3nd: Monsoon

One listen for this one.

I aimed to describe the song rather than anything else. I’ve left this far too late in the evening and so I didn’t feel I’d do well trying something else.

3nd’s “Monsoon” is from World Tour.

I hope you enjoy.

A burst of richness and a guitar bounces off itself.

Soon the other instruments come in proper and the band powers on with a light, yet biting step. It’s bright and lush in a way. However, that soon gives away to something that’s almost a counterpoint, which does not last for long and soon that original pattern comes back, though with a bit of a shift. Guitars play in a different manner, with a bit more fuzz and noise in them, and soon all is climbing a little.

It all pulls back and the guitar does a little dance before bass comes in and, with percussion puts a bit of a bounce in the step. Delicate are some sounds, but fun and tight and ready to pounce they are, and pounce they soon do.

The instruments shift to something more melodic and perhaps climactic. There’s a sense of build, though the build remains mostly in the percussion as the song drives on forward and soon the sounds unleash and reach a driving climax.

The energy keeps on pushing forward and one guitar sails over the sounds, playing a solo whilst all drive on forward. Soon it locks in a little more by lowering and all is as big as it is small, and the sounds hit one last note as the song ends.

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Hill in Sunset

Here’s a photo that was taken in the same location as these photos.

This one has less to it, and in a sense it makes the image more minimal.

I do like the way the sunset’s light is captured in the grass, and I like how simple the photo feels. It’s really straightforward, though perhaps it also is quite plain.

This is my submission into the one hundred-and-eighty-eighth Lens-Artists Photo Challenge.

The theme for this one is “A Special Place“.

In a way this was special to me and I think it was due to being alone during the drive.
A lot of time to think, though probably not enough.

I think this was also special to me due to the way the sunset fell over this particular place.

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

Week 1 – Patti

Week 2 – Ann-Christine aka Leya

Week 3 – Amy

Week 4 – Tina

This year three people are joining the Lens-Artists team:

John Steiner of Journeys with Johnbo

Sofia Alves of  Photographias

Anne Sandler of Slow Shutter Speed

As such the above hosting order is likely to change.

This one is guest-curated by Karina of Murtagh’s Meadow. The next one is curated by Tina, and the theme will be “Odds and Ends”.

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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Vitriol: Rectificando

This was over one listen.

I was trying to describe the song (I think). I sort of captured it, but I think I dropped the ball a bit.”Rectificando” is a song I used to be familiar with and so I think remembering it in part but not fully threw me off a little.

Vitriol’s “Rectificando” is from I-VII.

I hope you enjoy.

A low sound rumbles through space. Soon it is followed by similar sounds, stretching out, reaching. They almost seem to connect and in doing so become continuous. Something underneath it all comes forward, though only where it can.

Sounds reach up and the lower sound comes in with more prominence, heaving. The higher sounds seem to thicken and become more rapid in their approach; they are filling the space and replacing it with themselves.

Seemingly a sense of shattering comes in and more sound echoes outward and soon it is almost a sort of dance, though perhaps all is just moving at moments that imply some sort of dance-like motion.

Other, more metallic sounds seem to come in and reflect a distant light. A grinding comes in as sound scrape against sounds and a sense of dread comes in, though also mixed with a sense of release and calm. A sense of mixing as all seems to congeal, and it is all harsh and soft. even as it fades out at the song’s end.

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Airport Space

I was going to put this photo up yesterday, but I didn’t as it was originally too dark.

There’s a bit of emptiness to this photo, and I feel the lighting is warmer than it actually was, but I do like the sense of space.

I hope you enjoy.

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Path in the Park

Here’s a constructed path as seen in The Royal National Park.

I think it highlights the need to reduce human impact to the environment whilst also allowing people to experience an idea of nature. It does take something away from the experience of bushwalking and I’m not a fan of these walkways, but I think the trade-off is worth it as preservation and damage mitigation are far more important.

I hope you enjoy.

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Land Crease

This was taken last year whilst driving back to Sydney from Melbourne.

Maybe this photo is a little unbalanced in terms of light, but I do like how it falls on the land. I think it helps to enhance the sense of bleakness due to land clearing.

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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A Poem About Being Lazy

Short and crappy this one is.

I felt the need to get something done so I did what I could and this is the result.

