Early Morning Road

Taken shortly before powering up Hat Hill to walk and get photos such as this one.

I wanted to get a photo of the road and how it appeared in the increasing light. Ended up bringing the brightness up a bit as I shot it with too fast a shutter speed.

I think that, in part due to the light levels and the cloud cover this feels slightly desolate. It feels lived, but also empty. At the same time there’s something familiar and inviting about it. Not sure. It feels a few different things to me.

I hope you enjoy.

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Radiowar: The Changing Pattern of Light (Ceremony)

One listen for this one.
I’ve spent a lot of the day looking for something on The Internet that appears to no longer exist which led to putting this off a lot longer than I’d hoped. Decided to throw myself into it without preparation and the result is below.

I think I wrote more about how it was coming across more than what the sounds were doing and I think that’s okay. It’s not a great bit of writing but it gets something across.

Radiowar’s “The Changing Pattern of Light (Ceremony)” is from Secret of Mana: Resonance of the Pure Land, a Secret of Mana tribute album compiled and released by OverClockd ReMix. This song is a reinterpretation of “Ceremony” (“儀式”) which was composed by Hiroki Kikuta (菊田 裕樹).

I hope you enjoy.

Something warm  and seemingly melodic comes this way. There’s a prettiness and sounds shimmer above the warmth. There’s space and slowness and slowly the sound fills out and grows, and it seems peaceful and distorted but there’s a slight undercurrent of ominousness.

There’s beauty and there’s distortion and seemingly the warmth changes and falls under darkness, and cuts and pulses after that shimmering had disappeared, and there’s a pause and moment for experiencing the wonder of it all, but the ominousness remains as it all fades out at the song ends.

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Masashi Hamauzu: The Goddess is Dead

One listen for this one.
I threw myself in and just aimed at covering the song in any way I could. I ended up not covering as much as possible (though in a sense I did) and it kind of helped. There’s more of a feel described than there is a clear description of instrumentation (I think) and it works better than had I sat here and listened multiple times to get a full description across.

Masashi Hamauzu’s (浜渦 正志) “The Goddess is Dead” (“女神なき世界”) is from Final Fantasy XIII-2 Original Soundtrack, the soundtrack for Final Fantasy XIII-2. The soundtrack was created in collaboration with Naoshi Mizuta (水田 直志) and Mitsuto Suzuki (鈴木 光人).

I hope you enjoy.

Murmurings among an ominous air. Sound slides in and underscores the mood, and vocals call out in a distance. A slight percussive strike here and there, vocals return. Things grow louder, harsher, more menacing. The twisting of a triumphant moment and it keeps growing louder and louder and the percussion rolls, sounds slide and contort, and an electronic harshness.

A sudden strike among another percussive roll, and all starts to pull back and drop away. A metallic hum stretches out beyond all else as the moment is concluded, frozen in time. The hum continues on but it too fades and disappears as the song ends.

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Final: ENATKWBY 1

One listen for this one.
I planned to write about this song a couple of days ago but I was too tired at the time.
Then planned to write about it yesterday, but the same thing. I think not doing so until now worked out for the best as, whilst I spent too much time thinking about what I was writing I was also able to write about the song with a bit more clarity.

I think that clarity was abetted in part by the song’s length as I was able to let things seep in a bit more. Considering how the song flows I think it was better for the approach overall. Banging everything out without thinking here would’ve led to struggling to write after a few minutes, I think.

I don’t think the writing here is the best, but it does capture some aspects of the song pretty well, in particular the atmosphere, I think.

Final’s “ENATKWBY 1” is from EXPECT NOTHING AND THE KINGDOM WILL BE YOURS. Just as a side note, here’s a review I wrote about the album.

I hope you enjoy.

A vast expanse forms and continues to widen, but it is distorted and vague. It is though a wind is creating a veil, but things are recognisable as objects and recognisable as not quite what they should be.

Sounds seem to rise and fall and do so in a steady progress. Something seems to try and become clear but it is difficult to tell, but still something comes through with clarity and it reaches out to touch and hold, and perhaps mourn due to a deep sadness.

