#chris liberato

[dustedmagazine]

Dust Volume 9, Number 2

Joanna Mattrey

This month’s Dust comes as winter withers, as shirt-sleeves days alternate with last ditch blizzards, as the grey gives way to watery patches of sunlight. We find, as always, a bit of solace in the music that comes our way, this month including improvised jazz from Portugal, side projects from indie mainstays, pristine indie pop and blistering noisy metal. Bill Meyer, Tim Clarke, Ray Garraty, Chris Liberato, Jonathan Shaw, Jim Marks, Ian Mathers, Andrew Forell, Bryon Hayes and Jennifer Kelly contributed.

The Attic — Love Ghosts (No Business)

Love Ghosts by The Attic - Rodrigo Amado / Gonçalo Almeida / Onno Govaert

Portuguese tenor saxophonist Rodrigo Amado is a reliably robust improviser, but a chief pleasure of his work in The Attic is how relaxed he sounds. The trio, which also includes bassist Gonçalo Almeida and drummer Onno Govaert, has the patience to let a performance wander and pause, and the purposefulness to reward your attention by getting you to a destination as appealing as the views you caught along the way. Govaert’s cymbal surges carry Almeida and Amado through some probing exchanges, their lines twisting and curling around each other, but even when they pull the strands taut, there’s room to savor the rich complexity of their tones and they unencumbered logic of their ideas.

Bill Meyer

 David Brewis — The Soft Struggles (Daylight Saving)

The Soft Struggles by David Brewis

David Brewis of Field Music’s prior solo outings have been released under his School of Language moniker. The Soft Struggles is the first album under his own name, the distinction being that this is a much more mellow affair than his usual Prince-indebted funky guitar-pop. The best points of comparison here are probably Van Morrison’s Astral Weeks and Nick Drake’s Bryter Layter, the stately, elegant songs enriched by strings, woodwinds and upright bass. When it works it’s beautiful, such as waltz-time single “Surface Noise,” and “When You First Meet,” which features Eve Cole on vocals. “Start Over,” in contrast, feels self-consciously saccharine and stiffly well mannered. There’s no denying this is an interesting and compelling new direction for Brewis, but one that needs a bit more wearing in before it’s burnished to its best.

Tim Clarke

  Chasmdweller — Blood Vortex (self-released)

Blood Vortex by Chasmdweller

These Canadian gutter freaks play old school death metal and get it right. It’s not too fast but also not slow enough to let the doom to slip in. It’s dirty but not too much. There is also nothing new. The cover art is excellent, but the vocalist lacks English; he makes a single guttural sound throughout the whole CD. Is he even human? It sounds as if he’s an entity from hell. With this type of music that only makes it better.

Ray Garraty 

 CVS — Ad Hoc (Feeding Tube)

AD HOC by CVS

Who can resist a little corporate trolling when your mailing address is in Barcelona and the surnames of your combo’s members are Cunningham, Volt and Serra? With luck, they’ll be able to construct the covers of future releases from defied cease and desist letters. Shenanigans aside, the three musicians make a sound you may want to hear more of. Mark Cunningham (Mars, Blood Quartet) takes his processed trumpet sound into more amorphous territory with assistance from Pablo Volt’s looped trumpet and Andy Serra’s guitars and tenor saxophone. Each of the tape’s six tracks stakes out an eerie vibe, which gets less comfortable as the sounds recede multiply; this is the acid bath you won’t be able to refuse.

Bill Meyer

Dignan Porch — Electric Threads (Repeating Cloud)

Electric Threads by DIGNAN PORCH

On Dignan Porch’s fourth LP, Joe Walsh brings his blurry bedroom psych-pop into sharper focus. Since arriving on the scene in 2010, his mostly home-recorded, mostly solo project has often been accused of having a muddled sound and songs that aren’t distinct enough. The kind of music that “you half remember liking when it was playing in a friend's car,” as one reviewer put it, but which fails to leave a lasting impression. This isn’t an issue on Electric Threads. The album’s ten songs — a mix of chuggers and janglers, squawking motorik fuzzouts and one distinctly Lennon-esque ditty — are easily Walsh’s most immediate to date, sailing on their big hummable melodies and plentiful, vaguely sad hooks. Electric threads, besides being the title of the album, is also a good phrase to describe the lead guitar and organ lines, irresistible whenever they surface. Like on the title track, for instance, where a quivering light beam of a riff, evoking Only Life-era Feelies, periodically rises out of the mix and hovers there for a few moments before deferring to the crunchy rhythm action below. This brings up one small bone to pick: at times it feels like Walsh is holding the reins a little too tightly on his otherwise brilliant guitar work, and not letting it drift to the places it feels like it wants to go to. Because when he does cut his playing a little slack on closer “Ancestral Trail,” the album reaches its most gorgeous high note.

Chris Liberato 

 Isolant — Drain (Sentient Ruin Laboratories)

Drain by ISOLANT

Isolant’s new mini-LP Drain features a hybrid of doom and industrial metal that may have you flashing on Godflesh, c. Streetcleaner — or, depending on your ears and the depth of your catalog, on Justin Broadrick’s earlier, underappreciated band Head of David. That’s a good thing, and so is the fact that Isolant’s founding member Max Furst is a little less isolated, having recruited vocalist Mattia Alagna and noisenik Miguel Souto into the project. The songs on Drain are piercing and crunching mechanisms of misery, and Alagna adds a layer of organic dread with his growls and groans (he sounds almost as bummed out on Drain as he did on Abominion, the most recent LP from Bay Area crusty doomsters Abstracter). There are also some strangely Goth, dark-romantic passages; see the second half of “Death Pulse” and the rumbling, foreboding tonality of “Lamentation.” Isolant is at its best, though, when the band lets Furst’s guitar create its heaviest textures. Opening track “The End Begins Me” is a steamroller, flirting with melody even as an implacable sense of dread squeezes the life out of the song.

Jonathan Shaw

 Isik Kural — Peaches (RVNG Intl.)

peaches by Isik Kural

Last year, Isik Kural, a Turkish sound designer and musician based in Glasgow, released the gauzy, loop-based synth-pop full-length in february. This new ep presents some of the instrumental tracks from in february with the vocals removed (mostly) and found sounds pared back. The resulting lean quarter-hour of music, by chance, provides an antidote to the tragedy currently unfolding in Kural’s homeland. The beauty of that land is well captured by the video for a live version (recorded in a field in northern Turkiye) of the track “lo si aspetta,” in which birdsong and other environmental sounds blend with what seem like the plucks of a stringed instrument over keyboard effects. Fitting together like a suite, the tracks have distinct touches, such as the frog-like glitches in the title track and the Andean string sounds in “montevideo” with a neat slide at the halfway point. Gentle and thoughtful, peaches offers a welcome respite and a fresh perspective on Kural’s work.

Jim Marks  

 Lantana — Elemental (Cipsela)

Elemental by Lantana

Everyone in this Portuguese sextet is female, and if you’re thinking one should refrain from commenting upon their gender homogeneity, think twice; Joëlle Léandre’s liner notes celebrate the fact. Maria Radich’s dynamic vocals may steer the listener’s associations towards symbols and ceremonies, but be sure to listen to the folks stirring the sounds that swirl around her. The electronically enhanced three-strings, one-trumpet line-up unravels the melodic implications of her post-linguistic forays and weaves them into a multihued sonic cloak. Aughts-era freak-folk followers who wonder where cellist Helena Espvall went after Espers disbanded, wonder no more; she’s now well situated in Lisbon’s improvised music scene.

Bill Meyer

Joanna Mattrey & Steven Long — Strider (Dear Life Records)

Strider by Joanna Mattrey & Steven Long

This long-standing duo’s first full recording together began with the idea to make ambient songs, avoiding the longer and less structured approach taken with some ambient music. Mattrey (credited with the Stroh violin and field recordings) and Long (credited with “Organ, Stove, Barometer, Synth, Short-wave Radio”) have succeeded in one sense, with each of these eight pieces sticking to the melodic yet static framework they were aiming for. But if you’re thinking of Eno’s “it must be ignorable as it is interesting” dictum then much of Strider might not count as ambient, because if anything it’s a little too attention grabbing. The horn on the Stroh’s violin gives the string lines here a plangent, piercing (and yeah, faintly old-timey) quality and Mattrey is unafraid to explore its harsher ranges. Whether it’s paired with an icy river breaking up (“Eyes”), echoing synth beeps (“Retro”) or what sounds a bit like an attempt to replicate an ambulance siren (“Host”) the results are an unusually compelling mix of meditative focus and the aural equivalent of a smack upside the head. Ambient, then, specifically for anyone worried the genre is at risk of lapsing into wallpaper pleasantries.

