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topoet · 4 months

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My Garden January 1, 2024

New Year’s Eve brought Toronto its first snow that lasted more than an hour! We had a ‘green’ & overcast Christmas that was sort of depressing to look at. The white on New Year’s morning was a welcome sight. The snow didn’t last too long, it was gone by afternoon. boxwood & maple in front yard snapdragons in front garden forsythia in front garden dusty miller in back garden red berry bush in…

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#am writing #boxwood #cold #dust miller #forsythia #garden #lavender #maple tree #New Year&039;s #Ontario #photographs #Rose of Sharon #Snap Dragon #snow #Toronto #winter #wisteria #Word Press

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mooselybased · 1 year

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I wanted to compile all the characters I've done for my hypothetical Adventure Zone platform fighter, so here's a sort of mock character select screen with the sixteen fighters I've done so far!

So far we've got eight Balance reps, four Amnesty reps, and one each from Graduation, Ethersea, Dust, and Commitment. But I've got a bunch of half-finished moveset concepts for characters from various seasons, so there's more to come!

Links to individual movesets under the cut

Magnus Burnsides | Taako | Merle Highchurch | Killian & Carey

Kravitz | Lup | Lucas Miller | Barry Bluejeans

Duck Newton | Aubrey Little | Ned Chicane | Minerva

Sir Fitzroy Maplecourt | Amber Gris | Augustus Parsons | Kardala

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mads198-9 · 5 days

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moodboard inspired by the incredible work of @chronically-ghosted & Ethel Cain 🌾

If you haven’t checked it out yet, I highly recommend her writing! Particularly Lover, Share Your Road

//Forestry photos are mine, like or reblog if you save please//

#moodboard #aesthetic #ethel cain #yellowjackets #florence and the machine #joel miller fanfiction #joel miller x reader #1930s #preachers daughter #dust bowl

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xx-midnight-candy-goblin-xx · 1 month

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(JD brainrot is real)

Ok hear me out . . . Jackson's Diary Hazbin Hotel AU

Exer = Husk, David = Angel Dust, Pamela = Vaggie etc

Idk, I just randomly thought of this

Edit: JACKSON IS CHARLIE BECAUSE HIS MOM LEFT HIM

#jackson's diary #hazbin hotel #exer campbell #husk #husker #hazbin hotel husk #David miller #angel dust #angeldust #hazbin hotel angel dust #the radio demon #oooh #wait hold up #molly = brenda #vaggie #Pamela lopez #I think Alastor would be Ron #and Jackson is charlie LMFAO #idk

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likeatatt00 · 3 months

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Master list!!

Fics!

Tlou (The last of us)

Ellie- nothing yet!

Joel- nothing yet!

Dina- nothing yet!

Tommy- nothing yet!

Stranger things

Eddie Munson- nothing yet!

Steve Harrington- nothing yet!

Robin Buckley- nothing yet!

Nancy Wheeler- nothing yet!

Helluva Boss

Blitzø- nothing yet!

Stolas- nothing yet!

Moxxie-

Millie- nothing yet!

Striker- nothing yet!

Hazbin Hotel

Alastor- https://www.tumblr.com/likeatatt00/748091870351114240/hihi-mmmaybeee-could-i-get-an-alastor-x-reader

Lucifer- nothing yet!

Angel Dust- nothing yet!

Adam-

Husk- nothing yet!

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dustedmagazine · 6 months

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Dust, Volume 9, Number 11, Part 2

Eli Winter

We only get ten audio clips per post now, so we've split the Dust in two. Check out the early alphabet entries here.

Colin Miller — Haw Creek (Ruination)

Colin Miller’s songs come from far away, from a physical, temporal, emotional remove, like bits of colored memory or the line from a book that meant something once, but you now can’t quote exactly. The North Carolina-based multi-instrumentalist and home taper is connected to the Wednesday orbit, having played on and produced MJ Lenderman albums and produced Wednesday’s I Was Trying to Describe You to Someone. His own music is softer and more indefinite, but very fine. It is less like listening and more like being enveloped by a cloud. “I Don’t Love You Anymore,” for instance, has all the elements of an indie rocker: strummy guitars, punched out drums, and a catchy, tuneful melodic line. And yet it drifts in through the window like a warm breeze, gently stirring your attention as it moves the air around you. “Paper Roof,” too, buzzes with feedback and blistered bass tones, but very softly. What you notice, first, is the high yearning singing, shaded by the fuzz of lo-fi production. You wonder what these songs would sound like with clearer, more commercially viable sonics, whether they’d land with more impact or less. But here they are, gently pushed forward for you to appreciate best after repeat plays, and they are really quite good.

