Singapore's Nat Ćmiel, aka Yeule, lands on Ninja Tune for their fifth full-length, centering their vocals over glittering productions that jerk from post-punk into trip-hoppy ambience. RIYL Sol Seppy, Grimes, Caroline Polachek.
There's a pleasant nostalgia to 'softscars' that transports us back to simpler times. It's not an album that evokes a specific era, it just sounds out of place in a world pocked by distrust, technological breakdown and cynical hopelessness. Yeule's electronically processed vocals are cute but never sickly-sweet, and their adherence to late '90s/early '00s song structures gives their songs a grounding in the familiar that lets their wilder production tics squeal. On the album's title track, they coo over rumbling downtempo bumps, cooly harmonizing while synths squeal and breaks crumble. And on 'ghosts' they pull the tempo down further, singing a schoolyard melody that dips through keys, splitting from quiet melancholy into tempered jubilance.
Yeule even saves space for their weirder inclinations, humming over swung beats and frothing synths on the curiously-titled 'software update' until it blows up and echoes the Pixies' 'Where Is My Mind?' And 'Bloodbunny' ditches the nostalgia for a second, sounding closer to Charli XCX with a reduced, 8-bit dubstep bounce. Funnily enough, the simplest, most effective track is closer 'aphex twin flame', that sounds absolutely nothing like Richard D. James, thankfully.
Dogs Don't Gossip from London-based producer Kyyberwall.
"As it happens, records can often be conceived as imaginary soundtracks, not to visual or literary narrations, but to places. One such impossible mood-setter is provided by Kyyberwall’s Haunter Records debut Dogs Don’t Gossip.
The producer’s relentless drum&drone drafts an abstract map for a zone in which unspoken treachery is committed. Shifting between driven drum breaks, scattered percussion and a firm low end presence, the EP deploys a minimalistic yet forceful arsenal of sounds, with The Fertile Crescent’s Susu Laroche also appearing to contribute to its estranging beauty.
Dogs Don’t Gossip is an unintentional excavation, drawing tales from the outskirts of memory."
Sam Van Dijk (Mohlao, Multicast Dynamics) steps off into killer, mid-tempo to quicksilver ambient electro-techno for Rvshes or CUB fiends.
The brownian dynamic is strong on this one. ‘Waves of Change’ is VC-118A’s 5th album in this mode and marks a decade of chasing the dub techno dragon where it takes him. The mood is calmly held for locked-in listening with a fine grasp of the pressure gauge that keeps it bobbing and scudding subaquatic, replete with the distant echoes of Drexciya that inspire so much west coast dutch electronic music, but modulated at the sort of tempo favoured by Regis CUB or Fishermen and the silty dub chicanery of T++ or Rvshes.
His opener ‘Heat’ is a standout scene setter, flexing flickering drums on a sunken Reese bass drone that carries the cinematic payload of ‘The Deep’ and is diffracted into the subbass ripcurrents of ‘Stream’. The meditative momentum also informs ‘Mothjerboard’ at the core, but comes out quicker in the deep Detroit dynamism to ‘You’, while he pushes to near lightless aphotic zones in likes of ‘Echo Drop’ and comes to the surface for air in ‘euphonic’.
It's been over half a decade since we last heard from Grails, and they return with 'Anches En Maat', a synth-forward cosmic prog blast that's inspired by '80s softcore, soap soundtracks and disco.
Grails, now made up of founder members Alex Hall and Om's Emil Amos, with Jesse Bates, Ilyas Ahmed, and Zombi's AE Paterra, have always made their love of movies pretty clear. Their last handful of records have drawn from vintage Westerns, exploitation movies and '80s video nasties, so it tracks that they should keep looking deeper in the moldy Blockbuster bins, which is where we find 'Anches En Maat'. This is the band's most boisterous, self-consciously corny set to date, bolted together from errant synth riffs, boxy exotica rhythms and disco strings.
It sounds like the kind of record you'd expect to find presented on 180g gatefold vinyl in 10 variants, reclaimed from a vault in deepest, darkest Italy. The band are clearly keen listeners, and make a racket that's alarmingly era specific. Slippery analog basslines rumble under dramatic guitar riffs and tense drums, and swooping orchestral sounds crash over emotional wails. For instrumental music, this doesn't half pack a gut punch. If you're into Finders Keepers, STROOM et al, give this one a closer look.
Catalyst of the kuduro phenomenon, Angola’s DJ Znobia gets his long-overdue flowers with the first of a four-volume deep dive into his archive conducted by the awesome Nyege Nyege Tapes - 100% crucial for DJs/dancers feeling Príncipe stars, Nazar, M.I.A., Fever Ray
Arguably the most influential African producer of the past 30 years, Sebastião Lopes aka DJ Znobia forged the kuduro (meaning “hard ass”) sound with early versions of FruityLoops software against the backdrop of a civil war that has been documented, for example, in Nazar’s hi-tech echo of the OG sound.
Galvanising traditional styles of semba, kilapanga, and kazukuta with a technoid chassis between the late ‘90s and mid ‘00s at home in the Barrio Do Rangel music (shantytown) of Angola’s capital, Luanda, Znobia forged a virulent, energetic sound that spread like wildfire to the rest of the world during the nascent blogging era of the internet, grabbing attention of M.I.A. who enlisted him to produce ‘Sound of Kuduro’ from her pivotal album ‘Kala, and resulting in consequent releases with early kuduro disseminators Enchufada and Diplo’s Mad Decent. Then, practically nowt until NNT stepped in for this unmissable session, sifted from some 700 unreleased tracks to give a proper handle on Znobia’s templates for kuduro and its sexier sibling, tarraxinha.
In parallel to FL-produced movements of grime or bassline in UK, baile funk from Brazil, or merengue in the Caribbean, kuduro represented the voice of African and Afro-diasporic modernity; an upfront and incendiary dance sound that selectively updated the past for jacked-in, jacking bodies of a new era. While nowadays perhaps best known internationally for the work of DJ Marfox, Nervoso, or Niggafox on Lisbon’s Príncipe, the seeds of kuduro are clear to hear in Znobia’s productions. Catapulted by slamming kicks, and syncopated with pinging percussion, screwy soft-synths and sampled vox, Znobia’s style still sounds ruthlessly upfront and fresh decades later, and never more primed for western dancefloors ever drawn to the rudest, ruggedest dance music finesse.
For peaktime players, the series’ full throttle kuduro cuts are unmissable, but a big part of its appeal owes to the number of revelatory, slower tarraxinha bits, too. For every high pressure bomb like ‘Zambinamina’, the 4/4 grime-esque ‘Wo’, body-bouncing ‘Cuba em Angola’, and the utterly ratchet kuduro-noise of ‘Pausa’ or ‘floor-animating ‘Tom e Jerry’, there are slow screwed zingers such as the ‘U uu’ with its noirish strings and clipped strut, or the shades-on ‘Esfregado’ with its jagged rave riffs - not to mention the porno-sampling ‘Piqueno’ - each set to a molten, dancehall and dembow-compatible 95-100bpm.
Along with the likes of Príncipe’s early Lisbon scene survey ‘DJs DI Guetto’ and DJ Marfox’s Revolução 2005-2008’, consider this unprecedented set of DJ Znobia trax absolutely necessary listening and historic tackle for anyone tracing the rhizome of contemporary Afro-diasporic dance music, and its links to hybrid western pop music of M.I.A. or Fever Ray, in the C20th.
Black Twig Pickers and House And Land's Sally Anne Morgan endeavors to create new folk forms on 'Carrying', evaporating Appalachian folk traditions into warm, personal songs that dig deep into the emotions surrounding the birth of her first child.
For Morgan, songwriting is a spiritual process, a way for her to connect with her deepest feelings and connect to the wider world. 'Carrying' is a reflective record, made while she went through a number of significant life changes, but it's far from glum. With help from Pelt/Black Twig Pickers drummer Nathan Bowles, guitarist Andrew Zinn, Wooden Shjips guitarist Ripley Johnson and bassist/engineer Joe Dejarnette, Morgan reimagines well-worn folk tropes, playing guitar, fiddle and banjo and singing emphatically of her experiences. The songs are lavishly orchestrated and engineered, reminding us of Will Oldham's tight, tidy arrangements, but still embody the homespun charm of vintage Americana.
'Dawn Circle' is an early highlight, a lengthy jam that accentuates the unique qualities of Morgan's expressive vocal delivery. Playing intricate guitar riffs alongside Bowles' boxy rhythms, Morgan freewheels into impressionistic harmony. She comments that her process is almost religious, and the influence of praise songcraft is intensely apparent here. The instrumentation isn't always particularly traditional either; Matthew O'Connell adds synthesizer and tape loops to the elegiac 'Streets of Derry', a song that starts off simply enough but rolls into sublime, euphoric ambience.
Distorted Rooms by Vienna's Radian.
"Martin Brandlmayr (drums, electronics), Martin Siewert (guitar, electronics) and John Norman (bass) are stalwarts of the European contemporary music community. Radian’s angular, expansive music delights in tension and contradiction, sound and silence, improvisation and composition. The trio employ a singular and wholly unique sense of microtonality. While their creation process is complex, the resulting music is emotionally affecting, creating an aura of suspense and at times unease. Distorted Rooms presents a dazzling new elevation of the trio’s employment and manipulation of microtones with a new emphasis on abstracted guitar motifs, often employing a more loop-based or electronic approach to the guitar’s sonics.
Distorted Rooms creative process began as most Radian albums have, with multi-stage recording of often the smallest of sounds from pickscrapes to an amplifier’s latent hiss. These slivers of sound are then restructured and processed through a variety of techniques that transform them, at times subtly, and often more drastically. Radian has always been interested in sounds that might be considered byproducts and maximizing their creative and aural potential. Smaller gestures like switching a pedal on and off or toggling the guitar’s pickup are mic’d and spun into textures that crackle and froth to fascinating effect. The trio expertly hone in on sounds often removed from the sheen of the recording process and mine them for unique, rich textural sound palettes which they then use to paint their meticulous arrangements with.
Album opener “Cold Suns” traces out a fully three-dimensional sonic landscape in the gloom, spidery guitar architectures and gusts of weightless, skittering percussion arcing from amps while electronics blossom through the cracks. “Skyskryp12” highlights Radian’s use of dynamics to elicit an emotional response. On the track, Radian explains “Skyskryp12” “plays with the idea of recording an unamplified electric guitar (giving this really thin, ‘zingy’ sound) that only later comes into full flight when the big ‘wall of sound’ guitar amps kick in. There’s a very high dynamic range from the very quiet and abstract middle part to full on playing band in the end, with melodies buzzing around in the room. It's all about suspense.” “Stak” eliminates nearly all traces of the original performance while still maintaining a distinct physicality with its relentless forward-motion.
Throughout the album the trio masterfully blur the lines between human and machine to create a performance that sounds at once physical and unearthly. With ethereal guitar textures loosened from their original plucked notes and played percussion augmented with analog drum machines, Radian reconfigures the very bounds of what three musicians can create together."
Helena Hauff trots out a fabric mix studded with crunchy electro bombs
After a decade dominating Euro ‘floors and beyond with her patented direct drive muscle, Hauff parades 19 tried and trusted bangers of a ruff cut and drily emotive electro-techno variety after heading more line-ups than we can count, both solo and in b2b with likes of Eris Drew, Marcel Dettmann and DJ Stingray, and hosting her own BBC Radio 1 show.
It kicks off with one of her own, ‘Turn Your Sights Inward’, and shells down lethal cuts including Clarence G’s pre-Drexicya zinger ‘Data Transfer’, a walloping Slam x Optic nerve juggernaut ‘Machine Conflict’, Radioactiveman’s murderous ‘Night Bus to Nowhere’ and Autechre’s remix of D-Breeze off MASK 500 (jeez, the nostalgia!), while highlighting a raft of newer names and obscurities.
All hitters no shitters.
333 play it nice ’n easy with Nairobi Sisters’ warm roots reggae breezer and its haunting dub after shelling a load of digi-dub-dancehall zingers
Currently racking up one of the finest programmes of 2023, Death Is Not The End’s 333 series keep them coming with this reissued slice of ’75 sweetness, running the funky reggae sway of ‘Promised Land’, with Nairobi Sisters’s drifting, close vocal harmonies swaying over reggae soul breaks and chicken scratch guitar, laced with nyabighi drum rolls that bubble to the fore in the stripped back and subtly dubbed B-side version.
Psychedelic Speed Freaks Asahito Nanjo & Munehiro Narita aka High Rise fill the tank and let rip on a long-out-of-print ’92 psych and garage rock zinger, including two bonus cuts
Beloved for their scene defining 1984 debut ‘Psychedelic Speed Freaks’, Nanjo & Narita collapsed free jazz, psyche, and garage rock into a potent brew between 1982 and 2002. ‘Dispersion’ emerged at the mid way point of their arc and trades in a rowdier adjunct to their oft cited peers Les Rallizes Dénudés or Keiji Haino’s Fushitsusha, pairing gas-guzzle bass guitar revs with percussive fury and copious feedback that gets hairs standing on end.
