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dont-leafmealone · 1 year

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heard you wanted to talk about your elaborate playlists?👀👀👀

oh you are unleashing a storm here XD

so I think the coolest duo of playlists i have are my Sokka and Yue ones. They have so much overlap because the characters themselves are so intertwined - Yue's an excellent character in her own right, but we perceive her almost entirely through Sokka, and Sokka's arc is undeniably shaped by Yue.

Sokka's playlist has the following;

Son of Man by Phil Collins (from the Tarzan soundtrack) - I think it fits Sokka's arc well, growing and becoming wiser and stronger, but not *quite* a man yet.

I'm Still Here by John Rzeznik (from the Treasure Planet soundtrack) - this one was actually on my Jet playlist first, but then I realized it fits Sokka really well. Especially paired with the scene from the movie it's in, where the main character watches his father leave on a ship, and struggles with not having a father figure to fill the space.

If I Believed by Dylan Saunders (from Twisted: The Untold Story Of A Royal Vizier) - the reason for this one I think can be summed up with the line: 'science says you're dead and gone forever / reason says I'm talking to the air / but deep within my heart / some secret hidden part / illogically insists that you are there'. it fits him and his grief and the struggle between his logical mind and his heart so well.

The Ghost Of You by My Chemical Romance - another one I picked because of how it relates to both his grief over Yue and especially the guilt he internalized after losing her.

No Way by Darren Criss, Bonnie Gruesen, Lauren Lopez and Joey Richter (from A Very Potter Sequel) - this one's a kind of goofy little song from a harry potter parody musical, but it definitely encapsulates Sokka's can-do, no-nonsense attitude, leadership, and strategism to a T.

Meanwhile on Yue's side of things we have:

What The Water Gave Me by Florence + The Machine - this song fits her well, I feel like. While the lyrics seem to be about a suicide, it also fits Yue's sacrifice to bring back the moon spirit, giving back 'what the water gave her', her family bargaining with fate to keep her alive - it all aligns very well to me.

Rabbit Heart (Raise It Up) by Florence + The Machine - also fitting the theme of sacrifice, this song feels like what I imagine Yue felt, choosing to sacrifice her life. Having to steel her courage and make peace with it.

I'm Not Strong Enough To Say No by BlackHawk - this one's fun because it works for both Yue and Sokka, but I really enjoy it being hers. The song is from the point of view of a man in love with a married woman, asking her to stay away so he won't be tempted, but in the show we see that Yue is the one who has trouble being around Sokka because she likes him too much.

Annabel by The Duhks - a song about mourning a lost loved one, asking after their spirit. It's on my Sokka playlist, but the sound of it is very Yue, I think, and in this context the song is *to* Yue so it's on her playlist too. I really like the line 'Annabel, Annabel, are you free? / will you wrap me in your legacy?'. It seems like something Sokka would ask while talking to himself and the moon, as I imagine he probably does.

Moonlight by Grace VanderWaal - a little on the nose with this one XD but I think lyrically it fits her (and Azula, but in a very different way). 'a doll made out of glass / all her friends think that she's great / but I can see through it all and she's about to break' fits so well to me. Her 'breaking' being taking charge of her life, giving herself agency, and choosing to save her people, doing what's best for them - on her own terms, not the ones someone else picked out.

I probably oughta stop here, this got really long lol.

#character playlist #sokka #yue #atla #atla playlist #avatar the last airbender #sokka atla #princess yue #using youtube links bc I don't have spotify lol #inbox

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dballzposting · 2 years

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Things that Trunks inherited from his father

- the obvious stuff like the saiyan stuff and his brow line

- i domt really know actually. I think that when Trunks is younger he has all the negative traits of both of his parents, and there is overlap of those traits (vanity and pride are similiar for example). However when he is older he is kind of, like, nothing like them. Becasue hes learned better

- Having a penchant for exactly one song and not caring about any other song and not ever listening to any other song (for Vegeta it's "in the air tonight" by Phil Collins and for Trunks it's the Ninja Sex Party cover of "you spin me round (like a record)"

- EMBARRASSED EASILY.

Thing that Trunks has inherited from his mother

- he has his mother's gentle beauty but it's overlain over his grotesque House of Vegeta features so you cant really tell.

- something about robots and mechanical shite .. whatever.

- appearances matter....! But Vegeta is sort of like that too so idk.

- Future Trunks clearly had his mother's utilitarian sensibilities but that's less overt with present Trunks

Things that Goten inherited from his father

- general appearance

- Incredibly thick-skulled

- Can be pretty one-track

Things that Goten inherited from his mother

- strong respect for propriety

- He's thick-skulled like his father but can also be Stubborn like his mother... meaning he can be less Daft and more Angry.

- HE TALKS LIKE HIS MOTHER IN GT. When he was facing off with Baby he was all like "HOW DARE YOU." I definitely think that he picks up more terms of phrase from his mother than he does from anyone else

- if you startled him from behind he would be like "Fresh!" and slap you like hes a woman at a bar. There are things in the female social sphere that he takes to naturally like that and it's becasue of his mom and the way that he didnt have a dad for the first 7 years of his life

- I think if he did have a dad he would have noticed the trend of how Chichi has consummate power and the final word in everything .. he would see how his father buckles every time when confronted with her, and Goten would carry that attitude about women for the rest of his life. But his perception of women is similiar to that but not exactly that bc he didnt have a dad so he never saw the pussywhipping and what it was instead like was that his mother loved and babied him and she would boss Gohan around sure but that's just not enough to set an example. Theres too many variables that could explain that other than gender (age for example). The takeaway was more "shes my MOM I gotta give her what she wants" not "women are stronger than men." So I think that Goten as a youth was feeling pretty special. He was the youngest and the most importsnt one. And he was more like his mother than unlike. Always on her hip. Almost like an extension of her. So he definitely thinks that a woman's role in a relationship is to be bossy and headstrong like Chichi and Bulma but also hes not afraid of women and gets along really well with them. Like they're equals. It's like he knows trade secrets or something. Becasue hes in the trade. Hes a man and hes fine with playing that role but hes also the son of a woman and when it comes to a family in grief honestly where do you end and they begin?

- he was such a cunt in GT it was so funny. He wasnt malicious but he was just sort of rash and had strong opinions in the moment. He has the emotional strength and depth (or lack thereof) of Chichi but the one-track flakiness of Goku

#dballz posting #goten & trunkz

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exsqueezememacaroni · 1 year

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How the hell did you go from Phil Collins to Mike Patton you ask? (no one asked) Well, here's a Phil and Mike similarities list:

Lounge singer trapped in a rocker's profession (you know that's fuckn true of Mike, don't deny it)

SURPRISE!!! Horns!

Loves double+ tracking the vocals

Frequent collaborator on diverse musical projects, usually producing more than one at a time

Made an entire album doing covers of their beloved genre songs

Literally went from long haired hottie, to schlub wearing dirty tshirts to suits and ties time

Unintentionally spawned a league of derivative work and then saw that shit get overplayed and then derided to no end

Is an absolute pleasure to see laugh on stage

Wrote lyrics based on feel with the music, rather than meaning, so you can't read too hard into them

Wrote songs playing various sleazy/down on their luck/asshole characters, cuz why not

Lead a relatively "clean" touring life so you got 100% during shows

You might call them workaholics who really, really like making lists and then crossing things off the lists

You only have to see Phil behind the drum kit during Supper's Ready and Mike singing Just a Man to know how much they overlap in their musical "auras"

Honestly there's probably more!

#Mike Patton #Phil Collins #this post means nothing #please ignore

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aiciacolophotos · 5 months

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The Flies Hum thy Name (2021) Cătălina Bucos & Ada Kopaz

10:15 min

Trying to reflect on the relationship between body, gender, environment and public space, we began the deconstruction of our own bodies and their limitations, which we then transformed into a poetic video work. The film merges images of Super8 and digital footage with self-written poetry and self-performed choreography. The performers are in an empty, dry swimming pool, and simultaneously in an imaginary space overlapped with projections of water. We witness a sequence of tragic allegories: impossible desires, cyborg bodies, a flooded and polluted environment. The two seek for the public in the private, they are longing for the origins: the watery feel of the womb, for being one with themselves and with nature. Unity is found within the process.

