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#flying nun
cheddar-baby · 4 months
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Remember When... Sally Field Had Two Board Games?
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guessimdumb · 10 days
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The Verlaines - Just Mum (1988)
One of my favorite LPs ever - one that rewards repeated listens. Ambitious and brilliant.
At level best we'll just survive
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dec0mposing · 5 months
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Beatnik - The Clean (1982)
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bandcampsnoop · 9 months
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7/28/23.
This is one of those releases that will make many release an audible gasp of excitement. Peter Gutteridge's solo album - released in 1989 by Xpressway (New Zealand) - is again being reissued. This time by Bay Area label Superior Viaduct.
Gutteridge (Dunedin, New Zealand) is considered by many the "creator" or the Dunedin Sound. While he denied this, there's no denying that he was a member of both The Chills and The Clean. He later went onto to form Snapper, and was also part of The Puddle.
In other words, Peter Gutteridge was the shit. He, along with fellow Dunedin musician Hamish Kilgour, represent two icons who were lost way too early.
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pennedguins · 7 months
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S2356 - Let us prey
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inesvazquezart · 1 year
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Creatuanary day 4
Cocollona also known as nun that turned into a crocodile because of not praying hard enough, then God felt a bit bad and gave her butterfly wings...
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mywifeleftme · 6 months
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202: The Chills // Kaleidoscope World
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Kaleidoscope World The Chills 1986, Creation
You can look at the Dunedin Sound as psychedelic pop with a sour post-punk undercurrent, or post-punk swirled with the sugar of psychedelic pop depending on the band at hand, and sometimes even the song. You get that split in action on “Pink Frost” and “I Love My Leather Jacket,” the two most popular songs from the Chills’ Kaleidoscope World. Kaleidoscope World was originally a slim compilation of their early singles, but over the course of a series of reissues has expanded to encompass nearly all of their pre-1987 work. “Pink Frost” is justifiably regarded as a classic, one of the few moments where that uneasy vibe all the key Flying Nun bands had beneath their childlike keyboard tones became the dominant motif: grief, blood-stained ice, shattered glass, like Joy Division sung by a guy walking in the rain in a sweater his mum knit for him. On the other side, “I Love My Leather Jacket” is as idiotically simple as Suicide on a good day, a song with a motorik beat and a hostile drone hidden beneath a melody and lyric that could be on a kids’ TV show. The Chills explored many of the latitudes between those two poles before ever cutting their first LP, and Kaleidoscope World is a clearinghouse of exquisitely ambiguous pop music.
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With a gun to my head, I would choose the Chills as my favourite of the classic Dunedin bands, and it’s largely on the strength of these recordings (and their first two excellent LPs). Everything bends on the pensive “This is the Way” (originally from The Lost EP), a song mid-‘90s R.E.M. could’ve made great work of; “Bee Bah Bee Bah Bee Boe” (ditto) explores maritime folk instrumentation on a lament considerably more melancholic than its title would indicate; single “Rolling Moon” itemizes the symptoms of physical exhaustion over merrily jangling guitars and even a bit of whistling. The Chills are probably pretty close to “properly rated” among aficionados of ‘80s guitar pop (i.e. they’re revered), but there is always more room in the cult if you haven’t yet made the plunge. Do it!
