#spacey odyssey

[the-haunted-office]

#spacey odyssey #hal9000 #my shitty attempt at making a meme xD

[smallestbrown]

for the @d20zinejam i ran a starstruck odyssey fashion zine called 💫 COSMIC CHIC 💫 i’m so pumped by how cool everyone’s pieces turned out, it was a blast to put together

you can check out the zine here + see all the absolutely incredible work made for the jam here!

[ID: illustration of norm takamori in a pink cowboy outfit on a spacey background. he looks to the side, grinning, and has one leg kicking up towards the viewer. one hand tilts his pink cowboy hat, the other holds a revolver. pixelated font reads: COSMIC CHIC a starstruck odyssey fashion zine.]

#norman takamori #dimension 20 #a starstruck odyssey #norman skipper takamori #zines

[randomvarious]

Today’s compilation:

Space Night Vol. VI by Aural Float 2001 Downtempo / Trip Hop / Lounge / Dub / Future Jazz

Don't wanna bury the lede here, so up front, I'll just say that this is simply one of the greatest collections of chillout tunes that I've ever heard in my entire life. But before we dive right into it, there's some paragraphs-long context that bears explaining the story behind this whole Space Night series in the first place, so here we go!

Back in 1993, three guys named Gabriel Le Mar, Pascal F.E.O.S. (a trance pioneer in his own right), and Alex Azary teamed up to form Aural Float, a trio that would become known for their breathtaking ambient and chillout music soundscapes. Together, they would release three albums and launch an audiovisual odyssey of sorts called Space Night. Originally starting in the club as a brilliant mesh of ambient music and footage shot from outer space, Space Night would eventually make its way into homes all across Germany, as a national television station there called BR granted Aural Float the opportunity to develop their own club-night concept into programming.

Sometime in 1994, Space Night would replace BR’s overnight test cards every Sunday through Thursday, and now the show has been on the air for over 25 years, achieving serious cult status as millions of people can say that they've blissfully drifted off and woken up to it. And there's plenty of Space Night videos on YouTube too, if you want some prime material to both really zone all the way out to and also have blow your mind 😌🤯 .

Here’s one:

But along with that popular TV program also spawned a series of Space Night compilations. Through 15 releases over 15 years, Aural Float and a couple others managed to compile some of the greatest collections of spacey ambient, downtempo, and chillout tunes ever created. And this fantastic 2001 double-disc that I'm posting about today is the sixth installment from the series.

Now, my last chillout compilation post wasn't too long ago, and I said that it made for a great showcase of German-made chillout, specifically, which isn't a country that you probably tend to associate with very chill vibes. And this turns out to be another one of those comps. You may think of Germany as rooted in cold, mechanical industriousness, and a lot of their techno music is very much a reflection of those broad, national characteristics, but despite them not having a warm southern coastline or almost any islands of note, Germany really still has possessed the capacity to produce some of the most stellar chillout fare that this planet's ever borne witness to.

And this release here more than proves the point. Not every song on these two discs is made by Germans—both DC-based chillout pioneers, Thievery Corporation, and the eclectically electronic London duo, Groove Armada, show up on the second disc—but a majority of them seem to be. And by that same token, not all of these songs match the same outer-space ambience that you'd expect either, but most of them seem to: majestic and/or celestial string pads get paired with blends of rich piano melodies, ringing xylophone notes, or futuristic lead synths; and there's lots of dubbiness too, either in the rumbling basslines, or in the echoing of each melodic note, which, naturally, connotes a seismic amount of unknowable vastness.

Almost every single song on here is phenomenal, but there are some that are still a bit more striking than others. A German guy who goes by Fresh Moods gets two slots on disc one: first, he provides a sweet hand-drum driven remix that initializes as a poolside vibe, but then alters course for space, and then he gets his own tune five minutes later in "Decisions I Made," which is some slow-moving and crunchy, space-hypnotic trip hop psychedelia.

Soon after that, Montréal's Jaffa supplies some really soul-piercingly sublime synth chimes on "Interlude," which is another song that also comes with a dose of psychedelia—this one by way of nice keyboard improvisations—and a bed of strings as well. Really groovy and lush stuff there.

And the set's penultimate track is excellent too: "Blue Sky," by Germany's üNN, sort of sounds like if the Twin Peaks soundtrack was trip hop-flavored. It has that same 80s/early 90s synth vibe to it and is also comparable to Jan Hammer and Miami Vice as well. A really lovely tune that stands out from the rest of this marveling herd.

