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trevlad-sounds · 6 months

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Saturday 09 December Mixtape 403 “Night Rolls EXCLUSIVE”

Multi Genre, Downtempo, Ambient, Electroacoustic, Experimental Tuesdays & Saturdays. Support the artists and labels. Don't forget to tip so future shows can bloom.

Trevlad Sounds-Welcome in you wonderful listener 00:00

Gregg Kowalsky-Nights Move 00:31

Suzanne Ciani, Jonathan Fitoussi-Coral Reef 04:50

Drapizdat, Ито Кумаре-Сквозь Зазеркалье 09:03

Synthotherapy-It Takes A Long Time 12:25

Anantakara-Letting Go, Finding Light 16:57

Tarotplane-Descartes Camera 24:02

Thought Bubble-Devoider 27:31

Panama Fleets-Laguna Oscuramaru 33:43

Time Rival-Electronegative 38:24

Sven Wunder-Lunar Distance 43:50

Futuregrapher-Moog Meditation 3 47:45

F.U.S.E., Richie Hawtin-Nitedrive 56:40

Robohands-Jorge 59:50

Field Lines Cartographer-The Nest 1:03:01

Mary Lattimore, Roy Montgomery-Blender in a Blender 1:11:10

Subphotic-The Sitting Tree 1:17:18

36-Blow Out 1:24:15

Roy Werner-Late Chime 1:27:50

Actress-Chill ( h 2 ) 1:31:04

André 3000-The Slang Word P( )ssy Rolls Off The Tongue With Far Better Ease Than The Proper Word Vagina . Do You Agree 1:32:01

Burial Grid-The Woman Buried Beneath the Candle 1:44:04

Michael Brückner-Claudette 1:47:14

Survey Channel-Moss Tilt 1:54:36

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trevlad · 11 months

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Mixtape 330 “Initialize Tidal Memory”

2023-06-28

Electronica

Apologies for any artists I missed. I lost my show notes after I recorded the session.

Wednesdays, Fridays & Sundays. Support the artists and labels. Don't forget to tip so future shows can bloom.

Francesca Guccione-Utopia II-00:00

log(m) & Laraaji-Be As You Will Be-04:24

Paul Cousins-Relative Memory-07:40

Johnny Woods-Maze Of Time-10:44

Correlations-A STRANGE REOCURRENCE-17:24

Everyday Dust-Detached-22:32

Gribbles-Beautiful Cool-30:05

World Circuit-Tidal-33:50

Warm Binary-Initialize-38:58

Wings Of An Angel-Discover My Kafkaesque Ironic Cataclysms-39:50

Suryummy-Lenticular Glide-42:18

Benn Jordan-Planet Nine-46:50

Pollsign-Pre-Form-49:09

Plankton Wat-Evening Sky-57:40

Kosmischer Läufer-Unterwasser-1:01:50

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umusicians · 3 years

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Sparkwoods (feat. SK Nine & Monostrat) Releases Single “Slow Rewind”

Ottawa based producer and songwriter Sparkwoods has collaborated with SK Nine and Monostrat on a new single called “Slow Rewind”. “Slow Rewind” is a musical journey of our three artist minds coming together onto one, emotional track.

Stream/Download “Slow Rewind” here or listen below!

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#News #Sparkwoods #SK Nine #Monostrat #Slow Rewind #ktulu records #Music #Single

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rosysoulx · 3 years

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[ luke hemmings, cis male, twenty eight ] Let’s give a warm welcome to one of Sparkwood’s finest, MATTHIAS HELVER Before coming here, he once lived on the pages of SIX OF CROWS. Though now they currently spend most of their time as a SECURITY GUARD. If you ask the townsfolk about what they are like, you will hear that they are DEDICATED but also STERN. If they had a theme song it would be RAIN - GRANDSON. Let’s see how their story unravels this time.

full name: matthias benedict helvar

star sign: sagittarius

sexuality: bisexual

bio tws; mentions of weapons, home invasions, murder, drugs, false imprisonment.

matthias was born in raised in the outskirts of sparkwood the eldest child to his two parents. growing up, matthias had a fairly mundane yet pleasant childhood along with his younger sister. his parents were hardworking individuals who were more on the traditional side. the two instilled a strong work ethic into their children from birth yet still managed to show them kindness and love. matthias was particularly close to his father who constantly looked up to growing up. during his childhood he always worked in school, earning him good grades and got a job to help support his family. while life may have been normal for the eldest helvar child, things would drastically change for him and the rest of his family in an instant.

there had been an armed robbery that occurred only a couple of miles from his home. while running away from the cops a group of robbers took cover in his home, holding his family at gun point as they broke in. when his mother went to call 9/11 and his father attempted to fight them off the two of them were both shot. his mother was killed instantly and his father, fatally injured. with his last dying breathe he told matthias to run with his sister. doing just that he fled the scene, but not before the robbers got one last shot at his sister, wounding her in the process. the two of them managed to escape to a neighbor who called the ambulance who were able to rush him and his sister to the hospital. while he managed to come out of the ordeal virtually unscathed his little sister was not as lucky. despite the hospitals best effort to save her she succumbed to her injuries, leaving him all on his own.

what was even worse was that the robbers who were responsible for his family’s death were never found. he was quickly placed into foster care and aspired to achieve a career in law enforcement in an attempt to catch the criminals. at the age of seventeen he enrolled in the police academy and did exceptionally, driven towards his goal of vengeance but not without making a few enemies along the way. after pissing off a few too many fellow students at the police academy a group of other boys planted drugs on him. as soon as he was discovered he was expelled from the academy and sent to juvie where he spent several months. luckily since he was still a minor the charges didn’t show up on his permeant record. once he was released he moved away from his hometown to the town of sparkwood, far enough away from home to start new but still close enough so he can still try and seek justice.

he now works at the local mall as a security guard at a high end department store.

headcanons:

he has a low tolerance for stupidity and often gets annoyed easily but deep down he has a fairly caring heart and is loyal to his core.

is a dog person through and through he owns a pet husky

feels most at peace surrounded by nature and on his days off he enjoys hiking in the woods.

matthias is very distrusting of people he first meets and it usually takes him a while to warm up to people.

is extremely dedicated and driven, when he wants to do something he will set out and get it done at all costs.

