Garage and Rain Dream

I was in this sort of public underground garage type area where I had a place. My place was decent enough but for some reason it was surrounded by this area that looked like a public garage. There were some people I knew there and there was a lift but it was a short lift as the place I was in was sort of like a loft, so the lift only had to go a few metres at most.

There was something going on and I don’t know what it was. It wasn’t anything violent or dangerous, but it was busy. Then I was where I actually live but it was on a hill and it had been heavily raining. There was nowhere to go as no land was visible due to how much rain had fallen. I tried to work out how much rain that would have had to have been to be able to cover so much land. I was also worried about the car as I didn’t want it ending up underwater. Soon the car moved a bit further up the hill on its own.

I thought the car doing that was odd. Then I woke up.

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A Poem About Rain and Thought

I’ve been thinking about writing something about the power of words.
Instead of doing so I wrote this thing which is something.
I feel like I was rambling here. Oh well.

I hope you enjoy.

A space in the downpour allows pause for thought
The thought starts small and gradually expands
In its expansion it encompasses little
And yet it encompasses so much space and time

The downpour returns with a roar
A roar that is violently deafening
It violently pushes the thought back
Until the thought is no longer

 

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Rei Kondoh: Cursed Sei-an City

Three listens and I don’t feel I took advantage of the time I took to write this.
There was a fair bit of time where I was looking over what I wrote rather than expanding and that hampered the writing by a fair bit. There’s a lot to pull from this piece of music but I only wrote about a very small amount.

Rei Kondoh’s (近藤 嶺) “Cursed Sei-an City” (“呪われた西安京”) is from is from Ōkami Original Soundtrack, the soundtrack for Clover Studios’ Ōkami.

I hope you enjoy.

Woodwind blows soft whilst a menace builds underneath. Percussion carefully steps whilst more woodwind draws out. A percussive strike and sounds stretch out whilst atmosphere thickens.

Steady are the beats and constant are the sounds as they stretch on forward. Long and drawing, they paint heaviness as it swirls around. Something seems to rise from the sounds but it is not quite seen and disappears.

Space is found but it is not for long. It is space for breathing and yet the room does not feel like it is there. Once more the beat returns and once more it remains steady. Sounds slide past whilst lightness pushes the weight. Heaviness remains, as does oppression and it continues on once the beat disappears. It continues on as the song ends.

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2814: 再生

I’d been meaning to go on about this song for a bit but hadn’t until now.

I think I was trying to get across a sense of imagery and maybe motion; I’m not sure. Mostly just trying to capture the song in word form. Some of this works; some of it doesn’t by being too obvious I feel, but overall I wrote about the song and the result is below.

2814’s “再生” is from 2814.

I hope you enjoy.

A beat steadily plays out with a softness. It seems to bubble whilst something announces itself before spreading and thinning out. It creates an expanded plain and slowly dissipates. A hollow wind rises form the remains and in it the distant cries of many flow on forward, moving, almost about to crash and collapse, but instead it fades away.

Long and slow something reaches outward, gradually making itself more present. The throng returns, almost as though a haunting and it fades away. That growing in presence fills space and takes on shape whilst remaining shapeless. It feels its way out and finds itself where the plain once was. It is a clear space and almost sterile. It is empty and so motion through spreading returns.

As time passes a sadness emerges as whilst space is filled, there is emptiness. There is loneliness. Inside it all, however, is a slight joy. It is buried but it is there. Something calls out from a distance and the beat finds itself joined by something pounding and marching. It echoes, though only slightly. Some of its strikes are more prominent but it seems more like a fading dream. It seems like something to grip onto in an empty space.

Gradually the additional beat seems to dull, though perhaps it doesn’t and it seems that way. As the sounds progress, however, more vague blurs appear. Something that could be something new appears slightly through the thickness. It finds points and senses the sadness and tries to call and reach out but it seems blocked. Still, it continues to reach out in whichever direction it can and the long and slow something responds in kind. They try to connect to each other but they seem unable to connect. They seem unable to touch and slowly that something new dissipates.

