When I finally watched the VIDOC, this was all I could think of, and it wouldn't leave me until it was drawn. My Warlock boys thirsting lol

I decided to listen to the torchwood audio episodes at the gym as like motivation but like. how am I meant to hear "but you never will just be a blip in time to me ianto jones. not for me" and just. keep breathing.

La musique est l'accès à un ailleurs de la parole, que la parole ne peut pas dire et que le silence dit pourtant, en le taisant. Une musique sans silence, qu'est-ce sinon le bruit ?

- Hélène Grimaud, Variations sauvages (2003)

“Where words fail, music speaks.” This saying, attributed to Hans Christian Anderson, has been restated in one way or another in numerous sources.

A random survey of musical quotations yields endless similar remarks, including one from Victor Hugo: “Music expresses that which cannot be said and on which it is impossible to be silent.” Pulitzer-Prize winning composer Ned Rorem opines, “If music could be translated into human speech, it would no longer need to exist.” Charles William Wendte, a renowned Unitarian minister of the early 1900s, expanded on the theme: “When words fail to express the exalted sentiments and finer emotions of the human heart, music becomes the sublimated language of the soul, the divine instrumentality for its higher utterance.”

An assemblage of like statements from notable personalities could fill an entire volume. The frequency and eloquence with which the sentiment is repeated is a testament to its accepted truth. Without need for deep reflection or the parsing of meaning, such comments just seem to ring true. The sense that musical expression picks up where language leaves off is an inference made by luminaries and laypeople alike. Music, in its various manifestations, is felt to communicate something that exceeds the conceptual limits of vocabulary.

Exactly what this information is can only be hinted at. The fact that music’s impact occurs outside the bounds of language means that language is inadequate to describe it. Our conversations with music occur in the realm of emotions, and insights we glean from that experience are no less (and can be more) significant than that which is gained from reading or speaking.

This assessment is hardly novel. As mentioned, it is alluded to or expressly made in all sorts of literature. Still, it is striking that the observation usually comes from people of words: poets, novelists, philosophers, theologians and the like. It seems the more fluent one is with language, the more one recognizes its insufficiencies. For reasons more intuitive than intellectual, music is reached for as the next level of expression. It can be assumed that authors arrive at this point independently; but similarities between their articulations reflect a common process and shared epiphany.

Among the clearest examples of a wordsmith turning to music is Augustine of Hippo (354-430), whose theological output includes one hundred separate titles. His writings span apologetics, exegesis, letters, sermons, polemics, personal confessions and doctrinal teachings. But even Augustine, arguably the most prolific Latin writer, admitted instances when music is a better communicator than words.

This is especially apparent in his commentary on Psalm 33:3: “sing Him a new song; play sweetly with shouts of joy.” Augustine asked, “What does singing in jubilation signify?” His answer: “It is to realize that words cannot communicate the song of the heart.” This inner-song - which, again, is more intuitive than intellectual - is best sung as jubilus: a spontaneous and wordless musical divulgence. “In this way,” he wrote, “the heart rejoices without words and the boundless expanse of rapture is not circumscribed by syllables.”

Whether the writer is religious or secular and whether the medium is literary or philosophical, the assertion is the same: music conveys that which words cannot. It is a reality easier to acknowledge than to explain, but a powerful reality nonetheless.

**Photo: Hélène Grimaud plays at her piano.

Vlad Țepeș de Dan Ianoș

Me when I’m silly (hasn’t posted here in ages)

(°⌣°)

You can watch my art progress in real time by scrolling down once on my blog!!!  (°⌣°)

I love the fact that I made my warden Zara Cousland such a sassy rule breaker while being married to Alistair , Princess-consort but most importantly Warden-Commander.

Then I make her Warden-Captain "mister I follow all rules and plans" Ekko Ianos.

Like imagine the chaos

Zara: *makes a giant plan with all the wardens*

5 Seconds Later

Zara: *forgets the plan and goes ballistic*

Ekko: WHAT ARE YOU DOING? WARDEN-COMMANDER!!! Stick to the plan. Oh NOT AGAIN.

Ekko: LEAVE THE DRAGON ALONE Warden-Commander!!

Sad Piano Type Beat - "It's Okay To Feel" Emotional Piano Instrumental 2...

Actually Tobin, the answer you were looking for was another athlete whose name starts with ”Christ..” 😉 She just went on heterosexual mode accidentally

hahahaha what year was this? 🤣 that was a very close call lmao

I started this really late in December and got busy, so this is 'super' late. But I really wanted to draw this out so here you go!

iANO - Nothing Special Court

(Hypnagogic Pop, Experimental Rock, Ambient)

A massive, hour-and-a-half-long expedition through the various realms of Chris McCracken's lofi electronica, Nothing Special Court provides the most enjoyable and rounded group of tracks in this vein for him yet. By injecting hazy ambient atmospheres into these songs rather than the other way around, the overwhelming atmospheres of his bitcrushed pop tunes are placated by genuinely enchanting songcraft.

