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hmel78 · 4 years

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In conversation with Petter Carlsen ...

Earlier in the year, you may remember that we caught up with ‘Long Distance Calling’, and discovered that they had recently asked one of Norway’s finest vocalists to join them as lead singer on their new album, and tour of Europe. When we went along to a show, we also discovered that Petter was the opening act each night - at which point, it seemed like a great chance to grab him for a chat! Born in Alta, not so many years ago, Petter Carlsen has spent much of his life creating beautifully personal and atmospheric music, reflecting the cold, dark and wild surroundings of northern Norway. His debut album “You Go Bird” was released in 2009 and turned on many Norwegian ears. His second album “Clocks Don’t Count” was released to incredible reviews in 2011 in Europe, through UK indie label Function Records. Subsequently Petter really began to gain ground as an artist, and has picked up fans all over the world whilst touring as special guest with UK band Anathema, Danish artist Tim Christensen and throughout clubs and festivals in Europe, September 2014 saw the release of his third album “Sirens”; produced by Wetle Holte (Eivind Aarset, Anja Garbarek) and mixed by Christer A. Cederberg (Anathema). With all of these musical achievements, and long distance touring, it would seem that Petter has travelled far in life -and with much more travelling on the horizon, we were curious to know, how he got from there, to the here and now ...

HR - What first interested you in music?

PC - I became very fascinated by a lot of music at an early age, but the band that made me want to learn how to play the guitar was Metallica. The first time I heard ‘Fade to Black’ I was blown to Pluto and back (via Jupiter). Then I had to put together a two week intense promo campaign towards my mother to get her to invest in a guitar and amp. She did.

HR - Who taught you to play?

PC - James Hetfield! haha. Some friends of mine had a head start, and I learned a few chords from them. But mostly I listened to music and tried to play the songs with the help from my ears and hands and some tabs. However I early started exploring how to write my own songs. That was the main aim all the way. My first band was called ‘Burger Heads’ and our inspirations was Metallica and Paradise Lost + other heavy bands.

HR - Is there a lively music scene in Alta?

PC - Yes, and It’s growing. There are a lot of youngsters that are eager up there, more now than before I think. There are more songwriters now and less cover bands. It’s a small town, but there is something going on. We have a very nice festival in the summer called Aronnesrocken which was founded on the idea of creating a scene for the up and coming. We also have a place called ‘Huset’ which translates ‘The House’ where there are lots of creative and hungry souls making music, and dance and other forms of art.

HR - Blackmoon Magazine is sold in ‘Puska’s Music’, and we have heard a lot about it - how much of your youth did you spend in the Alta store? And as an adult too?!!! ;)

PC -The legend’s original name is Gunnar Schwaiger, but everybody calls him Puskas. The store was quite big in the ninetees, and I was there very often - always exploring new bands , trying to find gold. I did. I remember quite a few times sitting down by the bar with headphones on and being blown away by Metallica, Paradise Lost, TNT, Seigmen etc. I got a fulltime job there in ’99 and quit school (university). I don’t regret it. I enjoyed working there very much.

The store is still going strong despite that Puskas lost his beloved wife and partner for the last years.

May it last forever!

HR - Given the wealth of music you had the opportunity to listen to - Who have been your biggest influences?

PC - Anathema. I discovered the ‘Eternity’ album at Puskas too :) In recent years we have become friends and we have worked together for many occasions. They are very generous. It’s family.

HR - And what about Norwegian musical heroes?

PC - Åge Aleksandersen, Kari Bremnes, Kvelertak, Wetle Holte, Aleksander Kostopoulos, Motorpsycho, Seigmen, Jaga Jazzist and a lot of people I’ve been so fortunate to work with!

HR - Living so far north, in Alta, did you feel distant from the opportunities that may exist in the music industry?

PC - No , I didn’t. Ignorance is bliss haha. However I was quite young when I moved to Oslo, and I was 25 when I went ‘all in’as a musician. I didn’t dare at first. So I worked as a sound engineer for a long time before I was ready to give it a shot with my own music.

I have to mention that I don’t think coming from the outskirts is any set back, quite the contrary. I’ve had a tremendous support from people in my hometown.

I have always been back and forth between Alta and Oslo. I have a lot of contacts both here and there. I found my musical companions in Oslo , but I also have quite a few in Alta. Besides that, I am really happy to travel outside Norway and do gigs.

HR - What do you feel was your first real success?

PC - hmmm. Going to the next round in UKM with ‘Burger Heads’ in ’96. UKM is a cultural event for young artists.

HR - That’s pretty impressive! You have another project ‘Pil and Bue’ - how is that going? How did the partnership with Aleksander happen?

PC - Pil & Bue is going very well. We are both very excited about it and at the moment we are doing festival shows in Norway. We have done two albums so far and are starting to work on the next this autumn.

The reason we met was because I needed a stand in drummer on a couple of shows for my solo project. At last his name came up and he was free and keen on doing the gigs. At a shabby hotel room in Amsterdam we talked about how we began playing music. It was quite similar for us, we started out with heavier and more aggressive music. His first band was called ‘Sinnsyk Ugle’ (Insane Owl) and was a hardcore band. We decided then and there that we should start a rock band. A few weeks after we returned to Norway he called me to let me know that he’d bought a new Gretsch drum kit, perfect for our plan. And as we felt that we didn’t need any more members, the band was up and running in no time. It felt good going back to the roots, and it still does. I’m happy that we met, cause the collaboration is very good.

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HR - You’re about to tour Norway too - how does it make you feel to play to your home town?

PC - It’s always a little different than other shows. For a long time I didn’t enjoy those shows as much as others, but I think that’s over. Now I am more relaxed about it. I feel that I have a lot of fans and supportive people there, making it a pleasure.

HR - How did you meet up with ‘Long Distance Calling’?

PC - Zoetemeer, the Netherlands, October 2010. I was supporting Anathema on their entire european tour, and LDC joined in for some shows in NL and in Germany. We hit it off straight away and have been friends ever since.

HR - on tour you are both vocalist for them, and opening act with your solo material - Do you enjoy the experience as a whole?

PC - Yes, I do! We have a very good time on the road - even though I don’t speak german haha. The initial plan was to bring Pil & Bue as a support act but illness in Aleksander’s family made that impossible. How fragile we are. It was a bit challenging to do the solo support when people were expecting a rock show, but all in all it went well. I learned a lot on tour I think.

HR - Do you feel like you have to be two different people - to be able to perform as a solo artist, and as part of a band on the same bill?

PC - Good question. It’s two very different set-ups but I’m the one who’s singing, and singing both my own stuff and LDC’s stuff comes natural to me. Takes a lot of focusing though, but I enjoy the challenge. So I guess the answer is no.

HR - Will you be involved with their future projects?

PC - I don’t know at the moment. We talked about writing together ... Let’s see what happens. Would like to give it a go. I know that we’ll be doing a new tour early next year for the ‘Trips’ album.

HR - And as a solo artist, and also Pil & Bue - what’s next?

PC - On the solo side I am making a new record. It’s gonna be a little different this time. The plan is to release it next spring.

Pil & Bue is the main ship as of now. We are two people and we have a certain responsibility for each other. The solo part is easier to initiate when it’s a little quiet in the P&B camp.

HR - Which of your compositions are you most proud of - solo or with a band?

PC - Impossible to say. I have to say I’m proud of them all. That’s a good feeling.

HR - And If you hadn’t become a musician, what would you have done?

PC - There was no other option!

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#folk music #singer songwriter #norwegian #new music #music #heavy rock #prog rock #Youtube

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nishadesigns · 3 years

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Seed Gathering Season: The Tree Council encourages gathering of seeds ahead of winter tree planting — Life & Soul Magazine

The Tree Council is encouraging everyone to gather seeds, fruits and nuts ahead of winter tree planting as part of its 21st Seed Gathering Season. Around the UK, volunteer Tree Wardens and other champions of local trees will be holding events on how to harvest local tree seeds responsibly and sustainably to celebrate Seed Gathering […]Seed Gathering Season: The Tree Council encourages gathering…

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#Artists #hospitality design #interiordesign #interiors #life & soul magazine #Nisha Designs #rosa medea #seed gathering season #seeds #tree council #winter tree planting

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transparenttriumphzombie · 3 years

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Jordana LeSesne, formerly known as 1.8.7, is an American musician and producer from Pittsburgh, Pennsylvania.[1] She now produces and performs as Jordana. She became known in the mid-1990s as a drum and bass producer.[2] Vibe magazine called her "one of the most respected Drum ‘n' Bass producers in the US."[3] In 2015, she was named as one of "20 women who shaped the history of dance music" by Mixmag.[4] She is transgender and came out in 1998.[5][2]

She has released over 50 tracks, including four albums, several EPs, and remixes under the alias 1.8.7. The 1997 album When Worlds Collide became known for its "dark pummeling assaults". She has licensed tracks for compilations as well as the Sci Fi Channel. Three of her albums charted in the Top 25 of both the CMJ (College Music Journal) and Mixmag U.S. (later Mixer Magazine, now defunct) for 1997 as well as 1998[6] and 1999. Her third album "The Cities Collection" debuted in the CMJ Top 5 climbed to the #2 position on CMJ Music Monthly's dance chart for June 2000.[7][8][9]

Her works have been reviewed by Billboard,[10] Spin, Rolling Stone, Urb, Mixer, Mixmag, Raygun,[3] as well as Knowledge – the U.K. Drum and Bass magazine. In 1999, she was listed in Raygun's Who's Who of International DJs. She was one of the headlining DJs on Knowledge Magazine's 28 city Kung Fu Knowledge tour in 1999.[11] She also made Out Magazine's OUT100 list for the year 2000.[12]

Contents

1Impact on music

2History

3Hate crime in Ohio

4Additional work in music industry

5Literary mentions

6Personal life

7Vinyl

8CD releases

9Videos

10References

11External links

Impact on music[edit]

Her work has influenced other artists such as well-known dubstep producer Bassnectar, who heavily sampled 5 A.M. Rinse (feat. MC Sphinx), the last song on her first album When Worlds Collide for his song Here We Go of his 2010 EP and single Timestretch.[13] Since the sexual allegations of Bassnectar have become known to her, Jordana has publicly condemned his actions as well as called out the fact that he never delivered contractually promised royalties for the above mentioned work.[14] Additionally, electronic rock act Celldweller sampled "Wake Up" off of her first album as well as "San Francisco" off of her third album "The Cities Collection" in their 2013 song "Uncrowned".[15]

In 1999, Drum & Bass/Hip Hop producer and label owner Hive approached Jordana to remix her song Defcon-1 also off of When Worlds Collide. Hive's remix appears on his 2001 album The Raw Uncut.[16] Jordana collaborated with Lady Sovereign on a song early in Sov's career after the two met through an internet chat room for StrikeFM.co.uk, an online radio station which Jordana had a show, and the now defunct UKGarageWorldwide.com forums. The two would later team up when Jordana under her Lady J alias, had Lady Sovereign MC for her radio show on Flex FM London.[17]

History[edit]

She first came to the attention of the music industry when she was asked to remix Blondie's "Atomic." Her remix appeared along with Armand Van Helden and Diddy’s remixes on the single.[3] A little over a year following that release, Mac McFarlane, the promoter of the well established and legendary New York City club, Konkrete Jungle, contacted her to create a themed song for a CD compilation/mix-CD. Jordana created the song "Konkrete Jungle" for that purpose. Described by CMJ as containing "menacing hardstep attacks",[18] it was released on the Ultra Records compilation, Konkrete Jungle - Maximum Drum & Bass, mixed by BBC Radio 1 Drum'n'Bass show host Jumpin Jack Frost. Following extensive touring throughout North America and abroad as a music producer, Liquid Sky Music, an indie label distributed by Caroline Distribution signed her to a three-album contract in late 1996.

Hate crime in Ohio[edit]

On the night of February 22, 2000 in Kent, Ohio, Jordana was attacked and brutally beaten in a transphobic hate crime by a group of men including Matthew Gostlin.[19] Gostlin and other assailants vaulted her in the parking lot outside of the Robin Hood nightclub where she had just performed on the Cities Collection tour. The attack took place while she was escorted from the event with the event promoter to his car. The group of men attacked suddenly and Jordana lost consciousness almost immediately after being struck in the face. She suffered nerve damage to the lower part of her face from her lower lip down as a result. She was quoted, saying in the May 2000 issue of CMJ New Music Monthly that in the seconds just prior to the attack: "I saw his face. I remember the look on his face. It was this look of utter hate, like 'I'm going to kill you.'"[20] In an interview with the Village Voice, George Meesig, a man from Cleveland, Ohio who defended her during the attack, stated that Gostlin had misgendered her, saying “this is personal”.[21] Other reports noted by the Village Voice on the message board for Breakbeat Science (a Drum'n'Bass record store) mentioned transphobic slurs being shouted during the attack. She subsequently cancelled the tour to recover.[19] Gostlin, while charged, was never arrested nor spent any time in court. Her family was told by the Portage County (Ohio) prosecutor's office that attempts had been made to serve the warrant but Gostlin's whereabouts were unknown. She felt that justice would not be served so she left the United States for England due to concerns about personal safety and well-being.

Additional work in music industry[edit]

In addition to music production, Jordana is a DJ, musician and singer. From 2001 to 2002, she worked at Flex FM in London, England as Lady J, with Lady Sovereign performing for her during her radio show.[22] In 2002, she held a club residency performing UK garage, 2-step garage and house music at the club Trinity in Vauxhall neighborhood.

After returning to the United States, Jordana returned to rock and fronted a goth metal band in Seattle. Prior to that, she was asked to play bass in another band briefly where she met and became close friends with singer/songwriter Shelita Burke. She has toured the world and played many DJ sets. She has been billed alongside Arca for Planet Zolean: Un/Tuck + Hot Mass on the Currents.FM Common Multiverse Initiative.[23] She was featured on the Dekmantel Podcast.[24] She was featured as Mix of the Day for Resident Advisor.[25]

In 2014, Jordana scored the documentary Free CeCe, produced and directed by Jacqueline Gares and Laverne Cox. The documentary details the struggles of CeCe McDonald, an African-American transwoman wrongfully incarcerated for murder for defending herself against a hate attack on her outside a Minneapolis bar.[26][27]

Literary mentions[edit]

She has been featured in several books. Her success in rising from living in a "rust belt" city to being an MTV-featured electronic music artist was mentioned in "The Rise of the Creative Class" by economist Richard Florida. She appears in two books detailing American electronic dance music scene history: Michaelangelo Matos's The Underground is Massive,[28] and Rave Culture, an Insider's Overview by Jimi Fritz and Virginia Smallfry.[29]

An interview with Jordana was featured in multiple books, including a book published in 2012 by rock journalist George Petros.[30] She has spoken on her personal life in interviews for publications such as The Festival Voice,[31] The Brooklyn Rail[32] and href zine.[33]

Personal life[edit]

She currently lives in Seattle, Washington.

