#new works for violin and electronics
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Olivia De Prato — I, AM.-Artist Mother Project: New Works for Violin and Electronics (New World)
I, A.M. - Artist Mother Project: New works for violin and electronics by Olivia De Prato
There is nothing more mystical and more reviled, consciously or not, than motherhood. What is a mother? It would be futile to attempt distillation of artist and poet A. Martinez’s profound liner notes, but among other things, she posits problem solver. That construct is always more complicated than it looks, whether involving the implications of a cut on the toe, a botched math assignment or a failing relationship. Motherhood’s implications operate along the vast continua joining and separating the sacrosanct from mundanity. To call Olivia De Prato a violinist is as limiting as labeling her a mother, though both form facets of her endeavors. She brought six composers together to make this powerful statement concerning the intersection of motherhood and artistry, as if they were ever separable in any other sphere than preconception.
De Prato’s work with the Mivos Quartet, of which she is first violinist, has gained deserved recognition, and this solo effort is actually so much more than that, as each piece is similarly collaborative on intertwining levels. There’s something huge about each one, no matter what it’s length, and that largess includes a vision of what family relationships and artistic pursuit might entail. It’s easy to get lost in the ebbs and flows of The Dream Feed, recorded virtually with Zosha Di Castri. The Tristanesque wandering of De Prato’s slithering tones complement the electronic landscape as it breeds nightmare via repetition. The security of a tonal center shifts in and out of focus over the music’s form, comprised of boundaries as permeable as those established by each note and chord. Dynamic peaks are also scaled with stunning intensity as they irradicate those tonal centers, allowing one to re-emerge only as the piece concludes. Inspired by her own daughter’s dreamscapes, Ha-Yang Kim’s May You Dream of Rainbows In Magical Lands was composed to include De Prato’s son in percussive play, a fundamental interval supporting the elusive sonic dream-states as they converge and diverge while tone and mode inhabit similarly ambiguous spheres of influence.
Through it all, De Prato’s playing brings the project into the various states of focus and permeability it occupies. Her tones on Jen Baker’s Fire in the Dark conjure all those Protean shades of motherhood itself, an interval of time viewed from as many angles as that slowly morphing third is heard as the piece unfolds. She is a musician of consummate skill serving myriad layers of expression, the perfect proponent of what is so deceptively called new music. Yes, some elements in play are as new as they are exciting, a virtual world encapsulated in electroacoustic becoming, but at the music’s heart reside problems and solutions in interplay as old and as elusive as the relationship between mother and child. As challenging as the music can be, a beautiful and magical state of flux pervades every composition on offer, bringing together diverse voices in a chorus of ascent.
Marc Medwin
#olivia de prato#i AM#artist mother project#new works for violin and electronics#new world#marc medwin#violin#electronics#mivos quartet#brooklyn
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Hello!
Just wanted to say the IF is amazing, i just spent 3 days straight binging it and loved every second. Please ignore if it has already been asked but what is all the RO's preferred genre of music? And favourite songs if they have any?
Keep up the amazing work!
Thank you for the kind words! And I just wanna say, your ask is the final push for me to actually scour through most of my songs on Spotify and finish assembling playlists for Rin, Santana, Skylar, and Jackal 😆 But I had so much fun doing so and I'll keep adding more and updating all of the characters' playlists as I discovered more new (and old lost) songs that fit them.
I have the links to their spotify playlist which contain a mix of their favorite songs and some songs whose lyrics fit them. I don't think I can link too much stuff in one post unfortunately, so I'll make a separate post to announce the rest of the characters playlists later on 😁But I'll try to link one song that either perfectly encapsulate their music taste or whose lyrics fit the character--or at least a song that they'd enjoy listening to.
Also, I basically have to split up my own music taste and favorite genres among all of my characters and I'm running out of genres 😭 But as for your question, I don't think I've answered something like that before--at least not in detail.
Sorry in advance for the long post (I just love being able to gush about my characters and music 🤭)
Ash
Ash enjoys quite a wide variety of genres, but mostly, their go-to are genres that are more energetic and/or aggressive. So, think like Rock, Phonk, Dubstep, Trap, Drum and Bass, Metal, that kind of stuff. But usually, they listen to songs whose vibes and/or lyrics kind of fit the mood they're in at the moment.
Also, fun fact, they did have some kind of an emo phase during their angsty and edgy teenage years 😂 It wasn't really too apparent (like no, they didn't have that typical emo hairstyle or wore those iconic eyeliners), but they just relate to quite a number of the lyrics of songs that can be considered to be emo anthems.
The song that fits the genre they like to listen to and the lyrics also matched their feelings and obsession love for MC is "So Sick" by Johnny Goth.
"So Sick" - Johnny Goth
youtube
Rin
As the child of a classically-trained musician, Rin mostly enjoys classical and instrumental music. One of their favorite instruments is the piano and they used to enjoy learning to play it. Maybe in the future, when they won't be so busy anymore, they can pick up their piano lessen again...
Also, they tend to gravitate towards more soothing and calming songs in general because of the headaches they usually got after using their power too much or to see to far into the future. So most of their playlist is filled with instrumental songs, either piano, cello, or violin, or a combination of those.
As for the song that fits them, I'd say "The Belt of Faith" by Jung Jaeil kinda fits their vibe and the gravitas they carry (Yes, the main soundtrack for the film "Parasite" and yeah, I can see the irony 😂 )
"The Belt of Faith" - Jung Jaeil
youtube
Santana
Santana loves that tinge of old-school songs that they were often exposed to whenever their parents listen to in the radio. So, the genres they enjoy are synthwave and retrowave songs 😎
As for the song that encapsulates their favorite genre and whose lyrics fit them quite well is "Gloria" by The Midnight.
"Gloria" - The Midnight
youtube
Skylar
Skylar is a pretty chill and upbeat person who loves and enjoys nature, so their favorite genres include those upbeat summer music and Indie/Alternative Folk music. They also enjoy the occasional pop songs.
As for the song that fits their vibe and desire to just fly off and be free is "Get Away" by Surfclub.
"Get Away" - Surfclub
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BONUS
Luka
Luka enjoys Electronic music, including Phonk, Post-Punk, and Alternative/Indie. So, yeah, quite a variety of genres. But for one song that fits him the most, from the lyrics to even the title itself is "Everything Black" by Unlike Pluto 😆
"Everything Black" - Unlike Pluto (feat. Mike Taylor)
youtube
Jackal
Just like Luka, he also enjoys Electronic music, especially Phonk. But unlike Luka, he sometimes loves Hip-Hop music as well. One of the few songs that kinda encapsulate both of those genres and fits with his personality is "Heartless" by UNAVERAGE GANG.
"Heartless" - UNAVERAGE GANG
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#asks#anon ask#music#ro: ash#ro: rin#ro: santana#ro: skylar#char: luka#char: jackal#full cast ros#if: vendetta#vendetta if#if vendetta#if game#if wip#dashingdon#choicescript#hosted games#choice of games#interactive fiction#interactive fiction wip#cyoa#cyoa games
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Got the encouragement from a friend of mine to write a new tickle story. Multi ler (mmf) x reader. Doctor themed
The Clinic: Opening Day
* Beep... beep... beep...*
You slowly stirr awake to the sound of a fant beeping. Your mind is fuzzy and you don't know where you are. The last thing you remember was answering your door and... wait what happened after? Before you get a chance to think any more about it, the door to the room opens and two men walk in. Clad in labcoats and medical masks, you stare at them before instintively trying to move for the first time. Terror fills your heart for a moment, and your adrenaline spikes as you suddenly realize that you've been bound to the very bed you're laying on.
The sudden shock that fills your soul allows your brain to work quickly enough to recognize a few things. First, you're in what appears to be a clinical room. You've been restrained to a hospital bed with your ankles bound to the end and your wrists tied above your head. Looking down you can see that you're wearing a medical gown and stripped of any other clothes. Finally, one of the men begins to speak.
"It appears the test subject is awake..." He says, barely paying attention to the look of terror on your face. "Vital signs look normal. The effects of the auditory knock out tone have completely faded away." You listen with no idea what the man is talking about, only able to watch as he picks up a clipboard. "Right. Let's get started then..." As he writes on a clip board he says your name, causing your blood to freeze. How does he know who you are? Who are these guys? What are they going to do to you? Your mind starts racing with different possibilities before the other man speaks up. "Shhhh... relax. Just comply with us and I assure you... you'll be doing nothing but laugh during this entire affair".
As he speaks, you notice he's putting a wide variety of different tools and items on a nearby table. Feathers, toothbrushes, hairbrushes, paintbrushes, wait... is he going to? Your question is answered suddenly by the buzzing of an electronic toothbrush. Not even having a second to cry out, it's already making contact with your foot, causing a cute flow of giggles to escape your lips. The man with the clipboard mumbles something as the other continues , moving it all over your soft soles before leading it right up to your toes. As your giggles quicken, the man with the clipboard makes more notes with a pleased gleam in his eyes. You wiggle aginst your restraints, feet kicking in place but there's nothing you can do. You're strapped so tightly that the slightest of wiggles is all you can muster as this doctor tickles all over your feet, toes and ankles with this electric toothbrush. As you start feeling comfortable with the level of tickles, the sensations begin to stop. You take this moment to breathe, and are about to ask why this is happening before suddenly a sensation causes a gasp to leave your mouth. Your soles begin to experience the sensation of warm oil coating the soft skin before chaos in the form of a hairbrush wrecks havoc upon your feet letting loose a shriek of laughter. Up, down, and all around, that hairbrush quickly plays your soles like a bow plays a violin, causing the sweet music of your laughter to come flooding from your lips. The man taking notes gives a happy comment of " finally some real results" as your tickler continues using that hairbrush to great effect.