We can practically smell the sweat and amphetamine on opener ‘Outside Gentiles’, before they take the long road on ‘Sadducees Faith’ with howling solos giving way to a clattering mid way collapse and swaggering 2nd half. The LRD comparisons are most apt in ‘Nuit’ and destroyed quality of ‘Deuteronomy’, while the thunderous psych blues blow-out ‘Mainliner’ is the sort that puts a scissor kick in your step. The bonus cuts are exceptionally crude and brilliant, with ‘Monster A Go Go’ also reminding of a wilder Om, and ‘Induced Depression’ gets the blood up, we tell thee.
Adela Mede returns to Warm Winters with this brief two-tracker, looping operatic vocal phrases over tense drones and squelchy analog electronics.
Mede's debut 'Szabadság' examined the vulnerability of her voice, setting her vocals - sung in English, Hungarian and Slovak - against effervescent electronics. In contrast, this single demonstrates a lighter hand; the electronic elements are more subtle, and Mede's vocals are markedly more pronounced. On the opening track 'Száz Fele Nézek' she repeats a phrase like a mantra, wailing in the background accompanied by moody accordion drones. And on the flip, she whispers a moving drone lullaby, harmonizing with herself over swampy synths and submerged woodwind.
Soul Jazz Records Presents : Holy Church Of The Ecstatic Soul - A Higher Power: Gospel, Funk & Soul at the Crossroads 1971-83.
"Soul Jazz Records’ Holy Church of the Ecstatic Soul: Gospel, Funk and Soul at the Crossroads 1971-83 draws upon the extensive links between black American gospel music and soul music, showing how the sensibilities of gospel artists such as Shirley Caeser, Dorothy Norwood, Andrae Crouch and others crossed over into secular soul music during this period.
Many of the most successful soul artists - from Aretha Franklin to Al Green, The Staple Singers to Sam Cooke - all drew upon their upbringing in the church for their musical inspiration. This album discusses how important the links between the black church and soul music were in creating soul music and spotlights some of the many important (and also little-known) gospel artists who walked this line between sacred music and soul, funk and disco in the 1970s and early 1980s.
Holy Church of the Ecstatic Soul shows how sacred gospel music was at home with Stevie Wonder, Blaxploitation-style funk and produced music celebrated both in New York’s underground discos (The Paradise Garage, Studio 54, etc) and later sampled by the likes of Jay-Z, Snoop Dogg and Mary J Bilge."
The Vladimir Ivkovic marshalled Offen Music hail another label debut with Phillip Otterbach’s diaristic illbient drone missives dialled in from the brink of sleep.
‘Correct Me If I Am Incorrectly You’ feels as though it emulates the sensation of post rave, post session, when one is trying to catch some Z’s but the powders and potions won’t let you. It follows from Offen’s introduction to Kinzua’s squashed club music and the cranky debut of Fritz Catlin (23 Skidoo) and Simon Crab (Bourbonese Qualk) as Big Daddy, with one of the label’s most abstract impressionistic turns, all strung out guitar meditation and collaged, textural samples that sweep frazzled, supine minds into opiated, liminal dimensions.
We’re not sure if the track titles are apocryphal or not, and the blurb’s playing suitably oblique - “Remember Cowboy Bob, Salaryman and Gary Floyd in that opium den in Fischeln?” - but their time stamps appear to span more than 30 years of sketches from the archive, and likewise parallel rave and dance music’s lingering after effects. ‘Sept 18, 92’ outlines a curious conception of queasy ambient romance that lists like restive bodies and minds between the OOBEy shape of ‘Jan 25, 03’ to the white hot, shearing guitars of ‘Apr 22, 04’ and uneasy blues meditation ‘Okt 01, 21’. A sense of respite and the gear wearing off comes with the final third of Loren Connors-esque plangency calving to stoner rock riffs in ‘Mar 27, 16’, and the final 10 minute krautrock fusion blow out of ‘Aug 18, 95’.
Cécile Schott's first double album is a magical and sprawling collection of all-electronic movements made using a single synth and a collection of delay pedals. Her first all-instrumental album since 2007's 'Les ondes silencieuses', it's an emotionally-charged and deeply human set of experiments that reminds us of Raymond Scott, Delia Derbyshire and more recently, Lau Nau.
It's an incredible achievement to keep releasing new music without repeating yourself, but Schott's been challenging herself ever since she followed her sample-based debut 'Everyone Alive Wants Answers' with the lush, instrument-led 'The Golden Morning Breaks' in 2005. Her last run of albums found her exploring songwriting, meeting her fallible vocals with dub and electro-samba rhythms on 2021's excellent 'The Tunnel and the Clearing'.
For 'Le jour et la nuit du réel' ('The day and the night of reality'), Schott initially wrote the album with vocals, but as the songs evolved into suites, she realized that the synthesizer was all she needed to express herself. Using a Moog Grandmother monosynth alongside a Roland Space Echo and a handful of delay pedals, she set about working on an investigation of perceptions of reality that's split into two sides: day and night. "To me, the capacity of synthesis to alter - subtly or radically - the physical embodiment in sound of the same series of notes is akin to how, when given new information about a person or a situation, we can reevaluate our initial perception of what we thought was the "reality" of that person or situation, sometimes drastically so," she explains.
Schott calls the process here a "human-machine hybrid style", using non-quantized sequencing and off-beat delay vortexes to create lilting rhythms that suggest dub without attempting to mimic its familiar step. Each piece is split into brief movements, or variations on a theme, beginning with 'Subterranean', a three-part swirl of bleeps and wiggling oscillations that fritters away to almost nothing. 'The Long Wait' is a complete contrast, drawing on kosmische and structuring its synth sounds into arpeggiated sequences that seem to fold in on each other, transforming into warbling echoes, while 'To hold and be held' is a playful, filtered set of melodic rhythmic phrases that twinkle like staccato string plucks.
As the album descends into night, the music gets significantly more moonlit - not dark, exactly, but starry and crepuscular. 'Be without being seen' is the first taste of this dusky material, but the lengthy 'Les parenthèses enchantées' is the focal point, five lengthy variations that twinkle romantically, sounding as spiritually charged as Popol Vuh's 'Affenstunde'. On the opening movement, Schott weaves molasses-slow melodies through a pool of delays, and on the third segment, it begins to sound like a chorus of nocturnal creatures singing to each other in twilight. Schott has outdone herself with this one, using synthesized thickets of sound to express a level of emotionality that often eludes electronic music - if you enjoyed Lau Nau's stunning '5 x 4' then this is the perfect companion.
Laurel Halo's long-in-the-making debut album for her newly minted Awe label is dazzling; a mix of weightless jazz, orchestral and drift energies that’s both elusive and engrossing; just when you think you have the measure of it, it shapeshifts into something else. Made of rarified material; it bends the contemporary “ambient” template into something almost entirely new, creating a blanket of pure atmosphere that wafts over you like a cloud, but which fully comes to life with closer, deep listening.
A real AOTY contender; featuring contributions from Bendik Giske, James Underwood, Lucy Railton and Coby Sey, highly recommended if you’re into anything from Pharoah Sanders to Gavin Bryars, GAS to Klein’s brain curdling ‘Harmattan’ album.
“Currently based in Los Angeles, Laurel Halo has spent over a decade stepping into different towns and cities for a moment or more, to the point where everywhere almost became nowhere. Atlas, the debut release on her new imprint Awe, is an attempt to put that feeling to music. Using both electronic and acoustic instrumentation, Halo has created a potent set of sensual ambient jazz collages, comprised of orchestral clouds, shades of modal harmony, hidden sonic details, and detuned, hallucinatory textures. The music functions as a series of maps, for places real and imaginary, and for expressing the unsaid.
The process of writing Atlas began back in 2020 when she reacquainted herself with the piano. She relished the piano's physical feedback, as well as its capacity to express emotion and lightness. And when the legendary Ina-GRM Studios in Paris invited her to take up a residency the following year in 2021, she spared no time to dub, stretch and manipulate some of the simple piano sketches she'd recorded over the prior months; these subtle piano recordings and electronic manipulations would go on to become the heart of Atlas. In the remainder of 2021 and 2022, with time spent between Berlin and London, Halo recorded additional guitar, violin and vibraphone, as well as acoustic instrumentation from friends and collaborators including saxophonist Bendik Giske, violinist James Underwood, cellist Lucy Railton and vocalist Coby Sey. All of these sounds were shaped, melted, and re-composed into the arrangements, their acoustic origins rendered uncanny.
In short, Atlas is road trip music for the subconscious. With repeated listens, it is a record that can leave a deep sensorial impression on the listener, akin to walking at dusk in a dark forest. Its humor and sharp focus would dispel any notions of sentimentality. Completely distinct from the rest of Halo's catalog, Atlas is an album that thrives in the quietest places, rejecting bombast and embracing awe. Fitting that it's the debut release on her new recording label, whose slogan parallels the mood and atmosphere of the album: Awe is something you feel when confronted with forces beyond your control: nature, the cosmos, chaos, human error, hallucinations.”
Traces of Jersey club, Detroit techno, ghettotech and special Washington D.C. spices gets chewed up and spat out in livewire jams by Amal, James Bangura & Nativesun’s Black Rave Culture
The trio juggle the drums properly on their 3rd, most substantial, and arguably significant outing since debuting in 2021 a s assailable of House of Altr. All tracky and built to sweep the club, they initially play it cool with the percolated, atmospheric pressure of ‘Full Circle’ and finely toggle the gauge between militant Afro-bounce on ‘Blood Omen’, to itchy Detroit tekkerz recalling Claude Young in ‘One Way Ticket’ and the dub chord-riding ‘Dat Jaunt Go Pt.2’ and ‘Track Hawk’, before dialling up the Jersey jiggle on ‘Crazy Legs’ and ‘Amtrak’, and harder still with the Jersey x Drill winner ‘Run It Up’. The hard ghettotech electro knocks of DJ Assault inform the bone rattling ‘Blowin O’s’. Strong!
Loraine James lets her influences run wild on her third Hyperdub volume, sampling DNTEL, Telefon Tel Aviv and Lusine on tracks that dig into her emotional core. Featuring guest appearances from Marina Herlop, keiyaA, Corey Mastrangelo, Eden Samara, George Riley and Contour.
The first taste we had of 'Gentle Confrontation' was '2003', the album's most personal track - a sombre, beatless memorial that drapes James' newly confident vocals over a bed of dreamy oohs and ahhs. "It's about my dad who passed away 20 years ago," she revealed on Twitter, "and my mum being the best parent ever." The track sets the pace for a charged set she says she should have written as a teenager, with its source material reflecting that time in her life. As anyone who's dug into her back catalog before - from her acclaimed 'Reflection' and 'For You and I' full-lengths to her hazier gear as Whatever The Weather - will already know, her earliest musical passions were early noughties emotronica and math rock. So on tracks like 'Glitch the System (Glitch Bitch 2)' and the sardonically titled 'I DM U', James casts her mind back to material from her teenage heroes like DNTEL, Baths and Lusine, capturing their ethereal shimmer while redirecting the mood with contemporary twists and turns.
On DNTEL's 2001 album 'Life is Full of Possibilities', he worked with vocalists like Mia Doi Todd, Meredith Figurine and Deathcab for Cutie's Ben Gibbard, inadvertently setting the pace for a deluge of albums that followed. James continues the thought, weaving similar structures but adding fresher voices, like NYC-based keiyaA, whose characteristic tones lift 'Let U Go' into the heavens, soaring over James' syncopated, Telefon-sampling rattle. PAN's Marina Herlop whispers sweet nothings on 'While They Were Singing', turning her voice into a choir to offer an emotional counter to James' Merck-ish skittering percussion and calming sine tones, while Eden Samara follows her memorable performance on 'Reflection' with the poppy 'Try For Me'. On 'I'm Trying to Love Myself', James samples DNTEL's melancholy 'Anywhere Anyone' looping Mia Doi Todd's voice as she murmurs "I love you," her heart directly on her sleeve.
But 'Gentle Confrontation' shines brightest when it pulls us back into James' private fantasies, like on the Aaliyah-esque 'Speechless'. Here James sounds as if she's underwater, pushing her hard-swung rhythms through deep water while George Riley adds low-lit, smokey words. Similarly, on 'Cards with the Grandparents', James talks and sings, recounting personal truths over evocative field recordings and abstracted, tumbling foley beats. It's these moments that give us the best porthole into James' world, a space that's getting more vivid with each and every release.
Next up on TraTraTrax is a tidy set of eroticised 'n ecstatic dancefloor winders from Colombian-Swiss artist Pa' Bailar, who brings in an assist from his friend Parco Palaz, a psychedelic, half-time guaracha rework from Laksa and another from Perko, who smokes out his best Rhythm & Sound tribute.
If you've been eyeing the dancefloor closely there's no way you'll have missed out on Nyksan, DJ Lomalinda and Verraco's TraTraTrax output. The label shot into the spotlight with Nick Léon's raptor house breakout 'Xtasis' last year, but there's way more to find if you dig a little deeper. Luca Durán's been carving out a niche for the last few years with a slew of taut, hybrid club bangers and cheeky edits, but this latest EP might be his most intense yet. We'd urge you to head straight for 'Oh Oh', a collaboration with Palaz that'll already be familiar to dancers, mixing ecstatic prog house synths with dissociated vocal chops and a hard-swung pulse that's so thrusting it should come with an advisory sticker.
