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v-stok · 2 years

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It was a pleasure having a conversation with ClotMag about my album Liminal and the process and inspirations behind it. The article is available here and I have also pasted it below.

“The next mixtape arrives from V-Stók, aka Valentin Doychinov, an electronic musician, guitarist, producer and film score composer. With an interest in nature, mathematics and of course music, he finds inspiration in a diverse set of influences that range from the fringes of experimental club music, noise, and ambient to instrumental genres such as jazz fusion and post-rock.

V-Stók has released several EPs and albums for several experimental labels, and he has just published a new LP, Liminal (Position Disposition, 2022) where he combines his recent jazz fusion influences with the noise, ambient and broken electronics sound he developed during the last LPs.

Incepted during pandemics, the album title Liminal refers to a state of ‘occupying a position at, or on both sides of, a boundary or threshold’ and very trivially, the spark of inspiration came from a Facebook group called ‘Liminal Spaces’ which I came across at some point over the lockdown period. In this group people generally post pictures of cities and buildings when they are devoid of people – these both convey a certain emotion that combines a sense of loneliness, isolation and also otherworldliness which I was also feeling during this year, but I didn’t know how to express.

The artist also shares that the way the tracks were made is also a result of a very improvisational approach both with the synth and other production gear he was using; the tracks were recorded live and improvisations were layered on top of each other. I also experimented with techniques for creating very broken and unpredictable beats.

Valentin’s daytime profession as a wind energy project engineer allows him to contribute to another cause that is massively important to him – the decarbonisation and transition to clean energy sources for society.

For our mix, he’s prepared a selection of tracks from albums he has been enjoying lately; mostly made of atmospheric tracks that have a certain ambience that communicates well with his approaches to production.

What was the creative process like for the production of your last album, liminal: What were you technically and conceptually (if so) exploring with it? and also how related to the pandemics isolation you went through during the production

My creative process was very much focused on recording very long improvisations with my various bits of gear and selecting the parts that I thought made sense as tracks and overdubbing them, creating arrangements out of it. Conceptually I have been playing around a lot with ideas about randomness and stretching of time – it is something that continues to fascinate me. For me, this field of experimental electronic music is a very fertile field of intermeshing scientific ideas and artistic metaphors. So there are for example beats in the album that are a result of a fairly straightforward beat being subjected to various clock modulations which end up completely disjointing the original beat into something very alien. Additionally, I deliberately experimented with making experimental electronic music peppered with jazz influences. There are very interesting intersection points when you take some really wild and unpredictable electronic patch and try to improvise in a sort of fusion jazz paradigm where everything is possible in a way without worrying too much about things being right or wrong harmonically as long as the rhythmic phrasing is more or less convincing.

What are your main inspirations for your productions these days? Has it changed after pandemics?

I get inspired a lot by nature, mathematics and of course by listening to music and reading about music. It’s all about finding the poetry in these fields and how they communicate with each other. Also in my listening habits, I have drifted primarily into jazz, folk and classical music. Liminal turned out to be much more melodic and ‘musical’ for such reasons. I also came back to my guitar playing more properly. It tends to be very improvisation driven.

The album touches on different aspects of liminality and how this is experienced, what would be the main reflection about it after producing liminal? Did it make you reflect as well about the boundaries of the physical and digital’

There are many aspects of liminality I guess when it comes to this music. On one hand, it is very transitory genre-wise I think and is not committing to any particular genre strain. And as alluded to in the previous question, I did this on purpose – like for example in the track ‘A pocket within a pocket’ I started with this scary noise beat and I thought ‘Uhm that sounds cool but it’s a bit one dimensional so I decided it would be funny to play some funky wah wah guitars on top almost like some Fun Lovin Criminals vibe that I used to listen ages ago. So this track kind of became this liminal animal of incongruency that I thought was really fun.

Also when it comes to the mood I did much of the work in the first lockdowns when the Covid situation was unfolding and we were reading on the news daily how the cases and casualties were increasing and that affected me as anyone else very very much.

There is indeed a bit of narrative around the blurring of borders between digital and physical life. It is a topic that I spend a fair amount of time thinking about. Our lives, especially in western urban environments, are already lived at least 50/50 in digital worlds and it looks like this is only going to increase. I, like many people in my generation, am very suspicious of various implications such as big tech trying to plug their ad serving platforms directly into our brains. So for the time being I think I have a wait and see attitude towards virtual reality etc.

Where would you like to take your V-Stók project into?

I have just moved to Genoa in Italy and the move has been occupying me the last few months. I now have a good place set up to record. I have some new material that I am working on and aiming to complete another release probably towards the end of the year.

What is your relationship with novel technologies nowadays, and how do you use them for your practice? And how do you cope with technology (screen/digital) overload?

I use a lot of gear but I wouldn’t call any of it really ‘novel’ as it’s gear that’s existed at least for 10 years. The same goes for the software I use – it is mostly Ableton and a bunch of other plugins such as compressors and so on. Nothing that I would consider cutting edge. It is on my to-do list to get a bit more into multi-channel recording and composition. I started exploring this a bit when I was part of the Amas crew in London and it’s definitely something that interests me.

On the visual side, I have been learning about tools such as TouchDesigner and Houdini and have used those for my videos and cover art for the CDs.

Regarding screen overload, yes, it can be a bit of an issue. It is a long topic. My strategy is to actively manage my feed so it’s fairly boring and is not drawing me into various rabbit holes. I used to follow a lot of very hard left pages and wasted a fair amount of time on those with no specific benefit to me or to the world around me so I got rid of all of them.”

#press

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eabhaalynn · 4 years

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13 Irish Artists to Stan Instead of You Know Who

1. KNEECAP

Kneecap are a three-piece hip-hop group hailing from Belfast, Co. Antrim. Their music is brash, infectious and politically charged, often combining both Irish and English lyrics in single verses. Their lyrics are controversial, cynical and at times even satirical, and with beats remixing the BBC News theme, KNEECAPs appeal is easily transferable from that other controversial Irish rap group

https://www.youtube.com/watch?v=h1J_DVutL-w

2. ROE

Roe is a twenty-year old multi-instrumentalist from Co. Derry, and an absolute powerhouse of talent packed into a tiny frame. Her lyrics are consistently poignant, and her synth-led indie music manages to be effortlessly catchy, without ever losing the meaning behind it, or verging into the cliché. Her songs can transport you into that scene from that coming-of-age film, right from the comfort of your own back garden. A homegrown talent with the perfect sound for the long summer ahead.

https://www.youtube.com/watch?v=N3nY8MrP0OA

3. HOZIER

If you haven’t been listening to Andrew Hozier-Byrne for the last seven years, then what exactly have you been doing? Hailing from Bray, Co. Wicklow, the gentle giant has become synonymous with the Irish music scene from his very first EP. His songs are blues-inspired, guitar-led and lyrically often politically charged – tackling everything from racism in the police to homophobia in the church. A colossal musical talent, with unmatched lyrics and features across his two albums – undoubtedly worth the stan.

https://www.youtube.com/watch?v=cI0wUoCLnLk

4. ORLA GARTLAND

You simply cannot separate Dublin alt-pop sensation Orla Gartland’s distinctive and unique personality from her distinctive and unique brand of music. An undeniable talent paired with infectious guitar riffs and lyrics that are relatable and accessible to the youth of Ireland and farther afield in the modern era, Orla’s music is breath-taking and brutally honest – well worth the listen and well-deserving of the stan

https://www.youtube.com/watch?v=1_pICv1FxnY

5. TOUTS

This section got me into twitter cringe with Luke Mac from Touts so yous all best listen to them now. Touts are a three-piece band hailing from the greatest city on the island, Derry, TOUTS have managed to make punk music for the modern era that Eabha Lynn can listen to, unironically. Their lyrics detail the frustrations of what it’s like to be young in the North of Ireland, with song titles like ‘political people,’ and ‘bombscare,’ highlighting that in as blatant a way as possible. They’re really good, their songs are often short bursts of pure energy, that you simply cannot help but to keep listening to.

https://www.youtube.com/watch?v=DQmdoIhnizc

6. BRAND NEW FRIEND

Brand New Friend are a local band to me, their North (Antrim?) Coast heritage evident in the distinctive lyrical themes splattered across their discography. Initially with four members, though more recently with five, Brand New Friend are the epitome of indie-pop perfection in Ireland at the moment. Their music is danceable, their lyrics are relatable, and their growth as a band evident throughout their work’s history. The dynamic between the band – made up of three siblings, a best friend and a boyfriend – is electric, you can’t stop listening, and truly have no choice but to stan.

https://www.youtube.com/watch?v=phsS_QA8rPw

7. GENERAL FIASCO

I often say music would be better if every band was from Bellaghy, and General Fiasco generally -is- my reasoning with that one. The breakthrough band of the early 2010s brought rural south Co. Derry to the international stage, with their infectious indie melodies and accessible lyrics, as relevant to teenage life a decade ago as it is now. A three-piece, fronted by siblings Owen and Enda Strathearn, who had been performing right up until the beginning of this lockdown, despite their last album release occurring almost eight years previously, the band are well worth a listen, and undeniably indie icons of the island.

https://www.youtube.com/watch?v=As-Rulo-E4g

8. INHALER

I feel more strongly about Eli Hewson’s lil hoop earring than I do about most people but ANYWAY, Inhaler are a band of south-Dublin posh boys fronted by Bono’s son (Spawno?) Elijah. They are the sound of Ireland in 2020, and despite having a name inspired by their frontman’s respiratory condition, they are characterised by his soaring vocals layered over a devastatingly unique synth-pop meets guitar-rock melody. I hate to love them, but I simply cannot help but to. They are objectively very good at what they do, they are forward looking and exciting to listen to, definitely worth the stan.

Okay and they are four very beautiful rich boys with guitars that doesn’t hurt either.

https://www.youtube.com/watch?v=KUwpt3pM4sY

9. TEBI REX

Admittedly I only recently started listening to these guys, but the Maynooth-based rap duo have a sound unlike anything else I have heard from this Island in living-memory. Their sound is exciting, their lyrics are original and accessible. The two men making up Tebi Rex, Matt O’Baoill and Max Zanga, are both exceptionally good at what they do, and their respective styles compliment each other perfectly. Men Are Trash honestly speaks to me, they are truly stan worthy, ones to watch and ones that are so forward looking and genuinely so exciting to listen to.

https://www.youtube.com/watch?v=9lWEuEKD6DE

10. SOAK

If you can’t tell by now that I really love Derry, here is another prodigal talent from Ireland’s should-have-been capital city. Her music is intense, you can tell from first listen how much of herself she puts into her songs. Her sound is messy, chaotic, and yet beautiful and well crafted. She has an unmistakable voice, layered over a beautiful and raw melodic soundscape, utilising everything from synth to orchestral strings throughout her projects. Her songs are sad without being cringey, she simply is emotive and honest – beyond her years even, and this is well evidenced throughout her music.

I have no choice but to stan.

https://www.youtube.com/watch?v=OxyD9fH1bQk

11. THE ACADEMIC

In Ireland, you get a generation defining indie-pop/indie-rock band to the calibre of the academic about once in a decade, if you’re lucky. For the last five years, this four-piece from Mullingar, Co. Westmeath, have been supplying us with tune after tune, LP after EP, each managing to perfectly capture that coming-of-age long summer road-trip sound every band tries at some stage to achieve. They’re able to tell stories, to convey feelings of love and apathy, and even of our more recent isolation, in a way that is so rarely found in their genre. Above all, they are exceptionally talented musicians who are genuinely enjoyable to listen to, and they deserve the stan.

https://www.youtube.com/watch?v=hXoBj5HZ1hU

12. FONTAINES D.C.

Post-punk five-piece Fontaines D.C formed when at College in Dublin in 2017, though hail from all across the Island, with the frontman Grian Chatten even being born in Barrow in the North West of England. Despite their debut only being released a year ago, they have already become synonymous with the Dublin music scene, and the post-punk scene across Ireland at large. The lead single of their sophomore album was released in Early May, to broad and wide-ranging acclaim. Their sound is infectious, addictive, yet distinctive. Despite their limited discography, you can’t help but get yourself excited for more. Chatten’s voice is incredible and distinctive, their sound is remarkable, their appeal is broad and diverse. They’re ones to watch, and well worth a stan.

https://www.youtube.com/watch?v=jLNt8aMNbvY

13. CHERYM,

My personal favourite band from my favourite city, Cherym really are a band by the girls and the gays for the girls and the gays. They are three ‘sassy’ Derry girls with so much craic it radiates through their songwriting, resulting in their characteristic fusion of pop-punk and garage-rock, perfectly contrasted with catchy, danceable lyrics covering everything from shitty exes to good friends. Individually, the girls are three remarkable talents, and these blend so well together to produce the top quality punk music the people of Ireland so desperately need and deserve. You should definitely stan, they’re pretty class

https://www.youtube.com/watch?v=Zx4DcyA4gc0

https://open.spotify.com/playlist/2RFZKxoC7rADqAGMCZhj5N?si=cSkz3y65Qrm6wtlh8zoycw

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straykidsupdate · 4 years

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Stray Kids Members on GO LIVE and Making the Music They Want to Make

There's bedlam in the kitchen, as K-pop disruptors Stray Kids wreak delicious havoc on a sterile commercial space. They dance around wildly, waving stainless steel pots and pans in the air and tossing freshly pressed napkins and imaginary ingredients with relish and abandon. In the forefront, fiery rapper Changbin serves up his own potent sauce with a pummeling verse, while dancer Lee Know attempts to stir fry a handful of what appear to be rose petals behind him. A marching band, their plumes high and faces unbothered, carries on amidst the mess — a visual manifestation of the heavy bass ostinato that immediately invades the senses. It sounds disorienting, maybe even slightly dangerous. It looks like chaos.

Welcome to "God's Menu" ("神메뉴").

The Korean boy group's latest single boasts a big, brassy hook laced with trap beats and an addicting refrain ("this is our tang, tang, tang, tang," they shout), a recipe that has become their signature dish. A sonic successor to last fall's explosive "Double Knot," the track teems with a tireless energy and their hallmark bravado. The video imagines the eight members as chefs who confidently concoct their own art from scratch. "Taste so good, everyone loves it," Han raps, in a mix of Korean and English. "All our dishes taste so strong."