As he tickles you, the man proceeds to let out teases, saying phrases such as " gosh these feet are so ticklish..." and " look at that smile. You must be loving this!", as the other comments on yor reactions to such stimuli. After what seems like an eternity, the tickles stop , giving you plenty of time to catch your breath. You breathe in and out, shivering slightly as you try to ignore the tingling of your now red soles. Already feeling slightly worn out, you can only gaze in horror as the man who was once holding the clipboard now holds a pair of scissors. Before you can register what's happening he takes the tool and slowly cuts your gown in two, starting from the bottom and letting the loud snips fill the room as your only protection effortlessly falls from your body.
"Now onto the rest of the tests" He says with no emotion in his voice. One of his hands begins to slowly spider up your side as the other takes hold of the electric toothbrush. The other man, taking the clipboard for himself takes notes, writing down every moment where the clinical process of tickling every inch of your upper body causes squeals, giggles, laughs and shrieks. Your navel gets a visit by that vibrating menace, and both your belly and hips get plenty of squeezes which cause you to jolt as much as you're able to in such restricting conditions. At some moments, the tools are replaced by soft, teasy feathers, which while they do lessen the ticking, they tease the body and cause the next attack to create a louder squeal of ticklishness
This slow teasing quickly escalates however. As while the soft feathers along your belly drag up to your ribs, a pinky finger gently grazes your armpit. The sudden flinch catches your tickler off guard, interrupting his cheeky teases to look at you with a glimmer in his eyes. Putting the tools down, his bare hands waste no time making their home inside your armpits as his fingers wiggle with little signs of stopping. The laughter leaving your mouth filled the room and only encouraged the doctor to continue his current test. "Looks like we finally found the spot!" The one taking notes said with a chuckle, taking notes quickly before an idea came to his mind. "We should test nails there. I'm calling for the nurse."
Pressing a button on the side of your bed, the two men give you a chance to breathe before a woman clad in a nurse's outfit enters the room. Her nails are well manicured, long and slightly pointed. She looks at you with a visible grin on her face, wiggling her fingers in your direction before letting a few of her nails tease your arch with a sudden spidering. The shiver that follows goes up your leg and sends shockwaves through your body. Such teasing continues as she drags her nails along your entire body, not breaking eye contact for a second. "You found a cute one boys~" The nurse giggles, tickling your inner thighs before letting her nails flutter over your tummy and ribs. "I can't wait to break this one too"
"Please don't break this one yet. We still need more data from them." One mentioned with a sigh. "Regardless, the armpits seen like an effective spot so -" The nurse cut him off. " Relax, I was getting to it. Can't a girl play with her food?" She asks unamused before turning back to you with a sinister smile. "I know what I'm doing, and soon you will too!" Even before she finishes speaking her hands dash into your armpits, those well groomed nails clawing and scratching at your sensative hollows. "Ooh listen to those screams" She exclaims as your cackles fill the room. Somehow this was worse than what the men had been doing. Theirs had been teasy, done to find spots and fluster their "patient." This was pure tickling meant to drive the victim wild. Meant to cause them to lose their minds. The nurse just laughed even as the medical devices around you started going haywire. It was becoming too much!
"That's Enough! One of the men said at last, pulling the nurse back before you had a chance to passout. "We told you it isn't time to break them yet! Look, we got our preliminary findings. They're in no state for more today. We'll come back to them tomorrow for the next tests." Those words echo in you rmind as they leave. Next tests? There was more? The idea terrifies you , but it's no use worrying about it now. It isn't long before the exhaustion from todays events overtakes both brain and body, and soon you sleep , unknowing of what lays ahead.
#tickle story#m/f tickling#f/f tickling#tickle tools#medical tickles#feet tickling#armpit tickling#tickle
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(Tyrionyork) in your kuwtb / modern au who do you think listens to what music? Doesn't have to be artists (cause thats a lot of artists) just general genres etc
YAY love thinking of this stuff. ok i have a post from 2021 w some of my opinions i still broadly agree with:
quick disclaimer. my main opinion forever is these motherfuckers would NOT listen to mother mother or tally hall or cavetown or jack stauber or AJR. sansa MIGHT. but not a single other character would. im sorry to break the news to you. there is a HUGE difference between 'song that reminds you of character' and 'song character would listen to' and im sorry but robb stark is NOT listening to the oh hellos no matter how much you think soldier poet king fits him. doing the starks + theon send asks if u want a specific character :^)
ROBB he likes kanye west do not even fucking try and claim otherwise. he likes UK drill and all kinds of rap and 90s r&b. he listens to the top 40 when working out. the gayest thing he listens to is beyonce. i also think he likes country music (sorry.)
THEON oh everything. lots of electronic and if he's in charge of the aux cord he puts on whatever it most annoying and bad for the vibe. i do think he's a little bit lana del rey especially post-ramsay. definitely a barb just to be annoying. would never be honest about his music taste. is a dj :)
JON teen jon listens to paramore mcr etc but older jon likes tame impala and king gizzard. def an arctic monkeys/snow patrol/strokes/kooks kinda guy. im on the fence about mitski on the more dubious side. beach boys pet sounds. WEEZER AND NIRVANA.... lots of grunge. he and robb listen to wu tang and NWA together. can play guitar and did wonderwall oasis for ygritte to impress her and she was like ach canae ye listen tae good music even?
SANSA swiftie all the way. i may not like the blonde devil's music but it is undeniable that sansa is a swiftie. i think she likes pop and folk. lots of female artists :) goes to pop concerts with margaery and gets vip backstage passes cos margaery is kind of a starfucker name dropper and uses it to impress sansa on dates. can play piano and maybe also flute or violin...
ARYA everything that gives you tinnitus. heavy metal industrial noise. bonds with jon over grunge. punk and grindcore. every kind of metal you can think of. and yes she is a juggalo. she likes insane clown posse (argue with the wall) her and gendry + lommy + hot pie are in a terrible band together. plays drums FOR SURE
BRAN beatles :) psychedelic rock.... i still see him as pretentious about music 😭 listens to pink floyd The Wall high with the reeds. makes music in garageband its actually pretty good.
RICKON he is also a juggalo
#not dragging people with mother mother on their robb playlists or whatever. my theon playlist is SOOOO embarrassing#modern au#this is mostly a repost of my old post im sorry!! i just havent changed my opinion i guess LMAO it seems i do not grow as a person#asoiaf#i didnt go very far into any of the characters just a quick coupel sentences based on vibes cos otherwise this post would be miles long
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Music Selection by Jun Takahashi, 2005
Mr. Jun Takahashi, who also has many episodes about music in the blog of honeyee.com archives. " What was the music scene like in 2005 for you?" There are few words to the question, and the answer is "70'S KRAUT ROCK (70's German rock)". So, the following lineup is the best 5 of 2005 by Mr. JONIO.
Number One: [Hossiana Mantra] - Popol Vuh
It's similar to classical music, and it's comfortable to listen to church music. The third album released in 1972. " Popol Vuh led by Florian Fricke.
A work like free and mysterious new church music"
Number Two; [Yeti] - Amon Duul II
Psycheic
A masterpiece of progressive rock.
The second album by Amon Dür Second, a group that split from the original Amon Dürr. "Psychological and aggressive music"
Number Three: [Picture Music] - Klaus Schulze
By the cutting-edge of electronic music,Early analog works.
A ‘73 work by Klaus Schultz, also known as Ash Ra Tempel's drums/electronics.
"Cosmic bad trip music with analog synths.”
Number Four: [Zuckerzeit] Cluster
From K to C. Cluster’s famous album. The Japanese title is ‘Electronic Dream.’
Announced in 1974, CLuster, a group that is one of the representatives of German synthesizer music. The third album will be the fifth lead in total.
“Initial techno-pop - like content.”
Number Five: [Opal] - Embryo
The tone of the violin is [?]
Elements of folk music as well.
Debut album recorded in 1970. Embryo debuted as another unit of the Amon Dürer II family based in Munich.
“A little jazzy and a little cosmic implo.”
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Title lost
A coupla hitters for your end of Novembs—
Body Void, Atrocity Machine (Prosthetic)
I caught Body Void on their massive tour with Primitive Man, Mortiferum, Jarhead Fertilizer and Elizabeth Colour Wheel last year, and they stunned me with their singular-minded approach to make music as heavy and seething as possible with a guitar-bass-drums trio. In the live setting, they reminded me of bands like Fistula (the riffs) and Indian (the vocals), but for me, Body Void's recordings didn't stack up. Now, having augmented their setup with heaps of abrasive electronics to fill every space on Atrocity Machine with glass, rust and asphalt, I can definitely say they've captured the power of their live shows. The first two proper tracks, "Human Greenhouse" and "Flesh Market," are similar in spirit to their old tracks (slow leaden riffs, maybe a fast part, less concerned with structure than texture), albeit trimmed in length and twice as caustic. It's "Cop Show" that really announces the band's arrival, a nauseating see-saw whirr accompanying every downstroke, grinding the listener down for over six minutes until a slightly different version of the riff comes back for the pile-driving finish. The flip features two songs stretching over 10 minutes each, again recalling earlier recordings, but made whole with electronic noise. As exhausting as "Divine Violence" might seem halfway through, it's an agonizingly slow build to a blinding finish, and you'll be inadvertently headbanging throughout. The title track closes the record out in similarly smothering fashion, electronics whipping up sand storms while the band hammers out a riff swinging ominously like a pendulum, everything except the drums eventually ceding to the painful electronics over the final minutes. This is admittedly a tough sell in an oppressively bleak world, in a society intent on destroying itself, but it's a feat to make music this physically and psychologically punishing. As suffocatingly dense as the sound can be, it's no surprise that when Atrocity Machine ends, you're exhausted; but when it's on, and you're immersed in their onslaught, you don't want it to end, either.