I hope you enjoy.

Another day passes
Evening stretches outward
Rain fell with weight
And all moved forward

I sat there, still
Wanting to progress
And yet I chose
To remain heavy

Now I am here
Firmly in position
With little to show
But there is tomorrow

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Docked Freighters

This probably focuses on the area around the ships more than it does the ships themselves, but I do like where they’re sitting in the photo.

I hope you enjoy.

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Born Ruffians: PULP

I remember this one being a struggle to write.
I finished it mostly to get it out of the way. Glad it is now out of the way, but I could’ve written much more, I feel.

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.

PULP is, as far as my understanding goes, a collection of B-sides that Born Ruffians consider an album that concludes a trilogy involving JUICE and SQUEEZE.

The album starts with “Checkin’ Out” which has this sort of escalating bop thing going on. It tightly alternates between, small and “twee”, and big and “twee” and toward the end gets big in the way that Born Ruffians do whilst remaining deft the whole way through. It’s a good start.

From there there’s a bit of jangle and a lot of fun, boppy stuff. Some songs are slower than others, and some overstay their welcome. Whilst pleasant enough, there’s no need for “Heat Wave”, “Husha” and “Happy Parasites” to be as long as they are. “Types Of People”, “Beyond The Lightning” and “Ring Finger” make better use of their time.

There are some interesting ideas spread through out and Born Ruffians capitalise on them well enough. The additional percussion on “Beyond The Lighting” builds nicely on the main melody; The use of space on “Types Of People” helps provide a playful feel, and the approach to “Happy Parasites”  makes it feel like it’s constantly building up to explode.

It’s difficult to say as to how warranted PULP was. After JUICE and SQUEEZE. After those two albums it may have been better to call this one SATURATION as it feels like too much. Individually the songs songs are fine enough, but the album as a whole needed either more time, or rethinking. The songs all sound like they’re from the same band and they kind of fit, but there’s a disconnect that carries through them. PULP is a cute album, but as Born Ruffians push through each song it gets a little dull. As such, it works better as a collection of B-sides rather than a cohesive album.

PULP is available here.

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Born Ruffians: SQUEEZE

This is the first review I finished this year.
I don’t know as to why I sat for so long on finishing this, but I did.
When I came back to it I did what I felt was enough to allow for the review to be published and it probably wasn’t enough.

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.

SQUEEZE does this sort of ominous fade in on “Sentimental Saddle”. Then it switches to something that sounds jangly and messy, and is all the better for it. The song builds a little on what it establishes early but it doesn’t become this big, unwieldy thing; it retains a sense of smallness, even in its larger moments. It’s closing section changes things around a fair bit, but remains fitting thematically.

In some ways SQUEEZE is a very light and pop record. There’s a strong focus on keeping things sounding fun, though there remains a serious undertone. Sometimes it’s more overt – “Waylaid” is a prime example, carrying itself as more of a “romantic mood” piece – but usually the songs stick to fun.

The mid-paced jam of “Sinking Ships” stays relaxed and slinky; despite its sombre lyrics, “Death Bed” retains the relaxed feeling, though the vocals in the background are a little too harsh for what’s going on. Perhaps that was part of the point. “Leaning on You” goes for some sort of slick pop feel; “Albatross” goes for something slower that seems like it’ll build to something and it does, but appreciably it avoids a sense of the grandiose. The closing horns are joyous, even though they sound rude and boisterous.

The rest of the tracks fit in well enough around these and much like the prior-mentioned ones, they’re enjoyable enough. It’s hard to say if Born Ruffians went either the extra mile or kept things more laid-back than they should have; their performances are adequate for the material, which seemed to ask for not doing the best that they could. The instruments do just enough and the vocals carry well enough; it’s all just enough.

Ending with an edit of “Waylaid” over “Albatross” may not have been the best move. Whilst viewable as a coda, it doesn’t add anything to the album. It’s a nice song and maybe Born Ruffians wanted to draw listeners to it more than other songs here, but it’s unnecessary attention to a repeat that feels unwarranted.

SQUEEZE sounds better considered than JUICE, and overall tighter and more concise. It’s as fun as the prior one and as enjoyable, though also warmer and more effective. It balances its sounds and feel better and, overall, carries itself well.

SQUEEZE is available here.

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