Dating Fender jazz

Prepping for (almost) 400 new entries to the IEM Ranking List.

2020.11.08 17:24 crinacle Prepping for (almost) 400 new entries to the IEM Ranking List.

Yep. There are about 470ish entries on the ranking list now, so the new update would (almost) double that to about 860ish.
Basically, what I'm trying to do now is to keep parity between the ranking list and the measurements database. I've put this off for quite a long time since I felt like I could do articles for every single one of them, but with the current review backlog it seems more and more likely that that isn't happening.
So rather than procrastinate forever, I guess it's time to just buckle down and put all of these into The List™ before the backlog stretches out any further. I'll be working on this here and there in between reviews and articles, but don't expect this to be done anytime soon given that each entry takes about 5-10 minutes to complete (formatting, ranking considerations, comment writeups, price checks etc.). So at the very best case scenario, the whole thing would require about 30+ man hours to do. And that's not including final arrangements and re-distributions afterward, plus having to log all changes down into a separate sheet...
Anyways it'll be done when it's done, no estimated completion date. In the next few days I'll be opening up the raw ranking sheet up for Patreon subs who would like a sneak peek.
The list of IEMs to be added:
God dammit that's a lot
submitted by crinacle to inearfidelity [link] [comments]


2020.10.25 06:13 bankyVee Fender Blues Junior III story +questions

I recently bought a BJIII used after hearing it side by side against a IV and a Roland Jazz Chorus 40. I bargained the price down to $375 from $400 which I thought was fair. Then I brought it home....
So far, I upgraded the LED, collar and jewel to make it like a regular Fender blackface or silverface amp. It appears that all of the circuit board is original (IC capacitors) except for the reverb wired connections. I would like to install a standby power switch and a switchcraft 1/4" jack for the input. The power tubes may need changing but overall I'm happy with it so far. The BillM links are gone- has anyone upgraded their Blues Juniors (3 or 4) and if not done themself, where ?
submitted by bankyVee to fender [link] [comments]


2020.10.17 07:05 Screeching_Shards Just got a Rickenbacker bass. Here are my first impressions. It's not all gloom and doom!

So I've been lusting after a Rickenbacker 4003S for the last 15 years and today mine finally arrived. I've played older 4003s and 4001s in shops, and I've seen some varied opinions here so I thought I'd share some of my impressions of this one so far.
First, the cons:
Next the pros:
Lastly, the...neutrals?
tl;dr I'm satisfied with my purchase but I would recommend trying to play at least one Rickenbacker bass in a store before buying one anywhere to see if they're a good fit for you, because they won't be a good fit for everyone.
Now to do some mods, give it a proper setup, and put some Rotosound 66s on it! https://i.imgur.com/AS7tJe8.jpg
submitted by Screeching_Shards to Bass [link] [comments]


2020.09.23 18:58 DayWaveGod Day Wave - Knowledge Base (Headcase / Hard to Read)

Aight, here is everything I know about Day Wave - taken all from interviews and photos available online and AMA's.
Day Wave is a solo project by the Bay Area native Jackson Phillips. He started the project in late 2014 after pursuing a somewhat successful electro-pop band called Carousel. The switch was made because he wanted to produce more guitar-centric music similar to the bands he was into at the time; New Order, Joy Division, The Beach Boys, The Cranberries, Smashing Pumpkins - so he started Day Wave.
He initially didn't know what to call the band until his friend wrote out a list of potential names. Day Wave was one of them, and it stuck. (Night Wave was an option, lol).
Headcase / Hard to Read / Just Give In + Never Going Home
Jackson wrote his first two EP's in his basement in Oakland; Headcase and Hard To Read. He had just purchased an electric guitar (telecaster), learned how to pick, and started writing Day Wave songs immediately. The first three songs written were Promises, Nothing At All, and Total Zombie. Promises has a different vibe than the other early tracks, it is more hopeful and positive, it did not make the first two EP's but his later album; The Days We Had.
The most successful song on the first EP was "Drag". Interestingly enough, Drag was almost scrapped while Jackson was working on it. It took a few revisions and some restructuring before he changed his mind. He didn't think much of the song but his manager really wanted to push it. It was uploaded to soundcloud and took off via hypemachine. Now it his most popular to date. In his AMA Jackson mentions he had a harder time writing Drag than any other Day Wave song.
During this time period he met Eleisha Caripis (Hazel English) at a book store after taking his synth off to a nearby store to be serviced. He discovered that they shared similar tastes in music and that she was interested in writing her own. They began meeting regularly to record songs, which ended up being English's double EP; (Just Give In/Never Going Home). Jackson recorded all instruments and provided backup vocals on the album
These three EP's were completely self-recorded, mixed, and mastered by Jackson, with the exception of Hazel English's vocals.
Instruments:
Fender Telecaster - 1964 AV Reissue
Fender P-Bass
Fender Jazzmaster
Fender Blackface Deluxe Reverb (Blackface)
Fender Bassman (Bass amp)
DW Kick Drum
Yamaha Maple Custom Absolute Snare - 6" or 5.5" (muted)
Roland TR606 - "Drumatix"
LinnDrum
Juno 6 synth (Broke later and got a Juno 60)
Shure SM57
Sennheiser e835
TEAC A-2300S reel to reel (Vital to the semi lo-fi sound)
Software:
Logic 9
Waves GTR Stomp (Spring Reverb and Reverb)
API 560
CLA-3A
All instruments were recorded hot through the TEAC A-2300S which really pushes the analog saturation. Drums were recorded as one shots of the kit he owns and sampled over top of 606 samples.
Pedals (Used live):
Juno - Cathedral Reverb
Guitar Pedals:
Sludgehammer Fuzz
Tone Candy Spring Fever
Mooer King Ensemble Chorus
Mooer PureBoost
Influences:
Diet Cig - Over Easy EP (Strumming patterns)
Total Zombie - Disorder Joy Division (Guitar lead line)
We Try But We Dont Fit In - Perfect by Smashing Pumpkins (Lead Line)
Hazel English - Control - Dreams by The Cranberries (Lead line)
Touring members;
Jackson Phillips - SingeRhythm Guitar
Kevin Friedman / Alex Lasner - Lead Guitar
Henry Moser - Bass
Jack Moser - Synth (Henry's brother)
Nick De Ryss - Drums
Jackson met Henry in middle school and they played in a few bands together growing up - eventually transitioning into jazz music. Jack is Henry's older brother, I believe Nick and Alex were friends from middle / high school as well. Jackson met Kevin in college - I think they were roommates.
Will continue as I have more time
submitted by DayWaveGod to daywave [link] [comments]


2020.09.08 19:52 BeastleyTV Help dating Squire Jazz Bass

I picked up two basses this weekend for next to nothing that both needed a bit of TLC. The first was a 1995 Ibanez SR505 that was just missing knobs. I was looking for a good deal on a 5-string Ibanez, and this was the reason I bought the pair. The other bass in the deal was a Squire Jazz Bass that was pretty beat up. I'm trying to put a date and relative value on the Squire to help me decide if I want to put the effort into restoring it. I know some of these older Jazz basses have some value. The serial number lookup left me a bit confused though. Here's the details.
The headstock has the Squire logo in black writing, and says "Made in Korea" on the back of the headstock by the serial number. This would lead me to think it was one of the lower quality ones made from 92-95. However, what I read says that those should have a serial number starting with. CN2, CN3, or VN4. Mine doesn't. It starts with E4 followed by 5 other numbers. So it's an E followed by 6 digits. The site I used leads me to believe that this were made by Young Chang, but it doesn't reference a year or build quality.
Any help you FendeSquire gurus can give would be much appreciated.
submitted by BeastleyTV to Bass [link] [comments]


2020.08.10 23:14 Sam-m321 I am trying to date the body on this jazz bass. There is no date anywhere on the body other than “5277” on the neck plate. It’s a vintage fender replacement body due to the medallion on the back. I believe these are 70’s-90’s. Lmk if you have any info about these replacement parts or the date

I am trying to date the body on this jazz bass. There is no date anywhere on the body other than “5277” on the neck plate. It’s a vintage fender replacement body due to the medallion on the back. I believe these are 70’s-90’s. Lmk if you have any info about these replacement parts or the date submitted by Sam-m321 to Vintageguitars [link] [comments]


2020.07.04 16:44 Muzak_For_A_Nurse Your Favorite Prog Artist Tournament: Round 1.3

Hey everyone! It's time to get the first round of the tournament underway! There will be two rounds a day, so look for the other poll once you've voted. Also, please upvote so more people can see the poll and vote.
This matchup is the third of sixteen groups in the first round. The top four highest vote-getters will advance to the next round.
In this tournament, it's ok to vote against artists you haven't heard. But I encourage you to check out a song or two of an artist that grabs your attention!
Yesterday's results:
Group 1
Advanced:
1-seed: Jethro Tull (584 votes / 41.48%)
2-seed: Led Zeppelin (452 votes / 32.10%)
3-seed: Electric Light Orchestra (191 votes / 13.57%)
4-seed: U.K. (70 votes / 4.97%)
Eliminated:
Cardiacs (59 votes / 4.19%)
Uriah Heep (52 votes / 3.69%)
HOW DARE YOU DO THAT TO CARDIACS, ON TIM SMITH'S BIRTHDAY OF ALL DAYS???????
Here are the introductions for today's artists. I encourage you to write an introduction for some of your favorite artists that are coming up tomorrow!
Gentle Giant
Subgenre: "Eclectic prog"
Nobody actually wrote an introduction for them (I think I was unclear in yesterday's thread that I was still looking for them).
So here's their ProgArchives page, copied and pasted:
GENTLE GIANT is known as the paradigmatic progressive rock band. With an uncomparable musicianship, they went as far as no one ever did into unexplored grounds in the progressive music, navigating over dissonant 20th-century classical chamber music, medieval vocal music, jazz and rock. The multi-instrumentation capabilities of the musicians gave such dynamic to their music, which set parameters to a whole coming generation up to these very days. They explored Moogs, Mellotrons and Fender Rhodes usage with such majesty! Not to mention other instruments like oboes, violins, cellos and horns among others.
The band was able to come across the 70's maintaining an outstanding level on their music, altering their style over the years and keeping the quality as only a few bands were able to do. Among their magnificent discography, all the albums from "Acquiring the Taste" through "Playing the Fool" are essential progressive rock releases (with the possible exception of "Interview"). This portion of the band's career would see a fittingly grand conclusion on the live "Playing the Fool" album. What more is there to say about these masters of progressive music?
I'd recommend checking out Octopus, these guys are very unique.
Queen
Subgenre: you've already heard of them, and I can't think of an appropriate subgenre anyway
"Of course you’ve all heard the name before. How could you have not? And from the last tournament I can tell that some people on this sub hate them and are sick of hearing Bohemian Rhapsody. But the fact is, you can’t deny the amazingness of their music.
When they came out with their self-titled debut in 1973, their sound combined the heavy riffs and energy of bands such as Black Sabbath and Deep Purple with the fantasy and folky elements of bands like Genesis and Jethro Tull, creating a great heavy prog album that was described at the time as “Led Zeppelin meets Yes.” However, their sophomore effort in 1974, appropriately titled Queen II, is the true greatest masterpiece of their catalogue and one of my favorite albums of all time. It has a similar heavy prog sound as their debut, only the songs are better and even proggier, and there is more of an emphasis on theatricality. That same year they released Sheer Heart Attack, which was a more simplified yet fantastic hard rock album that still contained some elements of prog. In 1975, they released their most well known album, A Night at the Opera. It is their most popular for good reason, as it is extremely diverse, almost every song is a different genre, ranging from hard rock to music hall, pop, prog, folk, and metal. Their 1976 album A Day at the Races was similar to its predecessor in that it blended many different genres and styles.
Starting in 1977, Queen became a much more radio-friendly band. They still made good albums in the late 70s and 80s, but for me, those first five albums are the reason why Queen gets my vote tomorrow and the reason why they are one of my all time favorite bands.
Just a few of their best songs: My Fairy King, Liar, Father to Son, White Queen (As it Began), Ogre Battle, The March of the Black Queen, Brighton Rock, Killer Queen, Flick of the Wrist, Now I’m Here, Death on Two Legs, The Prophet’s Song, Love of My Life, Bohemian Rhapsody, Somebody to Love, White Man"
from u/PinkHeno
"If no Queen has been taken as talk of the band then I'd be glad to take part!
Not a prog band per say, Queen is, to me, a band that wanted its own identity when classic prog-rock/any 70s movement started (pink floyd, yes, genesis..). They started as a small band who emphasised in an opera/movement/classic styled based. Their 1st album wasn't as successful but their 2nd (queen 2) whith 7 seas of rhye started making their name. They then started their long lasting pinacle with night at the opera (bohemian rhapsody) album and day at races (somebody to love).. We all know they where great. What made them different was their unique singer and music. Very talented musicians (Brian may invented his own "style" we acknowledge nourdays) and an idea of how to earn audience. Of course their later works aren't prog at all. Radio gaga, T7 though brilliant, is pure pop. Nonetheless their 70s albums are defo prog. The songs to listen to? (not including hits like bohemian rhapsody)
Ogre battle Progish songs to listen to : March of the Black queen( my fav) Seven seas of rhye '39 Prophet's song You and I Sail away sweet sister Teo torriatte Brighton rock Killer queen
The early albums should be listened to more in a whole. They really tried to create that concept type album and their early stuff was truly progrock written (imo). Anyway don't regard them as the we will rock you, bohemian, radio gaga band, but rather as a new styled rock band (with Mercury touch) who decided to go for singles and public liked songs, that remain great and true to their sound /image"
from u/RdClarke
Rick Wakeman
Subgenre: Progressive Keyboard Shredding?
It's not really fair that Rick Wakeman is up against himself in Anderson Bruford Wakeman Howe. This may split the vote for both. But since no one wrote a description, and the person running this tournament hasn't even listened to him, I thought I would say a few words. Rick Wakeman has been very prolific outside of Yes. He has some amazing epic progressive rock albums, such as The Six Wives of King Henry VIII, Journey to the Centre of the Earth, and The Myths and Legends of King Arthur and the Knights of the Round Table. I had No Earthly Connection and Rhapsodieson LP back in the 80s, and these are both enjoyable too. He has a lot more albums than I have listened to. Many of them are performances of his greatest hits, which makes finding the original albums a bit difficult. One good collection I picked up on CD during the 90s is called Rick Wakeman's Greatest Hits. It includes one CD of his own music and one CD of him playing synthesizer versions of Yes songs. But it seems to be missing from Spotify. Another good one is Tales of Future and Past. One of the nice things about this one is the narration-free version of Journey to the Centre of the Earth. For Yes covers, Spotify has Two Sides of Yes. I don't think I have listened to this one yet.
from u/fduniho
"Here’s a fascinating article about Rick Wakeman’s solo career. According to this article, he has 122 (!) solo albums. https://www.vanityfair.com/style/2020/06/the-stranger-than-fiction-secret-history-of-prog-rock-icon-rick-wakeman"
from u/AretZorn
Harmonium
Subgenre: Progressive Folk
"Harmonium is quite unique in the prog space, and not just because they're French. They are probably the least heavy "prog" band I can think of and hardly feature electric instruments at all. Lots of acoustic guitars and vocal melodies, as well as piano and flutes (and harmonium).
Song recommendations:
Harmonium: the ending is soooo good
Lumieres de Vie: Their best song in my opinion. Great all the way through, and the ending is the icing on the cake.
Depuis L Automne: another excellent catchy build-up and ending to top off the song
Histoires Sans Paroles: 17 minutes long, featuring lots of flutes
Album Descriptions:
Their first album, Harmonium, is probably the least proggy. Honestly not sure how to describe the feel. The songs are shorter than on subsequent albums, and tend to have a more upbeat folky, sometimes jazzy feel, often with catchy repeating melodies towards the end. Top song picks: Harmonium, Un Musicien Parmi Tant D Autres.
Their second apbum is Les Cinq Saisons. This album has a few longer songs, which allows instruments like flutes and piano to feature more prominently. The more dramatic parts of the album are offset with very light-hearted sections, as well as really enjoyable repeating melodies like those on the first album. Top Picks: Histoires Sans Paroles, Depuis L Automne, Vert.
L'Heptade is their third and final album. This one is very different than the other two, and has a more serious/dramatic tone as a whole. Less of a focus on acoustic guitars (though they are still prominent), leaving more room for piano and orchestration. Top picks: Lumieres De Vie Is a personal favourite, but just about every song is great."
from u/TheAssCrackBandit
(Even if you're not into progressive folk, check out Les Cinq Saisons - it's beautiful, the only one I've listened to by them.)
Anderson Bruford Wakeman Howe
"Anderson Wakeman Bruford Howe (and Levin!) is a partial reunion of the classic early 70s Yes line up minus Chris Squire.
It came about when three of the members were free and Jon Anderson left Yes in the late 80s for various reasons. With Tony Levin (presumable brought over with Bruford because King Crimson), they recorded their first and only album, AWBH.
One thing to note is a lot of the album was recorded separately, amd and the tracks were just combined at a later date.
The stand-out track is Brother Of Mine, but the record has some other decent cuts. However, it has its rough moments.
The band only recorded one studio album for recombining with Yes for Union. The less said about that... the better.
Overall a decent enough group but nothing more than a brief late 80s early 90s curiosity for Yes completionists, although there are some good cuts."
from u/ProgAdict102
"Anderson Bruford Wakeman Howe reunited four members of the classic Yes lineup that produced Fragile and Close to the Edge. Despite that, this is a much more energetic album than those two were. Its energy is comparable to the earlier Drama album or The Ladder, which would come a decade later. It has several great tracks on it. Some of the best include "Themes," "Fist of Fire," "Brother of Mine," and "Order of the Universe." At the time it came out, "Brother of Mine" conveyed the joy of having these Yes members reunite together. Each was my favorite Yes member for his position in the band, and I was happy to have them all together again, especially considering that Anderson was the only one among them who was still in Yes when I actually discovered the band during the early 80s.
Thanks to Squire not being involved, they could not use the Yes name, and they recruited Tony Levin, who had worked with Bruford in King Crimson, to play bass. Overall, this was a joyful, upbeat, and positive album. It's overall quality may be comparable to or better than Drama or 90215. It wasn't long before the members of this band rejoined Yes for Union, which brought together two Yes lineups on the same album. While Union and the The Ladder would approach some of the greatness of this album, Yes never really put out another studio album that was as good as this one. This may be because Yes never had this much talent in one lineup again. Bruford left after Union, Wakeman left after Keys to Ascension, and Anderson had health problems that kept him out of Yes after Magnification, leaving Howe as the only one still in Yes. Although Anderson and Wakeman are back together in a rival lineup of Yes with Trevor Rabin, neither of the current Yes lineups has produced anything nearly as good as this album."
from u/fduniho
Devin Townsend
Subgenre: Progressive Metal (but especially unique)
"How does one write an introduction for Devin Townsend? The guy oozes love for exploring music creation and entertaining his fans, which ended up in him having done extreme metal, punk, prog rock, metal musicals, ambient, country, pop metal and currently writing a symphony. You just can't cover his carrier without writing an essay... Let's say he's particularly well known in his prog material for his wall of sound songwriting and producing (which he does by himself) and his wide vocal range (A1 to C♯7 according to the range planet forums). His prog works span over all his carrier, with albums such as Ocean Machine (1997), Terria (2001), Synchestra (2006), Deconstruction (2011), Transcendence (2016) or Empath (2019).
His music talks better than I do, so here are some recommandations to cover this span, one for each of these albums, in reversed chronological order: Genesis (this mess song explores a whole lot of his carrier styles), Failure(strong Villa Strangiato feel in the middle part), Deconstruction (most complex song in this list, a very metal song about... cheeseburgers?), Triumph (includes a solo from Steve Vai, who helped 21yo Devy launch his carrier by having him as lead-singer on one of his albums), Deep Peace (soothing, with a nice solo), The Death of Music (quite simple instrument-wise, but what a song, a fan's favorite)."
from u/-DeadHead-
"I tried to write an introduction to Devy, but failed miserably. Just has too much stuff and everything is so unique, there are no words to describe it. Go listen to his work, that's the only way you can get a sense of how [literally every adjective here] it is."
from u/kofeco
(Ocean Machine: Biotech and Terria are two of his most popular albums, for anyone who wants to try him out.)
Here are tomorrow's artists - I definitely encourage you to write an introduction (however long or short you want) in the comments!
I'll be back tomorrow with results and a new thread!
View Poll
submitted by Muzak_For_A_Nurse to progrockmusic [link] [comments]


2020.05.15 22:00 ModernJazz-2K20 A Beginner's Guide to the New Jazz Generation Jazzwise

This is a great place to start if you're not in tune with modern era jazz artists.