Cătălina Bucos

Coming from the East to the West, I currently study media arts and film at the Academy of Media Arts in Cologne. I was born and grew up in the Republic of Moldova, in the midst of its ever transition from Socialism to Capitalism — an environment that has naturally radicalised me. Starting with producing DIY chic house decorations, performing children ballet or NGO social spots, to creating politically engaged fine art prints, text works, sound installations, performances, protesting flags, bedroom produced experimental videos or fictional films my body of work is a critical-political, chaotic-systematic search for narratives and formats that allow themselves to be angry, joyful or touching.

Ada Kopaz

Ada Kopaz was born in Köln in 1987. He studied Fine Arts with Hito Steyerl at Universität der Künste in Berlin and graduated in 2015. In late ‘19 he started Diplom II at KHM, Köln, where he studies with Phil Collins and Isabell Lorey (o.a). He commits to power structures within public space, commons, discourse and the questions of accessibility to these. Besides photography as everyday practice, he works with fly-posting, installation, sketches, video and sound. As part of ZUGANG collective he has been documenting Berlin’s „Corona-Pro- tests“ since 03/20. Together with other artistic and activist groups they performed and plan interventions in public space and work on a long-film to be presented later this year.

#technicalmuseum

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meanwhileinstasiville · 1 year

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But before that...

Today, I’d like to talk a little about so-called generational wealth. Because all crime is organized here, I got to “wait” at every single intersection walking across town from here, because a chorus from Phil Collins song was playing in Ashland Safeway. Waiting because someone had *decided* gang notification style, to return no less than about $100 worth of bottles around collection closing time.

I got to “wait” (in quotations because gang style) at every single intersection on the way here, the Ashland library, too. Minus the two different -337 variant license plated cars on the way to nowhere in particular. Amidst the crowd sourced mini coopers. Drunken “jaime” expy currently watches something “bullet train” themed on 9″ for me to see walking in (because same gang). REALLY crazy old guy sits on 2 watching “when I had my newborn” in red and white lettered subtitles (while wearing headphones) for me to see and read. Yeah, he drives a white van with a red stripe. All the same gang. 1, this terminal, was open because I sat down at 1:32; a minute before a 1:33 lee reference. Computer augmented gang activity within consolidated cartel power is fun.

So...*deep breath* generational wealth is everything you don’t need to buy, from hand-me-down clothes, to dishes, to books, to eating utensils, to furniture, all the way to houses, cars, land, corporate interests and the like, and anything beyond. We have food at home. Saying this means that “eating at home is cheaper” but only if you happen to have a fridge/freezer/cooktop, non-perishable food storage that’s secure, and safe commutes to and from where food can be obtained with some sort of shelf life intact. Without generational wealth, as in the projects, you’re going to be living out of convenience stores (for liquids with calories), fast food places, because even with markup, it’s cheaper than all the appliances you’ll never afford (I should mention that I grew up *on the other side* of the rich poor gap; so I’ve seen both sides). Childhood obesity/diabetes is when you don’t have generational wealth.

Sports cost money and couch potato-ing conserves caloric content and nutrients that would otherwise require replenishing; a life that orbits a coffee table between a couch and TV in modern times, is no coincidence. Pep-boys! Oil Stop! Drive through 50-point inspection! Exclamations referring to continuing inability to afford a mechanic; meaning you can’t afford the currently mechanically sound car you have recently driven from a used car lot. Having at best a several month window of drivability (You were wondering why cars parked in the yard on blocks are an Oregon staple, now weren’t you?)

College is never going to happen sans scholarship, because you have neither credit nor equity or financing. Where will you stay? How will you afford books? How will you relocate to where the college is, which happens to always be just outside redlining range? Where will you make the time between the multiple jobs to support all the siblings owed to limited healthcare and non-existent birth control? Street prices for handguns hovered around fifty US dollars for a long, long time. Will you hunt your way from poverty in the inner cities? A silencer to subsist on pigeons? This is really really important because most Americans now have no generational wealth, and moreover, no wealth generation capacity in sight for the foreseeable future.

An important curiosity for the Latino contingent: You get to keep cartel proceeds, you get all the slave labor subsistence jobs where blacks aren’t welcome, you ABSOLUTELY must continue to live in the barrios (which are considered dangerous by non-latinos, to non-latinos, meaning nobody will ever visit), and you can’t buy white privilege which could make you feel more naturalized as Americans. So when you vote, what does that mean to you guys personally?

(Curiosity overlaps with the Japanese mappo problem; you can’t afford to follow traffic laws like speed limits because of where you have to live vs where you have to commute to, and what that window looks like. *They* have to be ever vigilant for *you specifically as singled out* by your necessity to speed, in order to career on by meeting quotas (that make them look busy enough to take care of them financially the rest of the time)

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butchgengar · 3 years

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Venn diagram of guys I get confused in my brain: Tom Hanks and Phil Collins, with Bill Murray in the overlap.

#Min

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808sicario · 3 years

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Layering In Music

Layering in music means when several sounds are stacked upon each other with a simple end goal of making it sound fatter and fuller.. aka “professional”.. strictly layering means stacking similar yet slightly different sounds together and get a unique sound. Here it is important that it is the minor differences in the samples that creates a beautiful layered sound.

Layering also presents some challenges but with a little understanding of sound in digital domain . you can do wonders.. while you can layer anything and everything.. you need to be aware of pitfalls of over layering

Layering kicks - one of the most dangerous things yet most satisfying if done correctly..

In FL step sequencer.. you need similar sounding kicks played at same intervals. However here the key is to avoid overlapping frequencies of different kicks. Here comes the fun.. each kick needs to ideally cover a different spectrum. There has to be a kick for lower for middle and high end (click) part of the kick. The problem here is there could be phasing issues in case of frequency overlapping.. watch out for that .. else the kick would come out thinner instead of making it fat.. you should try reversing polarities in that case.

Layering snares - layering techniques would be similar to that of the kick. However to get the best out try spreading the samples across Mili seconds. Some of the snare samples could be triggered a bit early and some delayed.. this is how the 80s snare (Modern Talking) was made which sounded rounder and fuller.. Phil Collins also used to layer the snares with gated reverbs which gave a unique sound and was used in almost all records made for almost 15 years in the 80s -90s

3. Layering Vocals - one of my favourite technique. Here 2–3 vocals takes are layered exactly upon each other - especially for a female voice which otherwise sounds too weak.. while no 2 takes are the same. The difference in the takes, is what adds fattiness.. however it is very important to layer vocals as exactly as possible.. there are plugins like vocalign which help in alignment of 2 different recordings. Adobe Audition has a built in feature “Speech Alignment” which is the best way to achieve to different sounding vocals - to get timed perfectly reducing need for micro editing. You can further add spice by panning stereo regions for different vocal tracks on stacking

Layering Synthesizers - Synths are based on principles of layering.. here you have multiple oscillators going though various envelops and filters for getting that unique sound. Now people layer multiple of those sounds to even layer those “layers” with effects.. sounds amazing yet beware of phasing issues.

Layering of percussion - same logic.. not too much to worry on phasing.. but ensure to maintain micro distances between triggers of each sound in FL studio..

I can go on and on to tell you that layering is nothing but two different sounds playing the same melody / chords / rhythm with micro differences.. but just don't layer because someone told you it is cool. You should be sure what you are looking for.. while no harm in experimenting. Try using other techniques involving chorus effect /compression / saturation to fatten up your tracks

It all depends on your vision of how to make your sound cooler and not following a formula.. because there exists no formula.

There have been many golden records without any layering.