I continue to say the same thing over and over, but it really bears repeating here: this turn-of-the-millennium chillout era yielded an enormous glut of terrific music. Some of it became underground-popular, thanks in large part to Café del Mar, but most of it still remains criminally slept on and unfortunately ignored. And this 2001 German double-disc that was compiled by Aural Float is just another one of the many shining examples that I'll keep on outlining here until I run out of these kinds of comps and mixes to post about, which is something that will probably *never* happen, because that pile of CDs is almost as vast as space is itself 😅.

And the rest of the world was really robbed by not having the Space Night TV show exported outside of Germany too. A show like that definitely would've gone a long way towards raising chillout music's profile, overall, when there was such a strong current of it pumping through largely unnoticed at the time. It would've fit perfectly on a few different US cable networks too, like the Discovery Channel, TLC, or The Science Channel, and the breathtaking visuals along with the great music would've probably helped to heighten and activate some more peoples' sense of wonder as well. A lot of late night programming has a way of achieving a dedicated cult status, and I really see no reason as to why a show like this wouldn't be able to in the US. It seems broadly appealing enough and also very soothing. But, alas, at least we can watch some of it on YouTube now, right?

Highlights:

CD1:

Tosca - "Suzuki" dZihan & Kamien - "Homebase" Wamdue Project - "Instrumentation" Sven van Hees - "Tsunami" Enrico Riva - "The New Economy (Fresh Moods remix)" Index ID - "Planisphäre" Fresh Moods - "Decisions I Made" De-Phazz feat. Pat Appleton - "Anchorless" Jaffa - "Interlude" Wondabraa - "Starfish" George Pallikaris - "Natural Being" Azure Taint - "Glasrauch" Amphotic - "Spacetalk"

CD2:

Thievery Corporation - "It Takes a Thief (version 2)" Pre Fade Listening - "Free George Lingo" Groove Armada - "Serve Chilled" Chicane - "Low Sun" Chris Zippel - "Summerblink" Soehngenetic - "Din Atrium" Drøn - "Rem" The Sushi Club - "Koi" üNN - "Blue Sky"

#downtempo #trip hop #lounge #lounge music #dub #future jazz #nu jazz #chillout #chill out #chillout music #chill out music #electronic #electronic music #music #90s #90s music #90's #90's music #2000s #2000s music #2000's #2000's music #00s #00s music #00's #00's music

[xyloophones]

Hey Cher, seen you posting abt dimension 20 a bit, and yeah I could Google it but it looks very cool and I'd rather hear it from you if it's that cool 💜

helloooo my beloved pal <333 yes yes lemme talk about dimension 20 !!

dimension 20 is an actual play dnd show (theres also an audio only version if you prefer podcasts !) !! there are several campaigns, some with wildly different settings & different players, most of them DM'd by brennan lee mulligan who is an INCREDIBLE storyteller. d20 has a diverse cast & really memorable characters and i've kind of passively watched for a while but i recently finished watching one of their campaigns and Fell In Love

i'm just gonna list the campaigns ive seen so far in order of my favorites:

fantasy high. 6 teens go to a high school that like. specializes in adventuring parties, found family and shenanigans ensue. everyone is gay and neurodivergent. i'm very attached to the characters and their dynamics with each other AND the npcs <33 season one is on youtube for free, however season 2 is my favorite bc it contains probably my fav dnd npc to ever exist (i am an ayda aguefort stan until i DIE). i'm making my way through The Seven right now, which is a spin-off of another adventuring party that are friends with the original 6 in seasons 1 & 2.

a starstruck odyssey. fun campy space romp feat. more found family. this one is has the same players and dm as fantasy high! it has a sci-fi spacey setting and the party is the crew of a spaceship that looks like a giant hotdog. the fights in this one are absolutely wild.

the unsleeping city. an urban magic setting in new york city! another one with the main player cast and dm and once again the party dynamics and character relationships are just !!! so good !!! you will cry over a rat man !!!!! i think these two seasons definitely made me the most emotional. i aspire to get to this level of world building in my own writing.

a court of fey & flowers. ok this one is still ongoing but !!!!!! the only reason it's not number one on this list is because it's not done yet but hsajkf holy shit it's so good?? it's dm'd by aabria iyengar and it's basically using dnd in a regency fey setting to play around with high society gossip and court expectations and AAAAA i have never been so invested in wanting someone to roll well when sending shady letters to other members in the court. it's so good.

there are a ton more campaigns + one shots but i'm still making my way through them! unfortunately, most of it is only available with a dropout subscription so i'd recommend watching the first season of fantasy high on youtube to see if you like it before diving in!

if anyone else has any questions about dimension 20 feel free to send me an ask!! i could probably talk for hours about my favorite characters and details but i'll leave it here <33

real quick edit: if anyone needs trigger/content warnings for things please send me an ask !! every episode has content warnings in the description, but some campaigns in general have darker themes so let me know if you need warnings !)