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202/365
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fernycreek · 1 year
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Show 145 - Indie Pop/Rock & Lo-fi Goodies - Do Your Thing 3MDR 97.1FM or 3mdr.com 2/02/2023
Program Page:
https://3mdr.allclassweb.com/do-your-thing
Do Your Thing 3MDR 97.1 FM or www.3mdr.com Thurs 8pm to 9pm (AEDT)
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qosmiq · 2 years
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New Micronaut / Microman imagined with the help of Midjourney and Photoshop
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dustedmagazine · 8 months
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Clementine Valentine — The Coin that Broke the Fountain Floor (Flying Nun)
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The Coin that Broke the Fountain Floor by Clementine Valentine
In the teens, the sisters Clementine and Valentine Nixon made two full-length albums as Purple Pilgrims, exploring a gauzy, spooky, dream-pop palette adjacent to Cocteau Twins and maybe Beach House and communing with the natural beauty of their native New Zealand. They have collaborated, separately, with Gary War and Roy Montgomery. This latest album, with the same people but under a new name, is similarly lovely, in a diffuse, miasma-shrouded way, but perhaps a bit more dramatic. The Coin that Broke the Fountain Floor makes large pop gestures in a thick fog of hum. It is quite beautiful, on the border between soothing and sleep-inducing, though the drums will wake you up if you doze.  
“Time and Tide,” for instance, opens with the thunder boom of gate-reverbed drums, the twinkle of acoustic guitars, a shifting palette of background sound, and a high lovely voice that unfurls like silk across long, keening choruses. The song swirls to a climax in surging synths and doubled vocal trills, as one sister careens and the other whispers in the crevices. The volume is high, but it’s hard to make out. The song is all dissolving edges and atmospheres.
“Senelion” is less pop, more witchy art folk, the verses an incantation against drone of organ, with wild twitches of stringed instruments in the interstices. It is, for whatever, reason, hard to follow the words as they weave through the atmosphere, but one line here is fitting for the album as a whole: “She lost herself in dreams.”
I say “dramatic,” but possibly I mean “theatrical” since a couple of the tracks seem to reference the stage. “The Understudy” brings the two voices together in hushed unison; I picture them heads down coaxing the flame of melody to life, overlapping one another in translucent sheets of sonic overload. The subject shifts and remains elusive, but concerns filling in for a dead understudy (which, really, the whole point of understudies is that they fill in, but anyway). It’s all very magick and thrilling, with its tootling organ and swiping strings. The second nod to thespians comes late in “Actors Tears” a relatively pared down waltz of cello and plucked violin and seesawing, sing-song-y vocals. It flirts with folk sorrow (“You’re not to blame for the ruin of me”) but from a place of pop equanimity (“Didn’t we have fun?”). An actor’s tears are hard to parse, and so is the song.
But however hard it is to get a grip on this record, there is no denying its beauty. These songs float free of effort and reference and reality itself and hang like mist shot through with sun.
Jennifer Kelly
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cheddar-baby · 7 months
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do i sound insane if i say that the flying nun really inspires me. Theres some thing so evocative about the visual of this nun completely surrounded by sky flailing around wildly
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its so bizzare its surreal its dada. Divorce it from the context of a show intro and it could sit comfortably in the guggenheim as an absurdist masterpiece. I hope one day i can make something as striking as flying nun. This is what roland barthes meant when he created the idea of the punctum. The flying nun punctured me and i was forever changed.
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samaralubelski · 10 months
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Go Fund Me for Hamish Kilgour - https://gofund.me/9d06d2d9
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marvinpontiac · 1 year
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— [ the miscellaneous beatnik from THE CLEAN’S “BEATNIK” [1986] who i have been in love with for years upon years
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dougwallen · 11 months
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Vera Ellen review for The Weekend Australian
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bandcampsnoop · 18 days
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4/11/24.
New label alert. Inscrutable Records is a St. Louis, Missouri based label run by Martin Meyer (Soup Activists). Pleasant Mob (Chicago, Illinois) is one of four new releases on the label. Lead song "#3 Dream" reminds me of The Clean, and "Mob" has a Bats feel. And while the other songs do have a Flying Nun feel, the other songs on this release fit the indie pop genre, but bounce between styles throughout.
Pleasant Mob's frontman, Raidy Hodges (of Spread Joy) has a new surrounding band for this release. Mikey Young mastered this.
Inscrutable Records first four line-up is solid - Pleasant Mob, Famous Mammals, Soup Activists and Tia Rosa. Their bigcartel website also looks like the dabble in distribution too.
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