Underworld: Ancient Phat Farm Coat

Posted on January 30, 2026 by Stupidity Hole

One listen, and I spent a good deal thinking about  what I was hearing. Had trouble starting as I was getting stuck on the right words to describe the percussion and that was not a good way to be about it. Should’ve just said something and continued, or allowed myself another listen. Once I got underway, things picked up and I feel the writing gets better toward the end.

Underworld’s “Ancient Phat Farm Coat” is from Pizza for Eggs. The release is part of their Riverrun project which, as far as my understanding goes, was an experiment in releasing music in non-traditional ways that ran from 2005 to 2006. “Ancient Phat Farm Coat” was also included in the single release for their song “JAL to Tokyo”.

I hope you enjoy.

—

A steady beat that seems to sway in a breeze. Or just sway. It builds, and the other sounds alongside remain calm and steady. The beat moves, continues on, is anchored. Is muffled, almost. In a dry air, though perhaps not. Could just be a pulse, could be the sound of earth. Could be anything.

Keys come in, calm. They oscillate around a single, invisible point. They continue on, they flow, they move, they rise, continue on, flow, move, lower back down.

Everything moves in a flow and a rhythm, and everything seems to be anchored around one point, moving around it, moving quickly, moving slowly. All held still, moving at different rates, not moving at all, moving constantly. Moving calmly.

The keys diminish and slink more to the side, and something a bit more bright and shimmery comes in, almost harsh. Harsh and slow, elongated, stretching across, stretching its body thin, and continuing to do so after the keys return. And it seems to change around the time the keys rise further than before.

Sounds start peeling away and the keys become more prominent than before. Or rather, the sounds diminish and find themselves in the background, and there’s something in this that could be a sense of joy or familiarity, and maybe some sadness, too. Recognising something that no longer is what it was, or maybe just something that was constantly there, familiar, and recognised only when it no longer is.

And the beat returns in full after something seemingly lurching rises up. Lurching and curving and bending, and everything continues on, maintaining shape, maintaining form, moving forward, and the keys diminish, and the beat grows stronger, more prominent, and all that is left continues on until the song ends.

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Underworld: Brilliant Yes That Would Be

Posted on January 29, 2026 by Stupidity Hole

One listen, though a few restarts due to getting distracted a few times.

I felt a sense of landscape and time of day when writing this, and the song is quite moody. I wondered if I was getting the wrong feeling from it, and perhaps representing the song poorly. Realistically, if the interpretation fits then it fits, and so long as it’s not problematic, then it shouldn’t matter much. Still, I wondered. Still am wondering.

Underworld’s “Brilliant Yes That Would Be” is from Drift. Drift is a series of experimental releases. The first set is comprised of songs and videos Underworld put out between 2018 and 2019. They were also compiled both as a series of EPs and a full release known as Drift Series 1 – Complete. “Brilliant Yes That Would Be” was on the EP EP 1: Dust and also included on the Complete release.

I hope you enjoy.

—

 

Low hums, calm. Long. Something howls, then the hums seem to thicken. The howl again, and softness rises from the hums and fades away. That howl returns, lowers, rises… it seems to flow in some places and snap in others. And whilst it is going, those hums change. They deepen and move into more melody, or seem to be looking to change things.

The sounds are minimal and maximal at the same time, and softness rises and falls, and the space keeps moving. The sounds seem to be looking over an expanse of space, of low land and high points, and all sorts of shapes, and moving across slowly, drifting across, drifting over, looking, finding nothing, and finding everything.

Small statics become the howl, and the sounds thicken where necessary. They thicken, then return to their previous state again, and it all feels cyclic, even as it progresses. The melody furthers; the howl furthers, and everything reaches further into the space travelled. Reaches further, looks further, takes more steps, keeps moving under a bright sky that changes to dark and sees shining among it, before changing to bright once more. And the appearance of the sky changes as everything drifts.

Keys, seemingly warm, pres at precise moments. Calm, cutting into the eternity, and then a few more keys, and things seem lighter. Or maybe they aren’t, but this is at least peaceful, though maybe it isn’t. Maybe it’s marvelling at something grandiose; something magnificent, and this moment is full of wonder. Maybe it isn’t; and it’s more a continuing walk across an expanse of space, continuing ever further, looking across a landscape, seemingly unable to return, accepting and continuing on, or relief, or sadness. It could be everything; it could be nothing, and it goes on until everything comes to a stop at the song’s end.

