om-Pax (Red Bull Music fest.) – Gaîté lyrique 27. Scratch Massive – croisières électroniques 28. Rebeka Warrior – La Station 28. La Mverte + Markus Gibb – La Java 29. Terry Riley & Gyan Riley – La Maroquinerie 29. Aurora Halal + Roberto Succo + Elena Colombi + Jasss + Nihiloxica + Front de cadeaux + Julianna + Oko dj + Miley Serious + Jita Sensation (Red Bull Music fest.) – La Station 29. Bleib Modern – Olympic café 30. King Dude + Kaelan Mikla + The Dark Red Seed – Petit Bain 30. Eryck Abecassis & Francisco Meirino (fest. Maad in 93) – Instants chavirés (Montreuil)

Octobre 02. The Melvins – L'Alhambra 03. Maoupa Mazzocchetti + Opéra mort – Instants chavirés (Montreuil) 04. Jean-Louis Costes + Monte Verita : hommage à Daniel Johnston – Médiathèque musicale de Paris (gratuit) 04. Oiseaux-Tempête, Mondkopf & G. W. Sok + Princess Thailand – Centre Barbara-FGO 04. Ballaké Sissoko & Vincent Segal – La Seine musicale (Boulogne-Billancourt) 05. Clara De Asis + Simon Henocq & Jean-Sébastien Mariage + Farida Amadou, Olivier Benoît & Julien Desprez – Instants chavirés (Montreuil) 06. Melik Ohanian : perf. musicale autour de l'expo. d'Abdelkader Benchamma (Nuit blanche) – Collège des Bernardins (gratuit) 09. Bérangère Maximin + Brutter + Gosheven (Biennale Nemo) – Instants chavirés (Montreuil) 10. Richie Hawtin – Olympia 11. John Carpenter – Salle Pleyel 12/13. Les Négresses vertes – Cabaret sauvage 12. Thorofon + Control + Te/DIS – Les Voûtes 12. Les Ramoneurs de menhir vs SP32 – Gibus 12. Villejuif Undergournd + Le Réveil des tropiques + Casse Gueule – Théâtre d'Ivry 13. Françoiz Breut + David Fenech : hommage à Daniel Johnston – Médiathèque musicale de Paris (gratuit) 13. Low – La Gaîté lyrique 13. Aquaserge + Mohamed Lamouri + P.r2b – Théâtre d'Ivry 15. Lloyd Cole – Théâtre des Bouffes du Nord 15. The Necks – Instants chavirés (Montreuil) 17. Blurt – Espace b 17. Mark Morgan + La Race – Instants chavirés (Montreuil) 20. Tallinn Chamber Orchestra : Fratres, Cantus in memoriam Benjamin Britten, Adam's Lament, Salve Regina et Te Deum d'Arvo Pärt – Salle Pierre-Boulez|Philharmonie 20. Les Tétines noires + Dear Deer – Petit Bain 22. Dead Meadow – Petit Bain 24. Motorama – Petit Bain 25. Marissa Nadler – Point FMR 25. Fews – Olympic café 25. Cat Power – Trianon 26. Jon Hopkins – Trianon 27. Killing Joke – Cabaret sauvage 27. CAR + Sentimental Rave – Petit Bain 30. David Eugene Edwards & Alexander Hacke – La Maroquinerie 30. Mariachi & Maria Bertel + Rafael Toral – Instants chavirés (Montreuil) 31. Acid Mothers Temple (Le Beau fest. off) – Glazart 31. Phill Niblock & Thierry Madiot + Trio Grands Lacs – Instants chavirés (Montreuil)