#album #kanye west #antwerp #creative #fl studio #ian connor #playboi carti #virgil abloh #808 mafia #yeezy #music Production #beat #beat maker #music producer #sound #sound design #photography

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thesunlounge · 4 years

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Reviews 324: Proper Sunburn - Forgotten Sunscreen Applied by Basso

Given that February is almost over, I’m slowly starting to accept that there’s going to be many great albums from 2019 that I’ll never get a chance to write about. There’s one though that I can’t imagine leaving behind, and that is Proper Sunburn - Forgotten Sunscreen Applied by Basso, which comprises the third volume of Music for Dreams’ “The Serious Collector Series.” Whereas other volumes in the series such as Jan Schulte’s Tropical Drums of Deutschland or soFa’s Elsewhere Junior: A Collection of Cosmic Children’s Songs have explored conceptual curation and highly specific soundworlds, Basso’s Proper Sunburn seeks to do nothing more than present an excellent and well-sequenced collection of tracks and thus aligns closely with Moonboots’ balearic masterpiece Moments in Time. The selections here range from bargain bin beauties to highly obscure rarities, and every single note perfectly encapsulates that elusive yet somehow well understood “Growing Bin vibe.” Across four sides of perfectly pressed wax, Basso treats the listener to wonderful expanses of sunshine positivity, wherein ambient prog shufflers and new age fusion burners intermingle with forest folk psych meditations and joyous synthesizer starscapes. Elsewhere, sugar plum pop vocals surround soulful breakbeat bangers, Italo serenades are married to interstellar AOR, future jazz beatscapes lead Afro-savanna spirituals, and spectral harp runs rain down over acidic lounge zone outs. And though the vibe is primarily of ebullience and celebration, there are also moments of shadowy intensity and dark drama, as the compilation occasionally detours towards dirgey break-up anthems, psychoactive riff rockers, tribal-tinged NDW lullabies, and cruises down the autobahn with shades drawn to the night sky.

Proper Suburn - Forgotten Sunscreen Applied by Basso (Music for Dreams, 2019) The journey begins with Hans Hass and a question: “Welche farbe hat der wind”? Delay-soaked seagull cries introduce a shuffling drum and acoustic guitar groove, with broken beat snare and cymbal patterns giving everything a folksy funk touch. Spindly six string leads weave in and out of the mix and basslines thump through up/down octave motions while Hass’ closed mic’d vocals wrap sensual threads around the heart. During the chorus, harmonious sirens back the male croon and later, during a subdued guitar solo, masculine and feminine vocal accents accompany the psych folk adventures…the whole thing taking my mind to Pentangle…as if McShee and Jantsch are scatting together while Renbourn tears up the fretboard. Pianos add a touch of western saloon magic, ambient organs hover in the distance, and at some point, seagulls, waves, and jet engine drones threaten to wash the mix away. Later, when the vocal scats return, they are more mysterious…haunted even…as they track the dazzling piano and acoustic guitar fireworks. And as the track ends, it all devolves into musique concrete, with voices speaking amidst crazed sound fx and jangling riff panoramas. In the liner notes, Basso discusses being inspired to revisit Volume 5 of DJ Food’s Jazz Breaks series due to a Moonboots set in Croatia, and so we have “The Dawn” appearing here. Seashells, rainsticks, and seed shakers introduce a jazz-kissed tabla rhythm, with tambourines ringing and trap kit touches intercutting in the form of bopping fills and tribal tom flourishes. Afro-idiophonics rain down from a sunshine sky, with balafon gourds buzzing amidst harmonious bass currents that seem to rise up from the soil. Whispers move through blinding feedback swells, synthesizers bathe paradise savannas in golden light, and virtual trumpets intertwine with ancestral choirs emanating from sticks and stones…the whole thing coming together like some dubbed out future jazz approximation of Phil Collins’ globalist world pop.

RVDS’s “Minuet de Vampire” is the most recent cut here and sees rhythm boxes leading a heroin-soaked lounge sway, with hissing hats decaying, square wave synth pulses bopping like a contrabass, and wavering chords hovering like morning fog. Decaying note trails seems to stretch towards infinity, subtle filter manipulations transform into ghostly howls, and guitar volume swells generate billowing hazes that are both angelic and sickly at once. There’s a touch of fever dream delirium as resonating vapors overlap and just as you’ve resigned yourself to the almost oppressive atmospherics of midnight exotica, flashes of light enter via spellbinding harp runs…these immersively gorgeous string melodies that intermingle with the downer atmospheres of firedance future jazz in a way recalling Alice, though as if backed by band of cyborgs. Brass-generated dub chords flutter into the stereo field and the plucked strings continue to shimmer like starlight…increasingly sounding not like a harp, but some crystalline structure that produces melodic waterfalls of every possible color. Then in “Light of Darkness” by Horizont, acoustic guitar rhythms shimmer like underwater gemstones…with dueling six strings generating golden fireworks and refracting lightwaves. Hand drums pop all around the spectrum and shakers keep the body afloat on a soft ambient pulse, with everything doused in reverb and rimshots pinging like sonar blips. There’s a growing sense of anticipation that is eventually rewarded by the presence of smooth basslines, which execute enigmatic conversation with the drum and six string panoramics while sometimes sliding up high and disappearing amongst layers of arpeggiated magic. Almost nothing is allowed to break free from the polyrhythmic folk ritual, so that as the song progresses, it starts to evoke Methany and Hiett, only as if surrendering in total to ceremonial new age minimalism…like a spiritual dance through seascape universes and realms of balearic fantasy.

Xiame’s “Nosso Destino,” from the group’s 1990 LP Xiame, begins with slap bass soloing and guitar chords flowing through reverberating gas clouds. Rainforest percussions underly a narcotizing duet between voice and guitar, wherein sensual pop serenades are back by ringing dreampop chord jangles, and all through the background, Michael Shrieve-style fusions fills splatter and clatter amidst liquid tabla accents. The fragile Italo vocalisms and soft focus touches of mediterranean balladry sweep the heart away towards some seaside paradise...the whole thing scoring a romantic beachside dance bathed in moonlight. There’s a moment where the mix gives over to indulgent fusion fantasy as basslines alight on crazed prog adventures while elsewhere, we push ever further towards a world of transcendent romanticism, with guitar riffs growing urgent and cooing vocalisms suffusing the stereo field…these radiant babbles and child-like croons that eventually climax in a beatific angel chorus. And during an epic passage of closed eye dreampop perfection, a brief yet jaw-dropping laser light guitar solo sets the very air aflame. As Basso tells it, Miko’s “Im Garten” made its way into the balearic consciousness when he live edited two 7”s together at the Garden in Zadar, Croatia. The track sees drum fills communicating with rhythmic birdsong before giving over to a smashing tribal stomp, with bending funk synths and fourth world electro-flutes creating visages of otherworldly jungle environments. Miko enters the scene like some priestess of the night, her operatic vocal mysteries moving in lock step with the militant percussive exotica. Further layers of future funk synthesis arc across the sky and overdubbed voices join in with the sunbeam spells and tribal jazz diva breaths. Industrial winds blow across the mix, hissing voices are obscured by bell tree sparkles, and at some point, the track gives over to rhythmic rainforest psychedelia, with idiophones splashing alongside a mystical drum processional.

Massimo Stella’s “C’e Una Donna Sola” sees touches of mediterranean fusion intermingling with romantic disco and galactic AOR. Sometimes planetarium synthscapes, orgasmic diva moans, and polyrhythmic guitar and piano patterns dance over prog basslines and bongo-led lizard funk drum jams as keyboard star-trails ascend towards the sky. Elsewhere, pleading vocals pull at the heart, heatwave pads wiggle and squiggle, and Rhodes chords skip on sunbeams while octave basslines anchor energetic disco rhythmics. And after some evil vocal chanting and enigmatic angel cooing, we flash into a section of anthemic phaser brass riffing and kaleidoscopic piano soloing before working towards a climax of prog fusion pyrotechnics. Trimolo follows with “Tempe 100” and its congas executing a fantasy jazz bop amidst sparkling guitar harmonics. Pads blow like a cool sea breeze, vocalized bass pulses float the soul, and a flute alights on flights of forest folk fancy while occasionally being joined by pan-pipe virtualisms. During a dramatic instrumental chorus, piano chords bang and sprightly woodwinds flutter above hand drums before the track gives over to a strange midsection wherein digitized clavinet basslines wobble through alien funk motions while western twang acoustics snap overhead. And moving back towards the balearic sway, synthesizers suffuse the mix with sunset colorations as flute leads and Bibiloni-style guitar solos score a beachside forest paradise. Diedel’s “Wo Seid Ihr” is built on rigid machine drums, ethereal pad hazes, and throbbing bass pulsations…the vibe like cruising down a mysterious highway under the dark of night. Claps crack and hi-hats tick anxiously behind Diedel’s sensual singing…his voice whispered and hitting like hot breath on the back of the neck. During the chorus, the track title is repeated in desperation and as darkwave arpeggiations filter over swelling pad cloudforms, we find ourselves in a world of horror-tinged synth-pop that brilliantly presages many aspects of the Italians Do It Better aesthetic. Best of all, the track climaxes with not one but two guitar solos: a Flamenco-kissed acoustic adventure and a molten fuzz guitar eruption.