The beat remains striking and marching and bubbling, steady and does not relent, but it carries gentleness. It too speaks of memory and dream and objects in a distance and it remains as such even as wisps seem to descend and disappear without a sense of presence. They come in like small waves lapping at a shoreline and the expanse around them is vast and encompassing, and through them other things move and shimmer, though with much of the brightness and reflection removed.

Something calls out once more and sounds return, trying to reach out once more. They seem closer and more distant and they are unable to get through but they keep on trying. They try for there is a need to connect, but they are unable to beyond sight and hearing.

An innocence calls out and various sounds dissipate; at this point the beat has become more singular and is only bubbling, and there is space for the long and slow something. A heavy weight emerges and hangs low whilst something higher draws out, also searching. Gradual motion dominates and objects form and crystalise. One final return of sounds reaching out and one final attempt at connection and it is almost there. It is reaching out and it is looking to congeal and coalesce but it is unable to and more sounds dissipate.

The long and slow something becomes to fade away and the beat bubbles. Distant and vague another sound calls out and all the heaviness is washed away. As the beat fades out one last sound stretches and rises up. It moves forward and outward to somewhere new, but before where is revealed the song ends.

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Mouse on the Keys: Shapeless Man

This was written over one listen which I think was good. I was hesitant to write, however. I feel like I needed to warm up a bit but that led to procrastination through getting other things done. Then I decided to get started with no warm up and I think it paid off. I didn’t think too much about what I was writing and so there’s a sort of clear idea as to what is going on in the song. Sort of.

Mouse on the Keys’ “Shapeless Man” is from tres.

I hope you enjoy.

Silence. Space. Nothingness when suddenly keys strike softly and draw out, riding a low ambient sound. Percussion soon comes in, maintaining space and keeping a steadiness and a soft tension. Keys and ambience follow each other and move to contrasting, “off” places. Soon vocals come in, speaking from a distance. Words read almost emotionless. Almost.

The sounds keep on moving slow and maintain atmosphere until some more percussion starts cascading and providing a frame. The main percussive rhythm pulls back whilst keys almost come into frame but disappear before they can properly strike. They drone out whilst slowly a scene finds itself painted. The vocals had disappeared and now they return. They maintain their steadiness and they maintain their speaking.

Subtly the instruments have pulled away. Some sounds far off seem to scrape and grind, but they are far off. Something pulses and slowly a bustling scene reveals itself. The main percussive rhythm returns, though livelier and with more strike in it. It keeps the ambience grounded and moving and pairs with the cascading percussion. Keys keep fading in and out but never reaching their strike. They are sounds that are specific and clear, yet vague as they pass on by.

The vocals have once more faded and now something also vague seems to move and shift from the ambience, seemingly punctuating an emotive push of melancholy and seemingly looking for a transformation into a new state, but before any of that happens sounds start pulling away. The percussion stops and what is left quickly fades out as the song ends.

 

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Letters on a Window

I’m not sure what this says and I wish I could make it out.

I think that it’s clear that it is a word, but it almost could pass for a series of non-specific shapes.

This is my submission into Leanne Cole‘s “Monochrome Madness” for this week.
I suggest checking out Leanne’s photography, as well as checking out what other people submit.

A lot of what people are submitting will likely end up here.

I hope you enjoy.

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Scorn: The Only Place

I’d been meaning to write this review since shortly after the album came out but things happened. Last week I finally got around to listening to the album and just published it which is the quickest I’ve finished a review from start to finish in a long time.

The writing is not good and I’m not going to defend it. I get across what I feel was important but it’s clunky.

Most of my interview and review work now appears on Culture Eater.
My colleague and I set up a Patreon to further develop Culture Eater as a source of good quality arts coverage from both ourselves and our contributors.

We’re looking at what we can give to supporters as we don’t want to set up a one way relationship, so suggestions are welcome. Podcast Eater is one of the things we’ve got going.

Please consider supporting, or at least sharing the Patreon page with others. Please also check out what our wonderful contributors are contributing.

I hope you enjoy.

