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Archive for the 'Math Rock' Category
Posted in Art Rock, Canterbury Scene, Essay, Folk, Fusion, Jazz-Rock, Math Rock, Post-Rock, Progressive Rock, Psychedelic, RIO/Avant, Rock Progressivo Italiano (RPI), Space Rock, Symphonic, Zeuhl, tagged a.P.A.t.T., Afenginn, Alex's Hand, Amoeba Split, Ampledeed, Bent Knee, Bob Drake, Bubu, Chromb!, Corima, David Bowie, Deus Ex Machina, Disen Gage, Edensong, Emmett Elvin, Factor Burzaco, Finnegan Shanahan, Fractal Mirror, Free Salamander Exhibit, French TV, Gösta Berlings Saga, Goat, Gong, Griot, Half Past Four, Herd of Instinct, Horse Lords, iamthemorning, Il Rumore Bianco, Ill Wicker, iNFiNiEN. Axon/Neuron, Iron Mountain, Jack O'The Clock, Jeremy Flower, Knifeworld, Luz de Riada, Macroscream, Mad Fellaz, Mamma Non Piangere, Marbin, Matthew Parmenter, Mike Kershaw, Mothertongue, Moulettes, N.Y.X., Nicotina Es Primavera, North Sea Radio Orchestra, Panzerpappa, Pluck & Rail, Psychoyogi, Richard Pinhas & Barry Cleveland, Savoldelli/Casarano/Bardoscia, Seven Impale, Shamblemaths, Simon McKechnie, Sonus Umbra, Sparkle in Grey, Sternpost, Stick Men, Syndone, Thank You Scientist, The Mercury Tree, The Observatory, The Sea Nymphs, The Stargazer's Assistant, The Winstons, Three Trapped Tigers, Tiles, Ukandanz, Ulver, Vaults of Zin, Vespero, Violeta de Outono, Yawning Man, Yugen, Za!, Zhongyu on January 15, 2017| 19 Comments »
I hope my readers will forgive me if this post is somewhat less detailed than the ones I wrote in the past, as up to the very last moment I was not sure I felt up to writing my usual "Best of the Year" piece. However, I have tried my best to comment on the many highlights of a year that – while utterly dismal in terms of global events – was definitely a bumper year for interesting progressive music.
In my native Italy, leap years are considered unlucky, and 2016 did nothing to dispel this myth, crammed as it was with global turmoil and high-profile deaths. For prog fans, this year will go down in history for the double whammy of Keith Emerson and Greg Lake's loss, as well as David Bowie's passing a couple of days after the release of his Blackstar album. On the other and, while many of the protagonists of prog's heyday have started leaving this planet, the younger generations – though faced with a world increasingly uncaring about music as an art form – have been forging a path ahead for the progressive genre, often displaying the barest of affiliations to the modes of the past. A few of the names that will appear in this post, as well as in many fans' lists, have received warm accolades in the "mainstream" press, and are therefore getting exposed to more diverse audiences. In many ways, these artists resemble the original prog generation in their desire to explore and experiment, rather than stick to a tried-and-tested formula as the "retro" acts do.
Even if lately my reviewing activity has been almost non-existent, I have kept in touch with new releases through my regular participation in DPRP's Something for the Weekend? feature. On the other hand, a lot of highly rated 2016 albums have flown directly under my radar, so anyone who wishes to read further should take the absence of a rather large number of prog fans' favourites into account – as the title of this post makes it quite clear. As usual, I have not had either the time or the inclination (or both) to listen to many of the albums that are prominently featured in many people's Top 10 (or 20, or 50…) lists, because the amount of music released during the past 12 months under the increasingly broad "progressive" label was nothing short of staggering. And then, in all honesty, my tastes have been steadily drifting away from the traditional prog still enthusiastically embraced by both artists and fans. While I still have a lot of time for the classics, I am constantly on the lookout for modern music that will redefine the prog label without sounding derivative. In this respect, 2016 was like a 12-month Christmas.
For this edition, I have decided to adopt a similar format to the one used by my esteemed friend and fellow reviewer, Roger Trenwith, on his excellent Astounded by Sound! blog. In this way, I will still avoid the dreaded (though popular) numbered list, and at the same time make it somewhat easier for my readers to pick out albums. Although the order of appearance may partly reflect my own preferences, all the albums briefly described in the following paragraphs are well worth checking out. I have tried to include all those albums that have impressed me during the past 12 months, (many of which have already been recommended by me or my fellow reviewers on Something for the Weekend?) though obviously there are bound to be omissions for which I apologize beforehand. Links to Bandcamp or other streaming services are provided whenever available.