#ask #xylo speaks #SAEEE <3333 ur always letting me ramble abt thinks thank u #oh i mentioned brennan lee mulligan bc i believe ? he did ? a thing ? with the critical role cast? #and i know a lot of people like cr so maybe yall have seen him there

[newmusickarl]

Album & EP Recommendations

Last Night In The Bittersweet by Paolo Nutini

I must admit I had completely forgotten all about Paolo Nutini’s existence. It may have only been eight years since the Scottish singer-songwriter last released an album, but that was long enough for him to fade out of my memory altogether. That’s not for disliking his music either – although I wasn’t overly keen on his debut These Streets, there were plenty of moments on his subsequent releases, Sunny Side Up and Caustic Love, that I played a lot at the time. However, in today’s current climate of hypersonic music release schedules, taking eight years out is a big risk as there’s no guarantee you’ll be able to get back the same spot that you left behind. Thankfully for Paolo though, just a few songs were all it took to instantly remind me of why he was always such a heralded songwriter.

Whilst his last two records saw him evolve from his soul-pop origins to explore more diverse sonic landscapes, bringing in elements of jazz, country and R&B, Paolo takes things even further on his fourth album, Last Night In The Bittersweet. Across the album’s expansive sixteen track odyssey that clocks in well over an hour, he bounces between those previously deployed stylistic traits, but also throws in a few new ones as well – most notably new wave, indie rock and ambient electronica. It all makes for a dazzling, eclectic and richly textured listen, however it’s not without a few niggles.

That said, none of those niggles appear in the first part of the record, which is simply one of the best opening six track runs you’ll hear all year. Opener Afterneath begins ominously before Paolo’s vocal screeches engulf the space, carrying with them strong shades of Zeppelin-era Robert Plant. From there the track rumbles on like a freeform jam session, overlaid with Paolo’s hypnotic spoken verse and snippets of 1993 classic crime film True Romance (which Tarantino even gets a songwriting credit for here). It’s a startling beginning to the record, as Paolo then brings things back to more familiar territory with stunning soulful rock track Radio, with its glistening guitars and spine-tingling, repeated cries of “I want love.”

Lead single Through The Echoes is up next, an exquisitely crafted, stripped back love song where Paolo’s heartfelt vocals are the star of the show. Acid Eyes then might be my early favourite from the record, with its instantly memorable refrain and jangly melancholic guitars, sounding a bit like Because of the Times-era Kings of Leon. Stranded Words is then branded as an interlude but is a great track in itself, with Paolo’s Celtic tones speaking softly in a hymnal-like way over some quiet synths. Subsequent track Lose It then rounds off this incredible opening run, entering from the other end of the spectrum as a raucous guitar-driven rock track but with a tinge of gospel thrown in too.

After that though, the album does become decisively more hit and miss. Although some people will enjoy the playful throwback sounds of Petrified In Love, I really can’t get on with it at all. And then whilst tracks like Abigail, Heart Filled Up, Shine A Light and Julianne all have their moments too, they don’t light up the record in ways not already generated by the other tracks.

However, there are still plenty of gems lurking in the mid-latter half of the record too. Everywhere starts off quiet and subdued before erupting into a huge crescendo of soaring guitar riffs and soulful cries. Children of The Stars is then a wonderfully mesmeric bluesy number whilst Desperation is a pulsating Strokes-esque jittery rock track, which culminates in probably the album’s finest guitar passage. The album then eventually draws to a close with epic penultimate track, the seven-minute-long ballad Take Me Take Mine. Once your ears have wandered through its labyrinth of spacey synths and dreamy guitars, Dylan-inspired acoustic track Writer then ends the record on a heartfelt and reflective note.

My overall takeaway from this record is that you get the sense Paolo is just having fun with different sounds, and this album reflects that. The album art is even Paolo sat in a room with an array of instruments around him and that really is the record’s whole vibe - like you’re sat in a room with him as he’s playing you these songs. As a result, it can often feel more like a collection of songs than a cohesive body of work, with a strong sense of Paolo essentially just showing you what he’s been making in his time off, sometimes jumping between styles in a quite jarring fashion - but these are ultimately only minor issues.

