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zef-zef · 1 year

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This Heat from left, Gareth Williams, Charles Bullen and Charles Hayward

source: npr 📸: This Heat

#photography #artist photography #This Heat #Gareth Williams #Charles Bullen #Charles Hayward

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lascitasdelashoras · 11 months

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Charles Bullen - A peculiar kind of afternoon

#charles bullen

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thevellaunderground · 3 months

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This Heat: Fiery, Chaotic, and Full of Emotion

In the late 1970s and early 1980s, a band emerged from the claustrophobic streets of London, creating music that defied categorization. This Heat, consisting of Charles Hayward, Charles Bullen, and the late Gareth Williams, crashed together disparate elements: lo-fi recordings, cutting-edge technology, free improvisation, musique concrète-like tape experiments, funk rhythms, distorted guitar, and…

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#1970s #1980s #animal collective #caribou #charles bullen #charles hayward #cold war #gareth williams #hot chip #massive attack #peace #post-punk #reagan #thatcher #this heat

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c-40 · 1 year

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A-T-3 075 Lifetones - For A Reason

Lifetones born out of the ashes of This Heat. The sole album Lifetones was reissued in 2016 and got a good many promo write-ups

What all the reviews of the reissue of For A Reason have in common is a reference to the backdrop of thatcher's Britain which was present at the time of its recording (it looks like this reference was in the press release from Light In The Attic). This may give the record context but it also turns the record into a relic, in the same way museums have a tendency to isolate objects. Perhaps it's because Charles Bullen and Dub Judah (Julius Samuel) called their project Lifetones that I'm thinking this record shouldn't be pinned to 1983, thatcher's Britain lives on, through Labour's adoption, and then like a film franchise successive tory governments creating a bigger spectacle while becoming more and more ridiculous. thatcher worship in the tory party has become dogmatic, there's a pathological desire to break unions, privatise everything for short-term gain, cut public spending, not consider for one moment making failing services public again, decrease taxes for the wealthiest, and protect the upper-class establishment pedophile ring

Here's a write up of the album with geeky anecdote https://www.testpressing.org/magazine/lifetonesfor-a-reasonlight-in-the-attic

And Light In The Attic's press release https://lightintheattic.net/artists/1356-lifetones

Lifetones - Decide

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Lifetones - Good Side

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#1983 #lifetones #charles bullen #julius samuel #post punk #dub #london #england #uk #80s music

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dustedmagazine · 10 months

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Listed: Blue Ocean

Bay Area three-piece Blue Ocean plays exuberantly discordant yet surprisingly mild-mannered noise pop, not unlike what a TV Personalities record might sound like if it were playing through a box fan that’s tumbling down the stairs. In his review of last year’s self-titled LP, Chris Liberato noted how suddenly the dynamics at play in the band’s songs can change, writing of “Human Now”: “You won’t be able to help but smile when a big bombastic synth chord comes lumbering across the song, from out of nowhere, with the enthusiasm of a sedated puppy — and then decides to stick around for a couple of encores.” Hot off the announcement of their Slumberland debut, Fertile State (out in October), band members Rick Altieri, David Stringi and Neal Donovan pop by to share a few words about some of the records they love.

Dave’s Picks:

Snapper — S/T

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Found years ago, during a visit to Brooklyn, NY. I instantly gravitated to the vibrant and colorful slashes of paint, which abstractly splayed themselves across the front cover. The songs are very colorful as well, painted with electrifying rhythms and arpeggiating synth leads. “This would make a great gift for a couple of friends of mine.” Maybe someday Flying Nun will re-release it.

Dummy — EP2

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I find myself listening again and again to this second installment from Dummy, sonic enthusiasts based on the West Coast. The opening track “Thursday Morning” introduces itself quite charmingly with its creative and concentrated vocal melodies. Followed blissfully by deep layers of noise and feedback within a clever collage process.

Rick’s Picks:

M. Sage — Paradise Crick

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This album was a surprise find in the first half of 2023 for me, I was actually listening to the single “Crick Dynamo” before the album was released and remember my ears really perked up. I know M. Sage himself just did a Listed recently, what a lovely surprise — huge new fan of his work. I love the line walked between sonic lab experimentations and organic leafy strollings by a river; right up my alley.

Bill Evans — Coffee and Cigarettes

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I always come back to Bill Evans when I’m in the mood for calming jazz that still demands your attention and challenges you in many ways. His playing on this record reminds me a lot of Debussy, another go-to when trying to unwind. Evans is one of my all-time favorite piano players.