Ian Mathers  

 Mal Sed / Scy1e— Mal Sed / Scy1e (Weird Ear)

Mal Sed / Scy1e by Mal Sed / Scy1e

Settle down and stop worrying about your influences. That’s the message of this project, whose circuitous production process is inseparable from its sounds. Peter Lamons, whose recording handle is Mal Sed, bought some Giuseppe Ielasi from Weird Ear proprietor Raub Roy, and then shared his own sounds inspired by Ielasi’s chopped and glued treatment of grooves. Roy liked what he heard enough to reactivate the label and make a cassette. When the proposed cover art came in, its design instigated him to make some music of his own, and the project became a split release. Mal Sed’s rhythms are a bit more fluid and less crammed-together than Ielasi’s, but his wheels still bump at each corner. Roy, who tags himself Scy1e when he hits record, matches Mal Sed’s peg-legged beats and raises him several barrages of squelchy electronics. Niches have cracks, and there’s no telling how deep they go.

Bill Meyer

 Pacific Walker — Pacific Walker (Bluesanct)

Pacific Walker by Pacific Walker

Pacific Walker is the new project from the respawned creative partnership of Michael James Tapscott and Isaac Edwards, who previously recorded as Odawas. For this venture, they’ve enlisted the services of Raphi Gottesman, who drums in Tapscott’s folk-rock outfit China. This sounds nothing like either of those projects, rooting itself instead in drones, field recordings and guitar arpeggios. The A side of the cassette comprises one long multi-part piece entitled “Mycelium Ab Astris Ad Astra,” a patchwork panoply of throat singing, astral ambient atmosphere and dusky desert melodies. Over on the other side, the trio offer up poignant frescoes of twilit synths, guitars and samples that gallivant through the outer reaches of the human psyche. Odawas aficionados will miss Tapscott’s fluid lyricism and upper register vocal range, as there’s not a word sung here. Fret not, sonic adventurers; Pacific Walker are after those parts of your brain that are amenable to unexplored sonic phenomena. Open your ears and let them inside.

Bryon Hayes

 Ivo Perelman / Matthew Shipp — Fruition (ESP-Disk’)

Fruition by Ivo Perelman/Matthew Shipp

While the title implies some sort of culmination, don’t think for a minute that these guys are done with each other. This is their 18th duo recording, and while a full accounting of their trios and quartets will have to wait for another review, suffice to say that the next one, a CD with North Carolinian drummer Jeff Cosgrove, has already been announced. Tenor saxophonist Ivo Perelman and pianist Matthew Shipp have become each other’s most enduring partners, and their rapport is undeniable. Shipp knows exactly when and where to place a stone in the harmonic foundation that his partner needs to formulate and elaborate upon his imploring melodies, and the quavers in Perelman’s ascending queries accentuate the gothic bleakness of the pianist’s heavy chords and ruminative asides. Do you need this one? That all depends on how unacquainted or acquisitionist you are. If you need them all, well, you already have it, right? If you haven’t heard them at all, and you are open to cosmically inclined improvised music, Fruition is an excellent point of entry.

Bill Meyer

Santa Muerte — Eslabón (Hyperdub)

Eslabón EP by Santa Muerte

As Santa Muerte (Our Lady of Holy Death), Houston-based Mexican producer Panch Briones makes bass heavy club music grounded in the culture and mythology of his homeland. The title of his debut EP for Hyperdub, Eslabón translates as “link” and the four tracks make explicit his cross-cultural influences with a mix of IDM and traditional beats under effervescent synths, snatches of µ-Ziq influenced melody and indigenous spoken word samples. The music skips lightly, radiating concentric circles of euphoria across a surface beneath which you hear the bustling tension of living within two worlds. Briones works plenty into these short pieces and leaves you looking forward to what he might do in a longer format.

Andrew Forell 

 Philip Selway — Strange Dance (Bella Union)

Strange Dance by Philip Selway

Strange Dance is the third solo album by Radiohead drummer Philip Selway. While previous albums Familial and Weatherhouse were pleasant enough, they suffered from feeling a little safe and pedestrian, especially compared to Radiohead’s more adventurous work. On Strange Dance, Selway is branching out, collaborating and taking more risks. At best, on singles “Check for Signs of Life” and “Picking Up Pieces,” Selway explores possibilities with growing confidence. On the latter in particular, intricate rhythmic beds are buffeted by swooping strings and dissonant guitar lines from Portishead’s Adrian Utley. At its weakest, such as “The Other Side,” major-key piano melodies unfold sweetly but predictably. However, the main issue with Strange Dance is Selway’s lyrics, which frequently lapse into platitudes.

Tim Clarke

 Shame — Food for Worms (Dead Oceans)

Food for Thought continues a run of albums on which all the elements seem to be in place but never quite gel. Charismatic front man? Check. Bruising rhythm section? Yes. A couple of exciting guitar slingers? Sure. A zeitgeisty sound? OK. Decent songs? Some. So, what’s the problem? Three albums in and Shame seem unsure who they are. They’ve devolved into The Libertines redux without the cocksure attitude that made them kind of fun for five minutes. There’s plenty of earnest belting but the overall tone of Charlie Steen’s sometimes terrific delivery is irritability, and rest of band hit enough highs to make the missteps more noticeable. “Alibis” for instance, burns with righteous fury but the petulance of “Yankees” and sanctimony of “Adderall” grate. “The Fall of Paul” harnesses the band’s energy and dynamism to great effect but is followed by the meandering “Burning by Design” which sucks the air out of the room before attempting to resuscitate itself at the end. Food for Thought is disappointing, there’s enough here to pique the interest but not to sustain it.

Andrew Forell 

 Sluice — Radial Gate (Ruination)

Radial Gate by Sluice

Justin Morris’ songs as Sluice start spare and pick up weight as finger-picked precision gives way to the rich sustaining drone of string, the howl of untrammeled feedback. This second album from the North Carolina based musician starts in a tremble of immanence as tape hiss shushes and banjo notes tangle in the distance. Bowed notes waft in, glimmering like the bright line in the east when the sun’s just about to rise. This intro piece “Ostern” assembles all the sounds that Morris will incorporate in a humming cloud of sensation. Later, he will separate them out and surround them with space. In “Centurion,” for instance, where his warm spoke-sung delivery sounds a bit like Bill Callahan, as a guitar jangle sidles up into the foreground. Drums clatter in, a violin saws up out of white space, and finally pedal-screeching guitar builds up like a giant wave in previously serene water. It’s indie-folk, sure, but tapped into strong, unruly undercurrents. Or what about the existential inquiry that is “Fourth of” where memories of hot summers past and present cleave together in layers, and swimming hole becomes a metaphor for the connection of all things. (“I am the rock, I am the eddy, I am my roommates in love, I am blackberry jelly, I am the weir, I am the spillway.”) Morris enlists a whole orchestra’s full of capable player to flesh his songs out with mournful arcs of pedal steel, surging tides of stringed instruments and warm communal singing. Hold on for the end with “New Leices” grows from lyric interior musing to bright harmonized concord. Really lovely, this, like acoustic Akron/Family but simpler.

Jennifer Kelly

 Son of Dribble — Son of Drib Against the Wind (Minimum Table Stacks)

Son of Drib Against the Wind by Son of Dribble

New Jersey’s Minimum Table Stacks has a sixth sense about which arcane or overlooked sonic gems deserve the vinyl reissue treatment. Take Son of Drib Against the Wind, for instance. It originally took shape as a limited run cassette, self-released by Columbus, Ohio trio-turned-quartet Son of Dribble in mid-2022. The band’s fuzzy yet morose Velvets-meets-Joy Division garage rock clamor practically screams out for a wider audience and a more robust pressing, so it’s great that the label took the bait. Vocalist Andy Clager, with his handsome blend of Jonathan Richman baritone and Julian Casablancas croon, is the perfect front man. You’re not sure what he’s singing about, but you know it’s poignant. For added effect, the band tips its hat to an eclectic assortment of genres. Doo wop harmonies, proto-punk stomp, and arty synths all make an appearance. It’s as if Son of Dribble are the smarter, edgier, and grumpier cousins to fellow Columbusites Kneeling in Piss. Clager and crew picked the better band name, at least.

Bryon Hayes 

 Spiral Joy Band — In the River (Feeding Tube Records)

In The River by Spiral Joy Band

There are certain varieties of drone music that give credence to the notion that music is always out there somewhere, and humans don’t make it up, they just get to turn the cosmic tap on and off. Patrick Best and Mikel Dimmick are both members of Pelt, so it goes without saying that they are already well practiced at operating the tap. But since Pelt can go for years without a gig, they’ve sometimes run a side hustle in similarly expansive sound named the Spiral Joy Band. The two quarter-hour examples of said endeavor that can be heard on this LP come from a time, about a dozen years ago, when they both lived near Madison, Wisconsin, and had the empathetic assistance of a third string scraper named Troy Schafer. The combination of violin, viola, and harmonium guarantees access to a continuous, pulsing expanse of rich aural texture, which they show no compunction about cashing in. Locked grooves at the end of each side make this the record of choice when you don’t know if you’re going to be awake by the end of the side, but you know how you’re going to want to feel when you wake up.

