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en-wheelz-me · 7 months
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dustedmagazine · 15 days
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Listed: Vague Plot
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Vague Plot is made up of New York City avant-indie regulars, veterans of other bands, who got together to make driving, moving, long-form instrumental music a la Can and Popul Vuh during the pandemic: Zachary Cale, Uriah Theriault, Phil Jacob, Ben and John Studer. Of their debut Crying in 9 from earlier this year, Jennifer Kelly wrote, “Vague Plot’s jams shimmer like highways melting in the heat, running straight on through Kansas or Nebraska until they disappear in the undecipherable distance. Which is to say, they go on for a while, repeating the same short grooves ad infinitum, with modest changes, until the measures blow by like mile markers and the journey transcends itself.” All five members contributed picks to this wide-ranging listed.
Phil Jacob (sax/keys)
King Tubby meets Lee Perry — Megawatt Dub, 1997
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In my late teens I started getting into dub, particularly King Tubby and Lee ‘Scratch’ Perry. It’s tough picking one album, but this is the compilation I keep coming back to over the years. My favorite Tubby track, “Termination Dub,” isn’t here, but the giddy feeling I get from “Come By Yah” and “Perfidia” has no equal. And these are some of my favorite Lee Perry selections as well, particularly “Rainy Night” and “Open the Gate”. There’s an attention to melody here that often gets lost on dub remixes, even while these two are digging deep and pulling everything apart. Every delay drop seems to happen exactly when I want it to, leaping out of the speakers. A lot of the genre classics make me feel locked to the couch in a smoky haze, but this collection pulls me into a dance of dub ecstasy.
Captain Beefheart and the Magic Band — Shiny Beast (Bat Chain Puller), 1978
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Possibly the best music education I ever received was playing in a Beefheart tribute band. The emphasis on polyrhythms as arranged by Don Van Vliet and John French on Trout Mask Replica made me feel music in an entirely new way; that it’s best if things don’t always line up at the beginning or end of a bar, a tension I enjoy searching for. TMR does it so often and with such ferocity that it grows exhausting over the length of the 79-minute album. On the other hand, Shiny Beast manages to incorporate some of those ideas into layers and layers of infectious hooks. From the driving bass line of “Floppy Boot Stomp” to the loping funk of “Tropical Hot Dog” to the stately guitar lines of “Owed T’Alex” to the existential spoken-word closer “Apes-Ma”, every track perfectly highlights a different aspect of what makes Beefheart so unique to my ears.
John Studer (drums)
Slint — Untitled EP, 1994
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When I first heard the song “Glenn,” it changed the physicality of my body. Britt Walford has an impressive skill to subtly shift around beats so they gently roll and slide over themselves. It’s as if he’s repeating the same line of poetry but with different punctuation to give it fresh meaning each time.
DJ Shadow — Endtroducing, 1996
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The surprisingly refreshing choices around arrangements and samples on this album highlight their unexpected connections. Repetitive, hypnotic rhythms combine with soothing layers of instrumentation and allow every special moment to shine appropriately. Endtroducing then delicately transcends these distant connections to create an entirely new space.
Zachary Cale (guitar)
Sonic Youth — SYR 1: Anagrama, 1997
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The music on SYR 1 consists of four instrumentals. The first song “Anagrama” has a beautiful winding arc to it. Over the span of nine minutes, you can hear the band searching and expanding. When I first heard it in 1997, it broadened my sense of not only what guitars could do but also the importance of listening when playing within a group. There's structure but it's extremely loose, there's playfulness but not without restraint. That's a big part of what Vague Plot is about. One thing about Sonic Youth I've always appreciated is that even though they “jam,” they never get trapped into a traditional blues or one-chord vamp freak out. It's modal. Sometimes that can lead to dissonance, but that dissonance has always rubbed against something highly melodic.