Vinyl[edit]

1995 Blondie "Atomic (The Beautiful Drum and Bass Mix)" VV58320 Chrysalis Records/EMI

1996 RockStone Foundation "Dis Soun'" JS007 Jungle Sky

1997 V/A – Nirvana EP "We Are Not Alone" JS114 Jungle Sky

1997 Soul Slinger-Don't Believe "Abducted (1.8.7 Remix) JS118 Jungle Sky

1997 Soul Slinger-Don't Believe "Ethiopia/JungleSky (1.8.7 Megamix)" JS118 Jungle Sky

1997 1.8.7 – When Worlds Collide full-length album EP1 "Defcon 1"/"When Worlds Collide"/"Blueshift"/"Dragonfly" JSK121 Jungle Sky

1997 1.8.7 – When Worlds Collide full-length album EP2 "Wake Up"/"Distant Storm Approaching"/"Ghetto Style"/"Ghetto Style (West Philly Mix)" JSK122 Jungle Sky

1998 Murder 0ne (1.8.7)/T.Farmer "Annihilate"/"Memory" BOOST002 Boosted Records

1998 This is Jungle Sky Vol. 5: Rock N Roll EP Disc 2 "Break In"/"The Return of Shaft"/"Konkrete Jungle" Jungle Sky JSK131

1998 This is Jungle Sky Vol. 5: Rock N Roll EP Disc 3 "Atmosphere Remix"/"The Jam"/Beastie Boys – "Sabotage (1.8.7 JS Remix)" JSK132 Jungle Sky

1998 1.8.7 – Quality Rolls full-length album EP1 "Quality Rolls"/"Relax Your Mind"/"Phobic" JSK136 Jungle Sky

1998 1.8.7 – Quality Rolls full-length album EP2 *"Jerusalem"/"Get Amped" (215 Remix)/"Stigma" JSK 137 Jungle Sky

1998 1.8.7 – Quality Rolls full-length album EP3 "Rock The Party"/"Deep Stealth"/"Cross the Line" JSK138 Jungle Sky

1998 1.8.7 – Quality Rolls full-length album EP3 "United"/"Blue Nile"/"Reboot" JSK139 Jungle Sky

1999 Jordana – "Pure Funk"/Stardust – "Music Sounds Better".. [With Bass] (Jordana JS remix) *whitelabel* JSK149 Jungle Sky

1999 Jordana – Cities Collection 12" 1 "Hollywood (courtesy of Lucasfilm)"/"Los Angeles"/"New York" JSK157 Jungle Sky

1999 Jordana – Cities Collection 12" 2 "Pittsburgh"/"Miami"/"San Francisco" JSK158 Jungle Sky

2000 Loki and Jordana – "Murder" 12" *whitelabel*

2001 Jordana – "Tampa Tantrum"/"In Your Arms" 12" TECO008 Technorganic

2002 Lady J feat. Lady Sovereign – "The Intro Dub" (Flex FM)

2002 Jordana – Full Colour 12" 1 *whitelabel* ConceptAudio

2002 Jordana – Full Colour 12" 2 *whitelabel* ConceptAudio

CD releases[edit]

1994 V/A – Interstellar Outback "Jungleman" ROM01 RomHyperMedia

1995 V/A – Scotto Presents: Drop Beats Vol.1 "Ravestock Anthem" DROP001 Drop Entertainment

1996 V/A – This Is Jungle Sky Vol.2 "Dis Soun" JSK008 Jungle Sky

1997 V/A – This is Jungle Sky Vol.4 "We Are Not Alone" JSK116 Jungle Sky

1997 V/A – Future Groove "We Are Not Alone" ?74321 50089 2 Ariola/BMG

1997 V/A – New York Junglist "We Are Not Alone" AVCD11540 Avex Trax

1997 Soul Slinger-Don't Believe CD "Abducted (187 Remix)" JSK120 Jungle Sky

1997 Soul Slinger-Don't Believe CD "Ethiopia/JungleSky" JSK120 Jungle Sky

1997 1.8.7 – When Worlds Collide CD album JSK124 Jungle Sky

1998 V/A – This is Jungle Sky Vol.5 "The Jam" JSK130 Jungle Sky

1998 V/A – This is Jungle Sky Vol.5 "Atmosphere Remix" JSK130 Jungle Sky

1998 Soul Slinger – Upload: A Continuous Mix CD "Rock the Party" JSK142 Jungle Sky

1998 V/A – Nu Balance: Domesticated Drum & Bass CD "5am Rinse" COA70016-2 City Of Angels

1998 1.8.7 – Quality Rolls CD album JSK135 Jungle Sky

1999 V/A – Sci Fidelity: This is Sci Fi. CD "Deep Stealth" SciFi Channel/Jungle Sky

1999 V/A – This is Jungle Sky Vol.6 CD "Pure Funk" JSK150 Jungle Sky

1999 V/A – This is Jungle Sky Vol.6 CD "Unite Remix" JSK150 Jungle Sky

1999 Jordana presents 1.8.7 – The Cities Collection CD album JSK162 Jungle Sky

1999 V/A – E-Sassin Absolute Friction CD "Worlds Apart" 21C.3007 Quantum Loop

2000 V/A – Digital Empire: DJ Girl "Deep Stealth" 6454-2 Cold Front Records

2001 Hive – The Raw Uncut EP CD "Defcon-1" (Hive Remix) VTXCD-002 Vortex Recordings

2002 Jordana – Full Colour album ConceptAudio Limited Release

2003 V/A – Girls In Space CD "In Your Arms" CD-9213 Urabon Records

2005 Jordana – Jordana EP CD "In Your Arms" TECO CD001 Technorganic Recordings

2005 Jordana – Jordana EP CD "Tampa Tantrum" TECO CD001 Technorganic Recordings

2005 V/A – DJ Psycle-Back From The Future CD "In Your Arms" TECO CD-9213 Technorganic Recordings

2008 V/A – What the Bleep & Foi Oi Oi-Feelings For Detroit Vol.3 Yabette – "Babylon (1.8.7 Remix)" EEMIX003 Electronic Enlightenment

Videos[edit]

We Are Not Alone (1998) – directed by MSKW1 aka Michael Whartnaby

Defcon 1 (1998) – directed by MSKW1 aka Michael Whartnaby and DBIDWA aka Dan Bidwa

Worlds Apart (1998) – directed by Gerard Ryan

Atmosphere (1998) – directed by Gerard Ryan

Ring Me Back (2002) – directed by Trevor McKinley

References[edit]

^ "VH1 Biography". Vh1.com. Archived from the original on February 14, 2011. Retrieved September 8, 2010.

^ Jump up to:a b Riedel, Samantha. "This Trans Drum & Bass Musician Was a Pioneer in the 90s. Why Isn't She Getting Her Due?". them. Retrieved September 30, 2020.

^ Jump up to:a b c Vibe Media Group (February 1999). "Vibe". Vibe Vixen. Vibe Media Group: 38–. ISSN 1070-4701.

^ "- - Mixmag". Mixmag.net. Retrieved December 21, 2015.

^ "Roll With the Changes". citypaper.net. Archived from the original on July 7, 2012. Retrieved January 19, 2016.

^ CMJ Network, Inc. (December 1998). "CMJ New Music Monthly". CMJ New Music. CMJ Network, Inc.: 78–. ISSN 1074-6978.

^ CMJ Network, Inc. (March 2000). "CMJ New Music Monthly". CMJ New Music. CMJ Network, Inc.: 48–. ISSN 1074-6978.

^ CMJ Network, Inc. (March 13, 2000). CMJ New Music Report. CMJ Network, Inc. pp. 27–. ISSN 0890-0795.

^ CMJ Network, Inc. (June 2000). "CMJ New Music Monthly". CMJ New Music. CMJ Network, Inc.: 82–. ISSN 1074-6978.

^ CMJ Network, Inc. (June 2000). "CMJ New Music Monthly". CMJ New Music. CMJ Network, Inc.: 95. ISSN 1074-6978.

^ "Kung Fu Knowledge Tour Cities". Bmotion. Archived from the original on October 4, 2013. Retrieved October 3, 2013.

^ Out Magazine (74): 45. January 2000.

^ iphoneunclockseattle. "Bassnectar's Here We Go sample of 1.8.7 feat. MC Sphinx's 5 A.M. Rinse". WhoSampled. Retrieved November 2, 2013.

^ Avery C Kleinman for Vice News. "The Fall of the Bassnectar Empire".

^ jordana. "Celldweller samples Wake Up and San Francisco". WhoSampled. Retrieved May 9, 2014.

^ "Hive – The Raw Uncut EP". Discogs. Retrieved November 2, 2013.

^ "Hot update | Welcome to the FLEX FM NETWORK". FLEX FM Network. May 19, 2002. Archived from the original on June 1, 2002. Retrieved December 21, 2015.

^ CMJ Network, Inc. (October 1998). "CMJ New Music Monthly". CMJ New Music. CMJ Network, Inc.: 62–. ISSN 1074-6978.

^ Jump up to:a b Maximum Rocknroll. Maximum Rock 'n' Roll. 2000.

^ CMJ Network, Inc. (May 2000). "CMJ New Music Monthly". CMJ New Music. CMJ Network, Inc.: 13. ISSN 1074-6978.

^ Bill Werde (February 29, 2000). "Top Jungle Producer Attacked". Villagevoice.com. Archived from the original on January 9, 2019. Retrieved January 8, 2019.

^ Sovereign, Lady (May 18, 2002). "Lock in to FLex FM 2nite". ukmusic.com/. Archived from the original on August 10, 2014. Retrieved May 30, 2013.

^ "Currents.FM Common Stream Multiverse Initiative".

^ "Jordana is one of America's most widely respected drum & bass artists". Dekmantel.

^ "Drum & bass made for the biggest rooms, with plenty of soul, nuance and killer vocal hooks". Resident Advisor.

^ "FREE CeCe! Post-Production Campaign". Retrieved December 21, 2015.

^ "AFROPUNK". Afropunk.com. Archived from the original on December 22, 2015. Retrieved December 21, 2015.

^ Matos, Michaelangelo (April 28, 2015). The Underground Is Massive: How Electronic Dance Music Conquered America. Dey Street Books. p. 154. ISBN 978-0062271785.

^ Jimi Fritz (1999). Rave Culture: An Insider's Overview. SmallFry Press. p. 162. ISBN 978-0-9685721-0-8.

^ Petros, George (2012). Lehman, Deanna (ed.). The New Transsexuals: The Next Step In Human Evolution. Creation Books. pp. 247–274. ISBN 978-0-9855018-1-5. Retrieved December 22, 2015.

^ https://thefestivalvoice.com/black-lives-matter-tfvs-series-on-racial-injustice-jordana/

^ https://brooklynrail.org/2021/05/criticspage/Let-Us-Live/

^ https://href-zine.net/technoid-natures-zine.html

External links[edit]

Jordana discography at Discogs

1.8.7 at Rolldabeats

https://jordanaofficial.bandcamp.com/

https://www.mixcloud.com/jordana/

https://soundcloud.com/jordanaofficial

Jordana at IMDb

#trans history #transgender woman #transgender #trans pride #black transgender woman #postop transwomen #transisbeautiful #trans is not a choice #trans musician #transwomenmatter #transwoman