#spark. intro

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tornminds · 3 years

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[ milo manheim, cis male, nineteen ] Let’s give a warm welcome to one of Sparkwood’s finest, ZED NECRODOPOLIS !! Before coming here, he once lived on the pages of ZOMBIES. Though now they currently spend most of their time as a STUDENT. If you ask the townsfolk about what they are like, you will hear that they are LOYAL but also DISTRACTED. If they had a theme song it would be NERVOUS - SHAWN MENDES. Let’s see how their story unravels this time.

zed was born to a pair of loving parents, a younger sister joining him before long. however, his mother experienced complications during birth and lost her life while his sister was the only one who could be saved. due to the sudden loss and being the only one to provide for his kids, zed’s father had to take on long hours at work. the neighborhood they lived in came together to help watch zed and his sister as they grew, the two jumping from house to house. they loved everyone and behaved the best that they could, always looking forward to when their father would come home from work every day. once zed was old enough, he began staying home and looked after his sister to save their neighbors the trouble.

due to his responsibilities at home, zed was never able to join the football team when he reached highschool. he’d always fantasized about playing, but had no time. and, when his sister was able to fully be independent without his supervision, he was already nearing the end of his school years. thankfully, he was able to try out for the team in university despite having no official records of having played in highschool. with natural talent and playing with the neighborhood kids, he was barely able to scrape by and get on the team. and, despite his fellow teammates disliking him for it, he’s having the best time of his life.

will make friends with just about anyone.

family is very important to him and he would sacrifice football all over again if it meant helping them.

bicurious and never been in a relationship.

kind of a mess, but in an endearing sense.

automatically assumes everyone likes him unless told or shown otherwise.

babysits sometimes to make some extra money.

#spark. intro #((zed bio))

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unlostx · 3 years

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[ son chaeyoung , female, 24 ] Let’s give a warm welcome to one of Sparkwood’s finest, !! Before coming here MUFFY “DUSK” ST JAMES SHE/HER once lived on the pages of SCOOBY DOO Though now they currently spend most of their time as a(n) MUSICIAN (DRUMMER OF THE HEX GIRLS). If you ask the townsfolk about what they are like, you will hear that they are CREATIVE but also ABRASIVE. If they had a theme song it would be SCREAM- DREAMCATCHER . Let’s see how their story unravels this time. [ nicole , 28, cst, she/her)

Dusk grew rather different than the persona she portrays today, most her life she didn’t really know who she really was for such a long time, her parents were rather rich and all about what people thought about not only their image but their only daughters. They tried to force her into a box and be a certain way, dressing her up as a doll and using her to make themselves look good, treating her more like an object than a daughter. But she began acting out because the more she acted out the more they stopped doting on her. High school it got even worse it was more than just disturbing classes, it was becoming her getting close to having a juvenile record.

But her saving grace where she was least expecting it, joining a band with her two friends was a good place to channel her anger and resentment towards her parents, at first it started off as a fun hobby after school but soon they won a music competition their senior year and Music labels noticed them the three of them were so excited, and for once Dusk was delusional enough to think her parents would be excited, but instead of their excitement they gave her an ultimatum, either go to college and major in what they wanted, or be cut off entirely and she didn’t have the heart to give up the dreams so she went with the latter and she hasn’t heard from them since. She changed her name to try and reinvent herself never answering to Muffy ever again feeling so much better being someone new then under her parents thumb.

Thankfully her bandmates were understanding and they all got a place together and honestly they loved and cared about her more than her own family, she could be herself, even if sometimes she was a little careless and reckless but they both kept her grounded and she was glad she took a risk to pursue her dreams with them and she wouldn’t have it any other way. With their music career growing they all tried to stay humble and real not letting the fame get to them that’s how they ended up in the small town of Sparkwood, Va so when their famous life got hectic they had a calm place to distress and be themselves.

#spark. intro #HC #bio: dusk

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uppersidedreams · 3 years

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[ vanessa kirby, genderfluid, thirty-three ] Let’s give a warm welcome to one of Sparkwood’s finest, SYLVIE LAUFEYDOTTIR !! Before coming here, she once lived on the pages of MARVEL COMICS. Though now they currently spend most of their time as a SOCIALITE. If you ask the townsfolk about what they are like, you will hear that they are HEDONISTIC but also UNTRUSTWORTHY. If they had a theme song it would be VENOM - LITTLE SIMZ.

you can find the rest of my muses here !

trigger warnings: n/a.

abandoned at a young age by her biological parents along with her brother, sylvie was adopted into an extremely wealthy family that lived within sparkwood, virginia. her and her brother becoming additions to the family was a cohesive process, their adoptive parents planning to pass them off as biological until they were older and could break the news to them in a more delicate fashion. ultimately, they believed it would be the easiest thing for everyone involved and had zero ill-intent. sylvie grew up alongside one other brother and sister. when she was about ten years old, she was snooping around in their spacious home’s attic when she uncovered the adoption records of herself and her brother. she ended up keeping this information to herself, not wanting to hurt her brother with the truth. but it wasn’t long before this began to eat away at the girl, causing her to question a lot of things about herself and where she truly belonged.

she started having vivid nightmares about a world where her parents didn’t exist or she was forcibly taken away from them, exhaustion plaguing her. between her taking on the burden of carrying the secret of her adoption and these night terrors, she began to act out. it started as simple fits to full blown-fights with her other siblings. that’s when her parents decided to enroll her in the sparkwood institute where she spent the rest of her school-age years. she never quite fit in at the school despite her aptitude in almost every subject. it was as if she always found a way to make herself the outlier in every situation, never allowing herself to get too close to anyone due to her major trust issues. aside from this, she rarely ever saw her family while she was enrolled in the institute. they used to be her lifeline, but she began to slowly separate herself from them over the years. this included her choosing to remain at the school during holiday breaks rather than return home.

by the time she graduated, she was a completely different person. in some people’s eyes, this might have been for the better considering she was becoming a more authentic version of herself. but in the process, she was shutting everyone out of her life out. she decided to attend university where she majored in business and began to build up her empire, making a name for herself. she even ended up changing her full name, her surname reflecting her true family. with plenty of wealth to spend, sylvie stepped away from the business world after a few years and decided to spend her time thriving as a socialite. she would spend most of her time working behind the scenes of her business while going to countless parties, using networking as an excuse. although, despite the excitement that her life held for her, she found very little true joy anymore.

HEADCANONS.

sylvie identifies as genderfluid (amab) and ended up medically transitioning when she was eighteen years old. she prefers she / her pronouns, but will also occasionally use they / them pronouns.

she is bisexual and biromantic.

still has major trust issues and never allows herself to get close to anyone, but she does have a lot of random one-night stands in order to fill the gap that she feels inside of herself.

has expensive tastes and likes to subtly flash her wealth, mostly through the designer brand clothing that lines her closet.

still removed from her adoptive family aside from her biological brother.

not trustworthy whatsoever. not only is she an expert liar, she’s rather good at manipulating others when it comes to getting something she desires.

considering she spends a lot of her time partying and partaking in hedonistic behaviors, it’s important to know that she’s a giggly flirtatious drunk.