Mikey D.’s “I Need You (Dub)” sees fat bottomed breaks boom bap’n beneath tropical synth accents, syrupy sampler vocals, orgasmic breaths, electro-tom fills, and bouncing synth basslines. Ethereal hazes and glowing symphonies surround bubblegum vocalisms…these magical boy band fairy hooks that combine with the equatorial dance grooves in a way reminding me of The Knife’s Deep Cuts. At some point, the mix devolves into pure b-boy breakdance mesmerism, with rhythms slapping beneath a panorama of trance electronics and that familiar sample of “you make me feel so good” from Mikey Dread’s “Comic Strip.” Elsewhere, a moment of silence sees ambient percussions, soulful claps, and synthesized orchestrations rushing in alongside a heavenly choral cascades, with repetitions of “Baby! / I Love You! / I Want You! / I Need Your Love!” resulting a pitch perfect moment of electronic gospel pop. And as the song ends, we found ourselves in a surgery sweet paradise of a capella wonderment. As Basso discusses in the liner notes, Wolfsmond’s “Fühl Dich Frei” was an all too short floor filler, one that was begging for an extended dancefloor edit. And so we have “Basso’s Maxi Edit,” which sees evil bass descents leading to a shaker-led rock groove…a pot smoke boogie pulse with tapped hats riding behind squiggling blues guitars while e-pianos sparkle like crystal. Gothic bells ring out as a smokey voice enters the scene, working through stoner lullabies while backing vocals hover mysteriously. The choruses have an almost country western feel, with the track title sung hopefully amidst saloon piano accents and soulful diva whispers, and during an instrumental bridge, woodblocks tick strangely as psychosonic blues solos ride into the night. There’s a moment where it all breaks down into repetitive hand drumming and looping feedback, and as we build back up through scatting guitar riffs and funked out basslines, the track eventually erupts into a jaw dropping 60s psych organ solo.

Apparently, Ghia’s “You Won’t Sleep on My Pillow” was at one point intended to be the closing track, and would have ended this compilation quite dramatically with some shadowy synth pop narcotica touching on Violet Eves and Portishead. Basslines echo and downer drum machine rhythms crack into the void while sci-fi electronics transmute into a heatwave mirage. Lisa Ohm croons over it all with defiant break-up poetry and declarations of independence and as we move into the chorus, the anthemic vocals are backgrounded by golden guitar arpeggios and howling fuzz leads, which create a mesmerizing contrast wherein epic fantasy melodics pull the mind towards cloudland castles even as the lyrics grow ever more angered and intense. There’s a breathtaking moment where the mix explodes open, seeing layer after layer of romantic angel harmonizations pushing the heart towards a climactic synth-pop dreamworld. And later, the group leaves behind the pop paraisos by giving over to tripped out bass fx, boom bap drum expanses, soloing fuzz guitars, and skittering electro accents. A find inspired by a CDr acquired from Tako Reyenga of Music from Memory, Jean Phillipe Rykiel’s “Fair Light” ends the journey on a note of radiant ebullience. Spectral click rhythms underly pads that hit like seafoam, resulting in a polysynth panorama of ambient fusion mastery. Aquamarine hazes are chained to bubbling bass currents, yearning leads modulate through layers of ocean mist, and majestic chordscapes hover like clouds while whale song tracers set the air ablaze. Sometimes we venture off into noodly prog wankery, though it’s always seen through a soft-focus new age blur, and at some point, jangling fuzz guitars enter the scene and give the mix an enhanced fantasy sparkle. The pads lock together to score some impossible sunrise while the leads push ever further towards psychedelic abstraction and nearing the end, kosmische arps billow in from underwater depths and intermingle with the light of refracting starbeams.

(images from my personal copy)

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glassc0ffin · 5 years

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Feedback

hee hoo i wrote a tma fic in the form of frankies statement to the institute

words: 2245

warnings: none, except for phil collins and thrown staples

pairing: oc (frankie james)/jonathan sims

[[MORE]]

FRANKIE JAMES:

-That a tape recorder? It's so cute! We've been trying to get one for the station, just so we can say we have one - y'know, to impress the hipsters - but they're well out of my budget. How did you get one?

ARCHIVIST:

I - Uh, it was here when I got the job, it was my predecessor's.

JAMES:

Wow, well, I'm jealous. [GIGGLES] A little tempted for thievery…

ARCHIVIST:

...Right. Would you like to begin your statement?

JAMES:

Oh, yeah, of course.

ARCHIVIST:

Alright. Statement of Frank James, radio DJ at -

JAMES:

Frankie.

ARCHIVIST:

[PAUSE] Frankie James, radio DJ at Tranzishon Rock, London, regarding…?

JAMES:

Uh, a series of...obscene phone calls from an unknown person.

ARCHIVIST:

Recorded direct from subject by Jonathan Sims, head archivist of The Magnus Institute, 21st of September, 2019. Statement begins.

JAMES:

Ah, so, okay. [SIGHS]

ARCHIVIST:

...Are you alright?

JAMES:

Yeah, I just… [SIGHS] I have a hard time...getting words out. I'm not...articulate.

ARCHIVIST:

Would I be able to help?

JAMES:

How would you? It's in my head.

ARCHIVIST:

[SIGHS] You'd be surprised. [PAUSES] When did it start? The phone calls.

JAMES:

On my show. I have a radio show at Tranzishon, late nights, 7 till 10, every Monday, Wednesday, and Friday. Towards the end of the show, from 9 till 10, we do a requests hour. Listeners call, or text, or tweet, or send a carrier pigeon, to ask us to play songs. The last one is only if they're fancy.

ARCHIVIST:

[SNORTS]

JAMES:

[PAUSES]

ARCHIVIST:

[PAUSES] Sorry. You were saying?

JAMES:

[LAUGHS FAINTLY, A LITTLE BREATHLESS] Ah, yeah, erm… [AMUSED] I can't quite remember where I was…

ARCHIVIST:

The requests hour?

JAMES:

Yes! Okay, so, er, I was announcing the requests hour, reading out our phone number and the twitter account, and as soon as I had finished reading the phone number, we got a call. I- We've got a small team of techies - well, two - that handle incoming calls, texts, tweets, whatever. One, Paul, looked up from the switchboard at me and put me through to the listener, and I did my usual spiel. Y'know: [RADIO VOICE] You're listening to Frankie at Tranzishon rock, dear listener, what's your request?

[NORMAL VOICE] And they didn't say anything. There was dead air for a couple of seconds, then as I began to say 'Anybody there?' my headphones are blown out by the sudden high volume. The person on the other end must have been right up on the mic, because there was an immense amount of feedback and white noise. I'm sort of thankful for that, 'cause it nearly covered up what they had to say.

[PAUSES] [DEEP BREATH] I... don't want to repeat what they said. Suffice to say, the techies had some lightning speed reaction time when they cut off the line. There was more dead air as I tried to recover from the shock, I think I made a joke about them wanting the number for Babestation instead.

ARCHIVIST:

[LAUGHS]

JAMES:

[PAUSES] [LAUGHS, WEAKLY] Yeah… Ah, so, w-we banned that number so they wouldn't call again, and I ended the show with Pretty Fly (For a White Guy) by The Offspring. Because I cope with bad experiences by burying them with humour.

[UNDER HIS BREATH] Give it to me, baby. [EVEN QUIETER] Uh huh, uh huh.

[COUGHS]

Uh. Anyway. I went home, had my day off, and went back into work the next night and tried to forget about what happened. And for the most part, I did. The first 2 hours passed without incident, and then when I announced the requests hour, I joked about the caller the other day. My techies looked at each other nervously as I laughed. I gave them a questioning look, but said nothing. I'd ask them after the show. I read the number and twitter and waited for the requests to roll in. Again, we had another phone call straight away. I said my spiel, and my heart was in my throat as I waited for the caller to speak. I looked at my techies. Sheena, my other tech, shrugged at me. I sighed, about to give them a signal to cut them off and answer someone else when the feedback returned, louder and more harsh this time. I threw my headphones onto the desk in front of me, but I still heard the words spilling out of them.