CAN — Ege Bamyasi, 1972
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I once had a summer job painting dorm rooms at the college I went to. One day I found a discarded CD with no jewel case or artwork. It was Ege Bamyasi. I took it home and put it on not knowing anything about the band. I was completely taken off guard upon hearing it. I could not place it into any known quantity. The inscrutable lyrics, the infectious rhythms and the mystery and sonics of it all; it cracked my brain wide open. To me CAN’s mission was always to find the pulse, vibrate with it and then ultimately dance around it. Vague Plot uses some of that same framework in our music. A singular idea to keep extrapolating on. Now that I know more about music history I can hear Fela Kuti, Stockhausen, disparate folk music as well as 1960s psychedelic rock all mixed up in this record. CAN has always seemed genreless to me in their fearless exploration of style. That’s something we as a band all aspire to. All gates open.
Ben “Baby” Copperhead (bass)
The Staple Singers & Curtis Mayfield — Let’s Do It Again, 1975
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Let’s Do It Again is a soundtrack album composed by Curtis Mayfield and performed by The Staple Singers. A few years ago, I had the honor of performing a benefit concert for Little Kids Rock. I was playing guitar in the backing band and one of the singers was Hozier who wanted to do the title track “Let’s Do It Again”. Mavis Staples was also on the bill. It was an unforgettable evening. After the concert, I bought this record on vinyl and it’s been on heavy rotation ever since. The string arrangements are absolutely magical. The whole album is a beautifully recorded masterpiece with Curtis Mayfield and his stellar band backing up The Staple Singers. What more can you ask for?
Ornette Coleman — Change of the Century, 1960
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Change of the Century was the first Ornette Coleman album I bought when I was in college. I was interested in the world of “free jazz” and Ornette and his band were the pioneers. Surprisingly, all of it is incredibly melodic with bebop-style phrasing, which I wasn’t expecting at the time. All the musicians have incredible ears to be able to pull this off. Ornette Coleman used the harmolodic system which allowed contrapuntal movement during the solos to avoid a key center. Charlie Haden and Billy Higgins were masters at this and could make any soloist sound great by deep listening, feel and support.
Uriah Theriault (guitar)
Dirty Three — Ocean Songs, 1998
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My first exposure to Mick Turner came through this album, which introduced me to a broader range of guitar styles than the folk music I had been listening to. Unlike Fahey’s intricate picking patterns, Mick Turner’s guitar work resonated as lyrical phrases more than prose. Often open and spare, other times stormy and erratic, his guitar created atmosphere and conveyed emotion without relying on virtuosic solos. He and drummer Jim White crafted moody mise-en-scenes for Warren Ellis's main character, and l found myself drawn to the visual storytelling more than the narrative itself. Over the years, I’ve had the opportunity to see Mick perform in various forms, but the tour for this album stands out due to a specific memory. During a live performance of “Authentic Celestial Music,” my then-girlfriend passed out right in front of the stage. A stranger and I caught her and moved her to the side. When she came to, her only remark was, “Great song.”
Popol Vuh — Hosianna Mantra, 1972
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I was familiar with Popol Vuh only as Herzog’s house band until I heard this album, and it cut immediately. I listened religiously to this enigmatic album over the span of a few years, whenever I took a shower so that my attention was undivided. Defying easy categorization, the collection spans classical, ambient, and krautrock. The title track was haunting, calling back to the only music I knew growing up, Catholic hymns. The guitars, oboe, and harpsichord weave sinewy webs of harmony — more chamber music than rock bravado, more conversation than monologue. The ecclesiastical tenor of the Hosianna Mantra (Hosianna, or "please save") sits uncomfortably amongst its dancy krautrock contemporaries, but the slow-burn nature of this album is anything but stiff. If deep attention is akin to prayer, as suggested by Simone Weil, then to me, this album is a dozen rosaries — penance not required.
