Salted Caramel Terrine / Strawberry Terrine / Chocolate Cream Cheese Terrine

Terrine ceramic crab cake   // UnBonDesign

Terrine

French Butter Radish Terrine Toast (Vegan)

You're my buddy, you're my pal

A couple more for the road. A long overdue nod to the great Bruit Direct Disques, and Khanate's massive return to a world that befits their sound. Without further adieu:

Khanate, To Be Cruel (Sacred Bones)

After a double-digit years-long hiatus, Khanate orchestrated a surprise return to follow up Clean Hands Go Foul with To Be Cruel. I can't say I've listened to much Khanate in the interim, but To Be Cruel makes a strong case for revisiting the band's discography. Given the members' forays into other projects, I was expecting the sound to shift dramatically here, but that was incorrect: the band has doubled down on its glacial pace, heaving guitars and Alan Dubin's backed-into-a-corner vocals, at once human and feral. What's changed is only a greater attention to composition, allowing for some breaks in the drudgery to incorporate ideas from free jazz and improvisation. About two-thirds of the way through opener "Like a Poisoned Dog," the song is overwhelmed by feedback, the drums let loose and the bass holds the line; it's a brief, but thrilling moment, a break in the stark black atmosphere. Much of that atmosphere is owing to Stephen O'Malley's guitar and Alan Dubin's vocals, though I was glad to read an interview with James Plotkin where he agrees that some of the lyrics Dubin screams are patently absurd. That being said, the broader ideas behind the lyrics, coupled with their deadly serious delivery, induce chills throughout. Control is ceded to Dubin on the spare "It Wants to Fly," but his strongest performance is saved for the title track at the end. "To Be Cruel" is vintage Khanate, O'Malley and Plotkin squeezing every ounce from their chords, Tim Wyskida hammering the drums to punctuate each painfully slow movement. Rather than find release, the band chooses to return to the same structure at the beginning of the song, now teasing feedback out between strikes, slowly burying Dubin alive. To Be Cruel is the band's best work, as room-flattening, caustic and focused as ever, enough for me to consider making a trip if they tour behind it.

Nusidm, The Last Temptation of Thrill (Bruit Direct Disques)

Ah, Glen Schenau's inimitable Nusidm returns on one of my favorite labels, Bruit Direct Disques. We must enjoy these moments of kismet, no? The Last Temptation of Thrill fleshes out a refined version of Nusidm found on Hatred of Pain: less vocals, less crowded, and reimagining the dirge as something miasmatic and smothering. Largely gone are the clean, tromolo-picked guitars, but the drums carry the weight, something made perfectly clear on "Katy und Abel" and the beginning of the fully dystopian "Run to the Shops." There seems to be a lot more electronic layering in these tracks, songs built up not by clenched muscles but by feedback, pitch-shifted vocals, pedals and maybe even tape loops. This approach makes "Sit and Watch the Sunrise" come across as a threat, and reaches a logical, thrilling endpoint on "Arm Unemployed" and "Melody Moody - The Re-incision." The slow build of noise in the latter cancels out the jazzy bass line reprised from Hatred of Pain's "Vapid" and covers itself in thick mud, vocals escaping through the air vent and desperate for a response. The record builds up in fits and starts, interspersed with instrumental tracks, the best of which are on the B-side: "Tagging My Friends" brings back the frantic clenched-teeth acoustic playing, and "Talking to Animals" is all feedback and woodwind shrieking, taken home by the downtuned bass. The album's elements coalesce on the chaotic "Arm Unemployed," previously released but finding its home as the penultimate track here, which kinda sounds like Glen's take on rap-metal, if they ever made room for a xylophone solo. It must be heard to be believed, but you'll be nodding along for its five-and-a-half minute duration. The Last Temptation of Thrill is Nusidm as confounding as ever, but as potent as ever, too; the artist-label pairing here greater than the sum of its parts. Three hundo copies to go around, and sharply outfitted in Glen's own artwork and font to further confuse the issue. Come join me on his planet.

Terrine, Standing Abs (Bruit Direct Disques)

Terrine's last album Les Problèmes Urbains was described in the press release as "certainly one of the most demanding (comical) in the world." I'm unsure if my familiarity with the work of Claire Gapenne as Terrine is such that I understand her intentions more clearly, or if I've just accepted being wholly outside the joke. Whatever the case, her latest album Standing Abs is checking all the boxes for me. It opens with "She's So Kind De Ouf," full of harsh electronics and rhythms popping up and disappearing, all of the different elements building to a blaring climax. If you know Terrine, you know that these moments are fleeting, and the song is shortly followed up with acoustic piano and what sounds like a beat made by basketballs. The piano has been a strong part of Terrine's sound, but now it is woven into the album's fabric rather than included solely as a jarring shift in instrumentation. The rest of the album is a really interesting push-pull between modern electronic composition, with a nod to EDM, and these shorter pieces featuring spare, empty-room piano. It's hard not to think of ZNR's Barricade 3 when confronted with the dichotomy of electronic and acoustic sounds, presented to emphasize their contrast; but I will also echo Matt K.'s comparison to Lolina in his review of the album. Like Lolina's best work, there is a logic here, albeit coy and evasive, that still captivates. The stretch of songs from "Carrageenan Do Dad Jokes" through "Nuage De Nuls" features some of the same elements, but it's as if the beats and piano merge, split, or disappear altogether throughout. Far from being a purely academic exercise, there's plenty that just knocks here, too: "Les Moucherons à Oranges" sounds like the rhythm is being played on the piano strings, a kick drum coming in to intermittently stabilize the situation. "La Nimpro" unceremoniously kicks you out of the loft at the album's end, and the cycle is complete. It's a blast, shedding any sense of sabotage (hello, "L'anniversaire") and stepping confidently into their Sambas.