Whilst it may be a little too long and far from perfect, on the 11 or 12 tracks where it does hit, you’ll be completely swept away by the raw brilliance of Paolo’s vocal and songwriting talents. In a quiet week for album releases, you can do much worse than an hour or so with Last Night In The Bittersweet.

Listen here

Seven Psalms by Nick Cave

Elsewhere this week, Nick Cave finally released his EP of Psalms that he wrote over lockdown. Whilst it may just be Cave sharing his words of wisdom with some subtle sonic backing from Warren Ellis for 10 minutes, fans of the pair will still no doubt enjoy these short but sweet compositions.

Listen here

Tracks of the Week

Part of the Band by The 1975

The big return this week was that of indie-pop superstars The 1975 with the first intriguing taster to their upcoming new album, Being Funny In a Foreign Language. When the lead single to their last record turned out to be the heavy 90s punk inspired track People, it did seem to open the door for the Manchester outfit to really make whatever songs they wanted – they weren’t just an indie-pop band anymore.

That said, I was still very much expecting this new single to be more in keeping with their traditional sound, especially given the mixed reception to their last album, Notes On A Conditional Form. But keeping true to themselves, this one is yet another sharp left turn – an artsy, string-tinged and quite understated track, with frontman Matty Healy lyrically found in a contemplative and nostalgic mood. If you heard this on chart radio you would probably think it was a mistake, as it is far from the typical return single you’d expect from one of the biggest pop bands on the planet.

And whilst I’m not completely enamoured with the song yet, I’m just grateful that The 1975 continue to throw curveballs like this, ignoring conventional troupes and defying public expectations at every chance they get. One thing is for certain, I’m keen to hear what’s next.

Listen here

Hate by Loyle Carner

Also making his highly anticipated comeback this week was UK rap superstar Loyle Carner, with his hard-hitting new single, Hate. Usually friendly, calm and collected, this song finds Loyle in an angry and defiant mood, as he puts the world to rights over racial inequality and injustice against an infectious piano-driven beat.

Listen here

Can’t Forget by Low Island

Over the last 12 months, there has arguably been no new band killing it quite like Low Island. Having delivered one of the best debut albums of 2021, they kept that strong momentum going with their excellent Just Another Dreamer EP released earlier this year. Now this week saw them release the brilliant first single from their forthcoming sophomore album, Life In Miniature. Charged with their electro-pop sound and lyrics surrounding the fear of growing up, it all eventually erupts into a scintillating guitar solo at the song’s climax. A sensational track from a band presently operating at the absolute top of their game.

Listen here

Eleanor by Hot Chip

Also out this week, Hot Chip continue the build to their forthcoming eighth studio album, Freakout/Release. This one features a typically playful melody, catchy chorus and some trancey dance synths, but with dark lyrics at the heart about suffering through unimaginable pain. Eight albums in and Hot Chip continue to sound as fresh and vibrant as ever.

Listen here

Passenger by Boston Manor

And finally this week, Blackpool rockers Boston Manor served up the infectious second single to their upcoming new album Datura and it is a typically rapturous anthem built on a huge chorus and some blistering heavy riffs.

Listen here

#paolo nutini #radio #live in the bittersweet #life in the bittersweet #nick cave #warren ellis #the 1975 #part of the band #loyle carner #hot chip #low island #boston manor #new music #best new music #album recommendation #song recommendation

[mrjellybeanz]

(Video) Roadrun Cmoe - "Farrakhan"

(Video) Roadrun Cmoe – “Farrakhan”

Dallas rapper and serial entrepreneur, Roadrun Cmoe released his new, official video for “Farrakhan” today. Shot at La Ropaland, the streetwear designer-turned-rapper floats over the spacey beat with his syrupy lyricism and signature Texas drawl. “Farrakhan” is found on Roadrun Cmoe’s recently released project, Codeine Odyssey (Purple) [November 11th]. Watch the video for “Farrakhan” HERE. Texas…

View On WordPress

#Dallas #Farrakhan #hiphop #Onthesceneny #Roadrun Cmoe

[slimvision]

Christina's World

It would've been 2005 or 06, when we were living in Jamaica Queens, four of us in a two bedroom. Christina's World, the spooky, spacey prairie scene of the lone, broken woman in a flimsy pink dress, apparently trying to crawl toward what appears to be a haunted house, reminded me of home.

What is it about this image that is so hypnotic to me I don't know. Maybe it's that its truly a female protagonist. It reminds me of David Bowie's Major Tom; it reminds me of the Wizard of Oz; it's the whole Odyssey.