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chips1977 · 4 years

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WARNING : I'm just an addict ... addicted to music. There are people who are born to make music, o8 thers are born to hearing. Whenever was part of this second group. Maybe it's. a habit, I gotta use, even if it 's rock, jazz or the quiet storm. Great pictures of the things I love - music, painting, books, photography, architecture, design, women, and more. I love music more than lasagna. Better to burn out than fade away. The older you get, the better life gets. But time also seems to be accelerating, the clock running too fast. So, looking at those early days, everything is very slow, stretched, and great significance. The most recent time, I spent busy with simple things.People think rock and roll is only about teenage rebellion, but why can not exist old rebel too? THE RESIDENTS is my Biggest Addiction, and,THE RED KRAYOLA, OLD TIME RELIJUN-ARRINGTON DIONYSO,R. STEVIE MOORE,SHRIMP BOAT,SMEGMA,THE SUN CITY GIRLS, LEGENDARY PINK DOTS,MINIMAL COMPACT,FRANK ZAPPA,CAPTAIN BEEFHEART,THE VELVET UNDERGROUND,THINKING FELLERS UNION LOCAL 282,THE EX,CAN,FAUST,WEEN,TELEVISION,THE MODERN LOVERS,SNAKEFINGER,MILES DAVIS,SUN RA,KRAFTWERK,ANAL MAGIC & REV. DWIGHT FRIZZELL,MICHAEL YONKERS,MOONDOG,THE WORK,RAYMOND SCOTT,THE GO-BETWEENS,SLAPPY HAPPY,ART BEARS,NAKED CITY,HENRY COW,SKELETON CREW,JOHN ZORN,FRED FRITH,THE FIBONACCIS,BONGWATER-MARK KRAMER,SHOCKABILLY,BAND OF SUSANS,THE PAINTEENS,STUMP,RENALDO AND LOAF,CERTAIN GENERAL,THE THREE JOHNS,CHROME,PRIMUS-LES CLAYPOOL,EUGENE CHADBOURNE,ESKIMO, MINUTEMEN, MISSION OF BURMA,FUGAZI,BLURT, GLAXO BABIES,THIS HEAT,THE SEA AND CAKE,SAVAGE REPUBLIC,TUXEDO MOON, XTC,U.S,MAPLE,THE PAPER CHASE,DANIEL SMITH- DANIELSON FAMILE ....... Other musical priorities are: HENRY FLYNT, THE FEELIES,PERE UBU,THE CLASH, JOY DIVISION, PROTOMARTYR, CAR SEAT HEADREST,THE BETTER-BEATLES, DARKSIDE,THE MEMBRANES, THEATRE OF HATE, NOCTURNAL PROJECTIONS,THE LINES,CARDINAL,CLEANERS FROM VENUS,THE JAZZ BUTCHER, ELVIS COSTELLO,THE MONOCHROME SET, TELEVISION PERSONALITIES, ALTERNATIVE TV, GONG,ANNIE ANXIETY, THE DEL-BYZANTEENS, WALL OF VOODOO, BUTHOLE SURFERS, RICHARD DAWSON, MAC DeMARCO,WOVEN HAND,16 HORSEPOWER, DAVID EUGENE EDWARDS,SHELLAC, SLINT-PAPA M-DAVID PAJO, LUNGFISH, OM, EARTH,THE BOOK OF KNOTS,LOUNGE LIZARDS-JOHN LURIE,ANTON FIER-GOLDEN PALOMINOS,PETER BLEGVAD,PETER HAMMILL,TOMAHWAK,FANTOMAS,MR. BUNGLE, MIKE PATTON, SUICIDE-MARTIN REV+ALAN VEGA,AARON FREEMAN,JAPAN,STEREOLAB, SPACEMEN 3, SPECTRUM, SWELL MAPS, SILVER APPES, SWELL,MORPHINE, HAWKWIND, DEVO,FLYING LIZARDS, MAGAZINE, RALPH CARNEY,ROBERT WYATT, JOHN WILKES BOOZE, KEVIN COYNE, DAEVID ALLEN, SLEEPYTIME GORILLA MUSEUM, MX-80 SOUND, SOPOR AETERNUS & The ENSEMBLE of SHADOWS, THE AUTEURS,MAN MAN, DAMIEN JURADO, DAVID DONDERO, CHAD VANGALLEN, LONG FIN KILLIE, MAGIC TRICK-TIN COHEN, CHRIS COHEN, DAVID BAZAN,VAMPIRE RODENTS, JON WAYNE, PRAM,THE OLIVIA TREMOR CONTROL, PAVEMENT, PATTI SMITH, FUGS, PEARLS BEFORE SWINE-TOM RAP, UNITED STATES OF AMERICA-JOSEPH BYRD, FAMILY, GODZ, BONZO DOG DOO DAH BAND,PENTANGLE,THE INCREDIBLE STRING BAND, SLOVENLY, CHEER- ACCIDENT, TARWATER, COIL,THROBBING GRISTLE, SHAWN LEE, CLUTCHY HOPKINS, JURYMAN AKA IAN SIMMONDS AKA WISE IN TIME+SANDALS, ZOOGZ RIFT, THE BOOKS,NEW THRILL PARADE, CHRIS KNOX , DAVID KILGOUR,THE BATS,THE CLEAN,THE PIN GROUP, CRIME CITY SOLUTION, ROWLAND S. HOWARD,TOM WAITS, VIC CHESNUTT, JOE HENRY, ALEJANDRO ESCOVEDO,THE TAPE BEATLES,THE GUN CLUB, MAGAZINE,THE DENGUE FEVER,THE PAPER CHASE,THE FIERY FURNACES,THE MICROPHONES-PHIL ELVRUM,GARY WAR,RAILROAD JERK, KARL BLACK- SOCK HEADDED PETERS-LEMON KITTENS,THE MUSIC TAPES,THE SHAGGS, BOBB TRIMBLE, FISH AND ROSES, DIABLO SWING ORCHESTRA,POP D`ELL ARTE,MLER IF DADA,TOM ZÉ, WALTER FRANCO,OS MUTANTES,CAETANO VELOSO,MILTON NASCIMENTO, ARNALDO ANTUNES,VINICIUS CANTUARIA,JORGE BEN,CAZUZA,CEREBRO ELECTRONICO,CORDEL DE FOGO ENCANTADO,ROGERIO SKYLAB,OTTO, MOMBOJÓ,CRIOULO,MAX CASTRO, METÁ METÁ, ATALHOS, ROMULO FROES,WADO,ORQUESTRA IMPERIAL, LENINE,APANHADOR SÓ,MUNDO LIVRE SA,NAÇÃO ZUMBI, ALÇEU VALENÇA,ANT- BEE, BILL FAY,RON SEXSMITH,EL GUAPO,DAVID GRUBS,TORTOISE, SAM PREKOP, GASTR DEL SOL,HENRY KAISER,HOME & GARDEN, BOB DRAKE, MY DEAD IS DEAD, AKRON FAMILY, SWANS,THESE IMMORTAL SOULS, UNREST WORK & PLAY,THE TAPE BEATLES,THIS KIND OF PUNISHMENT,SWOLLEN MONKEYS (Ralph Carney) LIARS, SNAPPED ANKLES, CAVERN ANTI-MATTER, GANG GANG DANCE, THE DAMAGE MANUAL,THE BLACK ANGELS,SCOUT NIBLET,DIE FORM,LONELADY,COP SHOOT COP,WAR ON DRUGS,THE MONKS,TIM HUEY,TRACHTENBURG FAMILY,THE TRIFFIDS,THE CRUEL SEA,THE MEKONS,THE METOD ACTORS,THE SOFT BOYS,THE MISTAKES,THE MOUNTAIN GOATS,THE NEW CREATION, BRUCE HAACK, LOREN MAZZACANE CONNORS,GLEN BRANCA,ALBERT MARCOEUR,LOS ANGELES FREE MUSIC SOCIETY, SHELLEY HIRSCH,NEW YORK GONG,THE POLYPHONIC SPREE,LYDIA LUNCH,LOVE, LUCIA PAMELA,FATIMA MIRANDA,SAFETY SCISSOR S,RICHARD HELL & VOIDOIDS, SACCHARINE TRUST, ADAM FORKNER of [[[[VVRSSNN]]] YUME BITSU, ROY MONTGOMERY,RUN ON, LOVELY LITTLE GIRLS,SAFETY SCISSORS, BRIDE OF NO NO,TONE DOGS,TREAT HER RIGHT,TRIPOD JIMMIE,LIFTER PULLER,THEY MIGHT BY GIANTS,GANG OF FOUR,THE POP GROUP, WIRE, JOSEPH K, ORANGE JUICE, RAIN PARADE, THE GREEN ON REED, THE RENDERS,SOUL COUGHING-MIKE DOUGHTY, MAZARIN, KARATE- GEOFF FARINA, SECRET STARS,THE CHURCH, BLANK DOGS, FROG EYES, JOAN OF ARC, PURE X, YUNG WU,WAKE OOLOO, SPEED THE PLOUGH, DRIVE BY TRUCKERS, CAMPER VAN BEETHOVEN, MARTIN NEWELL, ERLAND and The CARNIVAL, CRIPPLED BLACK PHOENIX,CALIFONE,RED RED MEAT, LOW, Eels, LOWER DENS,THE BLACK HEART PROCESSION, KING MISSILE, THE NOTWIST, CLINIC, QUICKSPACE,THE COMSAT ANGELS,THE ASSOCIATES, EZRA FURMAN and THE HARPOONS, EFF BARZELAY, BORN RUFIANS, FERGUS & GERONIMO, CHAIN AND THE GANG-IAN SEVENONIOUS-WEIRD WAR-THE MAKE UP,ESCAPIST,MOONFACE, DEAN BLUNT,COLLEEN,ZERO 7,THREE MILE PILOT,LIFE WITHOUT BUILDINGS, CLOUD CULT,BLACKOUT BEACH,PINBACK,ARIEL PINK,MAGIC HOUR,MAJOR STARS, MAPS & ATLASES, MEGAFAUN,MENOMENA,TAME IMPALA, AMPS FOR CHRIST,ARBOURETUM,TRUE WIDOW,NANA GRIZOL,TIMBER TIMBRE,THE, IMPOSSIBLE SHAPES,THE LOVE EVERYTHING,THE MAE SHI, DEAD SKELETONS,THE SHIPPING NEWS,NEW WET KOJAK,GIRLS AGAINTS BOYS,LES SAVY FAV,GERMAN SHEPHERDS,SILKWORM,DIANOGAH,31 KNOTS,90 DAY MEN, 17 PYGMIES,PARENTHETICAL GIRLS, GUN OUTFIT,VAMPIRE RODENTS, PUMA JAW-PINKIE MACLURE and JOHN WILLS, SLUG GUTS, DOG FACED HERMANS, GOD IS MY CO-PILOT, THE SKULL DEFEKTS, CUL de SAC, PELL MELL, FOR CARNATION, MARVIN PONTIAC, ARIEL PINK, FLAT WORMS, AMEN DUNES, IDDLES, WAXAHATCHEE, WOLF PARADE, SUN KILL MOON, NATALIE PRESS ,CHELSEA WOLFE, SHILPA RAY, INCA SILVER, IBEYI, ANGEL OLSEN,THE COMET IS COMING,SLEAFORD MODS, VAGABOND, SUUNS, MADONNATRON, BIG THIEF, FAT, SHAME, SAVAGES, ICEAGE, OMNI, PARQUET COURTS, WHITE FAMILY, LYDA HUSIK, SHARON VAN ETTEN, dEUS, MITSKI, LAUREL HALO,JULIA HOLTER, MARISSA NADLER, JOSEPHINE FOSTER,TRACY BRYANT, MALE GAZE, TY SEGALL,THEE OH SEES, TYVEK, GOAT, WAND,YUCK, THE MOONLANDINGZ, VIET CONG, OUGHT, ALLAH-LAS,THE FRESH & ONLYS, WHITE FENCE, LAURA MARLING, EMA, PHAEDRA, LHASA, FIRST AID KIT, JANE WEAVER, WYE OAK, CAROLINER AKA CAROLINER RAIBOW ... E gosto de viajar, andar de bicicleta, de comboios, de animais.... não gosto de pessoas superficiais... sem cultura.Gosto de dança, de arte o que quer que isso seja!. Não gosto da monotonia. Gosto de criticar no sentido positivo. Não gosto de sonhar em ficar rico. Gosto do “Vive cada dia como se fosse o último “. Não gosto de despedidas. Gosto de pormenores.Gosto de perfumes. Não gosto de mentir nem que me mintam, não suporto hipócritas.Gosto do mar. Não gosto de quem não acredita em nada e não se importa com nada e tem a profundidade de uma colher... Gosto de viajar, gosto de ajudar e de saber que pude ser útil a alguém em qualquer coisa. Não gosto da efemeridade da vida e da constante lembrança da proximidade da morte. Não gosto de não perceber. Não gosto de atrasos e de quem não é capaz de cumprir as suas promessas, não gosto de quem volta atrás com a sua palavra e ainda menos que voltem atrás comigo. Não gosto da cusquice.Gosto de amigos e da camaradagem, não gosto das” amizades “que se perdem por coisas que no final das contas não significam nada... Gosto de palavras e de conversas sem fim... Gosto de pessoas originais, com humor,com ideias próprias... e com classe. Não gosto de carinho quando estou nervoso.Gosto do campo. Não gosto de seguir a onda.Gosto de coisas pouco claras, mas bem esclarecidas. Gosto de dominar. Não gosto de brincar com os sentimentos dos outros.Gosto de toques e de trocas de olhar, de demonstrações de carinho e de cenas sensuais. Não gosto de ficar bêbado até dizer a verdade. Gosto da grandeza das coisas simples, e gosto de coisas complicadas mas não gosto de complicações... O comum não me atrai, gosto normalmente de coisas que passam despercebidas... Gosto de gostar e de não gostar de tudo isto e muito mais...

390 notes · View notes

bandstolookup · 3 years

Text

* arlie

* dreamliners

* nikki and the corvettes

* honey ltd.

* the shades

* the contessas

* the crystals

* dillon warnek

* slenderbodies

* pigeons playing ping pong

* George Ducas*

* throwing back sunday

* Whitney Duncan* ()

* promoting sounds

* the biltmores

* playing heroes

* DVDA

the sundance kids

motionless in white

verjault

lincoln

voice of god

rogue

lemon demon

eli josef

joe barnhill

les baxter

blue envy

blake babies

charles emanuel

sebadoh

les baxter, his orchestra and chorus

beau dommage

gilbert bécaud

the aislers set

the ladybug transistor

belinda

the quiet loud

rollerball duo

the julie ruin

belouis some

superchunk

ben's brother

john berry

moe shop

frank turner

built to spill

bigbang

cilla black

mission of burma

jaded juice raiders

jeffrey lewis

galaxie 500

cayetana

the amps

shonen knife

thinking fellers union local 282

cloud nothings

jeanne black

strange ranger

uncle tupelo

meat puppets

magazine

stereolab

helium

the gits

gang of four

fiREHOUSE

twin peaks

tom rush

r. ring

silence is broken

porno for pyros

charles manson

the shaydes

the evens

leon russell

liz phair

the gerbils

mirah

screaming females

narrow head

the olivia tremor control

captain beefheart

grass widow

eyedress

pipes you see, pipes you don't

the essex green

the pastels

the apples in stereo

lifers

sprr00w

bags

ride

the magnetic fields

elf power

indigo de souza

nick drake

vashti bunyan

the jam

pinhead gunpowder

electrelane

the clean

the vaselines

heaven hill

the specials

suburban lawns

orange juice

jonatan leandoer96

paul baribeau

the modern lovers

heatmiser

uranium club

boys life

bangs

discount

more to monroe

velocity girl

grandaddy

rites of spring

the sunshine fix

the frosted ambassador

fraxiom

your demise

the bats

the glands

komeda

the spits

paces

blaque alex

the dixie narcos

dayliites

health club

mudhoney

nihilist cheerleader

PJ harvey

hands of gretel

new bloods

mecca normal

otoboke beaver

hire the puppets

amyl and the sniffers

vivien goldman

nobunny

neo boys

the tammy's

the last resort

the struts

yelle

playing heroes

paul bartolome

fleetwood gold

priests

big mama thornton

andy seagrave

dominic fike

the blue poptarts

VIAL

anti cimex

KONTAMINATE

fea

the devotchkas

G.L.O.S.S.

x ray spex

passenger of change

blue delta

sean cosgrove

dakota striplin

lowfye50

kella sin

venom

emily's sassy lime

pussy riot

naked aggression

cibo matto

belly

slant 6

excuse 17

ex hex

heavens to betsy

babes in toyland

red aunts

skating polly

the slits

bush tetras

kleenex

the raincoats

white lung

the downtown boys

lunachicks

voodoo queens

tribe 8

lady pills

partyline

team dresch

skinned teen

tacocat

medeski martin & wood

scruft

calamity jane

childbirth

barb wire dolls

skinny girl diet

the butchies

northlake

dazey and the scouts

7 year bitch

the sugarcubes

melkbelly

rpwl

face to face

primo!

alright, goodnight.

indigo girls

fred mascherino

the holy mess

k light

elephanttalk

IGORRR

driver friendly

the radio department

i9bonsai

the living tombstone

hexproof

soul machine

fiston mbuyi

goodrich family band

appetite for voltage

the durbulence

nick shoulders

parsnip

broadcast

cold cold hearts

upon the water

kingdom of dana

jimmy reed

the gama sennin

murray

guytano

the ordinary things

the monsoon

alan turing

dead daisies

young marble giants

essential logic

HRVRD

i the mighty

jonah matranga

dream nails

the killer barbies

girls at our best!

starrats

racoon

the bbb's

tiger trap

alvarez masterminded

young signorino

dead heart bloom

tiger mountain

ephermal rift

life on repeat

lume

matt pryor

modern life is war

museum mouth

giovanni bononcini

northern faces

olympia

OWEL

places and numbers

pretty & nice

rewod

tonoso

The Whooliganz

Soul Assassins

Gangrene

step Brothers

the snake the cross the crown

therefore i am

firebug

slayyyter

rusty dusty

this patch of sky

time in malta

trial

understand

upgrade hiphop

delta 5

slutever

sharp violet

vaux

wild orchid children

wind in sails

fly havana

youinseries

local operator

boysetsfire

brent walsh

burn

the wldlfe

cane hill

cinematic sunrise

crawdiddies

closure in moscow

plutonian maximalist

5head

coldfront

goodbye tomorrow

hands tied

hot cross

household

hussey

crwn

wayne rogers

cherie torrie

idlehands

killing flame

liars academy

LIMBS

man will surrender

kombat

sevendaysofnight

merriment

mozart season

nowHere

ORBS

chris trapper

perma

prema

prevent falls

refuse to fall

rising fawn

secret space

snapcase

tallhart

texas in july

super jesus jackson

voyce memos

the dear & departed

the hope conspiracy

the rocking horse winner

the stryder

arlo parks

the five satins

lungleg

leopard print taser

cherry glazerr

the frumpies

tweens

the muffs

kraftwerk

betty blowtorch

bread and circuses

karthik

THICK

baby guts

static dress

veruca salt

dump him

thievery corporation

potty mouth

marine girls

gina young

chris bloom

partyline

audio influx

the donnas

mika miko

clit kat

the coathangers

bruce wiegner

the downsides

eric church

be well

too close to touch

erase eratta

cibo matto

twompsax

kitten forever

have a nice life

cub

jack off jill

adickdid

calling all captains

g7taiwanband

period pains

the peechees

scarling.

toad the wet sprocket

every scar has a story

flume

crooked colours

the avalanches

pink siifu

jack stark

naomi punk

lalleshwari

void

AmaLee

yui

senses fail

lala lala

ludus

agent orange

asian kung-fu generation

gesaffelstein

strawberry switchblade

christian death

robert palmer

iced

peel dream magazine

john newman

miss june

gulch

tanya donelly and the parkington sisters

zero boys

gord downte

swirlies

bully

i tried to run away when i was 6

bury your face in my neck nose and all

shopping

katastrophy wife

daisy chainsaw

Modern Nations

bartees strange

the psychedelic aliens

fred costello

3RACHA

VIXX

Joshua Bassett

everet almond

hollow coves

hed planet earth

q tip the abstract

american hi-fi

olivia rodrigo

trickster figures

handsome jack

louie duffelbags

danger incorporated

me + L

e ø

crooked north

pandora's asylum

KiDDPiNK

Shannon Ferguson

minutemen

zamuel

highbeams

rascals

dandy lions

dante de leo

locke aizen

russian village boys

jack britten

VAR

VOILÀ

lightenvy

flechaus

joshrassic park

foxhedge

astrology now

2 notes · View notes

manjuhitorie · 3 years

Text

Interview with Shinoda - Guitar Magazine March 2021 - English Translation

I began to wonder "What have I been deeming as ‘good’ all along?"

