#incendiary tastemaker

[fallenlondonnpcfight]

Increases Scandal build-up

What plastic passions are enflamed behind closed doors? And what human consort could share your particular arts?

——

The blazing star at the forefront of the avant-garde. The Neath is her sculpture, and together you hammer it into shape.

#fallen london #polls #round one #a tournament of roses #companion in amber #incendiary tastemaker

[geraldofallon]

Romance in the Neath: Incendiary Tastemaker

The blazing star at the forefront of the avant-garde.

The Neath is her sculpture, and together you hammer it into shape.

Any gathering graced by her presence becomes the talk of the town.

#fallen london #incendiary tastemaker #romance in the neath #my post #yes i know she’s basically just another version of the artist’s model #artist’s model

[hotshotblackburn]

Another in my 'fan FL spouses' series! Even though Hotshot would never divorce his dear Companion in Amber, I always felt a bit sad that the Struggling Artist and the Honey-Sipping Heiress were relegated to 'joke' and 'never appears again' after their respective relationships while the Struggling Artist's Model and the Honey-Sipping Jewel Thief got to become full spouse options - complete with character development through their upgrades!

So these were an attempt to look at what could have been. The Artist's line references how he'll actually do the illustrations ("in fanciful colour, and only [...] a misplaced leg or tail to a handful of plates") for your Complete Account of Frogs, Toads, and other Croaking Beasts if you have him employed at the lab, while the Heiress's line reflects how...well, though you can keep seducing her in Veilgarden, she never appears again anywhere else in the game! Forgotten by all...

These were originally made in text form prior to the release of the Promethean Rogue and Incendiary Tastemaker, so no second-tier upgrades for them yet. One wonders where they could go further...

#fallen london #failbetter games #fake fallen london spouses #justice for the struggling artist #justice for the honey-sipping heiress

[friendlyfirestarter]

🌅 and 🛌 for the ask game!

🌅 — Do they miss the Surface? What was their life like up there?

Honestly Lady Quicksilver is having a blast in the Neath. There's so much to learn and she wants to see it all. On the surface she was a researcher, if she had a classic Fallen London title it might've been the Mercurial Linguist. She spent a lot of family money but they weren't close and there weren't many of them left.

Sometimes she misses the sun, and the wind, Grass was nice, But now she has the Incendiary Tastemaker, 2 dogs, and a tiger so Lady Q is mostly content.

🛌 — How's their sleep schedule?

She tries to keep it consistent - if she gets up early she tries to go to bed early, and if she stays up for a ball or something she sleeps in. The woman does not often succeed, however, and goes through a lot of coffee as a result. She had to put a hammock in at the university lab.

#thank you very much! #fallen london #ask games

[bannedinjc]

Hanukkah #6! Okay, here we go: I come to these shows each year because I love YLT and their music, of course. But over time, I’ve also gained an appreciation for them as tastemakers and arbiters of cool (which they’ve always been, of course). After all this time, though, it’s so refreshing when they still manage to suggest something that surprises me or makes me reevaluate what I think I know. Case in point, Jamie Branch: Fly Or Die was totally unknown to me before tonight, and they absolutely killed it. Likewise, Dina Hashem is an incendiary, razor-sharp comedian I sadly hadn’t seen in years, because of the dumb plague world we live in. But she’s been sharpening her skills that entire time. After all these years, to see YLT do a show with such refreshing and (relatively) newer voices fully recharged my batteries and reminded me why I put myself through this schedule every year: Because it’s worth it! (at The Bowery Ballroom) https://www.instagram.com/p/CXDbAd6ux5J/?utm_medium=tumblr

#6

[rhythm86radio]

EDM.com Presents The Heat Check 005: Kumarion, Mersiv, Sippy and More

EDM.com Presents The Heat Check 005: Kumarion, Mersiv, Sippy and More

In modern bass, dubstep and trap music, listeners and tastemakers are always chasing the next big track to blow crowds away at a festival stage. EDM.com Presents The Heat Check is a list of the most ear-catching, incendiary, and ‘fire’ tracks that emerge from the bass and freeform scene. “Pure Action” – Kumarion Turning it up a notch every time out seems to be the only thing upstart drum & bass…