Terrine — Standing Abs (Bruit Direct Disques)

Terrine - Standing Abs by Terrine

Terrine is the experimental project of sound artist Claire Gapenne, who lives in France and got her start in an industrial band but currently distills organic and electronic sounds into mobile but meditative lattices of tone. Over the past decade, Terrine has churned out a steady stream of these musical abstractions at a rate of one or two per year. _Standing Abs _is the latest, austere, cerebral and full of unreadable purpose.

The first two tracks make statements, if not in the music, at least in their sentence-formed titles. The first “Baton xxl will make a record one day” introduces a clear, colorless pulse of electronic sound that moves ahead relentlessly, inexorably, like a power walker striding forward with no time for looking from side to side. The pulse progresses steadily, even as bits of dissonance and static mass around it, even as the twinkle of something like clamped cymbals or keys jangling distantly intercede. At one point, you hear abbreviated thumps of drum or cymbal, the wallop clipped off abruptly, so that the sharp edge becomes as much the sound as the percussive thud, but that too falls by the wayside as the electronic cadence moves resolutely on.

The next track, “Blason will win an award this year” floats a pool of woozier, more interdeterminant sound, the pierces it with the clatter like woodblocks. A dub-steppy, Shackleton-esque long moaning tone, melodica-esque but not, rises out of pixelated beats, but there’s no sense, as in Shackleton’s music, that the structure lies in ruins. These rhythmic architectures are precise and pristine and untouched.

Gapenne adds piano here and there, in patterns that split the difference between jazz and post-modern classical music. In “Nuage de nuls,” simple phrases linger hauntingly, like Satie, but subsumed in industrial buzz and clatter. The disc closes with “She’s so kind de ouf,” the only cut with a human voice on it, a man saying something in French, before the rattle of rapid fire drum machine takes over the foreground. Gapenne layers a metronomic beat over this rattle, punctures the surface with deep-toned electronic boings and bongs. It’s just a glimpse of humanity, and then the machines, triumphant, take it over.

And yet, Terrine is a very human endeavor, forming odd blurts and crashes, bleeps and doodles into intricate, ever-shifting patterns. We see pictures in the data, because that’s what we do as homo sapiens, but also because Terrine has put them there.

Jennifer Kelly

tk.suisui

Marseille, le MuCEM et sa nouvelle collection permanente (à mes yeux, bien plus intéressante et mieux présentée que la précédente…)

Suite et fin, enfin !!!

carreaux de revêtement - Kosiv, Ukraine, XXe s.

pichet en l'honneur de Louis-Napoléon Bonaparte - Aisne ou Somme, 1850. "Louis-Napoléon est un bon républicain...". Certains sont visionnaires, d'autres.....

plat - Picardie, 1600

terrine à pâté - Maine-et-Loire, 1800

pichet de noces - Bals, Olténie, Roumanie, fin XXe s. ; femme, ateliers de Marie Talbot - La Borne, Cher, 1838

voir 1

Cr. 山本山: 海苔のテリーヌ

Cognac Foie Gras Terrine

To toast to the end of a year and celebrate the coming of a new one, we indulge in foods and drinks we don’t usually eat. Foie Gras, for instance, is a staple of Holiday tables in France, and cooking it yourself is rather simple. Thus, spooning slices of this festive, tasty Cognac Foie Gras Terrine is a delicious way to start your last meal of 2022! Happy New Year’s Eve!

Ingredients (serves 6 to 8):

500 grams/1.10 pound whole raw Grade A duck foie gras at room temperature, cleaned and deveined

1/2 teaspoon fleur de sel or sea salt flakes

½ teaspoon freshly cracked black pepper

6 tablespoons good quality Cognac

Separate foie gras lobes and place them in a shallow dish. Season with fleur de sel and black pepper on all sides.

Pour Cognac over the foie gras and gently rub onto the lobes. Place dish in the refrigerator, to marinate and infuse overnight.

The next day, preheat oven to 100°C/210°F. Place one of the foie gras lobe, plump-side down into a 600-millilitre/20-fluid-ounce terrine dish, pressing gently to fit. Drizzle with a little of the remaining Cognac marinade. Place remaining foie gras lobe on top, pressing gently and rubbing the edges to seal. Close with the lid and place in the middle of a large baking dish. Fill baking dish to three-quarters with warm water, to make a bain-marie.

Place baking dish in the middle of the oven, and cook in the bain-marie, 1 hour, at 100°C/210°F.

Once cooked remove bain-marie from the oven, and let cool, half an hour. With a spoon, scoop out excess fat at the top of the terrine, leaving enough to make a thin yellow layer when it cools down and congeal. Cover with the lid once more, and place foie gras terrine in the refrigerator, to chill and infuse, overnight to four days.

Serve Cognac Foie Gras Terrine, cut in slices, with slices of toasted Brioche, or Soft White Bread, fig halves sautéed in butter and honey, and a slightly sweet, well-chilled white wine, like a moelleux Côtes de Gascogne.

The Parkers Arms, Newton-in-Bowland

The Purple Pig

For our last stop on this Chicago trip, we tried The Purple Pig. The space is nice, with a big bar that serves nice cocktails. We tried a bunch of the items that would probably make regular folks a little squeamish: pork blood sausage, terrine, pork tongue, and pate. They were out of the crispy pig ears. Everything was good but the real winner was this confit turkey leg. It was a bit too…

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Vegan Cumin and Carrot Terrine

Roasted vegetable terrine