Theon Cross, Nubya Garcia, Joe Armon-Jones, Moses Boyd
https://preview.redd.it/dh27ubgsfzy41.jpg?width=800&format=pjpg&auto=webp&s=f792ca36f8216c8cb64145ce66d03dfaeaf78c71

SEED ENSEMBLE

Driftglass

Jazz re:freshed
Cassie Kinoshi (as), Miguel Gorodi, Sheila Maurice-Grey (t), Chelsea Carmichael (ts, f), Joe Bristow (tb), Theon Cross (tba), Joe Armon-Jones, Sarah Tandy (p, Fender Rhodes), Shirley Tetteh (g), Xana, Cherise Adams-Burnett, Mr. Ekow (v), Rio Kai (b) and Patrick Boyle (d)
Though Cassie Kinoshi is fully aware of 1960s American civil rights suites such as her alto icon Jackie McLean’s It’s Time!, they didn’t directly influence this debut, with its distinctly British roots and concerns. Perhaps the most concerted attempt so far at a major album from a generation of young London players more attuned to performing, Driftglass draws on Afrofuturism for its hopeful scope, our musical melting-pot for its sound, and Kinoshi’s classical studies for its structure.
Social engagement has again inspired ambitious black American music in these fractious, urgent times, but local racial oppression and liberation animate these songs. ‘The Darkies’ suggests post-war British films’ seedy, street-level jazz noir even as Debussy’s ‘The Golliwog’s Cakewalk’ threads through the tune, trailing both beauty and its title’s archaic presumptions. Poet Xana adds transcendent tower-block dreams in which, “my heart bursts out of my chest like a rocket/As I gather stars in my pocket”. Grenfell Tower’s stubborn symbol of murderous social schism stands accusingly at the record’s heart, as ‘Wake (for Grenfell)’ turns a Langston Hughes line into a mournful work-song chant, pointedly soured by Kinoshi’s tart alto tone.
The SEED Ensemble is another permutation of the London scene’s currently omnipresent players, and their individuality is crucially encouraged. Sarah Tandy splits keyboard duties with Joe Armon-Jones, but it’s her Rhodes’ glistening, slow flow which adds impressionistic colour, on ‘Mirrors’ especially. Lacking the obvious thematic baggage elsewhere, that tune floats free into its own atmosphere. Both the songs’ rigid overall structures and occasionally slack development hold Driftglass back from greatness. But Kinoshi’s debut bursts with often achieved ambition, and time is on her side. Nick Hasted
Cassie Kinoshi Interview

https://preview.redd.it/8ezujto1gzy41.jpg?width=1200&format=pjpg&auto=webp&s=81f773b4b867d73900378595bae8fa6ae89dac4f

NÉRIJA

Blume

Domino
Nubya Garcia (ts, f), Sheila Maurice-Grey (t), Cassie Kinoshi (as), Rosie Turton (tb), Shirley Tetteh (g), Rio Kai (b) and Lizy Exell (d)
This long-awaited debut album from one of the most exciting young groups on the UK scene sounds like classic Blue Note with a contemporary London twist. On ‘Riverfest’, ‘Partner Girlfriend Lover’ and ‘Unbound’ strong melodies, richly-scored for the horns, and clever orchestral touches meet bustling grooves stitched with the distinctive silvery lines and creative chord-work of guitarist Shirley Tetteh.
‘Last Straw’ brings funk-rock grit and a bracing solo from trumpeter Sheila MauriceGrey (you could hear it in a 1970s detective movie or the soundtrack to Don Cheadle’s Miles Ahead). And Cassie Kinoshi’s ‘EU (Emotionally Unavailable)’ goes hard, leaving acres of space for the rhythm section who lay down a loose, grungy groove while Kinoshi’s alto spits anguished fire. Later on they shout out hip-hop as Nubya Garcia’s flute whirls through a cloud of effects. The title-track – all ethereal vocals and fluttering guitar – is split in two and returns at the very end. It’s a blissful conclusion to an excellent debut. Thomas Rees
Nerija Interview


https://preview.redd.it/znzd7cofgzy41.jpg?width=800&format=pjpg&auto=webp&s=29acc721a43e41cc93e1f2c5e947da607e67645b

MAISHA

There Is A Place

Brownswood
Jake Long (d), Nubya Garcia (ts, f), Amané Suganami (p, wurlitzer), Shirley Tetteh (g), Twm Dylan (b), Tim Doyle (perc), Yahael Camara-Onono (perc), Axel Kaner-Lindstrom (t), Johanna Burnheart, Barbara Bartz (vn), Tom Oldfield (clo), Madi Aafke Luimstra (vla) and Maria Zofia Osuchowska (hp)
Maisha brings together some of the stars of the young London jazz scene under the leadership of drummer and composer Jake Long. There Is A Place is their debut album and it’s one hell of an opening statement – echoing the work of spiritual jazz greats, including Pharoah Sanders and Alice Coltrane, and working in the infectious rhythms of West Africa.
‘Osiris’ is a dazzling start – a sonic Big Bang that unleashes the album’s lush, richly-textured soundworld. ‘Azure’ and the title-track evoke the tranquility of a Japanese garden, with Garcia adding wisps of flute; while ‘Eaglehurst/The Palace’ and ‘Kaa’ are swaggering and edgy. Here the band’s percussionists and the ticking guitar riffs and jabbing chord work of Shirley Tetteh come to the fore – bringing insinuations of Afro-beat, highlife and funk.
Long has also written some superb arrangements for a guest chamber ensemble, which make the album sound vast. The strings add folky sighs and shimmering clouds of dissonant notes, building beneath the soloists and carrying them higher. There will be inevitable comparisons with Kamasi Washington. Personally, I find Long’s writing more interesting and every bit as cosmic. One of my albums of the year. Thomas Rees


https://preview.redd.it/g0vycvdjgzy41.jpg?width=800&format=pjpg&auto=webp&s=3b9f19b0790685073639f0830fc496bb19a4fb44

THE COMET IS COMING

Trust In The Lifeforce Of The Deep Mystery

Impulse!
Shabaka Hutchings (s), Dan Leavers (ky, syn) and Max Hallett (d)
The Comet Is Coming’s name alludes to apocalypse and a sense of human proportion in the cosmos, diving into religious and scientific concepts of end-times and rebirth. This second album confirms UK jazz’s pop culture resurrection while they’re at it. Where Sons of Kemet add Afro-Caribbean roots and ritual to current London music, Shabaka Hutchings helps reach for future visions here.
Updating spiritual jazz for a sci-fi age, Dan Leavers’ east London studio was fully utilised in his and Max Hallett’s flowing, precise production. But though Blade Runner’s soundtrack sometimes inspires Leavers’ synth glides, this is human, not cyborg, music. Big bang-expansive, relentless and restless, with Hutchings’ sax an attacking, integrated element in a bigger sonic picture, it could be played at a rave or place of worship, festival field or urban club. During ‘Blood of the Past’, a clearing appears for poet-rapper Kate Tempest to plead for, “a more soulful connection to land, and to lovers”; “Unable to listen, we keep speaking,” she adds, in an incantation against denatured life which resolves into a climbing Hutchings cry, beats slamming as if into soil.
The dance-floor transcendence of ‘Super Zodiac’ features some of Hutchings’ most exciting playing, his dancer’s feint into its final climactic seconds sending the whole album over the edge. Offering off-beat grime accents elsewhere, Hallett is the Elvin Jones-like energy core of ‘The Universe Wakes Up’ as Hutchings ascends, untroubled, cruising between modal hyper-speed and free rawness, Coltrane rising into view like a lost star. Nick Hasted


https://preview.redd.it/szy37vvugzy41.jpg?width=800&format=pjpg&auto=webp&s=8e5abec50e03c88fcb248dbbab414f1d375305bf

JOE ARMON-JONES

Turn To Clear View

Brownswood Recordings
Joe Armon-Jones (ky, syn), Moses Boyd, KwAkE BaSs (d), David Mrakpor, Mutale Chashi (b), Oscar Jerome (g), Nubya Garcia, James Mollison (ts), Dylan Jones (t), Asheber, Georgia Anne Muldrow, Jehst, Obongjayar and Luke Newman (v)
Fans of Ezra Collective and Nubya Garcia will be familiar with Joe Armon-Jones' soulful keyboard playing, but his second album also establishes him as a gifted composer and producer. Created in collaboration with Maxwell Owin, Turn To Clear View is a beautifully crafted journey through jazz-infused neo-soul, dub, Afro-beat, broken beat and hip-hop that feels like a wander through Armon-Jones’ record collection or a cult mixtape called something like ‘Sounds of London 2019’.
There are some big tunes here, among them ‘Yellow Dandelion’ (a standout feature for vocalist Georgia Anne Muldrow) and ‘Gnawa Sweet’, with its mellow horn lines and killer outro (bassist Mutale Chasi and drummer KwAkE BaSs really dig in). ‘Icy Roads (Stacked)’ is blurry and euphoric, ‘You Didn’t Care’ is a powerful tenor feature for Nubya Garcia and ‘The Leo & Aquarius’ is a neo-soul jam sandwiching a few choice verses from rapper Jehst.
It’s as much about the little details though: the electronic murmurs and snippets of endearingly mindless studio chat, spectral field recordings and blurred sax arpeggios (very To Pimp A Butterfly) that segue the tracks and give the whole thing such a wonderful sense of flow. Turn To Clear View is full of personality, which ties in nicely with the album’s message, hinted at in ‘Yellow Dandelion’ and confirmed by vocalist Obongjayar’s husky encouragement on the final track: “Be yourself”. Thomas Rees


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ASHLEY HENRY

Beautiful Vinyl Hunter

Sony
Ashley Henry (p, ky), Theo Croker, Keyon Harrold (t), Judi Jackson (v), Sparkz (rap), Daniel Casimir (b), Eddie Hick, Marijus Aleska (d), Artie Zaitz (g), Makaya McCraven (d), Binker Golding (ts) and Moses Boyd (d)
London pianist Ashley Henry has made significant steps forward over the last five years or so by holding down several invaluable gigs as a sideman with fine British and American bandleaders – Theo Croker, Keyon Harrold, Jean Toussaint among others – as well as developing his own music. This debut long player is very much a consolidation of his progress to date and the presence of the aforementioned as well as some of the young Turks of UK jazz – Binker & Moses, Daniel Casimir, Eddie Hick – makes this a transatlantic affair with a contemporary edge.
As he made clear on last year’s Easter EP, Henry is plugged into the populist source of black music and the marked hip-hop and soul sensibilities of the material reflect the inspiration drawn from the likes of Robert Glasper among others. A confident yet measured soloist, Henry is also a producer who is concerned with the challenge of both songwriting and beat-making, and some of the most accomplished pieces on the record see him balance these skills with guests such as Mancunian rapper Sparkz and London-based American vocalist Judi Jackson. An auspicious account-opener from a talented player whose commercial appeal does not come at the expense of his artistic integrity. Kevin Le Gendre
Ashley Henry Interview


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BINKER GOLDING

Abstractions Of Reality Past & Incredible Feathers

Gearbox
Binker Golding (ts), Joe Armon-Jones (p), Daniel Casimir (b) and Sam Jones (d)
Saxophonist Golding shows his versatility on an enjoyable set. This is a markedly different proposition to the duos formed with Moses Boyd and Elliot Galvin insofar as there is less abstraction in the material, and the additional resources of the quartet are deployed with suitable flair and restraint.
Mostly set at ambling mid-tempo, the tunes are all Golding originals that show the strength of the blues as an ongoing source of musical inspiration as the leader investigates its various related idioms, from 1960s hard bop to 1990s neo-soul, all the while retaining a strong composer’s signature. Themes are clearly mapped, sometimes with a dancing quarter-noted led character, sometimes with more wistful long tones, and Golding’s improvisations are well-paced developments that build steadily rather than rushing towards a crescendo, allowing effective input from a rhythm section whose cohesion has been honed through extensive work with artists such as Nubya Garcia.
The occasional forays into reggae-inflected territory also appeal, and if Sam Jones’ crackling rimshots are particularly resonant then the imprint of legendary engineer James Farber, who mixed this in New York after the session was done at Abbey Road, is worth noting. At its peak this album has some of the modernist gospel finesse of Billy Harper, but Golding asserts himself convincingly as a writer-player who has an appealing voice of his own. Kevin Le Gendre


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THEON CROSS

Fyah

Gearbox
Theon Cross (tba), Nubya Garcia (ts), Moses Boyd (d), plus Wayne Francis (ts), Artie Zaitz (el g), Nathaniel Cross (tb) and Tim Doyle (perc)
Having built momentum with EPs, gigs and a gathering media storm, many of London’s new jazz generation are finally making their album debuts. Tubist Theon Cross has already made his name on LPs with Sons of Kemet – Fyah, though, helps define how a changing London is changing jazz.
The fat tuba squelch reverberating through the first seconds of ‘Accelerate’ is a statement of intent matched by the runaway, intricate momentum which follows, from a dream trio completed by Nubya Garcia and Moses Boyd. As dance music, this is funk turned inside-out, finding off-kilter rhythmic emphasis under grime’s influence.
Cross and Boyd are tireless, Blakey-esque engine rooms for the new beat, which they speak as a native tongue. ‘Panda Village’, meanwhile, uses synths to add a gleaming sheen, production technique no longer a shibboleth in UK jazz studios. As important as Cross’s borrowing from contemporary musical contexts are the elements he retains from jazz. ‘Letting Go’ is all whispered hi-hat hisses and subtle interweaving by Cross and Garcia. ‘CIYA’ is boppishly beautiful, like a lost Blue Note tune. Cross’s conversationally inviting solo, like the introspective quiet during ‘Letting Go’, offers individuality worth as much as the community this scene describes. Nick Hasted


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DANIEL CASIMIR & TESS HIRST

These Days

Jazz Re:freshed
Daniel Casimir (b), Tess Hirst (v), Robert Mitchell (ky), Tobie Carpenter (g) and Olly Sarkar (d)
Tess Hirst’s words give barbed force to Daniel Casimir’s open-hearted music, which is grounded in hard bop while exploring a wider palette. Mingus’s dramatic litany of persecution, ‘Fables of Faubus’, is adapted to our own fearfully racist moment during ‘These Days’, while over brewing Blakey-esque drums, ‘What Did I Do’ digs into Hirst and Casimir’s home streets in London’s far west, where disrupting crime and change alienate, and the singer wonders “if the patient will survive the operation”.
A bluntly titled instrumental with added Hirst lyrics imminent, ‘They Come Over Here’, is spy-movie ominous, suggesting surveillance paranoia and the Specials’ haunted ska dancehalls with the serrated edge of Tobie Carpenter’s guitar, Casimir’s jittery bass and Jerry Dammers-like, cinematic piano. Guyanese-Briton John Agard’s rebel poetry also acerbically interjects, riding Windrush currents: “Me not no Oxford don/ Me a simple immigrant from Clapham Common... I don’t need no axe/to split up your syntax.” Instrumental or otherwise, this is another bulletin from a London scene engaged and unquiet about careless injustice. Nick Hasted
Daniel Casimir Interview


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CAMILLA GEORGE

The People Could Fly

Ubuntu Music
Camilla George (as), Sarah Tandy (p, Fender Rhodes), Daniel Casimir (b, el b), Femi Koleoso, Winston Clifford (d), Omar Lye-Fook, Cherise Adams-Burnett (v), Shirley Tetteh (g) and Quentin Collins (t)
African folk tales of slavery and lost powers of flight sent Camilla George to sleep as a child in Nigeria. An enflamed imagination and restless nights must have followed, judging by spiritual jazz lullaby ‘Little Eight John’, in which Cherise Adams-Burnett warns of “raw head and bloody nose” from whatever awaits wakeful children in the unknown dark. George’s second album explores her nostalgic memories of these slavery-steeped stories.
Leading a band of peers in London’s new jazz scene, her alto playing is so sunnily optimistic that the shackles fall from her subjects, even before ‘The People Could Fly’ recalls myths of former freedom. Rattled chains introduce the sourer, knowing tone of George’s slow blues on ‘The Most Useful Slave’, followed by British soul elder Omar vocalising Curtis Mayfield’s lament for the slavery by other means of America’s drugs apocalypse, ‘Here But I’m Gone’. But George’s warmly liberated character dominates. As so often with this group of players, it’s remarkable how traditional she is on several hard-bop solos. It’s the soft power of an open heart and mind which keeps her music present-tense. Daniel Casimir’s limber funk bass and Shirley Tetteh’s sometimes Afro-funk-inflected, bubbling guitar prove the scene’s subtle variety, and their own worth as versatile, Most Valued Players.
The incubation of George’s talent in Gary Crosby’s Tomorrow’s Warriors, Courtney Pine’s Venus Warriors and Jazz Jamaica shows how determinedly British jazz’s black elders are passing torches. Flowering in a new generation, this is the sound of a woman who has already overcome. Nick Hasted

Link to article: https://www.jazzwise.com/features/article/a-beginner-s-guide-to-the-new-jazz-generation
submitted by ModernJazz-2K20 to ModernJazz [link] [comments]


