#other official sonic interview questions that i like are ''sonic how does it feel to be turning 30'' ''ummm im 15''

[sonknuxadow]

thinking about that one in character interview with shadow where one of his answers was that his biggest regret in life is that maria died for him and if he could he would go back and trade his life for hers. and the rest are like Yeah i love hot pockets and doritos and my nintendo ds

#i also remember one of the questions was what he does in his spare time and one of the things he said was hang out with friends #checkmate sega #other official sonic interview questions that i like are ''sonic how does it feel to be turning 30'' ''ummm im 15'' #and ''sonic do you ever wish you had a brother'' ''oh well i already have tails. *talks about how cool tails is*''

[welcome-to-green-hills]

Okay so I’m a bit confused about what’s going on and where people are getting information from. I’m asking you because I trust you. Is sonic 3 filming soon? When is it done? I’ve seen a few Instagram accounts say that it’ll be released this year. Is sonics voice actor coming bback? Is Jim coming back? I know that’s a lot to dump on you but I’m just so confused

Hello-Hello darlin’!❤️✨

Listen, it’s perfectly okay. I can 100% understand the confusion that’s been going around lately on this film. It may feel overwhelming, but worry. I can explain it to you to the best of my ability. Part of the reason for me taking so long with this post was due to finding the correct sources to each claim (as well as checking them for consistency).

To make it short, sweet, and simple, I’ve answered your questions in little subcategories.

Is Sonic 3 Still Happening?

Yes! The film is in the “Blue Sky” stages. This means that the story is still in its planning phase, but we can expect the script to be done by mid-2023. Concept art and storyboard drafting are usually done in this time as well. (SOURCE). What I can share is that storyboard artist Douglas Olsen has been drafting Sonic 3’s scene since November (SOURCE).

Just know that Sonic 3 will be wild and fun and you will cry (SOURCE).

Is the Knuckles Series still happening?

If it helps, I believe that it is still a project that could happen. There has yet to be anything online (interviews, news articles, and tweets) that implies that the series is not happening.

A while back, it was stated that the writers would like to incorporate elements of Sonic 3 into the Knuckles Series (SOURCE). Since the interview, there has been a lack of information on the series’ update. As of now, we can still expect the series to come out on 2023 (SOURCE). Idris Elba will voice Knuckles in the miniseries (SOURCE).

When Is It Done?

I’m afraid that I don’t necessarily understand this question. Do you mean when the film releases? If so, it releases December 20th, 2024. If you mean filming, then I cannot provide an answer. We do not have an exact date as of yet when filming for Sonic 3 will begin.

I’ve seen a few Instagram accounts say that it’ll be released this year (2023).

Between you and me, I would not trust Instagram accounts that claim to be a “daily/weekly update” on the film’s progress. Accounts like THIS are notorious for spreading misinformation. That, and they don’t supply the sources in which they make their claim with. It’s just clickbait. Also, do watermark all of your Sonic 3 art if possible. Some accounts on Instagram have been reuploading fanart—without consent—and implying that it’s official.

If you are looking for trustworthy sources that tackle Sonic-Related news, I highly recommend following @movie-robotnik-positivity , @tailschannel , and @aawesomepenguin . They will be the most reliable sources to follow when it comes to movie updates. If and for any comic updates of SCU, I’d also recommend following @idwsonicnews as well. (Tagged so that readers can follow these accounts. DM me if you wish for me to remove the mention).

And with that, we can conclude that the film’s release date is still December 24th, 2024.

Is sonics voice actor coming back?

I believe so! Ben has been vocal on how Sonic 3 will be “insane” and how he wishes to include some improved lines.

Is Jim coming back?

I wish that I had a stronger answer to provide you, but I don’t. This is one has yet to be determined. Back in 2022, Mr. Carrey explained that he would consider returning as “Dr. Robotnik” if the script for Sonic 3 was good (SOURCE). If Mr. Carrey does not desire to return, Josh and Pat have stated that Dr. Robotnik will not be recasted (SOURCE). The focus will be directed on other existing Sonic characters.

Is Sonic 3 doing an Sonic Adventure 2 (SA2) Adaptation?

I do not believe that Sonic 3 will be an exact copy of SA 2. Pat Casey and Josh Miller have expressed that the film could take heavy inspiration of SA2 and Shadow the Hedgehog (2005) for the story, but I do not think that it will be an exact copy (SOURCE).

I say “heavy inspiration” because it’s how it’s been for Sonic 1 and 2. The past films took elements of previous games to tell their story.

Who is voicing “Shadow?”

At this moment in time, an actor has yet to be announced. We can potentially expect an actor much later in 2023. Giant Freaking Robot has made a news article in the past saying that it would be Jason Momoa. This is not the case. I would stay clear of GFR since they have a reputation of spreading misinformation as well. Know that a “big name actor” has been chosen to voice Shadow in the film… and that the SCU crew is waiting for the actor to confirm that he still wants the role (SOURCE).

Can we expect AmyRose, Rouge, and/or Big?

I wish that I could provide a stronger answer for this one. As of now, we do not know if either of the three will make an appearance in the third film. The writers stated that as well at the Klamath Comicon event in 2022. What we can conclude is that the writers are fans of each three. Pat and Josh have expressed that they are big—ha!—fans of Big the Cat (SOURCE) and do like Rouge’s character (SOURCE). In a synopsis released in late 2022, it was implied that Amy and Big would make an appearance, but proved to be fake (SOURCE).

As of now, I’m afraid that it is a waiting game. I can completely understand the excitement for Sonic 3. I’m very excited! Just like it was with Sonic 2, we must be careful with where we get our information from and look for consistency. I do hope that this helped with a couple of your questions! If you have any more, don’t hesitate to ask!

#sonic movie #sonic the hedgehog #sonic movie 2 #sonic movie 3 #Sonic the hedgehog movie 3 #Sonic the hedgehog movie 2024

[onestowatch]

19 LGBTQIA+ Artists You Need to Listen to This PRIDE

PRIDE is all about self-empowerment and self-determination. It’s about not just being comfortable with who you are but showing the world that there is pride to be found in being unapologetically you. And that’s why, this PRIDE, we wanted to shine a light on a small handful of our favorite LGBTQIA+ artists. Ranging from rapturous hyperpop, revelatory bossa nova meditations, romantic rave music, and everywhere in between, these are 19 LGBTQIA+ artists who deserve a spot on your PRIDE playlist and every playlist for that matter. 

girl in red

In her debut single, “i wanna be your girlfriend,” a teenage girl in red unapologetically sings of young queer love over a mesh of lofi production and jangly instrumentation that would come to define much of the bedroom pop genre. It is a standout moment of unrelenting honesty, and a serenely simple three-minute confession that would go on to strike a chord with millions who were afraid of what it meant to be something more than friends. Now, a few years later and following the release of her critically-acclaimed debut album, if i could make it go quiet, Ulven still writes with that same emotional honesty, putting forth every ounce of herself for the world to see. 

Meet Me @ The Altar

“the little lonely black alt girl i was in the 00s is living rn, she never even dared to hope she might see this 💖💖,” reads the top comment on Meet Me @ The Altar’s music video for their single “Garden.” It is a sentiment shared by much of the rising band’s fanbase, who are used to the mainstream alternative scene championing cis white males. Existing in the space between pop-punk and hardcore, Meet Me @ The Altar exists to challenge the notion that queer women of color don’t have a place in punk. And after penning a record deal with Fueled By Ramen, home to the likes of Paramore, Panic! at the Disco, and nearly every pop-punk band that made up your middle school playlist, chances are this is just the beginning for our new favorite punks.

THE BLOSSOM

For Lily Lizotte, better known as THE BLOSSOM, music exists as the synthesis and subsequent recontextualization of a host of past experiences. From the sound of their dad belting away in his home studio to stumbling upon niche Internet subgenres, THE BLOSSOM transforms all this and more into a sound that is instantly recognizable but impossible to perfectly place. The culmination of this host of influences takes sweeping sonic form on their debut EP, ‘97 BLOSSOM, a perfectly imperfect introduction to one of the most fascinating rising artists of recent memory.

BIMINI

You may recognize BIMINI as Bimini Bon-Boulash, the runner-up on the second season of RuPaul’s Drag Race UK. And now you should familiarize yourself with Bimini, brit-pop extraordinaire. Releasing their debut single “God Save This Queen” earlier this June, Bimini deftly channels late ‘90s brit-pop and punk to deliver a single that has us absolutely living for the ensuing chaos. Serving up multiple looks throughout its eye-catching music video, “God Save This Queen” is not just a non-binary anthem but a veritable 2021 lookbook.

Hope Tala

With a sound that falls somewhere between turn-of-the-century R&B and bossa nova, Hope Tala’s music is expectedly a dream given sonic form. Perhaps that’s why much of the UK singer, songwriter, and multi-instrumentalist’s music is able to so deftly weave imagery of love, heartache, and teenage fistfights into tightknit tracks that feel simultaneously transcendental and deeply personal. And with the release of her 2020 EP, Girl Eats the Sun, Hope Tala poses one all-important question, “Why have a life if you’re not going to do something crazy and make a difference in the world?” 

chloe moriondo

For much of chloe moriondo’s avid fanbase, watching her transform from budding ukulele sensation to pop-punk phenom very much meant watching her grow up. Getting her start on YouTube, moriondo's fanbase witnessed her evolve as both an artist and person. Coming out in the aptly titled “a ramble about self identity, growth, and being a lesbian,” to be a fan of the artist often feels like trading secrets with a close personal friend. It is a sentiment that rings all the more true upon delving into her debut album, Blood Bunny. Grappling with coming-of-age at the axis of empathic pop and euphoric pop-punk, Blood Bunny sees moriondo taking yet another impressive step forward.

Godford

Little is known about Godford beyond what can be garnered from a handful of interviews online and his succinct Spotify bio, and chances are he’s happier that way. The anonymous DJ and producer aims to make non-binary music that exists outside of the confines of genres, overly-simplified classifications, and even himself. What is important are the emotions his music hold and what his listeners take away. Fusing romanticism and rave in his debut album, Godford: Non Binary Place, the anonymous artist does just that. He provides a space that exists simultaneously everywhere and nowhere, like an ephemeral night spent out on the dancefloor with a stranger or close friend.

Joy Oladokun

Joy Oladokun is at the core of her music. It may at first glance appear to be a painfully obvious statement, but as her sincere songwriting seeps into every corner of your soul, it is a notion that becomes undeniable. In her major label debut, in defense of my own happiness, Oladokun writes with an unabashed authenticity, never turning a blind eye to the world around her. These shared reflections and recollections of life are often heartbreaking and uplifting in the same breath, but in their candidness, we can begin to piece together what it means to be human, imperfections and all.  

Allison Ponthier

Allison Ponthier may only have a handful of singles to her name, but her unmatched potential is clear as day. Raised in the outskirts of Dallas, Texas, Ponthier’s moving songwriting and emphatic vocal prowess speak to her country roots. Pair that country sensibility with some of the most pristine pop songwriting we have heard in quite some time, and you begin to understand just how exciting Ponthier is as a rising artist. With only two singles to date, there’s not much else we can say beyond do yourself a favor and play “Cowboy” on repeat.

Rina Sawayama

It feels like no hyperbole to call Rina Sawayama an inevitable pop icon. First garnering critical acclaim with singles like “Cherry” and her 2017 debut EP RINA, the Japanese-British singer-songwriter staked her name on her immaculate ability to capture all the glamour and larger-than-life appeal of early ‘00s pop. Building on what was a nostalgic yet forward-thinking vision, Sawayama returned with her 2020 eponymous full-length debut. From nu-metal, club beats, to veritable pop anthems, SAWAYAMA emerged as a genre-defying showcase of an avant-garde pop star.

Arlo Parks

Listening to Arlo Parks’ music is akin to sipping on a hot cup of chamomile tea as you watch the world slowly pass by your living room window. It is a testament to the British poet and singer-songwriter’s subtle yet beautiful way with words, the way in which each lyric serves as a glance into a tightly-held memory or passing observation. These poetic musings come to life in her debut album, Collapsed In Sunbeams, which layers lyrical revelations over some of the most tender R&B of recent memory. Parks’ is more than a must-listen; she feels like the birth of a new wave.

Claud

Claud has spent the past few years making a name for themselves in the indie pop world, and the culmination of it all arrives in their debut album, Super Monster. The acclaimed album sees Claud reckoning with coming-of-age and love with an irresistible charm. Pair that with a penchant for grounded, affective songwriting and infectious, dreamlike melodies and you have one of the best debuts of recent memory. In case you somehow need any further convincing that Claud is one to watch, Super Monster marks the debut release from Phoebe Bridgers’ Saddest Factory Records.

UMI

Equally as inspired by R&B and neo-soul as she is by her generation’s penchant for blurring genre lines, UMI and her music exist as a form of spiritual healing. Half-Black and half-Japanese, her work explores everything from identity to self-introspection, such as on the aptly-titled Introspection. It is a fondness for self-exploration that UMI delves headfirst into on her 2019 EP Love Language, a sublime blend of identity struggles, love, and anime that tackles the issue of always feeling like an other, never Black or Japanese enough.

Joesef

Sad boy summer. It’s the simplest way to being explaining Joesef’s serene albeit somber sound. Emerging out of Glasgow, the quickly rising star often wears his still bleeding heart on his sleeve, even when the underlying sonics seem to be moving onto greener pastures. It is an exquisite balancing act that comes to life on his 2020 EP, Does It Make You Feel Good?. Blending elements of soft-spoken R&B, jazz, and ethereal pop, Joesef sets himself apart as an artist whose influences and appeal know no bounds.

Serena Isioma

At the top of the year, we named Serena Isioma one of our top artists to watch in the year to come, and for good reason. The self-proclaimed “nonbinary rock star” experienced a breakout moment with “Sensitive,” a track that is difficult to perfectly encapsulate but think along the lines of fusing modern-day R&B and woozy indie-pop with reckless abandon, and you’ll be about halfway there. It was an impressive standout track that was only buoyed by a pair of EPs, Sensitive and The Leo Sun Sets, in 2020, officially cementing Isioma as an artist like no other.

Khai Dreams

Khai Dreams’ music is effortlessly easygoing. With its straightforward guitar lines and understated production, every track from the Pacific Northwest singer-songwriter flows out as naturally as breathing. Maybe it’s that laid-back approach that begins to explains Khai Dreams’ universal appeal and millions of monthly listeners, despite releasing most of his music independently. A hallmark of the DIY generation and its massive homebrewed potential, it would be a crying shame if you didn’t let Khai Dream’s serene meditations transport you somewhere far from here.

Frances Forever

Like much of their Gen Z cohorts, Frances Forever’s exponential rise was not the result of a well-executed marketing plan but by the pure chance of a single song finding a home online. The song in question, “Space Girl,” was originally part of NPR’s Tiny Desk Content before soon blowing up on TikTok, and it’s not hard to see why. Short, sweet, and to the point, “Space Girl” is a saccharine love letter to that bubbly feeling of floating on cloud nine. Now signed to Mom+Pop and with their debut EP, Paranoia Party, due out later this year, this is the perfect time to get familiar with Frances Forever.

Dorian Electra

Unapologetically playing with gender norms and stereotypes while seeing just how far they can push the limits of pop, Dorian Electra has long maintained a cult following in the world of experimental, highly addictive hyperpop. And it’s not hard to see why. Having collaborated with the likes of Charli XCX, 100 gecs, Village People, Pussy Riot, Rebecca Black, and more, Electra’s music ranges from off-the-rails hyperpop to introspective pop slow burns. All of this and more reaches a fever pitch in their 2020 album My Agenda, a devious showcasing of one of pop’s most explosive figures.

MAY-A

Maya Cumming, professionally known as MAY-A, is no stranger to the hustle it takes to make it in the music industry. The Australian artist got her start entering numerous singing competitions in her hometown of Byron Bay and started busking on the streets at the tender age of 11. Now, she has a breakout single under her belt in the form of “Apricots,” an anthemic indie-pop ode to queer love. And since that breakout moment, MAY-A has continued to release impressive single after single—the latest being the collaborative “American Dream.”