I got it framed in a manic fit. Sometimes when I have no money I spend wildly, the way people get tattooed when they break up with someone. Even with the 50% off sale it was $400. For a picture frame. The poster itself not worth the paper it had been printed on fifteen years ago.

It didn't make sense what I was doing and I knew that. The tall grumpy Gen Xer working at the art store had to roll out the poster with white gloved hands, which we both knew was absurd. "Ah, Christina's World," said someone snarkily, and the gen xer broke into an embarrassed smile. They were friends who hadn't seen each other in many years- they had shared big plans once upon a time. I could tell the guy wasn't from New York, and so had to say something nasty; we were all embarrassed. Christina's World. How corny, how played out. I felt defensive but said nothing. "I'm sorry about my friend," the Gen Xer said, after they'd made coffee plans and the guy shuffled off. I shrugged and smiled.

I didn't want to explain that even though my baby had been brought home to a buggy, ghost ridden apartment, whose windows had been boarded up, and now we had rats in the walls and electric that blinked on and off, she would at least see posters in proper frames. That this was something I could do for her.

I carried the poster home on my head with her strapped to my belly. It enshrined a woman reaching for a home.

In the weeks following, an apartment fell into my lap with round the clock sunlight, eight huge windows, a room for her, a room for me, each with a generous closet, and three closets in the hall besides. Honey colored hardwood floors, a hallway she could run down, four times the size of our old place. I put Christina across from my bed, and look into her world every morning. What now? I ask her. What next? What is the house now that we're home?

[c-40]

A-T-2 385 Dope Library Music With A Space Theme

Holst's suite The Planets written as what the composer described as "a series of mood pictures" (in a music lesson at school we were told to close our eyes listen to this piece of music and let images appear infant of our eyes) I'd argue it was very influential in the development of space music. Mainstream public interest interest in space travel is believed to have come from a Soviet youth magazine published October 2nd 1951 which outlined how two men might fly to the moon and back, thus kickstarting the Soviet lunar programme. This is published in the US and the space race is born. The Space Shuttle era begins in 1981

John Cage composes Imaginary Landscapes No.1 in 1939. In the 1950s with the onset of the space race there was a boom in space films. The film Forbidden Planet came out in 1956, it's soundtrack was made entirely electronically (reportedly to get out of paying musicians and union rates), this helped solidify a connection between space and synths. Electronic music is considered to be futuristic in nature, and in the 1950s it was (in 2022 watching films set hundreds of years in the future but they're still dancing to 1990s electronic dance music is a bit of a joke.) In 1963 Doctor Who appeared on UK television screens with it's electronic theme music realised by Delia Derbyshire using musique concrète tequniques. Like with the John Cage piece I mentioned the sounds electronics can produce often sound alien, sound can be manipulated way beyond what a musician playing wind, strings, percussion, or a voice can do. In that way these sounds might be considered futuristic or even emanating from outer space. Electronic instruments also seem more scientific, it's often called tech, closer to computer laboratories and rocket controls than pianos, saxophones, drums, or guitars

We tell stories about space. Star Wars ushers in a renaissance of space fiction and it remains popular to this day. Ridley Scott's second space film Bladerunner comes out in 1982, which has one of my favourite soundtracks

Space library records are popular with fans of electronica and they usually have great sleeve artwork. That space library albums have a funky beat makes no sense at all, there's nothing particularly spacey about drum breaks, still I am drawn to them

Gaston Borreani recording under the name Galaxy for De Wolfe

Galaxy - Jupiter

Again for De Wolfe Unit 9 who did two space titled albums Delta and Over The Moon. Also check Fission Chips from Over The Moon and Omicron (before it was the name of a covid19 variant and we believed in progress and the future, ah! innocent times) from Delta

Unit 9 - Pi

Earforce Band - Sky Racer brilliant German one off for UBM Records. Bassist Dieter Petereit and drummer Willy Ketzer were both in the fusion band Passport. Space is big enough from harpsichord

Roger's New Conception - Expectation from the album Infomatic 2000. Roger Roger & Nino Nardini sounding like something from the 1960s or 70s. Sleeve artwork is nicked from the CTI album Moon Germs by Joe Farrell and isn't a million miles away from the sleeve for China Crisis' debut album designed by Peter Saville Associates. Anyway, beats

Christian Chevalier - Strange Pop from the album Christian Chevalier & Alan Feanch - Space Résonance. Alan Feanch followed up with sister album Flash Résonance: Space Dream