Bill Meyer 

 Spitting Image — Full Sun (Slovenly)

SPITTING IMAGE "Full Sun" LP by SPITTING IMAGE

“Black Box” careens around the corners on car-crash riffs, drums spiking out of the infinitesimal pause between one hurtling phrase and another. Shouted lyrics slash in and out of the mix. At one point, late in the cut (which is only a minute and a half long so not that late), two people shout the title at each other. It is hard not to picture them, separated by inches, screaming in each other’s faces. This cut, and the harder, faster ones like “Spirit Trouble Flash” have a good bit of Big Black’s punk ferocity, a little of Shellac’s uncompromising angularity, though less complicated, more garage punk than noise art. Spitting Image, out of Reno, Nevada, have been around for a little more than a decade, grinding out an underground, basement show existence with, before this, just a handful of EPs, singles and one cassette release to show for it. This first full-length sounds, to me, a lot like the Xetas, which is to say it bangs pretty hard, until it doesn’t. The last three songs are disconcertingly down-tempo, lyrical and pensive, and I’m not sure that works, but the rest is pretty good.

Jennifer Kelly

 Tanukichan — Gizmo (Company)

GIZMO by Tanukichan

Tanukichan lays translucent, ethereal textures over buzz saw bass and rupturing drums, in an ice cream swirl of indulgence and crunch. “Don’t Give Up” vibrates like a mirage on heat-soaked asphalt, tremulous, idealized and gut-shocked with an underpinning rock and roll roar. Gizmo is the second soft-focus shoegaze pop album from Oakland’s Hannah van Loon, following Sundays in 2018. It takes its name from her pandemic pup, and, like the first, enlists the support of her friend Chaz Bear, better known as Toro & Moi. Some cuts play up the dreamy sweetness of van Loon’s murmuring soprano; others turn up the wrenching abrasion of rock sounds. “Thin Air” pairs van Loon with Enumclaw, another Oakland artist with a wry, slant on indie anthemry. These are lullabies buzzing with enough TNT to blow down buildings. More of this, please.

Jennifer Kelly

 Tithe — Inverse Rapture (Profound Lore)

Inverse Rapture by TITHE

This reviewer is unsure how an “inverse rapture” might work: will the sinners go to heaven? Will the believers be left behind? In either case, count me out — but count me in for more music from Tithe. The grim gang in the Portland-based band generates a convincingly pissed-off hybridization of grind and black/death, and the resulting songs are as unhinged as you might expect. The gloriously filthy guitar tone is best appreciated when Tithe slows to a trot, or a menacing shamble, as they do in passages of seven-minute-long “Killing Tree.” Still, the short songs have the greatest impact; “Demon” and “Pseudologia Fantastica” clock in well under three minutes, which may be the ideal length for this sort of whirling, battering chaos. Yikes. Beyond the religious symbolics of the band’s name and most of the song titles, it’s hard to say what all shouting and howling concern. One imagines it’s the usual stuff: Christianity is oppressively awful; in its name, people do lots of horrible things to one another; thus, evil and violence (symbolic or otherwise) are the only adequate responses. So why not let the Christian Rapture go off as originally planned? The True Believers will exit the earthball, and the rest of us can hang around and do our thing. Which will likely include turning this record up even louder.

Jonathan Shaw

 Ulthar — Anthronomicon (20 Buck Spin)

Anthronomicon by Ulthar

Fewer things seem riper for black/death musical fixation than H. P. Lovecraft’s fiction and cultural profile. His supernatural imaginary is suffused by the Empire of Slime, an accretion of repulsive, tentacular forms, sanity-shredding powers, and by his mandarin, aristocratic aesthetic sensibilities. Bay Area band Ulthar has embraced the fixation across their recorded output, which has now spread — like a cosmic fungus — onto two new paired LPs, Helionomicon and Anthronomicon, for about 70 total minutes of involuted black/death. By any measure, that’s a whole lot of Ulthar. Anthronomicon is the better LP of the pair, full of spurting pseudopodia and corkscrews of sound, and also imbued with an aggro, blackened hostility. “Saccades,” named for a variety of rapid eye movement, is a strong example of the record’s vibe. The nod to REM sleep evokes the surrealism just underneath the band’s noise and bluster. Check out the riff that emerges around the 2:20 mark; it’s brief lived, but it snaps the song into focus, sending it into the headlong tumble that dominates its second half, during which whirling chaos struggles with downhill momentum. It’s an exciting song.

Jonathan Shaw

 Ed Williams — Decomposition Study (Insub)

Decomposition study by ED WILLIAMS

Do you suppose that the old saying that too many cooks spoil the soup was first uttered by a chef who didn’t want to take questions or orders? Composer Ed Williams takes a different approach on Decomposition Study, one that admits multiple inputs from the distant past as well as the moment of performance. He devised a canon in a form favored 600 years ago by composers of madrigals and handed it to two musicians playing upon one arciorgano, a sixteenth century, bellows—operated organ with two keyboards. As they played the piece, four more musicians intervened at will, and Williams mixed the results, which were projected through a cube speaker. Clearly, there’s still some hierarchy shaping the results, but also a degree of democracy rarely heard in classical pieces for organ. While the antique keyboard’s gentle voices bring a whiff of older times, the performance’s exploration of tonal extremes and clashes feels more in tune with the past half century of psychedelic musical pursuits. Sign up for the novelty, stay for the disorientation.

Bill Meyer

#dusted magazine #dust #the attic #bill meyer #david brewis #tim clarke #chasmdweller #ray garraty #cvs #dignan porch #chris liberato #isolant #jonathan shaw #isik kural #jim marks #lantana #joanna mattrey #stephen long #ian mathers #mal sed #Scy1e #pacific walker #bryon hayes #ivo perleman #matthew shipp #santa muerte #andrew forell #philip selway #shame #sluice

[shawsfinalgirl]

MY CHRISJESSASH

#until dawn remaster #until dawn #chris hartley #jessica riley #ashley brown #most unserious trio of all time #love them so bad #fred hechinger #liana liberato #maddie phillips

[nataliadyernews]

Based On A True Story | Official Trailer

#natalia dyer #kaley cuoco #chris messina #based on a true story #liana liberato #video

[ramascreen]

Official Key Art And Trailer For Peacock's BASED ON A TRUE STORY Starring Kaley Cuoco and Chris Messina - Streaming June 8

Peacock has released these official key art and trailer for their new dark comedy thriller BASED ON A TRUE STORY. The series comes from Emmy Nominated Producer of The Boys and Executive Producer of Ozark and stars Emmy Award nominee Kaley Cuoco and Chris Messina ALL EIGHT EPISODES PREMIERE THURSDAY, JUNE 8 ONLY ON PEACOCK https://www.peacocktv.com/stream-tv/based-on-a-true-story    True crime…

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[movienized-com]

Based on a True Story

Based on a True Story (Serie 2023) #KaleyCuoco #ChrisMessina #LianaLiberato #TomBateman #PriscillaQuintana #BrandonKeener Mehr auf:

SerieJahr: 2023- (Juni) Genre: Comedy Hauptrollen: Kaley Cuoco, Chris Messina, Liana Liberato, Tom Bateman, Priscilla Quintana, Brandon Keener, Belmont Cameli, Lizze Broadway, Yvonne Senat Jones, Miles Mussenden, Natalia Dyer, Annabelle Dexter-Jones, Li Jun Li, Alex Alomar Akpobome … Serienbeschreibung: In Los Angeles treibt ein Serienkiller, der von der Presse „Westside Ripper” getauft wird,…

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#Chris Messina #Kaley Cuoco #Liana Liberato #Peacock #Priscilla Quintana #Tom Bateman

[thelinguaphilelady]

 the multilingual music list you need to enrich your ears

If you’re learning French, Spanish, Italian, etc. & are in need of artists to listen to... i’ve got you ! Here you’ll find music from different genres & most are on spotify.