Lifetones — For A Reason

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Charles Bullen of This Heat went on to make this post-punk/dub hybrid classic with Julius Cornelius Samuel in 1983 — This Heat had just broken up the year before. The rhythmic syncopations and droning cyclical vocal delivery make every song on this record a mesmerizing journey. The lyrics are profound in their simplicity, dealing with human interaction and nature.

Neptune — Gong Lake

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This record will always be special to me. Neptune was one of the first bands I remember seeing with Dave when I moved to Boston in 2008. They were playing in the basement of Gay Gardens, an old DIY spot in Allston. I was instantly blown away by the barrage of rhythmic noise and impressed by the homemade guitars and effects they had fabricated. They’ve been a huge influence on Dave and I for years now.

Emeralds — Does It Look Like I’m Here?

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A Midwest synth classic. When I listened to the song “Candy Shoppe” again recently I was even more moved than ever before, a good sign that this 13-year-old album stands the test of time. This album fluctuates between gritty acidic synth-scapes and ambient movements in the vein of early Eno. I love Imaginary Softwoods too, John Elliot’s solo project post-Emeralds.

Neal’s Picks:

Ananda Kumar — Mangala Vadhyam Vol. 3

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A friend with roots in Tamil Nadu told me about the nadaswaram, a double-reed instrument played at weddings and religious festivals in Southern India. I love how intense and cutting the sound is. This recording features two nadaswarams in semi-improvised conversation with each other. I'm reminded a bit of the groove and excitement of traditional New Orleans jazz. Also, the thavil drumming is insane, reminiscent of Aphex Twin breakbeats.

Jed Wentz — Telemann: 12 Fantasias for Flute

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Telemann's fantasias for solo flute are so cool. Although they were published in the 1730s, there's something that feels very modern about having just the flute to focus on. The player is asked to jump around throughout the range of the instrument, sometimes outlining melodies and basslines simultaneously. It's all the more impressive on the keyless, wooden, baroque flute which has a mellower sound than modern metal ones. I imagine it as portable music that someone could play anywhere.

Sheer Mag — Compilation

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My partner threw this on when we were cleaning out our last apartment. I'm not usually a big fan of riff-driven guitar rock, but this album just got me. The licks are smokin’, the guitar tones are perfection, and I love the mix— just gritty enough.

#dusted magazine #listed #blue ocean #rick altieri #david stringi #neal donavan #snapper #dummy #m. sage #bill evans #lifetones #neptune #emeralds #ananda kumar #jed wentz #sheer mag

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fimomovies · 1 year

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Queen Camilla Still 'Furious' At Prince Harry Over What He Said In Memoir, Says Insider

King Charles III‘s wife was hit hard in Prince Harry‘s memoir, Spare, and she’s still “furious” about it! On Wednesday, royal expert Nick Bullen opened up to Fox News Digital about what to expect for the upcoming coronation, especially in terms of the 38-year-old’s dynamic with the rest of his family. After getting attacked in Spare, the 75-year-old is unlikely to be very gracious to her stepson,…

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nwdsc · 2 years

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(▶︎ Nicks and Grazes | Palmから)