TOTAL GOD COMPLEX.

#spark. intro

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lavieenpapier · 3 years

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[ Nhung Hong , cisfemale, twenty ] Let’s give a warm welcome to one of Sparkwood’s finest, JANE TURNER !! Before coming here, SHE once lived on the pages of WILL GRAYSON, WILL GRAYSON. Though now they currently spend most of their time as a BIOLOGY STUDENT / RECORD STORE CLERK. If you ask the townsfolk about what they are like, you will hear that they are PASSIONATE but also PASSIVE. If they had a theme song it would be OH SISTER - NEUTRAL MILK HOTEL. Let’s see how their story unravels this time.

jane turner. nini. twenty. she/her. demisexual. / daughter of two very successful doctors in town. her father was adopted by an american family, her mother a first generation immigrant. can come off a little pretentious, tending to judge people on their interests or personalities if they’re worth her time or not. may come off a little aloof. but she is very obviously passionate about music, with notebooks filled with songs she made, and endless playlists for almost any specific moment. works at the record store even though barely anyone comes in. she likes being left alone for the most part unless she actually is interested in someone. taking biology to appease her parents ang generally get the off of her back. doesn’t know how long she’ll last but she’s pretty good at not changing lanes because she gets comfortable.

#spark. intro

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sunsummoneds · 3 years

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you can find the rest of my muses here !

trigger warnings: n/a.

HEADCANONS.

sylvie identifies as genderfluid (amab) and ended up medically transitioning when she was eighteen years old. she prefers she / her pronouns, but will also occasionally use they / them pronouns.

she is bisexual and biromantic.

still has major trust issues and never allows herself to get close to anyone, but she does have a lot of random one-night stands in order to fill the gap that she feels inside of herself.

has expensive tastes and likes to subtly flash her wealth, mostly through the designer brand clothing that lines her closet.

still removed from her adoptive family aside from her biological brother.

not trustworthy whatsoever. not only is she an expert liar, she’s rather good at manipulating others when it comes to getting something she desires.

considering she spends a lot of her time partying and partaking in hedonistic behaviors, it’s important to know that she’s a giggly flirtatious drunk.

TOTAL GOD COMPLEX.

#spark. intro

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dustedmagazine · 4 years

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Dust Volume 6, Number 9

New Bomb Turks

Late summer in the oddest year in memory, and we are still, improbably, deluged by music. The world, it seems, will go out with a bang and a whimper and a steady four-on-the-floor, and we at Dusted expect to have headphones on when it all blows to smithereens. This month’s Dust covers the usual gamut, from milestone ambient reissues to several varieties of improvised jazz, from eerie folk to honest punk rock, from surprising debuts to unlooked for but welcome re-emergences. Two hurricanes, a hinged and unhinged convention, wildfires, confusing hybrid school plans and scorching days won’t stop us, and they shouldn’t stop you either. Some days music is the only thing that makes sense. Listen along with Ian Mathers, Bill Meyer, Tim Clarke, Jennifer Kelly, Justin Cober-Lake, Andrew Forell, Ray Garraty, Nate Knaebel, Jonathan Shaw, Ian Forsythe and Patrick Masterson.

Aix Em Klemm — Aix Em Klemm (Kranky)

Aix Em Klemm by Aix Em Klemm

If there’s one word that probably applies to most fans of Stars of the Lid and its many peers and offshoots, it might just be “patient.” Which means the fact that Aix Em Klemm, the so-far one-off duo between SotL’s Adam Wiltzie and Labradford/Anjou’s Robert Donne, put out this stunning record just under 20 years ago and haven’t followed it up yet is probably regarded more as unfortunate than maddening. With Kranky issuing Aix Em Klemm on vinyl for the first time, though, and even saying of the duo “they still collaborate musically so new Aix Em Klemm recordings remain a possibility,” it’s a perfect time to both appreciate what they did actually give us and maybe just gently lament that there hasn’t been any follow up (yet?). From the reserved vocals that introduce “The Girl With the Flesh Colored Crayon” before it ebbs into beautifully reassuring drones, to the closing, improv-ed highlight “Sparkwood and Twentyone” (written and recorded on the day, after a year or more of trading tapes and mulling a collaboration), Aix Em Klemm stakes out its own unique place in the oeuvres of its creators and its transporting enough that a little over 40 minutes never feels like enough. Still, we can wait for more.

Ian Mathers

Lina Allemano’s Ohrenschmaus — Rats and Mice (Lumo)

Rats and Mice by Lina Allemano's Ohrenschmaus

Pop the word Ohrenschmaus into a translator program and you’ll find that it’s German for “ear candy.” The choice of language makes sense, since the name applies to Canadian trumpeter Lina Allemano’s Berlin-based trio. But the imagery breaks down, since the music that she, electric bassist Dan Peter Sundland and drummer Michael Griener play isn’t sweet and easy. Allemano’s compositions are concentrated, full of events that are involving to follow and demanding to negotiate. One might expect the group’s configuration to leave plenty of room, but between the contrasting written events and the enthusiastic elaborations that the players work upon them, this music does not feel spacious at all. Griener shifts between skin and metal surfaces, and Sundland detonates flurries of activity, but the busyness of their activity never seems gratuitous. No, it’s just the thing to amplify the eventfulness of their leader’s fluent and wide-ranging playing.

Bill Meyer

Jaye Bartell — Kokomo (Radiator Music)

Kokomo by Jaye Bartell

2016 Light Enough introduced me to Jaye Bartell’s pleasingly deep and measured vocal delivery and his elegant way with a tune, reminiscent of Leonard Cohen or M. Ward. There and on this new album, his words have the precision and droll humor of a writer sharply aware of the impact of a well-turned phrase. Kokomo takes its title from the faintly ridiculous and pathologically catchy Beach Boys song featured in the soundtrack to Cocktail. Bartell posits here that too often we live trying to bridge the gulf between our dreams and reality — and how tragi-comic this can be. Tellingly, Bartell’s music is sober and deftly played, but with a lightness to its step and a glint in its eye. (Look no further than the lovely, lilting “Sky Diver,” with its brushed drums and harpsichord.) He’s a smart, reassuring companion, someone who has gone the extra mile for his craft and doesn’t see the need to jump through hoops to catch your attention.