Miha Kralj - Jupiter from the Yugoslavian state owned record label PGP RTB album Odyssey

Roland Brocquet - Epsilove another French offering, this one from the album Robot Rose "Claviers Synthétiseur"

The Astral Dimension - Black Holes from Italy, not to be confused with Astral Sounds. A spooky ambient one this

#1982 #library music #space #unit 9 #the astral dimension #roland brocquet #miha kralj #christian chevalier #nino nardini #roger roger #earforce band #80s music #synth

[luuurien]

Spacemoth - No Past No Future

(Glitch Pop, Psychedelic Pop, Dream Pop)

Maryam Qudus' debut as Spacemoth marries fuzzy, retro pop à la Stereolab and Broadcast with the warmth and expressiveness of modern psychedelia and post-punk. No Past No Future's focus on strong grooves, cosmic songwriting, and reserved vocal performances make for one engrossing, magical listen.

☆☆☆☆

Ever since she was young, Maryam Qudus has been drawing out her own path in the world. Being a first-generation child of working class, Afghan immigrant parents, the California singer/songwriter and producer has been seeking her own adventure for as long as she can remember. As a kid, she took guitar lessons; a high school job allowed her to pay for vocal lessons - even learning to drive so she could take herself to them - Qudus' resolve to create unbreakable. From there, her work as Doe Eye and collaborations with artists like Sad13, Toro y Moi, and Tune-Yards inspired her to continue making her own music, experimenting with electronic ambience, tape manipulation, and noisy retro synths that slowly developed into her debut album as Spacemoth, No Past No Future. Indebted to the retro pop of Broadcast and Stereolab as well as the warmth and expressiveness of modern psychedelia and post-punk, No Past No Future is a retrofuturist odyssey whose offbeat songs make for one of the most unique and memorable listens this year. Qudus' music favors sounds nostalgia and summery haze, the long list of synths she used on the album's Bandcamp page proof of how much effort and forethought goes into making these songs sound so eternal and timeless. Still, there's a radiance to it all that comes through the sharp analog keyboard leads on lead single Pipe and Pistol, so scratchy and melancholy you could sneak it onto a Broadcast compilation without it sticking out even a bit, or the driving post-punk drumming from Jason Slota on Asking for You acting as the centrifuge that Qudus' relaxed vocals and swooning layers of synth and guitar orbit around, a constant sense of movement within No Past No Future's songs even as they strive for a spacey, occasionally sci-fi feel through the instrumentation and Qudus' intimate songwriting. Other times, what makes No Past No Future so compelling is witnessing how Qudus struggles to reckon with time, the struggles to hang onto a single moment without thinking about how it'll soon disappear on the crunchy, dark Round in Loops or struggling to comprehend and accept mortality among the distortion and noise of Waves Come Crashing, the album's nostalgic sound in part a way for her music to sit in an ephemeral place where she can comfortably confront these feelings in a comforting, limitless environment. No Past No Future exists both in that past and that future, and it's a sound like nothing else this year. Qudus also paces it all incredibly well and keeps No Past No Future moving at an efficient, but immersive pace. The album's dreamy, space-age sound makes it easy to fall into Qudus' world, but she keeps you invested in it through how each song connects to the ones it's situated between. Opener This Shit kicks things off with a midtempo drum loop and fizzing keyboards, subtly moving into the bustle of Pipe and Pistol and UFObird's downtempo serenity, a perfect three-track run to introduce No Past No Future to you. When things start to get more moody and ornate on the album's second half, there's a preciousness to how If I Close My Eyes and Pretend's pitch-black escapism leads into the buoyant, four-on-the-floor dance pop of Noise of Everyday Life - though the song doesn't fit quite comfortably with the rest of the album and Qudus' lo-fi production doesn't provide enough bite to the low-end for the song to hit right - and then jumping into one of the scuzziest and sentimental tracks with Berries and Watch You Cry right after, No Past No Future's emotional journey carved by Qudus' drifting emotions and slow-motion storytelling that manages to be both arresting and subdued at one, her music a roaming constellation you can follow across the skyline for hours on end. Qudus' retro-pop sound anchors it in an environment with a general structure but endless possibilities, hissing tape noise and pulsing analog synths all she needs to take No Past No Future anywhere she wants it to, well-worn and homegrown sound that can bring the most cosmic, supernatural songs to life with their infinite possibilities. She's said before that “women are often discouraged from pursuing music in the Afghan & Muslim community, and those who follow that path receive a lot of heat," and it's clear from how much passion and heart going into No Past No Future that she refuses to let those stigmas and fear worm their way into her music for a second. Her songs are playful, confident, and surreal, stunning in their depth and gleaming with their muscular instrumentation, built strong and sturdy for the celestial adventure Qudus takes them on, No Past No Future a consistently moving listen that lets the saturated synths soak into your pores and the punchy drum loops - whether played by a person or a machine - act as the fuel for her ship. Through her galactic musical explorations, the most impactful conclusion Qudus reaches is to be blessed and astonished with what our time on earth brings us, No Past No Future a reminder of how astonishing all the experiences we get to share together truly are.