2020.04.02 15:55 tacobell_enthusiast_ [RF] Liberal Arts

Francis walks like he knows exactly where he’s going, even though he’s in foreign territory. He strolls into the room, and pauses. He’s not alone, there’s another girl already waiting. She looks up from her phone, holding his gaze. It’s more than just a casual glance. A few seconds pass, and they size each other up. He looks away, and walks over to a tiny table where a stack of dilapidated magazines sits. Nothing interests him, and he looks back at the girl, she’s still staring, and she looks down at her shoes when their eyes meet again. She looks worried, but she wears a faint smile now. It’s enough for him, he sits down near her, and decides that he’s going to say something. This is the worst possible situation, and nothing comes to him. No funny observation. No witty remark. He goes for the first thing that comes to mind.
“What are you doing here?” Francis asks.
“Getting help,” She replies.
They’re sitting outside the therapist’s office at Carlow University. It’s perched in an office building overlooking Pittsburgh’s Fifth Avenue and the cars below inch at a crawl, working their way homewards - wherever that may be. Cheesy posters extolling “Teamwork,” “Dialogue!”, “Go Celtics!”, cling to the wall, there’s a bookcase stuffed with self-help and psychology textbooks. It stinks like Glade and Clorox baby wipes.
“You look like the last person that needs help.” Francis says.
“Really?” She breaks into a smile, choking back the tears that have been threatening for the past half hour, the worry haunting her expression disappears - it’s like the sun after a storm, and Francis senses that she’s someone special.
“Really. I’m fine too. But I need a cigarette. I don’t even smoke. I only smoke when I’m drunk.”
“I smoke.” She smiles.
“No way.”
She reaches for a pack in her purse. Marlboro Reds.
“No shit. Cowboy killers?” Francis smirks. “You smoke cowboy killers?”
“I usually smoke Gitanes. You say, cowboy killer?” The words form awkwardly - hesitantly, it dawns on Francis that English isn’t her first language. He swears she’s Italian.
“Are you Italian?” He asks.
She tosses her head back in laughter, the black hair tucked behind her ear comes loose and falls across her cheek. It’s almost too much and a stray tear trickles from her eye.
“Are you alright?” Francis is stupefied, raising a brow and leaning forward.
“No.” She shakes her head. “Or else I’d be somewhere else right now. Maybe a beach. Maybe in bed. My life is finished.”
“Same. I’m breaking up with my girlfriend and she said she was going to kill herself. It’s insane. My Pap told me to go talk to someone about it.” He blurts the statement thoughtlessly, and he looks away for a moment when he realizes it – he’s stressed and the cracks are showing.
“Do you want to kill yourself too?”
“No, not at all. She’s the one who needs to see someone. I’m basically going to the therapist for her, just to get advice. We’ve known each other since we were thirteen and my Pap is best friends with her parents. She’s basically his adopted granddaughter. He says he’ll quit paying for both my car and health insurance if I don’t stay with her. So here we are.”
Francis feels compelled to explain himself after sharing his initial revelation. He’s never seen a therapist, and he’s faltering – he doesn’t think it’s going to solve anything. Francis decides to open up to this girl, a total stranger. His words are honest, without the fear of judgement that comes with full disclosure to someone he knows well. He’s seen her around campus before, she was in one of his classes, but they never had a chance to talk. It’s strange, he still remembers the fun fact she shared on the first day. “My favorite band is the Rolling Stones.” It stuck with him, that’s his favorite band too.
“That’s sad about your girlfriend, but it’s funny that your Pap is uh, bullying you.” She smiles.
“Maybe.” Francis laughs. “What brings you here again?”
“I don’t know,” she says, brushing a strand of hair from her cheek.
“So, you’re just here for fun?”
“No! I actually broke up with my girlfriend too.” She laughs nervously, and freezes for a moment in anxiety – a crooked smile on her face.
“No shit.” Francis stares. She possesses a rare, imperfect beauty, and makes no attempt to mask her flaws. Dating another girl at this school is enough to make her a pariah. Carlow is a private, Catholic University located a block away from the University of Pittsburgh. The school is an afterthought, obscure to some even in Pittsburgh. There’s a convent on campus, and the social life is dead - if you go to a party, chances are it’s up the road at Pitt.
“It’s not as you think. I like men, but women too. The whole thing was a mistake. That’s why I’m here.”
“How do you accidentally date another girl?”
“It was just to, as you say, try it out, for fun, but she was too serious. I’m here abroad, I’m only here for one semester. She twisted me, as you say, um, I can’t think of the word. I just want to go home, if I even have one.”
“She screwed you?” Francis says. Picturing her going all the way with another girl floors him - it takes her to the edge, and that’s something he likes in a girl, that ability to break the mold and step outside the boundaries, to see something and pursue it. He lives life the same way.
“Yeah, um, she’s going to tell my father that we had the fling, she may have already. She’s a friend of the family, and she’s living here in Pittsburgh with a host and I stayed for one semester.” An ambulance speeds past on the street below, they glance out the window behind them. Two hospitals are located a block away from Carlow, and the sound of a meat-wagon howling past is usually enough to scare Francis awake during his lectures. Muffled conversation drifts from behind the closed door nearby. “That’s why I’m so upset. Because I will be uh, de-owned by my father.”
“You’re French, aren’t you?” Francis finally places the accent.
“Yes! But Italy is only a few miles away from where I live. That’s why I sound Italian. I live near Nice and Monaco.”
They gaze at each other. He feels it, there’s a connection.
“You’re something.” Francis sits for a moment and comes to a sudden decision. He needs a change, he’s desperate for it – he’s spent the last seven years in a relationship with the same girl, and he isn’t satisfied. This girl’s looks are captivating, with a unique, Mediterranean quality, stunning, and carefully refined. He risks it. “Listen, I’m a psych major. I bet you the guy behind that door is an asshole. Let’s go outside, and we could smoke a couple of those cowboy killers and talk this all out. I bet we’ll both get a lot more out of it. Besides, I’ve never met anyone from Monaco. I’m Francis by the way.” He offers his hand.
She takes it. “I’m Fae.” She pauses, considering the idea. “Let’s go.”
She stands and picks up her purse, she doesn’t think twice. Sometimes you meet someone, and once it happens you can’t un-see it.
“Allo!”
Fae plops into the passenger seat of the Hyundai. Through the gloom Francis can see she’s wearing one of those black, quilted jackets that reach down to the knee, black skin-tight jeans that are frayed on the thighs exposing the right amount of skin, and black Vans with the laces tied neatly. Her black hair reaches just below her shoulders, and she parts it down the middle, tucking half behind her left ear and the rest falling across her face - it’s like she’s hiding, her right eye covered, but she smiles, and her hazel eyes light up as they meet Francis’s gaze. For once he can’t find the words.
“You look great.” Francis says as she pulls the door shut behind her. The anxiety she had yesterday has disappeared. There’s something distinct in her movement, she makes the simple act of getting in the car seem smooth, effortless - sexy even. Francis is excited for tonight, but his mouth is dry and his heart is thumping, he just got off the phone with Allie - his girlfriend. He grilled her about her ‘suicidal ideations,’ and she admitted her bluff – this isn’t the first time Francis has threatened to end the relationship, and this isn’t the first time she’s responded with hysterics. “You couldn’t survive without me!” She screamed, her words still ringing in his ear. Just watch me, he told her. Just watch.
Rain patters on the windshield, and the tiny four-liter engine hums patiently as the car idles. Francis’s battered, six-year-old iPod is plugged into the sound system, and music from The Walkmen’s album ‘Lisbon’ plays low in the background.
Merci, et tu, and you I mean.” She laughs, “Sometimes I say things in French and don’t even realize, I hope you don’t mind.”
“I’ll get used to it.” Francis says as they pull away from the posh mansion in Pittsburgh’s Shadyside neighborhood where Fae has been staying. “How’s Katrine?”
“She won’t speak to me. Must we? Let’s talk about music, I’m so glad we have a common passion.”
“I’m glad too. I don’t know many girls who play the guitar.”
“Or are so good at photography.” She smiles – it’s white, perfect, framed by two shallow dimples. The car is sterile, he cleaned it earlier, emptying a half a bottle of Febreeze in the process, he is embarrassed by the huge coffee stain on the passenger side floor where Fae’s feet are now resting. Allie never cared, but Fae is immaculate and he prays she doesn’t notice.
“Photography?” Francis says, considering her statement as they make their way through the traffic on Penn Avenue, they’re hitting the back end of rush hour, and Francis tries to hone his focus as he splits his attention between Fae and the maze on the road. It’s dark, December – the rain picks up, tapping insistently on the Hyundai’s roof. The semester is almost over, and it’s reading week at Carlow. What Francis doesn’t know is that Fae has failed almost every one of her classes, she’s studying sociology, but the American classes don’t translate well to what she learned in the French system. Surprisingly, she finds the courses more rigorous in America. She doesn’t know what she’s going to do next. Francis is on track to make the dean’s list again, despite all the nights in the South Side.
“The picture I sent?” Fae says.
“Oh, yeah.” That photography. He smiles. They texted for hours after they parted ways the previous afternoon. They discussed their love of music mostly, but it didn’t take long until the conversation turned to romance. Francis eventually asked Fae what she looks for in a potential lover. She answered honestly – she wants confidence and sincerity, and she responded with the same question. Francis told her he wants loyalty and honesty. They made plans to meet up for what was essentially a date. It reached a point where Francis thought the conversation was over, until Fae sent a text that caught him off guard entirely. “Do you know how to French kiss, or am I going to have to teach you?” Francis wondered how far things would go. The next morning, he woke up to it – Fae striking a seductive pose in a mirror, in nothing but her black underwear. “That was nice.”
“I knew you’d like it.”
“I did.”
“I was expecting something in return.” There’s a playful glint in her eye.
“Sorry, I’ve only known you for twenty-four hours. I’m a prude.”
“No fun.” She says and faux frowns.
“I didn’t think you were that type.”
She throws her head back, and laughs. “I’m French!”
He laughs too now. It’s ridiculous, she’s the first French girl he’s ever met, and she has him hooked.
Francis parks near the door. The mall looms in the distance across the parking lot, illuminated by the soft yellow sodium bulbs of the street lights. The new movie theater juts out like a sore thumb, tacked on a couple years earlier. It looks like a sinking ship, and the rain is starting the gradual transition to snow. Francis catches a glimpse of himself in the car window, and meditates upon his reflection. His hair is black, cut short and styled with Garnier Fructis hair gel that sticks to the fingers and smells like a rotten fruit smoothie - it’s unpleasant, but it gets the job done. His clothes are understated yet suave, and Francis looks like someone you’d see within the pages of Vanity Fair magazine – cool, debonair, but grittier and more driven. His eyes are a grey-blue, placid, thoughtful, girls always remarking upon them, “You have such nice eyes Francis,” and he just brushes it off like always because of Allie. Francis is good-natured, and he knows it. He’s never had trouble getting along with other people, and he senses that in Fae – they’re extroverted, maybe even a little cocky.
The snow is sticking to their hair in white specks and making the ground slick. Francis’s leather jacket is too thin and he shivers. The red sign tacked to the side of the strip mall reads “Guitar Center” except some of the bulbs are out so it’s “Gut Center.”
“This place is the Walmart of guitar shops,” Francis says clicking the key fob and locking his Sonata.
“How so?” Fae asks.
“You’ll see what I mean.” Francis hasn’t mentioned that he comes here with Allie sometimes out of boredom, and they’d spend an hour or two playing every guitar and the drums, and sometimes the keyboards too. They’d leave after purchasing a pack of picks or some strings because they felt bad for disturbing the peace in the otherwise empty store. Francis had noticed at some point that they never seemed to sell the guitars, you’d come back a month or two later and there’d still be that Fender Duo-Sonic hanging from the wall, biding its time until the right player comes along.
“The weather was so nice yesterday. What happened?” Fae says as they cross the parking lot and head toward the door.
Yesterday, Fae and Francis went outside into the brisk December air on the tiny commons at Carlow University, and smoked a few Marlboros and chatted for about an hour. Fae was full of stories about her relationship with Katrine, who was the daughter of Fae’s father’s best friend. It was physical, and nothing else as she claimed, but Katrine had genuine feelings for Fae which weren’t reciprocated. Fae told Francis repeatedly that her only intention with Katrine was to experiment sexually. After a while, she asked Francis about his girlfriend. Francis realized he didn’t want to talk about Allie, but he was honest. He said he wanted to end things. “I don’t love her anymore.” He said, and he was lying. He still does, but she is smothering him - scaring the shit out of him at the same time.
Just think, if we get married, we’ll be buried together.” She had said. Allie haunts him. Over the summer, one of her cousins exchanged vows with a man she’d only known for three years. Afterwards, she fixated on the idea of marriage. “I’m ready whenever you are.” She brought it up constantly, and he played it off as best he could. Things finally came to a head, and one night she laid bare the terms of her love, and exposed just how deep it went – she’s obsessed with him. It terrified Francis, and he pushed her away, he went a week without speaking to her. That’s when things blew up. Francis loves Allie, but their relationship is like a burning building ready to collapse. On the other hand, the prospect of throwing away seven years of commitment to her gnaws on Francis – it undercuts his willingness to rush into things with Fae. The mere thought of Allie with another man is enough to incite feelings of heated jealousy. Tonight however, he pushes aside his misgivings, and focuses on Fae – she’s like a breath of fresh air.
“Do you know those guys?” Francis gestures towards the windows. Giant posters of Cobain, Lennon, and Clapton look on from behind the huge black panes, tonight Francis wishes they could speak. He trusts them – Kurt and Courtney, John and Yoko, Eric and Pattie. What would they say about Fae? And then he reconsiders, some of those relationships didn’t exactly goes as planned.
“Of course, I know those guys!” Fae gives Francis a playful shove. They hit it off yesterday, and this was agreed as just a short stop before dinner today, Friday. It was Francis’s idea after Fae mentioned she had played for years.
Francis holds the door for Fae.
“Merci!” She says as she steps through. They’re on the same wave length tonight, and there’s a palpable sense of attraction even when they aren’t talking - the way Francis keeps catching her gazing at him when she thinks he isn’t looking. Francis already knows from the short time they’ve spent together that Fae and Allie are the same type - outgoing, yet mysterious in some ways. When you look past her flaws, Allie is a girl of matchless beauty, but Fae is already proving herself.
Fae all but gasps when she sees the carousel of amplifiers, and the rows of mint-condition guitars waiting to make music. They make their way to the wall of instruments, the warmth of the indoors leading them to unzip their jackets. Fae is wearing a blue sweater over a white blouse, and something about the way the neatly buttoned collar of her shirt peeks above the neck line of her sweater looks distinctly French.
“Didn’t you say earlier you have a Fender Jaguar at home?” Francis asks.
“Oui, il est douane… uh custom. It has an uh, hum-bucker in the uh,” She makes a gesture.
“The bridge? That’s cool, and you like the Stones, right?”
“Oui! I love the Rolling Stones! I like Serge Gainsbourg too especially! Any rock!”
They edge closer to the wall, scanning for the right guitar.
“Oh, here is a Jaguar!” Fae spots a red Squier model and plucks it from its wall hanger. “It’s a poor man Jaguar but still the same.” She’s beaming.
“Have you ever played a Tele?” Francis reaches and pulls down a sunburst Fender Telecaster. Fae steps forward to examine the guitar, and is standing only inches away from Francis now, and she keeps brushing against him, he gets the sense it isn’t accidental.
“Yes! But I do not own one sadly. Just my Jaguar and my Stratocaster, and my acoustic.”
They plug into a couple of Marshall amps and noodle a bit. Francis knows instantly that Fae is lightyears ahead in her playing. She runs down an impressive jazz scale and plays a melodic chord progression he’s never heard. Francis is good, but not this good.
“You’ve been playing how long exactly?”
“Since I had four years! Guitar and football are my true passions!”
“Soccer?” “Yes! Football! I played at my university in France until, I, uh,” her bright mood dims, “until I tore my knee. Now I can’t ever again.” She rocks on the stool, her hair falling in her face.
“I’m sorry. It sounds weird, but at least you can play guitar for your whole life. That’s something I like to tell myself,”
“I never thought that!” She says. She smiles.
Francis plays a riff on his telecaster. “Do you know this?”
“Of course!” She responds with the serpentine rhythm part, they play for a few seconds and Fae starts to sing, quietly at first, and then more confidently.
“I can’t get no, sat-is-fac-tion, I can’t get no sat-is-fac-tion!” Her accent disappears as she sings, her voice ringing true, confident - resonant. Francis is thrilled, they play the whole song, she knows every word. They lock into each other’s groove, forgetting everything else, their problems fading into the music. They finish, and Fae finishes by flashing through a blues scale, concluding in a flourish.
Francis nods his head, playing it cool, trying to mask how ecstatic he is. “That was neat.”
“Neat?” Fae tosses her head back into that infectious laughter, and Francis watches with concern as Fae laughs, and laughs - she can’t stop. Fae has an absolute fit of laughter, and when she finally does stop, Francis notices that she’s drooling. His expression shows an edge of concern. She slowly wipes her face after finally coming to her senses. Francis job-shadowed at Western Psychiatric last summer, and he saw patients that acted just like this. It dawns on him that he met her at the therapist’s office. If it was anyone else Francis would run, and fast, but he’s in too deep now. He’s blinded, not only by the fact she’s gorgeous, but by the depth of their rapport – they give off the same vibe, they have the same personality. Not only is she ‘trop sexy’ as they would say in Nice, but she’s better than Francis at something, he’s used to being the best at most things, and he appreciates the occasions when he isn’t.
They pause, and lock eyes, neither looks away, and they’re both smiling. Fae is composed now. Francis leans forward and puts a hand on her knee.
“That wasn’t neat, that was amazing.”
“Thank you! I had a sudden idea, we are so good together, that we should start a band!” Fae remarks suddenly.
“We just met!”
“I know, but it would work! And I like you, a little too much I think!”
“I like you too.” Francis says. Then the quip about the band hits him – Allie is a superb drummer, he’s more than proficient on the bass, and Fae is clearly a gifted guitarist. Something clicks in his head. Maybe I don’t have to get rid of Allie after all, maybe we can learn to simply be friends. Maybe we can all coexist. He knows that if he got Fae and Allie together, they would click.
“What’s dating like in France?” Francis asks after they’ve been seated at Mad Mex. It’s a yuppie Cali-Mex restaurant exclusive to Pittsburgh where you can order a big azz margarita or seasonal burritos. Chili lights are strung from the ceiling and indie rock blares from the stereo, cubist graffiti art reminiscent of Picasso adorns the walls. Hipsters seriously dig the place, and Francis knows that’s exactly what he and Fae are. Not the casual sort who buy a vinyl Beatles LP from a thrift shop and let it gather dust in the corner of their dorm room – they’re the militant type who can quote Neutral Milk Hotel and tell you every type of guitar Lou Reed owned while he was with the Velvet Underground.
She collects her thoughts before answering the question. “Nothing like in America, much different. In France, it is much easier for guys and girls to be friends. Here it is uh, like if you’re not dating, or uh, if you’re not doing sex, then what’s the point? And when you do become exclusive in France, there is not so much possession. It is common to see a married woman go out with her married friend who is a man, and they are that, just friends, and nothing more. Contrary to popular ideas, I feel that French women are more conservative than those in America, because once she is exclusive she is loyal to a point of her honor.”
“That picture you sent me wasn’t very conservative.” Francis smirks. The lights are dimmed low, and Fae has a radiant, soulful look. There’s a spark in her eyes, she’s full of life and excitement. They have each other’s undivided attention.
“That was just me saying, ‘I’m interested.’” Fae explains. As the night has worn on Francis notices she is very touchy, very flirty. He likes it. He tries to ignore the thought, but she’s a more sophisticated, more attractive version of Allie. Even though Fae has an accent, it almost feels like he’s talking to Allie sometimes, they’re both very cool and easygoing. And then that remark hits him. I’m interested.
“That’s one of way of getting that across.” They laugh, and Fae leans forward with intent, rests her elbows on the table and cradles her chin in the palms of her hands. Francis can’t take his eyes off her, and he takes a moment to appreciate her. She doesn’t look like an American girl, and there’s an intangible sense that she’s European, even if he didn’t know already he could guess.
“You’re really tan for December.”
“My mother was Algerian,” Fae says.
“That’s interesting, do you think she’ll care when she finds out about you and Katrine?”
“Well, my mother is dead, Francis.” Fae looks down at the table, for a second he thinks he’s killed the vibe.
The waitress appears - she’s young, college age, and her arm is emblazoned with a full sleeve of colorful, floral tattoos. She takes their drink orders. Francis orders a Corona, and Fae asks for an expensive glass of wine. They both have fake IDs, and the server scrutinizes Fae’s heavily before letting it slide. She walks off.
“I’m sorry about your mother. That’s one more thing we have in common.” Francis says.
“What do you mean?”
“My parents died in a car accident when I was thirteen. That’s why I live with my Pap.”
The words hang heavy between them, and it’s terrible, but Francis feels a deeper sense of connection to her. He carries the weight every day, and usually waits a long time to tell people - until he can be sure that they won’t try to patronize him with half-hearted pity. Fae looks away. A group of yuppies sitting at the bar burst into raucous laughter.
“So, you know how it is?” Fae says, she stares off into the distance with a wounded expression.
“All too well.”
Neither has the words.
“Where’d you get your fake?” Francis says, changing the subject, they need to get off this. He wants things to go back to how they were just a minute ago, when it felt like everything was coming together.
“A website. I’d go insane if I couldn’t drink here.”
“I thought the waitress was going to take it.”
“As did I. The picture looks nothing like me.”
“Neither does mine. But it scans so I can go down Carson Street.”
“Lucky.” The drinks come and Francis squeezes the lime into the Corona bottle and Fae sips on her wine. They enjoy each other’s company for a few moments in silence.
“I just thought of something, Francis,” Fae remarks.
“Yeah?” “You’re more French than you realize.” Francis laughs. “How?” “Your way of acting. You are uh, laid back, yet confident, too many American men are inconsiderate.”
“I like the comparison, but you haven’t seen me around my friends,” he considers her statement, and adds, “you’re definitely not like other girls I know.” Francis says.
“How?” She laughs.
Francis pauses and chooses his words, he smiles. “You have a spark. You have this energy that’s fun to be around. Most girls I know these days don’t have that.”
“Really?” She laughs, her smile is unequaled, and the way she holds her expression is subtly seductive – it’s airy and inviting. “Anyways, what is your uh, situation, with your girlfriend, I feel you haven’t fully explained to me yet.”
“With Allie?” He doesn’t want to talk about her, he’s skirted around the subject so far. “We’re still dating technically.” He says. He feels stupid. The breakup isn’t official yet, and he doesn’t want to acknowledge the fact that he’s in the act of cheating right now. The fact troubles him, and the thought of letting Allie go for good ties his stomach in a knot. The unforgettable impression Fae has made so far complicates his feelings. Somehow, he wishes it was possible to have them both.
“Oh.” She says. Fae looks frustrated, and she purses her lips.
“I’m trying to end it, but the weird thing is, I think if you and Allie met, you’d really like each other.”
“That’s a funny thought.” Fae is playing with her hands, her hair falling from behind her ear. “The truth is, I wouldn’t be here if I didn’t feel something, I can’t describe it, but when we met yesterday, I wanted to get to know you. I know I sound crazy, but sometimes you just look at someone, and you feel something, you can’t describe why or how, you just know it’s happening. When we played music tonight Francis, I felt like we were in unison, the same. I wish we could have that feeling all the time.” She says.
Francis contemplates her words. She can feel it too then. He thinks she’s incredible. “How long are you in America?” He asks.
“Just until the new year,” She responds absently.
“Fae,” He hesitates. “We might be rushing things. We just met yesterday, and now we’re having dinner together. I don’t know about you, but I don’t care. It’s like this was all supposed to happen.” Francis takes a long sip from his Corona.
“Like fate?” She leans forward, her hazel eyes alive, warm.
“Yeah. Like fate. And if you’re leaving soon, we’ll have to make the most of it.”
Steph returns and asks if they’re ready to order. They’ve been caught up in each other and have forgotten entirely to look at the menu. Francis asks her to come back, and they quickly decide upon their orders while she’s gone. It hits him how hungry he is – the scent of Mexican cooking wafting around the restaurant – the tantalizing prospect of a spicy burrito.
“Not to bring up a shitty subject, but will your father really care that much when he finds out about Katrine? It’s almost 2013, if you want to try dating another girl I don’t see what the big deal is.”
“He will because he is very conservative, and, um, because I am nobility, and it is unacceptable for me to have relations with a girl.”
“What do you mean by nobility?”
“Whenever my father is gone I will be the Countess de Menton.”
Francis blinks. He doesn’t know what to make of it, but he’s intrigued. “You’re a countess?”
“The French government recognizes the fact that you are a marquis or what have you, but it’s meaningless mostly. Usually it just says that you come from an old family with a lot of money.” Fae explains.
“Is that true about you?”
She’s hesitant, Fae looks down and takes a breath. “I won’t tell you how much money I have. I feel that if you think I’m wealthy it will change things between us.” She pauses again, and Francis guesses that she doesn’t want to say too much. “But I will tell you that through my father, you can trace my bloodline back to the time of the crusades.”
Francis can’t wrap his head around the notion, but he puts two and two together. Her outfit probably cost a few hundred dollars, she just ordered a twelve-dollar glass of wine, and as subtle as it is, she comes across as somewhat arrogant, even though he can tell she’s at her most vulnerable. He doesn’t doubt her claim that she’s a countess, it makes sense. It dawns on him how high-class she is. Francis wavers, he leans back in his seat and runs a hand through his hair. He feels like he’s finally met his match, and he can’t shake the feeling that they’re developing genuine feelings for each other - it’s undeniable. He knows he’s diving headlong into things with this girl. At best, they have a brief fling, she goes home, and he never sees her again, but the way it seems now, there’s something genuine happening, and the last thing he wants is to hurt her.
Fae’s iPhone is laying on the table and buzzes to life. She reaches for it, reads the screen, and considers what she has just read. She sets the phone down, and then she bursts into laughter -it’s worse than before. She can’t stop, it’s manic, uncontrollable and she laughs until she can’t breathe, tears pouring down her face, and when she can’t laugh anymore she starts to cry. She covers her face with her hand, her whole body wracked with sobs.
“Fae!” He’s shaken. She is incredible, yet here she is having a nervous breakdown. He’s seen it before with Allie - she has her own issues. She continues. “Fae!” He repeats louder. She looks at him and gasps, her tears abate momentarily.
“Let’s go outside. You need some air. Trust me.” They stare at each other. “Trust me.”
“Oui.” They stand and walk through the mostly empty restaurant past the waitress.
“We’ll be right back.” Francis says as he leads Fae past the bar and outside through the porch and the iron gate that opens onto the parking lot. They’re on the sidewalk now, and Fae wraps her arms around Francis and buries her face in his chest and sobs, and he just hugs her as close as he can and lets her cry. There’s nothing else he can do. Snow flurries flutter through the air and his breath billows in white clouds. He closes his eyes. It’s been one day, and they’re virtual strangers. This is insane. She cries for a little while longer before going silent, and still they embrace.
“Want to talk about it?” he asks.
Mon pere.” She can’t find the words. “My father, he texts me, he says, I had a conversation with Katrine’s father, about the sickening things you’ve done.” She collects herself. “He says, don’t come home. You are on your own.”
Francis grits his teeth and pulls her closer.
“I’m sorry.” He doesn’t know what else to say.
“I didn’t want to go home anyways. I hate home… and I can’t go back to my host. Katrine is there. I have nowhere.”
Francis speaks without consideration – he goes all in. “You can stay with me. I live at home with my Pap in Regent Square. We have a guest room, and you can stay as long as it takes for you to get things figured out. I promise.”
Merci. Merci beaucoup Francis.” She releases him, takes a step back, and smiles. It’s the first time he’s seen her without worry. “That’s why I like you.”
“Why?” He laughs.
“We just met, but we don’t play games. We’re honest. Boys in France are taught to flirt, they flirt endlessly, and go in a circle and you get nowhere. But yesterday you said, let’s go talk, and we went outside and we’ve been nothing but honest with each other. I’ve never had this before.”
Francis gazes at her, the white puffs of their breath clouding the air between them.
“Fae, I can’t describe how I feel about tonight. I don’t care if we just met. We understand each other, it’s natural, and it’s like we were meant to find each other.”
Fae looks at him and smiles. They stare at each other wordlessly for a while, there’s something quietly passionate in the way they stand admiring each other.
“Want a smoke, cowboy?” She laughs. Fae reaches into her coat pocket and pulls out a pack of Marlboros. Francis laughs too. She hands him the cigarette and he places it in his mouth, he cups his hands around it and she lights it for him, the pungent smoke filling his lungs. He exhales. She lights her own cigarette. “So, what are we doing tomorrow?”
Francis takes a step forward, “We’ll think of something.” He pulls her close and they kiss.
{I had to cut the final scene because of excessive character count. If there is some interest or demand, and if the mods are gracious enough to allow, I will post it either in the comments or a separate post}
submitted by tacobell_enthusiast_ to shortstories [link] [comments]