The culinary metaphor is laid on thick, bolstered by a charismatic performance that includes Korean formalities like "네, 손님" (which translates to "yes, sir and ma'am" in English) and TikTok-certified choreography that incorporates mixing, frying, seasoning, and, most notably, chopping. But for a group that's been cooking up homemade beats and flavorful lyrics in their bedrooms long before their 2018 debut, it's a savory declaration that feels more than earned. "We just keep on making new things," leader Bang Chan sings, cleansing the palate with a sweet melody. "Because we're one of a kind."

They bring that same level of confidence and clarity to their first full-length album Go生, a title that combines the English word "go" with the Chinese character for "life" and showcases the group's penchant for clever wordplay. Pronounced go-saeng in Korean, it translates to "hardship." The English title, GO LIVE, reflects their desire to move forward without any lingering inhibition. Consider the 14-track LP a reintroduction to Stray Kids.

"We tried to not think too much," Bang Chan tells Teen Vogue from Seoul, South Korea, where he's currently huddled in a room with members Lee Know, Changbin, Hyunjin, Han, Felix, Seungmin, and I.N. It's late June, and they're in the middle of their first week of promotions for the album, which means early mornings, long nights, and a whirlwind of music show performances, interviews, radio shows, and virtual fan engagements. And yet, even as it nears midnight, the members, ranging in ages from 19 to 22, are still easily excitable. Australia-raised Bang Chan acts as the group's tireless translator, and despite recent concerns, his accent sounds as prominent as ever as he explains how Stray Kids adopted a fresh mindset in preparation for Go生. "Of course, we thought a lot about what to put in the album and how we wanted to make it, but we went with the flow," he says. "We wanted everything to feel a bit more raw."

Stray Kids made their official debut under JYP Entertainment with the riotous and self-produced "District 9," an angsty blend of hip-hop and EDM that would ultimately define the group's characteristic intensity, both musically and lyrically. It laid the foundation for 2018's I Am… trilogy of EPs, which focused heavily on the theme of identity as they charged away from systems that sought to control them. The Clé series followed in 2019, which threw Stray Kids head-first into the thorny, often exhausting labyrinth of adulthood. Bang Chan, Changbin, and Han, who comprise the group's in-house production trio, known as 3RACHA, write about their own experiences, etching their personal dreams and worries into a diverse discography that spans six EPs, multiple mixtape singles, and special releases. But with Go生, they've emerged with newfound perspective.

For years, their music was fixated on the idea of bulldozing through obstacles that stood in their way. They wanted to outrun their problems. Now, it's clear: Growing up isn't about overcoming anxieties and struggles. Instead, it's learning to live in spite of them — to run freely alongside them.

As a result, Go生 is a release bursting with color and vitality, a celebration of life's mercurial nature. There's a song for every craving, and a tracklist that demonstrates the members' prismatic talents as rappers and vocalists. "Easy" delivers boundless swagger over a trap beat (and it's already been immortalized on stan Twitter); "Airplane" is Stray Kids at their most relaxed, a chill summertime vibe that's also a tremendous showcase for singer Seungmin; main rapper and all-rounder Han lets his voice soar on "Phobia," an electronic-synth track that examines the paranoia of losing someone (it was also the final song added to the album); "TA" is all high energy and thunderous chaos, perfect for a future encore set; and "Blueprint" shines with its funky bass line, bright verses, and fierce optimism ("I'll proudly achieve my dream," Felix sings in Korean, as translated to English).

"We wanted to show what Stray Kids is really about," Bang Chan says. And in doing so, Felix adds, they "experimented with a variety of genres." The fellow Aussie, who Bang Chan affectionately calls his little brother and who fans (known as Stay) refer to as their "sunshine," speaks with a warm timbre. His flow is even deeper and more distinct, and it's been a solid entry point for Stay and locals alike. Felix is a commanding presence on "God's Menu," a testament to his growth as a rapper and performer. When asked about his five-star performance, he gets shy. "I think everyone put their all into this song and into the album," he says. "Sit down, be humble," Bang Chan jokingly sings beside him, a reference to Kendrick Lamar's 2017 manifesto "Humble" and a demonstration of the leader's persistent playfulness.

"We've all improved a lot in terms of our performance," dance captain Lee Know says, much to the surprise of his members. It's not that they don't agree, it's just that his eager contribution to the conversation catches them off guard. He's not always so talkative during press interviews. And there's an audible cheer among the group as he continues. "Our dancing has gotten stronger. Our vocals have gotten stronger as well. But we're still honing those skills. And we'll continue to grow."

Hyunjin, whose own development as a rapper, dancer, and vocalist with a mellifluous falsetto is well-documented on the internet, agrees. "As we get older, we want to show Stay more sides to us," he says. The lithe performer's strength is his versatility. He's highly adaptable, so it's not surprising that he's been working on writing and composing his own music under Bang Chan's watchful guidance. "I want to show [Stay] something different," he adds. (And that's a promise he intends to keep.)

Youngest member I.N thinks they're maturing in other ways too. "We've all gotten a lot more good-looking," the lively vocalist says, very matter-of-factly. Laughter erupts in the room, and Changbin's cackle is unmistakable. Undeterred, I.N carries on. "When it comes to performance, I've personally gotten a lot faster at recording and memorizing choreography," he says. Lee Know is quick to jump in. "I.N's performance in 'TOP' really surprised me," the elder says. "He's in the center position for the hook, and watching him I saw just how much he's improved. He's more confident now."

I.N is happy he gave off such an aura. "When we were preparing for this album there were times when I didn't feel so confident," he says. So he turned to his members, who listened to his concerns and offered him feedback. He feels much lighter now. "One thing I realized after watching our 'God's Menu' stages is that we all look like we're enjoying ourselves more. We feel more free on stage. And it just feels easier."

The album's most surprising and reflective moment comes at the halfway point, courtesy of Han. Written by the teen multihyphenate, "Another Day" is soft and simple, but no less introspective than his previous cuts ("19" and "Sunshine"). It depicts a feeling of restlessness caused by burnout and the inability to "rest without worrying."

Han's inspiration for the song was largely himself. "It's been a tough year, and I knew it wasn't just me who felt that way," he says. "So I wanted to put those emotions into the song."

In front of the camera, Han exudes relentless charisma. He's quick-witted and wickedly funny. Off stage, he's one of the group's two MBTI-approved introverts (the other being Hyunjin), and he prefers to relax in a controlled environment: his room. In fact, if he doesn't have a schedule or a song to work on, he'd prefer not to leave his bed at all, choosing instead to watch YouTube and anime on his phone. As someone who's deeply inspired by visual mediums, it's in these calmer moments where creativity often strikes.

"Everyone goes through times where things don't work out the way you want them to," he says. "But I think it's important to remember that while you're going through a difficult time, you need to take a breath. Go do something for yourself … Break out of that negative mindset and open yourself up to new possibilities."

Each of the members has their own way of dealing with feelings of stress and anxiety. Changbin works on music. "It's my healing," he says. And he hopes it can be healing for Stay too; he teaches fans the basics of rap during semi-regular streams on V Live. Lee Know prefers to do nothing at all. This is why the members often say the self-assured performer is like water — whatever is bothering him just washes away by morning. But I.N needs time away from the older members. ("Leave me alone!" oldest member Bang Chan whines, mimicking the moody teen.) Hyunjin finds comfort in sentimental music and Korean dramas, and he's especially adept at communicating with fans on Instagram and V Live, where he addresses their worries and offers support in both Korean and English. "That heals my heart," he adds softly. Felix has taken up cooking and baking, even going so far as to buy an oven for their shared apartment's kitchen. His brownies are already beloved by the members and JYP staff. "Making something for someone and getting to share what I make… even a small compliment will make me feel relaxed and good about myself," he says.

Meanwhile, Bang Chan has a bad habit of "brainwashing myself into thinking that I'm not restless when I actually am." So he relies on the members, or "the kids" as he calls them, to help keep him in check. "Our first week of promotions was really tiring, but when I look on stage and see them — see Hyunjin, Changbin, Lee Know, see them all — it gives me a lot of strength. They make me feel at home." (The kids coo in jest beside him. "That's right!" Han shouts.)

Seungmin doesn't often feel anxious, but when he does there's nothing that a long walk and a good playlist can't fix. Lately, he's been listening to "Another Day." "Han surprised me [with this song]," the dynamic vocalist says. "I listen to it often, and it has inspired me a lot." Han, never one to pass up a compliment, replies, "Thanks, man."

While 3RACHA are largely responsible for crafting Stray Kids' music, the members are all integral to the process. "It's not 3RACHA's music, it's Stray Kids' music," Changbin says in English. "So the members' feedback is very important. I feel the best when they like it."

Case in point: "God's Menu." The group had originally recorded a different lead single, and they were in the throes of comeback preparations when Changbin played a demo of "God's Menu" for some of the members. According to Bang Chan, this happens a lot: "We go home, we play a demo, and we party to it." It's as simple as that. But then something unusual happened: Upon hearing "God's Menu," Hyunjin immediately knew he wanted to perform it. This was Stray Kids. The other members felt it too. "The lyrics expressed our music and confidence best," Changbin says in English, as his members cheer him on. ("Go, Changbin!" Bang Chan encourages.) "It's a song only Stray Kids could perform.”

And it was a theme that personally resonated with Bang Chan. "Back in the day, when we were releasing songs as 3RACHA, I always liked to relate my producing process with cooking and science," he adds. "It's just a really fun concept." (Astute fans might recall the 2017 3RACHA deep cut "Alchemistry," in which the industrious leader declares himself a "mad scientist.")

So 3RACHA went straight to the top — to the company's founder J. Y. Park — and asked if they could change the single to "God's Menu." They didn't expect much; the single had already been locked. To their surprise, however, JYP agreed with their judgement. And so have Stay: "God's Menu" is the group's fastest music video to reach 60 million views, and Go生 broke their previous first-week sales record.

"It's a really funny and very warm feeling knowing that he believes in what we do," Bang Chan says of JYP's support. "And it makes us want to try out even more of our various ideas."

Producer Mike Daley (Baekhyun's "Candy") experienced 3RACHA's creative process and various ideas first-hand in Los Angeles last May when Bang Chan, Changbin, and Han spent a day with him in the studio following the U.S. leg of the group's Unveil tour. They worked on two tracks, one of which would eventually become "Easy." Daley played an unfinished demo for the trio, and the reaction was immediate. "A few of the guys just started rapping," he tells Teen Vogue. Bang Chan workshopped the hook and melodies with a few of Daley's friends and collaborators, while Changbin and Han wrote the verses. "Spear [Changbin] and Han were in their own zone on their phones, writing," he recalls. According to Daley, Spear — a reference to Changbin's 3RACHA moniker SpearB — laid down the first verse, and the atmosphere was electric. "He was going crazy in the booth," he says. "It had a ton of energy. And that got everyone amped up to make the hook have as much energy as the verses were bringing."

Daley, a veteran of K-pop songwriting camps, was surprised by just how involved 3RACHA were in the studio. "They knew how to produce really well, so we were all arranging it together," he says. He also observed their teamwork. "It seemed like they each had their role and worked together well," he adds. "Spear and Han were focused on the verses, but when they heard a melody they liked, they'd look at Chris [Bang Chan]. They knew how to get the song done."

And that sense of creative autonomy isn't just exclusive to 3RACHA. Through self-produced digital projects like "SKZ-PLAYER," all of the members are encouraged to express themselves through their art. "It's a really good platform for us to showcase what we want to show Stay, something that they haven't seen before," Bang Chan says. In May, he surprised fans with "인정하기 싫어," which translates to "Don't Want To Admit," a vulnerable piano ballad that laid bare his heartache. Last year, Lee Know released "Dawn," a slinky dance performance he choreographed himself. Seungmin covered his favorite band, and fellow JYP artists, DAY6. "I am very grateful that we are able to sincerely connect with Stay through music," the floppy-haired vocalist notes. As for Changbin, he recently dropped "Streetlight," a solo track in which he wrestles with feelings of loneliness. And Hyunjin released his own video — a contemporary dance he produced and choreographed to Billie Eilish's "When The Party's Over." He titled it "Empty."

"I wanted to express a different feeling, one that I couldn't show through our own performances," the perceptive dancer says. He choreographed the piece to convey his longing to perform. That loneliness that comes at the end of a party, he says, is the same emptiness he feels when he leaves the stage. "That void I feel sometimes, I wanted to express that through choreography."

Han's "Close" was inspired by the 2004 film Closer, specifically its opening scene, in which a young woman locks eyes with a handsome stranger across the street. The idea of human connection, of seeing someone and wanting to know everything about that person, struck Han, especially at a time when people feel farther apart than ever. But it was too raw to share. "I didn't originally want to release 'Close.' I wanted to keep it to myself," he says. "But after showing it to the members, they encouraged me, and that motivated me to share it."

And they continue to share their artistry with Stay. Fans are getting an intimate look at the members' songwriting and melody-making prowess in "Two Kids Song," a web series that splits them into pairs and challenges each team to write, produce, and record an original song. For Stray Kids, the desire to keep learning and pushing themselves — as songwriters, as performers, and as young adults navigating the world around them — both inside and outside of the practice room, comes naturally. "We're artists," Bang Chan says. "It's right for us to express whatever we want through our creative process."

However, with unfiltered access also comes moments of real humility, a reminder that the relationship between idols and the community they foster isn't defined in scenes of uncritical loyalty and fan service, but rather in instances where they hold one another accountable. In a June livestream, Bang Chan reminded fans, "I don't want you guys to spread negative energy around. Stays, you guys are better than that." That sentiment was recently reciprocated when the group participated in a July variety show segment that many Black fans deemed racially insensitive. Stray Kids apologized in a personal statement posted to the members' shared Instagram account, in which they rejected all types of discrimination with a promise to do better by their fans everywhere around the world. "We are still lacking in many things and we are trying our hardest to become better," they wrote in Korean and English. "We would like to apologize to anyone if we have stepped on a rake. It was never our intention but due to our lack of understanding."

It's this honesty that resonates most with their fans. It's woven into heartfelt lyrics, tearful ending ments, social media posts, virtual hugs, home-cooked meals, and earnest reminders to deal with — not run away from — things that are difficult. It is the lens through which Stray Kids see themselves: never perfect, but always sincere. Mainly, it's how they expel their innermost thoughts and feelings, the joy and the agony of everyday life. Whether that's by working on music, or choreography, or refining a new dish, or bettering themselves, that's ultimately up for them to decide. It always has been. Their appetites are insatiable, after all. "The fact that we have the chance to make the music we want to make and talk about the things we want to talk about is really special," Changbin says. "It makes me more excited for what's next."