Lewsberg, Out and About (12XU)
If there's a sound that will evoke memories of summer/fall 2023 for me, it's gonna be the warm drone introducing "Angle of Reflection," the opening track on Lewsberg's latest record Out and About. Anyone hoping the band would return to the comparatively uptempo self-titled and In This House LPs will be disappointed, as last year's In Your Hands proves itself to be more than a transitional record. At the time, that record seemed intentionally pared down to reflect the group's ranks shrinking from four to three, but the approach appears to have been instructional for the band in some sense. Everything on Out and About feels intentional, very little left to chance, not a hair out of place. Yet even with such a seemingly calculated approach, the band played one of my favorite sets I've seen this year, covering most of Out and About with equal parts precision (Michiel Klein stock-still delivering the searing solo on highlight "An Ear to the Chest") and an infectious enthusiasm. I'm not sure if that enthusiasm bleeds into the record for anyone who hasn't seen Lewsberg live, but I think I've come to prefer this refined version of the band, prone to roomy, sparkling guitar lines, simple floor tom accompaniment, and softly delivered vocals. It is very much a pop record, one that works as social or background music, but there's enough going on under the surface to satisfy a close listen or 20. Shalita Dietrich's rich bass line on "A Different View," the vocal interplay between Dietrich and newest member Marrit Meinema on "Without a Doubt," and Ari van Vliet's violin on "Canines" show a band that is very much buttoned-down, professional and yet still finding new spaces within a well-worn pop framework. Yes, I can do without the precious spoken word of "There's a Poet In the Bushes," but I'm glad they took the swing; this band is nothing if not outwardly bookish. The lyrics across Out and About - funny, pensive, never maudlin or self-pitying - point to a more complicated humanity behind it all, of course, and Meinema's contributions in that department fit right in. It's clear that Lewsberg have transcended the VU influence and have grown into their sound, and they arrive fully-formed on Out and About. One of my top favorites from this year, and easily my most listened to record of this year.
Jef Mertens, No Mathematics (Feeding Tube/Kraak)
New solo album from Jef Mertens, a bastion of the noise/drone scene in Belgium and abroad. Not sure what hipped me to this release - maybe the Kraak newsletter, because who can keep up with Feeding Tube's release schedule - but in any case it's a keeper. Mertens is on guitar and shruti box, both of which give his droning compositions a warm-yet-metallic feel, a sound reminiscent of artists like K-Group. He's accompanied by Nickolas Mohanna on a few tracks, contributing "electronics, rhythmic pads and treated zithers," giving a track like "Metal" an almost rhythmic backbone, pushing Mertens outside of the meditative circles he tends to run on his own. There's more than a hint of Pauline Oliveros' influence evident, on "Hapering" especially, where it's easy to become immersed in the majestic repeating pattern. No Mathematics instills an eerie calm on record, and I imagine Mertens is similarly able to silence small concert venues across Europe easily with his gently welcoming yet powerful pieces, soothing the most frayed of nerves, or at least getting folks out of their heads for a few minutes.
Emily Robb, If I Am Misery Then Give Me Affection (Petty Bunco)
A welcome return from Emily Robb, following up How to Moonwalk with a more introspective, yet no less sizzling record. If I Am Misery Then Give Me Affection comes with a promise of "high-minded celebration of guitar and sound and tone and string and amp," and that's about the gist of it. No Yngwie Malmsteen-style pyrotechnics here, just a detailed investigation into the instrument, channeling a cozy scratchy knit blanket ("Hermit's Cave"), providing a generous two-track dissection of "Black Angel Death Song"'s violent instrumental ("Dispenser" and "Slowing Singing Bathing Shaving") and sometimes just capturing in high fidelity an interesting noise ad nauseam ("Bells," an admittedly strange favorite). There are, of course, some more straightforward bits like "A Kiss" and "Solo In A" that should make most musicians want Robb in their band, but I find the tracks that mine the exploration of the guitar and exploit the possibilities of the studio to be the most compelling. There is a patient, calm feel to the record, best exemplified by the stunning lonesome electric blues of "There It Goes Again" and "First Grow a Gold Plant," that has been a perfect accompaniment to early mornings. It's rare that I don't flip the record straight over after the smoldering "Rolling Electric Ball" finishes, not wanting to leave the orbit of If I Am Misery, and that's not something I can say about many instrumental records, guitar-based or not. I'd say I can't wait for what's next, but I'm perfectly content when this one's on.
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I know me constantly hopping into your askbox is annoying but I rlly do not have anything better to do other than... math and biology work so I am here 2 ask you to rank some of my favorite ninjago tracks >:3c (if I did all of my fav tracks I wouldn't be getting my ask answered till next year LMAO)
Sensei Yang's Sacrifice
The Final Battle
Opening the Cursed Realm
Possession (the track)
Garmadon's True Potential
A Full Blooded Oni
March of the Oni (the track)
The Lost City of Ouroboros
The Upply Strike Back
Wu vs. the Crystal King
The New Warden
Nya Becomes Water (thats such a lame track title what the fuck man...)
i had to listen to most of these bc i didnt rlly remember them but heres my ranking
ranking:
11: crystal king vs wu
10: march of the oni
9: full blooded oni
8: sensei yang's sacrifice
7: the new warden
6: opening the cursed realm
5: city of ouroboros
4: the final battle
3: the upply strike back
2: possession
1: nya becomes water / garmadon's true potential (i love them both dearly i could not choose)
and ill put my deeper thoughts under the cut
ck- i fear i dont really care for this one very much even tho i do really love this fight scene so like 4/10. the choral bits are cool i guess
oni- 5/10 its ok feel similar to yang in that its just general ninjago fare
mystake- its ok its a bit short like 5/10 tbh i like the percussive bits
yang- 5/10 its ok idk very generic ninjago fare but it suits the scene its from well
warden- harumis theme included automatic 10/10 (joke) but i do like this one. sorry i just really like the s8/9 ost they always bang for real. this ones a bit more on the chill side and its not that remarkable/memorable as far as the versions of rumi's theme go so like 5/10
cursed- 6/10 its a fun track but its like weirdly dramatic for a not very dramatic fight scene which is kind of funny. ok fight track
ouroboros- 6/10 yk going thru this list i noticed a lot of these are very percussive which is fine but yk. also very short
final- 7/10 a classic but nothing crazy
upply- 8/10 really big fan of all of motm's leitmotifs and the different percussion instruments in this really help distinguish it from like. every other extremely percussive ninjago song. but the leitmotif helps a lot too its very epic and grounded.
possess- 9/10 im a violin player so im always very biased to when ninjago uses violins and i reallyyy like their use here bc its like the dark intense but contrasted with the little fiddle notes and yea. its cool its very morro-y. the back and forth between the violin and the rest of the ensemble is really fun it reminds me a lot of the danse macabre and tbh they prolly took inspiration from that seeing as its one of the most well known pieces abt the undead
garmy- 10/10 one of my absolute favorite ninjago tracks ever sorry i absolutely love the mesh of the sons of garmadon theme ( one of my favorite leitmotifs) and the garmadon family theme bc its just sooo fucking crazy and intense and it suits the scene its in so well. mega banger alert
nya- really love this one. lots of ninjago music is extremely percussive so this one is really nice bc its so Different. the slow careful treading at the beginning building up into something intense and i always rlly like nya's music bc its very different instrument wise from most of the other tracks and she has a lot more wind instruments usually but it also just focuses more on the wind + strings than the percussion which is nice. and the overarching beat done by the what i assume is bells of some sort but electronic instruments dont always sound 1:1 to real ones but yk what i mean(idk why i wrote so much abt this one but its a good track. 10/10)
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189: The Haxan Cloak // Excavation
Excavation
The Haxan Cloak
2013, Tri Angle (Bandcamp)
Through his work as the Haxan Cloak and as a film composer (notably on a couple of Ari Aster pictures), Bobby Krlic has helped define the modern aesthetics of what we might call Upsetting Music:
Extremely low frequency synthesized bass with a subliminal roar
Slow, deliberate, violent industrial percussion with a ton of reverb
Creepy whirring noises that simultaneously evoke machinery and insects
Staticky, panned whooshing sounds, that suggest rapid movement captured on degraded video tape
Piercing whines, reminiscent of alarms or the shrill violin notes exploited in scores like Psycho
Snippets of higher pitched noises that sound like muffled or glitched recordings of human cries
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Unlike traditional symphonic scores or even the kind of throbbing but ultimately melodic progressive electronic stuff used in ‘80s horror scores, this music largely eschews melody in favour of manipulating sounds to provoke a visceral sense of unease as directly as possible. Electronic music made its initial inroads into horror in the late ‘70s largely because it was cheap to produce, but the runaway success of independent/low-budget films with keyboard-heavy scores like John Carpenter’s Halloween made the aesthetic popular. Since then, genre film has continued to evolve alongside the darker strains of electronic music, from schlocky early ‘90s flicks that incorporate techno and horrorcore rap, to the way industrial became de rigueur for a certain variety of desaturated, nihilistic, almost fetishy brand of cheap ‘00s torture flick.