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Baraki: Rem

Posted on January 29, 2026 by Stupidity Hole

One listen, and this one I was pretty satisfied with. There’s definitely room for improvement, and I think there are parts that would’ve led to far more interesting writing, but this turned out well enough.

Baraki’s “Rem” is from Colony Laspberry.

I hope you enjoy.

—

Percussion prepares with a specific sounds, some longer than others. Only briefly, however. It’s all layers and it keeps layering. A pulse comes in, relentless. Then it seems some silence and voice. Then more percussion and some bass, really low. Seems to expand and compress in bits, then something else with a distorted plink plays a mysterious pattern.

Other bits and pieces here and there create shape and texture, and the sense of intention and connection starts expanding. The sounds are distinct, but they almost extend from each other. All the while an undercurrent of coldness comes through. A cold like machinery, though there seems to warmth, too.

There’s now a little more space and everything is precise and patient, and something rises up suddenly and fades away, or rather, fades into the background… almost. It’s not quite in the background and not quite in the foreground. It exists where it exists, and it feels organically off, and then disappears when it needs to.

The sound of voice cut up and echoing comes in, though it could just be a non-voice sound that feels like a voice, and as sounds disappear it comes more forward and it seems to sway and dance, and bring in another world. It brings in another world into this space, and that new world seems to look to align with what is here, but it feels at odds. It feels at odds, but it keeps trying. It keeps working, and other things come in as blurs and flashes, and maybe everything is folding in on the space, transforming it into something else entirely.

The space seems stressed, but relaxed at the same time. The sounds relentless in their shifting and moving and coming and going, and in a state of stillness, and everything starts disappearing, fading away, and the song ends.

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Baraki: Whisper-2

Posted on January 29, 2026 by Stupidity Hole

One listen. Went in, didn’t think too much about what I was hearing… except for about the mood at times. I think the writing turned out well being less thought about. Covers the song well enough, but still feels vague, but I’m happy with that.

Baraki’s “Whisper-2” is from Colony Laspberry.

I hope you enjoy.

—

Water moves as waves and soon falls away. A gentle sound plays, seemingly moving back and forth, as though the waves. It starts small and builds, and seems to move away from its beginning whilst keeping that as an anchor. Percussion comes in, light and brisk, and rigid too. And so does something that seems like a voice.

The percussion changes and takes on more shape, and rings out looking forward and cool. It forms rhythms within rhythms, and a melody among voice starts to take shape. The percussion keeps changing, and more sound comes in, filling space, finding moment to add and change the flow.

Percussion reduces, giving the more background elements a moment, then increases and reduces again, and more sound, and the melody expands. It’s as though there’s something wondrous and innocent here, and maybe a little cheeky too. And in it all, the scene expands. The scene fills out.

Percussion is gone. Something floats and curves above, and bass beeps bounce, and a bit of percussion returns and falls away. The bass grows louder, or rather, it steps forward. It moves and it keeps going, and the background seems to shift slightly. The percussion comes back with rapid strikes before once more changing into something precise and rapid, yet slow. Almost groovy.

Other sounds float around, returning to their slot and the percussion fills out once more. This seems climactic now as everything is now here, but it doesn’t become big. It’s not grandiose; it’s not massive, but it feels massive. It feels wondrous.

And gradually sounds pull away, finding their resting point. The percussion fades out, scattered orderly, and soon it’s just that gentle sound finding its own resting point at the song’s end

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Baraki: Boundary

Posted on January 28, 2026 by Stupidity Hole

One listen.

I also thought a bit about what I was hearing with this one. I was thinking more about how the sounds progressed more than how they worked with each other. I think that came through strongly, and I don’t think that was the best thing to think about.

Baraki’s “Boundary” is from Colony Laspberry.

I hope you enjoy.

—

It’s water and a percussive strike. Likely the sound of an object holding water hitting a stone, or perhaps just after dropping water. It echoes, and other sounds float through this enclosed space.

As though water bubbling carries through, and soon percussion enters into play. It seems to strike and shuffle, and find harmony in drops. The space transforms and the percussion takes texture and tone, and takes the flow elsewhere. It’s as though echoing underwater, and it consumes attention. It stops for a moment to reveal another sound, then fills it again.

Something whirs and a voice comes in here and there, and greater form and percussion comes in. Almost an angularity to it, and all feeling quite organic. It’s of low beauty, and there’s a calm among it all. There’s a shifting in how sounds are used, and it seems as though, whilst everything is busy, everything is slow. Rapid, and slow.