A day after talking to Teen Vogue, Bang Chan, Changbin, and Han set the KCON:TACT stage ablaze with an opening performance that showed the world just how hungry they are. “They always say the same excuses, while they’re complaining we’re producing," Bang Chan sings, the Auto-Tune heavy. "The passion I give it, nobody can kill." It's a bold statement for any group to make, especially one as young as Stray Kids. And yet, it's that measure of determination that's defined their careers since they were teens trapped on a hellevator with nowhere to go but up. One day they'll reach the penthouse. For now, they're learning to savor the ride and embrace the mess.

"We're going to enjoy this freedom," Bang Chan says, "and eventually we'll fly high."

#stray kids #200710 #ot8 #era: GO生 #t: article #t: interview #teen vogue

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dogsliampaynedoesntinstagram · 4 years

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The thing I find weird, if this vid is supposed to be a lesbian party or wlw rep, not only the lack of body diversity is a problem, but how bout the lack of butch rep. As an amputee who’s also a soft butch lesbian I felt no rep in this video at all. That’s fine but don’t act like it’s an ode to wlw while ignoring so much. I liked a lot about this vid and while also v much not seeing it as a wlw video, it’s ok to do that and acknowledge the problems while enjoying the product rn

I totally agree anon - as a depiction of wlw this video is really fucked up. I’ve talked about the very narrow range of women’s bodies. I’ve also talked about the fact that the women barely look at each other, and look much more at Harry, or at the camera, or at the middle distance for the camera. I think your point is a really good one - there’s nothing queer about their styling. Obviously wlw dress in a huge range of ways and some dress like the women in the videos. But I don’t think there was any intention to style these women as wlw. It’s very easy to style actresses in ways that suggest or imply that they’re wlw. In addition, one way to signal that a group of women are wlw is variety in their styling. There’s none of that here. This is basic 1970s music video styling. I think if Harry L was trying to style a group of wlw he’d do a better job.

But I don’t think that this was intended to be a group of wlw. I think the idea that it was is the result of a very narrow reading from some fans. There’s nothing wrong with that reading. There’s nothing wrong with enjoying the video as a depiction of wlw (although I don’t for all the reasons I list in the paragraph above). But it’s completely absurd and unsustainable to suggest that seeing the video as a depiction of wlw is anything more than maybe picking up on subtext.

It really frustrates me that any discussion of what actually is going on in this video becomes much harder to have, because any discussion has to wade through lots of complete nonsense ideas that I find very hard to believe are made in good faith. (I try not to argue that people don’t mean what they say. But when there are such loud claims that are so insupportable it’s hard to avoid that conclusion. I cannot see another explanation for hugely overstated claims of the video being a depiction of wlw, except that fans are trying to deny or ignore the video’s very clear and textual depiction of Harry as someone who is attracted to and goes down on women. And I find that response both tedious and dishonest).

#The terrible posts I had to see with my eyes #about this video being 'lesbian rights'#or the most lesbian thing people have ever seen #it's absurd and insulting #it does make me want to make one of those butterfly gifs #a group of conventionally attractive women in swimwear in a music video #surrounding and centred on a clothed man #who look at him or the camera #much more than they look at each other #'is this lesbianism?'#Anonymous

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lebluesdemarainehdfilmonline · 3 years

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SYNOPSIS ET DÉTAILS Les tensions s'exacerbent et les esprits s'échauffent au cours d'une séance d'enregistrement, dans le Chicago des années 20, tandis que plusieurs musiciens attendent la légendaire Ma Rainey, artiste avant-gardiste surnommée "la mère du blues". Arrivant en retard, l'intrépide et volcanique Ma Rainey se lance dans un bras de fer avec son manager et son producteur blancs, bien décidés à lui imposer leurs choix artistiques. Tandis que les musiciens patientent dans la salle de répétition, l'ambitieux trompettiste Levee, attiré par la copine de Ma, est déterminé à faire sa place dans le milieu de la musique. Poussant ses camarades à se confier, il provoque un déferlement d'anecdotes, de vérités et de mensonges qui bouleverseront à jamais le cours de leur vie…

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Définition et définition de film / film Alors que les acteurs qui jouent un rôle dans le film sont appelés acteurs (hommes) ou actrices (femmes). Il y a aussi le terme figurants qui sont utilisés comme personnages de soutien avec peu de rôles dans le film. C’est différent des principaux acteurs qui ont des rôles de plus en plus nombreux. Être acteur et actrice doit être exigé pour avoir un bon talent d’acteur, ce qui est conforme au thème du film dans lequel il joue. Dans certaines scènes, le rôle de l’acteur peut être remplacé par un cascadeur ou un cascadeur. L’existence d’un cascadeur est importante pour remplacer les acteurs réalisant des scènes difficiles et extrêmes, que l’on retrouve généralement dans les films d’action et d’action.

Les films peuvent également être utilisés pour transmettre certains messages du cinéaste. Certaines industries utilisent également le film pour transmettre et représenter leurs symboles et leur culture. Le cinéma est aussi une forme d’expression, de pensées, d’idées, de concepts, de sentiments et d’humeurs d’un être humain visualisé dans un film. Le film lui-même est principalement une fiction, bien que certains soient basés sur des faits réels ou sur une histoire vraie. Il y a aussi des documentaires avec des images originales et réelles, ou des films biographiques qui racontent l’histoire d’un personnage. Il existe de nombreux autres films de genre populaires, allant des films d’action, films d’horreur, films d’humour, films romantiques, films fantastiques, films à suspense, films dramatiques, films de science-fiction, films policiers, documentaires et autres. C’est un peu d’informations sur la définition d’un film ou d’un film. Les informations ont été citées à partir de diverses sources et références. J’espère que cela peut être utile.

❍❍❍ TV MOVIE ❍❍❍ The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 1930s. Televised events such as the 1936 Summer Olympics in Germany, the 19340 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 1939 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 19440 World MOVIE inspired many Americans to buy their first television set and then in 1948, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 4, 1951 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 1954 Tournament of Roses Parade) in the US occurred on January 1, 1954. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 1965, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 19402, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season.

❍❍❍ Formats and Genres ❍❍❍ See also: List of genres § Film and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional MOVIE). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows.[citation needed] A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 1980s, many MOVIE feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television MOVIE to have this kind of dramatic structure,[4][better source needed] while the later MOVIE Babylon 5 further exemplifies such structure in that it had a predetermined story running over its intended five-season run.[citation needed] In 2012, it was reported that television was growing into a larger component of major media companies’ revenues than film.[5] Some also noted the increase in quality of some television programs. In 2012, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television.

❍❍❍ Thank’s For All And Happy Watching❍❍❍ Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! Thanks for watching The Video Today. I hope you enjoy the videos that I share. Give a thumbs up, like, or share if you enjoy what we’ve shared so that we more excited. Sprinkle cheerful smile so that the world back in a variety of colors. Thanks u for visiting, I hope u enjoy with this Movie Have a Nice Day and Happy Watching :)

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grimelords · 5 years

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My March playlist is finished! This one is slightly more diverse than usual, swinging all the way from vibraphone jazz to Bhad Bhabie to black metal so I’ve taken the liberty of actually sequencing it properly for you. So if you’ve got 3 hours you can listen to this straight through and be taken for a hell of a ride. No matter what you like I’m sure you’ll find something in here that you love.

Tahiti - Milt Jackson: For an unknown reason I had a big jazz vibraphone phase this month and when you're talking jazz vibraphone you're talking the Wizard Of The Vibes himself, Milt Jackson. I feel insane even having an opinion on this but it's a shame that some of the best vibraphone performances were made at a time when the actual recording technology wasn't really there, they all have this very thin quality that I think misses a lot of the great character of the instrument.

Detour - Bill Le Sage: Like compare this from 1971 to Wizard Of The Vibes from 1952, the sounds is miles warmer and gives so much more of the full range and detail of the instrument. I also listened to this song five times in a row when I first heard it, the central refrain is just so fuckin good. Like I said, big vibes vibe and who knows why.

Blowin' The Blues Away - Buddy Rich And His Sextet: Superhuman playing aside, it's unbelievable how good these drums sound. The whole first minute just feels like a tour of each specific drum and I absolutely revel in it. I feel like flute and vibes is a relatively rare combo so it's extremely nice to hear Sam Most and Mike Manieri go ham in tandem.

Yama Yama - Yamasuki Singers: A friend sent me this song that he's had stuck in his head for ten years ever since it was in a beer ad from the days when beer ads were incredible strange for complicated legal reasons about not showing people enjoying the product or something https://www.youtube.com/watch?v=ORfkh0OojxY and this incredible song is apparently from a 1971 French concept album where a couple of guys wrote a bunch of psychedelic songs in Japanese for an unknown reason that later became a massive drum and bass breaks album, and one of the guys was Thomas Bangalter from Daft Punk's dad! Music is crazy.

Alfonso Muskedunder - Todd Terje: I'm starting a petition to get Todd Terje to write the soundtrack for the next Mario Kart. I absolutely love this song and this whole album because it's so joyful and strange and it just sounds like nothing else I've ever heard. He seem to truly operate in a world entirely of his own.

Pala - Roland Tings: I love this song. It's like he wrote it with normal sounds and then went back and replaced every instrument with the party version. This song hands you a coconut and says welcome to the island where bad vibes are punishable by firing squad.

Keygen 13 - Haze Edit - Dubmood: There's a fucking album of keygen music on spotify and it's absolutely great and so good that someone's doing the work to recognize the value of the music this extremely weird scene produced and preserve it. If you don't know, back in the day when you pirated photoshop or whatever, you would download a license key generator which was a program made by extreme nerds who had cracked the license key algorithm to give you a fake one, and for unknown reasons they would make the keygen program play original chiptune music that someone in their nerd crew would compose. Who knows why but god bless them.

My Moon My Man (Boys Noize Remix) - Feist: The very concept of a Boys Noize remix of My Moon My Man is hilarious and it turns out it sounds absolutely amazing as well. Two great tastes that taste great together.

Low Blows - Meg Mac: I had a big Meg Mac phase this month too, listened to her album a lot and it's extremely solid. Great timing too cause her new one comes out in a month or so too. I really am excited to hear her next album because she's so good but I've always got this feeling that she hasn't reached her full potential yet, she's only going to get a million times better in an album or two.

Patience - Tame Impala: I love that the cover of this single is a pic of congas because it feels like that's the central thesis here. Kevin Parker bought some congas and is making disco Tame Impala now and I really couldn't be happier about it.

Unconditional (feat. Kitten) - Touch Sensitive: I love a 90s throwback done with love. There's nothing cynical or ironic about this it's just fun as hell!

Last Hurrah - Bebe Rexha: Get a fucking load of this Bebe Rexha song that interpolates Buy U A Drank by T-Pain for the chorus! It's a testament to how good that song is that she's using the verse melody as the chorus. T-Pain will quite literally never get the respect he deserves. Also this song goes for 2.5 minutes. There's something happening where pop songwriting is getting more and more compact, completely trimming the fat and ornamentation and it's very interesting.

Hi Bich - Bad Bhabie: Also I'm fully six months late on Hi Bich but I'm of the opinion that it's extremely fucking good. A perfect little reaction gif of a song and it only goes for 1m45!

Friends - Flume: I'm doubling down on my thesis about emo rap from last month but this song literally sounds like a Flume remix of a Hawthorne Heights song. The whole melody of it, the overlapping yelled/clean vocals. The lyrics obviously. I don't know it's just very odd how close it is. A sort of emo trojan horse to trick people into thinking The Used are cool again.

How To Build A Relationship (feat. JPEGMAFIA) - Flume: I've been meaning to check out JPEGMAFIA (AKA Buttermilk Jesus AKA DJ Half-Court Violation AKA Lil' World Cup) for a while but this is the song that convinced me. There's just so much to digest in this. Every line is gold and delivered with massive conviction even when he realises it's total nonsense like 'dont call me unless I gave you my number'.

Bells & Circles (feat. Iggy Pop) - Underworld: Underworld alive 2019?? I love this song becuase Iggy Pop has been riding a fine line between punk provocateur and old man yells at cloud for a while now and this song is the perfect mix of both. You can't hijack airplanes and redirect them to cuba anymore and as a result it's over for liberal democracies. Just yelling about air travel for six minutes and it's good.

Guns Blazing (Drums Of Death Pt. 1) - UNKLE: This beat is some of my favourite DJ Shadow work I think. The menacing organ bass throughout, and especially the distorted drum freakout near the end. It's just great all the way through.

Homo Deus IV - Deantoni Parks: Another Deantoni Parks track like I was raving about last month. This whole album is great and flows together as a single piece of work amazingly. I love the purposefully limited sample palette of each track forcing an evolving groove throughout. He absolutely wrings every bit of variation he can get out of every single sound he uses and once you get into the groove of it it's absolutely mind blowing.

Boredom - The Drones: I love that The Drones can write a song about joining ISIS that's also a lot of fun. Spelling out radicalization in a way anyone can understand and sympathise with and then switching it in the second verse to spell out how we got into this situation anyway.

Loinclothing - Hunters And Collectors: I love how much this song sounds like a voodoo celebration in christian hell.

The Fun Machine Took A Shit And Died - Queens Of The Stone Age: There's a good bit on the live dvd they put out after Lullabies To Paralyze where they play this song and they say it was supposed to be on the album but somebody stole the master recordings from the studio, which is an incredible and brazen crime. Then when they put it out on Era Vulgaris as a bonus track Josh Homme said in an interview "The tapes got lost. Actually, they were just at another studio, but we falsely accused everyone in the world of theft" which is extremely funny. This is really one of their best songs and I sort of really with it had been on Lullabies because it fits perfectly between The Blood Is Love and Someone's In The Wolf type of vibes, I love how it just kind of keeps shifting ideas and riffs throughout. An absolute jam overflowing with ideas.

10AM Automatic - The Black Keys: This song is an all time great in my opinion. It's so straightforward and so effective. I wonder if we'll get a blues rock revival ever or if Jack White still being alive and bad is souring everyone on that idea. This song also has one of my favourite guitar sounds in history I think - the outrageously huge sounding solo that comes out of nowhere and swallows up the rest of the mix like a swirling black hole near the end.