Independent of this history though, I think there’s something specific about recent horror and thriller filmmakers’ embrace of dark ambient/drone music like Krlic’s that links to Western contemporary anxieties and how these audiences experience fear. I remember many years ago (I’m 51) reading an article in a film theory class about how the rise of automation in the early 20th century kicked off a minor craze in the newspapers of the day for grisly stories about bodies being maimed by trams and the like. The author argued that these sorts of accidents were a new form or vector of terror specific to the industrial age, and that there was a corresponding spike in depictions of these tragedies in contemporaneous films, which tended to pull their subject matter and aesthetics from the well of public worries. Genre music has evolved along parallel lines. Traditional orchestral horror scores derive from ominous motifs found in classical music and opera, which reflect older notions of how evil and despair should be depicted—a Christian understanding of evil, with attendant tropes. A world mediated by religion and versed in devotional music (masses, hymnals, Gregorian chant) would naturally imagine Satanic music as its inversion (dark, baroque renditions of the religious cannon) or opposite (“primitive” tribal music).
By the middle of the century a secularized notion that evil might derive from the personal psychoses of individuals, or (as the tram reading suggested) the indifference of technology and institutions, became widespread, and was duly reflected in the cinema. Today, in the West anyway, our bodies are more insulated than ever before from daily exposure to the sorts of violence depicted in horror films, and our fears have become more secularized and more abstracted still. Our most immediate experiences of dread and bodily harm have tended to come from what we witness on our screens, the fear of seeing something troubling. At the same time, filmmakers have realized that the sonically unsettling aspects of ominous symphonic music (extreme high and low frequencies; disharmony; jerky rhythms) could be divorced from the orchestral context, leaving artists with a set of specific tools for physically startling audiences in tandem with the action onscreen.
Krlic’s music is a product of these parallel processes. As noted, much of his work prioritizes psychological and physiological effect above all, pushing these notions (in his Haxan Cloak work especially) about as far as they can be taken outside of extremist genres like harsh noise and powerviolence. When he makes his synths literally growl, our bodies respond to the perceived threat, even though we know what we’re hearing isn’t produced by a living animal. Some of what he’s exploiting, again, is stuff that goes back to our base threat-detecting instincts, but the overtly technological aspect is also the sound of horrible things both real and simulated we’ve seen through media. Staticky screams and the scrape of metal on concrete summon the spectre of snuff films, hostage videos, extreme BDSM porn, war footage, and all of the movies, video games, and music videos that have adapted their imagery to get a rise out of people. It also, especially to a broad subset of “average” moviegoers, sounds like the type of music people who want to rape and murder your family would listen to for kicks.
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There is a good deal more going on in Krlic’s music than simple fearmongering though—we can look at Excavation, his second and final LP to date as the Haxan Cloak,as part of a long lineage stretching from ‘60s experimental electronic music like White Noise through Nurse with Wound, Aphex Twin, and Nine Inch Nails among many others. “The Mirror Reflecting (Part 2)” eventually reveals a sequence of austere, crystalline guitar-like sounds that post-metallers Agalloch might’ve produced; “Dieu” opens with some subterranean breakbeats and chopped up samples that nearly threaten to look in the direction of a dancefloor before a creepy violin quells the thought; the rain-drenched “The Drop” flashes a bit of a Baths-style emo/downtempo vibe when it isn’t trudging past the sounds of dark satanic mills. Just as some people will hear Excavation as sadistic junkie music, others will no doubt find it an exceedingly warm and plush casket to disappear within, the overwhelming weight of its sounds divorced of violent associations, just signals strobing across the darkened hemispheres.
189/365
#the haxan cloak#bobby krlic#ari aster#a24#horror movies#horror music#halloween music#halloweek#dark techno#dark ambient#electronic music#'10s music#music review#vinyl record
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SOUND THE NEW RELEASE KLAXON!
The Blue Tapes House Band: vol. 5
The Blue Tapes House Band is an occasional supergroup that unites musicians across the label’s varied output into a single musical proposition. We’re kind of the This Mortal Coil of the tape scene.
For the House Band’s fifth adventure, Toronto-based producer Matt Collins – who composed Blue Tapes’ first-ever release back in 2012 – once again helms the project. Here, Matt takes raw musical doodles from Blue Tapes founder David McNamee and snippets of vocals from Map 71 frontperson Lisa Jayne and assembles them into two sides of weaving, wavering transcendentalism.
Words are rendered into pure, abstract tones. Rattles of tabla and scrapes of violin become complex rhythmical figures. A million things that shouldn’t work together somehow…. BREATHE as one.
A strange, pulsing mass that tugs at your soul and points to the stars. It’s not gentle – it’s often abrasive, with weird electronic squiggles replicating over and under the fabric of the compositions like viruses. But it is hypnotic. And where there is hypnosis, often there is healing.
Praise for The Blue Tapes House Band
"For nearly an hour, pure white noise rolls out of the speakers like the sound of surf amplified to shocking levels, while Map 71‘s Lisa Jayne and Oxbow‘s Eugene S Robinson deliver drifting lines that sound as they are being uttered by apocalypse survivors. Their voices are the antithesis of the roiling soundscape; they sound shell-shocked, deadpan, stunned, while the whole time around them the sound is harsh and relentless. It drones over everything in its path like some sort of metallicised steamroller." - Freq
"Around 32 minutes in, harmonic sounds start to grow out of the metallic grey of the noise, interwoven with disturbing industrial noises, resembling nothing so much as a score to a ‘60s science fiction movie. The most constant notes begin to sound like alarms, varied not in themselves but by the backdrop against which they’re placed. Further along, around the 41-minute mark, the sounds turn symphonic, this time made to sound more melodic because of the contrast with all that has come before. The music reaches a fevered urgency around 46 minutes in; alarm bells sound again a few minutes later. In the final minutes, one senses creatures swooping in onto a fully realized dark landscape. And then it is over. And it is very, very quiet in your room. Too quiet. You hit rewind." - Echoes & Dust
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Homestuck Music You Might Not Have Heard
[NOTE: Tumblr's formatting is really finicky so doing dual updates to this thing is not worth my time. If you want the most recent list, find it on Ao3.]
Yes, “MeGaLoVania” and “Time On My Side” are damn good songs, but a music catalogue this large is certain to have several diamonds in the rough. Here’s a selection of likewise lovely Homestuck music that you might not have heard.
V 1.0, updated 2022.10.10
I wrote this as an appreciation for all the wonderful music this comic has, and to give spotlight to the works that aren’t as well-known as “Black” and the like. Homestuck is a truly unique piece of media, and the soundtrack is one of the reasons why.
Great thanks to the HSMusic Wiki, which is what I used to check a track’s artist and contributor credits, whether it had been used in a flash, and what, if any other tracks it referenced. In my write-ups, I try to be as accurate as possible, but I’ve no music education aside from half-remembered childhood violin lessons. Apologies if I make a mistake.
I’m slowly working through the catalogue, so when I listen to more albums I’ll update this.
Full Playlist
Some Vague Guidelines
Official music only on Disc I Side A, with good semi-official unreleased tracks from the Homestuck Sound Test and some fan music on Disc I Side B. Disc II is the same, except in a bulleted list of every track covered, who it’s by, and what album it’s from, for the sake of readability.
The official music section is split into three categories: Deep Cuts From Popular Albums (popular being somewhat arbitrarily defined as Vol. 5, Strife!, Alterniabound, and both coloUrs and mayhem), Lesser-Known Takes on Something Else (for tracks that are well, primarily an interpretation of a pre-existing track, usually something more popular like “Doctor”), and Cool and New Music is for original compositions (though they may have minor references to other music).
Tracks are organized by chronological album release date pre-merger and the Vol. 1-4 re-release, and then by track order within the same album.
Nothing readily available from a Flash (so phonograph tracks and something like “Pony Chorale” are fine) is allowed.
Neither is anything with 1 million views or more (based on the most popular video at time of writing) on Youtube for Deep Cuts, and then for Lesser-Known Takes that threshold is halved, and again for Cool and New Music.
Themes from Alterniabound and the two ColoUrs and Mayhem albums ("Vriska’s Theme", "Green Ghost", "Rust Servant", et cetera) will not be included regardless of popularity because their obvious theming gives them an obvious profile for any fan of what character they’re for.
I will not be covering any albums released after Homestuck Vol. 10.
I want to keep featuring Toby Fox to a minimum – he’s a wonderful musician, but he is also by far the most well known member of the music and tends to overshadow everyone else by a wide margin.
Disc I - Side A
Side A Playlist.
Deep Cuts From Popular Albums
Deep Cuts Playlist.
“Light” by Erik “Jit” Scheele off of Homestuck Vol. 5 is a sort of comfortably adventurous composition that uses 413 as a chord progression. The piano melody that that leads off the track combined with the wind instrumentation gives the feeling of just a wonderful day, helped by the fan art for it in the Vol. 5 track art anthology fan project.
Also off of Vol. 5 , “Softly” by Robert J! Lake is a sweet toned electronic tune driven by a fuzzy, bouncing melody – though the beat gives it just a bit of an edge.