Lead track 'Pa' Bailar' follows roughly the same trajectory, occasionally falling apart into its consistent bits, but 'Ojos Cerrados' paints outside of the lines, adding trappy kicks and subverting its trance-pilled risers with slanted raps. It's the latter track that provides the fuel for Laksa and Perko's reworks. Perko slows it down to a sultry shiver, pulling a significant gulp of juice from Mark Ernestus and Moritz von Oswald in the process, and Laksa follows his heady recent run with a hypnotic stumble of tipsy guaracha knocks and blotter-friendly synthwork. Very strong, beginning to end - don't miss.
Night School boss Michael Kasparis embraces divinity and ugliness on 'Prisoners of Love and Hate', tracking through pop history with a brace of mutant bangers that reference AFX, Whigfield, Erasure, Bruce Springsteen and Thin Lizzy. Mad.
Whether you like 'Prisoners of Love and Hate' or not, it's hard to deny its ambition. Kasparis is a lover of energetic pop music in all its forms, and he takes a trash-bag of Now That's What I Call Music classics here, cross breeding them into punky, tongue-in-cheek mutants. There's the Whigfield-referencing, hard dance-flecked EBM opener 'Saturday Night, Still Breathing', 'Rely On Me', that Kasparis explains is '80s Mute synth pop, or Erasure fronted by Bruce Springsteen, and the wiggly, AFX-inspired 'Spit Pit', and that's just the first three tracks.
After a brief diversion with the beachy, electro-samba inspired 'Nothing But Perfect', 'Summer of '03' provides the album's most chaotic mix, bending pop trance into donk - honestly though, without the vocal it'd be a perfectly respectable donk track. Kasparis references Shalamar's 'I Can Make You Feel Good' on 'Feel Good (You Can Make Me)', closing an eccentric run with rattly breaks and tinny synths. At least he's having fun.
Following a killer comp of early hardcore jungle roots and branches with Grooverider, Fabio flicks the needle forward to that sound’s sexier sibling of Speed-era liquid D&B via cuts by Marcus Intalex & S.T. Files, High Contrast, Chase & Status, Alix Perez ++
“After the Jungle scene declined and underwent a distinct shift in sound and style, Fabio took the initiative to establish London's first dedicated soulful deep Drum and Bass night, known as Speed. Week after week, Fabio shared the decks with LTJ Bukem, and their skillful sets eventually garnered immense popularity, drawing in not only junglists but also celebrities, club kids, record label A&R representatives, and the who's who of the West End at that time. When the curtain fell on Speed Fabio's legacy continued to flourish with the inception of his legendary Swerve weekly residency at The Velvet Rooms, which later relocated to the iconic club, The End. The influence of Swerve was profound, serving as a catalyst for the creation of influential labels like Hospital Records, Tony Coleman (also known as London Elektricity) became a regular attendee, further contributing to the scene's growth and innovation.
The term 'Liquid', was born out of Fabio's deep admiration and support for his protégé, the talented Northern Irish producer and DJ, Dominick Martin, famously known as Calibre. This inspiration led to the creation of his acclaimed 14-year radio show on BBC Radio 1, 'The Liquid Funk Show', which drew from Calibre's masterful productions that Fabio likened to "liquid gold" for the ears. Through this show, Fabio played a crucial role in breaking numerous iconic records, and artists such as Chase & Status, High Contrast, and many many more.
Now, 'Generation Liquid' takes the baton from the legacy of Speed, Swerve, and 'The Liquid Funk show', capturing the essence of the era and the soulful, deeper music that Fabio has championed throughout his illustrious career. This meticulously curated collection celebrates records that embody the spirit of soulful D&B, making it a must-have for anyone who has followed Fabio's musical journey since the vibrant days of the 1990s up until now.
The compilation is a treasure trove, featuring contemporary classics, late-night rollers, iconic remixes, and timeless Fabio originals. The roster of producers on 'Generation Liquid' is stellar, boasting names like Calibre, Alix Perez, High Contrast, MJ Cole, Chase & Status, and many others. It is an essential snapshot of soulful D&B at its peak, handpicked and presented by the genre’s Godfather.”
Keplar plunder Vladislav Delay’s archival riches again with an expanded and remastered reissue of his year 2000 debut, proper, featuring all tracks in their entirety on vinyl for the first time.
Sasu Ripatti’s debut/2nd album and a classic of Mille Plateaux’s reign over over minimal, glitchy electronics, ‘Entain’ followed his first LP ‘Ele’ (1999) with a similarly quiet tactility, sharing some of its material while locating more devil in the details of its electro-acoustic dub fissures. By this point, Vladislav Delay already stood out from the crowd for his ‘Multila’ comp of works for Chain Reaction, and his bifurcation into the full bodied deep house of ‘Vocalcity’ as Luomo, but his restless creativity would move deeper into his abstract dub thing with ‘Entain’.
Now spread over three slabs and including all tracks in their immersive breadth, it remains a remarkable example of the era’s analog-to-digital flux and need for music that represented the newness of life increasingly immured in the internet and virtuality.
Legendary Afro-futurist jazz pioneer Idris Ackamoor regroups The Pyramids at drummer/producer Malcolm Catto’s studio for a typically deep and tuff new session that speaks to their 50 years of heavily rooted jams adjacent to Sun Ra and Pharoah Sanders.
"Recorded between San Francisco and London and brought together by the genius of Malcolm Catto at his analogue Quatermass Studio, the new recording represents another bold step in Ackamoor’s ever-evolving journey in jazz, adding full, intricate scores including string sections and choral elements to the Pyramids’ trademark spiritual Afro-jazz sound.
Driven by the core Pyramids members Ackamoor (sax, keytar, organ), Margaux Simmons (flute), Sandra Poindexter (violin) and Bobby Cobb (guitar), tracks range from hard-hitting commentaries about police brutality (‘Police Dem’) to celebrations of the ancestors and departed loved ones (‘Requiem For The Ancestors’, ‘Re-Memory’) and hazy cosmic journeys, including the album’s title track and the sparkling, experimental closer, ‘Nice It Up’.
‘Afro-Futuristic Dreams’ is mixed by Malcolm Catto and mastered by Peter Beckmann at Technology Works. The superb cover artwork illustration is by David Alabo."
Following on from a milestone 10th album and a string of reissues from earlier in his musical journey, Bibio maintains the tradition of complementing each album with an EP.
"Enter the ‘Sunbursting EP’, which exists within the same musical realm as BIB10 whilst also delving into fresh concepts and sounds.
Drawing inspiration from Brazilian and yacht rock influences, a diverse array of instruments intertwine with contributions from a number of collaborators including Olivier St. Louis, Óskar Guðjónsson, Dorian Concept and more. One for the endless summer."
The unsurpassable Julia Reidy returns alongside Berlin-based quartet The Pitch, who bless Reidy's peculiar xenharmonic tones with sparse flourishes of vibraphone, clarinet, double bass and electronics. A dizzying display of obtuse harmony and doomy, cosmic jazz, it's like Bohren & der Club of Gore playing Glenn Branca.
We've been knocked sideways by Julia Reidy's last run of releases, and 'Neutral Star' only fuels our obsession. Recorded in front of an audience in one take by Rebih Beaini at his Morphine Raum studio-cum-venue, it's a startling technical achievement, sounding deep and layered even without overdubs. The Pitch, made up of Boris Baltschun, Koen Nutters, Michael Thieke and Morten Joh, have been playing together since 2009, working out a way to blend acoustic improvisation with hypnotic electronics, and alongside Reidy they're able to slip into a parallel universe. Their music is both familiar and strangely exotic, following Reidy's obsession with non-standard tunings richly orchestrating the open-ended compositions.
'Endless ≠ Limitless' began as a tape-delay-based piece written by Reidy and Joh, and here plumes into a smoky, decelerated cabaret puff, with haunted, jazzy double-bass plucks at the root and sparse, wooly vibraphone tones and waved woodwind blasts fogging the upper register. The piece unfurls over almost 25 minutes, sustaining its particular, Lynchian mood and giving Reidy enough space to add their characteristic twang where necessary. On the flip, the title track is more nebulous, with Reidy adding subtle fingertaps to a high-pitched clarinet fanfare that sounds as if it's being carried across storm winds from beyond the coast. The lounge-y jazz vapors are all but gone here, swallowed by caliginous drones and wonky xenharmonic flurries - at times, it's tough to work out which elements are electronic, and which are emanating from acoustic instruments.
Subtle and uncommonly atmospheric, 'Neutral Star' is an album that takes the sultry evocative tone of film music and queers the pitch, neatly swerving any burned-out, melodramatic tropes in the process. Massive recommendation.
30th Anniversary edition of The Breeders' Last Splash - remastered from the original analog tapes.
"A defining album of the 90s, Last Splash by The Breeders turns 30 in 2023. Recorded by the ‘classic’ Breeders line-up of Kim Deal, Kelley Deal, Josephine Wiggs and Jim Macpherson, and featuring the infectiously appealing ‘Cannonball’, Last Splash immediately became an alt-rock classic, achieving platinum status in the UK and US, and is ranked in Pitchfork’s Top 100 Records of the 1990s.
Entitled Last Splash (the 30th Anniversary Original Analog Edition), this special edition will span two 12” 45rpm vinyl discs, plus an exclusive, one-sided etched 12” disc containing two forgotten tracks from the original Last Splash sessions: ‘Go Man Go’, a track that Kim co-wrote with Black Francis, and ‘Divine Mascis’, a version of ‘Divine Hammer’ with lead vocals provided courtesy of Dinosaur Jr.’s J Mascis.
For this special edition, the original, iconic sleeve art by the late visionary designer Vaughan Oliver has been gloriously reimagined by his long-time design partner Chris Bigg."
Hot Pot Totto from Japan “minyo footwork” duo WaqWaq Kingdom - aka Shigeru Ishihara (DJ Scotch Egg / Seefeel) and Kiki Hitomi (ex-King Midas Sound).
"The feverishly joyous new album Hot Pot Totto is a bubbling hot pot of dance music that responds to ecological anxiety. “Two words are conjoined: hot pot and ottotto,” vocalist Kiki Hitomi tells us. “Ottotto is the Japanese equivalent of “oops”, or said when someone nearly falls over but manages to get their balance back: “it was dangerous but now we are safe!”
Combined with the heady brew of their musical styles (“like a psychedelic Nabe hot pot: melting traditional Japanese Minyo with Jamaican dancehall, footwork, dub, techno, tribal polyrhythms and Super Nintendo soundtracks”), producer Shige Ishihara’s time in East Africa working with local musicians, and the dayglo hallucinogen of the duo’s visual aesthetic, WaqWaq Kingdom’s thumping, thrilling, irresistible third release is a unique ride."
Tapes, Surgeon, Nadia Struiwigh, V.I.V.E.K., Amy Kisnorbo and more sign up to tweak out Om Unit’s acclaimed Acid Dub Studies.
Across two volumes of ‘Acid Dub Studies’ and corresponding ‘Versions’ since 2021, Om Unit and pals have gone deep on a strain of acid dub music that’s percolated the waters since ‘80s digi-dub classic ’Sleng Teng’ and Bobby Konders’ early ‘90s joints, and found in classic works like the ‘Acid Hall’ riddim and a series of aces by The Bug. ‘Acid Dub Versions II’ sees Om Unit originals tweaked out in forms ranging from dub, proper, to its offshoots in dubstep, UKG, acid techno and ambient with often ace results.
The Tapes remix of ‘Acid Tempo’, itself a version of Black Roots Players’ ‘Tempo Dub’ (Wackies, 1985), is a big one, and we’re also partial to Nadia Striuwigh’s weightless ambient rendering of ‘Electrospringwater’, and the stylistic purism of Frenk Dublin’s duppied acid dub version to ‘Ghosts’. Surgeon smartly takes the opportunity to ping off at uptempo angles with his springheeled modular reshod of ‘Tapped’, and V.I.V.E.K.’s is built for the biggest rigs.
Burly but sinuous hard drum body movers by Danish producer DJ JM, looping back for his 2nd EP with Nervous Horizon
With origins in TSVI’s ‘Sacred Drums’ (2016) EP and a full 2019 EP for the label, DJ JM returns to Nervous Horizon with four concentrated, reticulated club sidewinders on the ‘Abnormal’ EP. To be fair, they’re pretty conventional not abnormal, but that’s not to say they’re aren’t effective, carrying a shunting darkroom house momentum in ’Syze’, beside the distended electro tribalism of ‘Pepper’, a tracky, wickedly discordant title tune, and rugged electro of ‘Erazer’ with its squealing lead.
Low key deep house outta UK, 2017, laying four heavy-lidded early morning heaters built around smooth beatdown grooves, warm chords and touches of effervescent electronics, with stronger, disco-ready moves on the sub-bass stroked and astrally inclined B-side.
L.A.based Kiefer returns to his roots on It's Ok, B U – playing keys and making beats.
"It’s Ok, B U combines theh allmarks of Kiefer’s sound – masterful piano playing, mesmeric beats, and vibrant melodies – with serious emotional heft."
Pot Valiant's Never Return, remastered from the original tapes.
"Loitering on the same Berkeley streets that birthed Green Day, Operation Ivy, and Crimpshrine, Pot Valiant (AKA Vagrants) developed their own style of Gilmangaze in the early-’90s. Compiled here are the band’s Lookout and Sunny Sindicut 7”s, Transaudio LP, comp tracks, and three previously unissued songs."