Jennifer Kelly

Niecy Blues — Exit Simulation (Kranky)

The reason the ol’ “this band is like x meets y” trope is both kind of reviled and yet impossible to wipe out is that as a formulation it’s both weak (unless you’re the person the comparison occurred to, chances are good you won’t hear it) and strong (how else to try and describe something as elusive as music than with something so slippery and paradoxical?). It might be better to imagine a kind of topographical map. Then you could try and chart the impossible hinterlands out where the territories of (say) Grouper, trip hop, and Kelela might converge, and somewhere around there you might find Niecy Blues’ first record. Like all such comparisons though, the intent is not to suggest Exit Simulation is mere pastiche or reducible to parts found elsewhere, but to indicate the heady and diverse contemporaries it shares an atmosphere with. Whether it’s the extended reverie of “U Care,” the hazy float of “Violently Rooted,” or the droning shuffle of “The Architect” the result is a debut of striking assurance and depth. Comparisons fail at some point; you really just have to give it a listen yourself and figure out your own map, like Blues has.

Ian Mathers

Bänz Öster and the Rainmakers — Gratitude (self-released)

This quartet consisting of Europeans Bänz Öster on double bass and Javier Vercher on sax and South Africans Afrika Mkhize on piano and Ayanda Sikade on drums delivers spiritual jazz rooted in the gentler music of Coltrane and Ra. The six long (eight to 12 minute) originals, well-recorded before an appreciative but fairly restrained audience, are uplifting and replete with sophisticated soloing, especially by Mkhize. These guys don’t break any new ground, but the grooves are infectious, and what is described in the liner notes as the “high-voltage connection between North and South” contributes to the good vibes.

Jim Marks

Pile — Hot Air Balloon EP (Exploding in Sound)

In case February’s All Fiction didn’t make it clear, the handful of songs from the same sessions that comprise the Hot Air Balloon EP should drive the point home that Pile is a band at the height of its powers. Recent live shows incorporating a few of these songs into setlists only go to further serve that the distinction between what made the cut for their latest full-length and what got left behind is virtually indistinguishable; some of Hot Air Balloon’s fun is in finding where these songs would’ve best worked their way into All Fiction’s track list. The knotty time signature changes and unexpected rock moments still weave and burst forth, and Rick Maguire’s addictive, meandering pathos carries moments you’ll be left thinking about long after it’s over; me personally, I can’t unlodge the descending chorus of “Exits Blocked” or the very specific line on “The Birds Attacked My Hot Air Balloon” where he sings, “I could see your house from here if I’d bothered to look.” It’s these stories in miniature, like Fitzgerald in The Crack-Up or Felix Feneon, that leave their mark most potently — if, of course, you’re inclined to that sort of thing.

Patrick Masterson

Taiko Saito /Michael Griener /Jan Order — WALD (Trouble In The East)

Free improvisation may be a creative space where an instrument’s baggage can be dropped, but this is easier for some than others. Given its limited and highly distinct sound, the vibraphone’s particularly hard to untether from expectation, but Taiko Saito gives it her best shot on WALD. The Sapporo-born, Berlin-based mallet-wielder, who has worked at length with Silke Eberhard and Satoko Fujii, does not totally play against expectation, but she does keep her instrument’s stylistic mandates at bay by shifting between time and no time, swing and no swing, and steering a middle course between the big wall of sound you might expect from, say, Jason Adasiewicz, and the bebop-derived suppression of resonance pursued by an earlier resonance. This CD documents her first encounter with bassist Jan Roder and drummer Michael Griener, who constitute Die Enttäuschung’s rhythm section, and that association will tell you more about their commitment to the moment than what they actually play. Each of the album’s four spontaneously realized tracks is a world unto itself in which chaos is courted, swing cultivated, or slipstreams ridden. These are woods to get lost in.

