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sendmyresignation · 4 months

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Favorite Albums of 2023 ^_^

To celebrate the coming of a new year, I wanted to spend this first week looking back a bit at the things I enjoyed both old and new. So I put together a little list of albums I spent a lot of time with this year, for a bit of personal posterity, a little of getting into the groove with music writing on a very conversational but nonetheless sincere level, and also just because I enjoy, on a base level, the exchange of music. So hopefully one person will give a new album a try, or somebody will tell me their favorite thing they listened to in 2023. That's all you can ever hope for <3

Here's the albums I loved that came out in 2023 itself:

100 gecs 10,000 gecs: If I’m honest with myself- my album of the year, both in what I spent the most time with and the tracks I’d hold up the most fondly by the end of the year. the high-octane blast of creativity in these short, sweet, never dull, and always inventive bursts made listening a very joyful experience. Hollywood Baby and Dumbest Girl Alive bangers of the year though one million dollars just oooozes and chirps sounds in the most satisfying way.

Paramore This is Why: very much preaching to the choir with this one. undeniable groove through everything– the whole thing brims with contained energy- like trapping a storm cloud in a bottle and displaying it like it's no big deal and then, every once in a while, electricity arcs through the room. The only issue is it ends on a bit of a weak note, with back-to-back ballads I don’t revisit often. but it's a minor quibble, they’re both distinct enough to stand on their own and neither is insufferably long. forgivable transgression.

Kesha Gag Order: This is self-explanatory, to me. Kesha was the first artist I ever truly fell in love with and everything she makes is like watching a flower bloom over and over again as I grow and change and wither and regrow right alongside. But on top of that, the record itself is so. powerful. Not in the cheap, congratulatory “you’re so brave way” but in the energy it radiates, in the way it stands its ground over and over. the way it grasps its own story by the throat and still lets you peak into all the messy pieces sliding out over the knuckles. Happy is one of those truly great album closers, but the whole album is so solid.

Vastum Inward to Gethsemane: Absolutely crushing in just about every way, This is like, the platonic ideal of death metal for me. Dense and malevolent as fuck, but there’s still room for these nasty riffs buried deep in all the disgusting muck. That opening guitar on Priapic Chasm is the sickest 8 seconds of the year.

The Gauntlet Dark Steel and Fire: At first glance, this seems like a textbook Bathory clone. And even if it was just that it’d still be amazing, I love that sound. But there’s space! and dynamic growth! And a growling echoing personality that every other standard in this space just never attempts. Even the hints of black ‘n’ roll and thrash are expanding a series of very narrow spaces– there are these mid-tempo stadium rippers scattered throughout the album that give the whole project gravitas which loops around and gives the faster stuff more swagger and aggression. really cool record.

McKinley Dixon Beloved! Paradise! Jazz?: I checked this out because McKinley Dixon has a great featured verse on Soul Glo’s Spiritual Level of Gang Shit. To make matters worse (or better, in terms of Shit I Am Interested In), the record’s named after Toni Morrison novels. To make it even crazier Hanif Abdurraqib opens the record (he reads this really beautiful passage of Jazz that's sampled later). An album so supremely up my alley I was almost scared the pieces wouldn’t fall together– they did! It's incredible! it's short but each second is purposeful and lush in a way that speaks to measure and care. the jazz isn’t just beautiful, it's a full embracing of the album’s central conceits (not just the Morrison, but the typography of cities, the people in them and the lives they live) and Dixon just oozes poetic ingenuity. Repetition is one of the best devices in his toolkit and nowhere is that more apparent than Tyler Forever which. man.... really really good project.

Tresspasser Αποκάλυψισ: catchy-as-fuck. not what you’d expect from an album which is very explicitly about debt strikes and anarchy. usually RABM (red and anarchist black metal) leaves me a little cold, a lot of bands in this loose conglomerate aren’t musically inventive. rabm isn't just a stand-in for anti-fascist bands, the projects associated with the label are usually politically lyrically explicit (sometimes in ways that are overtly shocking or simply following a trend). which is nice! and necessary in black metal. but it doesn't automatically make it… good. trespasser have always stood out within that paradigm. clearly grounded in what actually works in black metal (the drumming across their albums is crazy kick ass in particular) and i find myself humming some of these tracks which is such a hard skill to pull off in melodic black metal without being dull or predictable.

MEURTRIERES Ronde de Nuit: very surprisingly, a lot of this list ended up including black metal, which is uncharacteristic of me. but thankfully, MEURTRIERES is much more aligned with my tastes– epic old-school heavy metal with that galloping Maiden-esque bass and fiery, straining vocals that sit so expertly in the groove and then just push and push and push against it. simple, enjoyable, energetic.