2020.01.11 00:33 sizzle_nb GUITAR PLAYER INTERVIEW 2003

Electric warriors: the Strokes Albert Hammond, Jr. and Nick Valensi play it like it is
Author: Michael Molenda
Date: Dec. 1, 2003
From: Guitar Player(Vol. 37, Issue 12)
Publisher: NewBay Media LLC
Document Type: Interview
Length: 3,533 words
Content Level: (Level 4)
Full Text:
Let me show you how to write a Strokes story for the popular press: "Languishing in a humongous New York photographer's loft, Strokes drummer Fab Moretti is absolutely terrified about his choice of clothes. 'Are they cool enough,' he asks? Meanwhile, guitarists Albert Hammond, Jr. and Nick Valensi are arguing over where to eat. Even for fabulous rock stars, it's tough nabbing a table at a SoHo nightspot on a moment's notice. Bassist Nikolai Fraiture is above such worries. Rolling a piece of cold pepperoni pizza in his somewhat cruel mouth, he's idly destroying a journalist at a game of chess, while simultaneously devouring a book of Edgar Allen Poe's short stories. Slumped deliciously on a red leather settee, vocalist Julian Casablancas is nonetheless a picture of quiet, seething discontentment. 'Hey, aren't we supposed to be rehearsing?'" If the preceding isn't really your style, just muster your finest celebratory, myth-making prose, and take a shot yourself.
Okay, reality time. The Strokes are not a myth. Quite sadly, in fact, for those seduced into hilarious orgasms of quasi-journalistic platitudes, they are simply--and heroically--an extremely hard-working rock band. Friends forever, the members' work ethic is extraordinary. They rehearse incessantly, continue to feverishly hone their respective crafts, and will tear down and rearrange a song until it's either perfectly constructed or indisputably without merit. And they're so dedicated to musical honesty that they refuse to record anything they can't reproduce on a live stage.
No outsider ever truly breaks into the core, either, and woe to those who attempt to subverl what the Strokes believe to be undeniable truths. Take Room on Fire [RCA], for example. After the near hysterical critical reception of the band's debut, Is This It, in 2001, it was a given that the follow up would be one intensely anticipated album. So, of course, super-hot Radiohead producer Nigel Godrich was set to helm the sessions for the all-important second release. It didn't work.
While the Strokes liked working with Godrich--and Casablancas admitted the tracks might have been the "best stuff we've ever heard in our lives"--he apparently didn't make the members comfortable enough in the studio, and, subsequently, he couldn't conjure tracks that the band liked. So Strokes homeboy Gordon Raphael--who produced Is This It in a Lower East Side basement, and who clearly understands the group's anxieties about studio tensions--was back in charge for Room on Fire.
Stories such as this make it hard not to applaud the Strokes' belief in themselves, as well as each member's commitment to "getting it right" as defined by the band. And while Room on Fire sounds perhaps a bit too comfy and "played right," it will doubtlessly seduce countless kids to start bands, and the buckeroo enthusiasm of Hammond, Jr. and Valensi will most certainly inspire the next generation of guitarists. Given the Strokes' adoration for playing it straight and the members' distaste for digital editing and other studio wizardry--the future of basic, balls to the walls rock couldn't be in better hands.
You know, you're not exactly going to thrill the rack and big rig crowd with your basic setups [see "Stroke Me!", page 78].
Albert Hammond, Jr.: Well, I feel like once you find the right guitar and the right amp--which I did--you have more than enough tonal possibilities. I didn't really take advantage of that on the first album--I nearly always used the middle pickup. Now I'm playing with the pickup selector and tone knobs a lot more. For example, while we were rehearsing for the second record, we'd take a break for lunch, and I'd accidentally leave the guitar on a different pickup setting. When we'd come back and play the song again, the different tone might work, or it might not, but it started me thinking that I didn't have to do things the same way I did on the first album.
📷
Nick Valensi: I do toy around with stuff, and, every once in a while, I'll find something fun. But when I bring it to the rehearsal studio, it usually doesn't work out. For example, I tried bringing in some delay stuff, but it didn't sound right--it was too modern, and the Strokes' guitar sound is really natural. When Albert and I play by ourselves, I imagine what a guitar sounded like in the '50s. I haven't analyzed it too much, but the band sound really came together as soon as I started playing the Epiphone, and Albert picked up that particular Strat. His trebly tone and my midrange sound really work with the bass.
Working one's pickup selector and tone controls" seems like kind of a lost art for many modern rock players.
Valensi: To tell you the truth, I plug in, put everything on 7, and take it from there. Albert is a bit more tone obsessed, which is probably a good thing. But I've been playing this one guitar for so long that I know it, it knows me, and it never sounds bad.
However you constructed the most unique guitar sound on the album--the synth-like tone for the melody riffs in "12:51."
Valensi: Yeah, well how that came about wasn't really a fluke, but it happened in a weird way. I was playing these silly little jazz things using my neck pickup with the guitar's tone control rolled all the way down, and I accidentally stepped on the DeVille's channel-switching footpedal. The gain on that channel was on 12, and all of a sudden the--tone sounded like an analog-synth sound or a weird, heavy-metal, Joe Satriani tone [laughs]. Julian was the one who really saw the possibilities of that tone for" 12:51 ." So I played along with his vocal melody, doubled the part, and that was it. It was all a bit of an accident--I was just trying to get a nice jazz tone--but it sounded cool. The DeVilles didn't really like that tone, though. I blew up three of them.
Hammond, Jr.: We definitely think about different tones, but the main way we mix it up is by changing parts. We'll decide his guitar sounds better than mine on some things, or vice-versa, and we'll switch parts. Our approach is very open--we never do things a certain way although Nick is a better player, so if a part is really hard, he'll usually get it. Then again, if my guitar sounds better on a line, I'll work hard to master a part that was initially difficult for me.
How do you two decide who plays what?
Valensi: For the most part, the first thing we're inclined to do is usually the right thing. But if we're working through a song, and it's not really working out, we'll say, "Alright, screw it--I'll do your part and you do mine." That works sometimes, but not just because there's a difference in the way we play--it's also about our tonal differences. Albert plays a lot looser--even when he plays chords, he does it in a real melodic way--and his tone is more jangly than mine. I have more of a precise, stabbing sound that's pretty strict and sharp.
But the thing about the new record is, guitar-wise, there are so many melodies going on. It's not really straight-ahead, rhythm guitar or lead guitar. Somewhere along the line, we got better at filling up space musically. Instead of strumming the chords outright--like we did on the first album--we're now able to imply the harmony with counter melodies. Those melodies, and how they enhance Julian's singing, make for a more sophisticated sound. Stuff like that happens naturally--I don't recall the five of us sitting down and talking about a direction for the record. It's only in retrospect that we can acknowledge it. Six months ago, when we were working on the songs for the album, I wouldn't have been able to tell you what was going to happen.
Did you reference any guitar sounds--classic or otherwise--to help you dial in the tones for the new record?
Valensi: No. We only listened to Michael Jackson and lotto Lennon records for the drum sounds.
What was the typical recording process for Room on Fire?
Hammond, Jr.: Half the record was recorded live, and half was built up from a drum track. The approach usually depended on the drum strands we wanted. If there would be too much signal bleed when we tried to record a song live, we'd build up the tracks. I mean, if you're going to be isolated in separate rooms--and monitor the band over headphones--you might as well overdub your parts because you can focus more on your individual performance and your tones. The live tracks which were full band takes--are "Under Control," "I Can't Win," "You Talk Way Too Much," "What Ever Happened," and "12:51 ." But everything we recorded--no matter how it was tracked-had to sound live. It was important that every song had a vibe.
Valensi: There's a strict rule in the band that whatever we put to tape, we have to be able to do onstage ourselves--no extra musicians or pre-recorded stuff. Everything we record is worked through in the rehearsal studio, and we're limited to two guitars, bass, drums, and vocals. That's all we do--there are no overdubs or recording tricks. We're fortunate that we have a good relationship with ore producer, because he understands and respects this little rule.
Our process is collaborative, and everyone's personality comes through a little bit. Some songs, Julian brings in almost completely finished, and they take just a couple of days for us work up. Other songs take longer. "The End Has No End," for example, took almost four months to finish. We knew we had a cool intro and some other parts for that song, but as soon as we got to the chorus, everything would crumble. It took a long time to work out options and settle on the chorus that's on the record. You see, we don't like to dismiss something right away--it's those one or two good parts that keep you working on something until it sounds great. So we'll give a song a real shot, and if it doesn't make the cut for the album, we'll know we gave it every chance to succeed. Ultimately, that works to our advantage. For Room on Fire, we went into the studio knowing exactly which 11 songs we were going to record.
Hammond, Jr.: For this record, we tried to not do anything that we did on the first one. Otherwise, the whole process of recording gets boring because you've heard everything already. The songs changed a lot, so there was a natural evolution due to the new material, but we "also expanded our tonal palette and ended the songs differently. It was pretty exciting.
But isn't one of the challenges showing an evolution on your second record without flying too far afield of the style that won fans on your first release?
Hammond, Jr.: The only thing we didn't want to lose was our vibe. Our first record was a moment in time--a document of our set list. But I think this record sounds more like us. Because of all the turning we've done, we're better players, and we've become more adept at making sure our individual voice as a band gets down on tape. But, having said that, I also believe flint the charming quality I liked so much on our first record is still there on the second.
Valensi: Any band that had success on their first record is going to have some difficulty isolating themselves for their follow-up album. It's hard to put into words. However, any pressure we fell going in to record the new record was internal, and it was stuff we could talk out.
When we got off the road, we were more focused than ever. Julian writes the music and words, and it was good for him to be home in New York, where he's in his element and comfortable. Once there was new material to work through, it was very exciting for all of us. That is, perhaps, one of the best feelings--going downstairs, hopping ha a taxi, and driving to the rehearsal studio, knowing you're about to work on a new song.
Hammond, Jr.: When you're in a room with five guys who can play songs well together it's the biggest ego boost you can have.
How do you approach your solos?
Hammond, Jr.: All of my leads are worked out, and Julian helps a lot--he'll actually write some of the solos. Sometimes, we'll go for a certain thing--like on "I Can't Win" Nick was trying to get a Bob Marley, "Concrete Jungle" kind of solo--and sometimes we'll work on something without knowing where it's going to lead us. It depends on the song. But, overall, I tend to favor the Freddie King style of blues soloing. I really like his technique of using slowness, silence, fire, and then slowness again. It's all about letting things breathe, and then coming back and at tacking the notes.
Valensi: My influences are sort of scattered. I always liked the way Slash played when I was a kid--which maybe isn't the coolest influence, but it's the truth.
Have any of your individual influences helped forge the Strokes sound?
Valensi: When we were 13 years old, we were all friends because we dug the same music. At that time, it was Nirvana, Pearl Jam, Bob Marley, the Velvet Underground, Lou Reed, and David Bowie. Back then it was fun to figure songs out and talk about them, but we were never into playing covers. I wish there was more of a story line to the progression of the Strokes sound, but it all happened so organically. It's like trying to describe a tree growing.
Do you have plans for continued growth and evolution as guitarists?
Hammond, Jr.: I still take lessons with JP, but what I practice at home doesn't always reflect the Strokes. I want to grow as a guitarist, so I'll study things like '20s jazz or some blues. That stuff doesn't really tie into the Strokes, but in a weird way it does, because it opens up my attitude towards the guitar. As my reel for the instrument evolves, I'll become a better player. It's all about setting that impossible goal you can never reach, and, in the process, you keep learning, keep learning, keep learning ...
I mean, one thing I've learned about the guitar, is that as soon as you learn something new, you're back to square one again. You're never really finished with it. So, when I see young people playing guitar, I want to tell them it's an easy instrument to give up on. You'll typically learn something fast--and think, "Wow, I'm really getting it"--and then the next year and-a-half will drop off into a very slow progression.
Valensi: Right now, I never really think about being a great guitarist. I know we've got a great band, and I'm only interested in doing what's good for the group, and getting our music out to people. It's about the Strokes, and we all put our egos aside for the good of the band.
You know, a lot of bands say that, but egos have a way of creeping into things.
Valensi: When you put five really good friends in a room who have the same goal, they just find a way to make things work.
What about the pleasures of fame? You guys are way more famous now than when you released your first album, and people are expecting big things from you.
Hammond, Jr.: We don't really think about the fame tiring, because it happened in steps. I just try to think about being a really good band. You know, it's only late--when you're back home after touring--that you might look back at what has happened and go, "Cool!"
I don't think we're rock stars, although when you're onstage, you have to be confident. No one wants to go see a band that's timid--you want to see a band that's taking things to the next level. That's fun. For us, we're always intense and nervous before we step onstage--scared, actually--and that's half the energy. I mean, there are five guys up there who are naturally intense being nervous together. That's something an audience can feel, and it's what pushes us to deliver balls to the walls performances.
Valensi: I knew when I was a kid that this is what I was going to do with my life. Music is the one firing that I enjoy the most, and I thank my parents for shoving a guitar into my hands when I was a kid, and telling me that I had a knack for it. Once I got going, nothing could stop me. Making music in this band is all I care about right now.
Hammond, Jr.: You know, it's all pretty strange. It's quite strange to be on the cover of a guitar magazine. It's a compliment. I know that I'm definitely not a Clapton, and I'm sure that some of your readers will wonder why Nick and I are on the cover. We're young, and sometimes even I laugh when I tell people I'm a guitar player. I almost feel like I haven't earned the right to say that yet. But I love the instrument with all my heart, and I'm excited that the process of being a better player is neverending. Of course, I also realize that it's easy to put stuff down. But, you know, it's harder to come up with something better.
RELATED ARTICLE: Mapping the Strokes.
As the Strokes will not record anything that can't be replicated live, it's fairly easy to trace Hammond, Jr.'s and Valensi's parts--they each stake out their territory in either the right or left speaker. To help identify exactly who is blasting through one channel or the other, however, Hammond, Jr. provided GP readers with this basic, song-by-song script of what the guitarists are playing.
> What Ever Happened?
Chords: Hammond, Jr.
Lines, instrumental break after chorus: Valensi
> Reptilia
Chords: Valensi
Lines: Hammond, Jr.
> Automatic Stop
Chords: Valensi
Lines: Hammond, Jr.
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> 12:51
Chords: Hammond, Jr.
"Keyboard" lines: Valensi
> You Talk Way Too Much
Chords: Hammond, Jr.
Solo: Valensi
> Between Love & Hate
Chords, solo: Valensi
Lines: Hammond, Jr.
> Meet Me In the Bathroom
Chords, lines (chorus): Valensi
Chordal melody, lines: Hammond, Jr.
> Under Control
Chords, different inversions: Both
Solo: Hammond, Jr.
> The End Has No End
Chords: Both
"Crazy" bridge: Valensi
Solo: Hammond, Jr.
> The Way It Is
Chords: Valensi
Lines: Hammond, Jr.
> I Can't Win
Chords, lines: Both
📷
Solo: Valensi
RELATED ARTICLE: The Guru.
Although most articles on the Strokes mention him ever-so-briefly, JP Bowersock is far from a minimal presence. In fact, his influence on the band and its sound is so huge that he should be considered "the sixth Stroke." He not only remains Hammond, Jr.'s and Valensi's guitar teacher, he's also the band's vibe master, cheerleader, protector, sage, and, apparently, the only one who can translate the group's sonic ideas to its production team. In other words, if you're looking for some substantial clues to the development of the Strokes sound, you need to consider Bowersock's contributions in the same light as each individual members's musical influences and performance techniques.
"JP offers support for everyone," says Valensi. "He'll help me figure out little licks, ways to make some lines cooler--such as asking me to check out how a riff would sound with one or two notes hammered on--and how to EQ stuff. He provides general supervision on everything, and I definitely consider him part of the production team. It's reassuring to have someone in your corner who is a little bit older and wiser, and who knows so much about music."
"JP's knowledge of the guitar and life and music is amazing," enthuses Hammond, Jr. "In the studio, he really helps us when we're stuck. I might say that something sounds flat, for example, and he'll tell the engineer to boost the 2kHz range or whatever. Then we're like, 'Oh, wow--that's just what it needed!' He also knows that vibe is everything when you're recording, and he helps us relax. Maybe someone will think their tone sucks, or they're not playing something right, and he'll be able to talk it out and make it alright. Perhaps we're not sure if a take is 'the one,' and if he says it's great, it boosts our confidence. Basically, he's a figure that everyone in the band trusts, and, when you have someone like that in a room, it creates an atmosphere where it's your own little world, and you can survive with everything you have."
--MM
RELATED ARTICLE: Stroke Me!
> Hammond, Jr.
Guitars: Fender Stratocaster, Gibson Les Paul Jr.
Amp: Fender DeVille.
FX: MXR Micro Amp, Visual Sound Jekyll & Hyde Ultimata Overdrive.
Strings: Thomastik-Infeld George Benson Series, gauged .012-.052.
> Valensi
Guitar: Epiphone Rivera.
Amp: Fender DeVille.
FX: MXR Micro Amp, Visual Sound Jekyll & Hyde Ultimate Overdrive.
Strings: Thomastik-Infeld George Benson Series, gauged .012-.052.
Molenda, Michael
Copyright: COPYRIGHT 2003 NewBay Media LLC
http://www.guitarplayer.com
Source Citation (MLA 8th Edition)
Molenda, Michael. "Electric warriors: the Strokes Albert Hammond, Jr. and Nick Valensi play it like it is." Guitar Player, Dec. 2003, p. 70+. Gale In Context: Biography, https://link.gale.com/apps/doc/A110736789/BIC?u=lap17batonrmhs&sid=BIC&xid=838a510a. Accessed 10 Jan. 2020.
Gale Document Number: GALEA110736789
submitted by sizzle_nb to TheStrokes [link] [comments]