-Thank you for coming all the way out here. To kick it off I’d like to ask what the story behind the title ‘REAMP’ is.

AMP is like the recording mechanism, correct. I recorded by re-amping a lot this album, after it was recommended to me by our engineer. I recreated most of the sound in an amp simulator, sampled it at home on a line-in, then brought that in to the studio. There I sent the line-in signal to the guitar amps, recorded the sound coming from the amp, and voila. This way the guitar playing and the sound engineering become two separate things. At home I focus on the recording, at the studio I focus on the mixing.

-That’s a great way to localize your focus.

Though my workload multiplies (laughs).

-Ultimately you’re spending even more time focusing (laughs).

Yep (laughs). To put a long story short, we dipped our feet into new techniques for this album. So when it came down to deciding the title, 'Restart' or 'Reload' or any words with the prefix 'RE' were among consideration, but we couldn't find a good one. When at last I remembered that I had re-amped (laugh). I proposed the idea, it clicked with everyone, and now here we are.

-A bit of a double meaning to it then. What felt the most different this time in regards to the new techniques?

Back when wowaka was with us, he was the ultimate judge over whether a take or sound was good or bad. But now I have to be the judge and the one who takes the rudder myself... The main difference is that I need to become the axis now. When I was alone at home it hit me just how little I had a sense of good and bad (laughs). I began to wonder "What have I been deeming as ‘good’ all along?”.

-I see. What do you find difficult about singing and playing Hitorie’s music?

I found that I don’t have much leadership (laughs). I’m more fit for the sidelines and such... I’ve had a long career of being the lead guitarist, wherein there’s always been another leader figure above me who’s actions I’ve responded to and taken my own approach to.... A correspondent presence in a way....

—Then the necessity for a number one in command popped up.

Yep. It was like, I was really in a pinch back there. If I was to get anywhere, before anything I needed to establish my own standards of good and bad. I looked back at the music I’ve loved throughout my life, and started from there.

-Were you able to establish your own judgment through this album then?

I did what I could do. But, I’m still missing something... I don’t think it’s something you can find through just one album. I still haven’t, and there’s parts of the album that I still feel my optimization was lacking. I feel that I want to make a more polished, less rugged around the edges, piece. I’ve only established the groundwork for now. Such as what makes good music, the rhythm, pitch and so on. The basics.

-What makes good music ‘good’ to you, Shinoda?

Hmm... Phrase before sound... I think there needs to be a phrase before anything. To put it simply, the music needs to be what’s encouraging the phrases. Whatever achieves that the most effectively tends to be what I deem as good music. There’s a bunch of options when it comes to even strumming one chord. To use a single coil, a humbucker, a P-10.... Not to mention that strumming different will change how a chord resonates. Each note has its own goodness scale as well. Contemplating all that is what makes music.

-When I look at your music itself, I can see how this came into play as well. The phrases themselves have become less complex, while the riffs have become even more powerful. Especially ‘curved edge’, a killer tune even among the rest.

My bandmates and I each pitched in to write the music for REAMP, I wrote 10 while they wrote 1 each initially, basically I had to write a lot (laughs). And the last and final piece I wrote was ‘curved edge’.

-I see.

We intentionally lessened the riff-tastic music, we were eschewing following the old ‘Hitorie formula’. I made more chilled out downers. But the more I did it, the less interested I noticed my bandmates become (laughs). It didn’t click with me myself either, and it didn’t bring us together much. I thought I was doomed to never write a song that would properly fit Hitorie.. When I got the idea to write a song that mixed intense riffs and modern beats, ‘That I might be able to do’.

-In a way you wrote that song at wit’s end.

From there I drew inspiration from K-Pop. Stuff like Blackpink. Wherein you can’t discern if the climax of the song lies in the hook or the riff. I found that interesting, thus can the climax of ‘curved edge’ be found in the riff. Enough that the hook is the riff itself. When I told the members, their reaction was positive as well.

-It fits the modern Hitorie. In a previous interview Yumao (drummer), when looking back on Hitorie’s history, had mentioned that Hitorie could write music without a peep, after so many years together. Following this change to your writing formula, is that feat still possible, have your exchanges with your bandmates changed as well?

-When it comes to my written pieces, well... It depends on the song. For ‘curved edge’, ygarshy and I didn’t share a word. While we were making the demo song, I asked him to ‘Just play bass that works with this’, and with that little information he actually pulled off something incredible. I was like ‘Holy shit’ (laughs).

-The first verse alone is a stroke of talent (laughs). How about the drums?

The beat is unlike anything Yumao had played for Hitorie before. 4/4 beats were always our go-to, but we tried to venture a little into unknown territory. So I handled the director job quite a bit, the drums may be the aspect I directed the most actually. It turns out that my concept of beat is completely different from wowaka’s.

-What do you mean exactly?

-I’m probably not... as much as wowaka.. No wait. I can’t say this for sure but, he was someone who was creative with his beats, so he tended to conjure up ones that would be virtually unplayable in context. I make up beats that are out of control sometimes too but. I stick to the rules, or, how to put it... Even when I make up a brand new beat, the voice in the back of my head will tell me ‘Wait, there’s rules’.

-I see. So wowaka wouldn’t bother with the rules much.

I haven’t put much deep thought into wowaka’s perception of beats until now though, this is only a quick assessment from my experiences. Though near the end, it seemed like his mindset changed to ‘It’s better if I let Yumao play however he desires’. Imyself haven’t reached that level yet.

“I need my love for guitar to grow even more, I say.“

-Allow me to ask you about the guitar solos. In the songs ‘Marshall A’ and ‘dirty’ are the solos in abundance and in the spotlight. What do you deem as good and bad in terms of guitar solos?

For me there’s only two types of guitar solos. You either play well, or you don’t (laughs).

-That’s a strict guideline (laughs). How do discern between the two?

It ultimately depends on the song. I like solos that are played “poorly”, such as by Momo Kazuhiro of MO’SOME TONEBENDER. I think their’s are awesome. When each and every note of a solo is poignant, it actually brings out the charm of electric guitar. So I think that solos can be wonky as hell, or precise as hell. Or in the middle is okay too. I like solos that are catchy with proper phrases to them even. Like HI-STANDARD’s ‘Fighting Fists, Angry Soul’, the solo could be a song on its own. It depends on what fits with the song. In regards to the solos of Marshall A, they fall into......

-The ‘Played well and proper’ solos.

That’s it. The song kicks off with unsteady distorted notes, but the solos are clean, it’s gap moe.

-The tone is clean as well. Did you intend for it to be gap moe?

To a degree. Like, 'is this really that kinda song' (laughs). On the other hand, when it came to 'dirty' the song has always been nothing but alternative rock style since the get-go.

-The solos are full of grunge and fuzz after all. ygarshy wrote that song, correct.

'Cause ygarshy and I are the same age from the same generation, our ideas match up as well.... For this song, it was like the Nishikawa Susumu idea- (laughs).

-I see (laughs). Back to what you said earlier, that your "optimization was lacking". How would you like to evolve as a guitarist?

I don't think I'm Hitorie's guitarist anymore. In the current world I'm in I'm not just a guitarist, I'm a singer-song writer, and that's become my primary focus. Yet despite that guitar is still absolutely a must for me. It brings the physical world and the world of music together better than anything. Thinking about it, my approach towards guitar is probably going to evolve after this as well. Up until I've played as Hitorie's guitarist, adding and adding to the sum of Hitorie's parts (laughs). My attention was always on how to optimize to hell. Going forward my attention is probably going to shift when I play guitar. But that doesn't change the fact that guitar is essential for bands in general, and essential for Hitorie as well..... Aghh, I never thought about what it means to be a guitarist to me up until now (laughs).

-(Laughs).

I think my ideal guitarist self is still far away though. But I've grown a lot by being with my bandmates, and I can't be losing my eagerness to learn. I need my love for guitar to grow even more, I say (laughs). That's where I think I'm lacking. There's still so much about guitar I'm yet to understand, and that's my weak spot. There's a lot for me to reflect on.

Gear: Fender 1963 Jazzmaster The main guitar used in REAMP, a jazzmaster on borrow from wowaka. The serial number points to it being a 1963 issue. The saddle on the bridge has been swapped out to an Astro Notes. Shinoda selects the front for concerts/recordings, and doesn’t use preset switches. The guitar you can hear from the left channel in “High Gain” is this one. While the guitar you can from the right channel is a Tokai LP.

Fender 1965 Jaguar Also on borrow from wowaka, it was heavily used in Hitorie’s previous album ‘HOWLS’. For ‘REAMP’ it was used for the backing of ‘dirty’ and the main riff of ‘Utsutsu’. In regards to the Buzz Stop Bar, Shinoda himself prefers the musical range he can reach without it, but others oft react better when it’s on.

Pedal board: 1 WEED/GCB-95 mod wah 2 BOSS/TU-3W tuner 3 S-Distortion SASAKI 4 Prescription Electronics/Experience 5 Octave Fuzz & Swell 6 Keeley Electronics/Son of Fuzz Head 7 E.W.S./ Arion SCH-Z mod chorus 8 BOSS/PS-6 harmonizer 9 BOSS/DD-20 digital delay 10 Providence/Provolt 9 power supply

His guitar signal inputs at 1, then connects all the way to 8. He adores his 1 because there’s a gain knob on it, and as soon as he turns it on can he drive*. His main distortion pedal is number 3. His standard is to set the volume knob at 12 o’ clock, the tone at 11, and the gain at 8. To give himself a boost in guitar solos he turns on pedal number 5, with the volume set to max. Pedal number 6 found its use in the song ‘(W)HERE’ on Hitorie’s album ‘Imaginary Monofiction’, but recently its fallen out of relevance for him. 7 was used in the song ‘Montage Girl’ on Hitorie’s ’Roomsick Girl’s Escape’, and harmonized phrases in general. He primarily uses 8 for the short delay, and it found usage in ‘curved edge’.

Amplifier: Hiwatt DR103 Custom 100 Marshall 1960 AV The number one weapon is volume. Shinoda’s main amp is this Hiwatt. The reason he started using it was because ’The only thing that could oppose the volume of wowaka’s Matchless amp was a Hiwatt’. The clean sound of it is what brings bass to Shinoda’s playing. For concerts that will be recorded, he sets the EQ bass, mid, and treble knobs all to 11 o’ clock. He sets the presence knob to about 13 o’ clock, but this gets adjusted every performance. This one stays the highest to ensure his music comes up front. He alters the high frequency and the level it pierces the ear with his pedals.

#hitorie #ヒトリエ #interview #Shinoda #REAMP

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abbysdayproject · 4 years

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10 Facts About Day of the Dead

The Day of the Dead was first celebrated over three thousand years ago by mesoamerican citizens. The Aztecs believed that it was better to celebrate the dead rather than ‘insult’ them by grieving. The holiday is celebrated between October 31st and November 2nd, as they believe these dates present an opening between the mortal and spirit worlds. (PBS).

The Day of the Dead is celebrated in many ways, including visiting grave sites, and creating altars, or shrines for loved ones who have perished. It is also known for the food that is made specifically for the holiday. These festivities are known for big parades and colorful flowers, and the offerings that are made to honor the dead. This holiday is also called Dia De Los Muertos. (History.com).

Day of the Dead is also known as “Mexican Halloween”, although it does not include nearly as much mischief of morbidity the way Halloween does (My Modern Met). Calacas and calaveras, also known as skeletons and skulls are the most prominent symbols. La Calavera Catrina is an aztec goddess of the underworld and is believed to be the most recognizable icon of the holiday. She is also known as “Lady of the Dead” by the Aztecs. (History.com)

Day of the Dead is made up by three days of celebration. The 31st is known to be the day of preparation for the day, and food and offerings are prepared (My Modern Met). The second day is meant to remember children that have passed away. The final day is meant to remember adults who have passed. (History.com)

The original Aztec celebration took place in August. Catholic Influences then changed the dates to October and November. This helped develop the holiday into what it is today. Pagan traditions also had a hand in developing the current holiday. (My Modern Met).

The “Offrenda” is a major part of the holiday, meaning “the offering”. An alter may be created to honor those who have died (History.com) These alters may incorporate candles, bright decorations, and food that the passed enjoyed while living. They also sometimes play music that the deceased enjoyed. (My Modern Met).

Pan de Meurto, also known as “bread of the dead” is also a traditional part of the Day of the Dead. The roll is typically a sweet, orange treat. This can very often be found on the altars for those who have passed. (My Modern Met).Dia de los Muertos was added to the UNESCO’s List of SafeguardingIntangible Cultural Heritage in 2008, making sure that it would restored in history.

The UNSECO’s helps to promote cultural diversity and protects the traditions of concerned communities all around the world. (History.com).The six most common items found on an altar are skulls, marigolds, perforated paper, Pan de Muerto, salt, and photographs. Each has a symbolic meaning. For example, marigolds are known as the flower of the dead and the smell is thought to attract spirits. Salt is universally known to prevent the corruption of souls. (Nalewicki, Jennifer).

Recently the commercialization of Day of the Dead in western society has been criticized as cultural appropriation. Disney released the hit movie “Coco” and Mattel released a Day of the Dead themed Barbie doll, being met with all kinds of responses(PBS). Some Mexicans hope to see increased Latinx visibility as a result while othersare disgusted by corporations profiting off of the holiday (Dobrin).

Resources:

Nalewicki, Jennifer. “The Meaning Behind Six Objects on Día De Los Muertos Altars: Dia De Los Muertos, Muertos, Mexican Holiday.” Smithsonian Magazine, 31 Oct. 2019, www.smithsonianmag.com/travel/meaning-behind-six-objects-dia-de-los-muertos-altars-180973442/.

“Beyond Sugar Skulls: The History and Culture of Dia De Los Muertos.” PBS, Public Broadcasting Service, 9 June 2020, www.pbs.org/education/blog/beyond-sugar-skulls-the-history-and-culture-of-dia-de-los-muertos.

“Day of the Dead.” History.com, Oct. 2019, www.history.com/.amp/topics/halloween/day-of-the-dead.

Day, Today is Art, et al. “Día De Los Muertos: How Mexico Celebrates Its Annual ‘Day of the Dead.’” My Modern Met, 12 Dec. 2019, mymodernmet.com/dia-de-los-muertos-day-of-the-dead/

Dobrin, Isabel. “Día De Los Muertos Comes To Life Across The Mexican Diaspora.” NPR, NPR, 2 Nov. 2017, www.npr.org/2017/11/02/561527322/mexicos-celebrated-d-a-de-los-muertos-evolves-in-the-u-s

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scottfraserphotography · 5 years

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Dedicated to Rod Coulter. The first guitarist in my life.