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wearethewitches · 8 months
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it has been over an hour and i've barely made a dent in this excel sheet of asoiaf heirs and spares 😭😭😭
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garyrevel · 6 months
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The Black Man in the CIA has completed his last mission
Leutrell “Mike” Osborne (Black Man in the CIA) has passed away. Leutrell trusted God. That trust brought him through many dangerous and death-defying accomplishments. Many, that to this day must remain Top Secret. His book, Black Man in the CIA, is edited and published by Gary Revel on the Jongleur Books imprint. Jongleur Pictures LLC has 2 movies in development adapted from his stories. They…
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1-1-s1ay-2-2 · 2 years
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Twenty Ways to Know...
If he really cares:
He tells you his REAL name.
He is honest about everything.
He would rather die than lie to you.
He meets you in REAL life.
He doesn't expect to sexualize you before knowing you in person.
He shares his feelings and emotions with you instead of keeping them bottled up inside, or turning to someone else for comfort.
He says good morning and good night.
He doesn't get mad over something you didn't understand because he didn't explain it. Instead of going radio silent for days, he helps you understand by explaining his frustrations.
He asks about your kids or pets or family because he cares about them too because he cares about what you care about.
He wants to know your details because he thinks your details are important...and he remembers them.
He doesn't expect you to be psychic or punish you mentally and emotionally for being non-psychic.
He asks what's bothering you rather than ignoring you.
He listens to what you say and applies it so that you don't have to repeat yourself for the rest of your life.
He doesn't use other women to hurt you.
He talks about how he feels instead of making you feel like you should know how he feels.
He doesn't have pride when he's with you.
He's not afraid to be himself around you.
He can talk to you about anything without it turning into an argument.
He doesn't cause you confusion.
He shows his love rather than just speaking it.
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galaxys-hoard · 2 years
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Gravitykenic
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Image ID: [A flag with navy blue, deep purple, and neon blue vertical stripes. End ID.]
A KEIN gender that is tied to the feeling of free fall, but not in a fearful way. The gender reflects the mysterious nature of the force of gravity, a great power that our current understanding of quantum physics can’t quite explain. As you fall, you’re overtaken by the greatness of this not-yet-understood force that in this moment that overwhelms all of your body’s senses, but at the same time, is the glue that’s keeping the universe together.
This gender is kenochoric in nature, and is related to the complexity of quantum mechanics, astronomy, scientific inquiry, and being awestruck at the unknown.
Please credit me if you repost the gender or flag anywhere!
(@kenochoric-archive just in case you want to archive this /nf)
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archoptical · 2 years
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Old Fire Station Apartments, Greenwich
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ladyjaydeinc · 2 years
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Just listed For Sale @ $6.00!
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hualianisms · 12 days
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verified ways to donate to gaza directly
Help a Palestinian family directly:
gazafunds.com - Donate directly to a Palestinian family in urgent need of evacuation, medical attention, rebuilding homes/businesses or more. Site run by Palestinians, all GFMs verified (full list here). Spotlights 1 stagnant GFM at a time. (*If you can't decide who/where to donate, just go to gazafunds.com & donate to the 1 GFM they show you!)
masterlist of 200+ verified Palestinian families' GFMs: Operation Olive Branch
Help provide tents: (*emergency as Rafah is being bombarded as we speak)
The Sameer Project: Currently providing tents & transport for families in Rafah who urgently need to evacuate to Deir Al Balah. Has a team on the ground in Gaza who have supplied tents to 1% of the displaced population in Rafah. Run by Palestinians. (paypal) (gfm)
@helpgazachildren: Currently helping Palestinians in a refugee camp in Rafah flee the Rafah invasion to Khan Younis. Funds go directly to Hussam, a Palestinian in Rafah who hosts a refugee camp. Funds will cover the cost of tents & transport fuel. Managed by a Palestinian @.fairuzfan. (gfm)
Food, cash & essentials:
Care for Gaza: Palestinian charity on the ground in Gaza distributing food, cash, medicine & other essentials to displaced families. Proof of their work found on their Twitter. (paypal) (gfm)
We Feed Gaza: Team of Palestinian volunteers in the heart of Gaza distributing food & water to 344+ families. More details & proof in their gfm. Vetted & promoted by LetsTalkPalestine. (gfm)
Direct Aid for Gaza: A Palestinian activist on the ground in Gaza distributing food, cash & other essential supplies to displaced families. Proof of their work found on their twitter. (paypal) (gfm)
Water (*only 2 weeks left to donate!):
Gaza Municipality's water campaign: The official Municipality of Gaza needs help rebuilding the water infrastructure in Gaza City to restore access to clean water & waste management services for the people of Gaza.