#spacemoth #no past no future #wax nine #art pop #dream pop #electronic #experimental #glitch pop #indie pop #indietronica #minimal wave #neo-psychedelia #pop #post-punk #psychedelic pop #rock #synthpop #2022 #8/10 #album review #2022 albums

[crunchy--milk]

Watched space odyssey, why the fuck does HAL remind me of Michael (the distortion), and also, why am I so fucking distressed over HAL

#Spacey odyssey #tma #HAL9000

[goldenworldsabound]

howdy!

I'm back for the moment!

It will be different than before though! My new rules for myself include not having tumblr installed on mobile, and so I won't be on nearly as much as I was (during the work week I expect to be around verrryyyyyy little).

So. HI! I missed you all though!

I do want to say that given how inconsistently I anticipate being here, I really, REALLY encourage you to tag me or send me your art/fic/moodboards/etc - anything you want me to see! If you don't send it to me or tag me, you should probably assume I won't see it at this point...which is a shame because I love to see your love for your faves and your fantastic SIs! So please don't be shy.

#right now my life is consumed by Genshin #and also like. Normal life things. #Like reading books! #did you know that I love the 2001: A Spacey Odyssey book series? #And that is has 4 books? #ask me more for a long info dump you probably don't want #my first order of business will be scheduling art and fics cause I've certainly been busy

[elle-eedee]

with each new word phil lollar types into his blackgaard chronicles manuscript i become a little bit more unhinged

#adventures in odyssey #regis blackgaard #catboy moments are For Me but if you read the way he interacts with his kitty youd understand. youd understand #irl mutuals just go ahead and stop making eye contact w me for this one. i get it #listen sometimes you just gotta emasculate an old man! #spacey arts things

[chrissykissy]

help me! 

i broke apart my insides

help me!

i got no soul to sell

help me!

the only thing that works for me

help me get away from myself

#adventures in odyssey #fo: 💾illiterate with computers💾 #si: 🌈rotund little twerp🌈 #spacey arts things #yeahhh babey 3 am angst is where its AT #*gets him closer to god*

[brokehorrorfan]

Moon will be released on 4K Ultra HD (with Blu-ray and digital) on July 16 via Sony Pictures. It has been remastered in 4K and features newly remixed with Dolby Atmos Audio, along with the original 5.1 audio mix.

Director Duncan Jones (Source Code, Warcraft) approved the upgrade. Sam Rockwell, Kevin Spacey, Dominique McElligott, Rosie Shaw, and Adrienne Shaw star in the 2009 science fiction thriller.

The disc includes never-before-seen deleted scenes, among other extras new and old. A full list is below.

Special features:

Retrospective conversation with director Duncan Jones and journalist Joe Utichi (new)

Deleted scenes (new)

Fan art poster gallery (new)

Audio commentary with director Duncan Jones and producer Stuart Fenegan

Audio commentary with director Duncan Jones, director of photography Gary Shaw, concept designer Gavin Rothery, and production designer Tony Noble

The Making of Moon featurette

Creating the Visual Effects featurette

Science Center Q&A with director Duncan Jones

Filmmaker Q&A at the Sundance Film Festival

Whistle - short film by Duncan Jones

Theatrical trailer

Sam Bell (Sam Rockwell) is nearing the completion of his 3-year-long contract with Lunar Industries, mining Earth's primary source of energy on the dark side of the moon. Alone with only the base's vigilant computer Gerty as his sole companion, Bell's extended isolation has taken its toll. His only link to the outside world comes via satellite messages from his wife and young daughter. He longs to return home, but a terrible accident on the lunar surface leads to a disturbing discovery that contributes to his growing sense of paranoia and dislocation so many miles away from home.

#moon #sam rockwell #duncan jones #dominique mcelligott #kevin spacey #dvd #gift #sony #sony pictures #source code #warcraft #science fiction #2001: a space odyssey #2001 a space odyssey #4k ultra hd

[newmusickarl]

Top 50 Albums of 2022

17. Last Night In The Bittersweet by Paolo Nutini

I must admit I had completely forgotten all about Paolo Nutini’s existence.