View On WordPress

[iheartmoosiq]

For five long years after falling head over heels for Charlotte OC’s Colour My Heart, we waited to see the British chanteuse live. And at SXSW earlier this year, the stars finally aligned for us. Destiny took its course when we took in a stunning performance at Neon Gold’s official showcase. To say it was satisfying and rewarding would be an understatement. As amazing as Charlotte OC’s voice is recorded, there’s no words that can describe how incredible it is live. And then there’s her gorgeous magnetism and irresistible charisma! We can’t be happier that she’s finally getting some of the praise and exposure she deserves on this side of the pond lately. A few weeks ago, the riveting pop songstress gave us a fresh new suffusion of her sonorous range and emotive power on a new song named Better Off On My Own, which is a fine addition to her compendium of stellar songs. The singer songwriter delivers an incendiary performance on the bittersweet, soulful anthem. It’s a dusty seared, ember scorched pop ballad bursting at the seams with weathered heartache. A new EP is in the works with an arrival expected this fall. We can’t wait. We need to see her live again, too. And I don’t think I’ll survive another five year wait. Charlotte OC recently visited our tastemaker friends at We Found New Music with Grant Owens to turn in a breathtaking live radio performance of Better Off On My Own. Watch the video below. Stream Better Off On My Own via Spotify, here.

#Charlotte OC #Better Off On My Own #We Found New Music #WFNM #Grant Owens #live performance #pop #singer songwriter #music #song #soul #soulful pop

[mtwy]

The Virgin Tour

The Spectrum Philadelphia, PA May 29th 1985

SOLD OUT

Promoter: Stephen Star/The Concert Co. Attendance/Capacity: 15,551/15,551 Ticket Price: $15.50/$13.50 Gross: $237,047

Madonna: Lucky Star Live It Up

By Jonathan Takiff (Philadelphia Daily News)

She’s the special delight of teenage girls who emulate her pop tart look with their own dangling “Lucky Star” earrings, lacy gloves, sequined halter tops, bare midriffs, short skirts ad pointy high heels.

She’s also the scourge of enlightened feminists, who despise her “Boy Toy” philosophy, her flaunting, come-and-get-me sexuality and her self-centred, materialistic bent.

And last night at the Spectrum, near the tail end of her debut “Like a Virgin” tour, Madonna Louise Ciccone gave all the opinion makers exactly what they were looking for, and maybe even more.

She pulled off a well paced, precision stage show ripe with street wise terpsichord and flashy costuming (Paisley punk for starters, then all black, then white wedding style); plus lurid sexuality; sly bits of humor and fluid lighting and rear projections.

Oh yeah, there was also a long stream of Madonna’s bubble funk hits, from “Holiday” to “Borderline” to “Like a Virgin,” though at times the music did seem to take a back seat to all the other production distractions.

I found myself enjoying Madonna much more than I had anticipated. She certainly has a lot more going for her than just an alluring bellybutton. However, I had some gripes with the show’s lack of spontaneity. It was polished to such perfection that I was often compelled to ask, “So is this live or is it Memorex?”

One can certainly understand why Madonna would want to line up all her cards “just so.” Discovered first in 1982 by the tastemakers of urban contemporary radio (who now seem to have abandoned her, judging by the severe shortage of black faces at last night’s show), and then embraced by white teen-age America through the power of her riveting video clips, Madonna has chalked up a remarkable seven Top 20 records in a period of just 16 months. (Note, strictly for comparison’s sake, that it took Barbra Streisand 16 years to achieve the same number of hits.)

Yet, prior to last night, Madonna had never performed live in Philadelphia on any kind of stage. And many cynics were predicting she’d fall flat on her face - that she was a phenomenon who wouldn’t last till lunchtime.

So, starting out here at the top before a sold out (in 45 minutes) arena crowd numbering about 18,000 surely took guts and lots of rehearsing. And Madonna did prove that she could carry a 75 minute show - relying on material from her two solo albums and her two movie soundtracks - “Visionquest” and “Desperately Seeking Susan.”