Tim Clarke

Kath Bloom—Bye Bye These Are the Days (Dear Life Records)

Bye Bye These Are The Days by Kath Bloom

You might know Kath Bloom from her 1980s work with Loren Mazzacane Connors or from her spectral “Come Here” featured prominently in the 1995 film “Before Sunrise.” Her high flickering soprano, fluted with vibrato, is instantly recognizable, grounded in down-to-earth folk music, but tinged with otherworldly spiritual resonance. And oddly, her voice hasn’t changed much over the years. Up to last year (before the world fell apart), she was still performing periodically in Connecticut and Western Massachusetts, and now we have a new record from her, some 40 years past her Daggett Records debut. Here, her songs are gently shaped around her distinctive voice and twining dual guitars (she plays with fellow Connecticut musician Dave Shapiro of Alexander), yet not soft. They have a wiry idiosyncracy and a resistance to cliché, and the way the guitars work together is rather lovely. I like “When Your House Is Burning,” a song where the central metaphor—a burning house—is so precisely described that it may not be a metaphor at all, not a stand-in for musings on the value of connection, the fleetingness of stuff, but the thing itself. Bloom adds harmonica for the pensive “How Do You Survive,” a song about aging with grace and humor, and in her worn-in voices, the melody stretches out like spider web, transparent but nonetheless very strong.

Jennifer Kelly

Catholic Guilt — This Is What Honesty Sounds Like (Wiretap)

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Catholic Guilt really want us to get their honesty (there's no irony in the new EP's title This Is What Honesty Sounds Like). Authenticity has long been a vaunted (or derided) element of pop music, but the Melbourne-based quintet aren't posturing. They deliver straightforward rock with straightforward thinking, but that doesn't mean the music's easy. The group looks at the world with a mix of dismay and hope, as if they recognize that life is difficult but we don't have to let it kill us. The new EP leans into pop-punk, letting the upbeat approach direct the energy of the two standout tracks. “A Boutique Affair” looks at the challenges of increasing isolation as we age: “It's hard to make friends in your 20s / It's even harder to make 'em in your 30s / At this point I'm really dreading / The thought of making it to my 40s.” Vocalist Brenton Harris might wonder why we should bother growing, but he's determined to age loudly. Single “The Awful Truth” turns its pop guitars into rage as it looks at the sex abuse scandal in the Catholic church. By the time Harris says, “I can't wait to watch you burn,” it's clear that the truth may be awful, but at least it's honest.

Justin Cober-Lake

Cutout — Cutout (Driff)

Cutout by Jorrit Dijkstra, Jeb Bishop, Pandelis Karayorgis, Nate McBride, Luther Gray

The name Cutout implies removal, but that won’t get you very far in understanding this Boston-based jazz quintet’s music. Quite the contrary, Cutout’s performance dynamic involves judicious addition by a group of musicians who have made a long-term commitment to playing together. Alto and soprano saxophonist Jorrit Dijkstra and pianist Pandelis Karayorgis have been business and creative partners for years. They are the co-operators of Driff Records, all of whose releases feature one or both musicians, and they have shared several ensembles, including the large band Bathysphere, the Steve Lacy-themed Whammies, and Cutout. Trombonist Jeb Bishop, bassist Nate McBride, and Luther Gray often show up in these groups, and their smooth execution of sharp corners and sudden turnarounds reflects their shared understanding. What distinguishes Cutout from their other bands is the way they bring material by all five members into the set. Some of this album’s six tracks are single compositions, but others are sequential suites joined by improvisations. There’s plenty of dynamite soloing at work here, but the most intriguing turns come when one of the players elegantly links a couple of his bandmates’ compositions.

Bill Meyer

Tim Daisy & Ken Vandermark — Consequent Duos: series 2a (Audiographic)

Consequent Duos: series 2a by Tim Daisy & Ken Vandermark

Ken Vandermark is a notoriously busy guy; in any ordinary year, the multi-reedist logs an extraordinary number of miles traveled, gigs played, records released and musical partners engaged. This 75-minute long recording braids together three threads of inquiry. It inaugurates the second volume of Consequent Duos, a shelf-full of improvised duos played in North America, mostly with Americans. And as with the other volumes of series 2a, it is a download-only release, part of a sequence of album-length recordings that may not be deemed to be major efforts, but that nonetheless don’t deserve to be filed away forever on some hard drive. Finally, it shares one night in Vandermark’s two decades and counting relationship with drummer Tim Daisy. It takes about ten seconds of any random selection from this concert recording, which preserves what went down one Sunday night in August 2011, to hear why these guys keep working together. The trust and empathy forged by playing literally hundreds of concerts together manifests in music that feels effortless, no matter how technically demanding it actually is. Whether it is the sound of drums being played at a galloping pace with the lightness of knitting needles while the baritone sax pops and roars eruptive masses of sound, or the bass clarinet leaping and trilling with joyous abandon while the percussion swings with dance beats that could get you arrested in certain countries, these guys know just how to make each other sound really good.

Bill Meyer

The Dillards — Old Road New Again (Pinecastle)

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The Dillards' influence on popular music outstrips their own fame (they might even be as well remembered for appearing on The Andy Griffith Show as they are for their proper recordings). The group became an important part of the development of country-rock, especially as they expanded the possible sounds of bluegrass. Nearly 60 years after their first release, they return with Old Road New Again. Only Rodney Dillard (sounding younger than his age) remains from the initial lineup, but he brings along a number of guests to fill out his act. Don Henley appears, and if “My Last Sunset” drifts into Eagles territory, that's no surprise, but Ricky Skaggs, Sam Bush, and others prove the act has plenty of flexibility left in it, whether cutting an original or reworking a classic like “Save the Last Dance.” The album winds down with “This Old Road” and a recounting of some musical history through playful allusion. Even as Dillard looks back, though, he thinks about new ways to push forward. Although the record could work just as reminiscence, the artists show more interest in what comes next.

Justin Cober-Lake

Fire! Orchestra / Krzysztof Penderecki — Actions (Rune Grammofon)

Rune Grammofon · Fire! Orchestra - Actions (excerpt)

The Fire! Orchestra is not so much Swedish saxophonist Mats Gustafsson’s big band as his big house, the place where he can bring his myriad interests together and invite them to interact. They have already taken on free jazz, krautrock and abstracted songcraft, so why not one of the earliest documents of post-third stream classical-jazz interaction? Polish composer Krzysztof Penderecki originally composed Actions for Free Jazz Orchestra after hearing the Globe Unity Orchestra and handed it off to trumpeter Don Cherry to realize its first performance in 1971. Cherry’s imprint upon Gustafsson is deep; where do you think his long-running trio, The Thing, got its name? But this is no mere recreation. Some of Fire! Orchestra’s members weren’t even alive when the first version was performed, so the task is to find a way of playing the piece that makes sense now. So, they stretch things out, letting passages evolve organically. Special credit is due to the three-piece, whose contributions melt and glow.