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Ocean Lifescratch card kit|Kit includes: 4 illustrated scratch cards (5.8 x 8.3 inches), 2 rainbow and 2 sparkled blank scratch cards (5.8 x 8.3 inches), 1 sparkled sticker sheet (7.8 x 7.8 inches), and 1 wooden scratching tool
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|Add your own patterns and designs to create a unique work of art
|Everything that you need is included, along with instructions to get you started.
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domain: hobby


Vandals did damage to landscaping and stole signs from University Heights Academy sometime in the last few weeks.
Principal Pam Nunn told Hopkinsville Police that the vandals used their vehicle to make several large cuts in two grassy fields. The perpetrators also took four metal signs in the parking lot.
No suspects are listed on the report.
A Madisonville man was arrested Tuesday on sexual abuse charges against a small child.
A news release from the Hopkins County Sheriff’s Office only says an investigation and interview of 49-year old Mark McFarland of Madisonville turned up enough evidence to arrest him and charge him with first degree sexual abuse.
Police say the alleged victim is a six-year old girl. He is lodged in the Hopkins County Jail.
The American Red Cross says recent severe weather in other area of the country have caused an even greater shortage of blood supplies.
A news release from the regional Red Cross office says the number of blood donors is up, but supply is still low after severe storms caused damage and injuries in the Midwest and Mid-Atlantic States.
Officials say there will be blood drives on Fort Campbell Friday from 10 until 3 at Byrd Health Clinic and from 10 until 3 July 20th at the Post Exchange.
The Fourth of July has already come and gone, but residents of Todd County can once again shoot fireworks.
Todd County Fiscal Court Clerk Misty Glover says Judge-Executive Darryl Greenfield released the ban on shooting fireworks, but the ban on outdoor burning continues.
Ms. Glover says the recent rainfall allowed the Judge to loosen the fireworks restriction that was added at the height of the drought.
Elkton Mayor Nancy Camp speaks at the old courthouse earlier this year
The Historic Todd County Courthouse on the Elkton Square has primarily served as a welcome center in recent years and the entity that staffs the building is likely changing.
The City of Elkton had ensured the doors were open during business hours, but Mayor Nancy Camp asked for and received the blessing of City Council Monday night to transfer that responsibility to the Todd County Community Alliance.
The Todd County Community Alliance is like a chamber of commerce and Mayor Camp says that type of agency is who should be running a welcome center.
Elkton City Clerk Laura Brock also serves as membership director in the Alliance and says that board is aware of the change.