Gamma Knife - King Gizzard & The Lizard Wizard: I've never gotten much into King Gizzard and because of their one million albums already it's hard to know where to start but I've been listening to Nonagon Infinity a bit and it's great, it's just good old fashioned 70s prog jams front to back.

Gina Works At Hearts - DZ Deathrays: I absolutely love this song and I absolutely love the second guitar sound in the chorus of this song that sounds like it's made out of thin steel.

Black Brick - Deafheaven: When I saw Deafheaven the other month I was right up the front and it was a life changingly great experience AND they played this new song live for the first time before it went up everywhere like three hours later which was very exciting to be given a sclusie like that. After they finished a guy behind me whispered to his friend "Slayer..." which was very funny to me.

Gemini - Elder: I found this band because one of my Spotify Daily Mixes was all stoner metal for a while, which is a good genre to see all lined up because it'll have Weedeater, Bongripper AND Uncle Acid & The Deadbeats right there in a row for you. Anyway this album is extremely good, the very best kind of stoner metal where it's groovy and fun and has big meaty riffs and ripping big solos and it's extremely easy to listen to three times in a row.

The Paradise Gallows - Inter Arma: My big obsession the past little while has been Inter Arma ever since Stereogum posted The Atavist's Meridian from their new album. It is just so fucking good and I can't believe I've never heard of them before. You know when you find out about an amazing band and then you find out they've been around for nearly ten years and you can't believe everyone in your life has been selfishly hiding them from you?

The Atavist's Meridian - Inter Arma: I think a big part of my enjoyment of this band has also been that I discovered them at the same time as I'm listening to an audiobook of the complete Conan The Barbarian omnibus so I'm very much in the brain space for music that sounds like it would be nice to swing an axe to.

Untoward Evocation - Impetuous Ritual: I love how halfway through this kind of just turns into a big swirling mist of dark sounds. It feels so formless and dark that it could just shake apart and dissipate at any moment and you'd look down to realise your skin is gone.

Eagle On A Pole - Conor Oberst: from Genius: 'In an interview with MTV news, Oberst stated “We were on the bus one day and a friend of ours that travels with us and works for the band kind of came out from the back of the bus and said that first line: ‘Saw an eagle on a pole… I think it was an eagle.’ And then this guy Simon Joyner, who is a great songwriter from Omaha and one of my great friends, he was on tour with us and sitting there and he was like, ‘You know, that’s a great name for a song.’ We kind of had a contest where he wrote a song with that first line, and [then] I did, and a couple of our other friends. We kind of all played them for each other. Simon’s is better than mine, but it is a good line to start a song.” Another version–Mystic Valley Band drummer Jason Boesel’s interpretation–is on the next album, Outer South.' The idea that such a good song has such a braindead origin only makes me love it more.

Lake Marie - John Prine: When I saw John Prine the other month he played this song that I had never heard before and I had to look it up after and now I'm completely obsessed with it. It feels like falling asleep during a movie and missing a critical plot point so the rest doesn't make sense when you wake up but is thrilling nonetheless. Also he absolutely screamed "SHADOWS!!!" when he played it which was a fucking cool thing to see a 72 year old man do.

Little White Dove - Jenny Lewis: The drums on this whole album are absolutely huge for some reason and I love it. My favourite recent sound is in the first chorus where there's a funny little pitch correction noise as she sings 'dove'. It's very strange and very very good.

Locked Up - The Ocean Party: I only found out The Ocean Party existed as they announced their farewell show this month which is a real shame but I'm glad I got to hear of them at all because they're very good. A very good song about that feeling we all know and love: driving for a long long time.

Plain & Sane & Simple Melody - Ted Lucas: I found out about this song from Emma Ruth Rundle's Amoeba Records video and she makes a good point about this whole album sounding like something's gone wrong and it got accidentally pitched down slightly in the recording process. It's unclear if that's what happened or that's just how he sounds but it adds a very softly spooky undercurrent to a very nice song.

listen here

#playlists

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kvlt-ov-romance-blog · 6 years

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The History of American Black Metal