Nicks and Grazes by Palm

Palm’s live performances are revered for their uncanny synchronicity; one gets the sense that, on psychic levels unseen, the members share an intuition unexplained by logic. But as the Philly-based band has grown up and moved on from the sweaty basement shows and self-booked tours of their formative years, the costs of maintaining such intense symbiosis started to build. “I used to think of Palm as an organism, a single coherent system, and at a younger point in our lives, that seemed like the ideal way to be a band,” Eve Alpert reflects. “I’m realizing now that it’s unrealistic, that for this band to grow we had to tend to ourselves as individuals – little pieces – who create the whole.” To confuse parts for the whole is inevitable with Palm. Drummer Hugo Stanley, bassist Gerasimos Livitsanos and guitarists/vocalists/high school sweethearts Alpert and Kasra Kurt started making music together as teenagers, and spent much of their twenties in the kind of proximity unusual for adults, outside of touring bands and the International Space Station. For a number of years the band consumed the lives of its members to a point of exhaustion: “To be honest I think we got a little burnt out. There were times where it wasn’t clear if we’d make another record,” says Alpert. It was only after multiple freak injuries followed by a pandemic, forced a pause - from touring but also from writing, rehearsing, even seeing each other- that the four were able to regroup and see a way forward again. On their latest effort, Nicks and Grazes, Palm embrace discordance to dazzling effect. “We wanted to reconcile two potentially opposing aesthetics,” Kurt says. “To capture the spontaneous, free energy of our live shows while integrating elements from the traditionally gridded palette of electronic music.” In order to avoid what Kurt refers to as “Palm goes electro,” the musicians spent years educating themselves on the ins and outs of production by learning Ableton while also experimenting with “the percussive, textural, and gestural potential” of their instruments. To this end, the band continued the age-old tradition of instrument-preparation, augmenting guitars with drumsticks, metal rods and, at the suggestion of Charles Bullen (This Heat, Lifetones), coiling rubber-coated gardening wire around the strings. The unruliness of the prepared guitar on songs like “Mirror Mirror” and “Eager Copy” contrasts with the steadfast reproducibility of the album’s electronic elements. While Palm cite Japanese pop music, dub, and footwork as influences on this album’s sonic palette, they found themselves returning time and again to the artists who inspired them to start the group over a decade ago. “When we were first starting out as a band, we bonded over an appreciation of heavy, aggressive, noisy music,” Alpert reflects. “We wrote parts that were just straight-up metal.” Kurt adds, “I found myself rediscovering and re–falling in love with the visceral, jagged quality of guitars in the music of Glenn Branca, The Fall, Beefheart, and Sonic Youth, all important early Palm influences.” Returning to the fundamentals gave Palm a strong foundation upon which they could experiment freely, resulting in their most ambitious and revelatory album to date. “Music isn’t about things. It is things,” Richard Powers wrote in his novel Orfeo. While making Nicks and Grazes, Kurt found himself returning to this quote as a guiding philosophy as Palm spent days and months on end working out songs together in their practice space. Though a single narrative remains elusive, Stanley points out echoes of the members’ individual and collective experiences in the use of samples. Snippets of conversation on tour in Spain, the blare of a Philly high school marching band’s early morning practice, and the refracted reverberations of Palm’s friend Paco Cathcart performing as The Cradle are just a few examples of daily sonic flotsam the band incorporated with instrumentation to create a new communal experience. The album’s titular track is a prime example; Anderegg combined the band’s disparate field recordings into a diaristic kaleidoscope of sound, as much a collection of memories as it is its own composition. “We’re constantly grabbing at sounds that move us,” Stanley says. “In a sense, the record is cobbled together from these pieces of our lives.” クレジット2022年10月14日リリース Producer: Matt Anderegg Mixer: Matt Anderegg and Matt Labozza Recording Engineer: Matt Labozza Mastering Engineer: Ryan Schwabe Composed by Eve Alpert Hugo Stanley Gerasimos Livitsanos Kasra Kurt Performed by Eve Alpert Gerasimos Livitsanos Hugo Stanley Kasra Kurt Matt Anderegg

#RC #2210 #****

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alaminshorkar76 · 2 years

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#IFTTT #Blogger

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thegeekx · 2 years

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King Charles has zero plans to include Prince Andrew in monarchy’s future, royal expert claims: ‘Truly over’

NEWYou can now listen to Fox News articles! Much has been said about Prince Andrew’s involvement in Queen Elizabeth’s funeral proceedings – but his future is clear to one royal filmmaker. “For Prince Andrew, his life as a working royal is well and truly over,” True Royalty TV co-founder Nick Bullen told Fox News Digital. “We won’t be seeing very much more of him in the coming weeks and months. I…

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worldfreshnews · 2 years

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King Charles has zero plans to include Prince Andrew in monarchy’s future, royal expert claims: ‘Truly over’

NEWYou can now listen to Fox News articles! Much has been said about Prince Andrew’s involvement in Queen Elizabeth’s funeral proceedings – but his future is clear to one royal filmmaker. “For Prince Andrew, his life as a working royal is well and truly over,” True Royalty TV co-founder Nick Bullen told Fox News Digital. “We won’t be seeing very much more of him in the coming weeks and months. I…

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reportwire · 2 years

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King Charles won’t give ‘olive branch’ to Meghan Markle, Prince Harry to join working royals, expert claims

2022-09-22 23:00:31 As King Charles looks to the future of the British monarchy, the odds of him offering Meghan Markle and Prince Harry another chance to join the working royals are looking slim. “The king’s message in his first speech was clear – he loves Meghan and Harry – but he was also clear that they’ve chosen a different life,” True Royalty TV co-founder Nick Bullen told Fox News…