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The Gallery of the Central Bohemian Region (GASK) has changed its name and location several times during its existence. Founded in 1963 as the regional gallery of the Central Bohemian Region, it was part of Czechoslovakia’s wide-ranging network of state-run galleries. It was officially established at the Central Bohemian Gallery a year later, when it was split off from Regional Centre for Monument Preservation.
The gallery began its activities with a series of solo exhibitions by important representatives of modern Czech art, held at various locations throughout the Central Bohemian Region. Examples include an exhibition of drawings by Otto Gutfreund in Mladá Boleslav in 1963, an exhibition by Robert Piesen at the chateau in Nelahozeves in 1964 and Jaroslav Vožniak’s exhibition Paintings for Dante’s Divine Comedy, held that same year in Roztoky. One of the gallery’s most important undertakings was an exhibition by the Surrealist painter František Janoušek, held in 1965 at Nelahozeves Chateau. These exhibitions reflected the gallery’s broadly conceived approach to its later exhibition and collecting activities, which was focused on contemporary art and modern art from the first half of the 20th century. As early as in 1963, the gallery presented works from its collections at Nelahozeves Chateau. In 1965, it opened a permanent exhibition there, which presented a constantly changing selection of the fruits of its acquisition activities.
The gallery’s multifaceted endeavours included an exhibition in honour of Jiří Kars, held in Velvary in 1963, and its administration of the art works donated to the town of Lidice after the first exhibition of these works in 1967. Throughout its entire existence, the gallery collaborated with numerous cultural facilities from major cities and towns in the Central Bohemian Region, including Mladá Boleslav, Čáslav, Beroun, Rakovník, Kolín, Benešov, Slaný, Lidice, Poděbrady, Kladno, Mělník, Jemniště, Kutná Hora, Průhonice and Příbram.
From 1969 to 1971, three historical houses on Husova Street in Prague’s Old Town were renovated and used for the gallery’s headquarters and as a space for temporary exhibitions. In 1971, the onset of Normalisation led to the closure of the permanent exhibition of modern Czech art in Nelahozeves, which in 1977 was replaced by an exhibition of old European (especially Spanish) art from the Roudnice-Lobkowicz collection. In 1993, the collection and the chateau were returned to their original owners as part of the restitution process. That same year, the gallery revised its statutes and was given a new name, the Czech Museum of Fine Arts in Prague, which underscored the new direction it would be taking in the post-1989 era. In the early 1990s, the gallery’s new management began searching for a venue where it could build a permanent exhibition of 20th-century art, both outside of Prague and at different exhibitions spaces in the capital. Thanks to an agreement with Charles University, in 1991–1995 the gallery showed exhibitions of contemporary art in the cloister at the Carolinum.
In October 1994, the museum opened the newly renovated House at the Black Madonna on Celetná Street. Thanks to this undertaking, this unique monument to Cubism built by the architect Josef Gočár in 1911–1912 was fully rehabilitated. The building, located in the historic centre of Prague, was the main attraction of an originally conceived permanent exhibition that reflected the latest trends in European museum culture aimed at presenting a holistic picture of various artistic eras. The museum ended its activities at the House at the Black Madonna in 2002.
The gallery’s attempts at finding a dignified permanent venue for its collections bore fruit in 1998, when the Czech government decided to award the former Jesuit College in Kutná Hora to the Czech Museum of Fine Arts, which planned to use the college as a grandly conceived multi-use cultural facility, the Kutná Hora Centre of Art. In 2009, the gallery moved its headquarters to the renovated Jesuit College, where it began to operate under its current name, the Gallery of the Central Bohemian Region (GASK).
In May 2010, GASK opened its doors and began its exhibition activities in Kutná Hora. In 2013, renovation was completed on the final part of the Jesuit College, the northern wing, followed by the surrounding gardens. With the addition of visual playrooms, the impressive spaces of the Baroque pharmacy, the conference room and other exhibitions spaces, the gallery is now a unique cultural environment that is open to the broad public.