[I wrote this article out of pure passion for the genre in July of 2012. It can be read on my deviantART page, Fatal-Nostalgia]. Black metal has a rich history, primarily one of European descent. Although it was Venom who coined the genre's name with their 1982 release "Black Metal," it was not for awhile until the genre became what it is known for: Darkness, hatred, aggression, atmosphere, forests and nature worship, and all that frostbitten stuff. The earliest black metal releases date back to 1983, when Hellhammer released their album "Death Fiend." They released a rehearsal demo in 1982, and a total of three albums in 1983, but the previously mentioned is held with the highest regards, as it came first. Influence then came from bands such as Sodom, Outrage and Nasty Savage. It was in 1984 when Bathory released their first album, "Bathory." It was primitive, aggressive, and thrashy. In my opinion, this is where black metal was truly birthed. We can see though that black metal in Europe was growing in the eighties, but black metal in America was quite scarce. The only American artists releasing albums in the vein of black metal were rather short lived bands who generally only made demos. NME were at the forefront of the proto-USBM movement, but a few lesser known bands were around too. Angel Death and Hatred were among the first couple of artists to release material vaguely reminiscent of black metal. Angel Death released a demo in 1986 "Death to Christianity," incredibly amateur and with more elements of eighties thrash than black metal. Hatred, who formed in New Jersey in 1984, released a demo in 1985, but it was their 1986 demo "Drowning in Afterbirth" that got more attention, at least among truly hardcore metal fans. Though more focused on a grindcore like sound, and undeniably amateur, it at least had the spirit of typical "demo metal bands," which have always been prevalent in the genre. Majesty, Bestial War, Goatlord, and a very small selection of virtually unheard of bands continued to make virtually unheard of demos between 1986 and 1987. A lot of these American metal bands were playing death or thrash at this time, not so much influenced by Norwegian scenes either. By the nineties, black metal in America wasn't necessarily as huge as in Scandinavia and Europe, obviously, but black metal bands actually worthy of carrying the title (rather than being thrash or death metal with some somewhat vague similarities) started to emerge. There was no one band or label that really started American black metal, more like various groups in general, who influenced each other greatly. The most obvious were Judias Iscariot, Inquisition, Absu, and Grand Belial's Key. Bands like I Shalt Become, Averse Sefira, and Demoncy gained more attention in later years, but their influence on early American black metal was important nonetheless. The nineties bands were starting to sound very similar to the Scandinavian second-wave bands. 1990 was a great year for black metal internationally. Canada's Blasphemy made their debut album "Fallen Angel of Doom," which now has a cult following. This was a definite turning point for black metal, which now had even more reason to be dark, aggressive, and black, white, and red in visual themes. As a result, New York band Profanatica were probably the first Americans to release a "trve" black metal demo in 1990, two actually.They clearly showed visual, aesthetic and especially lyrical influence of Scandinavian black metal, and were a truly blasphemous band for their time. The band was very outrageous too, and their antics as well as their music helped set them apart from other emerging bands. By 1992, demo tapes were starting to gain circulation among the metal community. Not just of Profanatica of course, but fresh new bands like Von, who released "Satanic Blood" that year. It was repetitive, hypnotic, raw, and maybe even not necessarily meant to be taken with total seriousness. Nonetheless, it became incredibly influential to early American black metal. It got reissued in 1999 and 2001 as a matter of fact, and Von's 2003 compilation album of the same name is now highly sought after. I would say "A Blaze in the Northern Sky" by Darkthrone, released in 1992, was the earliest turning point for black metal as we know it. It gained a wide ranging audience, and overtime has become considered a masterpiece by many. Raw aggression was now key to black metal. Judas Iscariot, the one man band of Akhenaten, came out with a demo in 1992 as well, taking cues from bands like Darkthrone and Von, but it was too rough to gain much appreciation in comparison to later work such as 1999's "Heaven in Flames." By 1993, more bands than ever were getting into American black metal, probably due to the emergence of Burzum, who released "Aske" that year. Tape trading American black metal now became international, proof that the scene was growing. In my own opinion, it was in 1994 when the first landmark of American black metal was released. "Barathrum: V.I.T.R.I.O.L" by Absu. Although Absu are now primarily known for being blackened thrashers, their debut is a stunning mixture of black and death metal, with especially competent drumming. The timing was perfect for Absu, considering Darkthrone, Mayhem, Emperor, and of course Burzum all made masterpieces that year, solidifying black metal as a reputable and important genre in the global metal community. Absu must have realized their early success because the following year they released "The Sun of Tiphareth," a major improvement on their part. This was where the band began experimenting with black and thrash combinations. Three vocalists were used on the album for various parts, creating a very diverse and intense mix. I would say that Usurper, who formed in Chicago, were the most influenced by Absu at the time. They upped the thrash and death metal influences and created "Diabolosis," and though it wasn't necessarily as black of an album as it could have been, the sound was there. Equinox, Naked Whipper, Black Funeral, Ritual, and others took inspiration from these early black metal bands such as Absu, and it was clear that by 1995, black metal was here to stay in America. 1996 was a good year for American black metal as well, with Judas Iscariot finally releasing more competent material, and new bands emerging. Hell,1994-1996 had to have been the most important couple of years for early black metal as a whole. Burzum, Sacramentum, Blut Aus Nord, Kvist, Forgotten Woods, and virtually every early champion of the second wave were all releasing albums those years; it was like a worldwide black metal festival, and America was finally being invited. 1998 saw America start to take on more independence and uniqueness from Scandinavian black metal. Likewise, black metal in Europe was spreading beyond the birthplaces such as Norway. Although Inquisition formed in 1988 in Colombia, Dragon was born in the US, and the band moved back to the US by 1996 anyway. They focused a lot on thrash and did not release their first acclaimed album until 1998. But because of that album, they were the proof in the pudding that American black metal bands could be different and successful without undermining black metal's true form. Inquisition were most noted for their croaky, bizarre vocal styling mixed with a highly occultish, doom and thrash laced black metal atmosphere. It was unexpected, and certainly polarized fans more used to vocals like Darkthrone's, but most eventually recognized the individuality of the style. It seems to me that between 1998 and 1999, American black metal bands finally mastered combining the Scandinavian style with their own unique twists. Demoncy for example took a major influence from Beherit, but added more death-doom elements to the sound on "Joined in Darkness." Averse Sefira took a slightly more technical approach to black metal. Symphonic black metal was also growing slowly but surely in the country as well. But what would the future hold for American black metal? The new styles of sound being practiced by bands was welcome by many, but others wanted to retain a more traditional approach and worried that the future of black metal would be compromised by "impurities" such as genre mixing. Unfortunately for those purists, by 2000, black metal was definitely changing. Artists like Craft, Gorgoroth, and Paysage d'Hiver were still keeping almost completely true to the pure origins of the genre, but many bands were now interested in developing their sound further. Enslaved started to experiment with progressive metal, and bands like Abyssic Hate began to develop depressive black metal. New horizons were just up ahead for black metal. In post-nineties America, no band took more advantage of this than Weakling. Their only album "Dead as Dreams" was a masterpiece of atmospheric black metal, with long playing tracks, technical skill, and screeching vocals, it was an album that many reacted to with awe, but also with confusion. To this day it still polarizes many; some see no American bands having managed to capture the sound, and others still see it as over-hyped. Regardless, Weakling's influences quickly spread and many saw Weakling as the most maturely developed black metal band America had to offer at the time, even if they did technically disband quickly. Partially owed to Weakling, 2002 onwards saw a rise in kvltists worst nightmare: Bands that were no longer focusing on the "pure themes" of early black metal. California even started to become interested in the black metal scene; those hippies and Indie kids, oh dear Satan, no! Xasthur, an artist who would soon, for better or worse be the artist many Europeans pictured when thinking of American black metal, released his first album at this time, focusing more on themes of depression than traditional hatred and Satanism. Ludicra released their debut album "Hollow Pslams," a very progressive album, lacking a whole lot of raw, frostbitten elements that originally made black metal what it was. Before they became so controversial for being "hipsters," bands such as Velvet Cacoon and Nachtmystium also started to churn out albums. American black metal was progressing, moving away from stagnant traditionalism and purism. 2003 even saw more influence from punk rock in some black metal artists like Bone Awl, and the esoteric VLE started producing what can only be described as rather uplifting black metal and ambiance of sorts. In 2004, Velvet Cacoon then released "Genevieve." The Portland based band still hadn't broken out into controversy among the black metal community, but now they were getting some attention for sounding more unique. This was arguably the first "blackgaze" album as it was made even before Alcest's major albums. In other words, it combined a strong, fuzzy, almost shoegaze like influence into a watery black metal sound. The same year, Krieg released "The Black House," and covered The Velvet Underground's song "Venus in Furs;" even sixties pop music was starting to have an influence on black metal now. Wolves in the Throne Room released their first album. They had yet to find their trademark "Cascadian" sound, but were obviously inspired by Weakling on this album. The Cascadian black metal scene is a style of American black metal with from the Cascade region, with a strong emphasis on nature. More than that, it is generally less Satanic and individualist. Many Cascadian bands have adopted leftist beliefs such as anarchism, environmentalism and socialism, and many refrain from wearing corpse paint. Clearly, this set off a lot of purists who saw black metal being misrepresented and weakened. And although Wolves in the Throne Room are considered the originators of Cascadian black metal, 2004 also saw Echtra's debut album "Burn it All Away," a more subdued, sludge-pace-like style of black metal that would surely influence the likes of future Cascadian bands; of course Echtra themselves are now considered one of the main Cascadian bands as well. At any rate, the rise of Cascadian black metal should have been anticipated as a logical progression of the genre. Between the hypnotic nature of Weakling's style, the increasing prevalence of progressive and ambient influences, and even the geographical spread of black metal more west toward California, where genres like post-rock were so influential at the time, it was only natural. Despite generally not being Pagan black metal, the Cascadian bands do share similar lyrical themes and ideas with some of the nature worshiping Pagan bands of Europe. They are often also influenced by various forms of folk music, one of the most organic genres. And speaking of organic, they still sing of deeply emotional themes such as isolationism and rejection of modern society. All of these themes of Cascadian black metal, mixed with the fact the bands are clearly competent and forward thinking, should prove they are in actuality, fully aligned with black metal, not "hipster offshoots" as some believe. 2005 was another important year for American black metal. American musicians finally started gaining more attention as individuals as well. Twilight was formed as a supergroup with members from Leviathan (Wrest released "Lurker of Chalice" that year as well, a stunning mixture of ambiance and black metal that has become critically acclaimed), Nachtmystium, Krieg, and Isis. Bands were of course developing more as well. Cobalt took an influence from Southern sludge and war, Leech emerged as another important Cascadian styled band, and Frost Like Ashes even became a semi-successful Christian metal band. Dominick Fernow's sideproject Vegas Martyrs was one of the first mixtures of noise and black metal in America as well. By 2006, Wolves in the Throne Room developed their trademark, shimmering, nature inspired sound on "Diadem of 12 Stars," Nachtmystium developed a mixture of psychedelics and black metal, Wrath of the Weak mixed noisy drone and shoegaze like sound with harsh black metal, Fauna released "Rain," one of the most ambient and nature inspired black metal albums in America at that point, and Pagan black metal was starting to gain more attention in America at this time as well with artists such as Wolfhetan. I would say that it was 2007 however where America became truly remarkable and unique for it's modern black metal. Globally, 2007 was a year of great releases from artists like Deathspell Omega, Shining, Gris, and Drudkh. There were essentially more influences for Americans to cite than ever before. "Two Hunters" by Wolves in the Throne Room was released that year, and it became perhaps the most influential, and one of the most important American black metal albums the last few years. It's long, swirling ambient passages with nearly operatic female singing and transcendentalistic themes went on to inspire the Cascadian scene in full force. Krohm took on more influence from that scene, Fauna released another album "The Hunt," and other bands such as Velnias took note. Ash Pool, another project from Fernow, made noise music and black metal even more important at the time too, and that showed in artists such as The Mausoleums. But for the small rise in noise inspired black metal, an even larger rise of ambient and drone inspired black metal began too. Servile Sect and the prolific Njiqahdda were among the most important ambient black metal releases of the year in America, as they mixed hazy, psychedelic drone with hypnotic black metal to create their own unique style. Still, for all the innovations of American black metal, it wasn't reaching a wide American audience at the time. 2007 saw bands like WITTR gain more critical acclaim, but 2008 saw even more diversity thanks to last years various efforts from other bands as well as "Two Hunters." Krallice released their self-titled album, a shimmering, technical display of black metal and progressive power. The Weakling influences were still coming through, and now, even influences from bands like Sonic Youth, Godspeed You! Black Emperor, and other Indie favorites were showing more clearly in many modern American black metal acts. Falls of Rauros took influence from neofolk, Panopticon took a more radical leftist stance, Somnolence took a post-punk influence, and Pyramids took an incredibly obvious influence from shoegaze that year. Depressive black metal was also on the rise. Once again, American black metal was no longer "trve black metal," but less people seemed to care, aside from mainly Europeans. There were still plenty of older, more purely black metal bands releasing material those years as well, but the majority of attention was focused on the young bands like WITTR, who released "Black Cascade" as well the following year; 2009 was definitely the year Cascadian black metal set itself out to be huge. Alda, L'Acephale, Fell Voices, Ash Borer, Panopticon, Aldrag, a myriad of new Cascadian releases for 2009. Their nature loving and left leaning philosophy went on to influence Oaks of Bethel, a sideproject from members of Njiqahdda, and other artists such as Deafest, who took a post-rock approach to the genre. Cascadian black metal wasn't as obvious in it's shoegaze influences, but the "blackgaze" style was also gaining a strong emergence this year as well. Velvet Cacoon, Draugadróttinn, Lonesummer, Benighted in Sodom, and other American artists took a strong cue from a "blackgaze" like sound. Technically speaking, many never necessarily took direct influences from shoegaze, though; such is the case for Niege of Alcest, who said the similarities were somewhat of a coincidence (even if he is a fan of the style and of artists such as Sigur Ros). Regardless, American black metal was starting to now reach a somewhat more mainstream audience, appealing to the Indie crowd especially, at least in terms of Cascadian and "blackgaze" style, perhaps a little bit of the noise style of black metal. The Indie crowd never embraced "trve" black metal, nor claimed to for that matter, however, so the hatred they have received is unjust in those regards. At any rate, artists such as Abigail Williams, who combined symphonic black metal with metalcore influences, and Eyes of Noctum (featuring Nicholas Cage's son of all people) were starting to make black metal somewhat more accessible to the average metal fans of the time as well. Although bands of this nature are scorned by purists, their influences should be noted nonetheless. But of course, not all American black metal fans were happy with accessibility, or nature loving music. Many still wanted the hateful, Satanic style of the early black metal acts to once again reign supreme. Enter the Black Twilight Circle, a group of American black metal artists, inspired by earlier circles such as the original Black Circle of Norway, Les Legions Noires of France, and to some extent, Blazebirth Hall and The Temple of Fullmoon, national socialist circles of Russia; the Black Twilight Circle are not a national socialist group, however (a few bands have some somewhat prideful lyrics, but nothing overly violent like the Russian circles). Many of the bands in the circle originated in the early 2000s, but it wasn't until 2009 when the Black Twilight Circle released a compilation album under the Crepúsculo Negro label. Volahn, Axeman, Arzimenda, Kallathon, Ashdautas, and Kuxan Suum were all featured on the compilation. Dark, mysterious and utterly hateful black metal, a true return to form while still being innovative. Each band offers something unique, such as influences from thrash and crust in Axeman, fast shredding beats and guitars in Volahn, psychedelics in Kuxan Suum, lengthy and hateful atmospheres in Arzimenda, and so forth. The Black Twilight Circle has supposedly grown to include other artists such as Tukaaria, Shataan, Odz Manouk, Mata Mata, Glossolalia, The Haunting Presence, Dolorvotre, Absum, and Blue Hummingbird on the Left, all truly unique. Being a highly exclusive black metal circle, it's unclear what other information there is on the bands and labels associated, but nonetheless, they have gained some worldwide attention for successfully rejuvenating raw black metal in America. Ten years after Weakling's debut influenced a wide variety of American black metal acts, American black metal has still continued to develop beyond belief. For those wondering why Portland based band Agalloch wasn't mentioned yet, it's primarily because everything since "Pale Folklore" hadn't really been "black metal enough." I am not one of those people who denies Agalloch a spot in the black metal community of course, but their earlier work was more folk metal, doom metal, and a mixture of other genres than purely black metal. At any rate, 2010 marked Agalloch's highly acclaimed album album "Marrow of the Spirit." Up until that point, Agalloch had been at the forefront of modern American metal in general, receiving copious amounts of praise. Many of the Cascadian bands took a strong influence from Agalloch's folk and doom styled music, and seasonally appropriate themed lyrics. In turn, Agalloch took a slight hint at "blackgaze" on "Marrow of the Spirit," as well as some more post-rock influences. Of course they kept parts of their neofolk and folk metal influences, but there was less doom and progressive metal influences. The reason this album is so important is because it shows how influential American black metal had become, especially on a band that had already established itself with such highly acclaimed status. The drumming on the album was done by Ludicra member, Aesop Dekker, partially accounting for a more blackened sound to Agalloch. Nonetheless, Agalloch still didn't sound like any raw black metal, but instead a good mixture between clean production and atmospheric, emotional rawness; they thus proved once and for all - not that it hadn't been proved before - that black metal does not have to be extremely lo-fi to be successful in capturing mood and atmosphere. Our recurring sweethearts of Inquisition also made an album in 2010, their first in three years. But 2010 was really the year of "blackgaze," especially when Alcest released another gem of the genre. This heavily inspired America especially, as artists such as Woe, Castevet, Finnr's Cane, Westering, Airs, and others started to release some "blackgaze" of their own. By this point, it should be evident that American black metal is an adapter of sorts; it finds something interesting happening overseas and makes it it's own. Yet at the same time, it's also a trendsetter of it's own, having developed Cascadian black metal and had a long time history of unique acts like Weakling. Just a personal note, 2010 also saw Darkwor release their first album, which I take some pride in because they are a band located really close to my hometown. Their album was a chaotic and hateful black metal masterpiece, unique for New England based black metal which is generally more nature and folk inspired. Anyway, 2010 also saw an increase in "war metal" or "bestial metal," which is heavily aggressive blackened death metal. Nightbringer, Von Goat, Nocturnal Blood, Black Witchery, and many others took strong cues from the style, and labels such as Nuclear War Now! Productions therefore gained more attention. Velvet Cacoon, who had disbanded in 2009, formed a new project called Clair Cassis in 2009 and finally released a full length in 2010. It sounded quite similar to their original project. But this is still significant. Velvet Cacoon are now famous for essentially fooling the black metal scene. People were initially skeptical of any bands from Portland claiming to be black metal (just go watch Portlandia and you'll see why), but Velvet Cacoon were different. They were mysterious, claiming to be inspired by drugs and decadence, and they had a unique, hazy sound. They started rumors about themselves, such as that they played a "diesel harp," and there were various incidents related to the band. They stole material from an ambient producer, Korouva, and sold it off as their own. When they finally came clean, they claimed almost all of it was done in the name of obtaining drugs. They also claimed they often didn't even really try when they made their music. Fans were divided. Many saw it as an act of borderline dadaist genius; fool the uptight black metal elitists into liking everything they hated and prove how easy it is for the black metal scene to fall into deceit and image worship. Others just saw the band as assholes of course. Either way, Velvet Cacoon remain talked about by plenty of international black metal fans. America has been lacking in a series of newsworthy events related to black metal. There were, as far as I know, no church burnings, and acts of violence have been more randomized, and certainly not between legendary people either. Wrest of Leviathan was recently charged for abusing his girlfriend, but otherwise, you never hear the same level of gossip and speculation as with Varg or Euronymous with American black metal artists. 2011 was for many purists, the year black metal truly died. Or at least died again. Who knows how many deaths black metal has had with those purists, right? The most famous incident was with Liturgy's frontman, Hunter Hunt-Hendrix. They released "Aesthetica" in 2011. Liturgy is a chaotic, energetic black metal band who plays with a strong influence from noise rock. The band claims to play a style of black metal known as "transcendental black metal," based on writings from Hunter. Liturgy were initially criticized for not being "metal enough" based not just on their music, but also on their image; they look like average Indie kids to some extent. But that wasn't what made people talk. It was when Hunter gave an interview during the Scion festival attempting to talk about his philosophy of "transcendental black metal" that people became polarized. He said how the band doesn't like negativity, and how they are actually rather optimistic people. He rambled on about his philosophy, but it really didn't come out in a coherent manner. In other words, Liturgy became the definition of a hipster black metal band. Although Hunter has said he is embarrassed by the interview, his and Liturgy's influence is still far reaching, or at least still heavily talked about. Indie darlings at Pitchfork have taken to praising him and Liturgy, and it has become interesting to see a black metal band in the same category, even attending concerts with artists like Sleigh Bells. But Pitchfork's love of Liturgy proves a positive point in my opinion, and that is that black metal performed by people not normally associated with the scene, or with different ideas than just Satanism and hatred, can make for some interesting discussion and of course, some interesting music. By this time, "post-black metal" was being thrown around to apply to bands like Liturgy, Alcest, and Deafheaven. It was especially used among American bands, but even bands like Drudkh had started taking cues from "post" styled metal. The Liturgy incident overshadowed much of 2011's black metal releases, even with artists like Wolves in the Throne Room, who were previously one of the most hated modern black metal artists among the purists. Ultimately, if black metal wishes to continue to thrive, it cannot be so close minded. It is entirely possible to retain the initial rawness and hatred of the second-wave styled black metal while utilizing elements from other sources. Based on the development of American black metal in the last ten years, I foresee that the genre will split into various categories. Many bands will continue to make "pure" black metal, while many more will continue to make "post" black metal. Regardless of what happens, and regardless of the average opinion, American black metal has come a long way since the early demos of the eighties. It has gained massive attention from the European community. To think that American music has influenced early black metal legends is an amazing thing, and it shows just how fast the times change. The media has finally begun to pay attention to black metal as a whole, and so we must make sure we represent ourselves well. People have also realized that black metal is not necessarily a genre of elitism and stagnation, but of great beauty and creative potential. If we as fans and musicians can harness creativity and development, we can make black metal, American and worldwide, even more of a truly great genre than it already is. The history of black metal is rich, but it can only get richer as time marches forward.

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imrs2000prime · 3 years

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Benefits of Omnium1 Pemf system: Know About Imrs Omnium and Bundles

Anytime, Wherever, Health and Vitality!

The Omnium1 is the world's first tablet-based/Android platform PEMF device built, developed, and engineered in Switzerland, enabling you to use it anytime and anywhere. Since it is so small, it can be carried as hand luggage on most airlines. You can use it as a standard tablet, browsing the web via WiFi, sending and receiving emails, and taking photos and videos. The user interface for all apps is Android Oreo 8.1, which comes pre-installed. The Omnium 1 uses the same earth-based frequencies as the iMRS device for home use, as well as a built-in body clock.

The Omnium 1 is not eligible for testing and can only be purchased outright by calling Gill at the PEMF Centre.

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The Omnium1 has a high-performance battery (4 x 3.7V, 4 x 2600 mA/h), and it is the world's first tablet with two serial ports (specific 20-pin connector). These accesses enable the connection and control of a diverse set of health, wellbeing, and fitness-related hard and software applications known as (W@pps). The Omnium1 is also the world's first android-based control device capable of conducting a 100 percent analog pulsed electro magnetic field application (PEMF) in combination with a brain wave entrainment session – this while being analyzed and controlled by and with a single control unit. Numerous W@pps (wellness applications) are being developed and can be applied to the device over time – the options are almost limitless.

What are the advantages of using an Imrs Omnium 1 PEMF system?

Brain entrainment mechanism OmniBrain

OmniBrain is a two-channel brain wave entrainment mechanism that operates for both the left and right channels separately. Brain Wave Entrainment is also an essential component of new mental conditioning principles. The technology is commonly used in medical medicine and competitive sports, and it is a very powerful and helpful learning tool. The main aim of brain wave entrainment is to take advantage of the human brain's natural ability to resonate with external stimuli. During the brain wave entrainment session, external frequencies that can be recognized and interpreted by the brain can be used. Through properly regulating the applied frequencies, the brain begins to resonate with them and changes its own frequency patterns. The consumer will consciously manipulate the real mental state in this manner. Omnium 1 is a three-way brain wave entrainment device that can gain resonances depending on light, sound, and color. The goggles are made of suede-leather and are very easy to use. They have built-in high-quality earphones for tone and music stimulation, as well as a versatile PCB with RGB-LEDs to generate the desired light and color frequencies. Both patterns can be customized individually.