Bill Meyer

Ganser — Just Look At That Sky (felte)

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Chicago quartet Ganser explores the bewilderment, claustrophobia and anxiety induced paranoia of the times on their latest album Just Look At That Sky. Brian Cundiff’s lockstep drumming anchors the record as Charlie Landsman whips out driving chords and intricate riffs that summon touchstones like Ian MacKaye, Thurston Moore and Rowland S Howard and push the songs to the edge of control. Spiky, equally detached and declamatory, Alicia Gaines (bass) and Nadia Garofalo (keyboards) share vocal duties working inside the kinetic rhythms to explore an interior world reactive to circumstance but seeking paths forward.

Centerpiece “Emergency Equipment and Exits” demonstrates what the band can do when they stretch out and build layers of dread; Cundiff and Gaines drop into a propulsive groove as Gaines sings of parties past and now lost to the new reality: “Swallowing negative space/Like DB Cooper falling/Until I too am nothing/And it all seemed so big.” The tempo drops, a lonely keyboard riff, the song builds as Gaines intones “It’s a long way down” and Landsman’s guitar howls into the ether. The combination of exhilaration and enervation encapsulates the power that makes Ganser stand out amongst their peers working at similar intersections of post punk and art noise.

Andrew Forell

Godcaster — Long Haired Locusts (Ramp Local)

Long Haired Locusts by Godcaster

Possibly it’s the pandemic, though the trend seems to predate early 2020, but we have not heard a lot of over-stuffed, over-instrumented, over-the-top art-prog ensemblery lately. Godcaster, from Philly, busts the one-guitarist-on-the-couch paradigm wide open in this manic, Zappa-esque adventure. First of all, there are half a dozen musicians, augmenting the usual bass/drums/guitar with outre axes like flute, trombone and a variety of synthesized keyboards. All six of them lock into wiggy, hyper funky overdrive in opening salvo “Even Your Blood is Electric.” It’s a righteous groove, a tight and feisty disco extravanganza that mutated in the lab, but that sells it short and blurs the complications. Other cuts take the temperature down, but not the oddity. “Apparition of Mother Mary in My Neighborhood” feels like an almost pop song, though conceptualized by a 12-tone composer and interpreted in odd-numbered time signatures. Long Haired Locusts is too precise and earnest to be a gag, but an anarchist sense of humor pops up, as in the single “Don’t Make Stevie Wonder Wonder,” a Curlew-ish irregular jam punctuated with jump-rope chants. All these cuts have a lot of moving parts, a sense of play and a manic attention to detail, and if you’re sick of sad folksinger live streams, Godcaster could be just what you’re looking for.

Jennifer Kelly

Haptic — Uncollected Works (2005-2010) (Haptic)

Uncollected Works (2005-2010) by Haptic

Haptic is best characterized as a Chicago combo. Even though one or another of its members has lived out of town for roughly a third of their existence, the influence that such a situation has on their work’s pace only confirms that they are a band that needs to share space to get much done. The recordings on this DL-only collection of compilation contributions and curios dates from the first third of their existence, when Steven Hess, Joseph Clayton Mills, and Adam Sonderberg got together on a weekly basis. Heard end to end, these tracks don’t sound much alike. But whether the project at hand is framing a few piano noises with collected sounds, stretching out a bell’s toll, or patiently exploring the potential of signal corps training jazz, it sounds like the work of a common understanding about how sound can be molded and reframed.

Bill Meyer

Boldy James — The Versace Tape (Griselda Records)

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On his third album this year, Boldy James pairs up with Jay Versace, but despite a change in producers, there is little to distinguish the three tapes. After a long hiatus Boldy churns out music to flood the market, and every new tape causes head-scratching. Was it necessary to release this? As a stone cold pro, Boldy never repeats himself. He also never says anything new. His blueprint is all business talk with designer names splashed here and there: “First come, first serve, first through the third, no dealings \ Mama, I apologize, ain't mean to hurt your feelings.” When he steers towards Mafia references in his songs he sounds a bit archaic (but he already sounded retro when he first started in early 2010s). On The Versace Tape, as always, he raps like he’s not giving us the whole picture. He’s holding back, but maybe what’s left unsaid is the best part.

Ray Garraty

Madeline Kenney — Sucker’s Lunch (Carpark)

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How big can a pop song go? This Oakland songwriter’s third full-length is boundlessly expansive without being particularly loud, the choruses swelling effortlessly, like a soap bubble blown to the size of your head. Kenney worked with Wye Oak’s Jenn Wasner and Andy Stack to produce Sucker’s Lunch and taps Lambchop’s Kurt Wagner, Boy Scout’s Taylor Vick and film composer Stephen Steinbrink for vocals. “Tell You Everything” is translucently gorgeous, layers of guitars, drum, percussion and saxophone shifting in iridescent patterns that never overwhelm its sleepy vocals. “Jenny” increases the friction, with a hard beat, surging synths and shoe-gazey gloss on the guitars, but sweetness in the vocals. Kenney’s subject matter is love and its complications, but she ends the disc in “Sweet Coffee” with a lucid purity. “I’m making coffee,” she croons in a breathy voice out of dreams, “Won’t you sit with me?” Sure, let me pull up a chair.

Jennifer Kelly

Josh Kimbrough — Slither, Soar and Disappear (Tompkins Square)

Slither, Soar & Disappear by Josh Kimbrough

Writing an album in the spaces around an infant’s schedule is a delicate business, but Josh Kimbrough managed it quite well on this lovely album. His finger-picked rambles unfold like the slip-sliding time in a baby’s first year, a tumble of frantic activity interspersed with quiet, contemplative intervals. Kimbrough, a veteran of the North Carolina-based Trekky Collective, plays softly but with precision on acoustic solo pieces like “Sunbathing Water Snake” and “Giant Leopard Moth,” but his work really takes on warmth and resonance when he invites collaborators into his quiet, sunlit world. Blues-flecked “Two-thirds of a Snowman” gains an eerie glow from Andrew Marlin’s mandolin, which echoes Kimbrough’s licks in an upper register like the light hitting a shadowy corner. A sustained synth note in “Glowing Treetops” glitters like the surface of a pond—that’s Jeff Crawford of the Dead Tongues, who also play some bass—while gentle bent guitar notes zing like mosquitoes off its clear, cool liquid surface. Bobby Britt loops lush fiddle flourishes around this and other Kimbrough melodies; a rich, subtle blend of string timbres enlivens many of these tracks. The natural world also makes its appearance as well, most prominently in weather-haunted “The Shape of the Wind Is a Tree,” though the album’s light, clean tone throughout is like an open window. And yet despite multiple intermeshing elements, the album works very gently, light and soft enough not to wake a sleeping little one. “Simon’s Lullaby,” near the end, is beautifully communal, supporting Kimbrough’s clear, pensive guitar with the reassuring throb of cello, the bright promise of flute. Much of child raising is a solitary process, but Kimbrough’s meditation on it is not.