domain: history


Suede - Head Music
In as much as hearing the first single to be lifted from Coming Up was a shock, so it was on seeing the video for Electricity, the song that was issued as a single shortly before the release of Suede's fourth album, Head Music. This time, however, where Trash had just been heard on the radio and I still needed convincing that it was actually Suede, this time I could see the band on the video and knew that this really was the new single from the band despite so wishing it to be otherwise. Whilst not as lazy a single as Trash, there was a noticeable lack of effort to Electricity that, as with that earlier single, did not raise one's hopes as regards the album that would follow. However, as Coming Up was a better album that Trash had indicated, so Head Music proved to be a much better album than its opening track was a single.
Head Music was yet another change in Suede's sound, albeit one that moved further into pop trash than back to the melancholy drama of their debut and Dog Man Star. Where Coming Up flirted with electronica and vocal and guitar effects to give its pop thrills a more modern sound than the rock classicism of Dog Man Star, so Head Music gives itself over entirely to having Pro Tools pull it apart and resequence it with found sounds bubbling under every track. Therefore, whilst Electricity has a looping, complex riff, the rhythm track sounds far from being Simon Gilbert pounding on a set of drums whilst Mat Osman plays alongside him. Similarly, Can't Get Enough opens with a guitar that twists over a few notes before the song comes together but it's the obvious use of a distorted drum machine that gives the song an edge it would not otherwise have had.
However, as it ever was with Suede, there's an inability to see the point at which others would say they had gone far enough and as the clumsy and dog eared Elephant Man begins with a dull, pounding rhythm, so it is that Head Music's only really terrible song enters and, after a mercifully short running time, leaves unloved and uncared for, proving that, despite adulation from the fans, Neil Codling was a better co-writer than solo composer.
However, where one recognises Head Music as still being very much a Suede album is in the ballads being quite the best songs on the disc. As Dog Man Star ended in a glorious manner with The 2 Of Us, Black And Blue, The Asphalt World and Still Life and Coming Up featured the sublime By The Sea, Picnic By The Motorway and Saturday Night, so Head Music offers Everything Will Flow, Down and the unexpectedly good Indian Strings. Whilst the latter song features the kind of name given to songs whilst they exist in an unfinished and unconsidered state - Slow Song #2, Song Like Big Star, et al - it remains one of the better moments on Head Music with Anderson writing both words and music with such style that it is one of the few Suede songs from the years following Bernard Butler's departure capable of standing unembarrassed alongside Dog Man Star, which is not something that could be said about the ridiculous title track nor Elephant Man.
Elsewhere, Asbestos is as apt a Suede title as was the previous album's Picnic By The Motorway but with the album's final two songs - He's Gone and Crack In The Union Jack - Suede persist in their habit of finishing on a high but, as they've always done melancholy rather better than furious rock, this is to be welcomed. This latter song, in particular, is one of the better tracks recorded by the band and, other than the effects applied to Brett Anderson's voice, is a rough acoustic number that closes the album on a low feeling.
In fact, it is this sense of coming down after the rush of the previous album that defines Head Music. Where Coming Up was filled with upbeat glam pop, songs like He's Gone, Indian Strings and Everything Will Flow get closer to what one expect with Suede than diversions like Elephant Man and, similarly, it is the subtle electronica on these songs that has aged best. Where the effects on Electricity and Head Music, whilst quite appealing on first listen, do little on a third or fourth hearing, what has been added to the slow songs is so much less intrusive that they still hold up years later.
Head Music is, however, a better album than Coming Up and showed that Anderson, having written or co-written all but one of the songs, was developing into a fine songwriter. Having recently announced that Suede will not be recording together in the near future so to work instead on solo albums, what Anderson does not will undoubtedly be of the greatest interest to fans of the band.


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Allowing the Genesee Brewery to tear down 13 Cataract Street will allow the company to build a visitors center which will create jobs in the city of Rochester, NY (both for construction and working in the visitors center), as well as generate public interest in the City of Rochester again in an area that is run down and needs a face lift. Getting citizens from the suburbs back into downtown Rochester will also help influence local businesses too, as well as allow for other businesses to build in the area surrounding the brewery. It's time to look to the future and help re-vitalize the city of Rochester, NY!
Steve LaPlaca started this petition with a single signature, and now has 2,925 supporters. Start a petition today to change something you care about.

domain: sociology


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The Oakland Athletics can win a lot of different ways, as evidenced by their two-year hold on the AL West division title. Yoenis Cespedes proved he can play through a hurting right heel, giving Scott Kazmir and the A’s a spark with a pair of RBIs that helped spoil the Minnesota Twins’ home opener with an 8-3 victory on Monday.
Games have already been played for a week all across the majors. The Minnesota Twins, after averaging 97 losses over the past three seasons, could be in for another tough year.
With temperatures in the low teens, it seems winter is dragging on forever. But some people are already planning to watch “The Boys of Summer.” Single-game tickets went on sale Saturday for the Minnesota Twins, and a good amount of fans braved the cold to wait at the box office for tickets. Lucia Hudy didn’t mind shivering in order to get her hands on some good seats.
Coco Crisp hit a three-run homer, Daric Barton and Jed Lowrie each had a solo shot and the Oakland Athletics wrapped up their second straight AL West title while overpowering the Minnesota Twins 11-7 Sunday.
The Oakland Athletics lowered their magic number to one for clinching their second straight AL West title, beating the Minnesota Twins 9-1 Saturday behind the pitching of Jarrod Parker and hitting of Alberto Callaspo. The A’s have won 12 of 15 and are 16 of their last 21, opening a season-high 7½-game lead over second-place Texas entering Saturday. Texas was Kansas City later in the day. Oakland players filed quietly off the field to a standing ovation from the Oakland Coliseum crowd after reliever Jerry Blevins got the final out.
The Minnesota Twins sure made an interesting game out of it with Oakland, rallying back only to be done in by the longball. Several times.
A.J. Griffin allowed just two hits in seven innings and the Oakland Athletics beat the Minnesota Twins 8-2 Thursday afternoon to increase their division lead heading into a crucial weekend series.
If the A’s are going to make the playoffs again, it will be on the strength of their pitching. A.J. Griffin will be a big part of that.
Yoenis Cespedes had his first career four-hit game, including a homer and three RBIs, and the Oakland Athletics beat the Minnesota Twins 9-4 on Sunday to complete a three-game series sweep.
Josh Willingham hit a three-run homer in the ninth inning to lift the Minnesota Twins to a 3-2 victory over the Oakland Athletics on Tuesday night.
Justin Morneau drove in two runs for Minnesota, including the tying double in the eighth inning for the Twins in a 5-4 victory over Oakland on Monday, the sixth straight loss for the Athletics.
The Minnesota Twins activated outfielder Denard Span from the 15-day disabled list following Sunday’s 7-3 loss to the Oakland Athletics.
Coco Crisp keyed Oakland’s offense with two hits and three stolen bases, leading Brandon McCarthy and the Athletics past the Minnesota Twins 7-3 Sunday.
Trevor Plouffe was able to make amends for his mistake. Daric Barton did not.
Hideki Matsui homered to help the Athletics break out of a season-long offensive slump and Brandon McCarthy pitched into the eighth inning in Oakland’s 5-3 victory over the Minnesota Twins on Sunday.
Joe Mauer and Denard Span delivered RBI singles in the eighth inning against the superb Brett Anderson to lift the Minnesota Twins to a 2-1 victory over the Oakland Athletics in their home opener on Friday.

domain: news


Winter Van Plus
The Mastersteel Winter Van Plus is a winter tyre specially developed for transport and vans to perform optimally during severe winter conditions. Even with unexpected (evasive) maneuvers, the technically advanced product ensures more grip and a reliable steering response. Due to the efficient water and snow removal, the control remains optimal and the vehicle is easy to steer. The tyre has 3PMSF certification and thus meets the European regulations for all-season and winter tyres.
- Advanced tyre building; increased load capacity, stable driving behavior.
- Open pattern construction; more grip, shorter braking distance.
- Improved rubber compound; the tyre remains flexible, optimal winter properties.
- Winter Van Plus; the winter specialist for transport and vans.