Eight years since the Scottish singer-songwriter last released an album, that was long enough for him to fade out of my memory altogether. That’s not for disliking his music either – although I really wasn’t keen on his debut These Streets, there were plenty of moments on his subsequent releases (Sunny Side Up and Caustic Love) that I played a lot at the time. However, in today’s current climate of hypersonic music release schedules, taking eight years out is a big risk as there’s no guarantee you’ll be able to get back the same spot that you left behind. Thankfully for Paolo though, just a few songs were all it took to instantly remind me of why he was always such a heralded songwriter.

Whilst his last two records saw him evolve from his soul-pop origins to explore more diverse sonic landscapes, bringing in elements of jazz, country and R&B, Paolo takes things even further on his magnificent fourth album, Last Night In The Bittersweet. Across the album’s expansive sixteen track odyssey that clocks in well over an hour, he bounces between those previously deployed stylistic traits, but also throws in a few new ones as well – most notably new wave, indie rock and ambient electronica. It all makes for a dazzling, eclectic and richly textured listen.

The first part of the record in particular is simply one of the best opening six track runs I heard in the whole of 2022. Opener Afterneath begins ominously before Paolo’s vocal screeches engulf the space, carrying with them strong shades of Zeppelin-era Robert Plant. From there the track rumbles on like a freeform jam session, overlaid with Paolo’s hypnotic spoken verse and snippets of 1993 classic crime film True Romance (which Tarantino even gets a songwriting credit for here). It’s a startling beginning to the record, as Paolo then brings things back to more familiar territory with stunning soulful rock track Radio (which you can hear above), with its glistening guitars and spine-tingling, repeated cries of “I want love.”

Lead single Through The Echoes is up next, an exquisitely crafted, stripped back love song where Paolo’s heartfelt vocals are the star of the show. Acid Eyes then might be my favourite from the record, with its instantly memorable refrain and jangly melancholic guitars, sounding a bit like Because of the Times-era Kings of Leon. Stranded Words may be branded as an interlude but is a great track itself, with Paolo’s Celtic tones speaking softly in a hymnal-like way over some quiet synths. Subsequent track Lose It then rounds off this incredible opening run, entering from the other end of the spectrum as a raucous guitar-driven rock track but with a tinge of gospel thrown in too.

However, it’s not just the opening section where this album radiates out the speakers, there are plenty of gems lurking in the latter half of the record too. Everywhere starts off quiet and subdued before erupting into a huge crescendo of soaring guitar riffs and soulful cries. Children of The Stars is then a wonderfully mesmeric and bluesy number whilst Desperation is a pulsating Strokes-esque jittery rock track, which culminates in probably the album’s finest guitar passage. The album then eventually draws to a close with epic penultimate track and seven-minute-long ballad Take Me Take Mine. Once your ears have wandered through its labyrinth of spacey synths and dreamy guitars, Dylan-inspired acoustic track Writer then ends the record on a heartfelt and reflective note.

You almost get the sense this was Paolo’s lockdown project, with him passing the time by just having fun with his instruments and exploring these different sounds. The album art for Last Night In The Bittersweet is Paolo sat in a room with an array of instruments around him and that really is the record’s whole vibe - like you’re sat in a room with him as he’s playing you this eclectic range of songs. Whilst I still think it may be a touch too long, on the 12 or 13 tracks where it does hit, you’ll be completely swept away by the raw brilliance of Paolo’s vocal and songwriting talents.

Best tracks: Radio, Acid Eyes, Through The Echoes

Listen here

#new music #best new music #albums of the year #album recommendation #album of the year #best of 2022 #best of the year #aoty #aoty 2022 #best albums of 2022 #paolo nutini #last night in the bittersweet #radio #Youtube

[curlykytta]

Tropes YYY left for dead:

Non-consent/Rape/Assault

Jealousy

Lack of communication

Cheating

Unresolved love triangles

Lying

“Gay panic”

Enemies of the couple/non-supportive friends (or worse, friends trying to sabotage)

Manipulation

Homophobia

Tropes YYY Brought to Life: 

Spacey Odyssey Love Story

Washing Machine Alternate Universe

The tree fairies from Sleeping Beauty as apartment managers

Nott and his bottomless bag

Found family

#yyy the series #yyy nott #nottpun #porpla #tropes #lay taylay #yoon phusanu #poppy ratchapong #yyy really @ every popular bl #and said die #now heres some magic