Jennifer Kelly

Kimmig-Studer-Zimmerlin And George Lewis— Kimmig-Studer-Zimmerlin And George Lewis (Ezz-thetics)

Violinist Harald Kimmig, cellist Alfed Zimmerlin and double bassist Daniel Studer have been mapping out the possibilities of extra-idiomatic improvisation since 2009. They favor juxtapositions of raw and refined timbre, and in their roiling web of activity, the quicker a gesture passes, the more impact it seems to have. The Middle European trio matches up well with American trombonist/electronicist George Lewis, who is likewise devoted to making music spontaneously and unbounded by genre prescriptions or proscriptions. There are passages where it sounds like the four musicians have transcribed muttering and stifled laughter into musical activity. This incomprehensible vocal quality proves magnetic, drawing the listener ever deeper into the fray. While some might object to “chatty” improvisation, in this company, it’s a virtue.

Bill Meyer

Matmos — The Consuming Flame: Open Exercises in Group Form (Thrill Jockey)

The Consuming Flame: Open Exercises in Group Form by Matmos

Given the vigor with which Drew Daniel and MC Schmidt approach all of their work, it’s surprising to find Matmos’s new album, The Consuming Flame, to be somewhat lacking in cohesion. Like many of their previous releases there is a unifying concept — in this case, they corralled musical contributions recorded at 99bpm from 99 contributors — but it feels like the creative limitations they imposed on this project weren’t quite stringent enough. Inevitably, given the wide range of contributors (including Oneohtrix Point Never, Yo La Tengo and Mouse On Mars) and Matmos’s formidable technical virtuosity, there are plenty of satisfying passages that feature inventive vocal cut-ups, ear-catching beats and playful juxtapositions, but the presentation of these ideas within three continuous hour-long collages makes it hard to sift the gold as the music flows past. Bizarrely, the album’s presentation on Spotify is more listener-friendly, with each of the three discs broken down into digestible tracks that can be easily trimmed from the bigger picture to assemble your own collage of favorites.

Tim Clarke

Meridian Brothers — Cumbia Siglo XXI (Bongo Joe)

Cumbia Siglo XXI by Meridian Brothers

Eblis Alvarez, the sole musician behind the long-running Colombian space roots experiment known as Meridian Brothers, takes inspiration from like-minded predecessors in Cumbia Siglo XX for this electro-shocked take on coastal cumbia. Eerie blasts of jet-set synthesizer, buzzing funk bass and video game bleeps and bloops haunt the clip-clopping rhythms of these mad ditties. It’s like a Star Wars space port built on the verge of primitive villages, donkey tails swatting flies while lazer beams zip by. “Cumbia de la fuente” gene-splices syncopated hand-drum beats and traditional-sounding choruses with the splintered buzz of synth bass and glittery spurts of MIDI-generated arpeggios. It’s a hot tropical celebration lit by UFO glow. “Puya del Empresario” nudges a hip swaying cumbia rhythm to the foreground, but blares a rough-edged synth riff over it. “Cumbia del Pichaman” transforms Dusty Springfield’s “Son of a Preacherman” into a surreal technological marvel, buzzes and squeaks punctuating the offbeats like a DIY version of Zaxxon gone soft in the equatorial heat.

Jennifer Kelly

Nas — King’s Disease (Mass Appeal)

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Like all of Nas’s output in this century, King’s Disease, his 13th album, is pretty much unlistenable. King from the title here has two meanings. Every black man is a king (every woman is a queen) or should be. And second, it reminds that Nas is a king of rap, even though his royal days are long over. But even kings had to live on crumbs of their fame. With regard to the current moment in history, the album compels the listeners to unite and wear their blackness proud. Nas’ idea for achieving that? Just listen to his truisms and patronizing rants. On “Ultra Black” it’s “We goin' ultra black, I gotta toast to that”. On ‘Til the War is Won”, dedicated to women, it’s “May God gives strength to women who lost their sons \ I give all I have 'til the war is won.” All Nas gives to a black community is his bad music and maybe some charity. Every track here is to some degree about empowering black people, yet the only person Nas ends up empowering is himself. Every line on King’s Disease is disguised as virtue signaling, and the last thing we all need now is patronizing advices from rap millionaires.

Ray Garraty

The New Bomb Turks — Nightmare Scenario: Diamond Edition (Self-released)

Nightmare Scenario - Diamond Edition by New Bomb Turks

It would be understandable if, upon hearing the New Bomb Turks 1993 debut full-length, Destroy-Oh-Boy!, you thought to yourself, "They'll never top this." You wouldn't necessarily be wrong, but you'd be neglecting a much larger story and a key release in their catalog, 2000's Nightmare Scenario. With their debut, the Ohio quartet built a distinct machine out of familiar parts: cheap-lager-fueled thrash, butterflyin'-around rock 'n' roll swagger and barstool-philosopher lyrics. And with the possible exception of fellow buckeyes Gaunt, no other band at the time combined those attributes in quite the same way. It was as if America finally had its own Saints. The Turks would go on to make five more LPs over the next decade. Though lost in the shuffle a bit after jumping to Epitaph in 1996, the band were never going to become darlings of that label's skater boi base anyway. You certainly can't blame them for trying to reach a new audience nor should you overlook the output from that era. 2000's Nightmare Scenario, their third for Epitaph, is gritty, witty, and so full of Midwest blastitude you'd think it was year zero at Datapanik (or at least 1991). Yet to hear the album in its original mixes by Detroit studio guru Jim Diamond, newly issued for the 20th anniversary of its release, is all the more gratifying. It's stripped of that extra coat of paint found on the original, and it reveals what a decade's-worth of relentlessly plying one's trade in the punk rock free market will get you. The Turks were an absolute musical force by this point: they could still hit warp speed but could also swing with the best of them. And frontman Eric Davidson is in full possession of his vocal gifts (always a key aspect of the band's sound), nestling into the groove like a Funhouse-era Iggy or leading the charge as needed. The 20th anniversary Diamond Edition of the album is a nice reminder of just how consistently good the New Bomb Turks were and a nice splash of Pabst in the face for anyone who slept on that reality the first time around.

NOTE: Never above a little frat boy humor, the Turks were always much more about mocking those particular attitudes than ever truly embracing them. With that in mind 100 percent of the digital will be donated to Black Queer & Intersectional Collective bqic.net and Columbus Freedom Fund www.instagram.com/columbusfreedomfund www.instagram.com/columbusfreedomfund.