Home Is Where the whaler: At its most basic level this is like. what emo can pull off when it wants to sound incredible. The swirling layers, the inclusion of shit like horns, the abrasive but catchy screams, crashes in and out of earshot, the rhythms!!! this is a very 2023 album, thematically and that's important and immediately apparent, but it's going to last much longer just with how the sound works and works and works until you find yourself continuously coming back, listening to it out of the blue.

Thantifaxath Hive Mind Narcosis: quote-unquote dissonant metal is so hit or miss for me. dissonance is oft a cover for boring, or unoriginal material that hangs its lapels on being disorienting or impenetrable. but when the tone is just right it swallows you up. Thantifaxath got the tone right; I was listening to this a lot while reading or writing during the latter half of the year because it just becomes a part of your world in such a wonderful, subsuming way. I really love these vocals too, they’re vaguely inhuman in a way that pairs so exactly with the balance of spacey and gross earthy magic, outside the world and grounded in flesh simultaneously.

Crotaline The Hemipenes Demo: This is my friends’ band. They are cool and talented and I love first-wave black metal. They are also people whose projects I listen to in a fundamentally different way; when they pull something off it's a little bit life-changing because you know that person, you’ve seen them do human things! And then they are capable of great art. It's weird and disorienting and one of the best parts of being alive. But I do also think their demo is good without quantifiers, it's exactly what they wanted, it's got riffs that sound gnarly on tape, and it's dedicated to salamanders. like what else could you need in life?

Dawn’s Reflection Demo MMXXIII: This short little demo is a perfect burst of raw-ass lo-fi black metal. Which I usually cannot stand. but for some reason is just incredible here. I think it's the way the riffs and vocals interact– there’s these really solid, almost crust-punky guitar lines that shine perfectly in this kind of (basically non-existent) production. And then the vocals just completely rip over them in the loudest most batshit way possible, but there are always pauses that allow the instrumental to recalibrate. The synths are just a fun touch that drone in the back until they’re pulled to the fore which makes for these great, dense peaks instead of overwhelming the balance. It works! I am always hooked!

And here are some new-to-me albums I listened to for the first time in 2023:

Nuclear Death …For Our Dead: Nuclear Death is already a favorite of mine (I feel like I never stop talking about them) but I finally got around to their demos/EPs this year. this one takes the cake, easily. Topping out at under 10 minutes, this record achieves a kind of demented brutality other death metal bands would kill for in a fourth of the time. It's a miasmic stormcloud of a project that proves (as everything they recorded did) that nobody can out-sick Lori Bravo.

Moral Decay To Build an End: This is a couple of kids in the 1990s writing a thrash record. Not notable in and of itself. However, it becomes clear immediately that these technically proficient metalheads are obsessed with emo. Like oldschool dc emocore. And it is thrown into their mix of sonic influences plainly and obviously. It is one of a kind. It shouldn’t work. It probably doesn’t, unless, of course, you are me and obsessed with it. The vocals on this are punky as hell and they work surprisingly well over these speedy, late-stage neoclassical thrash riffs. It's wild. I love it; the gem of the year!

Little Teeth Child Bearing Man: you will either love this or find it insufferable. Mathy emo-y touches, but this is freaky folk through and through. Flits in and out these crazy choral vocal moments and harmonies that fall in and out of comfort-level– lots of borderline screaming (or just gives up the ghost and becomes screaming). Everything devolves but the sense of melody is always lurking out of frame and comes back around to quiet and confessional. Manages artful and cathartic with a lack of grace and a hell of a conviction.

Helen Love Love and Glitter, Hot Days and Musik: the best punk understands punk is pop music. This is why I love this record. Helen Love loooovvess The Ramones, she does. And since she loves them so much she wrote dance music in their honor and got Joey Ramone to feature on the record. Incredible.

The BellRays Black Lightning: Soul-filled garage punky rock that’s just masterfully loud, catchy, and full of unlimited swagger. Lisa Kekaula’s vocals are clearly grounded in a long, long line of rockers and soul-stirrers but what stands out is her maturity and control which allows for the slow-burners to feel huge and impressive– she’s the center, the burning star of the whole enterprise.

Chinchilla 101 Italian Hits: this album is weird and, obviously, I love weird. Situated in the already weird San Diego post-hardcore scene, Chinchilla still stand out with their epic song lengths, murky 90s alt-rock depths, and the way Sioban Dixon’s vocals shift endlessly between a distorted fry, throaty shouts, and sweet elongated falsetto. So fun to get lost in these songs.