And here we go…
Knifeworld – Bottled Out of Eden (UK) – A real joy from start to finish, as intricate and eclectic as the best vintage prog, Knifeworld's third release is yet another winner from prog's other busiest man, the one and only Kavus Torabi.
North Sea Radio Orchestra – Dronne (UK) – Another Cardiacs-related effort, the fourth album by the ensemble led by Craig Fortnam is pure class, brimming with ethereal beauty and sterling performances.
Bent Knee – Say So (USA) – The third full-length release from the Boston crew led by charismatic vocalist Courtney Swain boasts interesting songwriting and an almost punky edge, tempered by a sort of confessional vibe.
Gong – Rejoice! I'm Dead! (Multi-national) – Though Daevid Allen may be gone from this earthly plane, he left his beloved creature in the trusty hands of Kavus Torabi (again!), who gives the album a modern edge while paying homage to the band's decades-long history.
Gösta Berlings Saga – Sersophane (Sweden) – Released just two weeks before the end of the year, the long-awaited fourth album from the magnificent Swedes (augmented, as usual, by Mattias Olsson) brings 2016 to a close with a bang. 40 minutes of stunningly hypnotic instrumental music by one of the finest bands in the business.
Deus Ex Machina – Devoto (Italy) – Another highly awaited comeback from one of Italy's most distinctive bands, chock full of energy, melody and outstanding performances – though without any Latin in sight.
Yugen – Death by Water (Italy) – The iconic Milan-based ensemble led by guitarist Francesco Zago is back with a dense, austere album that demands a lot from the listener. Modern Avant-Prog at its finest.
Zhongyu – Zhongyu (USA) – Seamlessly blending jazz-rock, Avant-Prog, Far Eastern music and improvisation, the debut album by Jon Davis' Seattle-based quintet (featuring three members of Moraine) is a must-listen for lovers of cutting-edge instrumental prog.
Richard Pinhas & Barry Cleveland – Mu (Multi-national) – Beautifully atmospheric music performed by a quartet of extremely gifted musicians – guitarists Pinhas and Cleveland plus the extraordinary rhythm section of Michael Manring and Celso Alberti.
Mamma Non Piangere – N.3 (Italy) – The triumphant return of the veteran Italian RIO/Avant outfit will put a smile on your face,even if you do not understand the language. Stunning vocal performance from Laura Agostinelli of Garamond.
Jeremy Flower – The Real Me (USA) – Carla Kihlstedt lends her vocals and violin to this lovely album from a gifted Boston-based musician. Top-class, surprisingly accessible chamber pop.
Finnegan Shanahan – The Two Halves (USA) – A charming, chamber prog-meets-Celtic folk debut for a talented young musician.
The Winstons – The Winstons (Italy) – Three established indie musicians from Italy pay homage to early Soft Machine inone of the very few unabashedly retro efforts that actually works.
Panzerpappa – Pestrottedans (Norway) – Avant-Prog that will not scare first-timers away with a distinct new-Canterbury flavour from one of Norway's most reliable bands
Corima – Amaterasu (USA) – Magma meets punk in the highly anticipated sophomore release of California's electrifying Zeuhl-ers.
Chromb! – 1000 (France) – The Lyon scene is a real treasure trove of great bands exploring the many facets of the Avant universe – as illustrated by Chromb!'s outstanding third album.
Ukandanz – Awo (France) – What would happen if you crossed traditional Ethiopian music with RIO/Avant? The answer is Ukandanz –another winner from the seemingly inexhaustible Lyon scene.
Herd of Instinct – Manifestation (USA) – Intense and mysterious, yet pervasively melodic, the Texas band's third album displays a stronger influence from their Djam Karet mentors than their previous releases.
Emmett Elvin – Assault on the Tyranny of Reason (UK) – Proudly eclectic (and unexpectedly fun) effort from the man behind the keyboards of modern prog giants Knifeworld, Guapo and Chrome Hoof.
French TV – Ambassadors of Health and Clean Living (USA) – Mike Sary's veteran project's comeback, recorded with the members of Japanese instrumental band TEE, offers a challenging blend of RIO/Avant and jazz-rock.
Jack O' The Clock – Repetitions Of The Old City I (USA) – The latest effort from Damon Waitkus' crew confirms their status as purveyors of unique-sounding chamber rock.
Ampledeed – BYOB (USA) – The second album from the Californian band brings more top-notch art rock with plenty of diverse influences
Luz de Riada – Cuentos y Fabulas 3 (Mexico) – Ramsés Luna's collective sounds like almost nothing else, though of course fans of Cabezas de Cera will found a lot to love in this album.