#pride #girl in red #meet me @ the altar #the blossom #bimini #hope tala #chloe moriondo #godford #joy oladokun #allison ponthier #Rina Sawayama #arlo parks #claud #umi #joesef #serena isioma #khai dreams #frances forever #doria electra #may-a

[bigherosixfeels]

Hiro The Villain REVIEW

I think it's safe to say that Momakase is on the "Would Adopt Hiro" list now.

The episode begins with Gogo, Wasabi, Honey Lemon and Fred going up against Momakase and what appears to be a sidekick. After a great fight sequence, the sidekick turning on her and Honey removing their mask, they discover that her partner in crime is Hiro. His friends obviously want an explanation as to why he decided to team up with her. The story begins two days prior when Momakase escaped from prison (again). Not being able to scan for her, the team agrees to risk night patrol despite to police being after them. Although Hiro and Baymax fail to find her right away, Momakase patiently waits for Hiro in his garage. She blackmails him into helping her steal something, threatening to reveal his and the rest of the teams' identities if he doesn't cooperate. With a lot on the line, Hiro reluctantly obliges.

Later on, Momakase reveals that they'll be stealing from Yama's headquarters. She needs a genius level of expertise to get past high-tech security cameras and gives him two days to find a way to do so. Hiro demands to know what she's stealing, unwilling to help if it could harm people, but Momakase insists that he'll just have to trust her. While messing around with sonic waves, a quick visit from Fred in regards to fixing his Fredmeleon suit inspires him to use the Flexible Display Technology. Once he meets up with Momakase, he reveals that he designed a mask. Both of them wear one and between the invisibility and Hiro's sonic waves destroying the cameras, they get through the building with ease.

In Yama's office, Momakase finds what she's looking for; a pair of swords. Before they leave, Hiro questions why she wanted to steal them since she has graphene blades. She reveals that they're a family heirloom. Her father traded them when gangsters threatened her family and she had been searching for them her whole life. They're all she has left of her family. Ultimately, Hiro understands her motives, knowing how important holding onto that memory is. Unfortunately, Yama, who was recently let out of jail early in exchange for information on Momakase, catches up to them. Luckily, with the ability to turn invisible, they knock him and his goons down and make a quick escape. They arrive in an alley where the rest of Big Hero 6 (minus Baymax) corner them. This is pretty much where the episode began, so the episode skips through the majority of the fight scene. Hiro has officially gotten his friends up to speed. The police have unfortunately gotten closer to them all, but Momakase decides to lead them away so Hiro and the others can get away safely. Hiro refuses, not allowing her to hurt anyone, but Momakase says she won't...this time. She then takes off, letting the police chase after her. Our heroes are able to safely make it to their headquarters. The others are grateful that Hiro went through such lengths to keep their identites a secret. They all feel secure believing that their secret is still unknown...

...Except Super Sleuth Megan Cruz spends this episode digging further into her Big Hero 6 story. In the beginning, she's about ready to call her news story quits. However, Hiro accidentally tells her information that leads to her discovering more about the team. She goes around San Fransokyo, interviewing Krei and Granville since multiple occurrences with Big Hero 6 have happened at Krei Tech and SFIT. Both refuse to give her any information.

Meanwhile, Chief Cruz conducts an interview with Callaghan for his investigation on the team. Thankfully, our origin story villain reveals nothing as well, telling Cruz that he's wrong about Big Hero 6 being vigilantes. Later on at home, the Chief and his daughter voice their frustrations about not getting answers. Curious about what was said during Callaghan's interview, Megan takes her dad's phone. After hearing her father mention a fire at SFIT, Megan does some research, immediately discovering that it was the fire Tadashi perished in.

By the end of the episode, her conspiracy wall is complete with multiple strings of red yarn connecting to a photo of Hiro.

Things I Liked:

The entire opening scene was amazing! It draws you right in from the beginning.

“And that’s why Krei wears a cow costume every Mother’s Day.” I’ve mentioned it before, but I really need a full story on this.

Fred comforting Baymax even though he doesn’t feel emotion.

Hiro mentioning to Megan about Krei being poisoned by Momakase unintentionally benefiting her investigation.

Callaghan’s alias Yokai finally being mentioned in canon!

I’m going to mention this now, but something I really loved is that this episode mentioned a lot of call-backs. Both from earlier in the series and as far back as the movie. The way it was done was great!

All of those Employee of the Month photos. The one of Hiro with the cow costume. All of the ones of Judy. The Buddy Guards are on the wall the most out of everyone. 

That small moment where Hiro looked at Tadashi’s hat before going on night patrol with Baymax!!

Low battery Baymax wanting to start a tickle fight with Hiro

After seeing Momakase in Hiro’s garage, Hiro’s immediate concern was about Aunt Cass

Momakase’s blackmail was very clever

Both Krei and Granville not telling Megan anything about Big Hero 6

Hiro refusing to help Momakase if what she plans on stealing could hurt people.

 Chief Cruz’s interview with Callaghan. I had no doubt that he’d be unwilling to provide more information to Cruz. He handled the whole thing very well and it makes me like his character even more.

Hiro’s sonic waves

As much as Chief Cruz annoys me, him putting his police hat on Megan’s head was adorable

A new Tadashi photo!!.....BUT AT WHAT COST

All the Tadashi, Obake and Karmi mentions. I miss them all so much.

Hiro and Baymax making dinner for Aunt Cass!! Yeah, the combo was definitely unsettling, but that’s so sweet!

THE FAMILY HUG

“Your friends and Aunt Cass trust your instincts. So did Tadashi.” MY HEART

THAT HUG BETWEEN HIRO AND BAYMAX I’M SOFT

The masks Hiro designed making it so both him and Momakase could sneak in Yama’s headquarters undetected!! Brilliant!

The animation during this entire scene was phenomenal. It was really cool to see outlines of Momakase as she would beat up Yama’s goons

Hiro and Momakase honestly make a great team!

Momakase stealing swords which belonged to her family.

Hiro sympathizing with her

Momakase: You do good work. Hiro: Yeah I do.

Hiro trying his best to jump from building to building

MOMAKASE LEADING THE POLICE AWAY FROM THE TEAM SO THEY COULD GET AWAY FROM THE POLICE SAFELY!!!

The others being grateful for Hiro doing what he did to keep their identities a secret

Megan has figured out Hiro’s identity

Things I Disliked:

You know, I really don’t have a major dislike for any particular moment in this episode. Both of the plots were both incredibly intriguing in their own ways. While the A plot left me extremely satisfied, the B plot leaves me excited for what will come next. Everything about this episode flowed wonderfully together. Momakase has been one of my favorite villains and in my opinion this was her best episode yet. This episode made me enjoy her character so much that she might as well be tied with Obake for favorite villain. It was also great to see Megan dig really deep into figuring out who Big Hero 6 is. In the end, Tadashi was the final piece that connected all the dots to Hiro which was really well done. Also, not that I’ve had anything against this arc, but the episode really made me love where the second arc of Season 2 is going. This is definitely one of the best episodes of the season and the entire series so far. I’m blown away by this episode.

On a scale of 1 to 10....I’d rate Hiro The Villain a 9.7!

#my reviews #hiro #hiro hamada #baymax #gogo #wasabi #honey lemon #fred #aunt cass #tadashi #obake #karmi #momakase #megan cruz #chief cruz #yama #alistair krei #krei #robert callaghan #callaghan #professor granville #big hero 6: the series #bh6: the series #bh6 series spoilers #big hero 6 #bh6 #hiro the villain

[whisker-biscuit]

In the Name of Science: Chapter 2

Fandom: Sonic Movie (2020)

Rating: T for unethical experimentation, implied violence and gore, and implied torture

Summary: Tom and Maddie didn’t make it in time to rescue Sonic from Robotnik. Hopefully it’s not too late to save him now.  Unfortunately, hope is hard to come by in the labs of the mad doctor himself.

Note: things are going to start getting really unpleasant from here on out. This chapter is still pretty tame, but proceed with caution.

---------------------------------------------------------------------------------------

Dr. Ivo Robotnik, M.D. Log 2

Subject regained consciousness at 10:12 MST during initial quill examination, and was verbally hostile upon contact with lead scientist (Dr. Ivo Robotnik, M.D., PhDx5). Subject placed in temporary holding enclosure for injury recovery as well as spoken interview, which was conducted at 10:30 MST. Transcript attached below.

…….

Sonic is brought into a much larger room than the one he’d woken up in. From his position between the two floating egg-robots, he can see that this one is set up with a lot of strange machines and tables and equipment that he couldn’t possibly hope to recognize, much less name. It almost looks like a secret evil lab from one of Tom and Maddie’s movies.

This association is what really makes the reality of the situation sink in.

“Hey, uh, what’s that?” He stares at a giant tube-looking thing in the corner, trying to distract himself from darker thoughts.

Robotnik ignores him, fiddling with his recording equipment, but Agent Stone follows his gaze.

“That’s an MRI machine.”

“Oh. What’s that do?”

“It’s a –”

“I know you’re having a splendid time fraternizing with the alien lifeform, Stone, but the most important homo sapiens in your life would very much enjoy your full attention.”

“Of course Doctor, sorry!” The assistant practically prances to his boss’ side, a goofy smile on his face. Sonic doesn’t understand any of it.

Turns out it doesn’t matter either way, because the hedgehog is suddenly carried above a large metal container with an open top. With another flick of the scientist’s wrist, the robots drop Sonic and he hits the inside of the pen, hissing as all his bruises are aggravated. The ceiling door closes automatically with a whoosh.

The teen makes a few pained noises while he tries to reorient himself. He’s always healed pretty quickly but this hasn’t been nearly enough time since the fight, and his entire body is revolting. He picks himself up into a sitting position as best he can to get a better look at his situation.

He’s in a cage large enough for him to lay down and stretch in any angle, but it’s not much bigger than that. Most of the walls barring one are thick mesh with thick metal reinforcing them from behind, and half the floor is the same. The other half is covered in something that looks suspiciously like a dog bed. The ceiling is just solid metal with no mesh, and it’s roughly the same proportion as the length and width.

Sonic scoots to the front of the cage so he can watch his human captors through the single “open” wall, if bars he can only stick one finger between counts as open. His restraints are weird – they sort of resemble his rings, circled around each individual wrist and ankle and keeping them together in a way he hasn’t quite figured out yet. He tries to pull them apart without much luck.

Robotnik seems to notice the attempt, because he waves a hand in the air without turning towards the hedgehog.

“Don’t bother! Those are highly magnetic and in tune only with each other.”

“….What’s ‘magnetic’?”

“Ugh, never mind.” The scientist does a little whirl to face the cage, holding a microphone connected to the machine behind him. He taps the mic and nods in satisfaction when it echoes. “Agent Stone, start the recording procedure please.”

The assistant gives affirmation as he flips a switch. Mechanical humming fills the air. Robotnik clears his throat.

“Log date: May 14th, 2020, 10:30 am MST. First official verbal interview with extraterrestrial subject, serial designation 06231991. It is unknown whether subject will be verbally hostile, so any redacted statements during this recording will be result of vulgarity and/or dialogue irrelevant to scientific development.”

He steps up to the cage, which sits just below his eyelevel, and observes Sonic a moment. The teen stares warily back.

“Subject, do you have a title you refer to yourself as?”

“Um…”

The man heaves a giant, put-upon sigh. “A name?”

“Oh. S-Sonic. I’m Sonic.” He kicks himself for tripping over his own name. This is just talking, why is it making him nervous?

“Sonic.” Robotnik says the word like he’s about to rip it to shreds. “So, Sonic, what would you say you are?”

“A hedgehog.”

“Did you base that name on the Earth creature sharing similar features?”

“No? I’ve always been a hedgehog.” Sonic lets himself relax a little bit. It really is just talking; he can do that just fine. “S’not my fault you guys named something after me.”

“I see. How long have you been on Earth?”

“Ten years.”

“How old are you?”

“Thirteen, I think.”

The scientist pauses at that, tilting his head down a little bit in a way that’s hard to read. “Really? You’ve been on Earth for most of your life?”

“Yeah…”

“Remarkable. Living here all this time right under our noses.” He strokes his mustache with a glint in his eye. “If only I’d discovered your presence sooner, everything would have been so much cleaner.”

Sonic’s fingers curl together.

“Oh well, no need to dwell on what could’ve been, until I finally unravel the science behind time travel at least.” Robotnik lets out an arrogant laugh. Stone mirrors him from behind. “So my elusive little subject, what’s the maturation rate of your kind?”

“What?”

“Hmm. You really don’t know much of anything, do you?”

It’s said with such a belittling sneer that the teen averts his eyes for a moment, feeling his face flush.

“Least I don’t dress like a bad guy from the Matrix,” he can’t help but mumble. His captor’s eyebrow twitches.

“My aesthetic is downright prodigious, thank you very much. But we’re getting off-topic! I asked about your maturation rate, you’re not smart enough to figure out what that means from the context clues, and frankly I’m getting bored by all this hands-off interaction for the sake of formal procedure. Would you say you’re closer in relative age to a child, adolescent, or adult?”

“I don’t – I don’t know, maybe teenager? Maybe?” Sonic hates that he doesn’t know, that he has no reference for knowing. He doesn’t even have the confidence to pretend that he does.

“Oh, really. That’s very interesting.”

The hedgehog feels every quill stand up on end at Robotnik’s suddenly subdued voice. He watches as the man’s expression morphs into manic contemplation. Agent Stone seems to sense the change, because he turns off the machine that’s recording their conversation.

“You’re an adolescent then. Thirteen years old, hiding here on this planet for whatever reason, honestly I don’t really care what sort of sob story you’re peddling but I have no doubt it exists. It’s no wonder you’re so ignorant.”

“I’m not ignorant!” He raises his voice like that will help prove his point.

“Oh, but you are. An obtuse, uneducated little creature that exists in a place it does not belong. Tell me, how many humans have you made direct contact with? Let someone see the real you, had a two-way conversation on equal footing…given physical contact.”

Robotnik lifts his hand and presses one finger against the bars, as if pretending he’s petting Sonic’s head again. The teen inches away towards the back of the cage, practically baring his teeth.

“Stop it.”

“Answer the question, hedgehog.”

“No! It’s none of your beeswax anyway, so back off!”

The scientist throws back his head and cackles. He comes down from his mirth fairly quickly and wipes a tear from his eye. “Everything about you is my ‘beeswax’, my pokey little fellow. I own you. I own your powers, your thoughts, your feelings, all of it. I’m astounded it hasn’t sunk in yet.”

“Cause it’s not true, Eggman! I’m me, and that’s it!”

The air around Sonic starts crackling. Robotnik places a hand in his pocket.

“Is that what your flatfoot nursemaid told you? Thank god I got you away from such fictitious foolishness, who knows what other absurdities he was filling your spiky little head with.”

“I told you not to talk about him like that!”

Full of angry energy, Sonic launches off of his heel and rams into the front bars in the same moment Robotnik pulls out a remote and presses a single button. Electricity that doesn’t belong to the hedgehog lights up the entire cage, leaving Sonic to experience the full brunt of it with his whole body pressed against metal. He stiffens up with a wordless cry and loses both his momentum and the power coursing through him.

It discharges outward and short-circuits whatever was generating the voltage running through the pen, saving the convulsing teen from further pain. He’s twitching so much that he doesn’t even notice the ceiling door open up again, nor the floating robot that drops inside to pull away several more quills. They’re still pulsing with energy.

Robotnik closes the door behind the robot as it leaves, then turns to regard his subject who’s making little mewling noises as his muscles seize against his will. He rolls his eyes at the display because really, the voltage was not that high. It didn’t even last more than a few seconds because of the creature’s rude outburst creating that blackout in his beautiful container.

He signals to Agent Stone, who is quick to turn on the recorder again.

“Note: next question involved reasons for subject’s existence on Earth and opinion on humans, at which time subject became hostile and attempted assault. No harm came to present researchers due to precautionary measures, and subject has been successfully and safely contained. Verbal interview will be postponed for later date until subject recovers and is more willing to discuss reasons for coming here without becoming violent.”

The man shuts off his mic and passes it to his assistant, yawning with a hand pressed to his mouth.