[SWALLOWS] Y'know that scene in Silence of the Lambs? Where Lecter asks Clarice to repeat what that other inmate had said to her? Y'know - [SOUTHERN AMERICAN ACCENT] 'He said, I can smell your cunt.'

ARCHIVIST:

Good lord.

JAMES:

Yeah. It was a bit like that. There was a lot more...squelching with mine, though. Ugh. The techs cut the call, as I knew they would. I was more than a little pissed off. I started playing a song someone had tweeted and turned off my mic, turning to my techies. I asked them, why didn't you ban them like you said you would last time? Sheena said she did, that she guessed they were using a payphone or something to harass us. Paul tentatively asked if we should inform the police, and I told him to F off. We've had no help from coppers in the past when we had Nazis and TERFs flooding our lines calling us all sorts of shit, why would they help now? Cops avoid gays like the plague unless its for propaganda. So, Paul backed down.

Before the song ended, I quickly mentioned that maybe we shouldn't take calls anymore, just texts and tweets. I didn't want it to come to that, not really. I ended the show again with a song from a small local band, earning me a shoutout on their twitter. That felt good, at least.

I went home, picking up a 6-pack of Stella on the way. I wanted to make sure I slept that night. As I sat on the tube, a good 20 minute journey to my flat, my phone began to ring. At that moment, it didn't strike me that it shouldn't have been able to get any reception underground, yet there it was, ringing in my hand. I was more annoyed at it interrupting my music, but I answered anyway. It was the same fucking caller. I couldn't hit the 'disconnect' button fast enough. But I still heard what he said. [LAUGHS SHAKILY] At least the guy has some imagination. Never the same thing twice. [VOICE BREAKS, STUTTERING] I looked around the tube to see if anyone would be witnessing my quickly approaching panic attack, and finding no-one in the compartment with me, I broke down. The next 15 minutes passed with a blur, and then I reached my station, tears stopping as fast as they had came.

I stepped off the tube and started walking in the direction towards my flat, and my phone started ringing again. My breath caught in my chest as I froze on the pavement, phone vibrating away in my pocket. I picked it up, screen lit up and facing toward the ground. Slowly, I turned it up, half shutting my eyes, as if the person on the other end wouldn't be able to see me if I couldn't see the phone. [SIGHS] Stupid. It was my mum's phone number. I answered, talked with her for a little bit - she lives a ways away, I don't get to see her a lot - and said goodnight when I got to my flat. I got blackout and passed out on my couch when I got in. Yeah, I know I'm a lightweight. When I woke up at 12pm, my TV was still on, replaying the DVD menu for Black Christmas - the 1974 version. I guess in my Stella-crazed state I was desperate to watch it again.

The entire day, I left my phone switched off. My boss won't be too pleased with me, especially after 2 shows of mine had very explicit profanity, thanks to our mystery caller, but I didn't care.

[PAUSES]

Listen, I-I know, alright? I know it sounds stupid, I know I probably sound like a pearl-clutching housewife, how scandalous that I'm terrified of a few dirty phonecalls, but...you didn't hear them. You wouldn't want to hear them. Paul, Sheena, and I certainly didn't. At least they only heard them at the station…

Thankfully, on the Friday, we had decided not to do requests hour. Yeah, a few listeners would be upset, but the more loyal listeners would understand when one person ruins it for everyone else. We just settled for the last hour of the show to be requests from Paul and Sheena. Strangely enlightening, but I don't wish to hear any more Phil Collins than is necessary. And with Paul, he seems to think 10 songs is necessary. It isn't.

ARCHIVIST:

[OFFENDED] What's wrong with Phil Collins?

JAMES:

Apart from the fact that we're a punk rock station?

ARCHIVIST:

Fair enough. You were saying?

JAMES:

Okay, so, ah… I was on my way home again, and had all but forgotten the mystery caller. We'd figured it had just been some weirdo that got bored of us cutting him off. But as I was walking from the tube station from my flat, I heard that ear-splitting feedback again. Doubling over in pain, I reached up to pull my headphones off, only to find that I had left them at the radio station. I pressed my fists to my ears, crumpling to the ground as the whine of someone being too close to a microphone pierced my eardrums. I felt something cold trickle out of my ear. I didn't have to check my hand to guess that it was blood. I hyperventilated as I lay on the ground. Something was shouting, screaming at me, screeching slurs and threats of what it wanted to do to me, what it will do to me. I remember vomiting, and then blacking out as the overlapping cacophony reached a fever pitch.

I woke up not too far from where I had passed out, £10 and a phone lighter. It was probably some homeless guy who took them, and honestly, I'm not too bothered. I'm more angry no-one took me to a doctor or something. I think, the last thing I saw before I passed out was someone standing in the distance. Staring. Yeah, it could have been some rando, but the image stuck with me.

They were silhouetted against the bright signs of the takeaways on the street behind them, hands stretching too far down, a little too tall. I might have been delusional or in the throes of oxygen deprivation or something, but I swear I saw it smile as I lost consciousness.

I haven't been back to my flat. I've been staying with Sheena for the past couple of days. She's alright, but I can tell she wants me out. She doesn't want what's happening to me to happen to her.

ARCHIVIST:

Statement ends. ...Are you alright?

JAMES:

[SNIFFS] Er, I - Uh, I should be, in a bit. Thanks for, uh...I don't know. Listening?

ARCHIVIST:

It's my job.

JAMES:

Is that it then? What happens now?

ARCHIVIST:

We'll get in contact with you if we find anything out.

JAMES:

Oh! Then, you'll probably need this then. [SCRIBBLING]

ARCHIVIST:

[SHOCKED NOISE] Wh- What are you doing?

JAMES:

Giving you my phone number, what's it look like?

ARCHIVIST:

Well, I'm sure you can give it to me on paper, not my hand! And didn't you say your phone was stolen?

JAMES:

[SCRIBBLING STOPS] Oh. Yeah. Well, if I ever get it back, then. You know where to call.

ARCHIVIST:

R-Right. Goodbye, Mr. James.

JAMES:

Frankie.

ARCHIVIST:

...Goodbye, Frankie.

[CLICK]

ARCHIVIST:

Mr. James -- Frankie's behaviour was certainly... strange during our conversation. He kept looking at me, pausing and then quickly looking away again, having to restart his sentence whenever he did so. Maybe he realised that he had virtually no evidence to back up his testimony. The only witnesses we have are this Sheena and Paul, and they can only back up the instances of the phone calls happening at the radio station, not anywhere else. Conveniently, Frankie does not appear to record his mobile phone calls, so we have no evidence the phone call on the tube happened. Assuming it even could happen.

Furthermore, his constant stuttering only made me think he was making the whole thing up. Maybe he just wants a story for his show. He --

TIM:

Knock, knock. Was that Frankie James?

ARCHIVIST:

Yes, i-it was -- Tim, saying 'Knock, knock' is not a good substitute for knocking.

TIM:

Did I hear you saying that he was making it up because he was stuttering?

ARCHIVIST:

Well, yes. It's a common tell for lying.

TIM:

It's a common tell for a huge goddamn crush.

ARCHIVIST:

What?

TIM:

Oh, come on. You didn't notice?

ARCHIVIST:

No, n-no, I didn't.

TIM:

Jon, he was the colour of a tomato. He wrote his phone number on your hand! Look, he even drew a heart, for god's sake.

ARCHIVIST:

[MUTTERING] Hmm, yes, I suppose it does look like a heart… No, don't be ridiculous, Tim.

TIM:

[IN A SING-SONG VOICE] Jon has got a boyfriend, Jon has got a boyfriend!

ARCHIVIST:

Are you twelve?! Get out! [SOMETHING CLATTERS ON THE GROUND]

TIM:

Ow! Stop throwing staples at me!

[CRASHING SOUND]

[CLICK]

#fics #my writing #frankie #📖#owo i love him..