She moves in concert every bit as confidently as she does on screen, and even steamier - with lots more of the strip queen inspired hip shakes, dry humping and groveling on all fours than the TV censors will allow. For support, Madonna comes equppied with a pair of step mimicking male dancers. Their one girl/two guys dance routines are actually an old-style nightclub performances conceit; very Mitzi Gaynor-ish, very Ann-Margaret, merely updated with some new moves.

What especially floored me (and also made me a bit suspicious) was the fact that her near constant choreography never once took Madonna’s breath away! Amazing. She’s hardly more than a gurgly wisp of a singer (vocalizing came as an afterthought to her dance training), and yet Madonna belted them out in concert last night with exactly the same smoothness and electronic voice thickening effects that she and her record producers take months to methodically create in the studio.

I’m certain that at least some of the backing vocal tracks heard last night at the Spectrum were pre-recorded on tape - when Madonna was heard harmonizing with herself. As for the surprising strength in her own lead parts, I can only conclude that madonna is either an entertainer with the hearty constitution of a horse, or an extremely good lip-syncher.

High points of the show included Madonna’s incendiary version of “Burning Up” and her tambourine tossing and boom box straddling accompaniment to “Into the Groove.” For laughs, nothing could top the segue from “Like a Virgin” into Michael Jackson’s “Billie Jean” - a song Madonna and company often have been accused of plagiarizing.

#1985 #philadelphia #thevirgintour #thevirginera

[tune-collective]

Daft Punk's Albums Ranked From Worst to Best: Critic's Picks

Daft Punk's Albums Ranked From Worst to Best: Critic's Picks

Before any of us are even accustomed to writing a seven instead of a six, 2017 is already a year to celebrate for Daft Punk.  

Dance music’s dukes of Digital Love not only welcomed the new year atop the Hot 100 — their collaboration on The Weeknd’s “Starboy” was the duo’s first No. 1 — but Friday, Jan. 20 marked 20 years since the group’s banner debut “Homework” beamed down, drew the curtain on the French house movement and thumped around the world.

Guy-Manuel de Homem-Christo and Thomas Bangalter have been linchpins ever since, in pop’s electronic obsession — the preeminent sound of the 2010s — as well as the genre’s spillover into hip-hop, rock and R&B (The Weeknd included).

So as news broke today that Daft Punk would be performing with The Weeknd at the Grammys, we cheer our favorite helmeted robot-rockers with an anniversary album ranking, spanning their six most essential records.

6. Human After All (2005)

If there is a valley, or caricature album in Daft’s catalog, it’s Human, the group’s most melodically austere and numbing record. While themes of dark, tech-fearing paranoia were fresh to the group— and employed purposefully, to contrast the buoyancy of Discovery — Human’s themes largely feel recycled; the tech-jargon labyrinth “Technologic,” piggybacks off the more memorable precursor “Harder Better Faster Stronger,” and while plenty catchy in its thick guitar leads, the lead single “Robot Rock” is too on-the-nose for a band famous for its mechanized appearance. Typically, Daft is a masterful employer of repetition, but the echoing hooks to “Steam Machine” and “Television” border on monotony, and there just isn’t enough innovation to counteract the dullness. Human is the lone Daft Punk album to feel reactionary to the band’s own success, and even if it did produce a successful inverse to Discovery, it was as impersonal as the group has ever been.

https://www.youtube.com/watch?v=HdeYwObD-j4

  5. Tron: Legacy (2010)

A Disney soundtrack is surely the square peg in this ranking, but Tron: Legacy is no slouching, sappy film score. De Homem-Christo and Bangalter explored their inner maestros and composed a wholly imagined and thematically striking soundscape to back an otherwise lukewarm film reboot. The fearless swells in “Arena” and “Rinzler” are lush, and deeply effective bridges between DP’s electronic realm and the orchestral fields they deftly harvested for this project (an 85-piece orchestra was employed to record the album). Tidbits are stolen from the Human After All and Discovery sounds, but Legacy’s sweeping, ambient aesthetic is largely unrecognizable from the group’s other works. Sure, listening to the hour-long instrumental LP without the context of the film can be a little daunting. But Tron’s director Joseph Kosinski was correct to tap Daft Punk to create this heroic score.  