“Walk with me, Stone. I do believe it’s a fine time for sleep, now that all the immediate excitement is over.”

“Yes, sir!”

They leave the quivering hedgehog alone with the hum of a million machines and state-of-the-art security. Halfway down the hallway, Robotnik stops.

“Oh, just a moment.” He taps his gloves a few times and something whirrs to life back in the room. “There we go!”

“Sir?”

“Almost forgot to set up a sustenance bot for the little thing. I’m so used to wonderful, unfeeling robots with no need for constant nourishment, it’s easy to forgot that these fragile organic bodies require food and water, ha!”

“Uh…but Doctor, you’re also –”

“Don’t remind me of things I don’t like being reminded of, Stone!” The scientist snaps. He runs a careful hand through his hair and straightens his jacket rather prissily. “Anyway, you said something earlier about dinner being Argentina-inspired?”

Stone beams and his shoulders lift with pride. “Yep! Milanesa a la napolitana with a sprinkling of oregano and curry powder. Should be done within an hour.”

“God, that sounds lovely. In the mean time I’ll be setting up some analysis programs for the blood and quill samples and making another written log report. Do not disturb me unless I either call you directly or dinner’s done.”

“Of course, sir.” Stone hustles down the hall and makes a right turn. Robotnik turns left.

“Now then,” he says gleefully to himself, rubbing his hands together as he plops down in his Important Analysis Chair. “Let’s get this spiky ball rolling!”

…….

Additional quill samples taken after verbal interview to compare dormant and active power input of subject. It is predicted that while the active quills contain infinitely higher levels of energy, dormant quills are still capable of significant power.

After full physical recovery is reached, more thorough examinations of anatomy will be administered as well as analysis of speed, endurance, and power production. In the interim, behavioral training will begin in earnest. Subject has demonstrated capability to defer to proper authority with enough prompting.

Goal by end of week is to not need prompting. 

End log

---------------------------------------------------------------------------------------

A/N: Sorry for the wait, I’ve been SUPER busy this week. Hope the longer chapter made up for it though! As stated above, things are going to get a lot worse before they get better, so just make sure you’re aware of that going in.

Also, originally I was going to have a side-by-side of Tom and Maddie working to find Sonic, but then I realized I have no idea how to make that work. If anyone has suggestions feel free to let me know, otherwise it’s going to be solely Sonic and Robotnik focus until (if) he’s rescued.

Thanks for reading, and have a good one!

Chapter 1

Chapter 3

#sonic the hedgehog #sonic #sonic movie #sonic movie spoilers #dr robotnik #agent stone

[straykidsupdate]

Stray Kids are shaking up K-pop’s status quo

The South Korean pop band Stray Kids are clustered around a laptop for a Skype interview, pale in the screen’s glow as heavy rain turns New York City to grey. It’s a fitting backdrop for the group: from their 2017 pre-debut release “Hellevator” to the latest single, the snarling, trumpeting EDM of “MIROH”, the K-pop group have made similarly dystopian environs their visual backdrop, where neon and CCTV screens flicker and the group are hemmed in by skyscrapers, tarmac, and tunnels as they attempt to escape or defy their surroundings.

This concept – of attaining freedom – is central to the group, and it’s an idea that’s rooted in reality. The group’s leader, Bang Chan, handpicked each member for the group from their parent label JYP Entertainment’s roster of trainees, a process unheard of in K-pop, where that power lies with executives and creative directors. Stray Kids write and produce all their material, too, and are one of the few idol groups to do so. Their music focuses unflinchingly on their youth – the anger and frustration, the ecstatic highs and ragged lows – while questioning their own shifting sense of identity.

With bleached bangs falling into one eye, Bang Chan recalls not the gravitas of the opportunity to form his own group, but the pressure of picking wisely. “There was a lot on my mind,” says the 21-year-old, speaking during the band’s run of sold-out North American concerts. “Choosing the right people was a must, because I’m going to be with them for a long time. Because I’d been a trainee for so long,” – seven years – “I think I had the ability to figure out what potential they had.” He turns to his bandmates and namechecks them: Woojin, the eldest at 22; Lee Know; Changbin; Hyunjin; Han; Felix; Seungmin; and the youngest, I.N, who turned 18 in February. “With everyone around me right now, I’m really glad we’ve become this team.”

Bang Chan and 18-year-old Felix, whose cavernously deep voice is at odds with his Bambi-innocent looks, were both raised in Australia, and the broad twang of their accent conveys a cheerful, anything-is-possible resonance. It’s the former who helms the conversation. He’s an engaging speaker and a careful listener, stopping to translate questions for the non-English speakers. At times he falters, and at others he deflects to well-worn answers (a reflection of their newness), but he’s unmistakably a leader, a role he wears effortlessly.

As a whole, Stray Kids are known for their friendly, indefatigable rambunctiousness, but with nearly a dozen rookie awards and five EPs in just over 12 months, it’d be foolish to underestimate their tenacity. Their start was a baptism of fire. On Stray Kids, the eponymously-named survival TV show that they were formed through, they were required to write tracks and perfect performances to short deadlines, then ruthlessly critiqued by the CEO of their label, JYP Entertainment. Two of the group members, Felix and Lee Know, were initially eliminated, although eventually reinstated in the final episode via a public vote. Felix, axed due to his less-than-fluent Korean, hasn’t forgotten the sting. “I still think about my Korean and how I use the language,” he sighs. “I try to learn, and fix it.”

You can see his determination when Stray Kids appear on Korean variety shows to showcase their work and their personalities. Felix’s shyness in speaking had resulted in less camera time but, in recent months, his studying has appeared to pay off and he’s a far more confident presence, able to convey the charm that's endeared him to their fans. It’s the result of constant help from his bandmates, he says, radiating positivity (which is, delightfully, Felix’s default setting). Lee Know, however, who’d had only a short idol training period and was cut early in the series, favours a more stoic approach. “I think I’m here thanks to that feedback. I worked really hard then, and I’m still trying to work hard now too,” he says, and although his small smile seemingly hints at something more pronounced, he settles on a double thumbs up and sits back.

“Choosing the right people was a must... With everyone around me right now, I’m really glad we’ve become this team” – Bang Chan, Stray Kids

Their rough-meets-polished sound was set up by the darkly anthemic “Hellevator”, but the thundering EDM and guitar riffs of their official debut, “District 9”, cemented them as a fresh force in K-pop. In its music video, they flee a clinical-looking prison and use a school bus to smash through to the safety of the titular District 9, although even there they’re left searching. “I don’t know who I am, it’s frustrating, it always worries me / Answer me, then give me an answer that will clear it all,” Hyunjin raps with a volatile urgency.

This ceaseless quest weaves through last year’s EP trilogy (I Am NOT, I Am WHO, I Am YOU) and into their latest EP, Clé 1: MIROH, the clear narrative allowing for sonic experiments (from the minimalist electronica of “3rd Eye” to the bright pop drawl of “Get Cool”) without losing momentum. In their song “NOT!”, they celebrate breaking out the “system” – the status quo – and the strength of being different. For Stray Kids, this is more about ambiguous storytelling than holding a deliberate ’us versus them’ mentality. “We usually don’t compare (ourselves) to others,” says vocalist Seungmin, in English. “Like in the song ‘My Pace’, we’re saying we don’t care about others’ (achievements), we’re just talking about Stray Kids’ own way.”

While Stray Kids have definitely created a richly empathetic musical tapestry, their chosen path raises a pertinent observation: in breaking out of one “system”, they’ve joined another. The idol system that they’re now a part of often appears more restrictive than the one they leave behind, and as they move towards the bubble of fame and money, there’s also the potential to lose a sense of oneself. Both feel paradoxical to their story. Bang Chan pauses. “Well, honestly, we wouldn’t call it a system, let’s say a ‘world’, and we’d call it a decision that we made. In order for us to get out of the main system, we chose being idols, and through K-pop we can show the message we want to express.”

Han, the 18-year-old rapper, singer, and songwriter/producer, drapes himself, cat-like, over Felix’s head and neck to get close to the camera. “I think fame and success can be dangerous to a person, depending on how they feel about it, but we’re going to try to always be positive and good natured about it,” he opines, gesticulating rapidly. “We’re still lacking so much, but we’re going to try really hard to understand other people’s feelings and be a good influence.”

Given Stray Kids’ formation, creative freedom, and growing success makes them something of an anomaly, might their presence provoke change in the idol world? Bang Chan furrows his brow. “I suppose so,” he says with the questioning tone of someone presented with an unfamiliar concept. “I guess it’s up to how people take it in.”

Stray Kids, evidently, have been more preoccupied with looking inward, and, when examining their new EP, it’s apparent their gaze has been in flux. Clé 1: MIROH, which Bang Chan describes as “us being really confident because all nine of us are together”, presents a new fearlessness on tracks like “Boxer”, “MIROH” and “Victory Song”, where Han triumphantly raps:“A laidback victor, a smile spreads on my face / Who else is like me, there’s no one.”

“When I was becoming a singer, some people didn’t support my dreams, so I was sad. I remember that and put those feelings into this song” – Changbin, Stray Kids

They pose fewer existential questions than on previous EPs, but, says Bang Chan, “if you look at tracks like ‘Chronosaurus’ and ‘Maze Of Memories’, it shows nervousness or anxiety, and a feeling of being lost as well.” The latter, its doomy hip hop propelled by tense piano and bursts of foreboding strings, was an emotional outlet for their silver-tongued rapper, Changbin. “When I was becoming a singer,” he says, in English, “some people didn’t support my dreams, so I was sad. I remember that and put those feelings into this song.”

Yet despite sieving emotions and thoughts through the music, their biggest questions, says Changbin, remain unanswered. “But we’re trying,” he smiles. He points to the close presence of their fans, known as STAY. “Maybe we can find the answer soon, through STAY.” How does he intend to discover deeply personal epiphanies through others? “I’m young and lack a lot of experience,” replies Changbin, reverting to Korean. “There are still a lot of childish elements about me as well. By watching those around me, I can find out what I like through them. I feel like I can find myself through (others’ journeys).”

For now, Stray Kids simply continue doing what they’ve done so well thus far – capturing the human condition, including tackling difficult subjects like depression (“Hellevator”), anxiety (“Rock”), and negative thoughts (“Voices”), all of which, Bang Chan says, they’ve experienced first-hand. The group’s core writing team (Han, Changbin, and Bang Chan, together known as 3RACHA) have not only refined their style over the past year but, according to I.N, “improved on their speed of making songs. They’ve gotten really fast,” he says with a sunny grin.

3RACHA’s Soundcloud days are far behind them, although, to their credit, they haven’t deleted the handful of songs that were posted pre-debut. Some will remain just enthusiastic learning curves, but others were raw and powerful, such as “Broken Compass”, which was refashioned into “Mixtape #4” for Clé 1: MIROH.

The “Mixtape” songs, which are only found on the physical versions of their EPs, are where, Hyunjin says, “we all contribute, and fill our individual verses with our personal stories”. In January, 3RACHA revisited a few songs during a Vlive broadcast, and cringed to the point of sweating profusely. As Changbin and Han crease up, Bang Chan covers his face, mock-groaning. “We can’t listen to them now!” But there’s a glint in his eye. “We do have to do episode two of that,” he adds, grinning.

It’s not just the songwriters who are evolving; from being wide-eyed, ambitious and nervous trainees who didn’t always get along, as Hyunjin recently revealed, Stray Kids have become compelling performers with close bonds. They’d clung tightly to Bang Chan during their survival show, but do Stray Kids today feel less lost – or at least more secure in their responsibilities? “I’ll just leave the room so the guys can talk more freely,” jokes Bang Chan, even as Changbin, owner of a bone-dry sense of humour, simply yells, “No!” Vocalist Woojin leans in. “He was very good to us while we were filming the show. At that time we always followed him very well, and relied on him a lot.”

“I don’t have a lot of confidence but when he’s next to me, I know I can do this,” adds Felix, as they ready to depart for the next schedule in a packed day. “But,” Woojin says, “now we’re all developing our own selves, too.”

Source

#stray kids #190606 #era: clé 1 miroh #t: article #dazed

[alpha-centari27]

SONIC THE HEDGEHOG Exclusive Interview With Star Lee Majdoub About Agent Stone And His Dream Superhero Role

We recently caught up with Sonic the Hedgehog star Lee Majdoub to discuss his breakout role as Dr. Robotnik's sidekick Agent Stone, while he also reveals which superhero he would love the chance to play...

Sonic the Hedgehog proved that the video game movie curse is officially dead as critics and fans alike loved it (you can read our review by clicking here). Throw in the fact that it was a box office hit, and it's fair to say that there's a lot of excitement surrounding the yet to be announced sequel.

After being made available EARLY on Digital platforms, the movie arrives on 4K Ultra HD, Blu-ray, and DVD on May 19th, and to celebrate its release, we recently had the opportunity to catch up with star Lee Madjoub. He plays Agent Stone in Sonic the Hedgehog, and has been hailed as the breakout star (the character, meanwhile, has gained a devoted fan following online).

As the straight man to Jim Carrey's villainous Dr. Robotnik, Madjoub was responsible for many of the funniest exchanges in the film, and made a lasting impact after past memorable roles in TV shows like Supernatural, Zoo, and The 100.

In this interview, we delve into the Robotnik/Stone relationship, his experiences working with Carrey, and even hear a compelling argument for why he could be the Marvel Universe's next Wolverine!

It was great to talk to Lee about Sonic the Hedgehog, and we obviously want to extend a huge thank you to him for taking the time to do this interview happen with everything going on in the world right now. Agent Stone is clearly a role he's passionate about and, after reading this, we're pretty sure you'll also want to see him don those familiar claws...

Were you a fan of the Sonic the Hedgehog games before being cast and what did it mean for you as an actor to join such an iconic franchise?

Yeah, I actually did play Sonic on the SEGA Genesis when I was a kid. It was probably my favourite game growing up, and the SEGA Genesis was the first console I got to call my own. It was extremely surreal to get cast in the movie itself, and then when I found out Jim Carrey was playing Robotnik, and I was gonna be playing his right-hand man, it took it to the next level for me. I also grew up loving Ace Ventura, The Mask, and, well, all of Jim's stuff!

You're very much the straight man to Robotnik, but how do you keep a straight face when Jim Carrey is reeling off lines like the one about how Stone makes his lattes?

It was a challenge to keep a straight face at times, for sure. What was lovely about that set was that everybody was so positive, and having a good time was really welcomed. If we broke or laughed, you didn't feel like you were doing anything wrong, thank goodness! There were a few times, and the scene I remember was when Robotnik sticks the quill to his tongue and electrocutes himself...and then turns to me and offers it to me! I had such a tough time keeping a straight face, so I had to figure out ways to change my facial expression or not quite look at Jim in the eyes in order to get that scene done.

Did you get the opportunity to do much in the way of improv on set?

I did. Fortunately, working with Jim, improv comes with it. The looser he gets, and the more he's figuring out Robotnik, the more permission I had to feed off of whatever he was doing. That was really welcome, and it was amazing to be able to say, 'Oh my gosh, I'm getting to improvise with Jim Carrey, one of the greatest at it.' Some of the stuff didn't work with Agent Stone, but we got to flesh it out and have a lot of fun, nonetheless. Sometimes in the movie, you didn't get to see the improv, but then some of the improv does actually make it in there!

Did you find playing an original character without ties to the video game series freeing as there weren't any specific expectations from fans?

I think it was a little bit of both, to be honest. In the cartoons, he's got Orbot and Snively in certain versions, and when you're playing someone that already exists, you have a little bit of something to feed off. You go, 'Okay, this is what the character is like, so I can take some hints there.' With Agent Stone, there's also the element of freedom where there's nothing pre-established so you could do whatever works within the realm of the story after discussions with Jeff Fowler, who was our amazing director, and the writers and Jim. It was definitely fun not to be tied into anything and feed off Jim, for sure, and then what was on the page for us, was all you ended up seeing in the movie. Stone was, I wouldn't say last minute, but through the last few drafts, Stone was written in to give Jim someone to talk to. He was the straight man in the movie, but through discussions with Jim and Jeff and Toby [Ascher], our fantastic producer, we were able to flesh out the story a bit and figure out the relationships, and it turned into what you see now.