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tayfabe75 · 4 months

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As the title suggests, 1989 was influenced by some of Swift's favorite Eighties pop acts, including Phil Collins, Annie Lennox and "Like a Prayer"-era Madonna. (Given that 1989 is also the year Swift was born, she necessarily got into them later, usually via VH1's Pop-Up Video.) The album was executive-produced by Swift and Max Martin, with whom she first collaborated on her 2012 single "We Are Never Ever Getting Back Together." Officially, it's not even finished yet: Somewhere in Sweden, Martin is tinkering until the very last minute to ensure the drum sounds are as up-to-date as possible. Swift's last album, 2012's Red, straddled the line between country and pop. "But at a certain point," she says, "if you chase two rabbits, you lose them both." So this time, she set out to do full-on "blatant pop music." A casual fan won't notice much difference, but to Swift and her brand, it's a big step. She says she won't be going to country-awards shows or promoting the album on country radio. When she first turned in the record, she says the head of her label, Scott Borchetta, told her, "This is extraordinary – it's the best album you've ever done. Can you just give me three country songs?" "Love you, mean it," is how Swift characterizes her response. "But this is how it's going to be."

September 8, 2014: Taylor discusses the artists that influenced her new '80s pop sound with Rolling Stone. (source)

#year: 2014 #september 2014 #quote: taylor swift #phil collins #overlap: phil collins #overlap: 80s influence #topic: music #overlap: rabbits #album: 1989 #source: rolling stone

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thesuper17 · 5 years

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Nostalgia, the kind fomented unnaturally early in a generation forced to confront its imminent end, soaks Titanic Rising, Natalie Mering’s fourth and finest album as Weyes Blood. The record’s warm, luxurious 70s pop arrangements and brief glimpses into Mering’s tender and empathetic interior life serve to underscore the value of what will be lost, and the necessity of treasuring it while it lasts.

Despite its eschatological subject matter, Titanic Rising isn’t a morose, or even explicitly didactic, experience. The 31-year-old was raised in a religious household (albeit subsequently denouncing Christianity), and a fundamental search for belonging and meaning feels as close to the center of Titanic Rising as its clear-eyed recognition of the coming ecological catastrophe.

It could easily sound glib to claim, as Mering did in an interview with Pitchfork, that one should “have a smile during the apocalypse and be grateful for whatever conditions exist, because life is a beautiful thing,” but on Titanic Rising, she dispels cynicism with full-hearted commitment to all the beauty left to salvage.

Mering has pointed to religious music as a particular influence on her output, not in terms of content, but staging. Grand cathedrals, at once meticulously ornate and cavernously open, these vast, high-ceilinged chambers feel like a natural arena for the compositions on Titanic Rising.

Opener “A Lot’s Gonna Change”, for instance, begins in humble simplicity but soon blossoms into a lush orchestral arrangement, all swooping strings and long-held ascending vocal harmonies. The song is an overture to Mering’s approach on the rest of the album, demonstrating her penchant for broad, melancholic melodies and stark but tragically optimistic lyricism.

These tendencies coalesce on the stunning centrepiece, “Movies”, a stirring and poignant lament that real life could approach the deliberate meaning of cinema. On a meta-level, within the self-contained world of the record, Mering achieves her wish.

"Movies" unfolds in distinct sections, not unlike the separate acts of a film. Its stage-setting, submerged synth arpeggios move subtly as the singer enters: ‘This is how it feels/ to be in love,’ (alluding to the function of art in not only reflecting emotional dynamics but producing them). Again, there is a near-religious sense of ceremony, of slow-moving bodies gradually aligning, led by Mering’s multi-tracked voice.

After building to a sustained perfect cadence, the track is interrupted by a flurry of strings, dry and staccato in contrast to the dreamy build-up that preceded them. A single bass drum pulse corrals the flock into formation and the high-drama second act takes shape. Guided by singular desire, Mering repeats ‘I wanna be/ the star of my own movie,’ her falsetto climbing intervals in a crystalline timbre. The intensity of this movement gathers and crests with a final high ‘my own’, before sloping to a mellow denouement, peaceful but not satisfied.

The filmic quality of “Movies” is clearly indebted to composers like Brian Eno and – as astutely observed by Alex Denning for Dazed – Gavin Bryars’ minimalist opus “The Sinking of the Titanic”, from which Mering’s title is inverted. Her broader palette however, is drawn from the soft-rock and pop of artists like The Carpenters, Harry Nilsson and even The Beach Boys.

The attention to detail with which Titanic Rising reconstructs these profiles is both technically stunning and wholly aligned to the record’s thematic intent. Describing that intent, Mering carefully distinguishes her desire to make something “sorrowful” rather than depressing, illuminating the world’s majesty and leaving context to shape the atmosphere around it.

That the artists she venerates are so often given to an intimate conception of that duality of love and melancholy (as in Close To You), only contributes further to the record’s synchronicity of theme and construction.

On “Wild Time” Mering addresses ‘the rising tide’ - both a direct reference to the climate catastrophe and a more general allusion to the instability gripping our cultural, economic and technological institutions. Here, as in “A Lot’s Gonna Change”, her nostalgic yearning targets the neatness of childhood, before the world’s contradictions laid themselves bare. In this way, “Wild Time” addresses a personal loss of innocence as directly as it does the re-configuring of social structures under late Capitalism and global warming.

Constantly shifting tonality between major and minor (reminiscent of a Joni Mitchell composition), the song eludes simple categorisation, refusing to signpost the listener a one-dimensional response. Its overall sonic character is analogue and warm, with thick bass guitar confidently underpinning Mering’s modulating melodies.

A gliding and pensive wordless middle 8 section gently floats the song to its final chorus, whereupon the singer locks on to a steady note for the word ‘time’ rather than the shifting pattern she adopts prior. The note holds fast while all around her, strings, drums and keys forcefully ascend, again suggesting Mering’s hopeful resolve against total uncertainty.

More contemporary reference points for Weyes Blood like Father John Misty (lampshaded by Phil Elverum in “Now Only”, where he talks to the two of them about songwriting ‘in the backstage bungalows’) and Lana Del Rey differ from Mering in their elevation of wry cynicism over sincerity. Sincerity is one of Titanic Rising's most commendable traits, but should Mering have immersed the album in earnest sentiment entirely, it would’ve risked buckling under the weight of self-seriousness.

In discussion with Mark Kermode on Ari Aster's Hereditary, film critic Robbie Collin brings up the idea that brief winking moments of humour can act as a 'steam valve' for the audience, allowing intense experiences to avoid tipping over into overwhelming ones, where they become parody.

On Titanic Rising, "Everyday" functions in precisely this way. Accompanied in video by a whimsical send-up of vintage slasher films, the track is a relentlessly bouncy and upbeat exploration of the re-organisation of love in a digital age. Without ever explicitly breaking character, "Everyday" lets in a small current of air that actually imbues the parts of the album played straight with more power.

Instructively, Mering has said "I'm actually really sincere. But I feel like humour is a part of the great cosmic question." Rather than morbidly drilling down on a singular theme, she successfully evokes a kaleidoscope of experience and emotion. Humour, just as misery or elation, is part of what comprises a full life: 'It all just overlaps.'

"Everyday" strikes this intersection most cleanly with a line in its third verse: 'True love, is making a comeback/ for only half of us the rest of us feel bad.' The heartbreaking purity and tenacity of its first half is so immediately deflated in the second, it's almost impossible not to crack a smile. A gorgeous and kitsch electric piano flourish cascades beneath Mering's voice to drive home the absurdity.

It is these smaller, intimate moments on the record, as it is in life, that invoke real wonder. The drum fill before the second chorus of “A Lot’s Gonna Change” or the duelling slide guitar motif in "Andromeda". The deeply personal ode to a friend who passed on "Picture Me Better", where Mering offers only kindness and understanding 'We finally found a winter for your sweater/ got a brand new big suit of armour'.

Titanic Rising is replete with pockets of surprising beauty, weaved carefully through its construction, its homage, its themes, its heart. In this delicately manufactured capsule, filled both with artefacts from a collective cultural memory and thoughtful preparation for a stormy future, Mering makes her case for hope; that both the past and present contain splendour worth holding onto.