French

○ indila

○ louane

○ gims

○ angèle

○ yseult 

○ nilusi

○ calogero

○ tayc

○ dadju

○ videoclub

○ olivier dion

○ lenni kim

○ céline dion

○ black m

○ vitaa 

○ amel bent

○ ya levis

○ lefa

○ tal

○ matt pokora 

○ maelle

○ louis and the yakuza

○ kyo

○ thomas dutronc

○ jérémy frerot

○ stromae

○ vianney

○ slimane

○ amir

○ zazie 

○ marc dupré

○ pierre de maere

Spanish

○ reik

○ juanes

○ pablo alborán

○ chucho rivas

○ rosalía

○ jesse y joy

○ blas cantó

○ francisca valenzuela

○ camila

○ romeo santos

○ prince royce

○ rozalén

○ vetusta morla

○ sin bandera

○ anthrés

○ mirco tdh

○ natalia lafourcade

○ rsel

○ pol granch

○ izal

○ julio iglesias

○ ana mena

○ cepeda

○ cristian castro

○ andrés suárez

○ son by 4

German

○ elif

○ wincent weiss

○ tim bendzko

○ hava

○ mike singer

○ lea

○ nakima

○ berge

○ anna blue

○ fabien wegerer

○ moritz garth

○ adel tawil 

Italian

○ arisa

○ laura pausini

○ lorenzo fragola

○ giorgia

○ francesca michielin

○ marco mengoni

○ annalisa

○ ermal meta

○ alessio bernabei

○ einar

○ the kolors

○ sonohra

○ levante

○ michele merlo 

○ matteo romano 

○ valerio mazzei

○ holden

○ diego lazzari

○ ultimo

○ albe

○ michele bravi

○ alex w

○ le vibrazioni

○ måneskin

Neapolitan

○ rosario miraggio 

○ tony colombo

○ liberato 

Swedish

○ darin

○ molly sandén

○ benjamin ingrosso

○ dotter

○ cherrie

○ veronica maggio

○ victor leksell 

Norwegian

○ tix

○ chris holsten

○ gabrielle

○ ylva

○ victoria nadine

○ ingeborg

○ ramón

○ stina talling

○ delara

○ bendik

○ kristin

Finnish

○ behm

○ ollie

○ erin

○ abreu

○ pihlaja

○ jvg

○ costee

○ anna puu

○ suvi teräsniska

Icelandic

○ gdrn

○ auður

○ aron can

○ friðrik dór

○ bríet

○ hatari 

○ daði freyr

Lithuanian

○ donny montell 

○ kaia

○ sisters on wire

○ alanas chosnau

○ jazzu

○ monique

○ monika linkyte

○ gabrielius vagelis

○ evgenya redko 

○ vilius

○ jurga

○ igle

Greek

○ marina satti

○ christos mastoras

○ eleonora zouganeli

○ nikos vertis

○ yianna terzi

○ pantelis pantelidis

○ michalis hatzigiannis

○ nikos oikonomopoulos

○ giorgos kakosaios

○ konstantinos argiros

○ stan

○ anastasios rammos

○ llias vrettos

○ giannis haroulis

○ antonis remos

○ giannis ploutarhos

Russian

○ elvira t

○ rauf & faik

○ sergey lazarev

○ dima bilan

○ zivert

○ max barskih

○ loboda

○ gafur

○ mona songz

○ misha marvin

○ serebro

○ ani lorak

○ cream soda

○ jah khalib

○ jony

○ the limba

○ xcho

○ maxim fadeev

○ asammuell

○ egor kreed

○ ooes

○ alyona shvets

○ alekseev

○ кис кис

○ emin

Romanian

○ mark stam 

○ carla’s dreams

○ andra

○ the motans

○ emilian

○ liviu teodorescu

○ irina rimes

○ mario fresh

○ andrei banuta

#language resources

[dustedmagazine]

Slept Ons: 2022

Sleeping on a Shovel Dance Collective sounds uncomfortable. 

Every year about this time, soon after filing our definitive, absolutely comprehensive best of the year lists, we writers discover that we missed one...or two...or 12. It’s not our fault. We listen to a lot of music.  But we can’t listen to all of it, and often we find albums that we love after the fact, often on the best of lists of our friends and contemporaries.  Every year, we try to remedy this problem with a list of slepts ons, the best albums that we should have been paying attention to, but weren’t.  We hope you’ll find something you missed as well.  Writers this time include Ian Mathers, Jonathan Shaw, Patrick Masterson, Jennifer Kelly, Andrew Forell, Chris Liberato, Bryon Hayes, Bill Meyer, Christian Carey and Justin Cober-Lake.  

Apparitions — Eyes Like Predatory Wealth (The Garrote)

Eyes Like Predatory Wealth by Apparitions

It does not matter how frantically I try and keep listening to things as year-end deadlines approach, there are always things not just missed but barely missed. I think it was a little after I turned my Dusted year-end piece in that I finally saw my friend Erik’s really good 2022 roundup, which includes among other records I hadn’t even heard of (and a few records I did already love) including this debut from the trio of Andrew Dugas (guitar), Igor Imbu (modular synth) and Grant Martin (drums). As soon as I read “If you like the idea of indeterminant collisions of drone metal guitar, free jazz drumming and modular synthesis this is a must hear” I suspected this was going to be one of the ones I regretted not having heard of earlier, and sure enough… On Eyes Like Predatory Wealth the trio, working in three separate cities, set out to make their parts for the three tracks here (the first 10 minutes long, the second 20 minutes, the last 30 minutes) without hearing the others’ parts (although conversation, conceptualizing and a shared framework was established). You wouldn’t necessarily guess at that level of remove from the results; instead, it’s sometimes almost scarily cohesive.

Ian Mathers

 Ashenspire — Hostile Architecture (Aural Music)

Hostile Architecture by Ashenspire

No excuse for my not tuning into this excellent record earlier. The debut LP from Glasgow-based Ashenspire had been blipping on and off my radar for any number of reasons: the subgenre identification with RABM, the collaborative presence of Otrebor from Botanist and the smart record title, for which the band offers “anti-homeless spikes” as an example of late capital’s utter contempt for the suffering people on its margins. The band is serious about that stuff. There are plenty of sharp intellectual interventions articulated by the record’s lyrics; I like these, from “The Law of Asbestos”: “Always three months to the gutter, never three months to the peak / Another day to grind your fingers for the simple right to eat / Always three months to the gutter, never three months to the crown / Another deep breath of asbestos in a godforsaken town.” Even more exciting is Ashenspire’s ability to create rollicking, hurtling metal intensities out of some decidedly highbrow instruments (saxophone, violin, prepared piano) and arrangements. Hostile Architecture bristles, slices and crushes much in the way of the brutal urban design elements named by its title. But the band also manages to imbue its songs with an inspiring leading edge. It’s a musical dialectic, enacting the incisive critique of the record’s ideas. Remarkable.

Jonathan Shaw

 Bluetile Lounge — Lowercase / Half Cut (Hobbledehoy)

Lowercase by Bluetile Lounge

Though Numero Group has been the de facto resource in recent years for slowcore reissue campaigns thanks to its work repackaging Codeine, Duster and Rex for a new generation, the label was beaten at its own game (for once) in 2022 by Adelaide’s Tom Majerczak and his Hobbledehoy Records’ repressing of a band who were hardly written about even this second time around. It figures: Bluetile Lounge were always going to have an uphill battle coming out of Perth on Australia’s far western coast away from the more visible scenes of Melbourne, Sydney and Brisbane. Though they managed Sub Pop distribution for 1995’s Lowercase and Steve Shelley put out 1998’s Half Cut on his own Smells Like imprint after the quartet opened for Sonic Youth on an Australian leg of their 1996 tour, the balkanized enthusiasm remained just that and they broke up after Half Cut’s release. There followed the fallow years before the surprise of new demo “Last Men” in April 2021 and the “Easterly” single this past June as a presage to these two reissues, both of which reiterate what a mostly unaware indie-rock world was missing. Recording live with overdubs to wonderfully pensive effect, one listen to “The Weight (and the Sea)” or “Ltd” should seal the deal for anyone interested in slowcore’s less heralded corners. You don’t have an excuse to miss out twice.

Patrick Masterson

 Eric Chenaux — Say Laura (Constellation)

Say Laura by Eric Chenaux

Eric Chenaux haunts the interstices between pop and jazz, minimalism and lush romance.  An experimenter by nature, but an exceptionally accessible one, he threads wandering spectral melodies through bare pulses of bass and kudzu growths of wah wah’d guitar.  The opener “Hello, How? And Hey” feels like a private reverie, nudging up to epiphany, then backing softly away.  “Say Laura” builds electronics into its glancing, elliptical contours but that’s a framing device.  Chenaux’s voice is almost too human, too vulnerable, too coolly cerebral.  This music slips out of your grasp, but gently. It shifts gears—and keys—effortlessly, and smooths over disruptions in rhythm, so that it seems to flow in an organic way that erases all of its interior difficulties.  “There They Were” balances between ease and complication, its warm drift of a vocal chorus all soulful pop, but knocked off kilter by an irregular scrawl of guitar.  I’ve been putting this one off since early 2022, but there was nothing to be afraid of after all.  

Jennifer Kelly

 Morgana — Contemporaneità (Low Ambition Records)

When Tuscan quartet Morgana released Contemporaneità in August, they made an immediate impression with a brand of cold wave influenced politically sophisticated post punk which on first listen sounds very much like Xmal Deutschland. After initially it filing away as well made but derivative, I found myself drawn back, and it’s become a favorite. The singer Bri proclaims loudly Debordian social critiques in Italian and French, Valeria enthusiastically bashes away at the drums, Ivan’s bass takes the melodic lead and guitarist Sola reels out lines straight from the McGeoch playbook. At 17 minutes, Morgana get in and out of songs with a minimum of fuss and a stylistic variety revealed with repeated listens. There are echoes of many of their influences but Morgana live by the words of “Provare Ancora” (Try Again): “Try fail/try again/try fail/fail better/Believe what we feel/act accordingly/persist, attack, build/perhaps win” A band to keep an ear out for and I’ll be fascinated to see where they go next.