I feel like it's fair to say that you were the movie's breakout star, but were you surprised by the reaction fans have had to Agent Stone?

Yeah, I never ever imagined Agent Stone would have this much backing from the fans. Even before the movie came out, you'd see him once in a trailer, but people started to really stick by him. A lot of fans were like, 'We are Agent Stone, and he is us.' We've all had to work with that boss who doesn't appreciate you, and you get hired for one reason, but all they want you to do is make coffee! It was really surprising and it's still very surreal. There's a lot of engagement, and a lot of fan-art out there that I'm so appreciative of and it blows me away every time I see a new art piece come out. 

It seemed Robotnik hated everyone other than Stone, and he even finds a new Agent Stone on the mushroom planet, so I was wondering what you think it is that makes your character different to everyone else in Robotnik's life?

[Laughs] You know what, to me, I think Stone sees something in Robotnik that no one else does. There's this utter respect he has for Robotnik, and he lets him get away with a lot like the hand going into the mouth and the throat chop. Stone understands that this is Robotnik, and this is what he needs to do his thing. What I also love about Stone is that he judges Robotnik at times too, so I feel like there's a respect there, but I think Stone is unwavering and always there for him and it probably forces Robotnik to have to be okay with it.

Were you surprised to watch that mid-credits scene and see that Agent Stone had been replace with, well, a stone?

The day I wrapped on set was the day before I shot that scene. I was there when they were coming up with the ideas, and Jim was talking to them saying, 'What if he has another Agent Stone? Like a Wilson from Castaway?' It was so funny, and I saw them putting the moss beard on there. I laughed really hard. There's flattery there too as Robotnik needs Stone in some way, shape, or form in order to continue doing what he's doing. No matter how much he denies needing anybody, I think Robotnik kind of needs Stone there even though he's not willing to admit it.

Were there any scenes you shot which were particularly memorable for you that you didn't ultimately make the final cut?

Honestly, all of my major scenes made the cut. I'm so grateful for that. It's really hard to pick a favourite scene out of all that stuff as it was all with Jim, and there was always something to do and something memorable between the two characters in every scene we did. Even when he asks if I see anything on the screen and I'm like, 'Nothing at all,' and he responds with, 'That's right, it's because you weren't trained by the Native American shadow wolves!' Even in that moment, Agent Stone gives him this look, and there was always some fun to be had. Ultimately, I think the latte scene...the Austrian goat milk latte scene is my favourite just because that whole dance leads up to this one moment and it's the only time in this movie that Robotnik actually pays Stone a compliment even though it's berated and he yells at him.

You've spent some time in the Marvel Universe voicing Harry Osborn in the Absolute Carnage shorts, but would a live-action superhero movie role interest you, and do you have any characters in mind?

Ohh, that's a really good question! I grew up loving Wolverine. That's always been one of those childhood dreams of mine. If I get the chance...I don't know, there might be fan outcry or whatever, but you know, I'm a little bit hairy! I've got the bushy eyebrows! I'm Canadian! I qualify in certain ways. I'm shorter than Hugh Jackman! It's okay, we can pull it off...I'll put on the weight. I don't care! [Laughs] Wolverine, for sure. Ever since I was a child, I've wanted to play him. There are a few anime characters I've always wanted to play too if they were ever turned into live-action. There's an anime called Saint Seiya. Also, Venom. I love the anti-heroes for some reason growing up. As a kid I got picked on and I was never really in any groups and I never fit in, so I think the anti-heroes kind of had that little angry voice in me that I couldn't quite express.

Looking ahead to a possible Sonic the Hedgehog sequel, what would you like to see from Stone next if he gets to reunite with the new, unhinged Robotnik?

I would love a moment where we see why he's an actual agent. I feel like he could kick some butt. We haven't seen it yet, and I would love a moment with Robotnik as a damsel in distress and Stone shows up, saves Robotnik, and Robotnik won't admit that he's saved him!

You can find Lee on Twitter HERE, Instagram HERE, or Twitch HERE!

#sonic movie #agent stone #jimbotnik #dr robotnik #robotnik #lee majdoub interview #lee majdoub #I want to read fanfics about all the small or big ways Stone has rescued robotnik #like saving robotnik from getting burned by coffee #someone trying to poison #his food #someone infiltrating the government with the intention of taking #robotnik out #stone saving robotnik from his own self destructive tendencies

[thebandcampdiaries]

King P is back on the scene with a brand new studio effort: Slip N Slide.

April 2021 - King P is an artist and performer who has recently releases a brand new project, Slip N Slide.

This track is a perfect example of what it’s like to produce great modern hip-hop.

One of the most distinctive traits of this release is certainly the energy, and the drive that fuels the performance of the artist. The vocals feel very animated and spontaneous, an obvious sign that this performer is actually genuinely connecting with his lyrics, in a much deeper way. This isn’t just a puppet singer popping out catchy hooks: there is a deeper concept behind the songwriting, which really adds weight to the mix. Although he has roots in Jamaica, King P is actually from Miami, Florida, where he was born and raised, save for a few years he actually spent in Jamaica before his family returned to the US by the time he was five years old.

Slip N Slide is actually a really great example of what King P can accomplish in music. His sound is incredibly diverse, and the quality of this production is a testament to the passion and flow that drives his lyrical excellence and approach to hip-hop.

In addition to the personable and edgy performance value, this release is also quite distinctive because of the sheer quality of the production. The mix is balanced and very detail-oriented, making for a lively, edgy and stark sonic approach. In other words, there are many subtle nuances in this release, which really add to the richness of the track when summed up together. The frequency spectrum of the mix is also very balanced, with a tight, yet deep low end working wonders along with a smooth top end, which adds a sense of clarity to the music.

Slip N Slide stands out for its modern sound, but although the production is quite polished, it is never overproduced, allowing a lot of wonderfully organic  and “human” elements to really add liveliness to the mix. The release is actually really amazing in terms of quality and sound design, as the beat really suits the unmistakable feel of this excellent performer. What makes the song really stand out is actually the amazing personality of King P as an artist. He knows what it takes to entice his listeners, and he has a remarkable ability to keep the listener tuned in from start to finish. His songs are incredibly catchy and dynamics, and this amazing release is definitely no exception. The track has bass for days, and the punch of the mix is truly amazing. More importantly, it is really just a lot of fun to listen to, making for a one-of-a-kind experience that will make its way into your heavy rotation, along with many other rap favorites in your music collection! This one has got what it takes to stand up to even the most notorious hits and it does feel as good as you would expect from the top rappers in the game.

Ultimately, I’d definitely recommend giving this one a shot, particularly if you are a fan of artists such as 50 Cent, Drake, Jay Z, or Kanye West. This is the kind of track that will surprise you for it sonic variety, and it will keep you on the edge of your seat due to its catchy, yet unpredictable arrangement. I always love to hear from artists who set the bar higher and push the envelope when it comes to their productions: this certainly appears to be the case!

The music video to the song is actually going to be available on May 28th, during Memorial Day weekend, a perfect opportunity to celebrate and enjoy some banging new tunes! If you don’t want to wait, you’re in luck, because the official lyrics video to the single has already been posted online!

Find out more about King P and do not miss out on the artist’s most recent releases, activities and events:

www.YouTube.com/PSSKingP

www.Instagram.com/1KingP

www.TikTok.com/1KingP

www.Twitter.com/1KingP

www.Facebook.com/1KingP

Official Website: www.KingPent.com

We also had the chance to ask the artist a few questions: keep reading for a full interview!

I love how you manage to render your tracks so personal and organic. Does the melody come first, or do you focus on the beat the most?

Answer: Great question! I believe because I am a musician first that I hear melodies almost anytime even without a beat. At the same time because of the same reason, whenever I’m listening to beats or even songs, if the beat does not move me then it’s hard for me to create. I have to feel the music. I allow the music to speak; it tells me what to write about based on my emotions and experiences. I never force the creative process, so if I feel nothing, I move on.

Do you perform live? If so, do you feel more comfortable on a stage or within the walls of the recording studio?

Answer: Do I perform live? Allow me to reintroduce myself – “King P (born Phillip Solomon Stewart in Miami, Fl.) is a Jamaican-rooted Hip Hop artist and multi-instrumentalist who delivers an unmatched level of energy through his Dancehall flair!” Do I perform live? – Yes, I absolutely perform live and thoroughly love it! Although, I do get nervous prior to performances every time, as soon as I begin the nervousness goes away usually. I’d say I’m more comfortable on stage if you throw the factor of having a lot of people in the studio while I write or record. Within my personal studio, I am most comfortable to hear myself and allow myself to express freely. I am actually working on being more comfortable creating and recording in a studio with a crowd. This interview actually just gave me the idea to act as if I am performing the song in the studio when there is a crowd and maybe I’ll feel more comfortable in those situations. I think, I’ll try it! Over-all, I’d say performing live is a treat because I’m able to inspire people and to see their spirit uplift before my eyes. Nothing is better than human interaction in the name of Good Vibes, Good Energy! With that being said,

If you could only pick one song to make a “first impression” on a new listener, which song would you pick and why?

Answer: Good Vibes because I can perform this song anywhere at any time. It is a World song! Some years ago, I remember saying to myself, “I want to make world music”. I actually forgot that I said that but remembered last year, February 2020 (pre-pandemic) when my Good Vibes Music Video nominated for five awards, won “Best World Music” and “Best Choreography” at the California Music Video Awards. However, I believe my new single Slip N Slide will be very fun to perform and could easily be my favorite but also make a great first impression as well!

What does it take to be “innovative” in music?

Answer: I’d say first knowing yourself so you can be yourself! I believe that ideas come to us all. If you get an idea, write it down, record it or just immediately act on it. Otherwise, once that idea leaves ya spirit, you may not ever get it back. There’s nothing better than just doing because as you go, more ideas come to you and in the end, it all comes together! Being innovative is allowing yourself to be inspired and I believe inspiration is everywhere! Lastly, having a team helps so you can bounce ideas around, discuss and fuss (if need be) to get the best out of any idea

Any upcoming release or tour your way?

Answer: Yes, Slip N Slide is out now but the music video premieres on May 28th, Memorial Day Weekend. Every two weeks after, we’ll be releasing Music Videos that was filmed in Los Angeles, California for the songs Top Notch, Aloha, My Life in Time (part 1: sax version, part 2: sing version) and short film music video Tonight We Party of which we are also turning into a feature film. I of course have more songs on the way. I’m very excited about upcoming singles Body Calling and She Make Me Wait! I’d love to re-launch my All or Nothing Tour that was halted because of the pandemic last year. We’ll have to see how the rest of the year unfolds in regard to the pandemic to see if we’d continue the tour. However, I am ready to perform again, and my goal is to hit the biggest stages, like Rolling Loud! … Introducing - King P the Jamaican-rooted Hip Hop artist and multi-instrumentalist to the stage!!!!!

Anywhere online where curious fans can listen to your music and find out more about you?

Answer: My music is on all platforms including my Official Website: www.KingPent.com.

My current single Slip N Slide lyric video is out now: https://youtu.be/HvuZq0QJ6lA and the Official Music Video that was filmed in Miami, Florida will premiere on May 28th Memorial Day Weekend on PSSKINGP YouTube Channel (www.YouTube.com/PSSKINGP)!

Stream/Download Slip N Slide now on all platforms here: https://unitedmasters.com/m/slip-n-slide

Spotify: https://open.spotify.com/artist/5C6voWFD8fkd4TzwXCM1VF

Apple Music: https://music.apple.com/us/artist/king-p/1365165448

Sound Cloud: https://soundcloud.com/phillipsolomonstewart

Social Media:

www.YouTube.com/PSSKingP

www.instagram.com/1KingP

www.TikTok.com/1KingP

www.Facebook.com/1KingP

www.Twitter.com/1KingP

[whyspeakin]

All About Kalpana Chawla, Why She Is Best Astronaut

Kalpana Chawla Death Reason

Kalpana Chawla,  died on February 1, 2003, in an accident in the space shuttle Columbia somewhat over Texa, United Status, while approaching to earth, in an accident.

It is just after 9 a.m. at Cape Canaveral. At the Command Center in Houston, the first wave of panic takes over. Kalpana Chawla Husband - Jean Pierre-JP,  response to their last message from mission control had been aborted midway. All communication with Columbia got disconnected. However, it is a routine when a spaceship re-enters the earth's atmosphere. Jean Pierre-JP to those who know him—to is aware that this is commonplace. However, successive calls go unanswered. At about the two-minute mark, before touchdown, JP does not hear the expected double sonic booms of the shuttle overhead. As the minute pass, the silence becomes deafening. For the first time, the ground crew feels that something has gone wrong. On television screens across the world, the white streak has turned to a series of white spots in the sky. At this moment speculative ideas began to trade-in media about Kalpana Chawla death reason. The first fearful questions have begun doing the rounds; phones are ringing all over the world and what can be the Kalpana Chawla Death Reason. At the landing site, officials with cellphones glued to their ears are exiting the viewing area. The worst is feared. The world does not have to wait until the official word is out. Columbia has blown up, and its debris is raining down on the southern states of Louisiana, Texas, and Arkansas. It is darkness at noon. At the Kennedy Space Center, workers hunch over their terminals in complete shock, while at the same time, family members of the crew are being herded together at Cape Canaveral. Shuttle contingency is declared. In the Houston home of Kalpana, her family stares in disbelief at the television screen. Monty won't be coming home. And, in her hometown, the party for the schoolchildren is over. Instead, the stunned inmates of Tagore Bal Niketan join one billion countrymen in mourning their brightest star. An abrupt end to a space journey for six other brave astronauts too. But in her wake, forty-one-year-old Kalpana leaves behind many unanswered questions. What made it possible for this petite girl from Karnal to successfully undertake such an incredible journey that spanned not only continents but also cultures and finally ended in space? Unlike what many others would have done, Kalpana had chosen to come out of the comfortable cocoon of a well-to-do family, preferring instead to explore the world, taking the challenges as they came. Overcoming a host of prejudices, this five-foot-tall, slightly built girl, armed with only her radiant smile and fierce determination, had managed to realize her dream. Therein lies one of the most compelling stories of our times, one that begins in a house in downtown Karnal in 1961.

Kalpana Chawla Family Details

Father: Banarasi Lal Chawla Mother: Sanjyoti. In 1961, the household of Banarasi Lal Chawla, in Karnal, was expecting the arrival of a baby. By the persistent kicking in the stomach, Sanjyoti, going by midwife tales, felt that it was probably going to be a boy—she already had two daughters and a son. But lo and behold, the fourth member born to Banarasi Lal and Sanjyoti Chawla turned out to be a very energetic baby girl. It wouldn't be the last time that Kalpana would surprise her parents. The Chawla household had only recently moved to Karnal. Banarasi Lal, like thousands of others in the wake of the Partition riots, had trekked across from Pakistan, with precious little of his own. Only those with grit eventually made it and, more importantly, we're able to put the bloodshed behind them and move on with their lives. For Banarasi Lal, then a teenager, and his family, the first stop after leaving Gujranwala in Pakistan was Ludhiana. As refugees, they had to begin from scratch, and Chawla senior, along with other members of the family, started on a host of businesses, including selling wares as a street hawker. With each change in occupation, he started nudging up the social ladder. The progress was slow, till the extended family finally moved to Karnal. They took up a two-storeyed house in the middle of the town, close to the family business, which at that time was merchandise in clothes. A little later, the family took to the company of manufacturing tyres, which turned out to be very lucrative. Through all this, the Chawla household retained its spirituality. Banarasi Lal's parents had abdicated worldly existence and moved into a little house on the outskirts of Karnal town to spend their last years in spartan life. The religious attitude in the family was secular. While Banarasi Lal himself read the Guru Granth Sahib, his wife Sanjyoti followed to the preaching of Pune-based Swami Rajneesh. As far as food was concerned, the household was uniformly vegetarian, a habit Kalpana retained even years later when she went up in space as an astronaut. The years of struggle were not lost on Montu, as Kalpana came was popularly known affectionately known in family circles. Though by then the family business had begun to thrive, the basics-never let up in your effort-were never forgotten. From virtually nothing, her father had built up a lucrative business and had even received a laurel from the President of India for an indigenously designed machine to manufacture tyres. Just before the Columbia launch. Her easy-going nature and by then radiant smile masked the extent to which the child had absorbed her father's experience. It would be many years before the family would first realize how this slightly built, the dark-eyed girl had imbibed the family traits of grit and determination. Time and again, after that, the baby of the family would prove unflinching in her resolve-something that would come handy in surmounting the barriers that Montu faced growing up as a girl child in the state of Haryana. Speaking to friends who had dropped in to offer condolences at the Houston home of Kalpana, her mother said, 'Kalpana was born in our family, but she had a mind of her own.'