Nicotina Es Primavera – Animal Cerámico (Argentina) – From the thriving Argentinian scene, sophisticated yet accessible Avant-Prog from an excellent new band.
Amoeba Split – Second Split (Spain) – The Canterbury sound gets a 21-st century makeover in this outstanding instrumental album
Half Past Four – Land of the Blind (Canada) – The irrepressible Canadians pack more into an EP than many bands in 80 minutes. Quirky, elegant and fun modern prog.
Ulver – ATGCLVLSSCAP (Norway) – The mighty Norwegians' homage to vintage Krautrock is pristinely beautiful.
a.P.A.t.T. – Fun With Music (UK) – Just what the title says. Everything-but-the-kitchen-sink eclecticism rules!
Ill Wicker – Untamed (Sweden) – Dark, haunting acid-folk inspired by Comus and other Seventies cult bands.
Vespero – Lique Mekwas (Russia) – Russia's answer to Ozric Tentacles deploy their whole arsenal of psych/space rock with intriguing world music touches.
Psychoyogi – Shrine (UK) – Short but sweet 2016 release from one of the UK scene's hidden treasures – a must for "new Canterbury" fans.
Simon McKechnie – From My Head to My Feet (UK) – Another lesson on how to add interest and progressive quotient to the song format from one of the genre's unsung heroes.
David Bowie – Blackstar (UK) – Released just before his unexpected passing, Bowie's swan song is a riveting testimony to his undimmed creative spirit.
N.y.X. – The News (Italy) – Darkly Crimsonian vibes abound in the northern Italian trio's second album.
Axon/Neuron – Metamorphosis (USA) – An eclectic double CD for an excellent female-fronted band in the MoeTar vein.
iNFiNiEN – Light at the Endless Tunnel (USA) – Third album for another MoeTar-inspired band, with artwork from Tarik Ragab himself.
The Stargazer's Assistant – Remoteness of Light – Mesmerizing, multilayered soundscapes from Guapo drummer David J. Smith.
Sternpost – Statues Asleep (Sweden) – Ethereal, sophisticated chamber-pop reminiscent of Robert Wyatt.
Yawning Man – Historical Graffiti (USA) – A stunning instrumental "desert rock" album recorded in Argentina from an excellent southern California outfit.
Iron Mountain – Unum (Ireland) – Post-rock meets folk-metal in this intriguing instrumental album.
Vaults of Zin – Kadath (USA) – HP Lovecraft-inspired Avant-Zeuhl-Metal.
Thank You Scientist – Stranger Heads Prevail (USA) – Energetic prog-pop from New Jersey's wrecking crew.
The Mercury Tree – Permutations (USA) – Intricate, guitar-based modern prog from a band in constant development.
Edensong – Years in the Garden of Years (USA) – The long-awaited second album from the New Jersey band will not disappoint fans of hard-edged prog.
Shamblemaths – Shamblemaths (Norway) – Ambitious debut from another promising Norwegian outfit – eclectic prog at its finest.
Seven Impale – Contrapasso (Norway) – A darker, more intense follow-up to their highly praised debut.
Disen Gage – Snapshots (Russia) – Eclectic, guitar-based instrumental prog with a playful edge.
Factor Burzaco – 3.76 (Argentina) – New versions of older material from Argentina's leading Avant-Prog outfit.
Bubu – Resplandor (Argentina) – A short but highly satisfying comeback from a band that fully deserves its cult status.
Griot – Gerald (Portugal) – The concept album reinterpreted in modern art-rock terms.
Mothertongue – Unsongs (UK) – Exhilarating, brass-led progressive pop.
Afenginn – Opus (Sweden) – Haunting Scandinavian prog-folk.
Violeta de Outono – Spaces (Brazil) – Psych-space meets Canterbury with a South American flavour.
The Observatory – August Is the Cruellest (Singapore) – Moody, melancholy post-rock inspired by T.S. Eliot's poetry.
Macroscream – Macroscream (Italy) – The second album of this Roman six-piece hovers between tradition and quirkiness.
Il Rumore Bianco – Antropocene (Italy) – RPI with an edge for the full-length debut of this band from Verona.
Syndone – Eros e Thanatos (Italy) – Cinematic RPI with echoes of Van Der Graaf.
Mad Fellaz – II (Italy) – For fans of the jazzier, funkier side of Italian prog.
Alex's Hand – Künstler Sch***e (USA) – Another Avant-punk opus from the Seattle crew.