Andrew Forell   

 The Orchids — Dreaming Kind (Skep Wax)

DREAMING KIND by The Orchids

“This boy is a mess,” The Orchids' soft-singing frontman James Hackett confesses on the single of the same name, a contender for 2022’s best pure pop song. From a lyrical standpoint at least, he certainly seems like one. In the first three songs alone on Dreaming Kind — the fourth album from the Sarah Records stalwarts since reuniting in the late aughts — Hackett swings between extremes: spitefully kissing someone off one minute, joyfully enamored with a lover the next, and then down on his knees begging for love. Musically, however, Dreaming Kind is about as even-keeled and elegant as indie pop gets. Elevated by longtime producer Ian Carmichael’s glistening touch, the band glides through the chorus of “This Boy Is a Mess” like a top-down sedan headed for the horizon. They slip into swooning, loungey electronica on “I Should Have Thought,” recalling Mark Eitzel circa The Invisible Man. And on “I Don’t Mean to Stare,” they float funkily along using voice sampling, programmed drums, even touches of vocoder. The dubbed-out dramatic pause on “Limitless #1 (Joy)” says it all: At this point, The Orchids could do this in their sleep. 

Chris Liberato

 Outliers — The Top Tent (Outlier Communications)

The Top Tent by Outliers

Outliers is the house band of the fledgling Outlier Communications label; both involve the husband-and-wife duo of Kevin Hainey and Sarah Tracy. Hainey’s roots reach deep into Toronto’s fecund and fetid noise-rock sub-underground: he was a founding member of Disguises and ran the Inyrdisk imprint, hand-making a daunting number of CD-Rs for 11 years before calling it quits in 2016. With this new venture, practicality tempers Hainey’s previously fierce DIY ethic. Most of the Outlier Communications releases are professionally duplicated. Sonically, Outliers situate themselves in an unlikely liminal zone, stretching between thick proto-industrial murk and buoyant Berlin School kosmische. Tracy and Hainey trace the formlessness of fluid matter with their sound-making gear, dappling their soundscapes with a naivete akin to that of R. Stevie Moore. The Top Tent is the most fully realized artifact in the Outliers canon, shaping the duo’s primordial ooze in fantastical ways. The pair are in symbiosis with their gear, coaxing weird and wonderful phantasms out of sheer electricity. Based on the arc that Tracy and Hainey have traced thus far, it’s exciting to imagine where they’ll take this project in 2023 and beyond.

Bryon Hayes

 Zabelle Panosian — I Am Servant of Your Voice: March 1917-June 1918 (Canary)

I Am Servant of Your Voice: March 1917 - June 1918 by Zabelle Panosian

Zabelle Panosian first came to my ears in 2011, when I heard her performance of “Groung” on the compilation To What Strange Place: The Music of the Ottoman-American Diaspora (1916-1929). Accompanied solely by a piano and a ghostly backdrop of 78 rpm noise, her soprano voice concentrated generations of inherited grief and the individual experience of exile into a performance so sublime that you don’t need to know a word of Armenian to feel its pain. I Am Servant Of Your Voice: March 1917-June 1918 collects her discography, which comprises just 21 takes, onto one CD. An accompanying 80-page book puts a life to the voice. Panosian was born near Istanbul in 1891, and moved to the US as a teen to marry an Armenian-American photographer. She was never a big star of the stage, but she wasn’t obscure, either. She was a real draw as a coloratura opera singer performing at Armenian aid events during the 1910s and early 1920s, and she performed on both sides of the Atlantic into the 1930s. The book also discusses the career of her daughter, who represented herself as Spanish and sustained a career as a dancer and entertainer into the 1950s. It’s this very American tale of necessarily elastic identity, as well as Panosian’s music, that make I Am Servant Of Your Voice a real treasure.

Bill Meyer

 Shovel Dance Collective— The Water is the Shovel of the Shore  (Memorials of Distinction and Double Dare)

I only learned about this right before the New Year and didn’t have a chance to listen until the first week of 2023. My immediate reaction: this music and the performances on the recording speaks to my soul and ancestry like few others. A collective of musicians from a variety of backgrounds joining together to sing English, Irish, Scottish ballads dating all the way back to the 1600s (and perhaps even earlier). Sometimes folk instruments, often of an esoteric variety, are used. Just as often the whole group sings medleys of ancient songs into the surf, accompanying gulls’ cries and the lapping of the waves. 

Christian Carey

 Suede — Autofiction (BMG)

With their ninth album, Suede don't radically rewrite their sound, but they lean into the most powerful elements of it. Autofiction relies more on the band's post-punk tendency rather than their glam expressions, and with a rawer production to match, the band's reached a new high. The big, aggressive sound doesn't sound like a return to adolescence (despite a track titled “15 Again”), as the group focuses on mature subject matter. The album opens with “She Still Leads Me On,” a track about the continuing influence of singer Brett Anderson's late mother. The Fall-like “Personality Disorder” considers the fleeting nature of life. These topics might not sound fit for anthemic concert singalongs, but the record closes with “Turn off Your Brain and Yell,” a cut that pretty much suggests the group's approach to the album. With Autofiction, Suede move into a new era, maintaining their core sensibilities. The writing remains sharp and focused even as the band lets loose, combining for an album as strong as any they've released over their 30 years together.

Justin Cober-Lake

#dusted magazine #slept ons #yearend 2022 #apparitions #ian mathers #ashenspire #jonathan shaw #bluetile lounge #patrick masterson #eric chenaux #jennifer kelly #morgana #andrew forell #the orchids #chris liberato #outliers #bryon hayes #zabelle panosian #bill meyer #shovel dance collective #christian carey #suede #justin cober-lake

[loveafairs-a]

      JUST    A    GIRL    recycling    some    muses    that    aren't    being    used    &    then    replacing    them    with    someone    new    !    so    down    below    will    be    some    new    muses    that    i've    added    to    my    list    !

corrine   braun    (   lili    reinhart    fc   )   …   bisexual.   she/her.   twenty   five.

harvey    james    (    alex    fitzalan    fc    )    …    heterosexual.   he/him.    twenty    six.

georgina    becker    (    halston    sage    fc   )    …    bisexual.   she/her.    twenty  nine.

arlo    dixon     (    jesse    williams    fc   )    …    heterosexual.   he/him.    forty    one.

briar    morris    (    florance    pugh    fc   )    …    bisexual.    she/her.    twenty    six.

jackson    kraus    (    chris    pine    fc   )    …    heterosexual.   he/him.  forty    two.

daisie    forbes    (    madison    iseman    fc   )    …    bisexual.   she/her.    twenty  five.

bennett    cameron    (    thomas    doherty    fc   )    …    heterosexual.   he/him.  twenty    seven.

nora   chandler    (   liana  liberato   fc   )   …   bisexual.   she/her.   twenty   seven.

keaton   jenning   (   nick   robinson   fc   )   …   heteroexual.   he/him.   twenty �� six.

#filed under : out of character › ❪ someone tell me to shut up. ❫

[shawsfinalgirl]

some of my until dawn fancasts <33

#jess riley #mike munroe #ashley brown #chris hartley #maddie phillips #brian altemus #liana liberato #fred hechinger #until dawn #supermassive games

[newbornfallshq]

FCs for Kol & Davina's children?

Male

Asa Butterfield

Brenton Thwaites

Brandon Flynn

Casey Cott

Casey Deidrick

Chace Crawford

Chris Evans

David Franco

Dylan Minnette

Ian Harding

Joe Jonas

Josh Hutcherson

Liam Hemsworth

Liam Payne

Logan Lerman

Louis Tomlinson

Mark Salling

Miles Heizer

Nick Jonas

Nico Tortorella

Robbie Amell

Robert Pattinson

Theo James

Zac Efron

Female

Adelaide Kane

Alexandra Daddario

Alexis Bledel

Alison Brie

Alycia Debnam-Carey

Daisy Ridley

Emilia Clarke

India Eisley

Jaimie Alexander

Jenna Coleman

Joey King

Katherine Langford

Kendall Jenner

Marie Avgeropoulos

Megan Fox

Liana Liberato

Lily Collins

Maise Williams

Megan Fox

Natalia Dyer

Nikki Reed

Odeya Rush

Rowan Blanchard

Sarah Hyland

Shenae Grimes-Beech

Willa Holland

Willow Shields

Zoey Deutch

#kolvina #tvd rp #appless rp #legacies rp #to rp #rp

[nezoid]

April 2024 Recap:

- ​Connor Price concert and finally meeting!

- Meeting ​⁠Mason Gooding

- Meeting Liana Liberato

- Getting a Buck 120 Knife (Ghostface Scream) personalized and signed by Melissa Barrera

- Abigail premiere

- The Last Improv Show with Dan Black, Bobby Moynihan, Brandon Scott Jones, D’Arcy Carden, Jon Gabrus, Jason Mantzoukas, and monologist Iliza

- #searchhistoryucb

- The Last Improv Show with Dan Black, Bobby Moynihan, Carl Tart, Mary Holland, Mitch, Eugene Cordero, and monologist Kevin Miles

- Comedy Pole Show Rachel Bloom

- Spanish Aqui Presents

- Weer Natalie Palamides

- Deadline Contenders - Abbott Elementary Quinta Brunson William Tyler James Chris Perfetti William Stanford Davis

- SBG Socal Iron Man

- Lunch with @nightlight_k and Maira

- Wednesday and Hanzo’s first birthday

- “Splat” by Connor Price

- As per usual, doggos galore. My girls Tallula & Wednesday as well as Emma, Winston, Hanzo

#©DiozenOasin #© Diozen Oasin #the last improv show #comedy pole show #search history ucb #Spanish aqui presents #connor price #Mason Gooding #liana liberato #scream #abigail #melissa barrera #abott elementary #quinta brunson #puppy #dog #Akita #miniature pinscher #german shepherd #shiba inu #cute #birthday #los angeles #comedy #show #live #funny #d’arcy carden #friends #family

[twins2994]

Braves Shutout Twins 3-0.