Kalpana Chawla Childhood in Karnal, Haryana.

Kalpana Chawla’s childhood was spent in the town of Karnal, Haryana, which lies on the Grand Trunk Road, halfway between New Delhi and Chandigarh. Located along the west bank of the river Yamuna, the town and its adjacent areas have a legendary history linked to it, dating back to the Mahabharata. Legend has it that neighboring Kurukshetra-also in Karnal district—was the battlefield that launched the famous war of Mahabharata between the Pandavas and the Kauravas. Centuries later, the town's penchant to be associated with history has not changed. Growing up in the sleepy town of Karnal was quite an experience. For girls to be given the privilege of studying was rare, and not many families encouraged the idea. According to Kalpana's contemporaries from Karnal, a fifty-strong class would be hard-pressed to have even five percent girl students-a far cry from the average has seen today. In the Chawla household, however, there was an enormous premium on academic prowess. Elder sister Sunita was already a trailblazer, setting a benchmark as it were. By the time Kalpana came of age, money was no longer an issue in the family. At the same time, the family was not keen to send her to a school far from home. So they opted for Tagore Bal Niketan, which was located in the vicinity of the Chawla home. Captain D. Sharan, who grew up in an adjoining village and is now a pilot with Indian Airlines he was, in fact, piloting the aircraft that got hijacked to Kandahar-recalls that Tagore School was among the best that the town could offer. 'Women were never encouraged to study at that time, he recalled. 'In one class you would have only about three or four girls. For a girl in Karnal to get through (academically) was next to impossible. For that matter, even for a man, it was not easy.' He should know, having cycled every day to go to college and later to the local flying club for his first lessons in aviation.

Kalpana Chawla Education

Kalpana Chawla School: Tagore Bal Niketan Kalpana Chawla College: Dayal Singh College Tagore Bal Niketan was not the best school in town, yet it was unique in the way it was founded and run. At Tagore Bal Niketan, Kalpana's class had only fifteen students. Most classmates remember her as a shy individual. Though she never stood first in class, she stayed among the first five. Her energies were now increasingly towards raising the bar as it were. Her upbringing in a small town and her measured victories against tradition would be valuable lessons, as helpful as the support she drew from her female mentors, not the least from her mother. Given the family's conservative background, Kalpana skipped the better option in Dayal Singh College and opted instead for her pre-university from D.A.V. College in Karnal. It was only in the second year (equivalent to the twelfth grade) that Kalpana moved over to Dayal Singh College, that too because D.A.V. did not offer science beyond the first year of pre-university. As her teacher of English, Dr. Kamlesh Sharma, mentions, Kalpana was never traditional or conservative in her ideology, her thinking. By the time she finished her pre-university from Dayal Singh College, the petite girl with large black eyes, high-pitched voice, and luminous smile had set her sights on a graduation degree in engineering. It was not surprising, therefore, when news filtered home that Kalpana had to attend Punjab Engineering College (PEC) in Chandigarh. The Chawla household was initially reluctant to send her out of Karnal. Ultimately, however, they relented, and as a safeguard, ensured that Kalpana's friend Daisy too got admission in Chandigarh for a graduate degree. Recalling the moment, in the NASA interview, she said, 'I was lucky to get into aerospace engineering at Punjab Engineering College. And, in my case, the goal was, at that stage anyway, to be an aerospace engineer. The astronaut business is far-fetched for me to say, "Oh, at that time, I even had an inkling of it." The time had come for this small-town girl, who weighed ninety pounds with rocks in her pocket, to move on in her journey.  She could well have rested on her laurels and earned a more than comfortable livelihood as a civilian.

Kalpana Chawla Death Reason

The horrific turn of events after the space shuttle made its re-entry into the Earth's atmosphere on its home run are now history. For NASA and people all over the world, the end came as a tragic shock. A host of reasons have forth to explain Columbia's break-up on re-entry into the Earth's atmosphere. The most plausible reason out is that debris from the shuttle's external tank had struck Columbia's wing, just eighty-one seconds after launch on 16 January. The foam insulation purportedly fell and hit the shuttle's left flank on at least two, possibly three, locations. Titis believed, caused damage to the heat resistance tiles covering the wing and eventually proved fatal to the craft on re-entry. Retired Navy Admiral Harold Gehman, head of the independent investigation, is looking into this and other plausible causes. Progress has been painstakingly slow, which is understandable given that the debris from the shuttle is still being located and put together. Therefore, it may well be a long time before something gets is conclusively established. Meanwhile, the initial shock of losing Kalpana and her six colleagues in the unfortunate accident is now gradually wearing off. And the harsh realization has dawned that life has to go on without these magnificent seven among us. Comforting to many people--including her . own husband is the thought that Kalpana's death doing something that was most dear to her. Kalpana Chawla Death reason whatever maybe, 'The initial shock has worn off, aided by a constant stream of prepared meals, friends arriving from far-off places, and ever-present Astronaut Office contacts,' wrote JP on the Iweb log maintained by a Gillan of the rock group, Deep Purple. 'Intellectually, we all realize what has happened. Emotionally, none of us can yet connect the dots. We all take solace in that the crew was doing what they loved, with people they loved and respected. When the end came, it was instantaneous.' It is what makes her legacy enduring-an inspiration for generations to come. In many ways, the spirit of the seven astronauts, lost on that fateful morning on 1 February 2003, will always be with the world. Kalpana's journey from Karnal to space will forever remain a part of us. It did not end with the mishap or after her ashes were spread over Utah. It is not just because of her incredible achievements. It will be as much for her ability to achieve the impossible. Though being born into an upper-middle-class family helped, she struggled against very much the same odds as the rest of her countrymen. As a young girl born in the 1960s, she had no model to follow, no godfathers in the system. She did not use the prejudices and handicaps as an excuse for inaction. She sincerely believed that there was no alternative to hard work. And that if you believed in something genuinely, then it is yours. Her origins and life were, in a sense, very much commonplace. But her achievements were not. That is what makes her extra special--a role model to be emulated by generations after her. That, in many ways, is the central element of her legacy. In her last interview to India Today, she summed up the sine qua non of her incredible achievements thus: 'In one word-perseverance. There have been other factors too. Taking the time to follow other interests such as reading and exploring that have helped to widen the perspective and have enriched the journey.' Kalpana's strengths also flowed from the fact that she did no wanting for effort. She drew inspiration for this from ordinary individuals around her. People who gave it their all, no matter how commonplace their tasks might appear to be. For her, the commitment of her teachers—with their constant ability to devote attention daily to almost every student-was a cause for inspiration. So were the initial struggles of her parents to establish themselves again after being uprooted from their homes by the flames of Partition. The steadfastness and commitment that all of them displayed as they went about their daily lives inspired her in her journey. She looked for very much the same qualities--perseverance and courage-in the stories of explorers like Shackleton and Matthiessen. Another quality—which endeared her to those who knew her and will continue to inspire many, was her bold approach to life. Almost everyone who has been touched by Kalpana recalls the adventurous spirit that was so intrinsic a part of her. As her friend Acuff wrote on his web page after the accident: For Kalpana, the words she wrote on the photograph she gave to Amy (his wife) and I sum her up: In the spirit of adventure. She was always seeking new knowledge, new experience, and a unique wonder. She wrote to David (his son), 'Reach for the stars.' That is the message she would want all the children of the world to hear. Only by reaching beyond what we believe is possible can we achieve the impossible. Also striking was her desire to give back to the community and her commitment to preserving nature. It was this that motivated her to help not only young children from her old school in Karnal but also other deserving people from all over the world. It prompted her to painstakingly track down her alumni to share mementos from her first trip into space. To keep this legacy of generosity alive, her family has set up the Montsu Foundation (PO Box 58937, Houston, TX 77258, USA). As JP put it: 'The Foundation's first objective is to sponsor the university education of bright young men and women whose only obstacle is lack of funds, or means to acquire those funds. Sponsorship is open to anyone anywhere in the world ... The second objective is to acquire and preserve the natural environment, such as the purchase of land used by migratory birds during their stopovers.' Very appropriate for someone who drew inspiration from the words of the philosopher, Seneca: 'I was not born for one corner. The whole world is my native land. It was a connection that she sincerely believed in till the very end. Born Indian, yet died as an American, in space. Indeed a global citizen. As she said in her final interview to India Today, 'I have felt that connection and stewardship for Earth as long as I can remember. And not just for Earth, but the whole universe.'

Seconds before disaster Columbia Space Shuttle

A Timeline of Events in the Last Flight of Space Shuttle Columbia (All times EST) 16 January 2003 10.39 a.m.: Columbia rockets into orbit from Kennedy Space Center 1 February 2003 8.15 a.m.: Columbia fires braking rockets, streaks towards a touchdown. 8.53 a.m.: NASA loses temperature measurements for the shuttle's left hydraulic system. 8.58 a.m.: NASA loses measurements from three temperature sensors on the shuttle's left side. 8.59 a.m.: NASA loses eight more temperature measures and pressure measures for left inboard and outboard tyres. One of the measurements remains visible to crew on a display panel, which crew acknowledges. 8.59 a.m.: Final transmission. Mission Control radios: 'Columbia, Houston, we see your tire pressure messages and we did not copy your last.' Columbia replies: 'Roger, uh. 9.00 a.m.: NASA loses all data and contact with Columbia at 207,135 feet. Residents of Texas, Arkansas, and Louisiana report hearing a big bang' and seeing flames in the sky. 9.16 a.m.: Columbia's scheduled landing time. 9.29 a.m.: NASA declares an emergency. 9.44 a.m.: NASA warns residents to stay away from possibly hazardous debris. 11.00 a.m.: Kennedy Space Center lowers the flag to half staff. 2.05 p.m.: President Bush announces: Columbia is lost; there are no survivors.' Read the full article

[hetmusic]

Q&A with Glabs | HumanHuman

Two years ago, the Parisian musician, composer, songwriter and producer Glabs took a leap of faith to start releasing his own music, which was first picked up by fellow French music lover Sodwee. A year later and we had the evocative, cinematic and expansive EP, Here I Go, which imagines various points of human experiences inspired by life, death, relationships and Glabs’ background in making music for films.

One month back Glabs hit that 100% promising mark - sure fire proof that his step into the unknown has continued to bring in new supporters of the project. Here we ask this Promising Artist about his inspirations, taking the production reigns, all-time favourite artists, ones to watch from the French music scene, and whether we might be hearing more from Glabs in the near future.

Our user have known about Glabs since Sodwee’s discovery two years ago, but when did you first hear about HumanHuman?

To be honest, I released my EP by necessity, without following any usual way. I just sent an email to few music journalists and I was surprised to have a very good feedback. Sodwee was one of them, and I heard about HumanHuman during a discussion.

How has the online music world, with its bloggers, tastemakers and listeners, reacted to your music so far?

As I said earlier, I was pleasantly surprised to receive so many articles and comments on my EP, sent confidentially. I was glad to read that most of the time tastemakers had understood what I wanted to say; the emotions I would like to transmit.

You made quite an unconventional introduction with a finished EP, titled Here I Go, around a year ago. It appeared seemingly out of nowhere from our perspective, which we know isn’t true, so what was the catalyst for this EP?

The catalyst of this EP was to be the closest to my mental pictures. Each song have its story, it's scenario, its storyboard. My hope is to be able to convey it to the listeners. This requirement has led me to take some particular production choices, such as leaving some imperfections on purpose, to be more organic, closest to the truth, and authentic. My guide wasn’t to have the sound that would meet standards, but to have the best illustration of my brain, and touch the listener’s sensitivity.

As discoverer Sodwee commented on your artist profile page, the EP is “self-produced from A to Z.” Is that the case?

Yes it is. I have completely self-produced this EP, I have played all instruments, all the records and mix. Except the final mix of two songs , produced at Hinterland Lab by Francois Baurin and the mastering produced at Globe Audio Mastering by Alexis Bardinet. Lyrics are co-written with Jennifer Jordan.

There’s a startling amount of variety across the EP - piano ballads; rough acoustic guitar recordings; cinematic electronica. Why so diverse?

Only the stories and emotions were the restrictions of this EP. For an example, the song “Stealing Tomorrow” is a sci-fi story talking about the solitude of a man who has been isolated underground from the rest of the world because he doesn’t match to an ideal genetic code. But, he will realize that there is a whole crowd who wants to scream his existence. I would like to transmit this into the arrangement and the instrument usage.

I didn’t want to restrict myself, and was hoping that my personality and my music’s color will be sufficient to have a conductible line.

Do you also have eclectic listening habits? Who are some of your all-time favourite artists?

Yes, as a child i did have very eclectic listening habits. Accented by my job which is to write music for a variety of movies, and to find the most suitable music for pictures, I have to be able to write a large variety of musical styles. It’s very difficult to mention one and not another. But it’s going from Schubert to Kate Tempest, passing by Dhafer Youssef, Warhaus, The National, Alt-J, Patrick Watson, Archy Marshall/King Krule, Son Lux...

Possibly one of your current picks may be Bastien Picot who features on the post-EP single “MOVE ON”. What brought about this collaboration?

The collaboration with B Picot on this single was a beautiful opportunity in my life. A friend told me about him, I had to ask him to sing on my song composed originally for a movie, and we've shared a very good feeling about music. Some mutual music inspiration and good vibrations.

This newer track has some noticeable differences in the sonic elements and production, which a richer, crisper sound than we’ve heard previously from you. How did you approach recording and producing “Move On”?

Yes, as previously said, my EP, Here I Go, was my first official released under GLABS and I wanted it to be singular, the closest to me, with asperity and authenticity. “Move On” is probably closest to sound standards.

Overall, your music has a strong sense of solitude, do you prefer to write music alone?

Yes, I used to write music alone. Maybe I‘m wrong but I think it’s difficult to find an alter-ego composer, especially for this particular EP where I have tried to transmit inner feelings. I’m confident with life to make me change my mind, but I love to work with singers, authors.. and to share with other musicians. I would love to hear a remix of “Here I Go” too...

Songs such as “Star Rocker” and “Here I Go” have this pervading sense of loneliness bolstered by a cinematic production and carefully chosen instrumentation. What did you hope to convey through these songs?

Your question is funny because those two songs are talking somehow about the birth and the death. The two moments of our life where we can say that we are alone for sure. This loneliness could be oppressively difficult, but in my stories, there is a lot of comfort, warm feelings and hopefulness. The light is always somewhere and the cinematic production help me to translate this ambivalence.

What might inspire a song for the Glabs project?

I don’t know, to be transparent, it can be a lot of things. Usually more a human emotion than society criticism.

Are you currently working on any new material? Perhaps something we may hear in 2018?

Yes, I have already composed new songs, and I would love to release some this year.

When did you first get into music? And did you always imagine pursuing music in a serious way?

I was initiated to music when I was six-years-old. I started violin at eight-years-old and learned to play other instruments on my own as a self-taught artist. I rapidly felt the need of expressing myself instead of playing covers. I was searching a way to pursuing music seriously, as a professional and I started as a FOH and Studio sound engineer but I wasn’t completely happy. So, few years ago, I said to myself “Here I Go!”

You’re currently based in Paris, how would you describe the music scene over there? Does the scene differ from the rest of France?

I’m not a big French music listener. I'm used to listening to music from UK, USA, Nordic countries, Africa or South America. We noticed a return from the 80/90's, with an excess of naivety which is disturbing me. Most of the French artists I like are singing in English. I'm not sure the Paris Scene really differs from the rest. Maybe Paris is a showcase city, where you can discover a wider variety of artist, where artist are coming with prospect to be famous and meet the biggest one. Paris is very cosmopolitan, most of Parisians are not born here...