Bill Meyer

Skyphone — Oscilla (Lost Tribe Sound)

Lost Tribe Sound has been on something of a jag this year with their Maps to Where the Poison Grows series. This new installment by Danish trio Skyphone is an absorbing and succinct 32 minutes in which attention to detail, texture and instrumental interplay account for a lot. Ideas are introduced then carried through to their natural culmination, with each of the three players sounding present and laser-focused in their creative process. Live drum kit, bass, synths, piano, acoustic guitar, and a whole host of other instruments blown and struck are used to bring vivid color. Think early Mum, Opsvik & Jennings, and Kiln. Six of the seven songs here feel just right (centrepiece “Arbonaught” is especially good). It’s only on final track “Will to Change” that the introduction of heavily effected vocals knock things out of balance and breaks the spell. Elsewhere this is masterful and hypnotic stuff.

Tim Clarke

Stella Siebert/Nat Baldwin — 1.30.22 (Notice Recordings)

This live improvisation set from Stella Siebert — mixer, turntable, objects — and Nat Baldwin playing double bass celebrates special techniques and advanced sampling with chaotic jubilation. Sections are taken out of order (we never get to hear the opener), sculpting the set from free play to intentionality. The recording opens with abrupt samples alongside repeated string pressure. “4” has a bit too much piercing sine tone for my taste, but especially diverting is “9” which features crackling vinyl and ostinatos right at the edge between pitch and noise. The concluding track, “2,” is a 23-minute-long session in which Baldwin plays extended techniques against ostinato samples and handmade percussion. The previous material coalesces into an edgy opus that remains varied and imaginative throughout.

Christian Carey

Tar Of — Confidence Freaks Me Out (sound as language)

Tar Of makes music in brief, bubbly spritzes. Heavy on the keyboards, with giddy abstracted vocal parts, these cuts dance across your field of vision and disappear from view. “Ey Vaay,” the single, adds a bobbling saxophone line to the mix, caroming in from the margins as a dizzy pulse of “ba-ba-ba-ba-bas” push the track forward. “Cardinal” clicks and rattles and swells with wordless counterparts. You’ll need to take a breath when it clatters to a halt. The title track is somewhat more song-shaped, with its stabbing snare beat and woozy woodwinds; it seems to be taking on conventional verse-chorus structure when it breaks apart into vibrating, shimmering atoms. The band is a duo from Brooklyn, made up of two oddball artists—Ariyan Basu and Ramin Rahni—but the tracks have the ecstatic density of large ensemble baroque pop. More is always going on than you can really absorb, and you don’t get a lot of time to get acclimated. Blink and these tracks are over. So, don’t.

Jennifer Kelly

Håvard Wiik / Tim Daisy — Slight Return (Relay)

When pandemic protections canceled all the gigs, Tim Daisy proved particularly resourceful. He turned to musicians like Ikue Mori and Vasco Trilla to respond remotely to his drumming, recorded either before or during lockdown, and realized some intriguing music that demonstrated how improvisation is not just an aesthetic stance, but a way to address life problems. But when the shots came out and the numbers went down, he returned to stages and studios, and his relish at being able to tune into an old friend is evident throughout Slight Return. The album’s name acknowledges that Daisy and Berlin-based pianist Håvard Wiik have been together before; ten years ago, to be precise. There’s a charge to this reconnection that affirms the drummer’s excitement at being able to make new music with old acquaintances once more. It sparks a restless vibe, as the two musicians shift fluidly from restrained exploration to unbridled, jointly generated fracas.

Bill Meyer

Eli Winter — A Day Behind the Deadline (Three Lobed)

Guitarist Eli Winter's latest release continues a changing path in his musical career. His early work (meaning “from four years ago”) worked through a blend of Pauline Oliveros theory and Jack Rose solo playing. He's been steadily expanding his sound since then, working with other like-minded artists to produce music that applies the same sensibility to a bigger palette. A Day Behind the Deadline gives listeners a run-down on this movement, collecting five live tracks from fall 2019 through this spring. Winter's typical intricacy in composition now brings in drummer Tyler Damon and pedal steel guitarist Sam Wagster. The collection mostly moves away from Winter's roots aside from the closing solo acoustic “The Time to Come.” The trio tend to stretch out into odd takes on rock or even Americana (though that has more to do with the pedal steel sound that with the actual song structures). A Day Behind doesn't settle as a proper album (and isn't intended to), even if it does cohere. Instead, it plays like a photo album: here's Winter in transition from his acoustic roots to something else. He comes across as restless, looking for something new, and this release fills the gap while he finds that next thing he's looking for.