☆☆☆☆

It's hard to talk about Chris McCracken's music without at least mentioning his importance as a progenitor of heXD and noisy, bitcrushed-to-hell electronica over the past few years: his 2021 debut Dispossession still stands as one of the former genre's strongest works, and even when it came to this April's neon hi-fi marvel Life Cycles, songs like Storm Fabric and Bliss brought just enough grit and fuzziness to things to ensure the album never became too one-dimensional in its progressive electronic experiments. What did throw me off, though, was this summer's There's No River, where McCracken embraced a gloomier aesthetic that drowned in noisy ambiance and anxious post-punk, an interesting change of pace but with the sacrifice of all the compositional richness his music thrived on - it felt like There's No River was being starved of the depth and expressiveness of McCracken's other projects by way of its monochromatic presentation. So, when a surprise hour-and-a-half long second helping of similarly lo-fi tunes landed Friday morning last week, I wasn't all too sure what to expect: McCracken's shown time and time again his incredible attention to detail and ability to add tons of color to electronica's coldest sides, but meshing it with the avant-pop side of his discography not too long ago brought about quite mixed results. Thankfully, Nothing Special Court completely reimagines how McCracken's hypnagogic pop songs come to life, the album's lengthy runtime and massive tracklist showing off every side of his sound in thrillingly innovative ways. Smothered in high pass, reverb and compression, songs like Nothing and Special speak the language of dance music but distort it until it's near unintelligible, bright synth melodies and chunky drum programming that would normally be fit for a club turned into a lightning spell for the dead of night, while the shoegaze crawl of The Bones and This Will Happen adds even more fuzz to My Bloody Valentine-indebted noise pop. The challenge of There's No River was McCracken trying to fit these heavy post-punk tunes into thin and wispy ambient atmosphere, but by injecting hazy ambient atmospheres into these songs rather than the other way around, the overwhelming atmospheres of his bitcrushed pop tunes are placated by genuinely enchanting songcraft, the folksy lean of Passing Cards juxtaposed by a chintzy toy piano and Keeper's mall-commercial new wave genuinely sounding like it's being shot right out of an old CRT despite its energetic instrumentation. Rather than feeling stiff and awkward trying to mix chilly ambiance with chilly instrumentals, McCracken picks some of the sunniest genres out there - trance, pop, country, dream pop - and finds ways for swarms of noise and distortion to blanket them and create his desired worlds. And if the hour thirty runtime puts you off for any reason, don't go into Nothing Special Court expecting the same thing twice - McCracken's never been one to stick his music in a box, and that's especially so here. He hits on everything from doo-wop (First Encounter) to twangy Americana (Joseph) to groovy ambient techno (Nothing), influences from Naked Flames and James Ferraro to Tom Waits and Alex G dotted all across the album's 33 tracks. Though its gigantic tracklist and long runtime might lend itself to background listening, fully submitting yourself to all of Nothing Special Court's whiplashing 360s and random detours brings about a listening experience like no other this year: it's strange, jumping from The Expanse, Pt. 1's cinematic balladry to the ditzy waltz of Faces Drawn, but it all works in tandem because of the single world McCracken conjures them all in, like flipping through channels on a TV connected to a half-broken antennae. Cryptic and dense as Nothing Special Court is, there's a magic and wonder to how McCracken fits everything together and makes it feel like one solid block of avant-pop surreality, able to take the strangest bits of his sound and stick them all together beautifully. I'll probably always be partial to the cleaner, cooler sound of Life Cycles, but Nothing Special Court is the most interesting and compelling take on lo-fi electronica McCracken's released yet, and making an hour and a half of it stand tall all the way through is an undeniable accomplishment. As he jumps from idea to idea with abandon, he never treats any one song with less love than the ones surrounding it, sporadic in his style and song structures but never changing the core of what makes his music so enthusiastic and earnest no matter where he's taking it. It's a lot to digest, but Nothing Special Court is as engaging and passionate as any of McCracken's more concise releases: take your time with it, and everything unfolds beautifully.

tags for ianos, 3 months later

I'm bittersweet. Everything is so fine, I feel like it's good to be alone, nothing's painful.. Peace of mind, peace of mind.

IANOS: Παρουσίαση του πρώτου βιβλίου του The Trivialist «Από τον βασιλιά θάνατο στον βασιλιά ήλιο» - Κυκλοφορεί από τις εκδόσεις Διόπτρα

Την Δευτέρα 4 Μαρτίου, στις 20:30 η Αλυσίδα Πολιτισμού IANOS και οι εκδόσεις Διόπτρα, διοργανώνουν παρουσίαση του βιβλίου του The Trivialist, με τίτλο : «Από τον βασιλιά θάνατο στον βασιλιά ήλιο». Μια εντελώς διαφορετική και φρέσκια ματιά στην ιστορία της Ευρώπης μέσα από 11+1 ιστορίες. Με καυστικό χιούμορ και κατανοητή γλώσσα, η μελέτη της ευρωπαϊκής ιστορίας ποτέ πριν δεν υπήρξε τόσο…

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