Stretching and looping and repeating, but even though it seems static it also seems to keep on changing. Maybe it doesn’t, but there is a progress as the sound sinks in and sinks in more and more, and as it does scenery reveals a wreckage and ruin. The expanse is filled and it has a lot, and yet what it contains is desolation.

The sound keeps on moving and holding and moving and it continues showing itself perhaps as reflective, though maybe it is not. Something seems to whirl for brief moments; maybe it is a hum and maybe it isn’t there and just being imagined, but it is as faint as it is prominent and it too could be lost in the noise.

A journey continues on and maybe the sound is becoming more singular and focused, and maybe that’s due to disappearing in it, but it seems to lack the range it had earlier on. It seems to have shrunk but it stays wide and open and it carries a long stare forward into a long distance that is impenetrable whilst the veil remains. It is there where the journey moves forward and it is as unknown as it is resolutely familiar.

The sound continues to disappear into itself as though a memory recalled over time, and what is left is echoes trying to reach out, shuffling and shifting whilst peeling away, leaving something naked and vulnerable, and perhaps a pure expression. The emotion remains, but suddenly the sound stops and leaves a fading moment to ring out as the song ends.

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The Sun Pours out its Light

On Thursday morning I woke up really early. I set an alarm to wake up at ten past four in the morning; instead I woke up a few minutes past two. May have been twenty minutes. Not sure. Anyway, I couldn’t get back to sleep and so around twenty to four I got up, got ready and left around forty-two minutes later.

My aim was to get to a particular spot in The Blue Mountains so as to capture the sunrise. I’d worked out that if I left at around half-past-four I’d get to where I wanted to be just in time, so deciding to get ready sooner and thus leave a little earlier helped out.

The drive was pretty straightforward. It was mostly in the dark with not much traffic which was great. Still had to deal with some people driving in an unsafe manner but that was early on and the drive into and through The Blue Mountains was really easy.

Shortly after passing Katoomba I noticed that first light had begun which was a concern as I was around fifteen to twenty minutes away from where I was going to take photos. I avoid speeding (can’t afford a fine) so I was feeling a bit more pressure staying at the speed limit than had I decided to go well over as I didn’t want to miss anything. That said, it’s unlikely speeding would’ve saved much time.

On the plus side a heavy fog was around which meant I got to use my fog lights, which admittedly isn’t that exciting but I like using them when given the chance. More importantly it created a certain feel to that part of the drive that I really liked.

I reached where I was going, parked and got out of the car, grabbed my camera gear and powered up Hat Hill. When I arrived it was close to six in the morning so I felt I didn’t have much time before I’d miss what remained of the sunrise.

I got to the top and I took a few photos before going a bit further along the track to Bald Head Lookout before stopping again and taking the below photo.

The sun looks like it’s pouring out its light which is then spreading outward along the landscape. The landscape itself has a sense of distance which in part is aided by the sunlight, and the clouds help keep the focus away from the sky.

There were some other photos I took which I’ll end up sharing, but none of them, including this one did the sunrise justice. They were lucky and, had I not left home around eight minutes earlier than I’d planned I could’ve missed a lot of what I saw.

As a side note, here’s roughly what the area looks like on a clear day.

This is my submission into the two hundred-and-forty-fourth Lens-Artists Photo Challenge. The theme for this one is “Glowing Moments“.

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 – Donna

Week 9 – Guest host

Siobhan of Bend Branches is guest-curating this one. The next one is curated by Tina.

The challenges are fun to engage with. The themes are specific enough to keep some focus whilst loose enough to allow room for interpretation. I recommend participating as it’s a fun community to be engaged with and it’s a good way to focus on subject. If you don’t participate, you should still check out what others of the Lens-Artists community are submitting.

I hope you enjoy.

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Trumpet Takes the Stage

It’s not often I have the opportunity to get a photo of someone playing trumpet.
This is one of June of 44’s members. Mainly plays bass, but also a bit of trumpet.
Not sure if I left too much body in this photo, but I am sure that it works well with the light levels.

I hope you enjoy.