2019.11.13 15:18 tulsanewsbot What's happening around town (Wed, Nov 13th - Tue, Nov 19th)

Tulsa's event list.

Ongoing

  • Blue Dome Pop-Up Shops (Blue Dome District - Tulsa) Thru Sun, Dec 22nd Get your holiday shopping fix at the Blue Dome District in downtown Tulsa during this series of pop-up markets featuring…

Wednesday, Nov 13th

  • Fruition (The Shrine - Tulsa) Start Time: 8:00pm
  • 😂 Gabriel Rutledge (Loony Bin - Tulsa) Thru Sat, Nov 16th
  • 🎭 Kill Vargas // Salt Creek (The Vanguard - Tulsa) Start Time: 8:00pm
  • 🎭 Love, Loss, and What I Wore (Tulsa Performing Art Center - Tulsa) Thru Sun, Nov 17th Start Time: 8:00pm "Love, Loss, and What I Wore" is a series of monologues and ensemble pieces about women, clothes and memory…
  • 🎨 OkJFF: 93Queen (The Sherwin Miller Museum of Jewish Art - Tulsa) Start Time: 7:00pm Join us at Circle Cinema on Wednesday, November 13th at 7:00pm for a screening of the fascinating and insightful new documentary "93Queen" (USA, 2018). This film is in English and Yiddish. All seats are $10 and on sale now. About 93Queen: Set in the Hasidic enclave of Borough Park, Brooklyn, 93QUEEN follows a group of tenacious Hasidic women…
  • Oklahoma Jewish Film Festival (Circle Cinema - Tulsa) 1 day left For an entertaining and rewarding cinematic experience, join the audience in Tulsa for the Oklahoma Jewish Film…
  • PAWS For Reading (Owasso Library - Owasso) Start Time: 4:00pm Registered therapy dogs are excellent listeners. Kids ages 5-12 are invited to read their favorite books to a furry, four-pawed friend. Each reader will receive a free book provided by the Raymond and Bessie Kravis Foundation through the Tulsa Library Trust. Registration is required. Register online at…

Thursday, Nov 14th

  • The Birth of Loud: The Guitar Rivalry That Shaped Rock-n-Roll (Oklahoma Center for the Humanities - Tulsa) Start Time: 7:00pm The Birth of Loud is “a hot-rod joy ride through mid-20th-century American history” (The New York Times Book Review), this one-of-a-kind narrative masterfully recreates the rivalry between the two men who innovated the electric guitar’s amplified sound—Leo Fender and Les Paul—and their intense competition to convince rock stars like…
  • 😂 Gabriel Rutledge (Loony Bin - Tulsa) Thru Sat, Nov 16th
  • The History of the Osage (Tulsa Artists Coalition - Tulsa) Start Time: 12:00pm As part of Tulsa Artist Fellow Anita Fields's Osage Arts & History Workshops please join us for "The History of the Osage," a presentation by Dr. Andrea Hunter. The presentation will will trace the history of the Osage people from their earliest known existence to the removal of the tribe to Oklahoma. Free and open to all. Light lunch and…
  • 🍴 In the Middle Book Club (Owasso Library - Owasso) Start Time: 6:00pm We will discuss "The Spirit of Cattail County" by Victoria Piontek. Snacks and activities included. For ages 9-12. Request your copy here: https://tccl.bibliocommons.com/item/show/4206765063.
  • 🎭 Love, Loss, and What I Wore (Tulsa Performing Art Center - Tulsa) Thru Sun, Nov 17th Start Time: 8:00pm "Love, Loss, and What I Wore" is a series of monologues and ensemble pieces about women, clothes and memory…
  • 🎨 OkJFF: The Last Band In Lebanon (The Sherwin Miller Museum of Jewish Art - Tulsa) Start Time: 7:00pm Join us at Circle Cinema on Thursday, November 14th at 7:00pm for a Closing Night Jewish Film Festival screening of the hilarious comedy "The Last Band In Lebanon" (Israel, 2016). This film is in Hebrew and Arabic with English subtitles. All seats are $10 and on sale now. About The Last Band In Lebanon: Three reservists wake up to discover that…
  • Oklahoma Jewish Film Festival (Circle Cinema - Tulsa) Last Day For an entertaining and rewarding cinematic experience, join the audience in Tulsa for the Oklahoma Jewish Film…
  • Old Dominion in Concert (BOK Center - Tulsa) Acclaimed country band Old Dominion is heading to Tulsa on their national Make It Sweet Tour. Head to the BOK Center to hear…
  • Rittz / Dizzy Wright (The Shrine - Tulsa) Start Time: 6:30pm

Friday, Nov 15th

  • Christmas Local Art Market (Inner Circle Vodka Bar - Tulsa) Day 1 of 2 Transformed into a winter wonderland as a pop-up Christmas bar and shop, Inner Circle Vodka Bar will be bustling with unique…
  • Curator Tour: Horsin' Around (Philbrook Downtown - Tulsa) Start Time: 7:00pm Celebrate Native American Heritage Month. Explore some of the many ways horses figure prominently in the Museum’s diverse collections of Native American art with curator Christina E. Burke. FREE for Members & Youth (tickets available 10/14) $19 Not-Yet-Members (tickets available 10/21) Space limited, ticket required. All tickets include…
  • Electric Okie Test (Blackbird On Pearl - Tulsa) Start Time: 9:00pm
  • 😂 Gabriel Rutledge (Loony Bin - Tulsa) 1 day left
  • Kickoff Classic (Expo Square - Tulsa) Day 1 of 2 Gather up your friends and bring them to Tulsa Expo Square for the Kickoff Classic wrestling tournament. Watch as…
  • Kottonmouth Kings (The Shrine - Tulsa) Start Time: 8:00pm
  • 🎓 Legally Blonde (Theatre Tulsa - Tulsa) Thru Sun, Nov 17th Start Time: 7:30pm Presented By: Theatre Tulsa Our Broadway Bound students present the inspiring story of Elle Woods as she journeys from sorority party girl to Harvard Law student.
  • Legally Blonde (Tulsa Performing Art Center - Tulsa) Thru Sun, Nov 17th Theatre tulsa presents the inspiring story of Elle Woods as she journeys from sorority party girl to Harvard Law…
  • 🎭 Love, Loss, and What I Wore (Tulsa Performing Art Center - Tulsa) Thru Sun, Nov 17th Start Time: 8:00pm "Love, Loss, and What I Wore" is a series of monologues and ensemble pieces about women, clothes and memory…
  • 🎓 Play With Me: A Parent/Child Workshop (Owasso Library - Owasso) Playing is learning! Join us for a three-week play workshop series for parents and children ages 1-3. Class size is limited. Registration is required and is for all three weeks of the series. Each program offers opportunities for children to play with developmentally appropriate toys in a play group atmosphere. Early childhood specialists also…
  • 🎨 Recall/Respond Opening Reception (The Gilcrease Museum - Tulsa) Start Time: 5:30pm Join us for a free public opening celebration of the second and final round of our exhibition with Tulsa Artist Fellowship RECALL/RESPOND. With a series of responses to the Gilcrease Museum collections and the history of Oklahoma itself, artists and writers in the Tulsa Artist Fellowship recall the past and present new perspectives for today.…
  • Rose District Ice Rink (Rose District Plaza - Broken Arrow) Thru Sun, Jan 5th Skate under the festive twinkle lights at Broken Arrow's only outdoor skating rink. Bring your ice skates or rent them…
  • Swan Lake Gentlemen's Society (The Shrine - Tulsa) Start Time: 7:30pm
  • 🎭 Tulsa Town Hall's 85th Anniversary Season (Tulsa Performing Art Center - Tulsa) Start Time: 10:30am
  • Vintage Tulsa Show (Expo Square - Tulsa) Thru Sun, Nov 17th Some of the finest vintage and antique dealers in the nation are headed to Tulsa Expo Square to present their wares at the…

Saturday, Nov 16th

  • 98° in Concert (Osage Event Center - Tulsa) Head to the Osage Casino in Tulsa for a night to remember as chart-topping 98° takes the Skyline Event Center Stage this…
  • 2019 Woody Guthrie Prize honoring Chuck D (Woody Guthrie Center - Tulsa) Start Time: 8:00pm The Woody Guthrie Center is honored to present the 6th Annual Woody Guthrie Prize to Chuck D at a November 16th event at Cain's Ballroom in Tulsa, Oklahoma. The award recognizes those who exemplify the work and spirit of Woody Guthrie and promote positive social changes in our world. Rapper, author, and producer Chuck D will be recognized for…
  • Christmas Local Art Market (Inner Circle Vodka Bar - Tulsa) Day 2 of 2 Transformed into a winter wonderland as a pop-up Christmas bar and shop, Inner Circle Vodka Bar will be bustling with unique…
  • Chuck D in Concert (Cain's Ballroom - Tulsa) See rapper Chuck D live as he accepts the 2019 Woody Guthrie Prize at Cain's Ballroom in Tulsa. This hip-hop artist…
  • Classics Concert Series (Tulsa Performing Art Center - Tulsa) The Tulsa Symphony Orchestra presents a regular Classics Concert Series. Take a seat at the Tulsa Performing Arts Center,…
  • Classics III: Mozart Piano Concerto with Robin Sutherland (Tulsa Performing Art Center - Tulsa) Start Time: 7:30pm Guest artist Robin Sutherland (San Francisco Symphony) joins Tulsa Symphony led by Gerhardt Zimmermann to perform Mozart’s overtly dramatic piano Concerto in C Minor. The wonderful string interplay of Berlioz’s Beatrice and Benedict Overture and Lutoslawski’s elaborate and melodic Concerto for Orchestra round out the evening’s program,…
  • Cliffdiver: At Your Own Risk EP Release (The Vanguard - Tulsa) Local indie rock band Cliffdiver mashes up several genres, delivering an energetic mix of emo, pop, rock and punk sounds to…
  • 🎭 The Drunkard and the Olio (Tulsa Spotlight Theatre - Tulsa) Start Time: 7:30pm
  • 😂 Gabriel Rutledge (Loony Bin - Tulsa) Last Day
  • 🎨 Holiday Hosting Workshop (Tulsa Garden Center - Tulsa) Start Time: 11:00am Our friends at Penelope & Lu Events, a local boutique wedding planning company, and Pottery Barn Utica Square, a home decor business, will lead this class focusing on tablescaping, the art of arranging a table, and holiday flower arranging. Join us to master the craft of setting your table for the holidays, learn how to create your own…
  • 🎭 Imagination Series Season Tickets (Tulsa Performing Art Center - Tulsa) Imagination Series Season Tickets Sept. 28, Oct. 26, Nov. 16, Mar. 15 at 7 p.m. :: John H. Williams Theatre Family Fun Night! Get your tickets now to SAVE on all four Imagination Series shows: Diary of a Worm, a Spider and a Fly ; read more --> GET TICKETS
  • Jim Gaffigan (Paradise Cove @ Margaritaville - Tulsa) Get ready to laugh as Jim Gaffigan brings his sidesplitting brand of observational humor to Paradise Cove at the River…
  • Kickoff Classic (Expo Square - Tulsa) Day 2 of 2 Gather up your friends and bring them to Tulsa Expo Square for the Kickoff Classic wrestling tournament. Watch as…
  • 🎓 Legally Blonde (Theatre Tulsa - Tulsa) 1 day left Start Time: 7:30pm Presented By: Theatre Tulsa Our Broadway Bound students present the inspiring story of Elle Woods as she journeys from sorority party girl to Harvard Law student.
  • Legally Blonde (Tulsa Performing Art Center - Tulsa) 1 day left Theatre tulsa presents the inspiring story of Elle Woods as she journeys from sorority party girl to Harvard Law…
  • 🎭 Love, Loss, and What I Wore (Tulsa Performing Art Center - Tulsa) 1 day left Start Time: 8:00pm "Love, Loss, and What I Wore" is a series of monologues and ensemble pieces about women, clothes and memory…
  • National Day of Mourning: Thanksgiving as Native Genocide Day (Philbrook Downtown - Tulsa) Start Time: 2:00pm Join us for a lively and informative conversation about Native histories, current cultures, and how all of us can work together to help ensure a vital, thriving future for American Indians and the many cultures that make up this diverse group of peoples. Host: Dr. Kimberly Gail Wieser, President of the Board, Native Writers Circle of the…
  • 🎓 Puppies at the PAC! (Theatre Tulsa - Tulsa) Puppies @ the PAC! is inspired by our upcoming production of "Legally Blonde: The Musical!" Theatre Tulsa has partnered with several rescue groups that have dogs who are single and ready to mingle! We will also have representatives from other pet care organizations, such as River Trail Animal Hospital, Pooches Daycare and Boarding, fun music…
  • 🎓 Puppies at the PAC! (Tulsa Performing Art Center - Tulsa) Puppies @ the PAC! is inspired by our upcoming production of "Legally Blonde: The Musical!" Theatre Tulsa has partnered with several rescue groups that have dogs who are single and ready to mingle! We will also have representatives from other pet care organizations, such as River Trail Animal Hospital, Pooches Daycare and Boarding, fun music…
  • 🎨 Restoring the Adams Building: Alexander Tamahn (Philbrook Downtown - Tulsa) Start Time: 1:00pm Artist and community advocate Alexander Tamahn has been spending the last year painstakingly restoring the Art Deco façade of the Adams Building by hand. Attendees will have the opportunity to get a behind-the-scenes tour and learn what it takes to restore a historic building from the artist who has made it happen. Attendees will meet at…
  • Rose District Ice Rink (Rose District Plaza - Broken Arrow) Thru Sun, Jan 5th Skate under the festive twinkle lights at Broken Arrow's only outdoor skating rink. Bring your ice skates or rent them…
  • Vintage Tulsa Show (Expo Square - Tulsa) 1 day left Some of the finest vintage and antique dealers in the nation are headed to Tulsa Expo Square to present their wares at the…