For any visiting music fans, do you have any recommendations of artists or bands to watch out for in Paris?

The French artists or bands that I would recommend: Her, Papooz, Agar Agar, Rone, French 79, Radio Elvis, Albin de la Simone, and Mathieu Boogaerts.

https://humanhuman.com/articles/interview-with-glabs

[epiphenomenal]

hi guys. sorry for the long absence. i've had various r/l things going on, including a new job -- but tbh i’ve also found it hard to have fannish feelings about anything except the end of the band of my life, kent. the following is an incredibly tl;dr explanation. please don't feel obliged to read it; i think i wrote this mainly for myself.

i. origins

there are two stories, i guess. one begins in 2003 with teenage!jan discovering a curiously-labelled song on file-sharing software. someone had frontloaded the filename with familiar bands: REM, radiohead, the smashing pumpkins, etc. so i downloaded what turned out to be the english version of kent's 747, and realised i had to listen to more of their work.

i soon discovered they were a swedish band, and that their english experiment had been short-lived. but their swedish songs were fantastic (both before and after i looked up the lyrics), so i kept listening.

and they say the town's become silent and ugly and deserted, darling that it's going to be a long cold winter i've learnt that longing is worst when one's slept like a child through an ice-cold winter

you're my hero for you dare to be honest you're my hero for you're just as weak as me come and help me, i need you -- again, again, again (x)

i ordered all their albums online -- you know it's love when you stop pirating. for most music loves, it might have stopped there. except for the other story, which starts in the late 1980s (or officially in 1990).

i read about the band's origins, and there was something compelling about that, too. how they grew up in a small grey industrial ghost town, where music was an escape. how they had lofty dreams and moved to stockholm and tried and failed and kept trying for years, until they got their big break. how they went from strength to strength after that, winning awards and a devoted fanbase, and eventually being called "sweden's biggest rock band". (but also how, after two english-language albums and gruelling international tours, they had to give up on that front.)

i loved them with the intensity teenagers are capable of. i read all i could find in english, and then (back when machine translation was poor and google translate didn't even exist yet) read more with the help of a swedish-english dictionary and what grammar i managed to learn.

kent also had a close relationship with their fans. their frontman, joakim berg, frequently hung out on their official forum. ahead of each album release, the band took questions directly from fans and answered them (often hilariously) on their website -- which, incidentally, was a fansite that the band noticed and asked to become their official website.

in 2005, they released their first new album since i'd started listening to them: du & jag döden or 'you & i, death', a masterpiece from the irresistible opening track all the way till the magnificent album closer, which remains my favourite song ever. i pre-ordered the album online and played it on loop for days and have never recovered.

do you remember our blood-oath, our law? our stupid crusade against an equally foolish town i remember everything like nails against glass but you just laugh at me, reduce everything to a joke yet i see in your anxious posture, your hunted gaze that it feels that it's a long way home (x)

ii. journeys

in the autumn of 2007, kent released their next album, tillbaka till samtiden; i went to the UK for university, on a scholarship. that december, i went to sweden and saw kent live for the first time -- something i'd never imagined would be possible, back when i first discovered their music. it was magical. they were magical. that energy, those songs i'd loved for years, the crowd roaring along on all the classic lines -- singing but darling we’ll all die someday with thousands of other fans, not in sadness but in triumph. but also: jocke's incredibly dorky dancing, the band's camaraderie on stage, how they connected with the crowd. i fell a little in love with their guitarist, sami sirviö, and his dramatic guitar-playing -- something from which i have never recovered either.

the next spring, i travelled alone to sweden to see them again, three times.

kent wasn’t just the soundtrack to my ~formative years; they’re linked inextricably to the start of my uni-era travels, and to trips i’ve taken since. they were also a constant, of sorts: one could always expect another album within a couple of years. there was always something to look forward to.

and the thing about kent -- and being a kent fan over the years -- is that they have always moved forward. unlike some bands which retread the same sonic territory, kent saw each new album as a musical departure from the next (often to their fans’ dismay; but kent always said that they made music for themselves, and i admired that kind of integrity, too). their lyrics also evolved: from adolescent anxiety and desperation, to urban isolation and middle-aged middle-class angst (not least given their working-class origins), protesting against a society that seemed to be losing its old ideals of solidarity and kindness.

in late 2009, during my final undergraduate year, they released the album röd. in the easter vacation before my final exams, i went to sweden and norway for four concerts. i didn't know when i would get to see them again.

(just half a year after röd, they casually released another album, en plats i solen. other things they’ve done: released songs for charity, from a quietly devastating song about domestic violence for Save the Children, to one for the National Organisation for Women's and Girls' Shelters in Sweden; released a song for free online as a christmas present for fans, without the knowledge of their record label, and laughed with fans on the forum about that; taken shoe-selfies on a couch together.)

darling, that we want most of all is something that can never be ours november is a wall of wet concrete where a naive dream of escape is born to crash and then die but heroes and heroines stay standing they spit hard into the wind and they warm our hands so we don't lose our grip on the love we have a right to (x)

i returned from the UK and started work in 2011. in 2012, kent released jag är inte rädd för mörkret, which opens with one of their most beautiful songs. (instead of doing promotional interviews, they held a press conference and invited fans and forum regulars and bloggers, not just the media.) i flew alone to stockholm that summer, for a concert on a sprawling green lawn. the setlist was incredible and included one of my favourite songs, which i'd hoped for years to hear live. there were fireworks at the end. the forty-minute walk back towards town, amongst other fans, felt like it took no time at all.

2014 started out tough for me for various reasons, and kent's new album tigerdrottningen was very welcome, though i didn't manage to see them live that tour. they were more political than ever before. their first single was a blistering critique of sweden today; at a summer festival they held (yes, they held their own festival, and invited artistes they loved -- mostly women, incidentally, something the media noticed but the band themselves never pointed out), they exhorted the crowd to vote the right-wing SD party out of parliament. my favourite track off the album describes stockholm as a "guaranteed solidarity-free New Moderate desert" -- but also contains a verse that gains a lot of poignancy in retrospect:

i hear the bass from the car at the red lights, i know that song like a knife to the heart -- i wrote it 200 summers ago i stand as if frozen at the crossing, and regret (x)

iii. endings

on 13 march 2016, kent posted a video full of references to previous albums and songs.

after 26 years together, they were calling it a day.

their final album, då som nu för alltid, was a summary and a farewell. they said goodbye with a final tour: 28 gigs in four months across four countries.

i used half my annual leave to catch five concerts in october. each one was amazing. from the breathtaking introduction and epic visuals, to the setlist, to -- of course -- the band themselves. how much energy they poured into their music. the smiles they traded on stage, how they’d play while facing each other. how jocke presented his fellow band members to the audience, night after night, and told stories from their earliest days together; how, night after night, he told them he loved them.

the band members' love for each other, how they call themselves a family and have always felt it was them against the world -- that's one of my favourite things about them. and i have a lot of feelings about the stories jocke told: how he and sami went from disliking each other at first sight to sharing a rockstar dream; how he and bassist martin sköld spent hours talking about everything in life; how important their drummer, markus mustonen, was in making them feel like they were finally a real band.

the farewell tour was also filled with love between the band and the fans. how jocke bantered with fans near the front. how, in setlist staple jag ser dig ('i see you'), the fans got their moment on the big screen. how the fans have always taken jocke's cue during set-ender 747, turning stadiums into seas of waving arms, right after jocke sings to us, repeatedly, you keep us alive -- additional lyrics only present in live renditions of the song. how, after each concert, the band came down and gave out roses to fans in the front row.

in december, i flew out again for their last three concerts in stockholm. during the first two, for which i had standing tickets, there was just such a pure joy and euphoria at being there, in the moment, with fellow fans, amid their music. they performed a completely new song, because kent is the sort of band which does that sort of thing during their last three concerts ever.

at their final concert, on dec 17, i had a seated ticket for the only time this tour. i watched their farewell from a distance, but that also allowed me to grasp the scale of this: being there amongst 38,300 fans, saying goodbye together. during the ironic political ballad sverige we held up our phones, as we'd done throughout the tour, and the arena was full of stars.

the day after, the band released a final video, a beautiful summary of the farewell tour which included the voices of fans. it was a music video for the song which ends their last album, and which also closed every concert that tour: den sista sången or 'the last song'. just to make the message perfectly clear, the song (and by extension, every farewell concert) ends on these lines:

this is the last time, the last time we're meeting the last song, the last song i'm giving you (x)

iv. epilogue

on dec 26 and 27, a two-part documentary on the band's final years was released. it's a very well-made documentary, from cinematography to its on-point song choices, filled with interviews and amusing moments, giving a summary of the band's history and a look at the long farewell stretch. the documentary also contained some sad revelations about why the band had chosen to call it a day, and i spent january and february processing this, basically.

on feb 28, kent won their final two swedish grammy awards. they gave cute thank-you speeches and joked around in the backstage interviews. it provided a kinder sort of closure, compared to the documentary's bittersweet ending.

i still have far too many feelings about these guys and their journey. but it's now been a year since the farewell announcement, and though i'll never get over this band, i should really move forward too.

#this really ended up tl;dr #and yet i could still write a million more posts about #kent the band #though i... won't #also yes i know i've been extremely fortunate and privileged #to be able to afford to catch so many of their concerts #anyway i... will try to return to tumblr now #if i remember how haha

[teramelos1]

Big Walnuts Yonder with Nick Reinhart announce self-titled album, release “Raise The Drawbridges?” via Consequence of Sound

This year has already seen its fair share of mighty supergroups, featuring various members of At The Drive-In, Melvins, Grandaddy, and Franz Ferdinand. Big Walnuts Yonder is a collection of similarly talented veteran musicians — Mike Watt (Minutemen, The Stooges), Nels Cline (Wilco, Nels Cline Singers), Greg Saunier (Deerhoof) and Nick Reinhart (Tera Melos) to be exact — but the chemistry and creative process behind the new outfit are decidedly of a different breed.

“It’s worlds colliding,” Watt explains of the four-piece, which draws in elements of “proto-punk, free jazz, power pop, experimental music, psych-rock and your first teenage acid trip all in one.” Big Walnuts Yonder’s beginnings date back to a 2008 conversation between Watt and Reinhart, but because of hectic, overlapping schedules, it hasn’t been easy to sit down and polish off an official album.

“We had planned it for so long,” recalls Saunier. “Then several years passed in which nothing occurred due to everyone’s schedules. It was 2-3 years of warm, leisurely prep time, then suddenly made in a panic with time and money on the line.” The resulting effort is the band’s self-titled debut, due out May 5th via Sargent House.

The LP was recorded in just three days over the summer of 2014 with the help of producer and former Pere Ubu bassist Tony Maimone engineering at his Studio G in Brooklyn. Its collects 10 songs, eight of which started as “song forms” on Watt’s bass, then later fleshed out and added to by other band members; Saunier and Cline each contributed one track of their own to the final product. “I’m pretty sure the other guys didn’t have parts set before going into the studio,” says Reinhart. “But it’s interesting how a lot of the songs began as Mike Watt basslines, and everyone was able to pull songs and melodies out of them.”

The whole thing seemed to materialize in a way that was spontaneous, but also quite focused — a “concentrated sort of freakout,” according to Saunier. “We basically had to invent a new band on the spot. And, people might have a stereotype of what each person does, but we all showed up to do what we’re prevented from doing in other groups.”

As a first look at Big Walnuts Yonder, the group has shared “Raise the Drawbridges”, a track that captures an instance of police brutality. “He [Watt] takes the voice of an officer acting too tough and provoking conflict,” Saunier explains, “and then comments on the transparency of the officer’s fear and the futility of this dynamic.” Stream it down below.

To accompany the song premiere, Consequence of Sound is happy to present an expansive interview with Saunier, Reinhart, and Cline, in which each talks at length about Big Walnut Yonder’s formation, the importance of each member’s contributions to the album, and the newly released lead single. (Note: All questions were submitted by our one and only News Editor Ben Kaye.)

You guys all come from pretty disparate musical backgrounds. When you were first forming the idea for Big Walnuts Yonder, what was it that drew you to go a little outside the box and bring such different styles together, and how did you figure out what sonic direction you’d be going in as a unit?

Greg Saunier: I sort of felt the opposite. Playing with Nick Nels and Watt was a piece of cake. Like coming home to a band you’ve never been in. I can think of musical projects each member has done that seems like way more of a stretch.

Nels Cline: I live in the cracks musically and always have. “Styles” and “genres” are not really my thing, so all I know is that I respect the musicians I play with and that I will do my best to participate in any endeavor in which we coalesce. It’s been my way since the late 70s! The sonic direction presents itself and demands respect more than we direct it when there is true collaboration in my opinion.

All the songs began with Mike’s basslines and then were built out from there, starting with NIck’s guitar riffs. What are some of the challenges writing in that way present, and how did you guys all figure out how to pull together a song from such basic starting points?

GS: I contributed one song, and its garageband demo was emailed to the gang the day before meeting up. I played all the parts myself but when I say parts you must understand I mean I played them on the computer with electronic sounds, using something called the “musical typing” feature in garageband. The funny thing about musical typing is that if your RAM isn’t up to scratch, some of the notes you type come out late. Like every note is a different amount late. The result is woeful. I hoped that even though my demo was so out of rhythm and discombobulated that they would still somehow glean what I’d meant, and come in the next day saying “no problem Greg, bad RAM, happens to the best of em” but actually I think they were really worried that I had no idea what rhythm was.

Nick Reinhart: I remember being really excited and nervous when my email dinged and there were mike watt bass demos sitting in my inbox. I listened through the 8 tracks and initially felt overwhelmed about how to approach adding guitars and doing justice to these bass parts. Watt’s musical language is so curious and unique. that’s part of the watt legacy — he sounds like himself. Finding interesting ways to dance around the bass and add to the conversation was really special.

NC: This is really the same way I recorded with Watt on “Contemplating the Engine Room” and Brother’s Sister’s Daughter (Japanese project). As Daevid Allen once sang with Gong, “Imagination is the key!”.

It sounds like a lot of the songs came together in a rather improvisational manner. How do you go from that to performing the songs in a live setting? Have you ever had to sit and re-listen to a track and sort of reverse engineer the music for yourself?

GS: I wouldn’t quite call it improv but it was pretty crazy how quick everybody came up with their parts even if they didn’t know the song. Particularly Nels hadn’t prepared any parts before recording but within seconds of hearing stuff he was playing stuff that sounded etched in stone like it had always been there.

NC: In this case I will definitely have to listen to stems or something to re-learn my parts! How we end up playing this ‘live’ is still a mystery and will be a fun challenge. I hope!

There’s a pretty big age gap between members of the band. What was surprising or inspiring about working with people from different generations? Any tips or tricks you picked up from the opposite end of the generational spectrum that you weren’t expecting?

GS: When everybody is able to quote Buddy Rich bus tape insults, age disappears.

NR: The creative wisdom these guys possess is totally amazing and being able to make art with musical giants is a real pleasure. I had previously learned so much from them from a distance, so being able to see it all from the inside out was super inspiring. They’re still ripping and learning. For me it was like looking into a crystal ball and seeing my future. It’d be like if I saw a newborn baby today and said, “Hi, in 30 years we’ll have a band and do something cool.”

NC: I play with people from their 20s to 70s. I don’t really think about age unless someone mentions it or brings up a reference that I am unaware of that is of their generation, so to speak. But in this case I think we all like sound and rock music, so…”

Most of the album was actually recorded in 2014, after some years of trying to get everyone in the same room together. Why has it taken three years to go from there to here? How does it feel to finally have it coming out and what’s it like having to talk about a project that’s, in a way, three years old already?

GS: Well I mixed this record so even though there was a gap after we did it, that was kind of useful. Came back to it ultra-fresh. And just finished the mixes recently, like three months ago or something. Stuff takes time especially when you’re DIY.