#titanic rising #weyes blood #review #father john misty #carpenters #pop #carole king #harry nilsson #music

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mitjalovse · 5 years

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Morris Pert's career took him through a variety of idioms, so him working on Marscape by Jack Lancaster and Robin Lumley should not shock us. However, what genre could this album actually belong to? To be honest, Marscape featured many members of the progressive rock scene, including Phil Collins, which is why we could put the entire enterprise within that label. Sure, some call this jazz fusion, the consequent efforts by many on the record could be the reason this brand gets mentioned. Then again, could we really delineate between the two in the case of the UK? I would claim these genres in Britain had that a number of overlapping musicins, we could actually call the styles one and the same, but that might be just me.

#jack lancaster and robin lumley #marscape #sail on solar winds #jack lancaster #robin lumley #Phil Collins #percy jones #john godsall #simon jeffes #morris pert #70's music #jazz fusion

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wonder--twink · 5 years

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@noflooring tagged me in a thing, so here's this...

🌱 Rules: Answer 21 questions and then tag 21 people who you want to get to know

🌱 Nickname: Gaydrian because I'm gay and my name is Adrian. Also Tweek because I'm basically Tweek.

🌱 Zodiac: Pisces

🌱 Height: Wait, I have a meme...

🌱 I’m tagging: Any of my followers who want to do this.

🌱 Last movie I saw: The last time I went to the theater was my first date with Fiancé. His friend wanted to see the second Jurassic World movie and decided to drag us along knowing we weren't really interested because honestly, movies aren't great for first dates because you can't talk, so we hung out in the lobby and got to know each other better and he asked me to be his boyfriend and also we found an empty little side hallway to make out and stuff... But if we're talking last movie I watched all the way through in general, it was Ready Player One, I think.

🌱 Last thing I googled: "brother bear music" because my friend said he only knew Phil Collins from Tarzan and I was like "what about Brother Bear?" and no one in the group chat knew what I was talking about so I had to make sure I remembered that correctly. I was right though, he did the music for that too.

🌱 Favorite musician: I have a lot of favorite musicians, but in terms of the average awesomeness of every song they have available, Noah Kahan is my favorite. I also feel like I should say AJR because they are also more my favorite than most of my favorites.

🌱 Song stuck in my head: Never Let Me Go by We Came As Romans. Probably because it's Fiancé's ringtone for me and I called his phone a while ago to help him find it...

🌱 Other blogs: I only really use this one. I'm not really big on social media. Had some bad experiences with it like ten years ago so now I'm pretty reserved with it.

🌱 Do I get asks: No, although as I've said before, I definitely appreciate people actually interacting with me.

🌱 Followers: Well, after trying to move to my new account and almost immediately going on a long hiatus because health issues, uh, 16...

🌱 Amount of sleep: Depends on my schedule, varies a lot.

🌱 Lucky number: Not sure if I have one... maybe 4.0 because it's a miracle that organic chemistry didn't destroy my GPA because technically I only got an 85%... and lucky.

🌱 What I’m wearing: A baggy sweater and some jeggings because I have to be dressed for the maintenance guy but I still want it to feel like pajamas...

🌱 Dream job: I'm studying to be a psychiatrist. I'd like to specialize in LGBT issues and eating disorders (particularly working with men, POC, and older adults because they're less likely to get treatment for eating disorders) and I'd especially like to help trans people with eating disorders because there's a lot of overlap with gender dysphoria...

🌱 Dream trip: I'm not sure. I've never been on vacation because I'm poor, so there are too many places to choose from where I'd like to go but haven't been able to. Fiancé wants to go to Japan for our honeymoon. It'd be great if that can actually happen.

🌱 Favorite food: Coffee.

🌱 Play an instrument: Piano, a bit. Used to play the violin. Mostly sing. Fiancé loves that I apparently sound a lot like Amy Lee but I've got hella voice dysphoria, so...

🌱 Languages: English, apparently. I also speak a decent amount of French but I'm not quite fluent. Can read it okay though. I also took Latin in high school...

🌱 Random fact: The hospital where I was born is now a part of my university's campus.

🌱 Describe yourself as an aesthetic: Haise Sasaki's life outside of work.

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nekky-nek · 2 years

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Disney Movie Marathon #44 Brother Bear (2003)

I've seen this movie at least once but it's been so long I have no idea what happens. That's a lie I know what happens in general but I don't know this movie that well

Story: As I was going through the movie I was remembering how as I kid I thought this was way more dramatic and funny. This movie was more of a visual treat than a storytelling one which is a shame because that opening act sets the mood one way, and it was good. I was getting into this native fantasy. Neat something inspired by anything other than European folklore. Once that first act was over I kept getting tonal whiplash like every 10 minutes. I did get some entertainment from anytime they would show the eagle and I was like oh oh that's the brother watching I see you >O>

Characters: I had to look the name up but best character was Tug simply because he was the biggest cuddliest looking bear. And he was the only reason I got an audible laugh in the movie. Everyone else is... fiiine. Honestly I wasn't expecting Denahi in the beginning to try to stop Kenai going after a bear in vengeance. I liked him for what little we saw of him. Unfortunately this movie is full of comedic characters and moments that I can't just be in the moment with some of these characters. Oh yeah I forgot about Koda. What an annoying little bear. "Well he's a kid-" yeah and? We just had Lilo and people love her.

Art/Animation: It's no Sleeping Beauty or Pocahontas but I liked the look in this movie. Everything was about the brushstrokes for the backgrounds. Very painterly much likely. They're likely digital paintings but I appreciate all that overlap in color. And the look of the people I loved because it's something outside of the euro-centric type of face. And the animation was really good too especially with the bears. I could feel the heft and the muscle on those guys. The northern lights transformation sequence is one of my favorite things Disney has ever made. I'm not kidding. That was so beautiful to watch. I went back to watch it a few more times. The way the lights initially come down as water, bursting into lights, silhouettes of animals that weave through the light, the giant eagle that comes down and turns into Sitka with such elegant movements. Best part of the movie and it happens so early

Songs: hmmmmm... much like the tonal shifts in story the same can be said for the music. Like the score would be good but then the lyrical stuff was so... it felt forced a lot of the time because it was like oh look the beauty and harmony of nature, ah yes the kindness in your heart is the answer, which yeah true, but also none of that felt natural. And sometime it was so LOUD. Like this woman was belting and I was like geez woman I'm right here settle down. I'm not sure how to explain it. Not sure if they brought Phil Collins back just to have his name, or because his Tarzan music is top tier, but the only good song I liked of his was during the ending credits. This soundtrack was one hell of a mixed bag

#nek watches movies #disney movie marathon #brother bear #disney #long post #text post

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secretradiobrooklyn · 4 years

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SECRET RADIO | Sept.12.20

Secret Radio Brooklyn | 9.12.20 | Broadcast from the print shop (Hear it here.)

1. Fela Kuti - It’s Highlife Time

Such a cheery introduction to a night at the Afro Spot. There’s an elegance and restraint and Western-facing showmanship that is the exact opposite of what Fela Kuti’s music came to be, but it seems completely sincere — just a different stage of an incredibly productive life.

2. Ros Serey Sothea - Jam 5 Kai Thiet (Wait 5 More Months)

The guitar tones, really all the tones of this song, are so perfect, and the structure is both immaculately pop-shaped and full of gnarly rock distortion.

3. Sylvie Vartan - L’oiseau

Such a piercing chorus! It almost sounds like she’s making a birdcall, and we’ve been really appreciating bird sounds this summer in the woods.

4. Singer Nahounou and T.P. Poly Rythmo de Cotonou Benin - Gbabouo

This is a 1978 T.P. track, so they’re in their prime, with Papillon providing those amazingly beautiful guitar waterfalls. I don’t know anything about Singer Nahounou, but his vocal phrasing is a lot more like the Zimbabwean style of Hallelujah Chicken Run Band than any of the Beninese musicians they more often play with. Someone says it has “a strong Ivory Coast influence,” but I don’t know what that means. I do know that this song makes me dance, and as it goes on you can hear the musicians really stretching out and playing with the essential elements of the groove, all led by the unstoppable Bentho Gustave on bass.