Justin Cober-Lake

99Letters — Zigoku (Phantom Limb)

Osaka producer Takahiro Kinoshita AKA 99Letters returns with a new collection of industrial techno built from unrecognizable samples of traditional Japanese music. The word Zigoku evokes “Jigoku” the Japanese Buddhist hell and whilst this album is not as dark sounding as its predecessor Makafushigi, Kinoshita says its main theme is death and the afterlife. At times you recognize the tropes of the early 1980s when elements of industrial music crossed over into early electronic dance music often with global world influences, think 23 Skidoo and Clock DVA. Occasionally the cadences of Japanese music appear, a ghostly presence of traditional, folkloric myths. But in the main, Zigoku exists in its own hermeneutic world interrogating both its sources and its environment. The contrast between modernity and tradition gives Kinoshita’s music a particular tension that is constantly building as he probes cultural and philosophic cracks, seeking to capture those small wavering shafts of hope.

Andrew Forell

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fatedtragedie · 7 months

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@kingdom-of-vanity { continued. }

It was easy to weave her way through the smoke that was filling the air, she needed to protect her voice after all. One day, she still hoped to achieve her dream, to perform in a proper opera. To let her voice reach the crowds that come to see the opera. When she reached his booth, she noticed the glass that was waiting for her.

Bowing her head a bit at his greeting towards her before sitting down and joining him in his booth. “Thank you, you’re too kind, sir,” she said gently before picking up her glass and taking a sip of her drink. “Thank you again, it means a great deal that I get the chance to be here and sing.” It was better than what her parents wanted for her, married off and becoming a housewife, that just wasn’t her. Being here, she knew that everyone was treated like a family, and it was nice to have that support. The smile pushed forward on her lips when he called her out for singing his favorite song. “Say it was more deliberate than coincidental, would that get me in trouble with you, boss?” She teases gently before hearing his words. “Now, now, you surely can’t give me everything…” she says, having slipped her foot from her heel and slowly runs it along his leg.

#kingdom-of-vanity #muse; audrey miller #{ v; jazz washes away the dust of everyday life. }

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beskar-and-leather · 1 year

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think respectful thoughts

ᵗʰᶦⁿᵏ ʳᵉˢᵖᵉᶜᵗᶠᵘˡ ᵗʰᵒᵘᵍʰᵗˢ

#pedro pascal #hbo the last of us #the last of us #joel miller #dust daddy

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mycabinet · 1 year

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Movie: Pan.

#levi miller #garrett hedlund #slaves #mines #neverland #fairy dust #jewell #work #pan

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koilarist · 1 year

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Offically making a rule that I have to finish a page of Former Glory before I get to doodle fun things for you guys or else I'm never gonna get this comic done One page = One Fun Doodle token Either that or I'm going to start setting a timer for a set amount of hours per day I have to spend on it, and however far I get is however far I get.

#I want to draw more barbies again already and it's killing me can you tell #pointing at myself in the mirror like DON'T PLAY YOURSELF #I lost like three months of work time to unfortunate circumstances and it is time for me to get back to it for REAL #and if ANYTHING tries to stop me I will be gripping the grim reaper by the throat #and throwing his bones into a miller to be ground up into DUST #Devotio Newsletter

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witch-of-the-words · 1 year

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My 2022 Reading Wrap-Up

I'm pretty proud of all that I read this year! My goal was 20 books, which I absolutely crushed! I enjoyed most of these books very much!! Hopefully I read lots of good books next year!

I would say that my favorite books to read were the Grishaverse books by Leigh Bardugo. Out of those, my favorite was either King of Scars or Rule of Wolves, just because of Nikolai and Zoya :)

Novels: 28

Crooked Kingdom by Leigh Bardugo

The Raven Boys by Maggie Stiefvater

Red Queen by Victoria Aveyard

Obasan by Joy Kogawa*

Shadow and Bone by Leigh Bardugo

Siege and Storm by Leigh Bardugo

Ruin and Rising by Leigh Bardugo

Sandstorm by James Rollins

King of Scars by Leigh Bardugo

Children of Willesden Lane by Mona Golabek and Lee Cohen*

Rule of Wolves by Leigh Bardugo