What can I saw about The Only Place that does it justice? Album’s good. Overall, so is Scorn’s (and Mick Harris’ output outside of the moniker) discography.

Seemingly there’s a bit more atmosphere this time and just as much beat as before. Bass goes to sparse realms seemingly like something that snaps and anchors, though it does drive.

Seemingly there’s a bit more atmosphere this time around, and it’s pretty thick and eerie in places; less dry and desolate here. The beats and bass feel precise and rhythmically driving and, along with how sounds seem to fade in and out, add to the claustrophobic and cold feel. There is some aggression but the songs don’t feel like an assault; they feel more content to menace at the edges and build on unease.

Whilst much of the beat seems lumbering and at times heaving, there’s a bit of a deftness and snappiness that comes through. It leads to the album to flow and and move smoothly. That said, The Only Place to work both as active and passive music; Whilst the beat is key, so much of the album seems to be about exploring sound in service of atmosphere. However, as it is quite rhythmic it also makes good dancing music. If you can dance to four/four strobertronics, then you can dance to this.

Kool Keith’s and Submerged’s appearances work both within the context of “Distortion” and The Only Place; fitting in a flurry of words and just moving over and through the track, Keith seems to rush on by, whilst expressing something that may be about release from overload. It almost feels vague, like you’re hearing what sounds like words, but eventually it becomes clear. Submerged’s bass pairs well with it, sort of bouncing whilst thickening out the track and putting a bit of necessary pressure in there that helps push the words forward.

The Only Place is a solid album full of grit, dirt and solid beats; whilst it is hard to pick a standout track, “Don’t and Never Have” is a great way to end the whole thing. A rhythmic bass pattern that seemingly slides away kicks in; Various distorted sounds slowly well up from somewhere whilst percussion fills out. Soon the bass extends; it drops and bounces, then sees itself yanked back into position. Percussion strikes and flickers with precision whilst distorted sounds grow in prominence. Something harsh and metallic shimmers through the thickening fog as unease and dread permeate. It’s almost as though something fundamental is sliding away but it’s difficult to grasp what exactly. Maybe not so much sliding as it is fading. Eventually the beat falls away, as does the bass, not quite consumed by the noise but still overtaken by it.

The calm, yet menacing lurch halts and what remains fades away, succinctly summarising the experience.

The Only Place is available here.

 

 

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Moving in Multiple Directions

This was taken at the same time as these photos.
I didn’t include this one with those as it didn’t quite fit.
Still, I like the result here. There’s a good deal of disturbance on the stuff covering the water. The disturbance is also causing a few of the birds to move in different directions and it leads to a sense of motion in what almost seems like what was once a still scene.

I hope you enjoy.

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Eye Sight

At what is it looking?
What does it see?
Is it paying attention to anything?
Perhaps there is something outside of the frame that is interesting; perhaps there is nothing in particular.

This is my submission into the two hundred-and-fifth Lens-Artists Photo Challenge.
The theme for this one is “The Eyes Have It“.

The host of the Lens-Artists challenges cycles weekly between the following people:

Week 1 – Tina

Week 2 – Patti

Week 3 – Ann-Christine aka Leya

Week 4 – Amy

Week 5 – John Steiner

Week 6 – Sofia Alves

Week 7 – Anne Sandler

Week 8 – Guest host

This one is hosted by Tina. The next five are guest-hosted and the themes have been announced in advance:

July 02 – Aletta Crouse of Now at Home (Treasures)

July 09 – Jez Braithwaite of Photos by Jez (Seeing Double)

July 16 – Andre of My Blog–Solaner (Summer Vibes)

July 23 – Tracy, who posts at Reflections of an Untidy Mind (Surrealism)

July 30 – Sarah Wilkie, who hosts Travel with Me (Three Favourite Images)

I recommend participating in the challenges. They’re enjoyable and allow room for interpretation of the theme without straying too far. If you don’t participate, then I recommend that you at least check out what others of the Lens-Artists community are submitting.

I hope you enjoy.

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Two Ducks

As opposed to one, or three, or a number greater than three.

Just a photo of two ducks doing duck things.

I hope you enjoy.

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