NC: My massive record from last year “Lovers” also took forever to come out and I am performing it this year. I don’t know… In this case it was Nick’s lyric writing/vocal recording that seemed to take some time. But we didn’t do an “Obama Suite” or anything, so I guess time isn’t really an important factor, really. “No wine before its time”! The music sounds fresh to me.

Watt, you wrote the lyrics for “Raise the Drawbridges” — can you tell me a little bit about what the track is about? It sounds to me like it’s about people too afraid to take charge of their life and face down challenges or those who try to stand in their way. Am I far off?

GS: I’m going to answer this because who says the person who wrote it is the only one who knows what something is about? This vocal moved me deeply when Watt first sent it to me. In the instrumental version this is probably the goofiest one we did, but the meaning completely changed once this portrait of police brutality was recorded. He takes the voice of an officer acting too tough and provoking conflict, and then comments on the transparency of the officer’s fear and the futility of this dynamic.

In his own words, Watt offered up a very detailed account of how Big Walnuts Yonder the album came together from start to finish:

“Eight of the ten songs started w/ Watt composition via bass only and he sent these out. nick worked on his developing his parts in response. this all happened well before ever getting into studio g in brooklyn. what I presented the band for my compositions were bass only (deliberately, to let Nick, nels and greg bring in their own for the collab) but they are what I would call SONG FORMS and not just bass lines. what I mean by that is there’s this part so many times and then it goes to this part so many times and so on. it’s supposed to be a foundation for a song form which I guess is made out of bass lines.

all four of us together for first time in brooklyn, we first attack these eight tunes as a team. the only titles they had were letters like song a, song b and so on. I’m re-enacting what I did at my pad by myself but w/these guys, I’m using tony maimone’s bass. nick’s doing the same except I think w/some of his solos cuz he’s interacting w/nels in real time. I remember greg asking me for a tiny bit of direction explanation for what was to become “I’ve got marty feldman’s eyes” when I put out a statement like, “I was influenced a little bit here by doing stuff from the clash’s first singles and album” cuz yeah, I had just done a benefit gig for the strummerville foundation and had to learn some of those tunes but it was still just a pure musical ref – I ended up using that confusion (sorry to confuse you, greg!) for the gist of my spiel when laster nick asked me to do spiel for it… I thought that point was very relevant! it was “dreamed up by committee” but still very connected to the cats on this proj.

nels brought his tune and explained what he wanted from each of us and made out a brief sketch roadmap the piece. we all four acted on that in real time, being it our first time for all of us – no “demo” to hear beforehand. same thing ‘pert-near happened w/greg’s tune. so there was actually two processes used: 1) eight had the watt, then nick and then all of us together and 2) two had their composers show us (the other three in each case) in the studio and then we went at it. to examine further, here’s my take. we got ten tunes recorded the way I just described and then were given roughs. down the road nick asks me to get spiel for two of the tunes, he gives me which ones, I think they might’ve been song t and song u. then he starts recording from his pad his spiel for seven of the other ones.

nels tune he decided was gonna remain instrumental. greg decided he would mix everything which is what we all wanted from the git-go and were very happy excited. I sent my two spiels but screwed up somehow so he mixed my two as instrumentals ’til I got him my spiels proper. he had gotten nick’s spiels from him. he had a few runs of mixes, each run being sent to us all and then he’d hear our opinions and do another run of mixes under those influences. I think there were four runs maybe altogether.”

(via Consequence of Sound)

#big walnuts yonder #nick reinhart #consequence of sound #mike watt #greg saunier #nels cline #wilco #the stooges #minutement #deerhoof #tera melos #raise the drawbridges #sargent house

[recentanimenews]

Find Out Why SEGA’s Masao Shirosaki Revived Monkey Ball & More!

  SEGA games has had a pretty stellar past few years, capping off the decade with multiple blockbuster releases of the Yakuza franchise, Sonic games, and recently the release of the first Monkey Ball game in nearly 13 years. One of the key figures behind this revival is Masao Shirosaki, whose work on numerous Yakuza games, the recent spin-off Judgment, and the director and producer of Super Monkey Ball Blitz. We were given the chance to interview Shirosaki-san about the recent revival of Monkey Ball, why Yakuza has become so popular in the West, and what he thinks a Yakuza crossover with Monkey Ball would be like! 

Thank you for taking the time to speak with us! Could you please introduce yourself for our readers? 

Hello, everyone. I’m Masao Shirosaki from SEGA games. I’m the director and producer of Super Monkey Ball Banana Blitz HD. I’ve been a part of the Yakuza series, Kurohyo series, Let’s Make a Soccer Team! series, and the chief planner for the more recent title, Judgment.

  Outside of video games I love movies, sneakers, hamburgers, baseball, and boxing.

What drew you to want to work on Super Monkey Ball: Banana Blitz HD? Were you a big fan of the series beforehand? 

The Monkey Ball series is a very important IP for our studio, and though there had been talks of a remaster, the project struggled to launch as we couldn’t gather the right team of people. However, after Judgment’s development came to a wrap, some of the staff members and I became available. I volunteered and the project officially began.

I had the opportunity to help out with testing for the PlayStation Vita title, and recall thinking how cute, yet challenging and fun Monkey Ball was. I also remember wanting to one day be a part of creating a Monkey Ball title and including stages that I create, so when this opportunity came around, I was thrilled.

Why revisit Banana Blitz for this update? Was there something special about this game that the team decided to work on? It’s been 13 years since it’s initial release! 

When considering how to bring Super Monkey Ball to modern platforms with the limited time and budget we had, Super Monkey Ball: Banana Blitz was the most reasonable option.

13 years ago was before I joined SEGA; I’m really grateful for the fans who still support the Monkey Ball series after all these years, and who motivate me to create only the best for them. And of course, I am aware that the most favored titles are the first two games. If there is enough support for Banana Blitz HD, this will open up doors for remaking the first two games or even a whole new title to the series. But for now, I’d be happy if everyone has fun playing Banana Blitz HD.

Do you have any fond memories of playing older Monkey Ball games, or a favorite?

I’d have to say 1 and 2. I started playing them again to get ideas for Banana Blitz HD, and at first, I was doing terribly, but before long I found myself sucked into playing! (laughs)

These two titles are well-made games with excellently designed levels that made me forget that I was playing them for work reasons. The aforementioned PlayStation Vita title is also memorable as I helped out with its testing.

One of the magical things about the Monkey Ball games is that you can play them so many different ways: you can focus on speed, collecting bananas, and finding secrets or shortcuts. Do you have a particular way you enjoy playing them?

I love looking for shortcuts! That being said, I often never make it across and end up falling off the edges... (laughs) When I was younger, I enjoyed discovering secrets and glitches in games. I even bought books that listed them for various games which I would then test out.

  As such, I wanted to include secrets in games that I create, and Banana Blitz HD was no exception. I hope players enjoy looking for them all.

You’ve worked on many of the Yakuza games; I have to say, I’m a huge fan of the series! What do you think is the reason it’s become so popular?

The Yakuza series is one with very Japanese elements to it. I believe that because these games were developed with the Japanese audience in mind, they provided a fresh experience that many of the overseas players have come to love.

I believe the charm of anything lies in providing an experience that can only be provided by that medium—the Yakuza series does that, which is why it’s so popular. The same can be said about the Monkey Ball series. I believe that because it provides a uniquely fun experience only found here, many people continue to adore it.

Do you have a favorite Yakuza title? 

The first game I was a part of developing was Ryu Ga Gotoku Kenzan, which was quite memorable. I remember how new everything seemed to me as a first-time developer, and I’ll never forget the first time I saw my ideas come to life on screen.

I also remember seeing my name on the credits for the first time and thinking to myself, ”I’m an actual game creator now.”

There’s always been a connection between the Monkey Ball games and the Yakuza games; Toshihiro Nagoshi-san worked on the original games before starting the Yakuza series. Do you see any similarities between them? 

I believe at the core, both titles strive to provide a fun experience for the players. Our games are created after coming up with how to best provide a fun experience for the players.

Though created from this idea, the Yakuza series and Monkey Ball series are uniquely different. However, both are series that have taken on Nagoshi-san’s vision, so we strive daily to make its games fun and enjoyable.

Who is your favorite Monkey Ball monkey, and who is your favorite Yakuza character? Mine are MeeMee and Majima! 

My favorite is Baby. I find it too cute how Baby crawls around while the others actually run around! (laughs)

As for the Yakuza series, I’d have to go with Kazuma Kiryu. My favorite quote by him is ”I just felt like swinging the bat around today. And you guys get to be the curveballs,” as he pointed the bat at a group of thugs.

I also like Tatsuya Ukyo, the protagonist from the Kurohyo series. He may be young and rough around the edges, but he has an unwavering will which I find admirable.

If you were to put the Yakuza characters into a Monkey Ball style game, how do you think they would play?

Sonic the Hedgehog appears in Banana Blitz HD, and his supersonic speed was fitting for the game. But Yakuza characters in a Monkey Ball game... This is a difficult question! (laughs)

  The Yakuza series has characters like Kiryu and Majima who all have unique strengths. That said, I feel that there’d be a big divide in skill between them and AiAi and friends. For example, Majima may be able to come back once after falling off the edge, or Kiryu may knock away enemies in his path. They’d be storming through the stages powerfully! (laughs)

However, if there’s an opportunity to create an all-new Monkey Ball title, I wouldn’t mind featuring Kiryu or Majima as guest characters.

Now that you’ve completed Super Monkey Ball: Banana Blitz HD, are there any new projects on the horizon for you, or games you’d like to try working on? If you can tell us, of course! 

We’re currently in the process of quickly bringing Banana Blitz HD to Steam. As for my next project, I have many ideas in mind but my hope is to create a new Monkey Ball title. 

Other than that—and this is my personal goal—I like adventure games like Uncharted or Tomb Raider, so I hope to create a game of this genre one day.

Is there anything you’d else you’d like to share with our readers before we wrap up? 

I’d like to thank our Monkey Ball fans for patiently waiting for this title’s release. It may be a remaster, but it’s still an addition to the Monkey Ball franchise nonetheless. I hope our players play this game to its fullest extent. I’ve also had the opportunity to read the reactions on Twitter. There are so many thoughts and opinions, but these all fuel the staff’s motivation for the next project. As such, we welcome any feedback regarding Monkey Ball via any medium.

We look forward to creating a fun future for this series with all of our players!

We want to close by saying thank you again to Masao Shirosaki for taking the time to talk to us after the release of his latest game, and we can’t wait to see what he and the folks at SEGA come up with next. As we move into a new decade, it seems like SEGA is on the rise with some fantastic titles, and with amazing directors like Shirosaki-san at the helm, we can only imagine what’s next! 

Are you a long-time Monkey Ball fan? Who do you think should guest star in the next Monkey Ball game? Let us know in the comments!

    ----

Nicole is a features writer and editor for Crunchyroll. Known for punching dudes in Yakuza games on her Twitch channel while professing her love for Majima. She also has a blog, Figuratively Speaking. Follow her on Twitter: @ellyberries

Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

[tinymixtapes]

Music Review: Roc Marciano - Behold a Dark Horse

Roc Marciano Behold a Dark Horse [Marci Enterprises; 2018] Rating: 5/5 I. Influence Roc Marciano’s direct influence can be heard in the works of each of the following artists, all of whom have at some point achieved commercial success and/or critical acclaim greater than or comparable to Roc’s, with music sonically indebted to his: Ka, Evidence, Mach Hommy, Westside Gunn, Conway, Daringer, Earl Sweatshirt, and more. To be fair, many other artists have achieved commercial sales and/or critical attention lesser than, if not approaching, Roc’s, with music sonically indebted to his: Hus “Wavo” Kingpin, SmooVth, Rosati, Giallo Point, SageInfinite, Shozae, Grandmilly, Tha God Fahim, Willie the Kid, Fly Anakin, Jalal Salaam, and countless others whose names appear in our SoundCloud feeds daily. And then, of course, you say, “Well, what about all those artists who influenced or inspired Roc Marciano and to whom his music is sonically indebted?” For argument’s sake, let’s look at the big ones: Rakim and Prodigy. Yes, you could make a strong case that both were more influential MCs. However — and here’s the ah-ha — neither of them is as renowned for his production prowess as Marciano is. And though they both certainly contributed to important beats throughout their respective careers, neither artist has demonstrated the ability to consistently hold down entire, or even close to entire, solo albums as Marciano has continued to do since making his official solo debut with 2010’s Marcberg. So, it can certainly be argued that to find a workable basis of comparison for what Roc Marciano has been doing in and for hip-hop over the course of the past decade, one can only look to other nearly-decade-long or longer runs by influential MCs/producers, such as Kanye West, Madlib, Dilla, DOOM, El-P, RZA, Q-Tip, Pete Rock, Large Professor, Dr. Dre, DJ Quik, Erick Sermon, Too Short, Pimp C, Schoolly D, and Kool Keith. And until a name from the first paragraph begins to approach Roc Marciano in terms of consistency and influence as both an MC and a producer, then perhaps as long as we’re comparing apples to apples, Marciano’s work is better considered in line with the names directly above. Furthermore, since few if any of the catalogs of these greats are without blemish, and since most all of them are more widely influential as either an MC or a producer, and not equally so in both regards as Roc is, well, I guess when it comes to his still-gaining influence and legacy, all one can really say is… Behold a Dark Horse. II. Control Marciano manager Jazz recently confirmed that the cover and title of Roc Marciano’s latest were directly influenced by the conspiracy literature classic Behold a Pale Horse by Milton William Cooper. The phrase comes from the King James Bible, which in the Armageddon myth of Revelation 6:8 reads, “And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth.” Much like the KJB, Behold a Pale Horse contains mad batshit. There’s the secret government’s population control white paper, Silent Weapons for Quiet Wars, which Cooper sourced to a used word processor purchased at a garage sale. There’s the entire Protocols of the Elders of Zion, which Cooper introduces by advising readers to substitute the word “Illuminati” for the word “Jew” throughout. Cooper also spent a sizable portion of the book aping on UFO sightings and cover-ups, only to later in life refute all alien conspiracies, claiming that they were the single biggest false flag operation of all time. And yet, also like the KJB, there are some jewels in there, pearls of practical wisdom that Cooper takes time to reveal while digging the tome’s labyrinthine warrens. The one that comes to mind — and I’m paraphrasing here, as my copy of the book disappeared about a decade ago under mysterious circumstances — is this: It doesn’t matter if you believe in this grand conspiracy theory or any of its many facets, because even if only one man in power does, then countless people are doomed. Before dismissing this as a cop-out, consider how many politicians and CEOs wear their messianic complex like a badge of honor. Consider also that Cooper’s main point here may have been to draw readers’ attention to the nature and potential of control; that those who hold it can mold and manipulate and improve and wreck the lives of others at their whim, that those who do not are already closer to intangible numbers in a ledger than they are free and actualized human beings. Some who are familiar with Roc Marciano’s work, or the sex trade, might recognize in the above revelation parallels to the relationships between pimps, prostitutes, and johns. As a square, I’m not going to pretend to know anything about that life. I can’t assume that a pimp is powerful and a prostitute powerless, nor can I judge the john or anyone else involved in these necessarily transactional relations. I can only intimate that, as is the case with everything, there are degrees of control and power-sharing. And it’s these degrees, these increments of measure, that make all the difference in the world. It’s these degrees that separate needed questioning of authority from snowballing conspiracy theories, and Bill Cooper from Alex Jones from Ron Paul from Donald Trump. It’s these degrees that revise the literature misnomered history. III. Ends Sometime after Marcberg or Reloaded — I’m not sure exactly when, and I damn sure can’t find the interview anymore — when asked about where he wanted to take his music in the future, Roc Marciano said he wanted to sing. The irony here is that while Roc’s success since Marcberg has generally been tied to a renewed interest in 1990s boom-bap, he’s continued to flirt with the idea that his style shares as much in common with that of shiny-suit era Puffy, a pop sound long considered anathema by many hip-hop traditionalists. And yet, over a long enough timeline, all irony fades. If Puff came out today, he’d be considered boom-bap. Where it once felt novel to hear Roc slip a falsetto ad lib in between lines about singing Rick James tunes in the shower, he now confidently croons hooks throughout a whole album, slipping back into patently smooth murder verses and increasingly melodic cadences without missing a step. One gets the impression listening to Behold a Dark Horse that this project represents the realization of a goal years in the making. Yes, the Busta Rhymes and Q-Tip collaborations lend themselves to this idea, but it’s more than that. Between Rosebudd’s Revenge/RR2 — The Bitter Dose and Behold a Dark Horse, there’s a development that feels rooted in the same evolution that might have occurred between UN Or U Out and Marcberg/Reloaded. It’s as if Roc had been reaching for this sound, planning his way here all along. Perhaps he’d already arrived at the destination, but knew he needed to wait to bring us along for the ride, that we had to see more of the so-called past before we could glimpse the future’s brightness through our foggy present. On “Diamond Cutter,” Marciano raps, “Fuck who next up/ Rosebudd did its numbers, we doing chest bumps.” Consider the road here. After releasing The Pimpire Strikes Back and Marci Beaucoup on Man Bites Dog in 2013, Roc spent the next four years racking up paid guest features before returning with his first truly independent album, Rosebudd’s Revenge, released on his own Marci Enterprises LLC in 2017. Earlier in 2018, he brought us RR2 — The Bitter Dose, also on Marci Enterprises. The two albums presented Roc Marciano at his most romantic and murderous, peppering anecdotes about beachy lovemaking nearly as far and wide as his foes’ body parts. There was more singing than we were used to hearing from him, but the beats were also darker than ever, driven in part by the cold synths of Arch Druids Animoss and Doc C. On Behold a Dark Horse, though, there’s no need for peppering. Seasoned to perfection, the album documents Roc Marciano cementing his legacy as an MC, producer, and influence in control of his ends — that is, not only of his money, but of his destiny. Behold a Dark Horse. http://j.mp/2CxnB72

[musicmapglobal]

Interview: Untangling Zoë Mc Pherson's String Figures

Most people’s understanding of the string figure tradition starts and ends with the cat’s cradle, but Zoë Mc Pherson is not most people. The Brussels-based artist’s new project explores the history of string figures through an array of sonic and visual textures, and the result is a relentlessly future-facing vision that should see her mentioned alongside the likes of Actress, Holly Herndon and Gazelle Twin.