Heaven’s Gate Livin’ in Hysteria: German power metal is always good. Heaven’s Gate is so obviously following in Helloween’s footsteps but Helloween is one of the greatest metal bands on planet earth and they execute that Keepers era sound so well they make a little magic themselves. Add onto that an album cover with a dragon smoking a pipe… it's over, it was love at first sight.

A Few Honorable Mentions (if you've made it this far):

-Corinne Bailey Ray Black Rainbows (mostly here because I got to it wayy late in the year and haven’t sat with it long enough. but this was incredible all the way through)

-Smoulder Violent Creed of Vengence (was initially disappointed by this one and then I finally got a tape player for Christmas and it just… clicked in the new format)

-Be Your Own Pet Mommy (i love, love, loved be your own pet as a teen and seeing them return to music after so long with the same blast of energy is so cool. I just think the album overstays its welcome; the EP they released with just a handful of tracks just puts it into sharper relief too)

-Melissa II (incredible it was just such a good year for black metal it didn’t quite squeeze up there for me)

and that's it for me; Happy New Year may we all find new music to fall in love with in 2024 <3

#whew this isn't even like a quarter of the top stuff i loved this year- had a blast trying to listen to more new music #can only hope to keep it up next year!!#and this was a super necessary low stakes break from all Serious music writing I'm trying to figure out rn haha.#sometimes you Need desperately to talk about things you love :)#music recs #my posts

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amberunit06 · 1 year

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Y2K

Y2K is a visual style popularised in the late 90's and faded out from mainstream use around the early 2000's (1997-2004). The Y2K Movement is named after the numeronym abbreviation of the year 2000, commonly associated with 'The Y2K Bug', a proposed event were computers worldwide would seize to work due to not processing the millennium in their calendar systems correctly, this association makes this design movement very closely tied to the time period it originated in as it couldn't have came to be in any other due to the unique climate of fear and hope surrounding the new millennium.

Y2K's visual style can be described as being futuristic, showing the publics general consensus in what the future of the new millennium has to hold and how technology will progress. Y2K borrows a lot of its visual style from previous decades interpretations of the future, known as retro futurism. Examples of this include sleek, metallic/chromatic gadgets, bold geometric shapes and patterns, blobject elements, washed-out but bright colours, glittery transparent plastic-like materials, heavy inspiration from computer technology and various interpretations of the future, such as in the form of space travel, high tech gadgets and advanced internet systems.

Y2K's origins are thought to be linked back to the underground UK rave scene around the 80's-90's, an example of this is through the earlier works by The Designers Republic, who made album covers, posters, logos, apparel, typography and more that aligns heavily with Y2K's signature stye. They say that their style is influenced by corporate packaging and logos but they subvertise them as to make an anti-capitalist anti-consumerist message, this use of parody slowly evolved into their distinct bold, futuristic geometric style. However this style became more widely used in the mainstream around 1995-1996 with the release of Windows 95 and the start of the surge in popularity in the internet.

This visual style would fade out around 2005 to be replaced by other corporate styles such as Frutiger Aero and Mcbling. However, in recent times starting in the late 2010's Y2K has made a style resurgence, mostly due to designers gaining nostalgia from the time it was mainstream. Examples of this movement being sed recently include Happy99, u::r::here, The Y2K Institute, Charlie XCX and various other artists and musicians who have adapted this stye into their work.

Personally, I really love this visual style as it is incredibly visually distinct by being a proper time capsule from the period it is taken from. As well as this, I like how this movement characterises the future, by using highly stylised but plastic-like materials and gadgets, as it offers a wide range of experimentation and opportunity in its execution. I would personally love to incorporate this style more into my own art style as well as include visual elements from this movement into my own project, as it deals with change and the future as well as death and decay.

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kunstkloiber · 2 years

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liu-zixuan · 19 days

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WEEK 4＆5

How to analyze a design work can be analyzed from several angles, first of all to understand the purpose and goal of the design work, analyze the audience of the design work and what their needs and preferences are. Including colors, shapes, lines, textures, contrast, and more. Analyze the layout and structure of the design work, including typography, grids, layers, etc. Understand the materials and techniques used in design work, including paper, ink, paint, drawing tools, software programs, etc. Consider the cultural and historical contexts in which the design works are located and how they reflect those contexts and influences. Finally, evaluate the effectiveness and success of the design work.