https://www.youtube.com/watch?v=F4eccPBFEjE

  4. Homework (1997)

Over time, this list’s Record Of Honor has become lauded moreso for its legacy — as pop’s first password to the French-house hard drive — than for the sum of its hypnotic parts. And maybe that’s for the best; Homework isn’t exactly cohesive, nor was it truly meant to be. The group’s initial plan was to rollout a handful of free-standing singles, but soon there were too many quality tracks not to make an album. To its credit, Homework remains an alluring hodgepodge, and our first taste of Daft’s eclecticism: the disco-tech bassline and burrowing hook of “Around the World”; the West Coast hip-hop whirring of “Da Funk” (Dr. Dre even gets a shoutout in the later track “Teachers”); the spacey swagger of Parliament-Funkadelic and Chic threaded throughout. Homework can feel overtly simple, even amateurish when compared to its successors, but we still have great respect for the project that morphed Daft from loud lords of a cultish underground scene to bonafide tastemakers.

https://www.youtube.com/watch?v=yca6UsllwYs

  3. Alive 2007 (2007)

It’s a fact as cold and hard as their gleaming helmets: most of Daft Punk’s fans, especially in the U.S., have never seen the group perform live. The pair has toured only twice in 20 years, but thankfully we have Alive 2007 to blast, an incendiary concert album that exists as one of the premier live LPs of this century. Alive captures Daft’s most recent roadshow — specifically a June 14, 2007 rager in Paris — and though the audible roaring crowd is cool, the album’s real appeal lies in its mashups, which merge the band’s first three records into a re-electrified mixtape. “Around the World” and “Harder Better Faster Stronger” blend effortlessly into a single, delicious track; “One More Time” and “Aerodynamic” intertwine as if it were the plan all along; and every Human After All entry is boosted by its brother songs. For the countless remixes the group’s music has endured over the last two decades, Alive reminds — no one does it better than the makers themselves.  

https://www.youtube.com/watch?v=evqx5HLm9iM

  2. Random Access Memories (2013)

Don’t call it a comeback. Eight years removed from the icy minimalism (and overall reception) of Human After All, Daft strove for balance, to marry live instrumentation and electronic prowess in ways unlike anything the group had previously attempted. The meticulous output was Random Access Memories, a wonderfully warm, sprawling LP that stands not only as one of the duo’s strongest albums, but as one of the most spectacular records of the 2010s. Though Memories likely pays closest tribute to the disco and funk eras that have fascinated the group all along — almost inevitably, Chic’s Nile Rodgers plays on three songs — so much of this project was fresh to their sound, from the understated use of drum machines and vocoder, to their willingness to collaborate and cross new borders. Everyone knows Pharrell Williams’ appearance on the commercial colossus “Get Lucky” and “Lose Yourself To Dance,” but don’t you dare overlook the delicate piano from Canadian pianist Chilly Gonzales on “Within,” The Strokes singer Julian Casablancas’ traipsing vocal on “Instant Crush,” or the revered folk songwriter Paul Williams commanding the science-fiction opus “Touch.” And if there’s any proof in trophies, consider that Album of the Year Grammy win R.A.M. scored in 2014.

https://www.youtube.com/watch?v=5NV6Rdv1a3I

  1. Discovery (2001)

There is no better entry point into the Daft Punk cosmos than through Discovery, an album that bursts with glorious, fine-sugar hooks and childlike rapture. Daft’s exploration beyond Euro house jams welcomed more pointed homages to the disco and synth-pop of its youth, and birthed a joyful, engaging record — and perhaps the most bulletproof upper-third of any album in the discography: see the fuzzy Van Halen guitar wails of “Aerodynamic,” or the pleasant, blinking pop of “Digital Love,” which likely could have highlighted a Mario Kart soundtrack. That playful quality cascades down to the cryptic “Veridis Quo” and its fairytale melody, and for those who still desired the more trance-like tactics, the record finishes with the 10 minutes of electro-R&B hypnosis on “Too Long.”