Twins 0 Braves 3 W-Strider (3-0) L-Paddack (0-2) SV-Walsh (1)

The Minnesota Twins made the quick trip up to North Port to play the Braves this afternoon. Atlanta was ready from the start as Ozzie Albies belted a Chris Paddack fastball out to right for a solo homer. This put the Braves up by a run after an inning of play. Chris Paddack and Spencer Strider would dominate for a good chunk of the day and the bullpens followed suit. Neither team scored throughout much of the game and Atlanta added some insurance runs in the eighth. Chadwick Tromp and Nacho Alvarez started it with two-out singles. Ethan Workinger walked and Luis Liberato plated a pair with a base hit to center. Jake Walsh threw a scoreless ninth and the Braves picked up the shutout win at home today.

-Final Thoughts- Chris Paddack had a rough first inning then got to work. He threw four solid innings and gave up a run on six hits with two walks and two strikeouts. Griffin Jax struck out the side in the fifth. Brent Headrick tossed three innings and allowed two runs on five hits with a walk and five strikeouts. The Twins scattered three hits and went 0-for-3 with runners in scoring position. They left seven men on base today. CoolToday Park is a decent spring training ballpark and the fifth that I've attended. The Twins will make the long trip up to Lakeland tomorrow to play the Tigers. Joe Ryan faces Kenta Maeda in that one.

-Chris Kreibich-

#Twins #MnTwins

[ramascreen]

Peacock's Dark Comedic Thriller BASED ON A TRUE STORY Starring Kaley Cuoco And Chris Messina Scores Second Season Renewal

Peacock’s dark comedic thriller BASED ON A TRUE STORY has been renewed for a second season. The series comes from UCP, a division of Universal Studio Group.      Season 1 features Executive Producer and star Kaley Cuoco, alongside Chris Messina, Tom Bateman, Priscilla Quintana, and Liana Liberato.    BASED ON A TRUE STORY is a satire of the true crime genre with elements that are loosely inspired…

View On WordPress

#Based On A True Story

[dustedmagazine]

Listening Post: Souled American

Souled American arose in the context of the roots-influenced alternative rock scene of the mid to late 1980s that included “cowpunk” bands such as Rank and File, Green on Red’s acid country and the more refined sound of the Jayhawks. This nascent Americana movement built on the tradition of Dylan and the Band etc. and fed into the No Depression scene associated with Uncle Tupelo in the 1990s.

The first Souled American release, Fe (1988), is in this larger tradition—kind of. “Magic Bullets,” “Make Me Laugh,” and “Going Home,” in particular, have a fairly conventional country rock sound, with rattling drums, twangy guitar, and heartfelt nasal singing, and “She Broke My Heart,” is all weepy country. Some of the other tunes, though, point in a different direction. “Notes Campfire” sets the mood with acoustic strums and a classic country set-up (“I heard about your love/so you’re alone today”) but soon becomes unintelligible (“Slavic notes campfire”?) and introduces odd harmonies somewhere between the Byrds and the Holy Modal Rounders. The distinctive elements of the band sonically begin with the bass of Joe Adducci, which is up front in the mix, shows the influence of his time playing reggae, and is unique in the genre. Equally important are the restrained percussion of Jamie Barnard, the atmospheric playing of guitarist Scott Tuma (who has maintained a solo career), and the voices of Adducci and guitarist Chris Grigoroff.

Everything comes together on Flubber (1989), which starts off with a suite of five tunes on side one that are, for me, 15 of the best minutes of music in the genre in any period. If you’re looking for an entry point with SA, this is it. The blend of burbling bass, acoustic strums, keening electric accents, and atmospheric harmonica is full of emotion and mystery. The sound is simple but layered, making the whole so much more than the parts. The harmonica serves, not to punctuate the vocals, as in Dylan, but to fill the space often filled by accordion, fiddle, and keyboards (e.g., “Wind to Dry”). The lyrics don’t really make sense, but the atmosphere that they create perfectly matches the sound. Characters emerge, such as the lonely woman at a bar in “Mar’Boro Man,” and images such as the canvas punching bag in “All Good Things,” while “Drop in the Basket” hints at an America coming apart at the seams (“this church is on fire/the sirens scream . . . searching every alley for patches for holes”). The other tunes are less immediately compelling but equally rewarding as an early example of slowcore. On “You and You Alone,” “Over the Hill,” and “Zillion,” the band slows to a crawl and the percussion becomes vestigial, pointing forward to the space that has since been inhabited by artists ranging from Will Oldham to SUSS. Flubber creates something new out of well-worn parts, a kind of Old Weird Americana that is neither ironic, overly earnest, nor beholden to the rock tradition. The reissue well includes the mission statement (originally only available on cassette) “Marleyphine Hank” — i.e., the band is made up of equal portions of Bob Marley (that bass), morphine (the slow tempos), and Hank Williams (of course).

Around the Horn (1990) includes tracks every bit as strong as those on Flubber and Fe — the title track, “Second of All,” “In the Mud,” and an inspired take on Little Feat’s “Six Feet of Snow” — and continues the move toward slowcore country, especially on the epic “Rise Above It.” It also represents a major inflection point. The three subsequent releases (which were only available in the U.S. as European imports) double down on the slowcore approach (facilitated by Barnard’s departure in 1991). Sonny (1992) consists mainly of covers of country and traditional songs and instrumentals that are a lot like those on previous records. It’s pleasant enough, but the bass has receded into the background, the harmonicas are rarely in evidence, and there’s a sense that the band was running out of ideas. Frozen (1994) and Notes Campfire (1996) both consist of originals played at the characteristic molasses tempo. There are some great songs, especially “Before Tonight” and “Heyday,” but, at the time, there was simply no market for this kind of music, and the band fell largely silent. Even diehard fans may find these releases challenging, and the place to start for newcomers remains the three remarkable records released from 1988 to 1990.

So, I’m wondering how those who were there at the time think these songs have aged (I think they hold up really well) and how they strike those who are hearing them for the first time.

Jim Marks

Fe by Souled American

Bill Meyer:  I first heard Souled American around the time of Flubber. I had people telling me how wonderful they were, and when I listened at the time, I didn't hear it at all. The music sounded kind of cartoony to me. I decided to take the albums in sequence, and I am currently halfway through. I no longer hear the vocals as caricatures. They seem like a natural synthesis of the group's interests and aptitudes.  And the arrangements, which I once merely registered as kind of annoying, now sound highly idiosyncratic. I gather that the bassist, Joe Adducci, played in ska bands. Instead of toning down his assertive rhythm plus counterpoint approach to suit country-rock convention, the playing jams his style into the tunes. I haven't decided whether I like it any more, but I get how singular it is in a way that I didn't 30-odd years ago. So, I guess that listening to this music again is acqauinting me with evidence of how I've changed as a listener.

Justin Cober-Lake:  I'm one of those hearing them for the first time, and I'm drawn to the early albums (probably Fe the most) for the same reason I'm drawn to artists like the Band. The music slips between time periods, between genres, between whatever else. If you'd told me that Fe was recorded 20 years earlier, I'd have believed you. It's a very earnest approach to a certain sort of country rock that came before, and I can even hear some inflections of cosmic country. I don't think Souled American fits the alt-country narrative very well at all, beyond the fact that everyone probably listened to Gram Parsons.

The "slowcore approach" that Jim mentioned definitely sets them apart from their alt-country cousins, and it feels like an element of their music that does slot into the early '90s more so than their instrumentation or influences. By the end of the discography, it begins to feel predictable -- it's hard to think, "What *is* this?" after six albums -- but until then it's very striking, and gives the first few albums a very distinctive flavor. One of the connections I wonder about is how this music connects to the current wave of ambient country (or similarly named music). We're hearing more and more music that uses pedal steel and other country instruments for non-traditional music. I'm thinking of acts like SUSS or Luke Schneider's various projects. I'm not sure there's a throughline at all here, but that gets me back to my first point about what attracts me to this music. It sort of fits into a whole bunch of places without really having a proper home.

Flubber by Souled American

Christian Carey: Timing is so important in the record industry. A band can make great music that would have gained wider currency if only they had released it when the Zeitgeist was in their favor. I think this is the case with Souled American. Imagine if the band’s first album had been released in 1996, the date of their last LP, Notes Campfire. Souled American might have fit in well in the No Depression era. Instead, they struggled with labels and sales and, perhaps inevitably, stopped releasing records. As they matured, so did Chris Grigoroff’s vocals; the earlier releases have twang and warble that are a bit too on the nose. So too did the band’s sound, moving from more straightforward production to experiments one might consider proto Wilco. Fe morphs their sound in this direction, and the songs themselves are more experimental in construction. Notes Campfire has a gloomily valedictory quality. My understanding is that Souled American still plays the occasional gig. It would be nice to see what they would do in the studio today.