eSIMs:
guide to buy & send esims to gaza (highly needed, esim supply very low)
Crips for eSims for Gaza: If you don't know how to buy esims, don't have enough $ for an esim plan, or don't have the capacity to manage them (e.g. topping up regularly), you can donate any amt to this team of volunteers who pool funds to buy & maintain gaza esims regularly (see their financial accountability document).
Medical Aid:
Gaza Wound Care (urgent): Palestinian doctors in central Gaza treating injured/sick children & mothers in neglected displacement camps far from hospitals. Facing a severe shortage of medicines, medical equipment, and supplies. They need funds for their current campaign to battle infectious diseases in refugee camps. (paypal) (gogetfunding) (gfm)
international charities: Palestine Red Crescent Society, Palestine Children's Relief Fund, Medical Aid for Palestinians
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fallahifag · 3 months
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goodnight everyone (:
do your daily click
spreadsheet of families in Gaza you can help today
donate to:
Buy an e-sim
Help diabetics in Gaza
The PCRF
Anera
UNRWA
Taawon
Help Gaza Children
Sudan Tarada Initiative
Help a Sudanese family escape conflict
Darfur Women Action
Ramadan for Sudan
Period products in Sudan
Sudan Emergency Appeal
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My friend just sent me the greatest home listing I think I have ever seen
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I mean, check out this beutiful riverside home! Double garage! Upstairs access from the outside! Lets check out the inside
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Open concept kitchen, nice, nice
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Oh, the whole Floorplan seems to be open concept. Okay! That floor is a little odd, but not a deal breaker.
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That bathroom could use an update
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Need to change out that curtain
Okay, let's go take a look at the back yard!
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Oh
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en-wheelz-me · 7 months
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dustedmagazine · 8 months
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Listed: Water Damage
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Water Damage plays a thick and noisy variety of drone, favoring looooooong compositions that the band refers to as “Reels”; on Water Damage’s most recent LP, 2 Songs, you get two reels, subtitled “FUCK THIS” and “FUCK THAT” (band’s caps). All those verbal antics feel appealingly playful, but the music is deadly serious stuff — not surprising, given the players involved. Members of this septet also play in Austin-associated bands like USA/Mexico, Marriage and Spray Paint. As the band’s moniker suggests, the music is patient, persistent and often insidious. Here's some music the band has been listening to.
Travis Austin
Surface of the Earth — Surface of the Earth (1994/95, Reissued 2022 Thin Wrist Recordings)
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New to me when it was reissued and the record I’ve played most since then. It feels as huge to me as it does microscopic — prehistoric as it does post-apocalyptic.
Jon Hassell — Aka/Darbari/Java: Magic Realism (1983, E.G. Records)
Start to finish, I don’t know of anything else that sounds like this — the hazy atmosphere and way the rhythms tumble. From the liner notes: “a ‘coffee-colored’ classical music for the future.” And the cover is by the same artist who did the cover for Bitches Brew.
Mike Kanin
Archie Shepp — Blasé (1969, BYG/Actuel)
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I heard this one for the first time just this past year. I can’t believe I’ve missed it. By turns raw and beautiful, honest and evocative, what’s here transcends genre while highlighting Black experience and struggle. Incredible work.
George Dishner
Clipse — Hell Hath No Fury (2006, Star Trak / Re Up Gang Records)
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The most engaging rap record in history as far as I’m concerned. Pusha, Malice, and the Neptunes peaked. Sonically HHNF is minimal and alien sounding, almost nonmusical at times. Lyrically, it’s bleak throughout and incredibly funny at times (some of the best punchlines ever recorded). At 12 songs and 48 minutes with only a few guests and skits, there is no fat whatsoever.