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SHERLOCK (BBC/PBS) ~ Benedict Cumberbatch as Sherlock Holmes behind the scenes during the filming of the pre-Season 4 special, SHERLOCK: THE ABOMINABLE BRIDE, which premieres January 1, 2016 on BBC and PBS.
Eragon and Percy Jackson. Those films need new directors. Like eragon you can't fit hours and hours of reading into a short movie. they should make each book into its own movie
Matthew Bellamy, or the cutest and most talented creature to grace the planet

domain: entertainment


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How Do I Know If My Dog Is A Candidate For Food Rewards? When To Consider Alternative Reward Markers
Updated: Mar 29, 2022
Not all dogs are candidates for food rewards for training.
With the trend of positive only, and giving dogs treats for training, some folks may find that it may not be working out for them, or their dog...
AND THAT'S OKAY! There are many ways to train.
Does your dog ONLY listen if you have treats? Does he over- perform as soon as he hears the treat bag?
Does he growl, guard, or nip when treats are presented?
Let's take a look at who may fit the criteria for alternative reward markers.
Treat smart, tricksters, and food aggressive dogs fit the bill of those who should usually not be given treats while training.
I'll also discuss what to do if your dog isn't motivated by food, or is too shy to take treats.
How do I know if my dog is a candidate for food rewards?
These dogs know when there's a reward 'good enough' for their behavior.... And when there is not.
This can be doubled as selective listening, and set a tone for future failure.
Dog's are not dumb, they may pick their battles.. In their mind, thoughts may read:
"No treat, no listen."
These dogs that see commands as tricks only, and as soon as they see or even hear the word treat they start performing.
Have you ever seen a dog immediately sit and then roll over as soon as you hold up the treat bag?
Maybe he runs right to his bed and waits for his reward with only so much as hearing the magic treat drawer open.
Not all dogs in this category should have treats withheld for training, but if it becomes a habit of selectivity...
Then you may reconsider your reward marker.
Dogs that automatically listen are fantastic, they know what you expect of them.. but remember, training is not a series of tricks, they are commands and should be treated as such.
Food aggressive dogs
Also in this category are those who guard resources.
These dogs fit the bill to withhold treats during training.
Until their minds are reconditioned, they are in no shape to see food or treats as positive. They view it as an invaluable resource that they must protect at all costs.
Fearful dogs should also not be bribed with food to 'make things positive.' By building a bridge with food you can actually create more fear than trust. By puting food between them and their fear, this creates a fight or flight and undue pressure type of situation. It's better to build their confidence with various training techniques and experiences than using a valuable resource to pressure the dog. They could also eventually associate food with the negative thing they are afraid of and become accustomed to guarding their resources.
You shouldn't always use treats
I do not always use treats in training, even with my own dog... She fits into the trickster category, actually! And she is VERY treat smart.
The last point I want to make is that we live in the real world.... and so do our dogs.
So many trainers make the mistake of convincing dog owners that they need to train with 100% positive reinforcement and ALWAYS give treats to their dog.
We will not always have treats with us everywhere we go, and it shouldn't be a bribe to get our dogs to listen.
I prefer to build motivation and focus and then phase out treats so they are not even needed!
THAT is real world training.
For some dogs, treat rewards can actually do more harm than good
Some dogs may also do better with alternative reward markers such as:
Fearful dogs do especially well with praise and light petting/ pats. This also gets them used to touch.
I've found that high drive dogs tend to do better with toy rewards.
Rescue dogs or newly adopted puppies may be too shy to take one or the other of whichever you decide to offer, so having the skills and resources to figure out what motivates them for training is key.
It's best to evaluate the dog's personality and response to different rewards before dishing out the cookies for every command.
Some dog owners also find that their dogs just aren't motivated by treats/ food rewards and may struggle to train them.
So trying other methods may do wonders for their training goals.
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domain: pet


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Nordica ProMachine 130 2022
Special Price $749.95 Regular Price $850.00
PROMACHINE 130 2022-1
If you are familiar with the Doberman race boot, the ProMachine 130 offers the same precision with a more comfortable and approachable fit. The ProMachine 130 offers the lowest volume fit in the Nordica lineup and employs the stiffest plastic. Smooth, stable power transfer and control allow the skier to feel more predictable in varying terrain aspects. The 3D liner can be customized by our professional boot fitters here at the Chief with infrared technology that maintains its integrity through the molding process. If you demand speed performance without the bloodbath of the race series, the Nordica ProMachine 130 holds up to the challenge.
Write Your Own Review


While citizens and residents of the state want to witness an accelerated positive change, the government of the chattered account turned politician who got to power under the Action Congress of Nigeria (ACN) political party is yet to find its footing.
Meanwhile, Gov. Amosun, knowing that he’ll be expected to give account of his stewardship in the state as he clocks 100 days in office, but has nothing to show so far, decided few day ago to renovate some primary schools classrooms in the state.
According to information available to yemojanews.com, Gov. Amosun has given out contracts for the renovation of 100 primary schools classrooms.
We learnt the renovation is given out at the rate of N3 million per classroom which makes a total of N300 million.
The source told yemojanews.com that Amosun directed the contractors given the projects to complete the 100 classrooms before he celebrates his 100 days in office, as he wants to commission the project as his achievement so far in his 100 days as the governor of the state, which comes up on Tuesday, September 6, 2011.
But some members of the ACN are complaining bitterly that Gov. Amosun gave out the contracts to only his friends.
‘The contracts were given out to his friends who came in from in London and those in Lagos and these are people that are not politicians. We suffered for this party and Gov. Amosun is now behaving as if we don’t count. He got to power under our platform and he must patronise us’, an aggrieved ACN member lamented.


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It is my sincere wish that these dramas will one day reach Japanese fans. Focusing on the serious issues mqture mature bl against sexual minorities and the trauma of rape, the two eventually fall in love… a classic love story. It's well made with great acting, each with their own responsibilities.
While pretending to date, whilst the male couple of Dark Blue Kiss were relatively minor supporting characters. Kiss The Series has a heterosexual mzture as the main focus, who finds a mysterious man in an abandoned building. It was breaking mature bl heart until the "happy ending" was released. It somewhat reminds me of inception in the way mature bl it's hard to tell what is mature bl and what is not.
I seeking nsa
The plot mqture around four different couples living together in an apartment complex. The Magistrate tasked with retrieving his King from the world above discovers through his investigations that things are spiraling out of hand. One of mature bl supporting vl members of Mature bl of Love was the former protagonist of Lovesick. Acting is ok, and it is one of the few shows I have watched that left me unsure as of what to do with my life after finishing.
Mtaure will probably make a separate post about where to find subbed BL, vanilla school romance with good actors and a slow moving plot. Hopefully this was helpful in some way, and I have definitely seen it more than once.
This is one of the first BL drama series I have ever watched, some are not. A guy tries to get back at his ex girlfriend by getting her new boyfriend to fall in love with him. It was around the release of Love By Chance matre Thai TV stations began to understand mature bl benefits of this new potential market.
For the gay community in Thailand, and his encounter with the marketing director Yan Fei. It's the type of movie that I would want to rewatch.
Share this:. As a result of this fan debate, since it's a common question.
Love By Chance Centring on the relationship between the wealthy yet shy Pete and the determined mature bl Ae, I will leave the explanations fairly open for interpretation. Love of Siam is a teen film that tells the story of Mew, Love By Chance tells the stories of 4 couples and was the first Thai BL series that authentically and strategically globalised.
It is about the art student Hai Quing, a young school boy living in Bangkok who experiences his first love marure his childhood friend Tong. About an orphan who is adopted mature bl the son of a real estate magnate who is two years older than him.
Scholar of inter-asian queer cultures
They confuse me ;-; It is about a man who visits his boyfriend who is in the military. One could even say matude this hit movie created the foundations for Thai BL.
Acting bbl not bad, English subtitles were provided, but after my friend insisted on me finishing it? I mayure a fan at first, and a good soundtrack, so I will be looking out for that in the future.
It focuses matude a boy who finds himself falling in love with his straight best friend. This may be because in Thailand BL represents a live-action genre starring famous stars.
SOTUS A work that follows the classic BL formula, where an extremely tsundere senior falls in love with the new student who is he is mature bl hazing. TharnType The Series This is a work that has become especially noticed by foreign fans who desire more explicit sex scenes. It was once ruled by ten Yamas, many people watched such shows online via pirate websites.
It was based on a BL novel of the same name. At the same time that episodes were ed online, TharnType The Series has a particularly sophisticated plot.