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Between Notes

Here’s a hand action photo, specifically of one of the members of June of 44.
This is due to chance of the shot, but it almost looks like the note is being carefully considered, as though there’s uncertainty in what is being played. I’m certain that that’s not actually the case, but that’s how it looks to me.

I hope you enjoy.

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Serious Bass Moment

Here’s a photo of We Lost The Sea’s bass player.
I think this photo could’ve been much better had I zoomed out a little, but I like how it turned out. Not sure why, but there’s something about this image that appeals to me.

I hope you enjoy.

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Disintegrating Layer

This was taken at The Brickpit at Sydney Olympic Park.
There was a good deal of water not covered by the green stuff (could be vegetation; could be algae) when I took this photo and that was really nice. Maybe there’s a bit of work going into its removal. I imagine there is, but it’s likely a slow process. Maybe.

Anyway, I like this photo as it looks like something disintegrating and falling away at an edge. There’s a sense of depth to it, but at the same time (to me) the whole image looks like a flat impression of that description.

This is my submission into Leanne Cole‘s “Monochrome Madness” for this week. Participating is pretty straightforward and something I recommend. If you do, then include the tag “monochrome-madness” in your post.
If not participating, then at the least check out Leanne’s photography as well as what other people submit.

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

I hope you enjoy.

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Final: I Am the Dirt Under Your Fingernails

I started this in December, I think. It may have been late February, but I’m pretty sure it was December, toward the end of the month. Regardless, I finished editing the review today. I started editing it last week and finished a few minutes ago. It was handled in small parts due to being really tired whilst going through the process. I ended up cutting out a fair bit whilst also rewriting a good portion of what remained, but it was a pretty smooth process overall. Didn’t feel smooth, however.

This doesn’t say enough about the album and it’s not a good bit of writing. I felt I was at a point where I had to get this out of the way as I’d sat on it for far too long and now it’s published so… yeah.

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 and (aside from the next few weeks) new episodes are available through there first.

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.

In 2021 Goth-Ick/Unscene and Tigersquawk Records released Putting the Stars Right – An album to benefit the Lovecraft Arts & Sciences Council. Among the songs from various artists is Final’s “I Am the Dirt Under Your Fingernails”, a throbbing and vaguely dreamy bit of music. It’d not be difficult to think that I Am the Dirt Under Your Fingernails (henceforth IATDUYF) would continue in the same vein, but the tracks here feel less electronic and perhaps less aggressive. Maybe it is a continuation of that song in some manner. Maybe it is not.

IATDUYF opens with low and muted noise. It’s a relaxing start and remains as such when something akin to guitar makes its own gentle steps. From there the album moves through different, yet connected stages. Sometimes it sounds like it’s stretching whilst remaining unchanging. Sometimes there’s more of a sense of gentler flow and change. However, throughout a strong focus on expressiveness remains constant.

Throughout IATDUYF mood shifts and gradually captures, and perhaps that’s borne from the album not necessarily trying to be immediate. In a way it says “Here is what this is about”, but it takes time to allow each piece to sink in. All the calm, frustration, reflection, anger, contemplation and sadness permeates with ease. It’s music that hits hard without the attack; It hangs heavy without dragging you down.

A few pieces feature silence, or at least an implication of silence at their end. Maybe it has something to do with an idea of rest or reflection, or maybe it’s to let the pieces linger beyond their fading out. Maybe it ties into the title somehow; maybe it doesn’t.

Speaking of, the phrase “I Am the Dirt Under Your Fingernails” could mean a lot of things. It could refer to what has come before and what that provides. Maybe the album’s expressiveness ties into the title to say that you can let emotions guide your actions more than you think they do.

Maybe the title and silences don’t mean anything at all.

In a way IATDUYF fits with Expect Nothing… and It Comes to us All. There’s familiarity in sound and form between the three, but beyond that this one works well enough on its own. You can focus on what is happening; you can let it engulf you without it smothering. You can just as easily put it on in the background and let it move over you that way. The album is an atmospheric release that expresses effectively, regardless of if you’re listening to it actively or passively.

I Am The Dirt Under Your Fingernails is available here.

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