Sunday, Nov 17th

  • 😂 Comedy & Cabaret Series Tickets (Tulsa Performing Art Center - Tulsa) Comedy & Cabaret Series Tickets Sept. 29, Oct. 27, Nov. 17, Mar. 9 at 8 p.m. :: John H. Williams Theatre Save $20 ($5 per show) by purchasing this brand-new series as a package! The series includes the famous comedy troupe THE SECOND CITY , jazz pianist read more --> GET TICKETS
  • 😂 The Copenhagen Bandit (Loony Bin - Tulsa)
  • The Dirty Heads in Concert (Cain's Ballroom - Tulsa) The Dirty Heads churn out a diverse range of collaborations with each new music release. At the Cain's Ballroom concert,…
  • 🍴 Dirty Heads (rescheduled from May 9) (Cain's Ballroom - Tulsa) Start Time: 7:00pm Cain's Ballroom welcomes the @[6210992146:274:Dirty Heads] to Tulsa, OK on November 17, 2020 This show has been rescheduled from May 9, 2019. If you plan on attending the new date, no need to exchange your tickets from the previous show. If you need a refund, please contact Ticketfly prior to September 27, 2019. REFUNDS WILL NOT BE AVAILABLE…
  • 🎓 Legally Blonde (Theatre Tulsa - Tulsa) Last Day Start Time: 7:30pm Presented By: Theatre Tulsa Our Broadway Bound students present the inspiring story of Elle Woods as she journeys from sorority party girl to Harvard Law student.
  • Legally Blonde (Tulsa Performing Art Center - Tulsa) Last Day Theatre tulsa presents the inspiring story of Elle Woods as she journeys from sorority party girl to Harvard Law…
  • 🎭 Love, Loss, and What I Wore (Tulsa Performing Art Center - Tulsa) Last Day Start Time: 8:00pm "Love, Loss, and What I Wore" is a series of monologues and ensemble pieces about women, clothes and memory…
  • Oklahoma Bridal & Wedding Expo (Expo Square - Tulsa) Newly engaged couples are invited to attend the Bridal & Wedding Expo held at Tulsa Expo Square. Future brides can soak…
  • Rose District Ice Rink (Rose District Plaza - Broken Arrow) Thru Sun, Jan 5th Skate under the festive twinkle lights at Broken Arrow's only outdoor skating rink. Bring your ice skates or rent them…
  • Vintage Tulsa Show (Expo Square - Tulsa) Last Day Some of the finest vintage and antique dealers in the nation are headed to Tulsa Expo Square to present their wares at the…

Monday, Nov 18th

  • 🎓 Be Internet Awesome (Owasso Library - Owasso) Start Time: 5:00pm Let's become Internet Awesome! This 5-week digital safety & citizenship course encourages children to *Think critically and evaluate websites, email, and other content online. *Protect themselves from online threats, including bullying and scams. *Get smart about sharing: what, when, how, and with whom. *Be kind and respectful toward other…
  • Big Brothers Big Sisters (Tulsa Ballet - Tulsa) Start Time: 5:30pm Bring your Little and peak “behind the curtain” at a rehearsal of the Nutcracker, Tulsa’s favorite holiday tradition! Following the rehearsal, you and your little can enjoy cookies and meet some of the Tulsa Ballet Dancers! Tulsa Ballet is proud to partner with Big Brothers Big Sisters of Oklahoma for this wondrous evening. RSVP's by…
  • Fiction Addiction Book Club (Owasso Library - Owasso) Start Time: 6:00pm Love talking about books? So do we! Join us to discuss "Daisy Jones and the Six" by Taylor Jenkins Reid. Reserved copies of the book are available at the desk. For adults.
  • 🎨 Rock 'n Roll Holiday (Tulsa Garden Center - Tulsa) Start Time: 10:30am Kick up your heels! Raise funds for landscape architecture and horticulture students of OSU Department of Horticulture and Landscape Architecture and Tulsa Community College's Second Chance programs at Dick Conner Correctional Center. -Silent auction and drawing feature amazing prizes -Exclusive trellis and garden poles by Garden Deva Sculpture…
  • Rose District Ice Rink (Rose District Plaza - Broken Arrow) Thru Sun, Jan 5th Skate under the festive twinkle lights at Broken Arrow's only outdoor skating rink. Bring your ice skates or rent them…

Tuesday, Nov 19th

  • Borneo - All the "B" Birds and More by Dr. Doug Wood (Tulsa Garden Center - Tulsa) Start Time: 7:00pm Dr. Doug Wood is a frequent and popular presenter for TAS. Come hear about Doug's recent trip to Borneo and Malaysia. Doug's program will cover birds, mammals, herps and more. Refreshments begin at 7:00 pm with Doug's presentation beginning about 7:30 pm. Event is free and open to the public. You are welcome to come join Doug and other TAS…
  • Build a Reader Storytime: Babies and Toddlers (Owasso Library - Owasso) Ready, set, READ! This beginning storytime focuses on helping your baby or toddler develop important literacy skills while emphasizing the fun of reading. This month, we will be celebrating "Dinovember" with fun dinosaur stories, songs, and activities. For ages birth-2. Stay after storytime for Stay and Play (11-11:30 a.m.) which includes toys…
  • ORU Golden Eagles vs Rogers State Hillcats (Mabee Center - Tulsa) The ORU Golden Eagles men's basketball team strives for success on the court. Watch the team work together toward…
  • Rose District Ice Rink (Rose District Plaza - Broken Arrow) Thru Sun, Jan 5th Skate under the festive twinkle lights at Broken Arrow's only outdoor skating rink. Bring your ice skates or rent them…
  • 🎓 Teen Guitar Lessons (Owasso Library - Owasso) Start Time: 6:30pm Bring your own guitar and come for a free beginning guitar workshop taught by local musician Ryan Pennington. Registration is required. Register online HERE --> https://events.tulsalibrary.org/event/3301411 or call 918-549-7323. For ages 10-18.
  • 🎭 VEAUX (The Vanguard - Tulsa) Start Time: 8:00pm

See Also

submitted by tulsanewsbot to tulsa [link] [comments]


2019.10.28 21:11 DeePeeJay69 Flat battery anxiety

I’ve recently started playing a Fender Jazz Custom with Active pickups - it’s got a huge variety of tone and I no longer use my pedal board. My problem is I worry about the battery going flat mid-gig. I’m not sure how long it should last. I’m careful not to leave it plugged in when I’m not playing (activates the preamp) and I was thinking of writing the date on the battery each time I install a new one. Obviously I can put a new battery in for each gig, but that seems wasteful. What do other people do?
submitted by DeePeeJay69 to BassGuitar [link] [comments]


2019.10.19 11:07 Rourkebrad Problem with phonegap build signing key apk

Hi,
I keep getting this error after applying a signing key to my apk. I'm not too sure if the issue is with the config file and signing key stage, any advise would be great!!
Error
"Oh geez. Your build failed. Click the "Log" button above to view the compile log. If you need help diagnosing the issue, you can post to the support forum with your App ID (please do a search first)."
Log file
"
Build Date: 2019-10-19 08:45:16 +0000 -------------------------------------------------------------------------------- PREPARE OUTPUT -------------------------------------------------------------------------------- Generating platform-specific config.xml from defaults for android at /vagimlet/tmp/47131003672400/3623904/app/src/main/res/xml/config.xml Merging project's config.xml into platform-specific android config.xml [Gradle Properties] Preparing Configuration [Gradle Properties] File missing, creating file with Cordova defaults. [Gradle Properties] Appending default configuration properties [Gradle Properties] Appending configuration item: org.gradle.daemon=true [Gradle Properties] Appending configuration item: org.gradle.jvmargs=-Xmx2048m [Gradle Properties] Appending configuration item: android.useDeprecatedNdk=true [Gradle Properties] Appending custom configuration properties [Gradle Properties] Updating and Saving File Merging and updating files from [, ../platform_www] to ../app/src/main/assets/www copy config.xml ../app/src/main/assets/www/config.xml (new file) mkdir ../app/src/main/assets/www/cordova-js-src mkdir ../app/src/main/assets/www/cordova-js-src/android copy ../platform_www/cordova-js-src/android/nativeapiprovider.js ../app/src/main/assets/www/cordova-js-src/android/nativeapiprovider.js (new file) copy ../platform_www/cordova-js-src/android/promptbasednativeapi.js ../app/src/main/assets/www/cordova-js-src/android/promptbasednativeapi.js (new file) copy ../platform_www/cordova-js-src/exec.js ../app/src/main/assets/www/cordova-js-src/exec.js (new file) copy ../platform_www/cordova-js-src/platform.js ../app/src/main/assets/www/cordova-js-src/platform.js (new file) mkdir ../app/src/main/assets/www/cordova-js-src/plugin mkdir ../app/src/main/assets/www/cordova-js-src/plugin/android copy ../platform_www/cordova-js-src/plugin/android/app.js ../app/src/main/assets/www/cordova-js-src/plugin/android/app.js (new file) copy ../platform_www/cordova.js ../app/src/main/assets/www/cordova.js (updated file) delete ../app/src/main/assets/www/css (no source) delete ../app/src/main/assets/www/css/index.css (no source) copy img/BassWall.jpg ../app/src/main/assets/www/img/BassWall.jpg (new file) copy img/FenderPrecision.jpg ../app/src/main/assets/www/img/FenderPrecision.jpg (new file) copy img/Rickenbacker.jpg ../app/src/main/assets/www/img/Rickenbacker.jpg (new file) copy img/Squier.jpg ../app/src/main/assets/www/img/Squier.jpg (new file) copy img/StingRay.jpg ../app/src/main/assets/www/img/StingRay.jpg (new file) copy img/average.gif ../app/src/main/assets/www/img/average.gif (new file) copy img/backgroundMain.jpg ../app/src/main/assets/www/img/backgroundMain.jpg (new file) copy img/bass.gif ../app/src/main/assets/www/img/bass.gif (new file) copy img/basses.jpg ../app/src/main/assets/www/img/basses.jpg (new file) delete ../app/src/main/assets/www/img/cordova.png (no source) copy img/crap.gif ../app/src/main/assets/www/img/crap.gif (new file) copy img/fenderJazz.jpg ../app/src/main/assets/www/img/fenderJazz.jpg (new file) copy img/fenderJazz2.jpg ../app/src/main/assets/www/img/fenderJazz2.jpg (new file) copy img/fenderj.gif ../app/src/main/assets/www/img/fenderj.gif (new file) copy img/fenderp.gif ../app/src/main/assets/www/img/fenderp.gif (new file) copy img/flea.jpg ../app/src/main/assets/www/img/flea.jpg (new file) copy img/guitar.gif ../app/src/main/assets/www/img/guitar.gif (new file) copy img/guitarPic.jpg ../app/src/main/assets/www/img/guitarPic.jpg (new file) copy img/guitarVbass.jpg ../app/src/main/assets/www/img/guitarVbass.jpg (new file) copy img/icon.jpg ../app/src/main/assets/www/img/icon.jpg (new file) copy img/joeDart.jpg ../app/src/main/assets/www/img/joeDart.jpg (new file) delete ../app/src/main/assets/www/img/logo.png (no source) copy img/musick.jpg ../app/src/main/assets/www/img/musick.jpg (new file) copy img/rickenbacker.gif ../app/src/main/assets/www/img/rickenbacker.gif (new file) copy img/squier.gif ../app/src/main/assets/www/img/squier.gif (new file) copy img/stingray.gif ../app/src/main/assets/www/img/stingray.gif (new file) copy img/success.gif ../app/src/main/assets/www/img/success.gif (new file) copy index.html ../app/src/main/assets/www/index.html (updated file) copy jquery-3.4.1.min.js ../app/src/main/assets/www/jquery-3.4.1.min.js (new file) copy jquery-migrate-3.0.1.min.js ../app/src/main/assets/www/jquery-migrate-3.0.1.min.js (new file) copy jquery.mobile-1.4.5.min.css ../app/src/main/assets/www/jquery.mobile-1.4.5.min.css (new file) copy jquery.mobile-1.4.5.min.js ../app/src/main/assets/www/jquery.mobile-1.4.5.min.js (new file) delete ../app/src/main/assets/www/js (no source) delete ../app/src/main/assets/www/js/index.js (no source) mkdir ../app/src/main/assets/www/keys copy keys/bassguitarworld.keystore ../app/src/main/assets/www/keys/bassguitarworld.keystore (new file) copy keys/bassguitarworld.keystore.old ../app/src/main/assets/www/keys/bassguitarworld.keystore.old (new file) copy main.js ../app/src/main/assets/www/main.js (new file) copy style.css ../app/src/main/assets/www/style.css (new file) Wrote out android application name "BassGuitar Quiz" to /vagimlet/tmp/47131003672400/3623904/app/src/main/res/values/strings.xml android-versionCode not found in config.xml. Generating a code based on version in config.xml (1.0.0): 10000 Wrote out Android package name "com.phonegap.basguitarquiz" to /vagimlet/tmp/47131003672400/3623904/app/src/main/java/com/phonegap/basguitarquiz/BassGuitarQuiz.java Updating icons at ../app/src/main/res copy img/icon.jpg ../app/src/main/res/mipmap-mdpi/ic_launcher.png (new file) This app does not have splash screens defined This app does not have additional resource files defined Prepared android project successfully -------------------------------------------------------------------------------- PLUGIN OUTPUT -------------------------------------------------------------------------------- Fetching plugin "[email protected]" via npm Installing "cordova-plugin-whitelist" at "1.3.4" for android Fetching plugin "[email protected]~5.0.1" via npm Installing "cordova.plugins.diagnostic" at "5.0.1" for android Subproject Path: CordovaLib Subproject Path: app -------------------------------------------------------------------------------- PROJECT PROPERTIES -------------------------------------------------------------------------------- # This file was originally created by the Android Tools, but is now # used by cordova-android to manage the state of the various third party # libraries used in your application # This is the Library Module that contains the Cordova Library, this is not # required when using an AAR # This is the application project. This is only required for Android Studio Gradle projects # Project target. target=android-28 android.library.reference.1=CordovaLib android.library.reference.2=app cordova.system.library.1=com.android.support:support-v4:28.+ cordova.system.library.2=com.android.support:appcompat-v7:28.+ -------------------------------------------------------------------------------- COMPILE OUTPUT -------------------------------------------------------------------------------- Checking Java JDK and Android SDK versions ANDROID_SDK_ROOT=undefined (recommended setting) :wrapper BUILD SUCCESSFUL in 0s 1 actionable task: 1 executed Subproject Path: CordovaLib Subproject Path: app To honour the JVM settings for this build a new JVM will be forked. Please consider using the daemon: https://docs.gradle.org/4.10.3/userguide/gradle\_daemon.html. Daemon will be stopped at the end of the build stopping after processing > Configure project :app Exception while marshalling /opt/android-sdk/build-tools/26.0.3/package.xml. Probably the SDK is read-only Exception while marshalling /opt/android-sdk/build-tools/28.0.3/package.xml. Probably the SDK is read-only Exception while marshalling /opt/android-sdk/extras/google/instantapps/package.xml. Probably the SDK is read-only Exception while marshalling /opt/android-sdk/platform-tools/package.xml. Probably the SDK is read-only Exception while marshalling /opt/android-sdk/platforms/android-28/package.xml. Probably the SDK is read-only Exception while marshalling /opt/android-sdk/platforms/android-29/package.xml. Probably the SDK is read-only Exception while marshalling /opt/android-sdk/build-tools/26.0.3/package.xml. Probably the SDK is read-only Exception while marshalling /opt/android-sdk/build-tools/28.0.3/package.xml. Probably the SDK is read-only Exception while marshalling /opt/android-sdk/extras/google/instantapps/package.xml. Probably the SDK is read-only Exception while marshalling /opt/android-sdk/platform-tools/package.xml. Probably the SDK is read-only Exception while marshalling /opt/android-sdk/platforms/android-28/package.xml. Probably the SDK is read-only Exception while marshalling /opt/android-sdk/platforms/android-29/package.xml. Probably the SDK is read-only > Task :app:preBuild UP-TO-DATE > Task :CordovaLib:preBuild UP-TO-DATE > Task :CordovaLib:preReleaseBuild UP-TO-DATE > Task :CordovaLib:checkReleaseManifest > Task :CordovaLib:processReleaseManifest > Task :app:preReleaseBuild > Task :CordovaLib:compileReleaseAidl NO-SOURCE > Task :app:compileReleaseAidl NO-SOURCE > Task :CordovaLib:packageReleaseRenderscript NO-SOURCE > Task :app:compileReleaseRenderscript > Task :app:checkReleaseManifest > Task :app:generateReleaseBuildConfig > Task :app:prepareLintJar > Task :app:generateReleaseSources > Task :CordovaLib:compileReleaseRenderscript > Task :CordovaLib:generateReleaseBuildConfig > Task :CordovaLib:generateReleaseResValues > Task :CordovaLib:generateReleaseResources > Task :CordovaLib:packageReleaseResources > Task :CordovaLib:generateReleaseRFile > Task :CordovaLib:prepareLintJar > Task :CordovaLib:generateReleaseSources > Task :CordovaLib:javaPreCompileRelease > Task :CordovaLib:compileReleaseJavaWithJavac Note: /vagimlet/tmp/47131003672400/3623904/CordovaLib/src/org/apache/cordova/engine/SystemCookieManager.java uses or overrides a deprecated API. Note: Recompile with -Xlint:deprecation for details. > Task :CordovaLib:processReleaseJavaRes NO-SOURCE > Task :CordovaLib:transformClassesAndResourcesWithPrepareIntermediateJarsForRelease > Task :app:javaPreCompileRelease > Task :app:mainApkListPersistenceRelease > Task :app:generateReleaseResValues > Task :app:generateReleaseResources > Task :app:mergeReleaseResources FAILED 20 actionable tasks: 20 executed FAILURE: Build failed with an exception. * What went wrong: Execution failed for task ':app:mergeReleaseResources'. > java.util.concurrent.ExecutionException: com.android.builder.internal.aapt.v2.Aapt2Exception: Android resource compilation failed /vagimlet/tmp/47131003672400/3623904/app/src/main/res/mipmap-mdpi/ic_launcher.png: error: failed to read PNG signature: file does not start with PNG signature. * Try: Run with --stacktrace option to get the stack trace. Run with --info or --debug option to get more log output. Run with --scan to get full insights. * Get more help at https://help.gradle.org BUILD FAILED in 12s Exception in thread "ForkJoinPool.commonPool-worker-3" java.lang.IllegalStateException: AAPT Process manager cannot be shut down while daemons are in use at com.android.builder.internal.aapt.v2.Aapt2DaemonManager.shutdown(Aapt2DaemonManager.kt:96) at com.android.build.gradle.internal.res.namespaced.RegisteredAaptService.shutdown(Aapt2DaemonManagerService.kt:61) at com.android.build.gradle.internal.workeractions.WorkerActionServiceRegistry$shutdownAllRegisteredServices$1$1.run(WorkerActionServiceRegistry.kt:96) at java.util.concurrent.ForkJoinTask$RunnableExecuteAction.exec(ForkJoinTask.java:1402) at java.util.concurrent.ForkJoinTask.doExec(ForkJoinTask.java:289) at java.util.concurrent.ForkJoinPool$WorkQueue.runTask(ForkJoinPool.java:1056) at java.util.concurrent.ForkJoinPool.runWorker(ForkJoinPool.java:1692) at java.util.concurrent.ForkJoinWorkerThread.run(ForkJoinWorkerThread.java:157) Error: /vagimlet/tmp/47131003672400/3623904/gradlew: Command failed with exit code 1 Error output: Note: /vagimlet/tmp/47131003672400/3623904/CordovaLib/src/org/apache/cordova/engine/SystemCookieManager.java uses or overrides a deprecated API. Note: Recompile with -Xlint:deprecation for details. FAILURE: Build failed with an exception. * What went wrong: Execution failed for task ':app:mergeReleaseResources'. > java.util.concurrent.ExecutionException: com.android.builder.internal.aapt.v2.Aapt2Exception: Android resource compilation failed /vagimlet/tmp/47131003672400/3623904/app/src/main/res/mipmap-mdpi/ic_launcher.png: error: failed to read PNG signature: file does not start with PNG signature. * Try: Run with --stacktrace option to get the stack trace. Run with --info or --debug option to get more log output. Run with --scan to get full insights. * Get more help at https://help.gradle.org BUILD FAILED in 12s Exception in thread "ForkJoinPool.commonPool-worker-3" java.lang.IllegalStateException: AAPT Process manager cannot be shut down while daemons are in use at com.android.builder.internal.aapt.v2.Aapt2DaemonManager.shutdown(Aapt2DaemonManager.kt:96) at com.android.build.gradle.internal.res.namespaced.RegisteredAaptService.shutdown(Aapt2DaemonManagerService.kt:61) at com.android.build.gradle.internal.workeractions.WorkerActionServiceRegistry$shutdownAllRegisteredServices$1$1.run(WorkerActionServiceRegistry.kt:96) at java.util.concurrent.ForkJoinTask$RunnableExecuteAction.exec(ForkJoinTask.java:1402) at java.util.concurrent.ForkJoinTask.doExec(ForkJoinTask.java:289) at java.util.concurrent.ForkJoinPool$WorkQueue.runTask(ForkJoinPool.java:1056) at java.util.concurrent.ForkJoinPool.runWorker(ForkJoinPool.java:1692) at java.util.concurrent.ForkJoinWorkerThread.run(ForkJoinWorkerThread.java:157) at ChildProcess.whenDone (/vagimlet/tmp/47131003672400/3623904/cordova/node_modules/cordova-common/src/superspawn.js:135:23) at emitTwo (events.js:126:13) at ChildProcess.emit (events.js:214:7) at maybeClose (internal/child_process.js:915:16) at Process.ChildProcess._handle.onexit (internal/child_process.js:209:5)
"
Config file
"