“Atomic Bonsai”, from hard-going solo album Strife! By Joren “Tensei” de Bruin, is the only kid strife track to not get used in some sort of official Homestuck-related thing (“Time on My Side” is a flash track, “Heir of Conditioning” was rearranged into flash track “Heir of Grief” in addition to being a phonograph tune in [S] Kanaya: Return to the Core, and “Dance of Thorns” was used in the Kickstarter video), and that’s a shame. It brings as much energy as the other three, and the combination of bass guitar and East Asian musical influence gives an equally unique sound with hook after hook.
Compared to the effervescence of Nepeta’s preceding music, “Catapult Capuchin” by Toby “Radiation” Fox off of AlterniaBound is nothing but the fierce hunter’s prowess on display in Video Game music fashion, as it was constructed from Mega Man X samples. It’s a high powerful ride throughout, but my favourite part is the bit at 00:33.
“Clockstopper” by viaSatellite and infiniteKnife off of coloUrs and mayhem: Universe B arguably counts for the first category, too, but I’m putting here because it’s specifically a symphonic rock mix of Beatdown, Atomyk Ebonpyre, and Upward Movement. The tension-building intro launching into the full force action of the flying strings always gets my blood pumping. My favourite take on Beatdown so far.
Lesser-Known Takes on Something Else
Lesser-Known Takes Playlist.
Humorous and infectious, “Pony Chorale” by Michael Guy Bowman with Tavia Morra off of Homestuck Vol. 4 is – well, it’s certainly a song! A mournful Western whistle on “Chorale for Jaspers” set to the beat of cartoonish hoof noises, punctuated by cymbals, all wrapped up with one simple word: neigh. And if you want some visuals for your viewing pleasure, there are two (probably not so) secret Flash pages for this song.
“Squidissension” by Mark Hadley, off of Homestuck Vol. 6 does an admirable and unique spin on the difficult job of combining the hyper-pop sugar-overdosed “Squiddles!” theme and the slightly ominous guardianstrife theme for Jade, “Dissension”. Serving as the main running melody, when shifted into minor key and given “Dissension” as a complement, “Squiddles!” becomes frantic instead of desperate, while “Dissension” is given that extra jump in momentum to keep pace, making for a track that’s something different, more adventurous, and more dire than either of its progenitors.
While it’s close to blowing the 500k Youtube requirement, “Anbroids 2.0” by Malcom Brown off of Homestuck Vol. 9 is still in the clear, so I’m putting it here as an early favourite of mine. With a very synthetic Strider sound, the track’s got a nice bouncy melody that serves as a fuller-realized version of the original “Anbroids” in the flash. Perfect for a rap-off.
“I’m a Member of the Midnight Crew (Post-Punk Version)”, by Michael Guy Bowman with Erik “Jit” Scheele and Marcy Nabors, from Homestuck Vol. 9, is a seedier, sharper, and stabbier take on the Victorian original and the acapella cover featured in the comic proper. The vocals just kill.
“II – Sarabande” by Clark “Plazmataz” Powell for her solo album Symphony Impossible to Play , is, unsurprisingly, a symphonic cover of “Sarabande” by Erik “Jit” Scheele. What might be surprising, however, is how much restraint is employed in it – the difference from the original is subtle, bearing a slowly rising string backing before the cello solo of the main melody kicks in around the minute mark.
Where “Homestuck Anthem” has a weird, portentous and artificial atmosphere, “Homestuck” a more present and traditional rendition, “Elevatorstuck” a dedicated – and listenable! – parody of muzak, and “Homosuck Anthem” a… copious amount of animal sound effects, “IV – Anthem”, also off of Symphony Impossible to Play brings a triumphant fanfare to the thematic melody for the comic. It is powerful and keeps the tension in the original throughout, driven by the backing – my favourite part is when the brass first cuts and you’re just left to bask only in the beat and the strings. “I – Overture” might have been the track to finish the comic, but I can’t think of a better track to end the album.
While the popularity of “Penumbra Phantasm” is debatable given that it’s never been released in full, “FantasyP”, by Erik “Jit” Scheele off of his solo album One Year Older, is a wonderfully hopeful and free take on “Penumbra Phantasm”, instead of referencing it as part of a larger composition. If you don’t know what “Penumbra Phantasm” is, prepare for roughly four minutes of “hey, that sounds familiar” while listening to just a really nice song – though, notably, it omits that one haunting piano riff from the original that serves as a code for a great many of the flashes. (One Year Older is available for free on Scheele’s bandcamp.)
“Another Chance”, a bonus track from One Year Older but done by Eston “silence” Schweickart”, is a synth remix of “Walk-Stab-Walk (R&E)” that gives the already good track some serious extra juice.
Starting off as a far-off sounding piano rendition of “Ruins” before crackling into a mechanized-backing of “Flare”, then bringing in clear, present electric guitar at 2:00 and finally adding in “Explore”, “Solar Voyage” by Marcy Nabors (with several others, check Disc II for full credits) off of Homestuck Vol. 10 definitely feels like a journey. The twists and progression on these recognizable musical staples are a sound to behold.
“Conclude” by Seth “Beatfox” Peelle, also off the same album, is the closer to the final volume of Homestuck music, and it lives up to the challenge. Beginning with a flying rendition of Sburban Jungle that turns the frenetic rush of the original into a hopeful retrospective, before switching to a bittersweet refrain of “Showtime”, the song then dives into original territory with a fanfare at 4:13, backed by “Skies of Skaia”, before closing with a soaring rendition of “Homestuck”, free and full of light in comparison to the pounding might of “IV – Anthem”. It’s a wonderful encapsulation of the complicated feelings flowing into one another that come with the end of a comic that means so much. My favourite bit is the far-off echoed “Showtime” at 1:19 – looking at the early morning of that April 13th, 2009. It did turn out to be a very long day, after all.
Cool And New Music
Cool and New Music Playlist.
“Squiddle Samba” by Michael Guy Bowman off of the album Squiddles! (no longer for sale, do with that information what you will), a thematic concept theme giving a whole extensive soundtrack to a fictitious children’s television show, is an energetic and bubbly jam that does not take the concept so far that an excess of irony is needed to enjoy it (though, the sugarily crystalline Squiddle voices appear for a scant fifteen seconds near the end, if that’s what you’re for).
Also off the same album, “Ocean Stars” by Mark Hadley is a calming, sweet and savoury treat to top off the excess of sugar cubes (and occasion tentacles) put on your musical plate. The layered build-up of the various elements is simple, befitting a children’s show, but done oh-so-well in a way that gives it meat.
“The Lemonsnout Turnabout” by Toby Fox for his solo album Alternia is a narrative piece wherein a young Trollian girl has an intrumental motif established (Neo-baroque harpsichord), and sets to take in a certain neon yellow draconian senator (represented by an oboe) for adjustments. In contrast to “Terezi’s Theme” and its more faster action, there’s a certain cerebral, well-plotted atmosphere to “The Lemonsnout Turnabout”. You can see the wind-up of the machinery fueling Terezi’s long noose in nailing Lemonsnout, echoed by the fearful groan of that oboe and the sharp jabs of the harpsichord in turn.
Also from Alternia, “dESPERADO ROCKET CHAIRS,” establishes Tavros with a Latin theme the way “The Lemonsnout Turnabout” establishes Terezi with the harpischord. It begins a short intro, before the horns really come in blaring – a far shot from the dying string reference of “Rex Duodecim Angelus”. Tavros is a dork, but he’s got fire behind him, and “dSPERADO ROCKET CHAIRS,” does a good job of showing that.
“Shade” by Clark “Plazmataz” Powell off of her solo album Medium, themed around the kid’s lands. A mixture of synthetic and often industrial noise combined with more organic instrumentation helps express the strangeness of these game worlds. In “Shade”, the shimmering melody that drives the track forward expresses the quiet and curious nature of the bioluminescence of LOWAS, before transitioning into a piano tune made for Typheus.
“Heat”, off the same album, takes a more hard-pressed approach, utilizing scissoring violin backdropped against industrial swirl to conjure up the swelter of churning lava in LOHAC. When the violin breaks free of that rhythm to climb, it only adds to the drama, and the song ends by sonically pulling away from the ebb and flow to leave the planet behind.
Starting off with thunder, “Exodus” by Tyler Dever for his solo album Sburb and performed by Erik “jit” Scheele, Exodus balances the apocalyptic severity of the meteors sent during the beginning hours of SBURB with skittering notes of the various players attempting to enter the medium. It closes out with a stark, last-second rendition of “Sburban Jungle” before quietly fading. (Sburb is available for free on Dever’s bandcamp.)
“Carapacian Dominion” by Seth “Beatfox” Peelle, opening the exile-themed album The Wanderers (also unavailable for purchase), sets the stage for the rest of the music by combining more unexplored, ethnic sound with a more Homestuck-typical industrial beat that’s perfect for the long trek along the desert of earth, years in the future (but not many).
In contrast to the forward-hiking rhythm of “Carapacian Dominion”, “Aimless Morning Gold” by Michael Guy Bowman off the same album is a track for staying in one place. Glittering synth (?) notes linger and warp in the heat, contrasted by the lazy ramble of the bass, all punctuated by a slight turn to Westerns with rattling machine gun shots.
And taking a strong turn from both of them, “Years in the Future” by Robert J! Lake, still off of the same album, is track following in Lake’s style of slightly eclectic, slightly choppy, but nevertheless catching and catchy electronic noise tunes. It takes a bit for the track to get going, but the combination of blips and bleeps that all call up the idea of electronic communication in the Can Town of the future makes for a wonderful swirl in the end.