Novembre 01. Elysian Fields – La Maroquinerie 01>03. Bon Iver + Fever Ray + Mac DeMarco + Blood Orange... (Pitchfork Music fest.) – Grande Halle de La Villette 02. Emma Ruth Rundle – Petit Bain 04. Peaches Christ Superstar – Cité de la musique|Philharmonie 05. Colin Stetson – Café de la danse 05. Echo & The Bunnymen – Bataclan 06. Soft Kill – Olympic café 08. Cold Cave – Petit Bain 13. Hot Snakes – Point FMR 13. MellaNoisEscape + Puts Mary – Petit Bain 14. Peter Murphy & David J jouent "In the Flat Fields" – Bataclan 15. Méryll Ampe + Emmanuelle Bouyer + Anne Flore Cabanis + Matthieu Crimersmois + Frédéric Mathevet + Colin Roche + Anton Mobin... (Extended Score #2) – Le Cube (Issy-lès-Moulineaux) 16. Parquet Courts – Elysées Montmartre 18. Ensemble Links : « Drumming » de Steve Reich – Cité de la musique|Philharmonie 21. The Breeders – Le Trianon 21. Lydia Lunch's Big Sexy Noise – Espace B 22. Scout Niblett – Petit Bain 22. Serge Teyssot-Gay, Christian Vialard & Éric Arlix : Hypogé – Le Cube (Issy-lès-Moulineaux) 23. Michael Nyman : "War Work: 8 Songs with Film" – Salle Pleyel 23. Ennio Morricone – Bercy Arena 27. Mudhoney – Trabendo 27. Etienne Jaumet – New Morning 28. Adult – Petit Bain 29. Interpol – Salle Pleyel 29. Esben & The Witch – Point FMR 29. CHDH + Mariachi + Lårs Akerlund + Sten Backman (fest. Bruits blancs) – Le Cube (Issy-lès-Moulineaux)

Décembre 01. Deux boules vanille (fest. Marathon!) – La Gaîté lyrique 02. Beak> – Café de la danse 06. The KVB + M!R!M – Badaboum 08. Père Ubu – Théâtre Berthelot (Montreuil) 09/10. Moriarty – Cité de la musique|Philharmonie 14. New Model Army – Trabendo 14. Hangman's Chair + Jessica93 + Revok – Les Cuizines (Chelles) 15. Gaspar Claus – Cité de la musique|Philharmonie 18. Drab Majesty – Point FMR

2019

Janvier 22. Emmanuelle Parrenin & Dominique Regref – La Ferme du Buisson (Noisiel) 26. Chloé – Elysée-Montmartre

Mars 20. Oomph! – La Machine 29. Perturbator – Le Trianon

Avril 14. Arnaud Rebotini joue la BO de "120 Battements par minute" – Cité de la musique|Philharmonie

Mai 17. Philip Glass : Études pour piano – Salle Pierre-Boulez|Philharmonie 18. Bruce Brubaker & Max Cooper : Glasstronica – Cité de la musique|Philharmonie

Juin 26. Magma – Salle Pierre-Boulez|Philharmonie

en gras : les derniers ajouts / in bold: the last news

#concerts à Paris #gigs in paris #paris gigs

[thequeenofqueens-blog]

Child Support Guidelines Reflect Modern Ideals

While many Utah family law guidelines are intended to account for the best interests of the child in a divorce case, many would argue that some policies have reflected and reinforced gender bias through the years. Slowly, however, the law may be catching up with contemporary principles, since there’s evidence to suggest that child support agreements established across the country increasingly have fathers receiving financial support from their exes.

Establishing child support payments is intended to account for the financial needs of children following divorce. As such, the process involves identifying the parent that was physically responsible for the kids the majority of the time during the marriage, while also recognizing the parent that provided for the household financially. Once it’s determined which party was the primary breadwinner prior to divorce, an appropriate support plan can be created. If you need help with this, you should contact us at Ascent Law, LLC.

Now that more mothers across the country are providing for their families financially as well as physically, child custody arrangements everywhere are reflecting the shift in family dynamics. In 2013, a Pew Research study found that single mothers were responsible for heading approximately 25 percent of American households. Beyond that, around 40 percent households were financially supported by mothers. That’s why more mothers than ever before are now responsible for paying child support.

Complementing statistics suggesting that mothers are taking on more financial responsibilities are figures pointing to the fact that more fathers are the primary caregivers in a family. Full or primary custody was awarded to fathers in around 16 percent of cases in 2011, and a large percentage of those cases resulted in the dads being granted child support.

Utah Courts Attempt To Restrict Divorce Coverage

No one can dispute that reality TV has become tremendously popular in recent years. And along with the rise of reality TV has come an increased interest in high-profile news events and coverage. Some argue that courtroom programming is little more than entertainment and spectacle for viewers, while others contend that providing the public with live courtroom coverage is an important educational tool. Now, the Utah judicial system is voicing where it stands on the issue of potentially allowing cameras in family law litigation.