BassGuitar Quiz A bass guitar buying guide application. PhoneGap Team



"
submitted by Rourkebrad to Phonegap [link] [comments]


2019.10.16 02:53 sanfrancisandco Let's say you have $140K to spend on a full media facility...

I will be leasing out warehouse space to build the tracking room, control room, iso booths, and the filming area (hopefully with enough room for a cyc wall.) I’m looking at spaces around 3,500 - 5,000 square feet that have existing offices I can treat and repurpose as a podcast suite and editing suite.
Here’s what I already have:

Here’s are the rooms I need to build out and the gear needed for each:

What are specific must-haves I need? My list is very vague so I’m hoping you guys can help point me in the right direction. Take a look at the gear I’m considering and maybe you can suggest something else or help fill in the blanks.
How you spend $140K on your dream/reality studio? What cameras would you buy for small corporate videos and indie music videos? What photography camera and lens? What machines would you buy? What kind of specs do they need? What recording console? Room treatment? What desk? Mics? Preamps? Compressors? Plugins? Cyc wall?
submitted by sanfrancisandco to recordingstudio [link] [comments]


2019.10.16 02:32 sanfrancisandco Let's say you have $140K to spend on a full media production facility.

Here’s what I already have:

Here’s are the rooms I need to build out and the gear needed for each:

I will be leasing out warehouse space to build the tracking room, control room, iso booths, and the filming area (hopefully with enough room for a cyc wall.) I’m looking at spaces around 3,500 - 5,000 square feet that have existing offices I can treat and repurpose as a podcast suite and editing suite.
What are specific must-haves I need? My list is very vague so I’m hoping you guys can help point me in the right direction. Take a look at the gear I’m considering and maybe you can suggest something else or help fill in the blanks.
How you spend $140K on your dream/reality studio? What cameras would you buy for small corporate videos and indie music videos? What photography camera and lens? What machines would you buy? What kind of specs do they need? What recording console? Room treatment? What desk? Mics? Preamps? Compressors? Plugins? Cyc wall?
submitted by sanfrancisandco to buildastudio [link] [comments]


2019.09.30 00:59 JustMeInBigD Things to Do - Week of September 30 - Oct 6

Other lists of things to do
Dallas News Events (Formerly GuideLive, pre-formerly Pegasus News, LOL) Editor’s Picks
Do214 Top Picks
Concerts Happening in Dallas from ConcertLane.com
This Week’s Beer Events from BeerInBigD.com

Ongoing Exhibits/Activities

State Fair of Texas at Fair Park from September 27 until October 20
FreePumpkin Patch at NorthPark Center until October 31
Autumn at the Arboretum at Dallas Arboretum until October 31
Dior: From Paris to the World at the Dallas Museum of Art until October 27
Sheila Hicks: Secret Structures, Looming Presence at the Dallas Museum of Art until 1/12/20
Away From the White House: Presidential Retreats at the George W. Bush Presidential Center
until October 6
Rainbow Vomit on Parry Ave, Dallas until October 13
El Greco, Goya, and a Taste for Spain at Meadows Museum SMU until January 2020
55 Years President Kennedy on Magazine Covers at Sixth Floor Museum until Oct 13
The Art of Sport by Chris Brown at Elm Street Studio in Kelleruntil October 4th
“Interchange” (between Texas & Nigerian artists) at South Dallas Cultural Center until October 27
Texas International Pop Festival: 50 Years Later - The Exhibit at MCL Grand in Lewisville until October 27
A Fortune in Oils: Sid Richardson’s Personal Collection at Sid Richardson Museum in Fort Worth until March 2020
Stories of Survival: Object. Image. Memory.at the Dallas Holocaust and Human Rights Museum (ongoing special exhibit)
May You Survive in Interesting Times at UTD’s SP/N Gallery Until October 19
Snap 151 in Frisco until October 14th
Walking Tours of the Museum of the American Railroad in Frisco (Wed-Fri, Sat) until October 26
Hands and Earth: Contemporary Japanese Ceramics at Crow Museum of Asian Art until January 2020
Biennial: Origins in Geometry at The Museum of Geometric and MADI Art until October 20

Ongoing - Theatre

First Date at Stage West Theatre - Fort Worth until October 13
Red Chariot at Undermain Theatre until October 13 (Previews 9/18-20)
In The Heights - Dallas Theater Center at Wyly Theatre until October 20
Phantom of the Opera at Bass Hall until October 5
The Best Little Whorehouse in Texas at Theater Arlington until October 13
What We Were at Circle Theater Fort Worth until October19
The Shine Play Festival: Black Men Illuminated at South Dallas Cultural Center until October 6
The Fantasticks at Greater Lewisville Community Theater until October 20
Mamma Mia at Rockwall Community Playhouse until October 6
A Love Offering Trinity River Arts Center — presented by — Kitchen Dog Theater starting October 3 until October 27
Chicago,in Concert with the Dallas Symphony at Meyerson Symphony Center Oct 4-6
Two By Beckett: Footfalls and Not I at Bathhouse Cultural Center starting October 3 until October 19

Festivals & Multi-Day Events This Weekend

State Fair of Texas Sep 27-Oct 20 Adult Tickets $18, Many Discounts Available Fair Park, Dallas Downtown Dallas Food, Music, The Arts, Community, Rides, Kid Friendly
Tarrant County Pride Week Oct 3-13 Multiple Events, TBA Various Fort Worth Fort Worth Cultural, The Arts, Community
QCinema LGBT Film Festival Oct 3-5 Single Show $15, Festival Pass $100 Fort Worth Botanic Garden Fort Worth Cultural, The Arts, Community
Denton Folk Festival Oct 4-6 $10 per day, $20 3-day pass Backyard on Bell Denton County Music, Community
Dallas Porchfest Oct 4-5 FREE 4700-4800 Swiss Ave, Dallas Swiss Ave Historic District Music, The Arts, Community, Historic neighborhoods.
Oktoberfest Southlake Oct 4-6 FREE Southlake Town Square Northwest Suburbs Cultural, BeeWine, Food, Music, The Arts, Autumn, Kid Friendly, Dog Friendly
23rd Annual Lebanese Food Festival Oct 4-6 FREE Our Lady of Lebanon
Maronite Catholic Church, Lewisville Denton County Food, Culture, Community, Kid Friendly
Tarrant County Harambee Festival Oct 4-5 1050 Evans Ave, Ft Worth Historic Southside Fort Worth Parade, Music, Art, Food, Kid Friendly
Fall Festival and Farmers Market Oct 5 FREE Shades of Green Gardening Center, Frisco Far North Suburbs Fall, Nature, Kid Friendly
Aubrey Peanut Festival Oct 5 FREE Aubrey Festival Grounds Denton Area Food, Autumn, Main Street/Community, Kid Friendly, Dog Friendly
Turtle Creek Fine Arts Festival Oct 5-6 FREE Reverchon Park Dallas Uptown Arts, Community, Food, Music, Kid Friendly, Dog Friendly
IOOF Oddfest Oct 5 FREE Kid Friendly Singleton Plaza, Waxahachie Southern Suburbs The Arts, Music, Community
Texas Latino Gay Pride Oct 5 $ and Up Longhorn Ballroom, Dallas Downtown Dallas Cultural, Music, Food, Community
Frisco Arts Walk and Run Oct 5 $40 Race Registration Hall Park, Frisco Far North Suburbs Run/Walk, The Arts, Music, Food, Community, Kid Friendly
Tacolandia Oct 5 General Admission $35, VIP Available Dallas Farmers Market Downtown Dallas Food, BeeWine, Cultural, Adults (21) Only
Kessler Pumpkin Patch Oct 5 No ticket price found The Kessler School, Oak Cliff South Dallas Autumn, Kid Friendly, Music, Food, Community
Dog Days of Denton Oct 5 FREE North Texas State Fairgrounds, Denton Pets, Community, Kid Friendly, Dog Friendly Charity: Denton Animal Shelter
Cottonwood Art Festival Oct 5-6 FREE Kid Friendly, Dog Friendly Cottonwood Park Richardson Northern Suburbs Juried Art, The Arts, Music, Beer, Community
Garland’s Gone Camping Oct 5-6 $10, Advance Registration Required Kid Friendly Audubon Park, Garland Northeast Suburbs Outdoors, Autumn, Overnight, Community

Daily Things to Do

--Monday, September 30--
Rosh Hashanah
New Girl Trivia at Trinity Cider
Linny Nance's Hour of Power at The Balcony Club
Free Introduction To Coding: Html & CSS at Industrious Dallas, Uptownn
Meditation for Everyone at Unity Church, Lower Greenville
Songwriter in the Round with Justin Philip Brooks at Opening Bell Coffee
LGBT Game Night at Grauwyler Park Branch Library, Dallas
Couples Country Dance Classes at Billy Bob’s Texas, Fort Worth
SYZYGY: All of It (SMU’s Contemporary Music Ensemble) at Caruth Auditorium
Arts & Letters Live: Kristin Hannah at First United Methodist Church - Dallas
Book Launch Party for Dear Sweet Pea! By Julie Murphy at South Irving Library
Monday Food Discount: $1 Oysters and 1/2 priced Rosé at Oak

--Tuesday, October 1--
Game Night Dallas Scaretober at Steam Theory Brewing
La La Land Jazz at Chelsea Corner
National Night Out (Locations all over Dallas at the link, most suburbs will host events too)
Arts and Letters LIve: Casey Gerald at Horchow Auditorium, Dallas Museum of Art
Masked Intruder at Three Links
Mohamed Henedy at Arlington Improv
Frisco ISD Marching Band Showcase at The Star in Frisco
Nurse Blake - The Call Light Tour at House of Blues
Sunset Yoga at Sundance Square Fort Worth
Free Film Screening: Documenting Hate: Charlottesville at the Unitarian Universalist Church of Oak Cliff
Tuesday Food Discount: An early-starting four day celebration of National Taco Day starts today at all Blue Mesa Grill locations and runs through Friday October 4th. From 5 to 9PM, enjoy an endless taco buffet for $12.
Also, today’s a great day for food holidays. It’s National Pumpkin Spice Day, World Vegetarian Day, AND Homemade Cookie Day. Check your social media and news media for specials!

--Wednesday, October 2--
BeerMan (free show) at Lava Cantina, The Colony
Ty Herndon at Arlington Music Hall
Arthur Brooks: Love Your Enemies Book Discussion at Crum Auditorium, SMU
Chris Renzema the Boxer + The Bear Tour at Ruins
Rooftop Salsa Night with Instahap at Vidorra, Deep Ellum
Wine Wednesday (Live Music and 20% Bottles of Wine) at Chocolate Secrets, Dallas
Paul Varghese & Ana Buenrostro at Off the Cuff Dallas
Lindsey Kate Band at Wilhoite’s Grapevine
Friends 25th Anniversary Themed Trivia at Blackfriar Pub (Facebook Link)
New Comic Book Day (every Wednesday) at Doc’s Comics & Games, Frisco
Wednesday Food Discount: $8.99 Herb Roasted Chicken Blue Plate at AllGood Cafe

--Thursday, October 3--
Matt Golightly at Hyenas Plano - Free show! (w/ 2 item minimum)
Dial M For Murder (part of Hitchcocktober) opens at Angelika Film Center, Dallas
Stone Temple Pilots and Rival Sons at The Pavilion at Toyota Music Factory
Book Presentation, From Being Things, To Equalities In All, at The Wild Detectives
College Night at the Dallas Museum of Art
Brad Thompson at Troys, Texas Live! In Arlington
Sam Fender at Club Dada
Voices from Foster Care (documentary short films) at Dallas CASA
DCH Gives Back Comedy Show benefiting Life in Deep Ellum at Dallas Comedy House
Escape: Evenings on Oak Street Concert Series in Downtown Roanoke
Thursday Food Discount: $8.95 Texican Thursday Special at State & Allen
Also, today is National Soft Taco Day check your social media and news media for specials!

Check the festivals list at the top for many more multi-day and weekend activities!

--Friday, October 4--
DanceAfrica presented by Dallas Black Dance Theatre at Moody Performance Hall (also 10/5)
Origins and Evolution of the Afro-Puerto Rican Music, Poetry and Dance at Latino Cultural Center (also 10/5)
National Vodka Day Crawl at Deep Ellum Distillery (National Vodka Day is tomorrow)
Live 80 - The Ultimate 80s Experience! At Lava Cantina, The Colony
KXT’s Local Music Showcase at Four Corners Brewery
Circus Espana in Little Elm (continues through Oct 13)
Steven Page Trio (Formerly of Barenaked Ladies) at Legacy Hall
Infinite Journey and Poo Live Crew at Sunset Live! At the Gardens in Grapevine
Gay Kickball World Series 2019 at Fair Oaks Park Dallas (continues through Sunday)
Music on the Plaza at Glade Parks Shopping Center in Euless (Facebook Link)
HIPster Ale Keep the Glass Night at Peticolas Brewery
Also, today is National Taco Day - check your social media and news media for specials!

--Saturday, October 5--
Free First Saturdays at the Nasher Sculpture Center
Charley Crockett - CD Release Show at Gas Monkey Live, Dallas
Best in Yard Dog Show at Truck Yard, Dallas (Faceboook link)
Deep Ellum Outdoor Market in Deep Ellum - 100-199 Crowdus
BOMLA Music and Arts Festival at Encore Park, Dallas
Hallam Family Concerts: French Impressions at the Dallas Museum of Art
North Dallas Toy Show at Dallas Events Center, Farmers Branch
Emo Nite at Lizard Lounge
RetroFest- RetroMadness Anniversary at Retro Plaza, Bedford (Facebook link)
Rise Against The Machine & Primal Concrete Cowboys at Hat Tricks, Lewisville
Korean Food Festival at 99 Ranch Market, Plano
Plano Food + Wine Festival at The Shops at Willow Bend
DFW DogFest at Baylor, Scott & White Health - Kinkeade Campus, Las Colinas
DFW Halal Foodfest at Valley Ranch Islamic Center, Irving
A Taste Of Nigeria Festival, Asia Times Square in Grand Prairie (Facebook Link)
Kid’s Fishing Day at Mike Lewis Park, Grand Prairie
Denton Hispanic Heritage Festival at the Denton Community Market
Also, today is National Vodka Day - check your social media and news media for specials!