In 1971 legendary guitar player and song writer Alvin Lee wrote the song “I’d Love to Change the World”. I was born in 1970, so it’s before my time. But I did grow up listening to it, thanks to three amazing uncles. In 1994, the Sunset Strip based band, L.A. Guns released a cover of it on their album Vicious Circles. With all respect to Alvin Lee, I prefer Tracii Guns’ version of the song. It’s got an edge to it. It touches my soul. Tracii’s chops, his notes, pure, clean, defined, at times ethereal, and delivered with a punch - I can’t help myself, but smile. I end up air guitaring to it every time. In my head I see his fingers on the fretboard, and his other hand as he strums and picks. I see the body of the guitar, the pick-ups, the dials. In my head while I am listening, Tracii is playing live on stage, and I am front-row right in front of him, soaking up with every sense, the moment.

But let’s back up a bit.

1975 was a seminal year for me. It was the year I decided I wanted to play drums, and it was the year I took an active interest in photography. I was five at the time. Thanks to the music of Brian Wilson and the Beach Boys, and a couple of photographers named Linda McCartney and L.A. based photographer Greg Papazian.

Uncle Art was cool enough to allow this little kid, hang out with him and his friends. CHOM FM would play in the background while Art and his friends would flip through rock magazines. Here I was this five year old kid hanging out with a bunch of fifteen to twenty year olds, while they chilled, played cards and listening to music. I loved it, it was my sanctuary. I would sit quietly out of the way, and just listen as they talked about the music playing, and the photographs in the magazines. They would discuss for hours on end the merit of this song, or that song. Who played it better? The meaning of the lyrics, how “deep” a note went, the crunch of the electric guitar. How cool so and so looked in that shot. And they would ask me what I thought, including me in the conversations. They were teens in the mid seventies in Montreal, had long hair, and cool clothes. Leather jackets and denim, like their heroes in the bands they listened to. That bedroom in that little house on the east end of Montreal is where my rock n’ roll journey began.

In the fall of 1975 I would buy my first albums at a local record store. I knew I wanted a Beach Boy album, and I had enough money saved up to buy a second album. I had hoped that Art would come along to advise me as to what to buy because I wanted something that wasn’t my mom and dad’s music. I wanted something like the music I heard on the FM station and like what Art and his friends listened to. I ended up purchasing a K-Tel album with a bunch of different bands playing songs on it. I figured it was the best way to own new music.The first song I fell i love with on that record was “Smoking’ In The Boys Room” by Brownsville Station. I had hoped when I bought the album that I would have new songs to play my drums along to. But it was the guitar playing that caught my attention. The twang, the rhythm and the way it sounded. Yeah, I loved the drums in it as well, but it really did catch my attention because of the guitar. It’s a balls out blues tune done rock n’ roll.

The music photography of the early seventies until the late1980’s would show case some of the best photography ever done. Before the internet and modern social media, bands and musicians used photographs in magazines to define their image and look. The record labels had long ago realized you could sell more records if your band was being showcased in a music magazine. It was also the era of the fanzine as independent writers, journalists and photographers documented the local scene. It was the era as a teen that you hung posters of the bands you loved on your bedroom walls. And many went a step further, like myself, cutting photos out of magazines to pin to on our walls. Punk and Metal came of age, and Generation X grew into teens and young adults. Raised on the photographs, posters and the FM waves we grew into young adults as we searched for our own identities. Static images had been our visual medium of consumption, that is until video came along and killed a radio star.

As a teenager I got five dollars a week allowance, so it would take me three weeks of saving to buy a new album which was anywhere from ten to fifteen dollars. Birthday, christmas or any gift money went towards music. In a month I could save and buy one album and one to two rock magazines. Babysitting and odd jobs were a means to an end. It was an era where a lot of the time that meant I bought an album without hearing more than one song on it. Other times you bought because you had liked the artwork, or photos on the album cover. Or maybe your friends had talked about it, or you had read about it in Circus or Hit Parader magazine.

My friends and I would make agreements as to who bought what album so that we could get together and share them. I’d buy Metallica, Rod would buy Ozzy Osbourne, Jay would buy Def Leppard. My friends and I would trade albums with one another so that each of us, could get a chance to hear new music. You went out and bought the albums for yourself so that you could look at the photos, the artwork, and the credits and if you were lucky, the lyrics while listening to the album play. You went to concerts and bought T-shirts, posters, back patches and tour books and when you got home from the concert, you’d share it all with your friends the following day.

Back to the guitar…

I’m a Randy Rhoads guy. Yes, I appreciate what Jimi Hendrix did. But I prefer the sound, the tones and the classical influence of Randy’s playing. Randy was a metal/hard-rock/classical guitarist. Those iconic photos of him with his Les Paul and Jackson V are forever burned into my memory. That first time I heard Crazy Train by Ozzy off of the Blizzard of Ozz album, I was blown away. In that moment I knew I would never ever play that good, and I was okay with that. I didn’t have to. I knew right then and there, I wanted to either play in bands and with people who could play like that, or somehow be part of the scene. Maybe I would be a roadie, maybe a guitar tech, maybe a lighting guy. I didn’t care what I did, as long as I was part of it. Over the years I played in bands, worked as a lighting tech, help promote shows and gigs, created gig posters, designed album covers and T-shirts, and have done roadie more than I care to admit.

To this day I can’t play guitar to save my life. That is on me. I have owned some beautiful guitars over the years including a 1986 USA made Kramer, but I never put the time and effort in to really learn. There was always something else I wanted to do, and I liked singing, so I would work on vocals. I did however fill my life with guitar players. Starting with Rod Coulter who had been a childhood friend and it has continued to players like Benny Kemp who plays in a rising speed metal band Roadrash. They are my friends, they are people I call Brother and Sister, they are my Rock n’ Roll Family. They have been my mentors and others have been my protege. We’re a family and I am so grateful for that.

At fourty-eight years of age, I still love my music loud. I love my punk more than ever, and am still listening to my metal. I still air guitar along to the songs I love. If I know the words odds are I am going to be singing along. I still think of putting a band together form time to time and recording album, maybe one day I will. These days though, I am happy to be the Photographer. I love photographing musicians and their instruments. I am an editorial music photographer. I’m there to document the moment and in the process make the musicians look good. I am shooting first and foremost for the musicians. I am also an artist, so i want to have something that means something to myself as well as the musician in question.

At this stage in my life my photographs have been published in music magazines, used as album covers, album art work, promo posters and T-shirts. I’d like to think I have my own style, and I thank my mentors for taking the time to teach me how to do what I now do so well. Thank you Mike, Scott, Greg and Frank - my shots wouldn’t be what they are without your tutelage.

Guitars the photographic series, is my tribute to the instruments first created by Leo Fender and Les Paul all those years ago. It’s about the players and the instruments that define rock music. The photographs within the series is for the musicians who play the notes. It may just be “a piece of wood, with six metal strings” but in the hands of a musician who knows how to play, it is tool of magic. It’s my attempt as an artist to create a visual representation of the moment, the energy, the sound being played. To capture in colour and monochrome, the feel of it all, at that moment the music is playing. The use of noise and grain to match the distortion and saturation of the Marshall amps. It is my humble attempt as an artist to say Thank You.

You can look at the photographs without music playing, but it’s better if you have the song turned up.

Playlist: L.A. Guns - I’d Love to Change The World https://www.youtube.com/watch?v=TSog8WmD6uQ

Brownsville Station - Smoking’ In The Boys Room https://www.youtube.com/watch?v=5K59EMGgrUA

Kiss - Detroit Rock City https://www.youtube.com/watch?v=iZq3i94mSsQ

Ozzy Osbourne - Crazy Train https://www.youtube.com/watch?v=vy1V5LHXWbg

Ozzy Osbourne - Mr. Crowley (live 1981) https://www.youtube.com/watch?v=G3LvhdFEOqs

April Wine - Don’t Push Me Around https://www.youtube.com/watch?v=wWiU8rkA_yU

Alvin Lee - Detroit Diesel https://www.youtube.com/watch?v=uXedZ_EsI_4

Savage - Handful of Rain https://www.youtube.com/watch?v=x7EeM2AK1gA

Toccata - Carpimus Noctem https://www.youtube.com/watch?v=XOANxP5ZvuY

Megadeth - Tornado of Souls https://www.youtube.com/watch?v=Lcm9qqo_qB0

Joe Satriani - Always With Me, Always With You https://www.youtube.com/watch?v=VI57QHL6ge0

Social Distortion - Prison Bound (live) https://www.youtube.com/watch?v=lIWHlIhvt3Y

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tuf58910-blog · 5 years

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5 Things to Know About The Gorillaz

1. The most successful virtual band

The Gorillaz are at the forefront of “virtual bands”. Virtual band is a term that came into popularity in the early 2000s thanks mostly to the Gorillaz. It basically means that the band members are presented to the public as cartoon characters rather than being corporeal musicians. In fact, the Gorillaz hold the Guinness Book of World Records award for the Most Successful Virtual Band. More impressively, the band has earned Brit Awards, a Grammy win and 11 nominations, 5 wins on MTV, and countless other accolades for their work. The Gorillaz were also at the forefront of the hologram performance craze as they performed at the 2005 Grammys as the first hologram performance with De La Soul and Madonna.

2. The Gorillaz are THE Postmodern Pop Band

The Gorillaz entire style is the result of a large mix of influences across genres, most notably hip hop, electronic music, and world music. They encapsulate what it means to be a postmodern band. Postmodernism is a style of music and that started in the twentieth century, in which modern and traditional elements are combined. They are very experimental with their sound, often using analog and digital instruments, and all of their albums and singles have very different vibes between them. While the structure of their music is often reflective of the popular sound of the times, one thing remains constant - the Gorillaz often offer commentary on the political climate or major world issues through their specialty brand of music. This is very evident in their recent album Humanz which serves as a commentary on the Trump presidency and Plastic Beach which envisions a dystopian future plagued by pollution and corruption. Either through their sound or their messages, the Gorillaz always manage to stay relevant whenever they have a new album.

3. The real-world minds behind Gorillaz

Renowned British pop icon Damon Albarn of the band Blur is the main man behind the fictional band of the Gorillaz. As the songwriter, founder, lead vocalist, and performer of multiple instruments in the band’s recordings and performances, Damon has been leading the Gorillaz down a path of continued success since 1998. However, Gorillaz have been a collaborative project between Albarn and Jamie Hewlett, an English comic artist. The two met after Hewlett interviewed Albarn’s band Blur for a publication in 1990, and after living together they later came up with the idea for the Gorillaz when watching MTV. According to Hewlett, "If you watch MTV for too long, it's a bit like hell – there's nothing of substance there. So we got this idea for a virtual band, something that would be a comment on that." Seems to have worked out for the two of them in the long run, especially after winning all those MTV awards for their work.

4. The Gorillaz are known for their collaborations

Some crazy big names in music and entertainment have teamed up with the Gorillaz for cameos in music videos or parts in their songs. For example, American film icon Dennis Hopper was featured as a spoken-word part of the song Fire Coming Out Of The Monkey’s Head from the Gorillaz 2005 album Demon Days. But that is just one of dozens of features that Gorillaz have had over the years. Other notable names include Anthony Hamilton, Benjamin Clementine, Bruce Willis, Danny Brown, Danger Mouse, De La Soul, Snoop Dogg, George Benson, Little Simz, Lou Reed, Mavis Staples, Mos Def, Pusha T, Rag’n’Bone Man, Vince Staples, Jack Black, and many others.

5. The Band Itself Has An Extensive Fictional History

The fictional band members of the Gorillaz - 2-D, Russel, Murdoc, and Noodle - have a long and complicated history that serves as a funny and aptly cartoon-y origin to the band. The story of the band is divided into what the community and Albarn have deemed “phases”. These “phases” follow a hybrid reality between the actual releases of the band’s discography and the silly, outlandish, and often disturbing animated lives of the virtual band members. Part of Gorillaz charm is the mythos behind the “lives” of the digital crew, and their hijinks range from causing riots at the earliest concerts to the fact that their drummer Russel is possessed with the spirits of his friends from growing up in New York who were killed in a drive-by shooting (as a result, Russell acquired musical prowess in hip-hop, rap, and percussion).

Sources:

Staff, WIRED. “Keeping It (Un)Real.” Wired, Conde Nast, 27 July 2018, www.wired.com/2005/07/gorillaz-2/.

“Backstory.” Gorillaz Wiki | FANDOM Powered by Wikia, gorillaz.fandom.com/wiki/Backstory.

“The Best Musicians Who Don't Exist in Real Life.” Ranker, www.ranker.com/list/virtual-bands/devon-ashby.Capstick, Zoe.

“22 Jaw-Dropping Music-Related World Records.” NME, NME, 11 Sept. 2014, www.nme.com/photos/22-jaw-dropping-music-related-world-records-1409183.

“Damon Albarn - Everyday Robots.” DamonAlbarnMusic.com, damonalbarnmusic.com/.

“FEATURE: Damon and Jamie Interview, Q Magazine August 2001.” gorillaz_news, gorillaz-news.livejournal.com/11140.html.

“Gorillaz - 'Humanz'.” Music Feeds, 26 Apr. 2017, musicfeeds.com.au/album/gorillaz-human/.

“Jamie Hewlett.” Jamie Hewlett, jamiehewlett.com/.

Kaufman, Gil. “Tupac, Michael Jackson, Gorillaz & More: A History of the Musical Hologram.” Billboard, Billboard, 9 Mar. 2017, www.billboard.com/articles/columns/pop/7717042/musical-holograms-history-dead.

Milton, Jamie. “From Holograms to Headliners – How Gorillaz's Inventive Live Shows Have Transformed.” NME, NME, 7 Mar. 2017, www.nme.com/blogs/holograms-headliners-how-gorillaz-live-shows-changed-2003855.“

Rock On The Net: Gorillaz.” Rock On The Net: Grammy Awards: Record of the Year, www.rockonthenet.com/artists-g/gorillaz.htm.

#Gorillaz #music

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diaryofasupergroupie · 6 years

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Groupie Initiation (pt. 2)

My awakening of the previous night brought me into a state of need and urgency. I remember not being able to believe that people behaved like that. People would meet each other open the doors of the tour van and ravage their lips. I was never religious but getting kissed like that made me believe in sin. The school girl I still was left me replaying the words from the previous night over and over in my head. We have more shows this week, you should come. How dare he invite me to a world I knew nothing about! How dare he kiss me like I was a woman and then leave without telling me an address, a number, a time. At the start musicians will expect you to do all the leg work. You are a complete nobody no matter how pretty or funny or outrageous you are. They are a whole lot of somebodies – an immediate power imbalance that nobody in the scene wants to talk about.

I searched Myspace – now you have an insight on when I entered the scene - and I rifled through magazines and found their gig – a bus ride away. My sense of danger has never been good. Taking risks comes natural to me. I caught a bus that night all fishnet stockings, borrowed heels and hopeful eyes. I didn’t have my bus fair home. I didn’t tell anyone where I was really headed. All I brought was my cousin’s lipstick and a lighter. It was going to be a conversation starter with L and then the whole band. We would all joke about it and then D would kiss me again. The mind set of a teenager that obsessed with music and this new scene she had found was making her delusional. These were all also things no one should ever do. Each one of them could get a fourteen year old girl who wore her heart on her sleeve killed – besides maybe offering D a lighter.