OmniBrain can be used in conjunction with the iMRS one's magnetic resonance stimulation (PEMF) program. This helps to promote and maximize the optimal health result while still saving a lot of time! The Omnium 1 and the iMRS 1 W@pp are capable of monitoring the whole program from a single process surface.

Imrs Omnium1 Mat Evaluations

I've been working with the Omnium PEMF mat system since it first became available in the UK in 2014.

In reality, as Co-Founder of EMPpad (2013-2018), we were the first to introduce Omnium to the UK market when it was announced. During this time, we spoke widely with the public, held several interviews, and conducted lengthy journalist trials. As a result, the device received a lot of publicity and interest, and there were a lot of Omnium1 mat ratings. Now that Omnium1 2.0 has been published, I'm continuing to work with the Omnium system at Samuel Maddock Health.

Is the Omnium1 2.0 an improvement on the original?

The original Omnium1 platform had a lot going for it, and it was a brilliant PEMF breakthrough from Swiss Bionic Solutions, making PEMF on the go for the first time anywhere in the world.

The ability to perform PEMF while on the move without the use of mains electricity was a major step forward, and it became the function that propelled the Omnium1 into unrivaled territories. However, in order to do this, the battery installed into the Omnium1 had to be incredibly large, and there was no way to replace it if any problems arose. It was the one aspect that I felt was absent from the original Omnium1, and it was something we were constantly asked about during the journalists' Omnium1 mat analyses.

Functional Medicine

The announcement that the upcoming Omnium1 2.0 will have an upgradeable battery was well received at the Samuel Maddock Health headquarters. It was, in my view, the weak link in an otherwise excellent PEMF device. So the reaction is a resounding yes; the Omnium1 2.0 is unquestionably superior to the original method.

Bundles Imrs Omnium1 2.0 Mat Evaluation

The Omnium1 2.0 PEMF unit works inside what is known as the ‘biological window,' which is focused on years of studies on the beneficial effects of cellular resonance.

The Omnium1 2.0 has a frequency spectrum of 0.5 – 25Hz, and is separated into four frequency bands (Morning, Noon, Evening and Night).

The Omnium1 2.0 has the following intensity range:

• OmniMat – 45 microtesla.

• OmniPad – 70 microtesla.

• OmniSpot – 120 microtesla.

How does it stack up against other PEMF devices?

I've done a lot of research and experimenting on a variety of various PEMF instruments over the years, and I don't like criticizing any one model or maker. In reality, the device's name is not what I'm looking for, though a well-established reputation for consistency and dependability is an important factor. No, what I'm interested in, and what I often recommend to my clients when comparing PEMF systems, are the PEMF criteria that each device employs.

What is the significance of this? There are plenty of successful PEMF ad ads out there, complete with signature features and expert endorsement. These can enhance the sound of any product. But what you should should be wondering is how the device is built and whether it delivers the specifications that are appropriate for my needs. For example, if you are searching for a PEMF device for daily preventative use, you can look for a machine with a low frequency and strength.

Why are the frequency and severity so low?

One of the key reasons I use Swiss Bionic Solutions' PEMF system and teach other professionals and customers to use their technologies is that the PEMF parameters they use are suitable for daily use.

Low Frequency (LF):

The cells in our bodies react favorably to frequencies up to 30Hz, according to research. According to research, even frequencies as low as 50Hz can be dangerous to our cells.

Intensity at a low level:

In terms of duration, a large body of literature shows that combining low frequency and high-intensity PEMF treatment can be highly helpful. For eg, NASA's extensive PEMF analysis (2003) found that the best results were obtained between 1 and 20 microtesla.

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Imrs Omnium1 2.0 Specifications:

The Omnium1 2.0 system was developed, engineered, and planned entirely in Switzerland. It is based on the well-known and widely used Android platform. The Omnium1 2.0 can also be used as a standard tablet, surfing the web via Wi-Fi, sending and receiving emails, and accessing the world of Android applications. The Omnium1 2.0 comes with Android 8.1 Oreo preinstalled, which acts as the user interface for all apps.

Connectivity Omnium1 2.0

The Omnium1 2.0 is the world's first tablet with dual serial ports (20-pin connector). This enables the connection and regulation of a wide variety of health and fitness-related hardware and software applications. From a single control panel, regular PEMF routines can be run in combination with brain wave entrainment technology.

Omnium1 2.0 Enhancements

The Omnium1 2.0 device is easily upgradeable at any hour with downloadable updates. The high-capacity tablet battery can also be replaced. You should be confident that this PEMF method is future-proof.

Details to know follow:

https://imrs2000.com/omnium1/

Additional Resources:

https://en.wikipedia.org/wiki/Omnium

https://www.youtube.com/watch?v=LKOli-nNALM

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thebreakdownmagazine · 6 years

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Ever After Music Festival adds drum and bass stage and extends line-up to include surprise back-to-back performance from Downlink and Space Laces - Ever After Music Festival also partners with innovative audio visual company PK Sound to provide uncompromising sound experience - Toronto, ON (April 16, 2018) - As festival season quickly amps up for Summer 2018, Ever After Music Festival is thrilled to surprise fans with an extended line-up and special back-to-back (B2B) performance from Downlink and Space Laces. The festival will also feature a second drum and bass (DnB) stage for the June 8 show which will include DJ sets fromPendulum DJ Set, Camo & Kroo ked, Black Sun Empire, Tantrum Desire and 1991. Taking place in Kitchener’s Bingemans (425 Bingemans Centre Drive) from June 8 to 10, these new additions are part of Ever After’s already impressive line-up which is topped off with Canadian EDM powerhouse Excision, along with other highly anticipated performances from Claude VonStroke, Flux Pavilion, Doctor P, Illenium, and many more. “Our goal is to make Ever After bigger and better every year. From stacked line-ups, bigger stages, to unforgettable performances, we want to make this festival the ultimate weekend getaway for music lovers everywhere,” says Ever After’s organizer Gabriel Mattacchione, President of Beyond Oz Productions Inc. “Our mandate has always been about giving festival goers the best experience possible. I believe we have so far and look forward to growing it more every year.” In addition to the new artist announcements, Ever After is also proud to announce that they’ve partnered up with PK Sound, an innovative audiovisual technology company, to help provide an uncompromising sound experience at the festival. In an effort to make sure that sound levels in surrounding neighbourhoods be kept down to 55 dBA, PK Sound will be implementing their newest technology which will allow sound engineers at the festival to manually control the direction of sound and concentrate it to the area within the festival only. Engineers will be able to control sound from the front of the house, allowing them to control sound in real time. PK Sound is an owner-operated sound manufacturing company, well known for its full bodied and intelligible sound technology. “Our team has been working diligently alongside the city of Kitchener to combat resident concerns regarding noise. In an effort to offset those concerns, we’ll be using PK Sound’s state-of-the-art sound technology which will help ensure that noise levels don’t surpass city mandated limits in surrounding neighbourhoods,” says Ever After’s organizer Gabriel Mattacchione, President of Beyond Oz Productions Inc. “Their new sound technology will also make sure the festival experience isn’t compromised in any way. This is a win-win for us.” Back for it’s fourth consecutive year, Ever After Music Festival is the ultimate escape from the daily hustle and concrete jungle, to the scenic landscapes of Bingemans where festival goers are transported to a utopian fairytale-themed paradise. Recently included in BlogTO’s “The top music festivals in Ontario for 2018”, the Ever After experience is unlike any other, where festival goers can expect theatrical performers, theme inspired dancers, state-of-the-art stage productions, exclusive VIP lounges as well as a waterpark, midway, games, and variety of vendors. Combining stunning visuals and high class performances, Ever After consistently brings in some of the biggest international EDM performers with previous headliners including ZEDD, Skrillex,BASSNECTAR, Diplo, DJ Snake and more. Quickly cemeting themselves as one of the country’s top music events, Ever After Music Festival attracts upwards of 40,000 festival goers from around the world. Tickets to the festival can be purchased by visiting www.everafterfest.com. Tickets range from: General one-day pass, $70.00 General three-day pass, $139.00 General three-day Rabbit Hole pass, $159.00 - Rabbit Hole pass allows for expedited entry into the festival and faster service at festival vendors, bars and rides (SOLD OUT) VIP three-day pass, $184.00 (SOLD OUT) About PK Sound PK is an owner-operated sound manufacturing, touring, event production and rental company. We pride ourselves on being a fresh alternative to the status quo, providing creative and innovative sound systems, A/V, design and stage fabrication, in an ever-evolving marketplace. Our brand of audio system is well known for its full bodied and intelligible sound; a result of implementing high efficiency components, new technologies and focusing on the current demands of artists and event attendees. PK is a fully integrated production house, staffed with qualified, professional and creative engineers, production experts, designers, technicians and fabricators. The diversity in this practiced team also make PK the best choice for permanent audio, video, lighting and creative installations of any size or scope. PK is dedicated to the art and science of audio, and endeavors to capture the spirit of imagination and ingenuity in everything we do. www.pksound.ca Twitter: @PKsound Facebook: @PKsoundpage Instagram: @PKsound

#eamf #everafterfest #dubstep #housemusic #drum and bass #rave #excision #getter #doctor p #illesium #flux pavilion #snails #edm #zomboy #claude vonstroke #borgore

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hrk4 · 3 years

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The year that was...

Dear Friends:

Season’s Greetings!

In the celebrated Yaksha-prashna episode of the Mahābhārata, responding to one of Yaksha’s questions Yudhishtira says,

Day after day, countless beings are going to the abode of death; yet those that remain desire to live forever! What can be a greater wonder than that?

2020 served as a grisly commentary to this famous utterance.

Year after year sees birth and death, with the former always surpassing the latter. While the birth of a child causes joy to a small group of people, the death of a person can cause sorrow to millions. 2020 was a ghastly experience for me with regard to death: several individuals who influenced me either directly or indirectly passed away and in my own case, I felt death’s knock on my door—albeit for brief moments—during an irksome bout of tuberculosis that lasted a couple of months.

Some eminent personages—all renowned in their own fields—that I had the good fortune of meeting, engaging in discussions, or collaborating with over the years breathed their last in 2020 – Dr. V Prasanna Bhat (a finance/management whiz and close friend of my father whose cerebral approach to life and meticulousness influenced me in many ways), Subramaniam Chittur (entrepreneur, Rotarian, communications expert, and the man who brought Toastmasters International to India – an organization that proved transformational for me as early as during my high school days), Ranjon Ghoshal (renowned actor/director who was my guide in the world of theatre and a consummate conversationalist with whom I have discussed themes ranging from the Vedas to folk music, from Bengali literature to stage lighting, from advertising to colonial history), Ivry Gitlis (world-famous violinist whose masterclass I was lucky to attend when he visited Bangalore in 2005), Pt. Jasraj (renowned Hindustani singer with a golden voice whom I had the fortune of meeting when he performed with my guru Dr. L Subramaniam during the LGMF), Prof. Roddam Narasimha (one of India’s foremost scientists whom I was fortunate to have interacted with on three occasions, thanks to his nephew and my college classmate Varun Prakash; the eclectic mix of physics, philosophy, ancient Indian science, and Sanskrit that formed the mainstay of all my interactions with him always proved inspirational to me), and Dr. Gayatri Rajapur (an extraordinary musicologist and gottuvadyam exponent who I first met through her disciple and my friend Vinay Kumar, and later got the opportunity to interact on many occasions during the academic committee meetings of the LGCE; I always marvelled at her deep erudition, immense patience, and clear exposition).

2020 also saw the death of famous personalities who influenced me in some way or the other although I never met them: S P Balasubrahmanyam (playback singer, actor, and TV anchor), Basu Chatterjee (filmmaker and screenwriter), Soumitra Chatterjee (actor, playwright, and poet), Sir Sean Connery (actor), Irrfan Khan (actor), Prof. T N Krishnan (violinist), James Lipton (actor, writer, and dean emeritus of the Actors Studio Drama School), Diego Maradona (football legend), Ennio Moricone (music composer), James Randi (conjurer, rationalist, and activist), Sir Ken Robinson (author and educationist), Sankar (artist and painter, renowned for his sketches in the Chandamama monthly including the iconic painting of Vikram and Betal), et al.

Some of the memorable episodes from the BC (Before Corona) days include my debut as a pṛcchaka (in the saṅkhyā-bandha division) in an Avadhāna of Śatāvadhāni Dr. R Ganesh; a trip with my mother to Sosale, our ancestral village; a weekend getaway with friends from my study group; editing/designing the seminal work Prekṣaṇīyam; attending the day-long dance conference Tha-Dheem that included speakers such as Dr. Padma Subrahmanyam, Śatāvadhāni Dr. R Ganesh, Saroj Khan, Rajiv Menon, Nirupama Rajendra, Dr. Rajkumar Bharathi, Praveen D Rao, and Pravin Godkhindi; and participating in Madanothsava, a 1,600-year-old community festival of spring recreated by Nirupama and Rajendra of the Abhinava Dance Company.

The multiple lockdowns in 2020 gave me the opportunity to pursue my activities with greater focus and solitude. On the day of Yugadi (March 25) I started reading the Mahābhārata in the original Sanskrit along with my good friend Arjun Bharadwaj; in the early days, we met up online twice or thrice a week and discussed the chapters we read (he was always ahead of me, thus giving me the much-needed impetus to move forward!) I edited and designed a new version of Ram Gopal Misra’s 1983 classic Indian Resistance to Early Muslim Invaders up to 1206 A.D. (which was published in October). In collaboration with my friends G S Raghavendra and Srishan Thirumalai, I worked on a modern translation of selected verses from Lilashuka’s Śrīkṛṣṇakarṇāmṛtam (which is still in progress). I spent a lot of time practising the violin. The various study groups that I am a part of also saw an upward trend with regular online sessions; while we missed the leisure and the human connection offered by in-person sessions, we were able to save travel time and also accomplish more in the same one hour allocated to the study.