The Utah State Judicial Council ruled last year to not only open state courtrooms to TV cameras but also allow everything from laptops to smart phones. Now, however, that very same council is attempting to restrict the use of video cameras in family law courtrooms across the state. The Council is proposing that the change in policy is intended to protect the rights of litigants, but others argue that discouraging the use of video cameras in divorce cases is counterproductive to encouraging public access and knowledge. The measure that the judicial Council is proposing would force individuals seeking to record family law proceedings to prove to the judge why they should be allowed, whereas judges currently have to justify why court proceedings should not be recorded.

One family law attorney that is especially interested in filming court cases recommended several measures to protect the privacy of litigants, but so far only one of his requests to videotape court proceedings have been granted by the court system.

Free Consultation with Child Support Lawyer

If you have a question about child support or if you need child custody or divorce help, please call Ascent Law at [phone]. We will aggressively fight for you.

Ascent Law LLC8833 S. Redwood Road, Suite CWest Jordan, Utah 84088 United StatesTelephone: [phone]

Ascent Law LLC

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Source: http://www.ascentlawfirm.com/child-support-guidelines-reflect-modern-ideals/

[disneyprincesspatrickstump]

Asset Protection with Swiss Banking

Swiss banking is a really fantastic way to protect your assets on many different levels. I am not referring to UBS and Credit Suisse, but protection in conjunction with your asset protection plan. We are moving assets when we are talking about Swiss banking to a Swiss bank inside of your asset protection trust. This is the ultimate layer of protection in your asset protection plan. Not every lawyer in Utah can tell you about these things, but at Ascent Law, we take your asset protection strategy seriously.

Swiss private banking gives you possession physically outside of the country and legal title outside of your asset protection plan. You have control, but your assets are not there to be grabbed. It also does something else which I’ve become very aware of and concerned with in the last four years and that’s the actual safety of the banks and institutions we hold out money in.

Institutional Risk

I sent out a letter at the end of last year stating my concern around institutional risk. Institutional risk means that the bank that you hold your money in is not there one day or is in bankruptcy and you can’t get your money immediately or your money at all. Five years ago banking failures was something you would talk about in the context of the past. Since modern banking, modern financing, and modern governments we haven’t had any banking failures to speak or and certainly nobody lost any money.

When 2008 came around people lost money. Lehman Brothers and Bear Stearns went under. Many people lost lots of money during this time and are only getting a fraction of their money back. Anything less than 100% is unacceptable. One of my main concerns about US banks is the tier 1 capital ratios. Switzerland solves this because their banking system is incredibly safe. Their tier 1 capital ratios are five times what we have in the United States. There’s personal liabilities of the partners and executives of the bank for customer’s money.

Common Questions About Swiss Bank Accounts

What’s the minimum to open up a Swiss bank account?

The minimum is one million dollars, although an account can be opened with half a million dollars if the bank is aware that it is a starting balance and the customer is going to be adding more.

Do you pay taxes on a Swiss account?

Many people think or have been told that they don’t pay taxes on something until you bring it back to the US, but the truth is because the United States has worldwide taxation, you pay taxes on all the money you earn worldwide. If you have your money in a Swiss bank and you don’t earn any dividend or interest you don’t pay any taxes, but if you do the Swiss bank will issue you a 1099 just like a US bank would.

How many different currencies can you hold in a Swiss bank account?

You can hold 22 different currencies in your Swiss account. This can be a combination of all the hard currencies around the world as well as just one or a few. You also have the luxury of holding individual physical things in your own segregated vault or box.

Although it’s very difficult for a US citizen to get a Swiss bank account, for our clients we still are able to. I recommend it because of the tremendous benefits that come with it.

Free Initial Consultation with an Asset Protection Lawyer

When you are ready to start your asset protection strategy, call Ascent Law for your free consultation [phone]. We want to help you.

Ascent Law LLC8833 S. Redwood Road, Suite CWest Jordan, Utah 84088 United StatesTelephone: [phone]

Ascent Law LLC

4.9 stars – based on 67 reviews

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Source: http://www.ascentlawfirm.com/asset-protection-with-swiss-banking/