I found the venue and headed in the equally dank, dark, grimy shoebox of a place without any ticket or money. My little heart was pounding and the only thing pulling me forwards was the way that the music had touched my soul in a way nothing else in my short life had. The man inside asked for my ticket. He was a huge bouncer like man that scared the life out of me. I actually came to know him quite well later – he was old Army and has three kids, two in university. I probably took a deep breath or maybe I stopped breathing all together. Most likely the latter, I used to panic a lot. “My tickets are inside.” I squeaked out and he let me past but regarded me with dangerous suspicion. I had broken the first barrier but I didn’t know enough about getting to the band to know what the next one was. Even that wouldn’t fly if I tried to enter the scene now.

Roadies were setting up onstage and were shouting orders while the early fans waited. They were barking at each other and flitting past security and through a doorway. They all had stickers on with their name written in scribbles. Tour laminates only really took place when bands start progressing. When they’re not big enough the expense is always too much. I didn’t have one of the stickers so I hung around the stage. My head went from side to side like an animal with paranoia someone was going to kick me out and leave me wanting. Eventually a group of them went backstage and I followed close behind. The best way to get back your first time is to blend. But that wouldn’t be possible now, security is so much tighter. You need to know someone to get back there. That’s why you can’t use this post as a guideline. It’s a lot harder now and you can’t just sneak backstage, especially if you’re not in a shoebox of a venue.

I followed the group of men wearing tired clothes and the door opened. Out walked D and L. D saw me and grinned. He was never charming back then, he was unapologetic. He called out to me and gave me a hug making the frenzy of anticipation that had held me all day get loose. Then I was pulled back and the big tough bouncer type looked down on me. I felt like all my hopes had been scattered, all my wishes had been dashed. I was here. I had everything in my grasp. “She’s with us.” D said. I felt like I had really achieved something. He let me go and I clung to D like a toddler clings to its mother. He gave me a quick kiss to remind me I was here and it wasn’t all just something I had made up in my head.

He took me to a room where the band were and I knew it was real. It’s a hard thing to describe to someone who has never been backstage, even in those tiny little rooms in those tiny little venues. Backstage isn’t a place, it’s a feeling. This time I’ll talk about that room and not the ones you get in arenas. It was tiny with a table for booze and some fold up chairs in the corner. There was a bowl of skittles balancing on an abandoned kick drum that someone was pouring cheap vodka into. The people are packed in like sardines and you can feel everyone’s breath when you make your way forward to get a drink. D poured me some vodka with soda and I took an unhealthy gulp. I had only drank a handful of times before. There were band guys on one side of the room, girls on the other and the odd one had fought through into no man’s land. It was like a school dance, except much edgier.

D asked me what I thought and I didn’t know a cool way to say everyone here were beautiful people who drank and smoked and did other equally rebellious things while I was pretending to be one of them secretly thinking about my curfew. I told D that it was cool but I had done this tons of times. He called me a liar. Everyone in the scene knows everyone, even the American girls know the British girls. I didn’t know that then though. He called over one of the girls in no man’s land and she was my first every experience of what a groupie was. There are different kinds of groupies, two kinds were there that night. There are those who wear tight dresses, too much make-up and are there to sleep with the band. Today they would just be called band whores – them suck off the band to name drop type girls. Then there were the other girls – the flower child, psychedelics, no bra, dreaming of the 60’s type girls. She was one of them girls who walked on air, that Woodstock type. She was a magical pixie with red wavy hair that brushed her waist. She was like Ariel on acid. Her skinny arms wrapped around me and pulled me to her chest engulfing me with her free spirit she would throw around like confetti and that clung to everything around her like glitter.

Her name was V. She was fifteen pretending to be eighteen. V linked arms with me and led me through the mass of bodies. She had a line of blue WKD bottles that were entirely reminiscent of a certain time and a certain place. In my ear she whispered a commentary to the backstage debauchery that in retrospect was very timid compared to what it would be like when the crowd changed later. There were girls standing in one corner who looked glamorous and alluring with long eyelashes and breasts that filled out their bras. They were with another band, a much bigger band. They were the old ones who were retiring. Groupies have a sell by date with anything over twenty eight getting thrown in the used pile. Everyone talks about the size of Connie Hamzy’s balls but no one actually wants to be her – on her knees, sucking off the singer, guitarist, drummer, bass player, tour manager, roadie and intern at the age of fifty. V and a couple of other girls were the next generation. They were first generation – groupies who didn’t know anyone. First generations are the ones who made their way backstage because of their own resilience. They were committed to the cause.

I said earlier that backstage isn’t a place it’s a feeling. Backstage is loud music, free beer and freedom. It is dancing on tables, junk food mixed with spirits, girls being pulled onto the knees of men who have guitars resting on the other. Backstage is the spirit of the music industry, the good parts without any of the deadlines or trivial interests. I was fourteen and out of my depth but I knew backstage was a place filled with geniuses and their muses doing what felt good because it felt good. That is why you can’t separate sex, drugs and rock’n’roll. You do what feels good. It is a selfish place.

D pulled me out with him when he went to go out. The older girls were watching me like disapproving mothers. D was their son and I was his shiny new toy. Who knew when he would use me and get bored? If you let them they will. He pushed me against the wall of the corridor in front of everyone and kissed me as he did before. His lips were against mine and everyone saw. God, I thought I had made it. I felt so important. He treated me rough and did what he wanted, no wonder I was always left wanting more. I was a girl who had been raised to take a peck on the cheek and he was showing me the reason we were born with lips. Deep in my stomach I felt a knot and it loosened when he pulled away. I tried to catch my breath but I would have given it all to him. He kissed me again which such vigour. I felt needed. There was so much need in between our lips.

Then he was grabbed by his shirt and pulled roughly against the opposite wall. L pushed him forwards and away from me leaving me exhausted and panting with no one looking up or even caring about the obvious display of blooming womanhood. V grabbed my hand and took me out after the band and to the back of the venue. Now girls stand side stage but back then they stood at the back unless they were brought on stage by the amp or behind the drummer. She didn’t say anything to me while the band played. We were one in the same, I found my soul sister. I didn’t talk or move. We felt the music and it went from the stage deep inside of me bringing feelings of unbridled ecstasy. To feel the music deep inside of you and get lost in it while the men who play it lose themselves too is goosebumps over the skin and sharp inhales leaving you breathless. To know those men know you and could be getting lost in you is selfish joy and school girl daydreams.

The gig had good music that had hot and sweaty bodies crashing into one another. V took me backstage and D came to me in the corridor. He was sweaty and his hair fell into his face as he pushed me into the pathetic excuse for a green room and pulled me down onto his lap. He pecked my neck which is daring and exciting when kisses have only been had on the lips. He tried to put his hand inside my tank top and through the attention and groupie baptism I had the sense to bat his hands away. He listened as he would always listen and kept me on his lap while the next band played. There were feet on the table and the bowl of skittles and vodka was being passed around but his arms were around my waist in ownership and this new girl wasn’t up for anyone. He had called dibs on the virgin pretending to be something she wasn’t.

The clean-up after was quick and all the other girls were drunk. A paid for a taxi back to our city for V and I. Before we left D gave me a quick kiss and took my number where he definitely saved my name followed by my city. The words he said ignited a need in me like he did the night before. “You’re different, you should keep coming to shows.” You can’t get a taste of being in the music no matter how briefly and just go back to drinking in parks and on the street. The music and the men who make it works its way inside of you. It did me, and I never could get it out.

#groupie #modern groupie #bands #diary of a super groupie #diary #emo bands #rock bands #backstage #all access #concerts #my experience #groupie scene #what happens backstage #backstage secrets #tour secrets #how i started

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charterhunter529 · 3 years

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Goapele Change It All Zip

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Goapele, Beverly Hills, California on June 25, 2015

Background informationBirth nameGoapele Mohlabane(1)BornJuly 11, 1977 (age 43)OriginOakland, California, United StatesGenresInstrumentsVocalsYears active1999–presentLabelsSkyblaze Recordings (2001–2009) Hieroglyphics Imperium Recordings(2001) Columbia Records (2002–2006) Decon Records (2009–2011) Jordan House/Primary Wave Music (2014–present)Associated actsWebsiteGoapele.com

Pastebin.com is the number one paste tool since 2002. Pastebin is a website where you can store text online for a set period of time. Even Closer was rereleased with extra tracks, and, in 2005, her second album, Change it All was released, focusing on the activism in which she had been involved since she was a child.

Goapele Mohlabane(1)(2) (/ˈɡwɑːpəleɪ/; born July 11, 1977), is an American soul and R&B singer-songwriter. Her name means to move forward in Setswana, a Southern African language.(3)

Early life(edit)

Goapele's South African father Douglas Mohlabane was an exiled political activist who struggled against the Apartheid System.(4) Goapele's New York-born Israeli Jewish mother Noa(5) had been attending protests since the age of 12. Noa attended Friends World College and was studying in Nairobi, Kenya, where she met and married Douglas.(6) Goapele and her older brother DJ Namane Mohlabane(7) were raised in a California South African exile community.(8)

Both of her parents inspired Goapele to become very involved in community affairs at a young age. She attended the Berkeley Arts Magnet School, where she led a pre-teen peer-support group. She also became involved in various groups and organizations that combated racism and sexism.(9)

Goapele and Theo Rodrigues(10) have a daughter together, Bahia Osun (born May 2007).(11)(12)(13)(14)(15)

Career(edit)

Even Closer(edit)

Goapele returned to Oakland after her time at Berklee College of Music, where she concentrated on writing and recording songs. In 2001, she self-released her debut album, Closer, which sold 5,000 copies.(16) At the same time, she was building a devoted audience through her popular live performances in the San Francisco Bay Area. 'Closer' peaked at No. 63 on Billboard's Top R&B/Hip-Hop Albums chart.(17)

In 2002 she reworked Closer, adding five new songs. With the help of her family, she formed her own independent label, Skyblaze Recordings, to oversee her musical career. She released her first nationally distributed album, Even Closer, featuring the single 'Closer,' through Hieroglyphics Imperium Recordings. 'Closer' was also featured on the soundtrack of the 2003 movie Honey. In 2004, Columbia/SME Records picked up Skyblaze Recordings for worldwide distribution and rereleased the album with additional tracks. She co-wrote and co-produced the entire album, which is a mixture of neo-soul, trip hop, lieder, and jazz. She also toured North America with the band Spearhead. In 2004, Even Closer peaked at No. 24 on the Billboard Charts for Top Independent Albums.(18)

Change It All(edit)

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Her second album, Change It All, featuring the single 'First Love' and the song 'Love Me Right,' was released December 2005. The album featured production work from Jeff Bhasker, Mike Tiger, Amp Live, Sa-Ra Creative Partners, and Linda Perry.(19) In 2006 the album peaked at No. 32 on the Billboard Top R&B/Hip Hop Album Charts and No. 2 on the Top Heatseekers while the single 'First Love' reached No. 18 on the Hot Adult R&B Airplay.(18) Goapele appeared on Soul Train to promote the album in May 2006, in what turned out to be the show's final new episode. She also appeared on The Orlando Jones Show, Jimmy Kimmel Live!, Late Night with Conan O'Brien, ABC View from The Bay and FOX Good Day Atlanta. Her first three releases have garnered praise from the likes of magazines such as Rolling Stone, Nylon, Interview, Marie Claire, Billboard, Essence, and Vibe. She has appeared on the covers of local Bay Area publications San Francisco Magazine, Diablo Magazine, East Bay Express, SF Bay Guardian, Mugshot Magazine, and City Flight,(20) She was named the number-5 artist to watch in the July 2003 issue of Rolling Stone magazine, made the countdown on MTV’s Top 10 Artists to Watch, and collaborated with ALDO Shoes’ advertisement campaign in its fight against HIV/AIDS, which featured artists such as Avril Lavigne, Ludacris, Dave Navarro, Charlize Theron, Pink, Eve, Rosario Dawson, Eva Mendes, Bow Wow, Ziggy Marley, and Kelly Rowland.

Break of Dawn(edit)

On July 10, 2009, Skyblaze Recordings leaked the single 'Milk & Honey' (produced by Bedrock), the first single from her third studio album of the same title.(21) However, in August 2011, she announced that the album would be titled Break of Dawn. The album is being recorded at the Zoo, home of Goapele's Oakland-based Skylight Studios and will feature production from Drumma Boy,(22) Bedrock, Kanye West, Dan Electric, Mike Tiger, Bobby Ozuna (Raphael Saadiq, John Mayer, Erykah Badu), Malay (John Legend, Mary J. Blige), Jeff Bhasker (The Game, Kanye West, Ludacris, T.I), and other guest musicians. After many delays, the album was finally released on October 25, 2011.(23)

Victory(edit)

In celebration of the FIFA World Cup 2010 in South Africa Goapele released the single 'Victory' featuring South African emcee Hip Hop Pantsula, a prelude to her upcoming musical project Victory, which was released in Winter 2010(citation needed) and feature an array of artists from the African continent as well as throughout the Diaspora.(24) The leading track was recorded in English, Setswana, and Xhosa and tries to draw attention to the need for education and resources to combat Africa's most crucial dilemmas. The album will also encompass philanthropy, political and social activism. Proceeds from the project will go to ANSA (Artists for a New South Africa) a non-profit organization working to combat HIV/AIDS, assist children orphaned by the disease, advance human and civil right, educate and empower youth and build bonds between the U.S. and South Africa through Arts & Culture.(25)

In 2014, Goapele signed with singer Eric Benét's record label Jordan House and is in the process of recording new material for her new label.(26)

Strong as Glass(edit)

In 2014, Goapele released Strong as Glass, her fifth studio album. The lead single was 'Hey, Boy' featuring Snoop Dogg and the video was released September 10, 2014, on YouTube.

Collaborations(edit)

The family songbook. Apart from her solo work, she has collaborated with West Coast MCs such as Aceyalone, E-40, Zion-I, and Mac Mall; those involved in the Hieroglyphics Crew; Detroit based vocalist Dwele; and Clyde Carson and Mos Def on the track 'Different.”

Human rights work(edit)

Goapele performed at rallies, demonstrations, and various political events around the world from Cuba to South Africa. On September 14, 2006, the California-based Ella Baker Center for Human Rights honored her with its first ever Human Rights Cultural Hero Award(27) during the center's 10th-anniversary celebration, which was titled 'Tribute to a Dream.' The following statement was issued by the Center regarding the award:

We are proud to name internationally acclaimed, Oakland-based (singer-songwriter) Goapele the first recipient of this award. But as successful as she is, Goapele remains deeply rooted in her home community and in the struggle for human rights. We first saw her sing at rallies and demonstrations when both she and Ella Baker Center were just starting out. Today, she is still here with us, side by side, looking forward to a better day for all of our people.

The Ella Baker Center for Human Rights is a non-profit strategy and action center. The stated aim of the center is to work for justice, opportunity, and peace in urban America.