During the later part of May, I contracted a fever that simply wouldn’t go away. Forty-two days without a break it persisted. Pyrexia of Unknown Origin they called it. Following a battery of tests and much speculation by medical experts from diverse disciplines I was diagnosed with tuberculosis of the lymph node. The two months of June and July were largely spent in bed, totally disconnected from all my activities. I sailed through, thanks to the good counsel of my doctors (Dr. Alaka Acharya, Dr. Amar P, and Dr. G L Krishna) and perhaps more importantly, the long-standing support from my parents and my friends. I neither deserved nor desired the unconditional love and affection that I was showered with. I really don’t know how to account for the selflessness of my family and the generosity of my friends. It is a debt that is impossible to repay. And uttering any words of gratitude will only expose my ineptitude.

In 2020, I had the opportunity to speak on a few topics to diverse groups (young professionals, dance students, interns working in the back office of a politician), write a few essays (including one in Kannada, my first), restart my sketching journey, and work on editing/designing a few books (revised edition of Studies in Ancient Tamil Law and Society by Dr. R Nagaswamy and A Tapestry of Pen-portraits by S R Ramaswamy).

I also recall with great fondness the many illuminating conversations I had in 2020 – on music (with my guru Dr. L Subramaniam and with my friends Vivekananda, Ranjani Vasuki, and Kashyap Naik), on Sanskrit literature (with G S Raghavendra, Srishan Thirumalai, and Sudheer Krishnaswami), on multiple subjects related to India and Indian culture (with Dr. S R Ramaswamy, Śatāvadhāni Dr. R Ganesh, Vasuki H A, Vighneshwar Bhat, Arjun Bharadwaj, and Jayasimha K R), on writing and literature (with Prof. L V Shanthakumari, Chandra Shekhar, Sarita Talwai, and Bhumika Anand), on art and artistry (with Nirupama, Rajendra, Sagar Mehta, and Somashekhara Sharma), on politics and society (with Cedric Blair, Karthik Rao, Shankar Venkataraman, Showri H R, Shreesha Karantha, and Vikram Phadke), on history and education (with Dr. R Nagaswamy, Dr. M D Srinivas, Sripriya Srinivasan, and the Samvit team), and a variety of topics (with my family and my friends including Aditya Jeurkar, Chandrashekhar K S, Hrishikesh M K, Pratap Simha, and Srikanteswara).

My father turned seventy in 2020 and to coincide with what he terms ‘fifty years of adulthood,’ he brought out his autobiography Doing Well, Feeling Happy, which is really a book about work-life balance and handling crisis with equanimity. He also happened to put together a small book about the amazing human body, a result of his online research, while he was trying to understand the cause for my prolonged fever. Incidentally, during my convalescence period, I wrote a short piece on the Bhaja Govindam, which was also published as a booklet along with the other two works.

I spent the last few days of 2020 with my friends and their family in the sylvan surroundings at Rishikesh, Devaprayag, Lakshman Jhula, etc. The two highlights of the trip were meditating in Vasishta Guha on December 31st evening and white-water rafting on the Ganga on the first day of 2021. To me they represent the serenity and satisfaction one must experience during the conclusion (of a day or a week) and the enthusiasm and energy one should feel during the commencement (of a new day or week).

As for 2021, I have a few plans in terms of what I wish to accomplish and how I should proceed towards my chosen goals. Having broken down the process into weekly targets, I’m going to share that with a few friends so that they will—hopefully—constantly remind me about my shortcomings. I hope to practice the violin 18 hours a week, read 100 books (having bought a Kindle as a Dasara gift), drastically cut down on sugar, sketch occasionally, considerably reduce screen time (both on my mobile and computer), and learn to live more simply with better health and greater empathy. These are all aspirations at present; let’s see how they go as the year progresses :)

Wishing you and your family a joy-filled, healthy, and prosperous new year!

Cheers, Hari PS: Here is a podcast I recorded (in conversation with Mowna Ramachandra) about the musical creations of my guru, Dr. L Subramaniam.

#memoirs #newyear

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margdarsanme · 4 years

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NCERT Class 12 Biology Chapter 16 Environmental Issues

NCERT Class 12 Solutions for Biology Chapter 16 Environmental Issues

QUESTIONS FROM TEXTBOOK SOLVED

1. What are the various constituents of domestic sewage? Discuss the effects of sewage discharge on a river.Ans: Domestic sewage contains four kind of impurities:(i) Suspended solids: They are soil particles such as sand and silt.(ii) Colloidal particles: They are inorganic and organic materials such as faecal matter, bacteria, paper and cloth.(iii) Dissolved solids : They are nitrates, phosphates, ammonia, sodium, calcium and other nutrients.(iv) Pathogens : Domestic sewage has pathogens of various diseases such as typhoid, cholera, dysentery, diarrhoea, etc. Effect of sewage discharge on river are:(i) Eutrophication.(ii) Growth of pathogenic bacteria.(iii) Ageing of river where slit and decaying matters start accumulating and filling river.(iv) Increase in BOD.(v) Destruction of flora and fauna of that river.

2. List all the wastes that you generate, at home,school or during your trips to other places. Could you very easily reduce the generation of these wastes? Which would be difficult or rather impossible to reduce?Ans: Plastic containers, paper, electronic goods, left over food, food package, disposable glasses, cup plates, polythenes, excreta, soap and detergent waste are the wastes that one can generate at home, school or during trips to other places. Yes, we can easily reduce waste through judicious use of material by changing our habits & life styles.Out of these, polythene and plastic material are hard to dispose off as they are non- biodegradable and they can be recycled back.

3. Discuss the causes and effects of global warming. What measures need to be taken to control global warming?Ans: Increase in atmospheric concentration of green house gases has resulted in rise of atmospheric temperature by 0.6°C (global wanning) in die 20th century. This has been confirmed by intergovernmental panel on climatic change (IPCC) in its reports of 1991 and 1992. This predictable change in near future may affect climate, sea level, range of species distribution, food production as well as fisheries resources in the oceans.Causes of global warming:(i) Increase in concentration of greenhouse gases.(ii) Increase of automobile and use of fossil fuel.(iii) Deforestation and change in land use.(iv) CFC and aerosol emission from refrigerator and aeroplane.(v) Increased particulate matter in lower atmosphere.Effects of global warming:(i) CO2 fertilisation effect.(ii) Many species of plants, being sensitive to temperature will die with sudden rise in temperature and their place will be taken over by scrub vegetation.(iii) Loss of biodiversity.(iv) Rise in sea level.(v) Possibilities of drought and floods.(vi) Erruption of plant disease and pests.(vii) Change in rainfall pattern.Methods that can reduce the atmospheric concentration of greenhouses gases are(i) Reducing the greenhouse gas emission by limiting the use of fossil fuels, and by developing alternative renewable sources of energy (wind energy, solar energy etc.)(ii) Increasing the vegetation cover, mainly the forests, for photosynthetic utilization of CO2.(iii) Minimizing the use of nitrogen fertilizers in agriculture for reducing N2O emissions.(iv) Developing substitutes for chlorofluorocar- bons.

4. Match the items given in column A and B:Ans: (a)-(iii),(b)-(iv),(c)-(i),(d)-(ii)

5. Write critical notes on the following:(a) Eutrophication(b) Biological magnification(c) Groundwater depletion and ways for its replenishmentAns: (a)Eutrophication : It is excessive growth of algae, plants and animals in water bodies due to the nutrient enrichment particularly with nitrogen and phosphorus. It is both natural and accelerated. It leads to loss of bio-diversity and cuases chemical accumulation in food chain and ageing of water body.(b) Biological magnification : Increase in concentration of persistent chemical at successive trophic levels is called eutrophication. This happens because a toxic substance accumulated by an organism can not be metabolized or excreted, and is thus passed onto next trophic level, e.g., DDT.(c) Ground water depletion and replacement: Ground water depletion, a term often defined as long term water level declines caused by sustained ground water pumping, is a key issue associated with ground water use. Many areas of India experiencing ground water depletion.The most servere consequence of excessive ground water pumping is that the water table, below which the ground is saturated – with water, can be lowered. If ground water level declines too far, then the well owner might have to deepen the well, drill a new well, or at least attempt to lower the pump.

6. Why does ozone hole forms over Antarctica? How will enhanced ultraviolet radiation affect us?Ans: A large amount of ODS (Ozone Depleting Sub-stances) like CFCs, N2O, halons, SO2, CH4, Cl-are released by advanced countries like USA, Japan, European countries. These are released in stratosphere, drift towards poles and reach there before the coming of winter. During winter (temp. 85°C) ice clouds are formed over Antarctica and no sunrise is received in polar areas. It catalyses release of Cl from CFCs. With the coming of spring season, Cl reacts with ozone in the presence of sunlight and converts 03 into 02 causing ozone depletion/thining of ozone shield in stratosphere called ozone hole. This hole disappears in summer due to free mixing of air ofAntarctica with therestofthe global air. Effect of Enhanced UV Radiation, (i) Snow blindness or inflammation of cornea (ii) Damage of skin cells and development of skin cancer, (iii) Damage to nucleic acids and proteins, (iv) Reduced immunity (v) Higher number of cataracts in humans.

7. Discuss the role of women and communities in protection and conservation of forests.Ans: Amrita Bishnoi Wildlife protection project The Bishnoi community is known for its peaceful coexistence with nature. It was in 1730 AD. Amrita Devi protested against king’s men’s attemptto cut trees as it was prohibited in Bishnoi religion. It was a party of Maharaja Abhay Singhji, Rular of Marwar (Jodhpur) state who wanted to fell green khejdali trees. Amrita Devi fy her three daughter & more than 360 of other Bishnois lost their lives in saving trees & became martyers. Later ‘Chipko’ movement’ was started by Sunderlal Bahuguna and others to prevent cutting of trees. The people showed enormous bravery in protecting trees from the axe of contractors by hugging them.

8. What measures, as an individual, would you take to reduce environmental pollution?Ans: To reduce environmental pollution we should take following measures:(i) Reducing use of CFC.(ii) Disposing off waste safely.(iii) Reducing use of polythene.(iv) Not disposing off waste in water bodies.(v) Making automobiles pollution free.(iv) Prevention of noise pollution by using fire crackers/TV/musical instruments at permissible limits.(vii) Tree plantation in school, around residence.

9. Discuss briefly the following:(a) Radioactive wastes(b) Defunct ships and e-wastes(c) Municipal solid wastesAns: (a) Radioactive waste : Radioactive waste include materials that are radioactive & for which there is no further practical use. These are generated by nuclear reactor, nuclear fallout, man made (refining and mining of platinum and thorium), natural radioactive waste and release of radiation in radiation therapy.Increased risk of cancer, birth defects & infertility are few harmful effects caused by nuclear waste. So, nuclear waste is an extremely potent pollutant.(b) Defunct ships & e-wastes – The dismantling of defunct ship is a technically complex process, which is potentially harmful to the environment & human health. Defunct i ships contain toxicants like asbestos, mercury, etc. The workers breaking the ships are not suitably protected and are exposed to toxic chemicals. The coastal areas in the vicinity of the ship-breaking yard also becomes polluted. At the international level, it is accepted that there is uncertainty about the relevant controls for the dismantling of such vessels & there is an urgent need to establish a specific enforceable control framework.Electronic waste comprised of irrepairable computer and other electronic goods, generated by developed countries.It is valuable source of secondary raw materials, if treated properly, however if not treated properly it is the major source of toxins. Eventually recycling is the only solution for the treatment of e-wastes provided it is carried out in an environment friendly manner.(c) Municipal solid wastes : These are commonly known as trash or garbage. It consists of everyday items such as product packaging, furniture, clothing, bottles, food scraps, newspapers.appliances, paints, batteries etc. Source reduction, recycling and compositing are several municipal social waste management practices. Source reduction involves altering the design, manufacture or use of products & materials to reduce die amount and toxicity of what gets thrown away. Recycling diverts items such as paper, glass, plastic & metals into anew products. Composting decomposes organic waste such as food scraps & yard trimmings with micro-organisms, producing a humus-like substance.

10. What initiatives were taken for reducing vehicular air pollution in Delhi? Has air quality improved in Delhi?Ans: The initiatives were taken for reducing vehicular air pollution in Delhi are :-(i) Introduction of CNG(ii) Enforcement of pollution control law(iii) Introduction of green zones(iv) Use of unleaded fuels(v) Replacement of old vehicle with new one. The result is that the air quality of Delhi has improved considerably with a substantial fall in pollutant gases.(vi) Use of catalytic converters in vehicles.(vii) Application of Euro II norms for vehicle.