Percussion is falling away, and some of the more background stuff is obvious, though perhaps it was always obvious. Perhaps it was always there.

Eventually sound seems to sway back and forth, or rather, smoothly snap back and forth. Other beeps and pulses come in, and there’s this unnerving feeling to it, though also a curiosity. It keeps going, and seems to build and build, and the percussion suddenly falls away. And so do more sounds.

Silent space, with this beeping, though it’s less a beep and more like a whistle. And it too fades, and what is left is a sound slowly moving its way through this empty space, seemingly growing louder, shrinking away, getting quiet again, lingering long enough until it stops and the song ends.

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Baraki: Tuning

Posted on January 28, 2026 by Stupidity Hole

One listen.

I thought a lot about what I was hearing and how the sounds worked, but not enough of that came through in what I was writing. Still, I’m happy with the result.

Baraki’s “Tuning” is from Colony Laspberry.

I hope you enjoy.

—

Something humming fades into prominence, and there’s something else, something different floating alongside that hum. There are a few things, actually. And a voice comes in, or a couple, or mainly one and another that responds. And the voices change, as does the channel. Or the radio. Or both. Or neither.

And the sounds descend a little, and rise, and there’s a darkness to this. Dark and desperate, and slipping into some sort of spiral, or perhaps implying. There’s possibility here, and in a sense this feels very much like an objective view, but at the same time it doesn’t.

Percussion comes in and the crackling of noise, which started before the percussion, continues. It all seems to rattle and shake, and the hums change to something else. Something thicker and like a hollow tube, and then it (and other sounds) disappear, and the familiar hum returns with some other sounds continuing on. Something more distorted flickers, and things change.

Something flickers upward, rises, comes out of a new surface, and everything fades away whilst lingering, and the song ends.

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Spread of Land

Posted on January 28, 2026 by Stupidity Hole

I took these photos when driving back to Sydney from Bathurst. Mainly I was trying to get a good photo of the land. Tried to play around a bit with light, but not too much.

I wanted to show the vastness, and these don’t quite capture it, but they show the spread well enough.

This is my submission into Leanne Cole‘s “Monochrome Madness” for this week. This one is hosted by Elke of Pictures Imperfect Blog, and she has chosen the theme of “Triptych”.

This challenge is open to all, and I recommend joining in. If want to, check out more information about it here, and include the tag “monochrome-madness” when you share your photo. If you’d prefer not to join in, then at the least check out Leanne’s photography, and what other people submit.

I hope you enjoy.

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Australasian Darter

Posted on January 27, 2026 by Stupidity Hole

A Darter drying its wings. I think that’s what was going on here.

I hope you enjoy.

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Overhead Swallows

Posted on January 26, 2026 by Stupidity Hole

Just a photo of welcome swallows on power lines. There were quite a few of the swallows when I took the photo. The lens I was using didn’t allow me to get them all in the frame, but I like how the photo turned out. It’s not amazing; just pleasant to me.

I hope you enjoy.

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At a Beach Somewhere

Posted on January 25, 2026 by Stupidity Hole

When I was at this beach, I wanted to get a clear photo of it and the water beyond. No land, no birds; just beach and water. The lens I was using was a specific ultrawide normally used for astrophotography, so if I wanted to get the photo from where I was standing in relation to the shoreline I’d have to accept the things I didn’t want in frame.

I walked down the beach a short distance, and closer to the shoreline. Maybe for a minute. I stopped to check here and there and there’d still be land within the frame. Did it a few times, gave up, went for photos. Took a few facing away from where the land was and they turned out well, but they weren’t what I wanted. I could’ve kept walking, but I didn’t want to spend too much time chasing the photo the way I wanted it when there were other things to photograph.

This is my submission into the three hundred-and-eighty-second Lens-Artists Photo Challenge. The theme for this one is “Rejected“.

I think this photo could be much better. It didn’t turn out how I wanted and it’s one I might soon forget. I used minimal processing; I think the most I did was make the scene a bit darker so it felt moodier. It was an overcast sky, but leaving the correct brightness in the photo didn’t get the the feel across well enough.

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

Tina

Patti

Ann-Christine aka Leya

John Steiner

Sofia Alves

Anne Sandler

Egídio

Ritva

Beth

This one is curated by Egídio. The next one is curated by Tina.

I recommend joining the community and participating in the challenges. They’re pretty straightforward, allow room for interpretation, and provide a good way to think about photography in general. If not, however, then at the very least you should check out what others submit to the challenges.

I hope you enjoy.

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