Discography(edit)

Studio albums

Closer (Goapele Music, 2001)

Even Closer (Skyblaze/Columbia/SME, 2002)

Change It All (Skyblaze/Columbia/SBMG, 2005)

Break of Dawn (Skyblaze/Decon, 2011)

Strong as Glass (Skyblaze/Primary Wave/BMG Rights Management, 2014)

DreamSeeker (Skyblaze/Primary Wave/Empire, 2017)

Singles

'Closer' (2002)

'Got It' (2003)

'First Love' (2005)

'Love Me Right' (2006)

'Soweto' (featuring Hieroglyphics) (2008)

'Chocolate' (2008)

'Milk & Honey' (2009)

'Victory' (featuring Hip Hop Pantsula) (2010)

'Undertow' (2013)

'Hey, Boy' (2014)(28)

Guest appearances

Hieroglyphics – 'Make Your Move' from Full Circle (2003)

J Boogie's Dubtronic Science – 'Try Me' from J Boogie's Dubtronic Science (2003)

E-40 – 'Show & Prove' from Breakin' News (2003)

Triple Threat – 'How U Talkin?' from Many Styles (2003)

Aceyalone – 'Moonlit Skies' from Love & Hate (2003)

Planet Asia – 'Upside Down' from The Grand Opening (2004)

Tajai – 'Dedication' from Power Movement (2004)

SupremeEx & Tajai – 'Meaning' from Nuntype (2005)

The Team – 'Sunshine' from World Premiere (2005)

Amir Sulaiman – 'They Don't Know' from Like a Thief in the Night (2007)

Zion I – 'Life's Work' from Shadowboxing (2012)

Ben Williams – 'Voice of Freedom' from Coming of Age (2015)

Cassper Nyovest – 'Destiny' from 'Thuto' (2017)

References(edit)

^ abSwan, Rachel (August 5, 2009). 'Goapele Gets Closer to Home'. East Bay Express. Retrieved October 11, 2012.

^MacNeil, Jason. 'Goapele > Biography'. allmusic. Retrieved June 30, 2010.

^'Goapele'. Goapele. Archived from the original on July 11, 2011. Retrieved August 3, 2010.

^Nero, Mark Edward. 'About Goapele'. About.com. Retrieved October 11, 2012.

^'Goapele Biography – Selected works – Goapele, Music, Closer, 2005, Morris, and Change'. Biography.jrank.org. Retrieved August 3, 2010.

^'News'. VIBE. July 2, 2010. Retrieved August 3, 2010.(permanent dead link)

^Crooks, Peter (October 2009). 'Old Soul/New Scene'. Diablo Magazine. Retrieved October 11, 2012.

^'Harvest Time Staff'. Harvest Time. Retrieved October 11, 2012.

^'Information Not Found'. Billboard.com. Retrieved August 3, 2010.

^November 20, 2002, http://www.sfbg.com/37/08/art_music_goapele.html

^https://www.amazon.com/gp/baby-reg/goapele-mohlabane-theo-rodrigues-may-2007-emeryville?lid=3H1Y3ZAFMAYCX

^Golden age: 100-year-old metal artist still creating beautiful pieces In May 2007, Ries found a new source of inspiration, when his great-granddaughter Bahia was born to Goapele Mohlabane, Noa's daughter. Ries' most recent projects were a spoon for Bahia, as well as a mezuzah that was recently installed at Beth Chaim Congregation in Danville.

^http://www.sacbee.com/2010/08/13/2953088/back-after-having-daughter-goapele.html(permanent dead link) Now in her 30s and the mother of a 3-year-old daughter

^August 5, 2007, http://wandaspicks.com/home/index.php?option=com_content&task=view&id=132&Itemid=2

^July 28, 2010, http://goapele.com/blog/?p=401(permanent dead link)

^MUSHKASHA. 'Deep Reflections of The Acquarian'. fmshai.blogspot.com. Retrieved July 7, 2004.

^'ASCAP J.A.M. – Where the Future of Music Begins'. Ascap.com. Retrieved August 3, 2010.

^ ab'Music News, Reviews, Articles, Information, News Online & Free Music'. Billboard.com. Retrieved August 3, 2010.

^'Change It All, Goapele, Music CD – Barnes & Noble'. Music.barnesandnoble.com. December 2, 2005. Retrieved August 3, 2010.

^http://www.goapelepress.comArchived February 26, 2012(Date mismatch), at the Wayback Machine

^Harlem says (July 1, 2009). 'Goapele Milk & Honey:New Goapele Album Song Music'. Rnbmusicblog.com. Archived from the original on September 8, 2009. Retrieved August 3, 2010.

^(1)Archived March 15, 2012, at the Wayback Machine

^Kwateng, Danielle (July 27, 2010). 'Goapele Talks About Her 'Victory' and Upcoming Album'. Madame Noire. Retrieved October 11, 2012.

^'New Music: Goapele with Hip Hop Pantsula – 'Victory''. About.com. July 21, 2010. Retrieved October 11, 2012.

^Theatrix (July 20, 2010). 'Goapele X Hip Hop Pantsula Present 'Victory''. Goapele.com. Archived from the original on August 7, 2011. Retrieved October 11, 2012.

^'YKIGS Live: Eric Benet Talks Signing Calvin Richardson & Goapele, Finding Stars in the Subway, New Music'. interview. youknowigotsoul.com. Retrieved June 4, 2014.

^Article Tools. 'Changing It All With Goapele | ymib.com – Daily Inspiration'. ymib.com. Archived from the original on February 2, 2010. Retrieved August 3, 2010.

^'Urban/UAC Future Releases'. All Access Music Group. Archived from the original on July 11, 2014.

External links(edit)

Official website

Goapele discography at Discogs

Retrieved from 'https://en.wikipedia.org/w/index.php?title=Goapele&oldid=986434337'

Lyrics to Change It All

Verse 1: They're closing all the schools down Some teachers work for free now And libraries won't be found Cause there's not enough Can you see a change in your town Small close it's ??? I'm trying to sort it out What we're giving up Chorus: Basically There are people left out From living Comfortably can we figure it out I've been waiting Restlessly for the words to a song That would Change it all Change it all Change it all Verse 2: I never found a 9 to 5 That was worth it from my soul Til I I pursued what brought joy in my life And there's something for us all And I still think it is my right And it's the last and one of few To get the luxery for learning Something I could use Chorus: Basically There are people left out From living Comfortably can we figure it out I've been waiting Restlessly for the words to a song That could Change it all Change it all (If the words could change it all) Change it all (Change it all) Bridge: So many laws are changing They say it's the price for war We send over at least ? billions It's hard to believe that years ago people died to fight But history feels so far away History feels so far away We're not fighting for our lives anymore You're not fighting for my life anymore It's hard to know what's really worth fighting for Or is it killing and dying on the streets Chorus: Ohhh Basically There are people left out From living Comfortably can we figure it out I've been waiting Restlessly for the words to a song That could Change it all Chorus 2: Oh! Basically There's enough for us all So Why can't we somehow figure it out I've been waiting Restlessly for the words to a song That could Change it all Change it all (If the words could change it all) Change it all Change it all Change it all If a song could change it all What if we could change it all (Thanks to Quita for these lyrics)

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Songwriters: MOHLABANE, GOAPELE K. / AABERG, MICHAEL LOUIS Publisher: Lyrics © Universal Music Publishing Group Powered by LyricFind

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nishadesigns · 2 years

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Artist Spotlight: DIVINEANGEL — Life & Soul Magazine

https://bandcamp.com/EmbeddedPlayer/v=2/track=102188594/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/ DIVINEANGEL are a London-based duo, who with their fusion of afro-rhythms, soul and psychedelic rock, create music and lyrics with the intention to motivate, inspire, heal, unite, and to remind listeners of their truth, their inner truth. A collaboration between…

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#afro-rhythms #Angel SEKA #Artists #Asante-British #divineangel #life & soul magazine #Nisha Designs

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thewickedsound · 3 years

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THE BEST JAZZ ALBUMS 2021 (SO FAR)

This album was recorded 45 years ago but sound so fresh like a recent release from a young band. Previously unreleased Marcos Resende & Index self-titled debut album from 1976, contributing a crucial missing work from the glory days of progressive Brazilian instrumental music. Resende in 76 after touring Europe with his previous band returned home to Brazil as an established highly regarded keyboardist, composer, and innovative electronic musician. Inspired and invigorated by US jazz and British progressive rock he'd experienced while residing in Europe, Resende went all out acquiring a keyboard arsenal to be reckoned with, which included the Prophet 5, Yamaha CP-708 and Mini Moog. Determined to integrate his newfound inspirations with Brazilian rhythms and jazz traditions, he formed a new quartet with Rubão Sabino (bass), Claudio Caribé (drums) and the late great Oberdan Magalhães, of Banda Black Rio and Cry Babies fame. Marcos Resende & Index recorded their self-titled debut at Sonoviso Studios with the legendary sound engineer Toninho Barbosa, known as the 'Brazilian Rudy Van Gelder' whose impressive resumé includes the era defining classics Light As A Feather by Azymuth, Previsão Do Tempo by Marcos Valle, and Quem É Quem by João Donato. Marcos Resende & Index fits perfectly amongst these masterpieces, sharing both the timeless ethereal qualities as well as the progressive and futuristic ideals of Light As A Feather in particular. Marcos Resende & Index by Marcos Resende & Index Mathias Modica's Sonic Rohstoff is the new album on Kryptox Music. Sonic Rohstoff is a journey through abstract downtempo vibes, lofi jazz and futuristic electronica. Most people might know Modica from his earlier works as a producer, keyboard player and founder/ creative mind behind Toy Tonics, Gomma and Kryptox. Over the past two decades he has made a name for himself by discovering and breaking new talent and styles of music. This is Modica's first album under his own name, following three albums under his monikers Kapote and Munk. All instruments are performed by Modica himself, embellished by guest musicians from the new Berlin Jazz scene. Sonic Rohstoff by Mathias Modica Zurich-based musician Arthur Hnatek is one of a new breed of players who see their music as a continuum stretching between genres, always thinking in terms of links rather than boundaries, possibilities rather than limits. His time spent playing drums with similarly adventurous and unclassifiable artists Tigran Hamasyan and Shai Maestro opened his ears to the possibilities of rhythmic variation: his immersion in electronic music production and the motorik tradition of Jaki Liebzeit alerted him the possibilities of repetition. Now, with Static, he presents his first trio record: joined by his equally fearless bandmates Fabien Iannone on bass and Francesco Geminiani on tenor sax, this is music created by classic jazz line-up and steeped in an improvisational facility, yet simultaneously utterly unlike anything in the standard jazz tradition. Static by Arthur Hnatek Trio

Marcelo Monteiro, a saxophonist from Sao Paulo, Brazil, has played with various Brazilian and international artists and at the same time was developing his own authorial work. Has excelled in the jazz scene in São Paulo, currently, he has performed with his group, which may be in trio, quartet or quintet version. With his group plays compositions of his own. His music follows the style of groove, funk and modern jazz, simple but very creative themes, with a hint of Brazilian swing. On his new album, Deyeh, he experimented with arrangements with flutes and saxophones, exploring the sound combining contemporary jazz, Brazilian rhythms, in a modern concept. The album was recorded remotely with each musician recording from their own home studio. Deyeh by Marcelo Monteiro

Sankofa by Amaro Freitas World-renowned drummer/composer, & producer/beatmaker, Myele Manzanza, has proved that he's an artist who continues to dissolve the borders between modern jazz and electronic beat production. Having released three solo albums, and racking up tours and collaborations with Jordan Rakei, Theo Parrish, Miguel Atwood-Ferguson, Recloose and Amp Fiddler amongst others. Myele is already developing a strong live presence in his new London base; his quartet has shared stages with the likes of Hiatus Kaiyote, The Bad Plus, Alfa Mist, and drawing packed houses to top venues such as The Jazz Café and Ronnie Scott's. Crisis & Opportunity Vol.1 - London features a top tier cast of young London based talent including Ashley Henry (piano), James Copus (trumpet), George Crowley (tenor saxophone), Benjamin Muralt (bass) and additional contributions from the legendary Mark de Clive-Lowe (synths), with Myele Manzanza (drums) captaining the ship. Crisis & Opportunity Vol. 1 - London by Myele Manzanza Kaidi Tatham is a legendary multi-instrumentalist. Once dubbed "the UK's Herbie Hancock" by Benji B, he's a virtuoso on the keys and a true innovator in sound production as one of the original creators of the Broken Beat sound. Over the years his musical prowess has blessed numerous projects, initially with the likes of Bugz In The Attic and The Herbaliser, and more recently with DJ Jazzy Jeff (through the PLAYlist projects), Andrew Ashong (on the acclaimed Sankofa Season EP last year) and with a longtime accomplice, Dego. This is in addition to session work for artists such as Mulatu Astatke, Slum Village or Amy Winehouse. An Insight To All Minds is Kaidi's 3rd solo album under his own name, following several EPs and two albums for First Word; 2018's acclaimed It's A World Before You and the re-press of his seminal 2008 sophomore album In Search Of Hope last year. An Insight To All Minds by Kaidi Tatham JAUBI continue the Nafs journey, which commenced with the single Satanic Nafs (featuring the remix by legendary LA producers The Gaslamp Killer & Mophono) released in March 2021. Now JAUBI draw on the elements of North Indian classical music, Hip-Hop and modal/spiritual jazz in their debut LP entitled Nafs At Peace. The journey officially began back in April 2019 when London's multi-instrumentalist and 22a Record label boss Ed "Tenderlonious" Cawthorne and Polish pianist/composer Marek "Latarnik" Pędziwiatr of EABS/Błoto, visited the group to record in Lahore. Together they channeled their personal struggles at that time into the two recording sessions allowing the musicians to find a spiritual path through this musical purge. Nafs at Peace by Jaubi Australian 9-piece Spiritual Jazz group Menagerie announce their highly anticipated third album 'Many Worlds', released 15th January 2021 on esteemed U.K label Freestyle Records. Menagerie is the Melbourne-based Jazz ensemble founded by producer, songwriter, guitarist, DJ and recording artist Lance Ferguson, also the driving force behind The Bamboos, Lanu, Rare Groove Spectrum and Machines Always Win. Recorded at Union Street Studio by award-winning engineer John Castle, 'Many Worlds' features some of Australia's finest musicians, including pianist Mark Fitzgibbon (a regular performer at Gilles Peterson and Patrick Forge's original Dingwalls sessions), drummer Daniel Farrugia and renowned saxophonist Phil Noy (The Bamboos). Inspired by both the post-Coltrane generation of the 70's, labels like Strata-East, Impulse! and Tribe, along with the current 'New Wave Of Jazz', Menagerie aligns with the world of Kamasi Washington, Shabaka Hutchings and Nubya Garcia, whilst also bringing their own unique twist. Many Worlds by Menagerie Astonishing new work from the fertile creative mind of tenor saxophonist-composer James Brandon Lewis. Performed by the Red Lily Quintet (James Brandon Lewis, Kirk Knuffke, William Parker, Chris Hoffman, Chad Taylor), an exceptional & singular inter-generational ensemble, this album speaks to the forever-evolving continuum of the jazz tradition. Voted Rising Star Tenor Saxophonist in the 2020 DownBeat Magazine International Critic's Poll, James Brandon Lewis supercharges his remarkable evolution with Jesup Wagon, a brilliant and evocative appreciation of the life and legacy of turn-of-the-19th century African-American musician-painter-writer-scientist George Washington Carver. Jesup Wagon by James Brandon Lewis / Red Lily Quintet

John Carroll Kirby's Septet album was recorded live in the studio with a range of talents playing keys, vibes, bass, percussion and drums. The composer and keyboardist leads the charge and approached the album wanting to play with the chaos of jazz fashion in the 70's/80's, bands like Weather Report and Miles Davis. He sure does that but there is beauty in the madness, with plenty of lush and golden keys dancing above lithe and ad hoc rhythms. Septet by John Carroll Kirby Matt Carmichael released his debut album on his own label, Porthole Music. He has already developed quite a profile and an impressive list of collaborations; he also reached the finals of BBC Young Jazz Musician 2020. His quartet, formed five years ago, consists of his contemporaries, award-winning Fergus McCreadie on piano, Ali Watson on bass and Tom Potter on drums. Like McCreadie, Carmichael creates music that feels highly personal, fusing an energetic yet sensitive modern jazz into a bedrock of Scottish traditional music. Where Will The River Flow by Matt Carmichael Taking cues from Dorothy Ashby and Alice Coltrane at their most delicate, renowned Welsh harpist Amanda Whiting's mesmerizing Jazzman full-length LP After Dark arrives as soft as moonlight to gladden the soul and delight the ear-without forgetting to bring the swing. Summoning the nocturnal mood suggested by the album's title, Whiting's harp flows and cascades, dances and alights, broods and haunts, informed by a deep understanding of both classical and jazz music, ultimately revealing a top-drawer composer with rare melodic gifts at the top of her game. After Dark by Amanda Whiting JD73's Electrio - Pyramid is a colourful & energetic live recording session presenting 8 incredible pieces of music. Dan 'JD73' Goldman is known the world over for his contributions to the world of Jazz & modern electronic soul music and is backed up on Pyramid by Hamlet Luton (Bass) and Gordon Kilroy (Drums) completing the ElecTrio. Dan's ability to construct these incredible melodic gems centered on the sound of the Rhodes Piano is something to behold. This is a real collectors album and if you're a fan of Herbie Hancock, Chick Corea, Bob James & George Duke you need this on your record shelf for sure. Pyramid by JD73's ElecTrio Read the full article

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ginngardner · 6 years

Photo

IS YOUR CHARACTER

[001] the face of any products // the closest endorsement tristan has is with fender, but he’s not so much the face of the company as much as a partner. they’re actually releasing a guitar he designed this year.