5. Teddy Afro - Atse Tewodros

I don’t know if you’ve had the experience of being halfway through a feast at an Ethiopian restaurant and suddenly realizing that you’ve been loving the music the entire time. For us, that restaurant was Meskerem on South Grand, and the band was Teddy Afro. The best part, though, might be this video, in which a collection of beautiful people do the shoulder dance seemingly all over Ethiopia, in grassy fields and castle walls and city streets, in pairs and trios and teams. It’s completely mesmerizing. Meanwhile, the footage of Teddy Afro’s live show sweeps across a crowd of tens of thousands of ecstatic fans. It’s a glimpse into several worlds I know nothing about — but the music certainly seems to speak a universal language of optimism and hope. Anyone who can tell me whether I’m completely mistaken about that, please do.

https://www.youtube.com/watch?v=rRC6C8bRkQQ&list=RDmAHeyKUKMBE&index=3

6. Francis Bebey - New Track

The way this song gradually coheres from thumb piano to futuristic space jam is a clinic. I could listen to Francis Bebey talk all night.

7. Manu Dibango - Groovy Flute

Our respect to Manu Dibango, who passed on March 24 of this year. He is responsible for giving the world Soul Makossa, which we in the US know as mama say mama sa mamakusa thanks to Michael Jackson and Quincy Jones. But MJ didn’t have Groovy Flute.

8. Chantal Goya - D’Abord, Dis Moi Ton Nom

This is from the Godard film Masculin Féminin. If you like this, you’re going to love the WBFF movies broadcast coming soon!

9. Brigitte Bardot - Tu Veux ou Tu Veux Pas

Sleepy Kitty does a version of this song on a 7”. This could be a great song for teaching first-year French — “You want it or you don’t” — including frank attitudes about hooking up.

10. Newen Afrobeat - Upside Down live

Chilean Fela disciples Newen Afrobeat bring their own approach to Fela Kuti’s Upside Down. You can hear how the political urgency of the original translates directly to citizens of a country on the other side of the world. I recently read one of the singers, Macarena, describe the band as a collective that exists to make music and get the word out about the Mapuche people and their mistreatment in Chile.

Like their masterpiece, Opposite People, this is another song that is enhanced by watching the performance. It’s enough to get you dancing just watching the singer wind her way around the stage. https://www.youtube.com/watch?v=embxt0jQ8f4

11. Antoine Dougbé & T.P. Orchestre - Kovito Gbe de Towe

The arrangement of this song is just stunning to me. The little guitar licks that steal their way between the downbeats, the sick drums, the sudden disco, the arresting tone of voice, the backing vocals, the phasing guitar solo, the breakdown, and those final percussive call-and-response vocals — this track is just flat out the tops. Currently our favorite artist… which means Dougbé, who wrote the song but didn’t sing it, Melome Clement, who arranged it, Papillon on guitar (I think), the incredibly tight drums, the horn section that cuts like a knife, and this whole period of T.P. Orchestre.

Serge Gainsbourg - Aux Armes Et Caetera

When this recording appeared there was a freakin uproar among the French, who were scandalized that anyone would translate the French national anthem into (gasp!) reggae form.

12. Van Goose - Last Bus

Credit due to Jen Meller for telling us long ago that Van Goose was a band to be listening for. We saw them for the first time at Underwater Sunshine in Manhattan and danced so hard that when we heard their next gig was New Year’s Eve, our plans were settled. I get so lost inside this song!

13. Stereo Total - Ringo I Love You

The first two songs that Paige heard of this band were I Love You Ono and Ringo I Love You — as far as we know, they specialize in Beatles-related songs (which is to say we know almost nothing about this band). Both of those songs are perfect expressions of themselves.

14. 張小鳳 (Zhang Xiao Feng) - 我深深地愛上你 (Eight Days a Week)

We know nothing about this band — this track is the result of supposing that a certain thing must exist, and then finding confirmation of its existence. What a strange chordal relation to the original it has.

Harvey Danger - Authenticity

20 years ago this week King James Version came out, which was a really really big day in a really big time in my life. One fine detail I just noticed is that I lived about a mile north of Pike Street 20 years ago, and I live about a mile south of Park Slope today. Which I don’t think me-then would have hated. Anyway I’m still enjoying every damn day, modern horrorshow notwithstanding!

15. Ben Blackwell - Bury My Body at Elmwood

So many times every year where we realize how much we miss Bob Reuter — his radio show, his photographs, his writing, and more than anything the man himself — and this is a song we first heard via Bob’s Scratchy Records.

16. Jacqueline Taïeb - 7 heures du matin

This song kind of encapsulates a lot of what I want this collection of songs to be — a crashing together of cultures that ties back to the universal elements of rock n roll. Jacqueline Taïeb is flat out the coolest.

17. Liev Tuk - Rom Sue Sue (Dance Soul Soul)

Another entry in our James Brown shockwave studies. This is a Cambodian track from the ’60s, so presumably made around the interaction of French and American soldiers with Cambodian citizens… probably mostly in bars near bases? That’s what I picture happening, but I don’t actually know anything about it. I will say that I think Liev brings his own thing to the track, a real animal grandeur.

18. Soumitra & Mousumi Chatterjee - Urbashi Soundtrack - Jogi Jogi

We’ve been trying to learn more about Bengali culture and language from our young neighbors in our building in Kensington. We’re kind of hoping that someone in the building recognizes this song — though it’s equally possible they would look at us like we were crazy. This is a soundtrack to a movie billed as a “thriller” — dig that ’80s keyboard movie-soundtrack solo — and Paige and I have already spent quite a bit of time theorizing, based purely on the music, what sort of movie we’ll encounter when we find it. Also, this is a new earworm you won’t be able to shake. I’d say I’m sorry but I’m not!

19. The Fall - Shoulder Pads

The Fall is one of our very favorite bands — actually, T.P. Orchestre is the first real contender for other favorite band in years — but I’m very aware of the fact that I have pretty much always approached these songs as broadcasts from an alien culture. The decisions that Mark E. Smith made, song after song, are so completely mysterious and thrilling to me, as is the way the band composed, and for the most part they’re talking about British cultural winds that have almost nothing to do with my world. Anytime we play a song by The Fall I feel like I’m in danger of losing myself to only Fall songs for the next month. Tie me to the mast!

20. T.P. Orchestre & Bentho Gustave - Agnon Djidjo (Tu as bon caractère)

This is the final track on Le Disque d’Or, and the melody just feels so full of importance, like something absolutely vital is being transmitted. When we were trying to keep track of songs, I referred to this song as “Benin’s Phil Collins.” Obviously not much overlap, but I do feel like the chorus has PC’s paranoid urgency. As far as Paige can tell, the lyrics are “Je suis heureux de vivre pres de toi jusqu’au le fin du monde,” which would be “I’m happy to be with you til the end of time.” We don’t know if those are the lyrics, but they certainly work for me.

21. Joanna Kulig & Marcin Masecki - Dwa Serduszka

If you haven’t seen the film Cold War, we can’t recommend it highly enough. Also, you should know that it’s devastatingly sad. But right from the opening scene, the music alone is a revelation, and the main actors are enough to make you understand that we’re only seeing a fraction of the world’s charismatic actors in the English-speaking context, o yo yo.

22. Blossom Dearie - Manhattan

Paige has always loved this song, especially because Blossom Dearie is the piano player as well, which is something we think about with Nat King Cole but not necessarily with a singer like her. And now this song seems like a description of the empty streets of Manhattan, and it being such a strange time. Mott Street is different right now — but it’s still New York, and these buildings have been there so long, through World War II, September 11, a lunatic for pres, and now COVID-19. Sadness and optimism: “The great big city’s a wondrous toy.”

Orchestre de la Paillotte - Kadia Blues

A Guinean band created to promote Guinean music.

23. Scott Walker - Duchess

A pandemic discovery for Paige. I always meant to get into Scott Walker. I was in a band in Chicago and the guy whose house we practiced at loved Scott Walker. He kinda looked like Scott Walker. He was living in the ‘60s. He had a word processor. I didn’t get into Scott Walker then, nor 10 years later, but over the last year his music landed, at some point between now and the beginning of the pandemic.

24. Inga - Silver Moon

So weird that this song has been translated from English into German… but they use phrases in English that do not exist in the original. I really want to know more about the circumstances of this translation and arrangement. Inga was a German pop star with excellent eye makeup game.

25. Avolonto Honore - Na Do Sê Kpon Wê

The word “elegiac” exists for occasions such as this. The song feels so sincere, whether with regret, loss, love, or bitter experience. It also sounds like the voice of a father to his son, at whatever age. He sounds wise.

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