Therefore, I will analyze from various angles the more impressive objects I saw in the National Museum. In the Qing Dynasty, a large amount of opium flowed into the Chinese market, which led to widespread smoking and drug abuse, resulting in social security problems, making people addicted to smoking, and seriously affecting social stability and order. Long-term opiate dependence has left many users addicted, leading to impaired health and even death. In addition, it will affect people's fertility, resulting in population reduction and changes in social structure. A very important figure emerged during this period, Lin Zexu, who played an important role in Chinese history in the late 1840s and early 1850s, was appointed governor of Fujian, responsible for suppressing the British opium trade. The Humen tobacco sale event was an important action in Lin Zexu's suppression of opium trade.

During the Qing Dynasty, opium smoking tools mainly included cigarette bags, pipes and tobacco boxes. These tools were widely used in society at the time and became essential for opium smoking. A pouch is a tool used to load tobacco and suck it into the mouth when smoking. There are often various embroidery or embroidery decorations on the cigarette bag, reflecting the identity and status of the owner.

A pipe is an instrument used to light tobacco and smoke. It is usually made of wood, ceramic or stone and other materials, some pipes beautifully shaped, some simple and plain. A tobacco box is a container used to carry and store tobacco. It is usually made of metal, ceramic or wood, some tobacco boxes are beautifully decorated, some are simple and practical. Tobacco boxes are often decorated with various patterns or patterns, reflecting the owner's taste and taste. The use of opium in the Qing Dynasty, as well as the use of opium itself, was seen as negative, because opium brought serious social problems and health hazards, although the use of opium was widely used in society at that time, the behavior was seen as bad, because it caused serious harm and loss to the health of individuals, social stability and national development.

（462 words）

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ollie603 · 1 year

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Industry conversations - Eduard Chkolyan

In the fifth analysis of kinetic type I studied a video done by Eduard Chkolyan, the video an advertisement for a video-game world building engine, a futuristic theme was present in the video which symbolically represents the new technology being developed and advertised by Eduard's video. I sent Eduard the series of questions I had created before and he replied with the following:

Hey Ollie! Thanks! 1) Animated intro with kinetic type design was my first job, which I did in 2002. Now it is necessary in almost every project. 2) The complexity lies in the large number of operations. Automation does not give the desired result. 3) Just have experience. 4) Usually according to my perception and the rhythm of the music. If you don’t understand how to do it, turn on the right music and everything will work out. 5) Again, this is my experience. 6) Of course, there is a difference whether you make a video for Instagram or for a large outdoor screen, the text will be of different sizes, but as a rule, everything is more or less the same. 7) Sometimes I look at what others are doing, but this is not on purpose. I do not repeat what I saw, and if it looks like it is an accident. 8) I try not to do it in different languages, and if I have to, I use automation and ready-made effects. 9) I just prioritize and emphasize design. 10) There is always something to change. Will see. 11) Don't get hung up, fonts are only part of the job and all the parts are important. With best regards, Eduard Chkolyan

Evidence:

Reflection:

Eduard's passion for kinetic type shows itself throughout the work he does. It's not just a means of a job for him it truely fuels him as a design, I admire him for that. One part I found especially interesting was question 11, about what advice he could offer to someone starting out on kinetic type; this entire time while researching and understanding kinetic type, majority of my focus has been on the type itself (other aspects of designs analysed for deeper understanding of course) but seeing the suggestion to consider placement of shapes, grid use, illustrations and imagery wasn't at the forefront of my thinking process. While the project in question does revolve around type, I think it's important to consider the different visualisation techniques (listed above) I could use alongside my typography to enhance my work. Eduard also suggests that music helps him work, while on the surface I can see this as a fun way to answer the question, I think his answer brings up deeper philosophical ideologies involved in design. The music we listen to can determine our mood, if I were to create a poster for a preschool while listening to death metal, I might not create the most appropriate representation of that preschool. Therefore listening to the right music for the right project allows us (designers) to get into the right headspace for the work, quite literally a mental game. Eduard also believes that kinetic type will continue to evolve, we have yet to reach the limits of what a designer can achieve with kinetic type (this gives me hope for my future!).