11. Discuss briefly the following:(a) Greenhouse gases(b) Catalytic converter(c) Ultraviolet BAns: (a) Greenhouse gases: Gases that trap the heat of the sun in the earth’s atmosphere increasing atmospheric temperature effect are called greenhouses gases. CO2, CH4, N2O and CFC, cause greenhouse. In the absence of greenhouse gases, the temperature of earth would go down to -18°C. The net effect of higher GHGs will be disastrous, (i) Melting of polar ice caps and mountain snow caps resulting in rising of sea level threatening submergence of many islands and coastal areas. Odd climate changes like El Nino. Increased floods and drought.(b) Catalytic converter : Catalytic converter ‘are used to reduce emission of poisonous gases like nitrogen oxides, carbon monoxide & un reacted hydrocarbon in automotive emission. It is made of platinum, palladium and rhodium and is used as catalyst. It converts unbumt hydrocarbons into CO2. The only precaution required is not to use gasoline having lead as lead inactivates the catalysts of the converter.(c) Ultraviolet B : Ultraviolet B is one of the three types of invisible light rays given off by the sun. Ultraviolet B penetrates the ozone layer in attenuated form & reaches earths. This is more over equator than poles due to thinning of ozone shield over equator. It causes skin cancer, reduce rate of photosynthesis in phytoplanktons, reduces diversity of aquatic ecosystem.

from Blogger http://www.margdarsan.com/2020/09/ncert-class-12-biology-chapter-16.html

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ahnminhyk · 6 years

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okay so I'm gonna go on a rant about how wonderful and brilliant bts' music is, get ready

okay so first of all, this is my opinion. I know jackshit about music or the technical aspects of it, the only thing I'll be doing is give my thoughts on why I feel like bts a) doesn't have single bad or even sub-par song; b) probably will never have a bad or even sub-par song; and c) why they stand out from other kpop groups in so many ways

first of all, I'm gonna talk about genres. bts literally can do any musical genre outgere and succeed. I mean, boys could be yodelling for 4 minutes and it'd be amazing. why? again, not an expert, but I think it's because they know very well how to blend genres to make them work in their favour. they mix hip hop with pop with edm with fuck knows what else and make it look effortless. there are not many artists or producers who can do that. on that note, kudos to bts' production team, not just joon and yoongi and hobi, but also supreme boi, pdogg, bang PD and everyone else, they are so talented and they make the boys shine even more every time.

bts has songs for every occasion. literally. they have gritty, rough songs that go so hard you wanna punch someone in the face (i.e. cyphers, fire, mic drop). they have songs that will make you cry your eyes out (i.e. spring day, butterfly, sea). they have songs that will have you blushing for no reason and smiling like a dork because they're so cute (i.e. I like it, coffee, miss right). they have bangers that could be played in clubs all over (i.e. dope, save me, best of me). they even have songs that'll make you want to overthrow a government and personally kick oppressors to the fifth circle of hell (i.e. not today, n.o, we are bulletproof).

they are so freaking versatile it's a miracle they haven't broken off into millions of different pieces. i think part of why that is is the fact that each member brings something entirely different to the table. each of them have their own style and unique voice that makes the whole thing come together in the best way.

i’ll go on and analyse each members styles now:

rm -- okay so namjoon is probably universally known as the best rapper in the group. i don’t disagree. i’ve seen people who certainly know more about rapping than i do (which isn’t really hard but w/e) say that the way rm raps is the tightest, better than many western hip-hop artists these days. i think this is evident in the recent collab with fob where he raps in english (not saying he raps better in english; he raps amazingly in any language tbh). i think anyone who listens to that song and doesn’t know who namjoon is will think he’s a legit rapper/hip-hop artist. however, what i wanted to talk about was his rapping style from my point of view (again, just my opinion). i think the way namjoon raps is unique and different form the other members of the rap line because it’s very polished, but it still has that raw element that he refuses to shed completely. i often think of it like this: kim namjoon could be telling you to fuck off but it would take you three years to realise that’s what he meant. his rap style isn’t necessarily aggressive (compared to suga’s, for example), but it’s still kind of harsh and emotive, and i think that’s a really amazing balance. his voice is very mellow as well, like when he talks or sings, i feel like his voice just.........embraces you, in a way. it’s hard to explain. of course, there are songs where his rapping is more aggressive than others, but overall i feel like his rap style is more subtle in that sense, and that’s what makes it even more amazing

suga -- oh boy. i don’t even know where to begin. i know i said that namjoon is universally the best rapper in the group, but if i had to pick a fave out of the rap line, it’d be yoongi. why? because boy goes hard as FUCK and i freaking love it. i don’t know if you’ve listened to his mixtape (listen to it, it’s freaking amazing) but you can see what i’m about to say even more clearly on there. to me, yoongi is such an expressive and emotive rapper it blows my mind every time i see him perform. it’s the way he spits the lyrics out, it’s the way he says them almost without breathing for what seems like forever, it’s the way he always puts everything he has into what he’s singing. you can hear his heart in his rapping and to me, that’s what makes him such a fucking great rapper. i know there’s also the stuff with diction and bars and shit but i’m not getting into that because i have no idea what i’m talking about. all i know is how he makes me feel when i hear him, and what i feel is that every time he throws a verse, he does so with all of his heart, he feels everything he sings. it’s almost angry and frustrated the way he raps, like he has so much to say and not enough time, not enough breath. i can’t even put it into words properly, but if you see him perform you’ll know what i mean. if namjoon can tell you to fuck off without you realising he’s doing it, yoongi will tell it to your face and then smack you all the way there. and that’s why i love his style so much. he is shameless in it, in his anger, in his emotions, and it makes me connect with him on a whole other level.

j-hope -- ahh yes, hobi. i’ve only recently really started to appreciate hoseok’s style, and i don’t know why, past me was an idiot. at this point, i’m not sure if that rumour about him starting off as a vocalist is true, but the fact of the matter is that hoseok has something the other members of the rap line don’t show as much, and that is a level of musicality in his voice that is unlike anything i’ve ever heard in a rapper ever. i don’t really know how to explain it, but you can hear it in several bts songs. he almost like sings his rap at times. i think that’s what makes him so unique. his voice blends with the music in a way that’s almost similar to the way the vocal line’s do. i think that is such a beautiful thing to be honest. that being said, of course his rap is also super tight and in every level on par with the other two rappers. i just love how the three rappers have three very unique styles and voices and ways to rap. it brings that diversity and versatility to the group that would be hard to get if they were all sort of on the same level or had the same style

jin -- to me, jin’s voice is one of the most beautiful in the world, period. i love how it’s slightly nasal, his tone and timbre are so unlike anything i’ve ever heard. awake is one of the most beautiful songs ever to me. he has a sort of classical way about his singing that is very very nice, and that contrasts well with the other vocalists’. i’ve seen people saying that his voice is more suited for ballads and that is why he doesn’t get as many lines in the more upbeat songs. i disagree. i think the perfect example of this is his part in the ‘go go’ chorus. i just love it. his voice goes perfectly with the rhythm and melody of that song. his voice is more versatile than people give him credit for i feel. i hope that with time, we get to see more of it in more upbeat songs, but i won’t be that person that says bighit is doing him dirty bc they don’t give him more lines, i don’t wanna start that discourse on here. anyway, this all to say, jin’s voice is really beautiful and unique to me, and that allows bts songs to get yet another layer of complexity and melodic diversity. jin really contributes to it in my opinion with his timbre and higher tone.

jimin -- i don’t even know where to begin with jimin. of course, he is the king of high notes. no contest there. i just love jimin’s voice so much. i think it really gives the vocal line something extra that ends up bringing the whole thing together spectacularly. i know he is very insecure in his vocal skills, but boy can sing for shit!!!!! it’s amazing how he holds those high notes for so long. i can’t even do those notes. but isolated high notes aside, jimin has a very sweet voice. i don’t know how else to put it. his voice is just sweet. i feel like smiling every time he comes in singing in his base tone because it’s just..........so sweet. i think it goes so well with the otherwise more gritty music bts is known to do. that being said though, i LOVE when he comes out with those growls and raspy verses. i just love how versatile he can be, and i wish we could hear it more often in recorded versions, because boy goes all out in live performances. i don’t think his versatility and vocal ability is really acknowledged that much, i know he’s mainly known for his high notes and generally high voice, but he can do a lot more than that and it gives bts a certain kind of balance, in my opinion

v -- listen, whoever told kim taehyung he can’t sing in the past is a fucking moron. like, i don’t know what those people were drinking because what the heck????? this boy has one of the widest vocal ranges i’ve ever seen in my life. he is also probably the most versatile voice in bts. he can go high, he can go low, he can go raspy, he can do harmonies. he can do anything, really. and i love everything he does with his voice. i love it when he goes low and gets that sultry feel to his voice, like a jazz singer almost. i love it when he belts out high notes and holds them like they’re his bitch. i love it when he rasps out verses like he’s a fucking rock singer who’s had too much liquor before going on stage. i love it when he harmonises with literally any other members. speaking of harmonies, can we PLEASE have more jimin and tae lines where they sing together????? their voices go together SO WELL it’s insane. when they harmonise my soul legit leaves my body and ascends to the fifth dimension. tae’s voice is such a beautiful contrast and contrabalance to the other vocalists’ voices, it doesn’t matter which, because when they go higher, he can go a little lower and the result is fucking brilliant. i could talk about kim taehyung’s voice all day to be honest, but i won’t. go listen to stigma and you’ll basically know everything you need to.

jungkook -- it is amazing what this boy can do with his voice. there is a reason he is the main vocalist, and that is because his technique is fucking stellar. i’ve seen people ask why he gets more chorus lines when he’s not even the best singer, and i just get slammed because.......... what? for the record, i don’t think any of the vocalists are better than the others, they all have very unique and amazing voices that balance each other out in the best way possible. but jungkook........... i wish i knew more about the technical terms of this so i could explain it properly. one of the things that always floors me is how, in the earliest bts songs, he was 15 and 16 years old. most of the boys i knew at 15 still had their voices breaking and screeched at random fucking times. yet jk has always been steady as a rock when it comes to his vocal ability. i think he is the baseline for everyone else’s voice because he ties the harmonies together so well. he keeps the base tone going while the other members go higher and lower and bring out the other aspects of the song. however, and we all know this, when this boy goes, he fucking goes hard. his high notes are no goddamn joke. they fucking shock me every time. and the way he’s able to maintain them is flawless. i feel like i can’t even talk about his technique, i’m just not good enough. another thing i love about jk’s voice that i don’t know if many people notice is how it’s always slightly husky when he’s singing in his base tone. i don’t think i’ve ever heard a voice like that in a boy his age. his voice has something behind it that, while being extremely subtle, also makes it stand out.

okay now that that’s done, i wanna talk about content, more specifically lyrics.

now, being an i-army, and knowing almost nothing about the korean language, i don’t understand most of bts’s songs without subs or a translation. that being said, i can get the feel and vibe of a song from the very first time i listen to it. before i even looked at translations, i could tell that fire was a song about just wanting to let got for a while and do crazy shit; i could tell that i need u was about heartache and pain and a love that hurt. i could tell that butterfly was a song about loving someone and being scared they’d disappear. of course, i won’t pretend to know that that was exactly what they were about, but i could feel it when i heard them. i might’ve not known the exact way to put it in words, but the songs brought up feelings in me that matched them perfectly. i think that says enough about how my thought and effort bts puts in their songs and musical arrangements, because they know music is about more than words being sung, it’s about the feelings, it’s about what you want people to feel when they hear the song.

but about the lyrics themselves, i think bts do something not many other kpop groups (or mainstream artists in general) are able to do. of course, i know plenty of artists get political in their songs, i’m not discrediting them for it. what i am saying is that, from what i’ve seen of the kpop industry and culture, a group talking about the topics that bts bring up isn’t that common. in their songs, they’ve broached topics such as anxiety, depression, feeling like you’re set up to fail, the pressures put on teens to do well in school and go to a good uni, strict educational systems, social standards, social inequalities, rich vs. poor dichotomy, youth, the transition between teen and adult, among many others that you don’t often see addressed in such a consistent way. they’ve stayed true to what they’ve been doing since their debut, which is be a voice for young people beyond love songs. what they say resonates with people, it makes us feel understood, we see ourselves in their lyrics and music.

this brings me to the topic of music videos. now we all know that bts mv’s are a whole other level of production. but what i wanted to mention really quick is how nothing they do on those videos is random. i’m sure they have a fantastic team behind them helping with this, of course. but bts music videos always have several subliminal messages hidden under the surface. i wanna talk specifically about the hyyh series videos. those are, in my opinion, better than many oscar-nominated feature length movies. they are incredibly well thought out and aesthetically planned, as well as being so heavily meaningful and charged with narrative continuity that just leaves you speechless. not to mention the boys’ acting like wow. specifically in the i need u mv, even if the song is about love and separation, the mv goes so beyond that it leaves you wondering why they even put the song on there. it could just be a film on its own. it’s so raw and gritty and intense, charged with meaning and sensitive topics not everyone would care to address in an mv like that, for that kind of song. it sets a whole picture for the other videos, and it just leaves me so floored every time i watch it, as well as the other videos in the series, because the level of detail and planning and thought that went into that series is seriously another level entirely. i think that definitely sets them apart from anything else in the world, really, beyond kpop or music in general.

i’ll just talk about live performances really quick. the fact that people say they lip sync literally makes me want to throw a chair in their faces. in fact, i wouldn’t even be that mad if they did lip sync. i mean, with their choreo and demanding vocals, it’d be understandable. but they don’t. it’s so clear every single time they perform. they have recording to back them up and a few vocals here and there, but the core is all them. do you have any idea how hard it is to do the kind of choreo they do and deliver that level of vocals and rap? as someone who’s had to do it, i’ll tell you for a fact it is a bitch. but they do it, and they make it look effortless. they bring their all into every single performance they do. i love watching their performances. i love the energy, i feel energized after watching a video of them performing. i love their adlibs, i love how tight they are with choreo, and how wild they get when they can just walk around the stage and interact with fans. i love jimin’s shouts and growls in every song he sings. i love jk showing off his stellar vocals. i love jin showcasing his freaking amazing vocal abilities for the world to see. i love v’s raspy vocals and how they sound live with an audience. i love hobi’s energy. i love suga hopping around and spitting fire like he’s talking about the weather. i love namjoon all hyped and having the time of his life dancing with his members and the fans.

one more thing final i’ll mention, and that i think anyone who’s seen them together has noticed, is the deep connection the members have with each other. i’ve noticed that with some other groups, there tends to be sub-groups and pairs or little groups of members that are closer to each other than with everyone. i don’t see that with bts ever. ofc, every dynamic is different, but you can tell they are all family. it’s the kind of love and connection you just can’t fake. it’s the kind of love that goes beyond just being in the same group together. in my idealistic view of the world and universe, i truly do believe that bts are 7 soulmates that were lucky enough to have found each other. like, every time i think about all the things that had to happen for them to be where they are today, i’m floored. from jungkook being scouted by 6 other agencies (3 of which are the biggest idol companies in korea) and choosing small label bighit because of rm, from v only going to that audition to support his friend and not to participate himself, to jin turning down sm because he thought it was a scam, or hobi landing on bighit and not jyp when they split, or rm trading his surely brilliant academic career for music, or yoongi fighting so hard for his dream he would walk home and skip meals. these boys have such an incredible amount of dedication to music, to each other and to us that just makes me so freaking emotional. they not once have taken any of it for granted. they know what it is like to struggle for your passions. they know what it’s like to feel like you’re not good enough. you see it every time they win an award or surpass another landmark in their career. they’ve stayed humble and not once taken army for granted. it’s beautiful to see.

and that is why, in my opinion, bts are as successful and as amazing as they are. none of it is coincidence (see what i did there). it’s their hard work, it’s their insane amount of talent, it’s their combined efforts to make music no one has done before. it’s their thoughtfulness and dedication. it’s their honest to goodness genius. and maybe, i guess, a little bit of serendipity as well.

#jo talks #this got super long lmao #it's mostly nonsense #i just needed to express all my thoughts on them #their music and their quality and their genius #this started as my thoughts on the rappers styles lmao #anyway #i'd love to hear your thoughts on it all #there is a lot more to this than what i said here i know that #i'm not a musician #nor do i know shit about the technical aspects of music making #i just wanted to appreciate them a little #bts

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