[002] open about their private life // no, tristan is very adament about keeping his public life and private life separate and has a history of having a very volatile relationship with the paparazzi because of it.

[003] an advocate for any charities // when he believes in them, yes. he won’t donate just for the sake of looking good, and will only give money to or make appearances for causes he actually cares about.

[004] involved in a relationship for publicity // though his management has tried several times to find a girl that’s ‘good for his image, tristan refuses because he has a very honest relationship with his fans.

[005] where they are because of dishonest / shady moves // tristan has mad a lot of mistakes in his career, but integrity is important to him. if he’s done anything shady in his career, it wasn’t intentional.

WHO DOES YOUR CHARACTER

[006] @ / retweet regularly // his fans actually, but it’s very random and only when a tweet generally makes him think or makes him laugh. he’ll usually add some kind of ‘witty’ comment because he thinks he’s funny.

[007] mention most in interviews // his band who have been with him since he was playing smoky bars for tips. he very rarely mentions his family or friends because he doesn’t like talking about his personal life.

[008] go to when they need some help // usually his siblings, because they do maintain a good relationship most of the time and he values their opinions the most since they’re not afraid to be honest with him.

[009] idolize / adore more than life itself // he has so many heroes in the business that he’s been lucky enough to meet and even play with. jimi hendrix is the GOAT for him though, his number one.

[010] want to end up with (in their dreams) // at the end of the day, tristan just wants to be surrounded by a bunch of good people. if he has his family, his band and some good friends then he’s good.

WHAT WAS

[011] the first thing they tweeted // tristan’s twitter was originally made by his manager so for the first year, he never signed into it. until one night he couldn’t sleep and started tweeting back at fans at 2am, which he still does.

[012] the first event they got invited to // the premiere of some movie when he was just starting to get famous because they used one of his songs on the soundtrack. his wardrobe for the night was questionable.

[013] the last (non work related) vacation they took // traveling is very important to tristan and he tries to visit a new country, tour dates don’t count, every year. this year it was the prague in the czech republic.

[014] the first thing published about them on lounge // some photos leaked of tristan and his then girlfriend, who wasn’t famous and lounge posted an article about them from a ‘trusted source’ that was entirely made up.

[015] the project that made them want to act / write / sing / etc. // tristan grew up listening to 80s rock... but it was actually marty mcfly’s guitar performance from back to the future that inspired him to pick up the instrument.

WHY

[016] do they put up with all of the bs that comes with the business // music is who tristan is. it’s all he knows. it’s in his bones. and he can’t imagine his life without it. everything else is just a side effect.

[017] did they pursue the career they’re currently in // tristan never meant to become the pop rock star he did. he just wanted to play music, as part of a band or whatever. the solo career happened on accident.

[018] did they choose the media persona they did // there is no persona, what you see is what you get. tristan has never pretended to be something he wasn’t. the media likes to portray him as a bad boy but... that’s on them.

[019] do they hate gossip magazines so much // he’s always been so honest to his fans about his music and his career but he’s always wanted to keep his personal life separate. tabloids do the opposite.

[020] would they ever make a sex tape // no way. not only does he have no interest in that kind of thing, but sex is a very intimate act and he’s such a private person anyway, he would never risk something like that leaking.

WHERE

[021] did they hear their first song on the radio // he was driving by himself on the highway on the way home after a string of shows and actually had to pull over. then he just laughed because why would anyone play his song?

[022] did they find out they’d landed their first project // he had just walked off stage at a smoky bar in new york city when a man approached him to set up a meeting. he signed a record deal the next day. it all happened very fast.

[023] did they go on vacation after their first big project // after the initial rush of first radio single/first album/first real tour, tristan did some traveling through some of his favorite countries in europe, mostly touristy places like france, italy, germany, spain.

[024] do they live when they want to get away from it all // london will always be home for tristan, but he gets recognized a lot on the street so lately he's been spending a lot of time in the irish countryside and he enjoys it a lot.

[025] was their first big press conference // in london outside of his record label's british sister label, announcing his first full studio album after the surprising success of his debut single.

WAS THEIR FIRST

[026] project embarrassing // embarrassing isn't the right word, but he was still learning a lot about himself, his sound and the recording process then, so it's definitely not his favorite work but he's proud of it.

[027] talk show appearance a wreck // there was a whole "practice" session with his publicist, then in true tristan graves fashion, he went completely off script. so while not a disaster in his eyes, the label wasn't happy with it.

[028] public relationship heavily followed // if tristan had his way, he wouldn't have any public relationships but with his celebrity status it's near impossible to completely evade the gossip, so yes.

[029] fan encounter awkward / nice / sweet / etc. // the first time tristan was recognized outside of a show or work environment, he was grocery shoopping after midnight in pajamas. his hair was a mess and he hadn't shaved but the girl was still excited and got a fun story to tell.

[030] relationship (while famous) talked about at all // tristan has only ever been in a relationship with one other celebrity and that person was a lot more open with their personal life than he was. there were a lot of tabloid stories, most of them false but some things were real so that whole experience was eye opening.

WILL

[031] they ever open any sort of business // there have been rumors about tristan selling his own line of everything from clothes to amps to guitars and even a strange little rumor about male grooming kits but no he doesn't currently have any plans.

[032] they ever win a major, prestigious award // tristan was actually nominated for a grammy for his second studio album but he didn't win. obviously that's something he'd like to cross off the ol' bucket list, but he doesn't make music for awards.

[033] they ever host the smn version of saturday night live // that's been a dream of tristan's for so long and he recently got to be the musical guest on an episode but has not hosted yet.

[034] they ever work tirelessly for years to get a project going // there have been albums released a year apart and there was a three year hiatus once. he writes all of his own music and despite constant pressure from the label, he never wants to rush an album.

[035] they take pictures with fans who approach them on their off time // it honestly depends on what he's doing, where he is and who he's with... and his mood that day. he's usually okay with it but everyone has off days.

DOES YOUR CHARACTER

[036] invest their money wisely // tristan has never really been a big spender. he has expensive things but is more likely to spend it on guitars than fancy things. he did splurge on a house for his family, a penthouse for himself and a cool car though.

[037] work only on projects they love // now more than when he was younger and let a movie use his song for the soundtrack before realizing the film was rubbish. every song he puts out comes from the heart and integrity is so important to him.

[038] care more about the fame than anything // it's never been about the fame for tris. it's always been about the music... but it does go to his head every once in a while. he's only human.

[039] often find they’ve put their foot in their mouth // oh, all the time. especially when it's late at night and he's drunk tweeting. orrr anytime he opens his mouth. he says a lot of stupid shit but he doesn't mean any harm.

[040] hide things from the public because they are afraid / ashamed of what the reaction could be // while he tries to keep his personal life separate from his professional life, it's never been because he's ashamed. he's a very honest person and he's unapologetic about who he is.

DO YOU HONESTLY THINK YOUR CHARACTER

[041] is a good person // yes, but he's flawed like any human being. the media paints a picture of him being an asshole but that's only partially true. he has a good heart underneath the bad boy persona.

[042] will have career longevity // yes, to an extent. music is a big part of who he is as a person and he can't imagine his life without it. he knows that the fame and fortune will inevitably fade away but as long as he can keep putting out music he'll be happy.

[043] deserves the career they have // tristan puts his heart and soul into his music. he's involved in everything from the writing to the producing to the performing and everything on between.

[044] can remain unjaded by hollywood // as long as he has the freedom to make the music he wants to make instead of conforming to what a label or anyone else wants him to be, sure. the moment he changes into something he's not is the moment he walks away.

[045] will spend the rest of their life with the person they marry // given that he has no immediate plans to get married, that's up in the air. he's called a heartbreaker by the media but he would never cheat so if he ever does get married, he will be loyal to that person as long as they are.

GIVEN THE OPPORTUNITY WOULD YOUR CHARACTER

[046] date / marry a fan // probably not, if only because he would spend the entire relationship wondering if they married tristan the person or tristan the celebrity.

[047] star on any type of reality show // no way. he hates reality tv and has probably turned down an offer to appear. he might cameo on a show or movie franchise he's a fan of but never reality tv.

[048] donate to charity / do good deeds without publicity // he actually does this on a regular basis. he has a few charities he holds close to his heart and is very involved in one called music cares. though some of his appearances are publicized, not all of them are.

[049] say exactly what they think about the ins/outs of fame // probably not directly but he's definitely made indirect commemts about his feelings on the industry.

[050] walk comic con without any security (in or out of disguise) // no because getting recognized would ruin the fun of going AS a fan. maybe in a costume but again, probably not.

#smnrp #this was written half on mobile so i hope it formats okay yikes #smnrp contest

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sabinarius · 6 years

Text

UF Bitty Sans x Reader

Edgy sat with his arms crossed, sulking by himself in one of the stiff, old plastic chairs in the dentist waiting room. His human’s parent sat next to him reading one of those boring magazines.

He got a few stink eyes from other humans coming in for taking up a whole chair by himself, but he just flipped them off, and a snarl showing off his sharp teeth was more than enough to get them to back off. Like hell he was sitting on your parent’s shoulder, they weren’t his human!

He was bored out of his brain, you had been called in a few minutes ago and forgot to leave him your phone, but edgy wasn’t about to complain, not after he fought the whole week just for you to take him with you. You were nervous, down right scared of the dentist, and whatever these ’braces’ you were getting were it had made you anxious all damn week.

Like hell edgy would let you go alone.

He was pretty upset they wouldn’t let him come in with you, apparently he was lucky enough to be allowed to sit in the waiting room. heh, sooo lucky.

Still, you were only the next room away, he saw you walk in and you were close enough he could feel the drumming of your soul, a bit offbeat cause of your nerves, but you were fine.

…You were fine, he could feel it, you were ok, and thats what kept him quiet in the chair.

!!!- He hitched his breath, hand grabbing at his chest where his own soul stayed, trying to focus on yours. It was faint but for a second he thought you were in pain… he waited a minute but nothing happened.

See you were fine- AHH! His eye socket erupted in red. Not fine. Not. Fine. That was DEFINITELY pain. What the hell was going on in there! He teleported to the door’s thick handle, looking out from the glass trying to see into your room, not hearing your parent call him back. He could see the door you went through but he couldn’t see you, Dammit!

Large hands wrapped around him in a strong grip, carrying him away from the door, and he thrashed about trying to escape. “You have to stay put or they’ll kick you out” you parent scolded but he wasn’t listening “NO! let me go they’re hurting!” “Keep quiet they’ll be fine”

Enough of this you needed him- Your parent gave a yell when his teeth bit down on their vice grip, not relenting until he could taste blood, and suddently he was dropped- but didn’t even touch the floor, already scaring the receptionist into a shrill scream when he jumped on her desk in a flash of violent red light. He jumped off and ran straight for the hallway, teleporting to the open window above your door, not paying attention to the commotion behind him all he focused on was you. And he didn’t like what he saw.

This looked like one of his nightmares.

You were in a chair, laid back and vulnerable as some old guy stuck his fingers in your mouth, forcing your jaw open even wider. He could see metal attached to your teeth, and beside you was a table filled with sharp, glistening silver tools like some sort of sick torture equipment he saw in a movie once. You didn’t see him, eyes shut tight and- wait, was that a tear?!

He made you cry. That bastard made you cry. He was going to. end. him.

Another shock of pain waved through your soul as the old man came at you with a sharp hook, and that was more then enough for edgey to throw himself out the door’s window and shortcut onto your lap protectively in a red blast of pure fury.

“GET THE HELL AWAY FROM MY HUMAN!!”

Edgy had never felt more angry in his life, completely surrounding you with sharp bones and gaster blasters poised and ready, he’d like to see someone even try to get to you now!

The old man was so shocked he jumped back, hitting the table and falling to the ground. “STAY DOWN! DONT FUCKIN’ MOVE!!” He snarled at your attacker

The door burst open showing the frightened secretary and your parent holding a bleeding hand and glaring down at Edgy. They looked absolutely livid. Edgy didn’t care, only two thoughts on his mind- you were hurt and he needed to protect.

“…Edgy?” your voice was kinda muffled, it must be that wire they were sticking into your teeth. What the hell did they do to you?!

“don’t worry (y/n), I got you” his voice was soft and reassuring but his eyes glared down at the rest of the room, ready to tear anything apart that made a move towards you. But not even your parent dared move an inch.

“edgy I’m ok, I’m fine really” you tried to wrap your hands around him, but he resisted, he needed to keep you safe! “You’re sure as hell not fine! I could sense your pain from out there!”

Your eyes softened as you looked down at him, “I knew it was going to hurt, I just have to deal with it-”

“No you dont! I got you, lets just get outta here!”

“Edgy-” “seriously, c'mon what are you waiting for!?”

“Edgy” your voice was soft, but firm enough to draw his attention from the surrendered man on the floor.

You had a small smile in your face. “It hurts, but I’ll be fine. I promise”

“…but! he, he was- with the sharp things!-” Edgy was at a loss, weren’t you in pain??

At your light chuckle the bones and blasters dissipated, and instead a red dusted at his cheeks.

You scooped him up and placed a light kiss on his skull as best you could, causing the red on his face to turn into a glow. “thanks for caring… but maybe you guys should wait for me in the car? ill text you when I’m done”

Edgy didn’t want to leave you, but between your smile and the angry glare from the other side of the room, he guessed you were probably right… and that he didn’t have much of a choice.

Later that evening you were sulking on the lounge with throbbing teeth, edgy rested close in the crook of your neck- which he refused to leave the second you came out of that room, amping up his normal protectiveness to 2000%.

“love you edgy~” He huffed and snuggled deeper into the warmth of your neck

“… I love ya too”

#oneshot #undertale #underfell #sans #bittybones #edgy #reader insert #dentist #braces

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