Nate Knaebel

Siege Column — Darkside Legions (Nuclear War Now!)

Darkside Legions by Siege Column

Some thoughts that occurred on first listening to Darkside Legions, the new LP from Siege Column: Track one, “Devil’s Knights of Hell”: “Whoa, this is pretty nuts. Exciting — raw and barely coherent, but exciting.” Track three, “Snakeskin Mask”: “Okay, I get it. All this stupidity is just too frigging stupid. Enough, already…” Track five, “Funeral Fiend”: “Holy shit! I think this may be genius-level stupid!” And so on. The record keeps on doing that, and the listener (this one, anyways) keeps on generating phrases like “genius-level stupid” in an attempt to cope with the experience. Siege Column is constituted of two shadowy figures from somewhere deep in the chemically treated wilds of New Jersey, and for sure, this is music that could only come from New Jersey. I still can’t figure out if Darkside Legions is too moronic for words, or if that projection beyond words is the mark of some sort of greatness. Meanwhile, the next song is peeling out like a 1969 Chevelle that needs some serious muffler work, trailing empty cans of cheap domestic, wads of bloody paper towel and the smell of burnt hair. Yikes. Feel like I better catch up…

Jonathan Shaw

Smokescreens — “Fork in the Road” (Slumberland)

A Strange Dream by Smokescreens

A new single from LA’s Smokescreens is notably partly because David Kilgour took a hand in it, distilling the band’s jangly sweet sound in a Clean-like way, where the guitar comes coated in liquid clarity and everything else is drenched in beautiful fuzz. Even if you’ve been liking Smokescreens for a while, “Fork in the Road,” is something special, the thump of bass glowing quietly, the guitars cavorting, a synthesizer building dense shimmery textures, the chorus softly harmonized around a koan-ish verse. (How do you go straight at the fork in the road? ) The guitar solo two minutes in is worth the trip all by itself. If the upcoming album is anything like this tune, I’m in.

Jennifer Kelly

Matt Sowell — Organize Or Die (Feeding Tube)

Organize Or Die by Matt Sowell

Too often, the words “sounds like John Fahey” denote either laziness or a sparse descriptive vocabulary on the part of the people who utter them. But it cannot be denied, Matt Sowell sounds like he’s closely studied Fahey’s records, especially the less experimental ones of his Takoma/Vanguard period. There’s a similar melding of bluesy styling, compositional elegance, and emotional evocation. But Sowell’s motives are different. Where Fahey’s music looked at the snarl of personal memory and the blacker, deeper pit of his tangled subconscious, Sowell’s looks outward. Fahey tried to subdue demons within; Sowell calls out the devils of capitalism, and honors the purity of respect untainted by dollars or oil. Of course, since his music is purely instrumental, you can project whatever you want onto it. But in times like these, we need all the resistance and resonance we can get.

Bill Meyer

Treasury of Puppies — S/t (Förlag För Fri Musik)

Treasury of Puppies by Treasury of Puppies

The Gothenburg duo of Charlott Malmenholt and Joakim Karlsson’s debut release as the Treasury of Puppies is lo-fi depressive but charming pop, recorded at the beginning of 2020. A Fairly short release, barely pushing past an EP length, it's in the vein of other Swedish underground releases of the past few years. The two trade chilly, spoken-sung vocals over a set of eight tracks, either buoyed by repeating, fuzzy guitars alongside field recordings, sauntering looped drums and hand-tampered tape sounds, or a layer of delayed static and fuzz churning under over drifting bells and slowly rotating keys.

Ian Forsythe

Trio No Mas — A Tragedy Of Fermented Undulation (Mars Williams)

A Tragedy Of Fermented Undulation by TRIO NO MAS

Chicago has saxophonic tradition, and part of that convention is the expectation that the city’s saxophonists work hard. However you look at it, Mars Williams holds up his end. He’s busy on both local and world stages. In recent years you can hear him melding Albert Ayler and Xmas carols on a couple of continents, freely improvising with the Extraordinary Popular Delusions and playing not-just-old-memories rock and roll with the Psychedelic Furs. But it would seem that he has room for another band, if the situation is right, and that’s the genesis of this trio. Williams sat in with brothers Stefan and Aaron Gonzalez when the Texan rhythm section came through Chicago and then made a couple quick passes through their neck of the woods. This live recording, which is being sold as a download as Williams figures how to make up for not going on the road with the Furs this year, brings us to the other way that Chicago saxophonists work hard. Switching between several horns, he plays them all with a mix of vein-popping force and pyrotechnic fluency. The freres Gonzalez toggle between heavy lurching and molten streaming, pulling back every now and then to create quiet spaces in which Williams can tap into yet another Chicago tradition — the evocative chatter of little toy instruments. If you can handle the unbearable lightness of the no-physical format, this music brings plenty of satisfying heaviness to the sonic realm.

Bill Meyer

Various Artists — Total 20 (Kompakt)

Total 20 by Various Artists

Since 1999, each summer Cologne’s Kompakt label has compiled recent and new tracks from their roster. For fans of the label’s distinctive musical aesthetic — a shuffling, playful, pop-facing, experimental minimalist form of techno — the Total series seems a must-have, but the series has also served as an entrée into Kompakt’s world for curious newcomers, casual listeners and cash-strapped collectors. Total 20 maintains the high standards of its predecessors. Coming in at two plus hours and 22 tracks from stalwarts Michael Mayer, Voigt und Voigt and Jörg Burger share space with newcomers like Kiwi and David Douglas. This edition works as a soundtrack for in home dance sessions, concentrated listening and background for escaping the mope and drag of enforced isolation. The music itself is uniformly of high quality, but the sequencing is key here. Moments of elegantly constructed ambient minimalism (Soela’s “White Becomes Black”), euphoric vocal house (Kiwi’s “Hello Echo”) and high concept psy-trance (ANNA & KITTEN’s “Forever Ravers”) are interwoven with the familiar midtempo Kompakt sound. While it’s a lot to digest at first and may to some ears merge into an amorphous mass, Total 20 will lift your mood, shift your body and shake off your funk. Have a taste, you may find yourself grazing if not gorging.