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knnu79 · 2 years

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Rock Nation #14 - Indonesia di Peta Death Metal Global Saat Ini

Rock Nation #14 – Indonesia di Peta Death Metal Global Saat Ini

Dropcap the popularization of the “ideal measure” has led to advice such as “Increase font size for large screens and reduce font size for small screens.” While a good measure does improve the reading experience, it’s only one rule for good typography. Another rule is to maintain a comfortable font size. Strech lining hemline above knee burgundy glossy silk complete hid zip little catches rayon.…

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metalshockfinland · 2 years

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KRISIUN Launch Video for 'War Blood Hammer', New Album Out Now

KRISIUN Launch Video for ‘War Blood Hammer’, New Album Out Now

Brazil’s kings of death metal Armageddon KRISIUN are releasing their new studio album “Mortem Solis”! To give you yet another foretaste of the new album, a lyric video for the track “War Blood Hammer” (Created by Cloud Music Typography) can be seen HERE KRISIUN guitarist Moyses Kolesne checked in with the following comment about “War Blood Hammer”: “’War Blood Hammer’ follows the same path of…

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#Krisiun

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theconsofbeingawallweed · 2 years

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One of those fucking, awful black days

When nothing is pleasing and everything that happens

Is an excuse for anger

An outlet for emotions stockpiled, an arsenal, an armor

These are the days when I hate the world

Hate the rich, hate the happy

Hate the complacent, the TV watchers

Beer drinkers, the satisfied ones

Because I know I can be all of those little hateful things

And then I hate myself for realizing that

There's no preventative, directive or safe approach for living

We each know our own fate

We know from our youth, how to be treated

How we'll be received, how we shall end

These things don't change

You can change your clothes

Change your hairstyle, your friends, cities, continents

But sooner or later your own self will always catch up

Always it waits in the wings

Ideas swirl but don't stick

They appear but then run off like the rain on the windshield

One of those rainy day car rides, my head implodes

The atmosphere in this car, a mirror of my skull

Wet, damp, windows dripping and misted with cold

Walls of grey, nothing good on the radio, not a thought in my head

I know a place we can go and I'm falling

Love so hard that you wish you were ten

Lets take life and slow it down incredibly slow

Frame by frame

With two minutes that take ten years to live out

Yeah, let's do that

Telephone poles like praying mantis against the sky

Metal arms outstretched

So much land traveled, so little sense made of it

It doesn't mean a thing, all this land laid out behind us

I'd like to take off into these woods and get good and lost for a while

I'm disgusted with petty concerns

Parking tickets, breakfast specials

Does someone just have to carry this weight?

Abstract typography, methane covenant

Linear gospel, Nashville sales lady, stocky emissary

Torturous lice, mad Elizabeth

Chemotherapy bullshit

I know a place we can go and I'm falling

The light within you shines like a diamond mine

Like an unarmed walrus, like a dead man face down on the highway

Like a skunk, eating it's own tail

Steam turbine, frog farm

Two full closets burst open in disarray, soap bubbles in the sun

Hospital death bed, red convertible, shopping list, blow job

Deaths head, devils dancing, bleached white buildings, memories

Movements, the movie, unfeeling, unreeling, about to begin

I know a place we can go and I'm falling

Love so hard that you wish you were ten

I've seen your hallway, you're a darn call away

I've hear your stairs creak, I can fix my mind on your yes

And your no, I'll film your face today in the sparkling canals

All red, yellow, blue, green brilliance and silver Dutch reflection

Racing thoughts, racing thoughts, all too real

You're moving so fast now, I can't hold your image

This image I have of your face by the window

Me standing beside you, arm on your shoulder

A catalog of images, flashing glimpses then gone again

Untethered to the posters soak in me, every clear afternoon now

I'll think of you, up in the air, twisting your heel

Your knees up around me, my face in your hair

You scream so well, your smile so loud, it still rings in my ears

I know a place we can go and I'm falling

Love so hard that you wish you were ten

Imitation, distant, tired of longing, clean my teeth

Stay the course, hold the wheel, steer on to freedom

Open all the boxes, open all the boxes

Times Square Midday, newspaper buildings

News headlines going around, you watch as they go

And hope there's some good ones, those tree shadows in the park

They're all whispering, shake some leaves

Around six p.m., shadows across the cobblestones

Girl in front of bathroom mirror, she slow and careful

Paints her face green and mask like

Like my cheese, portrait with green stripe

Long shot through apartment window

A monologue on top but no girl in shot

The light within me shines like a diamond mine

Like an unarmed walrus

Like a dead man face down on the highway

Like a snake eating its own tail

A steam turbine, frog pond

Two full closets burst open in disarray, soap bubbles in the sun

Hospital death bed, red convertible, shopping list, blow job

Deaths head, devils dancing, bleached white buildings, memories

Movements, the movie, unreeling, about to begin

Oh, great by me

Yeah? Mine were alright, wasn't my best one but who cares?

That's the spirit

~The Cribs - Be Safe~

#the cribs #be safe #black and white photography #theconsofbeingawallweed #black and white #mine #my photography #b&w

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