“Derse Dreamers” might be one of the most famous songs in Homestuck, but that isn’t to say Prospit is lacking in terms of good music. “Center of Brilliance” by Solatrus for his solo album Prospit & Derse, themed around, well, you guess, begins with a shimmering chiming intro before bass and piano step in to bring a more full view of the center of the golden moon. The regal fanfare and drum setup ties things to Prospit’s formal atmosphere as a contrast to John and Jade’s instruments of choice. Something I like for all of the Prospit songs in the album is the bass guitar – it stands out as a driving instrument rather than just backing, and it’s true here, too. (Prospit & Derse is available for free on Solatrus’ bandcamp.)
“Song of Skaia” by Mark Hadley with Tarien Ainuvë, off of the same-titled album, is probably most recognizable as the bursting upswell chorus three minutes into “Creata”. Compared to that triumphant recital, however, “Song of Skaia” takes a more singular approach. It’s more minimalistic, and generally has the feeling of looking down from a thousand miles out in space.
“Cancerous Core” by Erik “Jit” Scheele gives a very short moment in the comic – the descent into Skaia – a full musical backing. The subtle brush of the air in combination with the restless roll of the piano in Locrian mode, accompanied by the ancient call of the wind instrumentation. It’s a track that definitely calls a strange and perhaps unsettling journey into some unseen world.
Alien and enchanting, “Voidlight” by Thomas Ferkol off of Homestuck Vol. 10 bears a flowing atmosphere that still contains a sense of drama. From commentary, it’s based on Calliope hiding in the Furthest Ring, which makes sense for the quiet not yet calm nature. The strings in the intro help convey the quiet, secluded landscape, and all around it’s a wonderfully ethereal piece.
“Feel (Alive)” by Luke Benjamins and Robert J! Lake from the same album, on the other hand, is a straight up chiptune rocker. It’s got raucous energy that absolutely earns its title.
Disc I - Side B
Side B Playlist (incomplete, not every track is on Youtube).
Homestuck Sound Test Gems
Sound Test Playlist (incomplete, not every Sound Test track is on Youtube).
“Cuttlefish Rag” by Alexander “Albatross Soup” Rosetti is a jaunty little ragtime tune originally written for Squiddles! , though you could also easily interpret it as a track for Feferi.
All memery aside, “Karkalicious (Guitarkind)” is a rockin’ guitar addition to a short excerpt of the Broadwaystuck classic. Yes, it’s hilarious. It also has some genuinely sick riffs. I daresay “Karkalicious” has never sounded so good.
“Mother (Davekind)” by Erik “Jit” Scheele is a take on “Mother” from One Year Older (can you tell I really like this album?) but in the style of Dave instead of John, trading out the slow, matured piano and strings for synths and turntables with a more energetic beat.
“Sea of Derse” got more instrumentation for the jazzy and relaxed “Breeze” in Homestuck Vol. 10, but in some ways I like the slightly more melancholic, stripped-down piano original.
“today i butchered a homestuck song (three in the A M)” by James “soselfimportant” Roach is a slightly weird, catching arrangement on “Three in the Morning”. In some way, it’s a precursor to what Roach did with “Karkat’s Theme”, “Terezi’s Theme”, and “Davesprite” for the Pesterquest soundtrack.
“Aggrieve (Piano) v2” by Toby Fox is… well, it’s a piano arrangement of “Aggrieve”, the second of three, and the best of them. I might be biased in terms of instrumentation, but what makes this track so good personally (and in fact, my favourite version of “Aggrieve”) is that it brings a level of energy that tends to be sublimated for a more measured and cerebral Lalondian pace – even in “Aggrievocation”. There’s a lot of great moments in this track, but my favourite bit’s around 1:42.
Fan Music Gems
Fan Music Playlist (incomplete, not every fan music track is on Youtube).
Found in the ~2011 Fan Music compilation of the Homestuck Archives, “Sunrise” by Yan “Nucleose” Rodriguez is a cheery guitar cover of the previously mentioned “Light”. It brings a sharper edge to the main melody, definitely befitting those first cracks of light over the horizon. I might like this more than the original. (Ironically, a later track by Scheele for One Year Older used the same title, and also referenced “Light”.)
“Sunshaker” by D. Crystal off of Land of Fans and Music is a very faithful jazz arrangement of “Sunsetter”. It’s mellower than both “Sunsetter” and “Sunslammer”, but still upbeat, all pinned together by that rolling piano.
Done by “Tarranon” for the concept album Sburb OST, “Amongst Smiling Faces [Prospitian Dignitaries]” is a theme for the agents of the Prospit. As its title might suggest, it takes a much more relaxed tone than Prospit & Derse’s regality, going downright pastoral with a sound not out of place for a first town in a JRPG.
“Waste of Space” by therosielord off of Songs for Monsters , is a lamentful fansong for Jade H arley on the occasion of her death in the Game Over timeline. The lyric s have some really clever moments underscoring Jade’s rise in agency, only to see that same agency fall by the wayside through death and grimbarkification. The ambling, almost slee py guitar backing only underscores the tragedy. (“Waste of Space” is the first of a quartet of songs for the Beta kids – the girls’ featured on Songs for Monsters , and the boys’ featured on Songs for Gods .)
The third in the Beta Kids quartet by therosielord and off of Songs for Gods, “Out of Time” is a fansong for, of course, Dave Strider. It’s a rambling, wordplay-laden tune that’s set to the relentless pace of Sburb on a single day in April, before scratching and resetting to a layered repetition of information and elements. The verse at 2:12 is my favourite of all of the Beta kid songs.
The twelve fansongs for the trolls might be PhemieC’s most famous contribution to Homestuck fandom, but the songs off of their other album, Songs for a Doomed Timeline aren’t slacking, either. “The Path” is one of their less well-known works – a fansong for Alpha Dave and Rose. Prognostic and methodical, it’s sung with the unclouded and heavy knowledge of the events to come, and the lyricism is sharp at every corner.
Yeah, I’m waiving the no character themes rule for Fan Music, because Fan Music is already niche enough. “♐Broken Strings♐” by psithurist off of Ancestral , an album dedicated to the ancestors, is an off-beat math rock styled string track for E%ecutor Darkleer. The odd rhythm and combination of strings and percussion is perfect for the loyal agent of the empire turnt exile.
“Of Rust and Royalty” by Grace Medley and off of the same album is a thudding nu disco take on the fight between the Handmaid and the Condesce, splicing up various elements of Rust Servant/Rust Apocalypse, Fuchsia Ruler, and Eternity Served Cold in a way that sells the power of the two (three?) individuals involved.
“The End of Something Really Excellent” by Rhyselinn off of Lands of Fans and Music 4 is, itself, a r eally e xcellent medley of “ The Beginning of Something Really Excellent” and a lot of narrative Homestuck hits. The tone is mostly relieved and a little nostalgic, like finally being able to catch a real breath after two very long days and three years of a suspense-building in-between – a nice contrast to the more triumphant and energetic musical recaps in Homestuck. The commentary has both and outline of how the song follows the plot of Homestuck and timestamps for each song referenced.
“Calming Quartz” by PoisonedElite is the opener for Xenoplanetarium, an album in a similar vein as Medium, only for the trolls’ planets instead. Whereas Medium touches on the at least tangential familiarity that comes with the kids’ planets by utilizing industrial sounds with organic instruments, Xenoplanetarium at its best gives an odd and isolated soundtrack to its subjects, and “Calming Quartz” is exemplary in that. The bounding piano reflects the glacial nature of the quartz in LOQAM, backdropped by music box melody fitting with the cardinal movement. That melody’s isolation and eventual fade into mechanized hum at the end might be my favourite part of the song.
Continuing in the steed of “Calming Quartz”, “Sandy Skyline” by Aris Martinian from the same album brings the ever-stretching dunes of LOSAZ with some notes in the breeze and strong low stringwork, set to a clicking rhythm. The echo processing effect is noticeable but not too excessive, all making for a track perfect for that orange expanse.
Disc II - Side A
Side A Playlist.
Deep Cuts From Popular Albums
Deep Cuts Playlist.
“Light” – Erik “Jit” Scheele (Homestuck Vol. 5)
“Softly” – Robert J! Lake (Homestuck Vol. 5)
“Atomic Bonsai” – Joren “Tensei” de Bruin (Strife!)
“Catapult Capuchin” – Toby “Radiation” Fox (Alterniabound)
“Clockstopper” – viaSatellite, infiniteKnife (coloUrs and mayhem: Universe B)
Lesser-Known Takes on Something Else
Lesser-Known Takes Playlist.
“Pony Chorale” – Michael Guy Bowman with Tavia Morra (Homestuck Vol. 4)
“Squidissension” – Mark Hadley (Homestuck Vol. 6)
“Anbroids 2.0” – Malcom Brown (Homestuck Vol. 9)
“I’m a Member of the Midnight Crew (Post-Punk Version)” – Michael Guy Bowman with Erik “Jit” Scheele” and Marcy Nabors (Homestuck Vol. 9)
“II – Sarabande” – Clark “Plazmataz” Powell (Symphony Impossible to Play)
“IV – Anthem” – Clark “Plazmataz” Powell (Symphony Impossible to Play)
“FantasyP” – Erik “Jit” Scheele” (One Year Older)
“Another Chance” – Eston “silence” Schweickart (One Year Older)
“Solar Voyage” – Marcy Nabors with Michael Guy Bowman, Clark “Plazmataz” Powell, Erik “Jit” Scheele”, Joren “Tensei” de Bruin”, Paul Henderson, and Jamie Page Stanley (Homestuck Vol. 10)
“Conclude” Seth “Beatfox” Peele (Homestuck Vol. 10)
Cool and New Music
Cool and New Music Playlist.