--Sunday, October 6--
Cowboys vs Green Bay Packers - Home
LifeWalk 2019 Dallas AIDS Walk at Turtle Creek Park
Dokken at Gas Monkey Live!
Sunday Supper Concert Series at Cafe Momentum, Dallas
Drummathon 2019! At Klyde Warren Park
Ann Patchett: Arts & Letters Live at First United Methodist Church Dallas
GRAND Opening - Moto Liberty in Addison
Hispanic Heritage Fiesta with Havana NRG at Legacy Hall Plano
Family Funtoberfest 2019 at Frisco Fresh Market
6th Annual Coppell Car Show at Old Town Coppell
Amigo International Guitar Show 2019 at Will Rogers Memorial Center, Fort Worth
Grand Opening at Thrillvania Haunted House Park in Terrell
Sunday Food Discount: $39 3-Course Pork Chop Sunday Supper at Perry’s Steakhouse (Uptown, Grapevine, Frisco)
Also, today is National Noodle Day - check your social media and news media for specials!
And that’s all for this week!
submitted by JustMeInBigD to Dallas [link] [comments]


2019.09.20 01:11 highanimalhouse "What If" with Nick Drake

I always wonder “what if?” with Nick Drake. What if he finally was recognized in his lifetime? What if the way he did things worked and the music buying public understood what he was about while he was alive?
This is quite a bit of fiction but there’s elements of truth as well. I’ve tried not to be too wild with it (for example, I don’t think Nick Drake would record a disco single!)
1972: Pink Moon is released. At first, it started slowly on the charts. Nick Drake does an interview with Jerry Gilbert of Sounds magazine that’s revealing and funny at the same time; Nick is a bit more comfortable discussing his music and what he thinks of his music in the world of 1972. He opens up about himself as well; he acknowledges his depression and indicates that he is seeing a counselor. Having been successful there, Nick agrees to appear on John Peel’s show and plays tracks from Pink Moon. The appearance is a success and causes Pink Moon to take off. For 30 straight weeks, Pink Moon is the #1 album in sales and “Things Behind The Sun” is the #1 single. “Pink Moon,” “Which Will,” and “From The Morning” are released as singles and Nick gets his first Grammy nomination that year.
1973: Nick Drake starts a tour with John Martyn and tests out material that will appear on his follow up Time Of No Reply. Through touring with Martyn, Nick gets comfortable appearing before an audience and has a dry wit with his banter. Nick appears later on John’s album Solid Air.
1974: Time Of No Reply is released to critical acclaim and commercial success. Nick goes on tour with Fairport Convention and begins to realize he is not entirely comfortable as a solo artist. He starts a band with Richard Thompson on guitar, Dave Pegg on bass, Dave Mattacks on drums, and Judy Dyble on keyboards called the Nick Drake Band. This gives him space to hone his craft as a songwriter and allow other people to sing his material.
1975: Nick Drake's songs written during the tour appear on Fairport Convention's next album Rising For The Moon and Richard and Linda Thompson's Pour Down Like Silver. Drake also plays guitar on the Thompsons' album. He also works as a session musician to hone his craft for several albums, including Pink Floyd's Wish You Were Here, Genesis' The Lamb Lies Down On Broadway, Traffic's When The Eagle Flies, and John Cale's Slow Dazzle.
1976: The Nick Drake Band’s first album, which is self titled, is released. Songs include “The Summer’s End” and “What The Fire Thinks Of The Flame” and material co written by Richard Thompson and Judy Dyble. The track list for the album are 12 songs and are as follows: 1) The Summer's End 2) What The Fire Thinks of The Flame 3) Never Let Me Look (co written by Richard Thompson and with co-lead with Thompson) 4) My Heart 5) Vulgar Life 6) The Wind Outside 7) Stillness (co written by Judy Dyble) 8) Mirth (sung by Richard Thompson) 9) Nightingale 10) Richer Than Gold (sung by Richard Thompson) 11) A Quiet Life (sung by Judy Dyble) 12) Five Leaves Left
Drake also auditions to join Can and record some material with them but that is shelved by Holgar Czukay for later.
Also that year, Drake releases an album called Songs of My Family, where he records songs written by his mother and his sister to critical acclaim. The album is the most personal of Drake's output and his mother actually cried upon hearing the final recordings.
1977: Nick Drake Band releases their second album Grand Kingdom, which begins Nick Drake becoming more experimental with his songwriting. With more money, he is able to branch out and explore other music and changes within his circle. He raves about David Bowie’s Low and links up with Brian Eno to plan recordings. He begins a path as a progressive rock artist and Grand Kingdom is a concept album, similar to Genesis and King Crimson.
That year, Nick Drake tours America for the first time and records with John Cale and a reformed Velvet Underground for an album called Nick Drake & The Velvet Underground. The critics describe the album as a cross between Drake's own work, Cale's Paris 1919 and the third Velvet Underground album. Playing on the album is Drake on guitar, Sterling Morrison on guitar, Cale on bass and viola, and Maureen Tucker on drums. Lou Reed was asked to appear but wanted no part of the sessions; he did contribute a song about prostitutes sung by Drake.
Nick Drake release an album with Sandy Denny consisting of him on guitar and Denny on piano and recorded in front of a single microphone called of course One Microphone. The album earns Drake his 2nd Grammy nomination that year. Drake sings "Who Knows Where The Time Goes?" and Denny sings "Poor Boy." They collaborate on mostly originals for the album and Drake sings a solo cover of David Bowie's "Breaking Glass" and Roxy Music's "Mother Of Pearl."
1978: Nick links up with Robert Fripp, who joins Nick Drake Band as guitarist while on tour. Nick Drake Band releases their next album, which is a six song album with tracks at over 10 minutes in length called Beetlebum. Highlights of the album include “Dragonfly,” which has Nick playing electric guitar for the first time and actually doing a guitar solo with Richard Thompson and Robert Fripp. Fripp described Drake in interviews as someone who became proficient and a willing student of the instrument, although he was a bit hard on Drake during sessions. "I would listen to his playing and felt that he was like me starting out. I made him do multiple takes but by the end he became a serviceable guitarist. Drake is a bit quiet so he didn't really take instruction too well; I'm not sure I got to him. He would actually leave the rehearsal room and listen to it with the engineer. I think he was working it out in his head and with his non-standard tunings, it has to sound right to him but be what I would want too. He would come out and play again and he got it at the final take. Not sure I would want him in KC but I'm quite proud of our contributions to this album," Fripp told NME. The album ended up being on the end of the year critics list and was called Album of the Year by NME.
Drake releases an album with Robert Fripp that is similar in vein to No Pussyfooting and Evening Star, which comprises of instrumentals. The album is called Mossglow. Drake described the album as 'a blank canvas. Every day, we would go in and look at what we did and plan out what we wanted to do that day. Having worked with Robert on the last album, I understood his methods a bit more and understood that he really wanted me to be a better musician. With him, you either know how to play or you don't. There's no in between. We did a lot of tape manipulation, I played quite a few synths, Robert did his processed guitars, and it was a fun record." The album consisted of 3 tracks, "Mossglow," "Day at the Track," and "Boats." "Mossglow" is the lone track with any vocals.
1979: The band takes a hiatus for a year while Nick works on his next material and he recharges. He gets married during the time in a quiet ceremony to Sophia Ryde. They move to a house in the countryside. Drake appears as a guest on various records including Traffic, John Cale, Richard & Linda Thompson, and Roxy Music.
Nick Drake’s greatest hits album is released. Drake plans a tour in late 1979/early 1980 that is for a few dates and is mainly him, Dave Pegg and Dave Mattacks to support the album.
Brian Eno and Nick Drake release their album from their sessions called Sunscapes. Nick plays the Prophet 5, Moog, piano, organ, and Fender Rhodes in addition to the guitar on the tracks. Drake isn't quite sure of Eno's recording methods. "I have no idea if Brian liked anything! 'That sounded fine, let's do it again.' Brian would pull out his Oblique Strategies cards and drew a card. 'Begin with the end in mind.' What?" Drake said to Melody Maker about his album.
1980: Nick Drake’s recordings with Can are also released called Out Of Order. Holgar Czukay had shelved it because it didn't feel "Can like" even though Drake was open to experimentation and Can's methods. The critics liked the album but not as much as either artists' previous works.
Hannibal Records, Joe Boyd's record label, reprints all of Drake's previous albums in stereo remasters.
1981: As the ‘80s start, more bands and artists cite Drake as an influence and want to work with him. Nick releases his first all synth/keyboard album working with Martin Gore of Depeche Mode called Relaxer. Drake and Gore both liked what resulted and Drake called the album 'the closest to what I had in mind when I started recording. Using synths and working with a musician like Martin really helps.'
Also in 1981, Drake begins recording sessions with Robert Kirby for a 'return to form' solo album.
1982: Drake teams up with Terry Callier, Herbie Hancock, and other jazz musicians for his next album called Rain on the Window. This earns Drake his first Grammy award for best folk album. Drake learned about Terry Callier through Richard Thompson and during his tour of America. "I listened to New Folk Sounds of Terry Callier and loved it. I wanted to really challenge my process and my song writing and really lean into jazz and blues influences while keeping with the style I have for my music. You heard some of it in Bryter Layter with "At the Chime of a City Clock" and "Poor Boy." I wanted to make a sequel to Bryter Layter but even more of a jazz album," Drake told Billboard.
Drake appears as a guitarist on Richard & Linda Thompson's Shoot Out The Lights album.
1983: Nick Drake's return to form album is released and called Leave Raking. Robert Kirby provided string arrangements for tracks on the album and the album is described as a mature version of Five Leaves Left. Rolling Stone magazine said the album was "the product of a man maturing and looking back to his first album and restating themes that followed him (loneliness, sadness, a feeling of being outside) but with a sense of purpose" and gave it a rare 5-star review. The album appears on many critics' best of lists that year.
1984: Nick Drake reforms the Nick Drake Band with a younger set of musicians including Andy Summers on guitar, Peter Hook on bass, Lol Tolhurst on drums and Tim Friese-Greene on keyboards, synths, and programming. The resulting album called Nick Drake Band is released. The album is decisively more pop like compared to Drake's 70s output even though that wasn't their intentions. The Nick Drake Band tours with The Cure and Talk Talk that year.
1985: Nick Drake appears at Live Aid and the crowd joins him in singing “Pink Moon.” Drake is quite happy and jokes with the audience. "So you want to sing a song with me? You probably know this one," as he begins the chords to "Pink Moon." Drake smiles as the audience knows every word.
Drake appears on "We Are The World."
Drake, almost a year before Paul Simon's Graceland, travels to Brazil and records with Caetano Veloso for a bossa nova/Tropicalia inspired album.
1986: Nick Drake performs with Bob Dylan in a series of concerts for the first time. The concert from New York is released as VHS and on CD. Drake and Dylan sing together on Dylan's"Knockin' On Heaven's Door" and "It's All Over Now, Baby Blue" and Drake's "What The Fire Thinks of the Flame." They release an album called Drake & Dylan later that year consisting of blues covers they perform together.
1987: Nick Drake takes a turn at production starting in 1986. He, Daniel Lanois and Brian Eno help produce U2's The Joshua Tree. Drake also help produce Talking Heads' True Stories and Echo & The Bunnymen's Ocean Rain. Drake at this point is nearing 40 and is content with helping other artists hone their craft and better their songwriting. So his album output is less frequent and more keeping up with his standards.
The second iteration of Nick Drake Band releases their next album called Carefree. The other musicians in the band actually wrote the songs for the album with Drake providing lead vocals and guitar.
1988: Nick Drake turns 40 and releases a surprise album that year of solo work called New Beginning. Drake plays every instrument on the album and does the string and horn arrangements. The album is considered to be his best since Leave Raking and much more musically refined. Songs include "Daybreaker" and "Night Leaving Us." The album is an eight track album at 45 minutes and gets a 4 star review in Rolling Stone.
1989: Drake's work turns highly political as he speaks out against Margaret Thatcher and releases a single called "She Must Go." This is followed by a new album that is more aggressive in spirit than any of Drake's previous albums called Rule Britannia. Drake works with Bobby Gillepsie of Primal Scream and it sounds almost punk like; Drake does less singing on the album. Drake plays exclusively electric on the album and through Gillespie's encouragement "went nuts" on his playing.
I guess I’ll think of more but I may stop here for now.
EDIT: Added additional "information."
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2019.09.19 20:42 VietRooster [ALBUM DISCUSSION] Devendra Banhart - Ma

Devendra Banhart - Ma

Release Date: September 13th
Label: Nonesuch Records Inc.
Genre: Indie Folk, Chamber Folk
Singles: Kantori Ongaku, Abre Las Manos
Streams: Spotify, Apple Music, Google Play
Schedule
Date Album
Mon. JPEGMAFIA - All My Heroes Are Cornballs / Alex Cameron - Miami Memory / Djo - Twenty Twenty
Tues. (Sandy) Alex G - House of Sugar / Men I Trust - Oncle Jazz / Pixies - Beneath the Eyrie
Wed. Charli XCX - Charli / Chelsea Wolfe - Birth of Violence / Jenny Hval - The Practice of Love / Blood Cultures - Oh Uncertainty! A Universe Despairs
Thurs. Twin Peaks - Lookout Low / Surf Curse - Heaven Surrounds You / Metronomy - Metronomy Forever
Thurs. (2) Sam Fender - Hypersonic Missles / Microwave - Death is a Warm Blanket / Devendra Banhart - Ma
this is an unofficial discussion for reactions to the album or whatever your little heart desires. this is for the sake of preserving discussion on as many albums as possible. if there's any releases for the week (or in general) that may be of interest missing from the schedule either PM me or leave a comment somewhere and i'll add it.
submitted by VietRooster to indieheads [link] [comments]


2019.09.19 20:42 VietRooster [ALBUM DISCUSSION] Microwave - Death is a Warm Blanket

Microwave - Death is a Warm Blanket

Release Date: September 13th
Label: Pure Noise Records
Genre: Post-Hardcore, Alternative Rock
Singles: DIAWB, Carry
Streams: Spotify, Apple Music, Google Play
Schedule
Date Album
Mon. JPEGMAFIA - All My Heroes Are Cornballs / Alex Cameron - Miami Memory / Djo - Twenty Twenty
Tues. (Sandy) Alex G - House of Sugar / Men I Trust - Oncle Jazz / Pixies - Beneath the Eyrie
Wed. Charli XCX - Charli / Chelsea Wolfe - Birth of Violence / Jenny Hval - The Practice of Love / Blood Cultures - Oh Uncertainty! A Universe Despairs
Thurs. Twin Peaks - Lookout Low / Surf Curse - Heaven Surrounds You / Metronomy - Metronomy Forever
Thurs. (2) Sam Fender - Hypersonic Missles / Microwave - Death is a Warm Blanket / Devendra Banhart - Ma
this is an unofficial discussion for reactions to the album or whatever your little heart desires. this is for the sake of preserving discussion on as many albums as possible. if there's any releases for the week (or in general) that may be of interest missing from the schedule either PM me or leave a comment somewhere and i'll add it.
submitted by VietRooster to indieheads [link] [comments]


2019.09.19 20:41 VietRooster [ALBUM DISCUSSION] Sam Fender - Hypersonic Missiles

Sam Fender - Hypersonic Missiles

Release Date: September 13th
Label: Polydor Records
Genre: Heartland Rock, Alternative Rock
Singles: Hypersonic Missiles, Will We Talk?
Streams: Spotify, Apple Music, Google Play
Schedule
Date Album
Mon. JPEGMAFIA - All My Heroes Are Cornballs / Alex Cameron - Miami Memory / Djo - Twenty Twenty
Tues. (Sandy) Alex G - House of Sugar / Men I Trust - Oncle Jazz / Pixies - Beneath the Eyrie
Wed. Charli XCX - Charli / Chelsea Wolfe - Birth of Violence / Jenny Hval - The Practice of Love / Blood Cultures - Oh Uncertainty! A Universe Despairs
Thurs. Twin Peaks - Lookout Low / Surf Curse - Heaven Surrounds You / Metronomy - Metronomy Forever
Thurs. (2) Sam Fender - Hypersonic Missles / Microwave - Death is a Warm Blanket / Devendra Banhart - Ma
this is an unofficial discussion for reactions to the album or whatever your little heart desires. this is for the sake of preserving discussion on as many albums as possible. if there's any releases for the week (or in general) that may be of interest missing from the schedule either PM me or leave a comment somewhere and i'll add it.
submitted by VietRooster to indieheads [link] [comments]


2019.09.19 15:15 VietRooster [ALBUM DISCUSSION] Metronomy - Metronomy Forever

Metronomy - Metronomy Forever

Release Date: September 13th
Label: Because Music
Genre: Indietronica, Indie Pop
Singles: Salted Caramel Ice Cream, Wedding Bells
Streams: Spotify, Apple Music, Google Play
Schedule
Date Album
Mon. JPEGMAFIA - All My Heroes Are Cornballs / Alex Cameron - Miami Memory / Djo - Twenty Twenty
Tues. (Sandy) Alex G - House of Sugar / Men I Trust - Oncle Jazz / Pixies - Beneath the Eyrie
Wed. Charli XCX - Charli / Chelsea Wolfe - Birth of Violence / Jenny Hval - The Practice of Love / Blood Cultures - Oh Uncertainty! A Universe Despairs
Thurs. Twin Peaks - Lookout Low / Surf Curse - Heaven Surrounds You / Metronomy - Metronomy Forever
Thurs. (2) Sam Fender - Hypersonic Missles / Microwave - Death is a Warm Blanket / Devendra Banhart - Ma
this is an unofficial discussion for reactions to the album or whatever your little heart desires. this is for the sake of preserving discussion on as many albums as possible. if there's any releases for the week (or in general) that may be of interest missing from the schedule either PM me or leave a comment somewhere and i'll add it.
submitted by VietRooster to indieheads [link] [comments]


2019.09.19 15:15 VietRooster [ALBUM DISCUSSION] Surf Curse - Heaven Surrounds You

Surf Curse - Heaven Surrounds You

Release Date: September 13th
Label: Danger Collective
Genre: Indie Pop, Post-Punk, Jangle Pop
Singles: Disco, Midnight Cowboy
Streams: Spotify, Apple Music, Google Play
Schedule
Date Album
Mon. JPEGMAFIA - All My Heroes Are Cornballs / Alex Cameron - Miami Memory / Djo - Twenty Twenty
Tues. (Sandy) Alex G - House of Sugar / Men I Trust - Oncle Jazz / Pixies - Beneath the Eyrie
Wed. Charli XCX - Charli / Chelsea Wolfe - Birth of Violence / Jenny Hval - The Practice of Love / Blood Cultures - Oh Uncertainty! A Universe Despairs
Thurs. Twin Peaks - Lookout Low / Surf Curse - Heaven Surrounds You / Metronomy - Metronomy Forever
Thurs. (2) Sam Fender - Hypersonic Missles / Microwave - Death is a Warm Blanket / Devendra Banhart - Ma
this is an unofficial discussion for reactions to the album or whatever your little heart desires. this is for the sake of preserving discussion on as many albums as possible. if there's any releases for the week (or in general) that may be of interest missing from the schedule either PM me or leave a comment somewhere and i'll add it.
submitted by VietRooster to indieheads [link] [comments]