Remarc — Sound Murderer (2003, Planet Mu)
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I’m always looking for cheap electronic records at every record store. Mid 1990s Jungle scores are the best. It’s a pretty narrow subgenre but one of my favorites. Remarc checks all my Jungle boxes — chaotic, lo-fi, dubby, rough. It’s devoid of any pretentious jazziness or techy soullessness. His formula is pretty basic — supreme mastery of The Amen and sick ragga Bass shit. This is a comp of some of his best stuff of the era when Jungle was at its best.
Nate Cross
Omertà — Collection Particulière (2022, Standard In-Fi, Zamzamrec)
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Not to point out the obvious, but France is a huge influence for Water Damage. I’ve obsessively kept up with everything they’ve done and all their various related projects and their label Standard In-Fi. This is Omertà’s second LP; the group features members of France, Tanz Mein Herz, Societe Etrange and more. The album is a vibe, I can listen to it over and over. Really interesting to hear these folks do something more ‘song oriented’ instead of the normal long-form style in their other groups. Also, you can never go wrong with two bass players.
Bumblebee Unlimited — Sting Like a Bee (1979, RCA Victor)
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Always been a huge disco nerd and Patrick Adams was a genius. This one-off LP and group was about as close to perfect as you can get and is a sort of bridge between disco and house music. So much glorious repetition on this album, and the bass lines are minimal brilliance. The chipmunk-esque vocals are ridiculous, but still work so well (similar to another 1979 disco gem — Bryan Adam’s “Let Me Take You Dancing”).
Jeff Piwonka
John Coltrane — Olé Coltrane (1961, Atlantic)
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This is one of the first jazz albums I heard that had two bassists on it, Reggie Workman and Art Davis, Davis being a little lesser known I think and a really really amazing bassist. This whole album is great but the first side, 18 minutes of everyone going in and out, and there is space for the bassists to get weird with arco and pizzicato playing. I’ve known this album for a long time, but it’s been played a lot lately because both my 4-year-old and 16-month-old grab this record from the shelf all the time. It’s really strange actually, I put it in a different spot each time and they still grab this record very frequently, it’s a French pressing and Reggie Workman’s name is spelled “Reggie Wokrman” and Eric Dolphy is “George Lane.”
Greg Piwonka
Lungfish — Artificial Horizon (1998, Dischord)
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Love this record, and the repetition is something that I often thought about as we were still figuring out Water Damage ideas. I feel like some of the newer songs that we are working on sound like extended Lungfish songs. Much of that has to do with the influence of this band on my drumming. There is a part toward the end of this interview where Daniel Higgs talks about experiencing repetition as a listener, and how there isn’t really a thing such as a repeated passage in time — that it’s unique every time… the listener is creating the pattern. That idea is foundational to me in relation to what we do as a band. Every time we play, I get lost and question how the pattern is even working.
Palace — West Palm Beach/Gulf Shores (1994, Drag City/Palace)
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These two songs back-to-back are high on the list of my favorite things ever recorded. The mood here reminds me of all the rundown beach towns around the Gulf. The playing is great, it sounds like they just went in the studio and made it with very little effort. Many other recordings have that same vibe, Neil Young’s Zuma, Songs: Ohia’s Didn’t It Rain, John Coltrane’s A Love Supreme… this list could get long. I guess a technical term for that vibe is magic. I had not listened to this for a few years and returned to it recently and instantly loved it again.
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ikarakie · 5 months
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if a character means enough to me i will truly never stop thinking about them. i just retire them into a little back room in my brain and periodically bring them out to stare at them under a little light
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animentality · 6 months
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kicking a hornets nest.
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so-many-ocs · 6 months
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[on the verge of having a complete breakdown] i need to make some kind of list or perhaps sort things into categories
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