“Squiddle Samba” – Michael Guy Bowman (Squiddles!)
“Ocean Stars” – Mark Hadley (Squiddles!)
“The Lemonsnout Turnabout” – Toby Fox (Alternia)
“Desperado Rocket Chairs” – Toby Fox (Alternia)
“Shade” – Clark “Plazmataz” Powell (Medium)
“Heat” – Clark “Plazmataz” Powell (Medium)
“Exodus” – Tyler Dever and Erik “Jit” Scheele” (Sburb)
“Carapacian Dominion” – Seth “Beatfox” Peele (The Wanderers)
“Aimless Morning Gold” – Michael Guy Bowman (The Wanderers)
“Years In The Future” – Robert J! Lake (The Wanderers)
“Center of Brilliance” – Solatrus (Prospit & Derse)
“Song of Skaia” – Mark Hadley with Tarien Ainuvë (Song of Skaia)
“Cancerous Core” – Erik “Jit” Scheele (One Year Older)
“Voidlight” – Thomas Ferkol (Homestuck Vol. 10)
“Feel (Alive)” – Luke Benjamins and Robert J! Lake (Homestuck Vol. 10)
Disc II - Side B
Side B Playlist (incomplete, not every track is on Youtube).
Homestuck Sound Test Gems
Sound Test Playlist (incomplete, not every Sound Test track is on Youtube).
Cuttlefish Rag – Alexander “Albatross Soup” Rosetti
“Karkalicious (Guitarkind)” – Joren “Tensei” de Bruin
“Mother (Davekind)” – Erik “Jit” Scheele
“Sea of Derse” – Erik “Jit” Scheele
“today I butchered a song (3 in the A M)” – James “soselfimportant” Roach
“Aggrieve (Piano) v2” – Toby “Radiation” Fox
Fan Music Gems
Fan Music Playlist (incomplete, not every fan music track is on Youtube).
“Sunrise” – Yan “Nucleose” Rodriguez
“Sunshaker” – D.Crystal (Land of Fans and Music)
“Amongst Smiling Faces [Prospitian Dignitaries]” – Tarranon (Sburb OST)
“Waste of Space” – the rosielord (Songs for Monsters)
“Out of Time” – therosielord (Songs for Gods)
“The Path” – PhemieC (Songs for a Doomed Timeline)
“♐Broken Strings♐” – psithurist (Ancestral)
“Of Rust and Royalty” – Grace Medley (Ancestral)
“The End of Something Really Excellent” – Rhyselinn (Land of Fans and Music 4)
“Calming Quartz” – PoisonedElite (Xenoplanetarium)
“Sandy Skyline” – Aris Martinian (Xenoplanetarium)
#Homestuck#Homestuck Music#Playlist#Writing#Homestuck Music Recs#Music Recs#Andrew Hussie's Earthbound Fanfiction
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Armbruster — Can I Sit Here (Dear Life)
Violinist Conor Armbruster has shifted gears on Can I Sit Here. His previous release, Masses, reveled in the generous acoustics of an acoustic violin in a church sanctuary. On his latest for Dear Life, Can I Sit Here, the recording of an electric violin is close-miked and in mono, with many of the tracks using lots of distortion. Some electric violins have a number of extra strings that allow the performer to access a wider registral compass. That is certainly the case here. There is more use of drones too, as well as sounds inspired by heavy post-rock and even metal.
The leadoff track, “I’m Really Trying to Catch Up With You Soon,” bridges the gap between Masses and Can I Sit Here, with repetitions of organ-like sonorities wafting in the high register. Eventually, a thunderous, sustained bass register line enters as do treble register rock solos. The ostinato persists, creating a piece that, if only it had drums, would sound every bit like a piece by Godspeed You! Black Emperor. Indeed, in places one wishes that percussion, even electronic percussion, was incorporated.
“Playground” has a distorted repeating chord progression that registrally unfolds into a bold, bracing textural environment. It is nearly two thirds of the way through the piece that a rollicking solo is added. Shrieking “bird calls” arrive, as does dynamic intensity, the conclusion abandoning the chord progression for a sustained dissonant high note. In “Playground,” Mogwai seems like a touchstone. In fact, one could readily hear Armbruster touring in support of some of the aforementioned ensembles, heating up the crowd with searing strings.
“No Other News” features a constantly pulsating high note juxtaposed with bass strings in a wayward melody. The piece breaks into triplets against dovetailing melodies. Partway through, the ostinato from “Playground” makes a brief appearance, followed by bent bass notes and glissandos against the upper drone. It concludes with another repeated note in the low register and a swath of chords. “Lament” remains a chordal ostinato for most of its duration, until it goes sideways in a downward bend. “Thank You for Putting These Feelings Into Words” follows closely upon, with repeated spacy riffs providing the mood of a sci-fi soundtrack. Perhaps the catchiest among selections is “Tell the Crowd,” with a loping repeating bass-line and a solo that combines Americana and experimental music. “Can’t Wait To Be Chillin’” closes the album with a seven-minute work in which the violinist takes his time, with another bass ostinato and an alto register solo dovetailing alongside it. It is only near the end of the piece that Armbruster moves from a clean sound to distorted chordal slides. The close is a fragmented version of the ostinato, gradually fading.
The technical underpinning of Armbruster’s music is impressively assured and the sounds he explores are consistently interesting. Can I Sit Here makes me eager to hear what surprises he has up his sleeve for the future.
Christian Carey
#armbruster#can i sit here#dear life#christian carey#albumreview#dusted magazine#violin#electric violin#drones#post rock#metal
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Sneak Preview for The Fool
(Preview for a new fic series, Major Arcana. They'll be short introspective snippets of Gorillaz throughout different phases centering on the themes of the major arcana of tarot.
Written for Day 3 of #Gorillaztober2023 on Twitter! I'm not gonna be able to finish writing this for the day, so it's gonna be late lol)
Hardly anyone was in the market for a good keyboard these days. Most parents with musically-inclined kids tended to get them a violin or a tambourine or some such thing. Anything to concentrate their scattered noises into some semblance of coherence.
If they were lucky, maybe these kids would grow up to be a very successful barista. Maybe even a waiter.
Stuart Pot was neither.
Uncle Norm's Organ Emporium was a dingy, little store that was just a few blocks away from his house. The synthesizers hung precariously from hooks in the window always caught his eye as a kid. His dad said that they were better than keyboards because they let you play with all kinds of electronic, space-age noises. In fact, his dad was always bringing home strange bits and bobs that made cool sounds. He tinkered with them, drawing out unique sounds for the rides he often worked at at the fairground.
They liked to change up the themes of the rides every so often. The Space Race and Underwater Medley themes were Stuart’s favorites. He just liked the muted sounds they made, all otherworldly and far away. Sometimes, he took the scraps of his father’s work, sat down in the very center of his room and just played the soft noises on loop. His friends called him mental for it, but it scratched too nice an itch in his brain to give up.
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Hidden Orchestra - To Dream is to Forget - back when I used Pandora, "Hidden Orchestra" was one of my favorite artist prompts to use
Since its inception, producer and composer Joe Acheson has carefully developed Hidden Orchestra from a simple initial project concept of ‘an imagined orchestra’ into something that has flourished into a widespan musical universe of its own, that is truly unlike anything else.
After multiple albums with respected independent label Tru Thoughts, continued support from the likes of The Guardian, BBC6Music, FIP, JazzFM, several awards for innovative soundtrack work intertwined with AI and consistent global touring of an energetic and intriguing live show featuring two duelling drummers, their reach and influence has swollen to make them one of the highest regarded names in independent music today and has even led to collaborations beyond the world of music, with The British Library, Kew Gardens and National Trust all enlisting Acheson for unique installation projects. Yet regardless of the current brief in front of him, the initial mission statement to ‘create electronic music with acoustic means’ remains.
While new album ‘To Dream is to Forget’ certainly maintains this mission statement, it does also bring about a sea change for the project on a few fronts. Released via Acheson’s own newly formed Lone Figures imprint, the musical direction for the record involved a concerted effort to condense musical themes and ideas into more immediate arrangements, with less utilisation of field recordings than previously released material.
Predominantly sticking to this ethos has indeed meant an average track length reduction throughout, however there is still the same high level of musicality and no shortage of ideas within this rich collection of 10 original tracks.
Written, recorded and produced by Joe Acheson.
Featuring performances and improvisation from:
Joe Acheson – piano (1,2,3,4,5,6,7,9), bass guitar (1,2,5,6,7,9), double bass (2,5,9), zithers (5,7,9), analog synth (1,2,3,5,6,7), hammered dulcimer (1,9), HAPI drum (2,5), glockenchimes (3,7), egg-slicer harp (7), field recordings (3,4,7,9,10), cymbals (1,3,5), bassoon (2)
Rebecca Knight – cello (1,6,7,8,9,10)
Jack McNeill – clarinet (7,9), bass clarinet (1,3,7,9)
Tim Lane – drums (3,4,5,7,9), bullroarer (7), trombone (2,5)
Jamie Graham – drums (1,2,3,4,6,7,10)
Poppy Ackroyd – violin (7)
George Gillespie – fujara (5)
Phil Cardwell – trumpet (2,10)
Tomáš Dvořák – clarinet (2,3)
Yvo Ackroyd Acheson – percussion (4,5)
Su-a Lee – cello (1,9)
Ali Tocher – sound effects (2,3,5)
Artwork: Inishbofin Sound (detail) by Norman Ackroyd
Design and Layout by Ruth Keating
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IQ Reacts Progress
Kazuma and Aqua were shown as Luna’s autopilot brain swapped back on.