The LP’s moniker is apt on so many levels; for many of us, the harbinger of auto-tune “One More Time” was our first detection of the band, and for Daft themselves, the success of the song (#1 on the U.S. Dance charts, #61 on the Hot 100) and regular radio play unveiled just how vast their audience could (and would) become. Daft’s music is designed for the good times, and if Bangalter and de Homem-Christo were to blast off today and escape to Planet Robot — where better parties and sweeter headgear await — Discovery would stand as the group’s true, zenith party project.

https://www.youtube.com/watch?v=FGBhQbmPwH8

Source: Billboard

http://tunecollective.com/2017/02/01/daft-punks-albums-ranked-from-worst-to-best-critics-picks/

#Albums #critics #daft #picks #punks #ranked #worst

[fallenlondonnpcfight]

Round One

February 2:

The Philosophically Perfect Partnership vs the Notorious Art Dealer

The Companion in Amber vs the Incendiary Tastemaker

September, the Ninth Month vs the Blooming Wallflower

The Boneless Consort vs the Joyful Charter Clerk

February 3:

A Bewildering Procession of Companions, Lovers, Suitors, and Paramours vs the Platonic Eminence Grise

The Master Jewel Thief vs the Secular Missionary, Ascendent

The Revolutionary Firebrand, Liberated vs the Platonic Partner in Crime

The Celebrated Artist’s Model vs Captain Amelia, Espoused

#fallen london #a tournament of roses #round one

[geraldofallon]

In case anyone was wondering, these are the faceclaims I used for the (canon) Romance in the Neath series (lots of Phantom of the Opera)

Artist and Artist’s Model: Aaron Taylor-Johnson in Anna Karenina/Ana de Armas

Master Jewel Thief and Honey-Sipping Heiress: Alexander Dreymon in The Last Kingdom/Lise Slabber in Black Sails

Melancholic Curate and Enigmatic Sister: Aidan Turner in Desperate Romantics/Joanna Vanderham in The Go-Between

Acclaimed Beauty and Barbed Wit: Leslie Odom Jr/Ramola Garai in The Crimson Petal and The White

Affectionate Devil and Quiet Deviless: Clark Gable, one of the pictures is from Gone with the Wind/Clara Bow

Revolutionary Firebrand and Secular Missionary: Sean MacLaughlin in Phantom of the Opera on Broadway and in the US Tour/Carey Mulligan in Far From the Madding Crowd

Cultured Attaché and Cultured Attachée: James Norton in Little Women/Katherine Kelly in Mr. Selfridge

Academic Intriguer and Devout Intriguer: Louis Garrel in Little Women/Daisy Head in Shadow and Bone in one picture, Harlots in the other

Promethean Rogue and Incendiary Tastemaker: Derrick Davis in the Restaged US Tour of Phantom of the Opera/Phoebe Fox in Life in Squares

Blooming Wallflower and Flexible Intelligencer: Bryce Pinkham in A Gentleman’s Guide to Love and Murder on Broadway/David Oyewolo in the 2018 Les Misérables series

Joyful Charter Clerk and Joyful Illuminator: Jean Steinberg in Saint Joan/Mei Pang

Infamous Mathematician and Roguish Semiotician: Freida Pinto in Mr. Malcolm’s List/Domnhall Gleeson, one of the pictures is from Anna Karenina

Cheery Man and Last Constable: Joseph Mawle in Ripper Street-Jennifer Ehle in Possession in one picture, Pride and Prejudice in the other

September and the Clay Highwayman: Johnny Harrington/unknown model in a photography series by Jason Sinn

Paleontologist and F.F. Gebrandt: Bilal Baig/Helen Mirren

Sardonic Music-Hall Singer and Poor Edward: Denée Benton in The Gilded Age in one picture, and in Natasha, Pierre, and the Great Comet of 1812 on Broadway in the other/dummies used for the Masquerade scene in the stage production of Phantom of the Opera, the Copenhagen production