Jennifer Kelly:  I remember reviewing a really lovely Scott Tuma solo album for Dusted during the Otis years, and it looks like we did a couple of others as well. 

This is the paragraph that addresses what has Scott been up to since Souled American.  

It’s been roughly a decade since Scott Tuma played guitar in Souled American, the cultish alt.Americana outfit whose unstrung country blues inspired, among other things, Camden Joy’s “Fifty Posters About Souled American” project (and a cameo in Jonathan Lethem’s Chronic City). Since then, Tuma has contributed to the ambient explorations of the Boxhead Ensemble and, with members of Zelienople, to Good Stuff House. He has also released four solo albums that warp familiar, organic sounds into strange dream-like shapes.

Bill Meyer:  As far as I know, he still lives in Chicago, but I haven't seen Tuma in years. He has continued to make albums, and discogs says that a cassette came out on Emmett Kelley's label, Haha, last year. I've heard a lot of them, and while each has its own character, they're all loose, slow, and more inclined to communicate via tone than words. While there was a time in the early aughts when you could see him reasonably often, he performed out significantly less in the years before the pandemic.

Jim Marks:  Yes I gave Tuma's records short shrift in the intro. They're uniformly excellent, taking the slowcore in another direction, and I've actually listened to them more over the years than the Souled American records.

Justin Cober-Lake:  Now I'm detouring into Tuma's discography, and he does something quite different. It's still in some sort of Americana-based slowcore whatever, but it doesn't sound like Souled American. I don't want to dwell on the band's decline or dissolution, but is there any connection between his changing sound and the end of Souled American. The band runs out of either steam or ideas for its last couple records, but Tuma hadn't. "Untitled 2" on The River 1 2 3 4 beautifully develops the broader aesthetic, with both a classic loveliness and innate weirdness that could have continued to drive the band (which I realize had been broken up for seven years at this point).

Sonny by Souled American

Bill Meyer:  I’m only up to Sonny, which I’ve just heard for the first time ever, so my thoughts my change as I play through the final two. But on Sonny, what stands out about Tuma’s playing is the extent to which it doesn’t sound like him as I got to know him later on; instead, he plays what the music requires in order for it to be Souled American Music. This feels like the point where they drew their line vs. the rest of the world. We’re going to play so slow, our drummer quits on us. We’re going to make an album of classic country songs, and make them all sound just like us. They really double down on slow tempos and a style of singing that emphasizes emotional and locational signifiers (quavers, elongations, that rural drawl), but seems to drain them of emotion, and locates them in a place that probably doesn’t exist beyond the four walls of their rehearsal room. They seem very determined to be themselves, for better or worse pursuing some ideal form of Souled Americanness.

I should clarify, the drummer left after this record was done. At the time that record came out, their manager had a form letter responding to all Souled American queries, and in it he said that the drummer quit because he got married. Interestingly, the letter says that it took eight months to record Sonny; apparently, these guys were slow in more ways than one.

And as I s-l-o-w-l-y drawn to the conclusion of album number five, Frozen, the Tuma solo connection starts to materialize. With its more drawn-out tempos drawing everything within gravitational reach towards a strange state, this is the first record to sound anything like solo Tuma, albeit fuller and more polished than anything he did on his own. Chris Grigoroff’s singing sounds less engaged than ever with country-rock convention, and more like this one weird guy from the country singing. He sounds more emotionally invested in these songs than he did in the covers on

Sonny

, which reinforces my notion that Sonny is the record where they decided to show the world, "this is how it must be done," and they used those songs to do it. 

I think this might be the record I like the most out of the five that I’ve heard.

Notes Campfire by Souled American

Jim Marks:  Nice to see the later Souled American records getting some love. They were ignored or scorned at the time (I remember a particularly scathing review of Notes in the Austin Chronicle) despite having, among other charms, great accessible tunes like "Heyday" and "Before Tonight." Bill has it exactly right: this is uncompromising outsider music.

Jennifer Kelly:  I am belatedly getting into all this.  Have to say that I failed to make much of a connection with Fe, but I am liking Flubber a lot better, especially the parts where the country blues haze parts and you get some soul-ish vamps as on "True Swamp"  and "Cupa Cowfee."  

At its best, this stuff is very trance-y and transcendental, but sounds deeply rural, which makes me wonder how these city boys came to this type of music.  Also, it's reminding me of some of the weirder backwoods psych we have around here, like Sunburned and Tower Recordings and MV and EE.  Is there a line of influence there?  

Am I right that these are just straight reissues--no extra tracks and so forth? About to tackle Around the Bend, more later.

Bill Meyer:  I have never heard of a band claiming Souled American as an influence. My recollection is that in the 1990s they had a critical buzz. I believe that Mike Krassner of Boxhead Ensemble was a fan, and this influenced the decision to recruit Tuma into Boxhead in the late 1990s.

Bryon Hayes:  I'm also late to the party with respect to Souled American proper.  My induction into their orbit was via the series of releases that Scott Tuma recorded with members of Zelienople.  Jenny's comment about trance-y and transcendental really applies to those records, but I also definitely hear it in the latter Souled American releases, especially Notes Campfire.  It's my favorite of the lot; the unhurried tempos and melancholic atmospheres really resonate with me.

I'm wondering if the connection to the northeastern US backwoods psych scene has to do with the band's affiliation with Zelienople. Even though they were also from Chicago, that band seemed heavily aligned with that psychedelic folk scene. I know that Time-Lag released the first Good Stuff House recordings.  That project included Tuma alongside Mike Weis and Matt Christensen from Zelienople.  I'm unclear whether any of the other Souled American band members were aligned with that other band, however.

Jim Marks:  Just for the record, "Tall Boy Blues," "True Swamp Too," "Torch Singer," and "Marleyphine Hank" did not appear on the original vinyl releases but were cassette- and CD-only tracks. The only thing missing from the reissue that I know of is a (fairly straight) cover of a Kris Kristofferson song that appeared on an early 2000s tribute to Kristofferson.

Around the Horn by Souled American

Chris Liberato:  Something clicked for me in the last couple of weeks and I've been enjoying the heck out these records! I haven't digested them all yet, but Fe, Flubber, Frozen and Notes Campfire have all been doing it for me. Flubber is the only one that I was familiar with prior. I bought a used copy in the early aughts (at Twisted Village, rest in peace), but I couldn't get into it at the time and ended up letting it go. Like Bill, I remember being turned off by the vocals. Now I'm hearing shades of Curt Kirkwood from the Meat Puppets, Will Oldham and a little bit of Jay Farrar in the vocals -- all folks whose voices I like a lot, and who I was familiar with long before I heard Souled American. I don't know what my problem was back then.

I'd like to stay on the Meat Puppets comparison for a second because they're the band that Souled American might remind me of the most. Not in their choice of tempos, of course, but in many of the ways we've already touched on: the prominent, burpy bass (flubbery is actually is a  great word to describe it's sound); the spacey, interweaving guitar lines; the cryptic and occasionally profound lyrics. Both bands have this way of blending (many of the same) genres to create something not easily classifiable. And they take a similarly unselfconscious approach to performance, especially in the vocal department. I poked around to see if the Meat Puppets comparison was a common one, but only found a couple mentions. One was in a recent Raven Sings The Blues feature with Eric Johnson of the Fruit Bats where he described Frozen as sounding like Meat Puppet's Up on the Sun but with the tape slowed WAY down." I think that's a pretty accurate description, and one that could be applied to many moments in their catalog.

Jennifer Kelly:  Huh, Meat Puppets, good call, though I think of them as more rock and less Americana.  

I've been listening to the live Strapping Fieldhands from the early to mid-1990s lately and hearing some commonality there as well.  Also very weird and kind of offputting vocals.  