“Adventurers each have their own occupations.” Luna said before she pointed to the card. “This is your registration card. It keeps track of how many monsters you’ve vanquished.”
“So, you don’t have to cut off the ears or other body parts to confirm the kill?” Satoru said, left hand on chin.
“We are not backwards hillbillies!” Darkness said, fists clutched at her side.
“Besides, if all the adventurers are looking for is cut off ears.” Aqua said with a shrug. “Then the natural thing to do is to make a monster breeding farm, cut off the associated body part, sell the part, and then use the money to expand your breeding facilities. Which will eventually get exposed and release far more monsters than originally was.”
Albedo closed her eyes and mentally groaned at such an easy answer to raise money, which she and Demiurge completely missed. Then not one of Lord Satoru’s operatives would lack for money in the human world. Demiurge resisted the urge to slap himself upside the head with his tail as he came to the same conclusion.
“Okay, I get why Albedo and Demiurge didn’t think of that because they have to run Nazarick and deduce Lord Satoru’s plots to take over the world respectively.” Aura thought, head in her hands with Mare gently rubbing her head. “But I am the Beastmaster, so I should have thought of that myself! Hey, for that matter, why don’t we see if Mare could grow one of the rare (for the New World) plants and harvest those to give to Lord Satoru’s Momon Persona. Which would increase his fame because he can now accurately identify AND harvest rare plant materials.”
I could have the Lizardmen see if they have any other rare resources suitable for trade to human settlements. Cocytus thought. Then have Lord Satoru as Momon formally meet them and bring trade. Increasing his fame not only as a Human Hero, but as a Hero of many races.
Satoru placed a hand on his forehead. “Oh, I am such a dumbass for not thinking of that. It would certainly give Aura and Mare something to do so that they aren’t bored.”
Aqua gave half-lidded glares to the Nazarick crew. “[Geniuses], Suuuuure.”
“As your level increases, you’ll earn points that you can use to learn skills, so please work hard to raise your level.” Luna said as she folded her hands in front of her waist.
A blue crystal orb was shown, yellow and light gray metal formed a clockwork machination around the orb. Below the orb were three cyan laser focusing discs. The Card Maker was held up by two dark gray claws.
“Now, both of you, please hold your hands over this crystal.” Luna asked.
The camera swapped to show Kazuma reaching to the crystal. Aqua was interested in the clockwork of the Card Maker.
“Like this?” the boy asked.
With a click and the sound of a film reel rolling, the crystal lit up with an inner like as the clockwork spun. Which prompted an amazed [ha] to spill from Kazuma’s lips. Cyan bubbles gathered in the crystal before they descended to the focusing lens. The clockwork clicked and swirled as a violin played over the fantastically rendered CGI. the focusing lens, more like small bowls as the camera zoomed in and provided clarity, wobbled as the cyan bubbles passed through them to reach the needle at the bottom.
With a soft electronic whistle, the needle tip glowed and shot the concentrated bubbles down at the card. Etching into it the details of Kazuma.
“With this, you will each learn your current status,” Luna said as the laser wrote down Kazuma’s name. “So please choose your desired occupation based on your stats.”
The laser-pen was shown from below, looking like a saucer-type final boss. The laser passed over the camera twice before we returned to Kazuma’s very invested face.
“Here it comes!” Kazuma leaned closer. “Now my tremendous latent abilities will be made apparent, and there’ll be an uproar throughout the guild!”
“I mean…” Kazuma scratched his left cheek. “I guess I did receive it, with that sheer delay of leveling up.”
“You also did get it because of Aqua.” Megumin and Darkness said.
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Review: Soundcore VR P10
Greetings everyone! Here I'll be giving my honest thoughts on what I'd consider quite unique earbuds - the VR P10 from Soundcore. They're catered for gaming and have verified functionality with VR headsets such as Oculus Quest 2. Peak your interest? These can be found priced at £99/$99 via Soundcore's official website + Amazon directly, or in-person stores if you live in USA. Let's get started!
📦Unboxing Experience:
Pretty clean packaging imo with it's appealing design in addition to convinience. They also come with a decent amount of silicone ear tips which will suit many ears big or small (medium worked for me). Simply looked and felt premium all around, which gives me a great first impression. Good job so far!
🔎Appearence [next to Soundcore Life A2]/Comfort:
Though I'm not a fan of this "Airpod stem" trend, these make an exception for me with nice silver details, signature logo finish + 3 customisable lighting modes (breathing, lights on and battery saving/lights off respectively). Those lights can indicate helpful stuff such as solid purple for on/fully charged, blue for pairing or flashing red when very low. Case looks great with a shape akin of stones...can I say it's included dongle is pretty neat too? Okay ty! Moving on, ear tips themselves also felt comfortable enough with only fatigue after some hours which was usually when both buds were low anyway. Speaking of...
🔋Battery/Connectivity:
You'll be glad knowing that these earbuds have USB-C featured both on case for charging and a connector on the dongle. Also expect about 5/6 hours on buds (in 'battery saving mode') with an average 24 hours of battery life after giving them a full juice up. This is enough to get through 4 or more gaming sessions in my experience! In terms of speed, 10 minutes shall grant approx 1 hour of battery life for those clutch on-the-go moments.
Facts regarding this dongle btw...it's incredibly versatile featuring multi-platform support for PC, PlayStation, mobile and even Switch with lag-free playback. What's more, it allows Bluetooth audio from phone + received audio SIMULTANEOUSLY with Game and Talk (something I haven't come across before in other true wireless earbuds)! They can also be further compatible for Switch in docked mode or older devices with a USB to USB-C adapter (here's my recommendation). I've found the feature pretty useful for communicating on Discord or taking a phone call without much compromise.
🎵Sound Quality/App Features
From my experience of "default" aka Soundcore's signature (no super hearing or Bassup), it seemed clear with bass which gladly dosen't drown out the mids and highs. Highs may sound weaker but that's kind of justified as these are geared for subtle audio like footsteps or gunfire rather than instruments like violins and pianos. BUT as we get into Souncore's feature rich app, there's so many settings to tweak and fit your personal taste!
You've got a plethora of equaliser options + the ability to create custom ones as standard with their app. Acoustic (my fav as it brings everything up a notch), Electronic, Pop, you name it. Mentioned earlier is bassup which allows bringing in more for a stronger punch which bassheads may enjoy and super hearing that will make subtle noises more audible, perfect for a competitive edge.
Speaking of tastes, let's talk colours with 5 options being light purple, red, pink, blue or Violet. Heads up that lighting will effect battery life to varying degrees. Have multiple dongles? Great news as which ones in use can be selected directly from app! Very useful if you're someone who has a busy life (on the flip side though, Soundcore hasn't made things clear rn regarding where more can be purchased).
💭Are these worth the purchase? If you're looking for something with striking design, good sound for gaming in a small package and flexibility with software and hardware, absolutely Imo! Although I would personally like to maybe see slightly improved battery if Soundcore ever comes back to this concept in future. That's it for this review, tysm for getting here! Oh, and if you'd like to help me create better content or maybe obtain better equipment by donations, I've recently created a Ko-fi! It's completely optional but if you do, I'll be really grateful. Take care and live a good life!
🎴My Carrd
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SPORSTAR, Bobby, New 🌷☠️
sportstar - 10/10 one of my favorites and also one of his best songs w piano in it!! the piano is soooo iconic and so pretty it complements the song so well i love the weird voice and the electronic effects andthe heavy guitar it all melds together so well and the basslime is also veryyy good and iconic, i cant believe i got to see it live the first time i went to an alex g show it felt so special! the lyrics are soo good and i love like every line so its really hard for me to choose but i think the song is so like 😳 hes crazy for this fr... its so aries venus... i love all of these lines especially aka the whole song really but yeah its definitely one of my favorites i think its so unique and interesting and produced perfectly .
Bobby - 10/10 among one of the first alex g songs i fell in love with, i thjnk its the ultimate love song its so beautiful and sad and full of love the guitar is so pretty even tho the chords are fairly simple and easy (one of the first songs i learned to play on guitar it is such a good song !! i love playing it on guitar) he still arranges it really prettily and makes it sound so beautiful idk nd i love all the instrments and the violin part is iconic ofc i would die to hear bobby live once more (biggest regret is not recording anythjng from when i heard it once at a show bc i was just enjoying the moment ofc but sometimes i wish i took a little clip so icould relive it!!) and id die to hear it live with the violin too and i love emily's vocals their voices work so good together obv but i also love performances where its just alex singing cuz idk i love his voice sounds so earnest and open and i love the repetition of "if you want me to" lyricallly its so romantic and heartfelt . most love song ever
New - 9/10 i used to not listen to it much but had a newfound appreciation the past yr and the outro solo is sooooo good its like 💃💃 and i like the lyrics and idk its just a good song..
send me an alex g song!! 👩💻
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Last Seen Blogs
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