Andrew Forell

Verikyyneleet — Ilman Kuolemaa (I, Voidhanger)

Ilman Kuolemaa by VERIKYYNELEET

This new LP from Finland’s Verikyyneleet hits a bunch of the essential marks for hyper-obscure, one-man black metal: Difficult to pronounce and vaguely creepy name? Yep (translated from Finnish, Verikyyneleet means something like “tears of blood). Primitivist, kvlt-ish album art with lots of spindly, symmetrical, necromantical forms? Yep (pretty cool, too). Ghastly, croaked, semi-strangulated vocals and sweeping, epical song structures that likely attempt to represent the frozen forests of the Laplander landscape? Yep (see especially “Yhta Luonnon Kansaa,” which empties into another song called “The Great Scream in Nature”). But in spite of the degrees of familiarity struck by those various notes, there’s a compelling idiosyncrasy to Ilman Kuolemaa. And although Finnish weirdo Isla Valve — sole creator of the sounds — has been releasing music under the Verikyyneleet name since 2006, he hasn’t exactly been prolific: two demos in 2006, an EP last year, and now this LP. It’s all rather mysterious. But whatever the back story, the songs are really good. There’s a slightly smeared, off-kilter sound that adds to the strangeness. Is it 4 am and suddenly really, really quiet, wherever you are? Here’s your soundtrack. Light up some candles, turn it up loud and freak out the neighbors.

Jonathan Shaw

Young Dolph — Rich Slave (Paper Route Empire)

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It’s not a little ironic that Adolph Thornton, Jr., 35 years old and some seven records into his career (not counting the endless mixtapes floating around), has peaked both in hard numbers — Rich Slave hit #4 on the Billboard 200 — and stylistically with an album that arrives after the Memphis rapper was supposed to retire from the game. When GQ interviewed him in May, Dolph was locked in and hanging out with his kids, marinating on his next move; with Rich Slave, he’s unlocked a socially conscious side of himself that, admittedly, was always bubbling below the usual braggadocio. Alongside guest spots from Megan Thee Stallion, established sidekick Key Glock and Chicago staple G Herbo, Dolph tweaks his usual template to speak to the moment in what is his most effective full-length deployment yet. There are a trillion rappers who work this hustle, but no one’s done it better this year.

Patrick Masterson

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trevlad-sounds · 6 months

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Sunday 10 December Mixtape 403 “Night Rolls”

Multi Genre, Downtempo, Ambient, Electroacoustic, Experimental Wednesdays & Sundays. Support the artists and labels. Don't forget to tip so future shows can bloom.

Trevlad Sounds-Welcome in you wonderful listener 00:00

Gregg Kowalsky-Nights Move 00:31

Drapizdat, Ито Кумаре-Сквозь Зазеркалье 04:51

Synthotherapy-It Takes A Long Time 08:15

Anantakara-Letting Go, Finding Light 12:42

Panama Fleets-Laguna Oscuramaru 22:23

Time Rival-Electronegative 25:42

F.U.S.E., Richie Hawtin-Nitedrive 28:14

Robohands-Jorge 31:22

Field Lines Cartographer-The Nest 34:18

Roy Werner-Late Chime 42:56

Actress-Chill ( h 2 ) 45:57

André 3000-The Slang Word P( )ssy Rolls Off The Tongue With Far Better Ease Than The Proper Word Vagina . Do You Agree 47:01

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autumnclouds09 · 4 years

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Happy release day! Everyday Dust • Mirrors Sparkwood Records Cassette tape, digital. Norway 28.05.20 Electronic, ambient, drone, experimental. sparkwoodrecords.bandcamp.com/album/mirrors . . . #ambient #drone #modular #synth #tape #atmospherical #DiscosQueVoyEscuchando #newmusic #releaseday https://www.instagram.com/p/CAvfA2bh1pg/?igshid=8w6zu20yfklx

#ambient #drone #modular #synth #tape #atmospherical #discosquevoyescuchando #newmusic #releaseday

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the-dead-melodies · 7 years

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Caustic Noir, the first album by Cinereous Mire is out now on Sparkwood Records. Late night gritty roadhouse blues with layers of ethereal ambience and dark electronica. Inspired by the Twin Peaks world and all the darkness of the night.

https://sparkwoodrecords.bandcamp.com/album/caustic-noir

#twin peaks #david lynch #Blues #roadhouse #ambeint #dark #noir #film noir #night #alternative

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charlesandthefury · 7 years

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https://soundcloud.com/sparkwood-records/sets/kelbach-ohio-route-2

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rosysoulx · 3 years

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[ daisy ridley, cis female, twenty seven ] Let’s give a warm welcome to one of Sparkwood’s finest, ELENA “NELLIE” LOVETTE Before coming here, she once lived on the pages of SWEENY TODD. Though now they currently spend most of their time as a BAKER. If you ask the townsfolk about what they are like, you will hear that they are DEVOTED but also MACABRE. If they had a theme song it would be BLOOD ( END CREDITS ) - MY CHEMICAL ROMANCE. Let’s see how their story unravels this time.

full name: elena ‘nellie’ margaret lovette

star sign: sagittarius

sexuality: pansexual

bio tws; alcoholism, terminal illness, parental death, abandonment, neglect.

nellie lovette had a less than pleasant start in life. she was born in london to a pair of fairly poor parents. what little they had usually went into her father’s drinking habit which sucked up the majority of the families money. while her father went out to bars and stayed out late into the night nellie was cared for by her mother who showered her daughter with nothing but love. despite their hard circumstances nellie had her mother to lean on which was enough to help her get through and before she turned ten another light came into her life in the form of her little brother. her mother having the large heart that she always did, adopted a little boy who quickly became the light of nellie’s life. even though her father clearly opposed the idea he stayed silent, knowing there was nothing he could do to convince his wife otherwise. for a short moment nellie and her brother were happy, that was until the worst happened. their mother had suddenly become sick with an unknown illness. hoping to get the best treatment possible they decided to move their family to spark wood in hopes that the hospital there could help her find a cure for her illness. despite their best efforts nothing worked and not long after she succumbed to her illness.

devastated and embittered by his wife’s death her father dumped her and her little brother off at the local orphanage. with nothing but her little brother by her side nellie quickly became his protector, acting more like a mother towards him as opposed to a sister. by the time she turned eighteen she went out on her own and tried to become her brother’s legal guardian. she moved into a small apartment and got a job as a baker at the local bakery, using the skills her mother had taught her when she was younger. although it didn’t make her much and she hoped for better and brighter things for then it was enough.

headcanons:

nellie is a bit of a cynic and has quiet a dark sense of humor, despite all this she does have hopes of success one day and hopes to make a better life for herself and her family.

has a very unique sense of style, she wears lots of lace and corsets.

has had a bad track record with lovers but still manages to fall in love easily.

never goes out to eat and figures its a waste of her time.

hardly ever accepts help from others and prefers to do things on her own even if she knows she needs it,

#spark. intro #{ ~ i gave you blood || nellie; about }

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