Silk-Clad Expert: Audrey Tautou in Coco Before Chanel

Once-Dashing Smuggler: Rami Malek in Night at the Museum

Captain Amelia Whitlock: Sonequa Martin-Green

New Dreamer: Cynthia Erivo

#fallen london #dont know if i should actually tage this ritn or not #my post

[bestdjkit]

EDM.com Presents The Heat Check 007: Mersiv, Liquid Stranger, Yheti, Lab Group and More

Stop in for The Heat Check, a monthly go-to list for the hottest and most incendiary tracks to emerge from the bass, dubstep and freeform scenes.

In modern bass, dubstep and trap music, listeners and tastemakers are always chasing the next big track to blow crowds away at a festival stage. EDM.com Presents The Heat Check is a list of the most ear-catching, incendiary, and ‘fire’ tracks that emerge from the bass and freeform scene.

“Floating Underwater Above the Clouds” - Mersiv

Mersiv kicked off his debut album campaign by forging a new world through sound. The Colorado-producer unveiled his first single, "Floating Underwater Above the Clouds," which is accompanied by this music video designed by Joseph Allen. The track represents the "Pretty" single off Pretty Dark Loud, showcasing the uplifting, scintillating side of his production style.

“Snow Melt” - Liquid Stranger, LUZCID

Liquid Stranger announced his new label, SSKWAN, at the inaugural WAKAAN Music Festival in 2019. "Snow Melt" is his first submission on the imprint. The track feels sonically reminiscent of his classic hit, "Dissolve," and features fellow OG dubstep producer LUZCID.

“Aubade” - Hex Cougar

Hex Cougar is known for his electric drops and atmospheric builds, and he fully unites them here for an electric new single. Find future bass clashing with dubstep-infused trap for an emphatic result.

“Nightmares” - sumthin sumthin

Eclectic electronic producer sumthin sumthin continues to carve a lane of his own with his latest single, "Nightmares." The red, eery visual accompaniment add a dramatic touch to the ethereal synth and vocal samples, which lead the listener into a pungent, glitchy drop.

“Cold” - Raucous

"Cold" opens with an eery atmosphere to signal the grungy feel provided by up-and-comger Raucous. This one exhilarates with a neo-trap, bass-heavy drop.

“New Perception” - Yheti

Yheti dove deep into sonic exploration on his latest EP, Noetic Sunrise. "New Perception" is a low-key gem that fits the brooding sunset artwork. Listeners travel through a moody soundscape that offers introspective moments.

“Nightshift” - Lab Group (Charlesthefirst, Supertask, Potions)

Bass music supergroup Lab Group—comprised of Charlesthefirst, Supertask and Potions—finally teamed up for a full length project. This one showcases Charles rapping as hawk. while Supertask crafts an alluring bassline and trap feel.

“HI-TECH” - 1788-L

1788-L wastes little time on "HI-TECH" in letting fans know what raucous energy he plans to bring on upcoming music. This one offers more house-y BPM, albeit glitchy, thumping beats that draw comparisons to Justice's productions style.

“Migi” - Tsuruda

If you like getting down with the underground, Tsuruda has the perfect track for you. "Migi" rattles eardrums with a vibrating bassline accented by trap vocals.

“Steady Steppin” - Josh Teed

Violinist turned producer Josh Teed has created an adventurous, island vibe with "Steady Steppin." His world bass collaboration with Bastion immerses listeners in steel drums and a celebratory euphoria.

Honorable Heaters: "Right About Now" - SULLY "Cavern Dub" - Shlump, SubDocta "Peach Smoothie" - DMVU "NOISE FLOOR" - ALEPH "Babayaga" - Esseks "Infinity" - Sam Lamar "Wasted" - Eugene "Are We Dreaming?" - Kaivon "Alive" - OBLVYN "Bone Dust" - A Hundred Drums

Also Featured: Tripp St's "Debut St" at CloZee's Voyage

from Best DJ Kit https://edm.com/features/the-heat-check-007