The germ of the String Figures concept came from Mc Pherson’s anthropological research into Inuit culture, with both original and archive throat-singing recordings resurfacing throughout the record. However, this was just a jumping off point; unpicking the many strands of String Figures is a deviously enjoyable challenge. The album threads itself through pulsating electronic and acoustic terrain, taking in everything from squalling saxophone drones to trotting Turkish field recordings via a series of dynamic rhythmic flourishes.

It’s a multi-media and multi-participant creation spanning anonymous samples, distant stories and Alessandra Leone’s continuing work developing an impressive visual aspect to the project. As Zoë Mc Pherson theorises, “Folk music is considered anonymous common property in a culture and that’s what a lot of computer music and other kinds of music data may end up becoming”. In this sense, it’s not hard to see why she sees String Figures as part of “an indigenous of the future” – rarely has ancient and modern culture been tethered together so tightly.

It’s a fascinating record to untangle, and Zoë Mc Pherson was kind enough to assist us via the following email exchange…

MusicMap: Your debut album was originally inspired by your research into Inuit culture. What led you to that field of study and how did it influence your music?

Zoë Mc Pherson: This obsession period about Inuit culture came when finding a book in my grandmothers’ boxes. I just dove into it, utilising the worldwideweb mostly. It is fascinating to read how it has evolved so fast, their “diet”, the seclusion they had to live through, forced into boarding schools, the way they were told not to pursue hunting, not to speak Inuktikut (ᐃᓄᒃᑎᑐᑦ), etc.

Pretty f violent. I mean check out Tanya Tagaq’s twitter if you wanna know lots about what’s going on still today. I had honour to open up for her last year and interview her. The world needs ppl like her.

The hunting part I find fascinating. The animalism within it. The respect. Not like huge meat factories treating animals like shit and then eating it. Thanking the spirit of the animal to let them feed your family. This deep respect.

Yet nowadays, the big drinking problems, unemployment, food is extremely expensive. I have never been but spent ages online digging whatever I could find on this culture a few years back. It’s through this that I discovered the practice of String Figures, extremely beautiful and complex shapes. The stories around making string figures. And I found out, this practice happened all over the world, since ages. This human connection is there, even without being able to communicate.

Shapes ressemble each other sometimes, or are very particular, they represent animals and moments that belong to its context. From Polar bears to snakes, depending on where you live. I love this transmission aspect, from a grandmother to a little daughter, through the strings. Maybe this is actually the hidden theme of this debut.

At what point did you decide it would be an audio-visual album (and when can we expect to see the next episodes)?

I’ve always been into transmedia stuff. Performances cross media, audiovisual etc.

I met Alessandra Leone at a female:pressure meeting in Berlin two years back, when I was looking for a director to collab on my next album. She got hooked on strings too and we really clicked together on the whole project. It is very intense and amazing to work together because we’re both perfectionists, have similar aesthetic ideas, and don’t really stop working. She’s a powerful woman and artist.

Each track is a chapter – as we called it – as it is a video as well and is an audioviusal album all in one! We imagined this audiovisual album together with Alessandra, and commissioned pretty amazing visual artists, choreographers, costumes designers, DoP etc. We’re currently still working on forthcoming chapters! And of course live, we play an audiovisual show.

Next episodes will be out within the next days & months, we got some beautiful movements, improv, choreography, 3D and shots waiting for you. It’s super exciting and fulfilling.

String Figures features a range of field recordings from all over the world. Is there any particular ‘string’ that links them all? And which one brings back the most vivid memories?

I got this question many times 🙂 It’s funny. There’s no particular moment that would be so interesting to write down.

But for sure, it is a very “inner” activity, you’re in your own world (headphones), although listening to the outside world. It’s like disconnecting but connecting at the same time.

I find parts of the record unsettling, parts of it meditative and parts of it liberating, yet somehow it all feels cohesive. How did you achieve that and what do you hope listeners take away from the experience?

Haha well that’s great, happy to hear. I didn’t do anything on purpose, so not sure what to answer.

I’m already impressed by what people tell me from their listening experience. I honestly didn’t know it could touch other people and it makes me very very deeply happy that it is now a shared experience!

Mmh let me think further. I hope ppl get on a certain trip inside/outside, connect some points, let go, shake with some beats, stop and shake the other direction when another beat comes in maybe.

What was your first experience of playing music, and what music were you exposed to growing up?

Again.. haha!!! Played the fiddle, then played drums, looking forward to playing that again btw.

My mother is a singer songwriter and guitarist, she played a lot of Rhythm & Blues and Soul records. Let’s say Curtis Mayfield’s voice would be what brings me straight back to this comfy zone. I listened to a lot of Irish folk too, as Gillie collected songs and tunes back then in the ’60s in Ireland.

How does performing your new material compare to your experiences playing jazz?

Performing is awesome, we play as a duo with amazing percussionist Falk Schrauwen. We’ve worked hard to make an interesting live [show], mixing organic and electronic sounds. Take into account the live aspect of electronic music, as well as being able to be free, and improvise as much as possible.

I do still have a link with Jazz though, here through saxophone player Sam Comerford who I invited on my first EP and this LP to perform on it.

What led you to Brussels, and how would you describe the music scene there right now? Any names we should be looking out for?

Oh well, ‘Bruxelles ma belle’ as we say. It’s diverse, it’s underground. Ppl are very nerdy and aware of very good music.

Names: Why the Eye are my big brothers, they play crazy DIY instruments and turn the crowd into a trance rave zone. Ppl go mad. A lot of good stuff I have to say. Jazz scene is incredible, with De Beren Gieren as my favourite trio. And they are finally getting their deserved recognition, after about 10 years playing as a trio.

Can you send us a photo of the view from your window?

It’s raining, so no. I’d have to wait until there’s blue sky or snow to make you think life is always wonderful on Instagram. Unless you like greys.

If you want to know more about Zoë Mc Pherson’s String Figures, head to the official website here.

Photo of Zoë Mc Pherson by Camille Cooken Interview by Kier Wiater Carnihan

#Actress #Alessandra Leone #belgium #brussels #De Beren Gieren #electronic #experimental #experimental techno #Falk Schrauwen #field recordings #Gazelle Twin #Inuit #Jlin #multimedia #Sam Comerford #string #Tanya Tagaq #visual album #Why the Eye #Zoe Mc Pherson

[shemakesmusic-uk]

INTERVIEW: Katie Von Schleicher.

Fresh off the back of a UK tour alongside Aldous Harding, Katie Von Schleicher recently premiered her latest single, 'Sell It Back' which is taken from her self-produced and co-engineered debut full-length album, Shitty Hits, out July 28 via Full Time Hobby, where Von Schleicher confronts feelings of isolation and powerlessness. She is not tackling grandiosity, but mediocrity; the struggle of being deeply flawed and unmistakably human.

Katie Von Schleicher’s previous release Bleaksploitation was an accident, years in the making. While interning at Ba Da Bing Records, owner Ben Goldberg suggested that she record a cassette for the label to release. It could be anything, demos or a live performance, but she took it a bit more seriously than Goldberg intended. The result was her first self-produced and engineered effort, a strange, hazy, pop-laden tape. Doing her own press under a pseudonym and referring to it as an “album,” Von Schleicher garnered enough attention for Bleaksploitation to see it released on vinyl in the Spring of 2016.

Now on her full-length official debut release, Von Schleicher strikes again on the magic that comes from her warped and uncompromising sound. Shitty Hits channels the bright, sunny radio burners of the 1970’s - songs you drive to, carefree, and songs you can cry to.

We were lucky enough to have a chat with Katie about Shitty Hits, touring, who she would love to collaborate with and more. Check the interview out below.

So far we've heard the brilliant songs 'Life's A Lie', 'Paranoia' and 'Sell It Back' from your upcoming official debut LP Shitty Hits. Like your previous "accidental" release Bleaksploitation, Shitty Hits was home recorded but in what ways does it differ from Bleaksploitation? How do you think you have grown as an artist thus far?

"Shitty Hits comes from the same impetus as Bleaksploitation and is meant to lodge deeply somewhere in the region of one’s chest. Maybe you could call it ‘finding my voice,’ but it’s the idea of taking what I love, music that already exists, and trying to locate a gap, what’s missing for me, and fill it. I’m obsessed with deeply melodic and transportational music: Randy Newman, Elliott Smith, Carole King, The Beatles, Kate Bush, Arthur Russell, and a ton of lesser known pillars. So I always begin with that in mind. But production wise, I’m aiming for those songs to be presented with a deeply resonating and heavy, unapologetic dose of atmosphere and feeling. Basic, essential rhythms, but unplaceable, distorted. It’s hard to put into words! Thematically, Shitty Hits ventures inward whereas Bleaksploitation was less personal and intimate. And I felt far more ambitious in its sonic scope and fidelity. Bleak was done to a four-track tape recorder, and its possibilities were finite. It was a way to get my foot in the door. Shitty Hits has 40 tracks on a song, it was an open-ended challenge to myself."

Is there a particular reason why you've decided to tape-record your music and do you think this will always be your method of choice?

"I think it will continue as an element, at least. With this record we began with 8 tracks on each song to cassette tape, then transferred to digital. It’s not necessary, but I love putting drums and bass to tape. I’m prone to ritualizing this process, which can be so difficult to approach at its inception. The psychological importance of tape is that it adds an immediacy to each performance. Tape or not, I believe in doing a whole performance of a song vocally and instrumentally, rather than patching myself in on the second verse or something. Maybe that’s just for me, but I like it."

Shitty HIts is about you confronting feelings of isolation and powerlessness. Where did these feelings stem from and how important was it for you to be able to express these emotions through music?

"They come from observations I’ve made about myself and how I experience the world. When I get down, it feels like a loss of perspective. I’m fighting to have a sense of self again, which is also mirrored in the process of making a record, the self-doubt it incurs. It feels perverse to discuss depression sometimes, and of course it has its place, but it felt fairly important to bring it up in the music, if anywhere. These are the feelings I had while making the record, the feelings I had about making it. I was also thinking about the legacy of popular song, how there are so many brilliant tunes about heartbreak and pain, but rarely about its less poetic minutiae. So I tried to write songs in major keys, exuberant ones, but infuse them with the small details of feeling, a happy perversion."

The LP was produced and co-engineered by yourself. How important is it to you to have complete control over your music? What was your favourite part recording the album?

"It’s important to have control in what still feels like this gestation period I’m in. I’m new to this. Hopefully someday I’ll have more confidence to assert myself in company because I would love to collaborate more. My favorite parts are always the happy accidents. If I’m alone those happen more easily because I forget my body as well as the rules of being social in a group environment.  The recording process heavily shaped the outcome of a song like 'Midsummer,' because I took a strange guitar solo and then impulsively, during a take, sang over that guitar solo, sang a new part to the song. And it meant that leaving the first chorus the song takes off into a new intensity I hadn’t planned. The song 'Soon' was the most bang-our-heads-against-the-wall experience, we were lost on how to present it. I’m not even sure how this happened, but during basics we made the song a bit long, with extra sections. When I was finishing the record alone, I decided to have this melodic saxophone part that makes up the whole second half of the song. It was just a part I sang over it during a take. The moments I can’t even remember that yielded positive results are why I do it."

What has been your biggest challenge as an independent artist and how did you overcome that challenge? What advice might you have for other artist's out there that aim to have complete creative control over their musical output?

"The biggest obstacle has been my bias toward myself. I didn’t know what most pedals did, I didn’t feel like I could master these things that men around me had mastered at age 14, I felt stupid asking questions like “what is compression?” I didn’t listen to cool music in high school, I only got into what now moves me most deeply in college, so I felt like I was too late to the party, or that if I hadn’t found the White Album at age ten, I wasn’t authentically allowed to take part in its legacy. I say my bias toward myself, because I don’t want to make this about gender roles that have been placed on me, since on most occasions they are not. But sometimes I witness guys playing together and I see a belonging that I never quite felt, like this is a destiny. I didn’t envision myself producing albums when I was a kid, I didn’t think “I want to be Brian Eno.” Anyway, my advice would be to forget imposed regulations and do whatever the fuck you want, the scarier the better, especially if you’re of a gender, orientation or race that wasn’t represented by The Band. It’s never too late to take the reins, and anyone can do it."

We think that is excellent advice! You've recently returned from a UK tour with brilliant Aldous Harding. What was that experience like?

"It was incredible. First of all I didn’t have to drive, there was a tour manager. I’ve never experienced that before, and let me tell you, it’s the lap of luxury. Aldous Harding is the most formidable musician I’ve ever opened for, and it presented quite a challenge in that respect. I fell in love with London."

London is a wonderful place! What is currently your favourite song to perform from the new album?

"My favorite songs to play now are 'Midsummer' and 'Nothing.'"

Are there any new artist's that you're listening to right now that you think we should check out? If you had the chance to collaborate with another artist/band who would it be and why?

"I’m sure you’ve checked them out already! Aldous Harding, Andy Shauf, Big Thief. My labelmates Cross Record, Tiny Hazard and David Nance blow me away, and don’t have as much visibility as the aforementioned folks. Right now I’d like to collaborate with Zannie Owens, whose band Really Big Pinecone is based here, and Nate Mendelsohn, who has a band called Market. I’d like to try and do some random side project. I’d also love to produce someone else’s album. As far as big famous folks, uh, Randy Newman. Let’s make a fuzzed out Randy Newman album."

Is there anything you like to do outside of music that contributes to your musicality? For example a hobby you turn to in order to rejuvenate your creativity?

"I do graphic design and terrible painting. Used to write a lot of poetry but haven’t lately. I read a bit. Mostly I just get angry about politics and produce nothing with effect on that front."

Finally, what has been the best part of your journey as an artist so far and what are you looking forward to in the future?

"I’m surprised by the journey. That might be the best part. I’m so happy I’ve matched my desire to write songs with a desire to turn them, recorded, into something else entirely. I look forward to collaboration, to the next record, and hopefully touring the hell out of this one."

Shitty Hits is out July 28 via Full Time Hobby. Pre-order the album HERE.

#interview #katie von schleicher