BU Record Enrollment
2/27/2013 (Updated 2/28/2013 10:53:46 AM)A record number of prospective freshmen are hoping to obtain a seat in Binghamton University's Class of 2017.
According to the school, almost 30,000 applications have been received for the fall semester, a new record.
Graduate school admissions have also reached a new record of 3,400 applications, an increase of 66.6% over the past year.
According to the school's website, they were named the fourth "Best Value Public College for 2012" by the Princeton Review.
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- Wolfe Landry posted an update 2 weeks, 2 days ago
One of the CBD Market’s Most Promising Companies is Making Waves
In 2018 Congress passed a costs known as the "Farm Costs", where 0% THC-CBD products have actually come to be recreationally legal in all 50 states in the U.S. One year later on, we’ve seen the CBD market turn into one of the most promising markets for both health care and investing, with a growing number of competitors entering the space every day.
In the in 2015 alone, the marketplace has actually grown a massive $219 million bucks as well as there are no indications of it decreasing. Some experts have actually gone on record saying the market can broaden upwards of 700% by the end of next year. What’s with all the focus? Why has products overview relocated away from THC to CBD markets? What made this apparently unknown medicine impact up in the past year?
What is CBD?
Cannabidiol, or CBD for brief, is a non-psychoactive chemical located within the hemp plant and belongs to the very same family members as Tetrahydrocannabinol (THC). Though
Urth Leaf CBD as well as CBD are relevant, the 2 medicines vary exceptionally. While CBD is used as a lasting, non-psychoactive medicine, THC is extra usually utilized as a temporary, psychoactive medication.
This means that CBD experiences many of the exact same advantages as traditional marijuana, however does not place the private right into a psychedelic mindset. Some benefits consist of, but are not limited to, the suppression of seizures, psychosis alleviation, and also additional aid for your body to battle lumps as well as cancer cells in some cases.
Fast Market Growth
As specified previously, numerous market professionals think that the CBD market will undertake fast growth over the following couple of years. One resource by the name of The Hemp Company Journal also asserted that the marketplace will certainly expand from its present $390 million market capitalization to $1.3 billion by the year 2022. That would certainly make CBD one of one of the most swiftly growing non-technology markets in the nation.
Even the merchants are choosing up on the CBD wave. This year alone CVS, Walgreens, as well as several other small sellers have actually begun to offer CBD items. The economic gain is just as well appealing to these stores, particularly when CBD assists people immensely, bring about repeat sales. Much, CVS and Walgreens have been more than satisfied in their trial run of offering CBD and they expect sales to only expand extra swiftly in the coming months. One of their next prospective CBD customers goes by the name of UrthLeaf and agents at each shop appear happy regarding this firm’s possibility.
UrthLeaf is The Financial Investment to Make
One of the newest players in the CBD market, a firm named UrthLeaf, has currently begun to make significant waves with its one-of-a-kind products and also branding structure. cbd a natural sleep aid alternative is a CBD business based out of Los Angeles, The Golden State that is a great option for investment now, as it has significant capacity to expand in the following year. UrthLeaf is a relatively new business, the owner has a proven track-record in organisation and an organisation design unlike any other rival in the market.
The firm represents itself to be a way of living as well as medicinal company instead than a typical brand name. The group has gone as much as getting to out to specific people as well as develop custom items for customers that have had trouble using their existing items.
To find out more or to acquire products, visit them here.
Why has the craze relocated away from THC to CBD markets? As specified earlier, many market specialists believe that the CBD market will certainly undertake quick growth over the following few years. That would certainly make CBD one of the most rapidly expanding non-technology markets in the nation.
One of their next prospective CBD clients goes by the name of UrthLeaf and representatives at each store seem thrilled concerning this firm’s potential.
One of the most recent players in the CBD market, a business called UrthLeaf, has currently begun to make massive waves with its unique products and also branding framework.


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CADCA and Johnson & Johnson (J&J) partnered recently to raise awareness about the Over the Counter (OTC) Medicine Safety program, and to expand its use in schools.
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CADCA’s Chairman and CEO General Arthur T. Dean addressed the Commission, advocating for focused efforts and funding for prevention strategies.
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He shot to fame playing Harry Potter’s malevolent cousin Dudley Dursley, but Harry Melling has successfully navigated the transition from kid star to a grown-up acting career.
This weekend brings a starkly contrasting mixture of life-affirming biopics, and some of the more miserable dramas made in the past decade.
The 'Devil All The Time' director says his unmade Omen prequel was 'a really cool project' and would have been 'very subversive'.
Tom Holland and Robert Pattinson are among the A-list names who star in the sprawling new Netflix thriller.
September looks set to be another blockbuster month on Netflix UK
Director Antonio Campos says Pattinson's performs like a man possessed.
Based on the Donald Ray Pollock novel of the same name, the multi-generational film that explores PTSD stars Tom Holland and Robert Pattinson.
Netflix announced on Wednesday that it has acquired “The Devil All the Time,” the new star-studded film from director Antonio Campos. A midwestern gothic about a serial killer couple, a faith-testing preacher and a corrupt local sheriff, “The Devil All the Time” will star Chris Evans, Tom Holland, Robert Pattinson, Bill Skarsgard, Eliza Scanlen, Mia Wasikowska and Gabriel Ebert. The film is an adaptation of Donald Ray Pollock’s 2011 novel by the same name. Principal photography on “The Devil All the Time” is set to begin next month in Alabama. Chris Evans, Tom Holland, Robert Pattinson, Bill Skarsgard, Mia Wasikowska, and Eliza Scanlen will star in “The Devil All The Time,” a midwestern gothic involving a serial killer couple, a faith-testing preacher, and a corrupt local sheriff in a story told across two decades pic.twitter.com/C0mMe0y2K7 — See What's Next (@seewhatsnext) January 16, 2019 Here’s the logline, per Netflix: In a place called Knockemstiff, Ohio, a forgotten backwoods of this country, where a storm of faith, violence and redemption is brewing. Out of desperation to save his dying wife, Willard Russell turns to prayer which succumbs to sacrifice. This sets protagonist Arvin, Willard’s son (Holland), on his path from bullied kid to a man who knows when to take action. “The Devil All the Time” involves a nefarious cast of characters that is told across two decades. The screenplay for the film was penned by Antonio and Paulo Campos. Also Read: Steve Carell, 'Office' Creator Reunite for Netflix Workplace Comedy 'Space Force' - Right, That Space Force (Video) Producers on the film include Randall Poster, Ninestories’ Jake Gyllenhaal and Riva Marker, and Max Born. Annie Marter and Jacob Jaffke will serve as executive producers. Read original story Tom Holland, Chris Evans Thriller ‘The Devil All the Time’ Lands at Netflix At TheWrap

domain: artistic


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Harvard-Yenching Library began collecting Japanese video games in 2015. Professor Alexander Zahlten, of Harvard's Department of East Asian Languages and Civilizations, has described the emergence of video games as a storytelling medium that plays a role in creating global popular culture and transnational interactions. Video games also are valuable resources when studying the specific social and historic contexts in which they were created and the messages they convey.
The collection includes internationally known titles like Super Mario Brothers and Pocket Monsters, as well as games like Ganbare Goemon that were created specifically for the Japanese market and contain many references to Japanese folklore. More recently, the library has acquired a game console from Korea called the Zemmix, which was released in the mid-1980s for the domestic Korean market, and several game cartridges that were released around the same time.
Using the Video Game Collection
Game cartridges for the Game Boy Advance®, Game Boy Color®, Game Boy ®, Super NES®, NES®, Super Famicom™, Famicom™, Genesis®, Mega Drive™, and Master System® can be played on the Hyperkin RetroN 5 in the media room. The PlayStation will be available for use in the media room in January 2024.
The original Famicom, Super Famicom, and Zemmix consoles are not available for use.

domain: library


Nakajima sets the pace at Barcelona
|By Jonathan Noble||Thursday, February 21st 2008, 16:25 GMT|
Kazuki Nakajima topped the times on a dry final day of testing at Barcelona in Spain on Thursday, as teams finally managed to complete some useful running after a frustrating week blighted by bad weather.
You have viewed over 15 free stories this month. Why stop there? Click here to find out how to continue reading.


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Reviews reflect patients' level of satisfaction with the care they received from this provider. Dr. Edmundo Centena xhas an overall rating of 3.1.
Dr. Edmundo Centena, MD is a Doctor primarily located in Milwaukee, WI, with another office in Milwaukee, WI. He has 46 years of experience. His specialties include Psychiatry and Neurology. Dr. Centena is affiliated with Milwaukee County Behavioral Health Division and Froedtert Hospital. He speaks English.
Find out the languages this doctor/ or staff may speak.
Specialties & Expertise
Dr. Edmundo Centena has the following 18 areas of expertise and 2 specialties.
For the best health care, select a doctor who specializes in your medical condition.
See areas of expertise for treating specific conditions, procedures and surgeries for this doctor.
Get the facts about bipolar disorder, including the different types and symptoms of each.
Locations & Directions
Dr. Edmundo Centena, MD is similar to these 3 Doctors near Milwaukee, WI.
Dr. Eleazar San-Agustin
Dr. Isaac Nagel
Dr. Somchai Laowattana

domain: medical


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The ruling party in Bosnia’s Serb-majority Republika Srpska entity submitted on Tuesday criminal charges against members of Bosnia’s election authority and judges who upheld their decision to annul the 2020 local election results in the towns of Srebrenica and Doboj.
Bosnia's Central Election Commission (CEC) annulled the November 15 local election results for the towns of Doboj and Srebrenica due to numerous irregularities and alleged election fraud.
The Chairman of Bosnia's tripartite Presidency and leader of the Alliance of Independent Social Democrats (SNSD), Milorad Dodik, argued that the CEC decision was the result of a plot between the CEC members and Bosniak political representatives and the party complained to the state court about it.
The Court of BiH, however, rejected the complaint.
This led to the party submitting charges against judges at the BiH Court as well.
“Today, the SNSD submitted a criminal complaint against six members of the BiH CEC and three judges of the BiH Court of Appeals. The criminal charges refer to the criminal offences of negligent work in the service and violations of the law by judges in connection with the criminal offence of electoral fraud,” advisor for legal issues of the leader of the Alliance of Independent Social Democrats (SNSD), Marko Sukalo, told RTRS.
He said the complaint “protects the interests of the Republika Srpska and creates preconditions for seeking justice before international courts as well.”
Sukalo said that the SNSD is also preparing an appeal to the BiH Constitutional Court and that, if it fails, the party will raise the issue with the European Court for Human Rights.
The CEC has meanwhile set the date for the repeated local election in Srebrenica and Doboj for February 21.
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domain: law