#dusted magazine #listening post #souled american #jim marks #justin cober-lake #bill meyer #christian carey #bryon hayes #chris liberato #scott tuma #zelienople #meat puppets

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Iran: Ong, liberato su cauzione il regista Panahi - Mondo

Il regista iraniano Jafar Panahi, incarcerato da circa sette mesi in Iran, è stato liberato oggi su cauzione: è quanto annuncia l’Ong CHRI, basata a New York. Panahi è stato liberato “due giorni dopo aver avviato uno sciopero della fame”, sostiene il CHRI, mentre il giornale iraniano Sargh ha pubblicato una foto di Panahi all’uscita del carcere di Evin di Teheran RIPRODUZIONE RISERVATA ©…

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[loveafairs-a]

      𝐅𝐈𝐍𝐀𝐋𝐋𝐘    GETTING    TO    the    muses    part    of    my    revamp,    so    down    below    will    be    a    list    of    muses    i'm    keeping,    recycling    &    muses    that    i've    moved    to    my    reserved    list.

reserved.

aiden   nilsen    (   aaron  tveit   fc   )   …   heterosexual.   he/him.   thirty   eight.

antony   smith    (   theo   james   fc   )   …   heterosexual.   he/him.   thirty   seven.

corrine   braun    (   lili   reinhart   fc   )   …   bisexual.   she/her.   twenty   five.

taner   eldem    (   alp   navruz   fc   )   …   heterosexual.   he/him.   thirty   two.

trevor   geller    (   jon   bernthal   fc   )   …   heterosexual.   he/him.   forty   five.

wyatt   foster    (   dyldo   o’crien   fc   )   …   heterosexual.   he/him.   thirty.

keeping.

archer   larsen    (   finn   wittrock   fc   )   …   heterosexual.   he/him.   thirty   seven.

asher   bailey    (   hero   fiennes   tiffin   fc   )   …   heterosexual.   he/him.   twenty   five.  

austyn   hansen    (   kristine   froseth   fc   )   …   bisexual.   she/her.   twenty   six.

avani   hasan    (   alisha   boe   fc   )   …   bisexual.   she/her.   twenty   five.  

blakely   owen    (   maya   hawke   fc   )   …   bisexual.   she/her.   twenty   five.

brayden   cameron    (   thomas   doherty   fc   )   …   heterosexual.   he/him.   twenty   seven.  

briar   morris    (   florence   pugh   fc   )   …   bisexual.   she/her.   twenty   six.

cemile   sydin    (   aslihan   malbora   fc   )   …   heterosexual.   she/her.   twenty   seven.

daisie   forbes   (   madison   iseman  fc   )   …   bisexual.   she/her.   twenty   five.

davie   vásquez   (   maia   reficco  fc   )   …   bisexual.   she/her.   twenty   three.

daxton    fraiser    (    thomas    doherty    fc    )    …    heterosexual.    he/him.   twenty  seven.

davie   vásquez   (   maia   reficco  fc   )   …   bisexual.   she/her.   twenty   three.

daxton    fraiser    (    thomas    doherty    fc    )    …    heterosexual.    he/him.   twenty  seven.

derek    stewart    (    scott    speedman    fc    )    …    heterosexual.    he/him.   forty  six.

dilan   kanca   (   bahar   sahin   fc   )   …   bisexual.   she/her.   twenty   five.

emerie   coyle    (   daisy   edgar   jones   fc   )   …   bisexual.   she/her.   twenty   four.

emira   demir    (    hande    ercel    fc   )   …    bisexual.    she/her.    twenty   eight.

frankie   novak    (   bailee   madison   fc   )   …   bisexual.   she/her.   twenty   three.

georgina   becker    (   halston   sage   fc   )   …   bisexual.   she/her.   twenty   nine.

harlan   alder    (   freddie   thorp   fc   )   …   heterosexual.   he/him.   twenty   eight.

harvey   james   (   alex   fitzalan   fc   )   …   heteroexual.   he/him.   twenty   six.

jackson   kraus    (   chris   pine   fc   )   …   heterosexual.   he/him.   forty   two.  

kaisen   adams   (   jonathan   bailey   fc   )   …   heterosexual.   he/him.   thirty   four. 

kamile   karsli   (     cemre    baysel     fc   )   …   bisexual.   she/her.   twenty   three.

keaton   jenning   (   nick   robinson   fc   )   …   heteroexual.   he/him.   twenty   six.

kiyana   kumari    (   simone   ashley  fc   )   …   bisexual.   she/her.   twenty   seven.

koray   ekim   (   alperen   duymaz   fc   )   …   heterosexual.   he/him.   twenty   nine.

kyson   davis   (   jeremy   allen   white   fc   )   …   heterosexual.   he/him.   thirty   one.

laila   demirci   (   ayça   ayşin   turan   fc   )   …   heterosexual.   she/her.   twenty   nine.

lara    kiraz    (    melis    sezen    fc    )    …    heterosexual.    she/her.    twenty    five.

lucien    robinson    (      josh    duhamel      fc    )    …    heterosexual.    he/him.   forty nine.

maritza   ruiz    (   priscilla   quintana   fc   )   …   heterosexual.   she/her.   twenty   nine.

matthew   garza    (   oscar   isaac   fc   )   …   heterosexual.   he/him.   forty   three.

mavie   ereira    (    abigail    cowen    fc    )    …    bisexual.    she/her.    twenty   three.

melinda   fredrick    (   ana  de  armas   fc   )   …   bisexual.   she/her.   thirty   four.

miller   axelsson    (   bill   skarsgard  fc   )   …   heterosexual.   he/him.   thirty   one.

navie   pereira     (   mikey  madison   fc   )   …   bisexual.   she/her.   twenty   five.

niles  walsh    (   dyldo   o’crien   fc   )   …   heterosexual.   he/him.   thirty.

noah  morelli    (   milo   ventimiglia   fc   )   …   heterosexual.   he/him.   forty   five.

nora   chandler    (   liana  liberato   fc   )   …   bisexual.   she/her.   twenty   seven.

rainer   moretti   (   dyldo   o’crien   fc   )   …   heteroexual.   he/him.   thirty.

ranslie   lundy   (    adelaide    kane    fc   )  …    bisexual.    she/her.    thirty   two.

reagan   martin    (   abigail   cowen   fc   )   …   heterosexual.   she/her.   twenty   four.

rhys   vaux    (   timothée   chalamet   fc   )   …   heterosexual.   he/him.   twenty   six.

richie   moretti    ( �� dyldo   o’crien   fc   )   …   heterosexual.   he/him.   thirty.

ridge   walker    (   robert   pattinson   fc   )   …   heterosexual.   he/him.   thirty   six.

riley   keller    (   rudy   pankow   fc   )   …   heterosexual.   he/him.   twenty   four.

riven   krause    (   timothy   olyphant   fc   )   …   heterosexual.   he/him.   fifty   four.

rylan   de   vries   (   michiel   huisman   fc   )   …   heteroexual.   he/him.   forty   one.

salem   sousa    (   camila   mendes   fc   )   …   bisexual.   she/her.   twenty   eight.

sayde    nowak    (    crystal    reed    fc    )    …    heterosexual.    she/her.    thirty  seven.

talen   arauz    (   jacob   elordi   fc   )   …   heterosexual.   he/him.   twenty   six.

valerie   lewis    (    sadie    soverall    fc    )    …    bisexual.    she/her.    twenty   three.

vance   mirkin    (   austin   abrams   fc   )   …   heterosexual.   he/him.   twenty   six.

verity  martín    (   melissa  barrera   fc   )   …   bisexual.   she/her.   thirty   two.

walker   johnson    (   oliver   jackson   cohen   fc   )   …   heterosexual.   he/him.   thirty   five.

warren   erner   (   sebastian   stan  fc   )   …   heteroexual.   he/him.   thirty   nine.

whitley   collins   (   josephine   langford   fc   )   …   heterosexual.   she/her.   twenty   five.

retiring.

alexander    matthews    (     chace    crawford    fc    )    …    heterosexual.    he/him.   thirty  seven.

* anaya   kumari    (   anya   chalotra   fc   )   …   heterosexual.   she/her.   twenty   six.

andie   stevens    (   maia   mitchell   fc   )   …   bisexual.   she/her.   twenty   nine. 

arlo   dixon    (   jesse   williams   fc   )   …   heterosexual.   he/him.   forty   one.

cerilla   garza    (   alexa   demie   fc   )   …   bisexual.   she/her.   thirty   one.

christian   knight    (   danny   griffin   fc   )   …   heterosexual.   he/him.   twenty   five.

elodie   serra   (   mia   goth   fc   )   …   bisexual.   she/her.   twenty   eight.  

elsie   granger   (    lily    james    fc   )   …    bisexual.    she/her.    thirty   three.  

heath   levy   (   logan   lerman   fc   )   …   heteroexual.   he/him.   thirty.

* jaiden   anderson    (   henry   cavill   fc   )   …   heterosexual.   he/him.   thirty   nine.  

kailene   sanchez   (   sofia   carson   fc   )   …   bisexual.   she/her.   twenty   nine.

marcus   ruiz    (   manny  montana  fc   )   …   heterosexual.   he/him.   thirty   eight.

myles   lee    (   charles   melton   fc   )   …   heterosexual.   he/him.   thirty   one.

sereniti    hill    (    olivia    holt    fc    )    …    bisexual.    she/her.    twenty    five.

sirena   lee    (   adeline   rudolph   fc   )   …   bisexual.   she/her.   twenty   seven.

* sylas   kaseke   (   rege   jean   page   fc   )   …   heteroexual.   he/him.   thirty   four.

* thomas   cantor   (   ben   barnes   fc   )   …   heteroexual.   he/him.   forty.

wren   hossen   (   malia   pyles   fc   )   …   bisexual.   she/her.   twenty   four.

zane    burton    (     hunter    parrish    fc    )    …    heterosexual.    he/him.   thirty  five.

#filed under : out of character › ❪ someone tell me to shut up. ❫