Horse Lords – Interventions (USA) – African-inspired polyrhythms and a saxophone that sounds just like a guitar. Oh my!
Za! – Loloismo (Spain) – A percussion-driven mix of styles with an almost tribal flair.
Goat – Requiem (Sweden) – African rhythms (again!) meet psychedelic rock with interesting results.
Sparkle in Grey – Brahim Izdag (Italy) – A celebration of multiculturalism through rock, electronics and a lot more.
Savoldelli/Casarano/Bardoscia – The Great Jazz Gig in the Sky (Italy) – One of the most brilliant ideas ever for a tribute album. Jazz and Dark Side of the Moon are a match made in heaven!
Pluck & Rail – Trigger (USA) – A fine roots/folk album featuring Frogg Café's Andrew Sussman
Tiles – Pretending 2 Run (USA) – The ambitious return of the Detroit heavy proggers is a double CD package put together with the utmost care.
Sonus Umbra – Beyond the Panopticon (USA) – Heavy yet melodic, atmospheric comeback from the Chicago-based septet led by Luis Nasser.
Mike Kershaw – What Lies Beneath (UK) – Melancholy, atmospheric song-based progressive rock
Matthew Parmenter – All Our Yesterdays (USA) – A collection of classy, deeply emotional songs from Discipline's mainman.
Fractal Mirror – Slow Burn 1 (The Netherlands) – Another laid-back album of song-based modern art rock
iamthemorning – Lighthouse (Russia) – Ethereal and delicate offering from the highly-regarded Russian duo.
Marbin – Goat Man and the House of the Dead (USA) – Eclectic, high-energy fusion from one of the progressive scene's busiest bands.
Though as a rule I generally mention albums I have heard in their entirety, this year I will make an exception for a handful of interesting albums that – for some reason or another – I have managed to listen to only partially:
Stick Men – Prog Noir (Multi-national) – Waiting for King Crimson to release some new material, here is a feast for lovers of touch guitars and intricate polyrhythms.
Moulettes – Preternatural (UK) – Mythical creatures inspire this slice of exciting, hyper-eclectic "wonky pop".
The Sea Nymphs – On the Dry Land (UK) – The second of the "lost" albums by Cardiacs' spin-off trio is elegiac and whimsical.
Bob Drake – Arx Pilosa (USA/France) – A collection of bite-sized Avant-Pop songs from one of Thinking Plague's founders.
Free Salamander Exhibit – Undestroyed (USA) – The much-anticipated return of some former members of Sleepytime Gorilla Museum hits all the right buttons.
Three Trapped Tigers – Silent Earthling (UK) – Hypnotic yet surprisingly melodic take on math-rock.
Although, as I pointed out in the introduction, in my list there are quite a few of what the average prog fan would consider glaring omissions, I believe that the majority of the music mentioned above has the potential to appeal to anyone but the most hidebound listeners. It might not be "your father's prog", but it is definitely worth a try if you want to expand your musical horizons – and support a bunch of highly deserving artists (and the independent labels that keep up the good work in spite of all the setbacks) in the process.
Before I bring this rather lengthy post to a close, I would like to spend a few words on the question of reviews, or lack thereof. As much as I would love to start reviewing again on a regular basis, I do not see myself resuming that activity – which was of great comfort to me in difficult times – on the scale of the earlier years of this decade. In a person's life there is probably a time for everything, and my career as a reviewer was probably fated to be a short (though intense) one. I will keep this blog alive on behalf of the many bands and artists whom I wrote about in the past few years, and for publishing the occasional piece like this one. However, I believe it is time to pass the torch to other reviewers, who are much more prolific and reliable than I have been since 2013 or so. I will keep up my contributions to Something for the Weekend? as a means of spreading the word about new music, as well as occasionally adding some band to the ProgArchives database. In the meantime, while we wait for the first 2017 releases, I hope my readers will discover at least one new band or solo artist by browsing my suggestions. Happy listening, and a great 2017 to everyone!
Music Is My Only Friend – 2015 in Review
Posted in Art Rock, Canterbury Scene, Electronic, Essay, Jazz-Rock, Math Rock, Progressive Rock, Psychedelic, RIO/Avant, Rock Progressivo Italiano (RPI), Symphonic, Zeuhl, tagged +1, 2015, 3RDegree, A Formal Horse, Advent, Agusa, Akinetón Retard, Alco Frisbass, AltrOck Productions, Andrew Moore Chamber Works, Anekdoten, Arcade Messiah, Ángel Ontalva, Battles, Ben Levin Group, Bent Knee, Breznev Fun Club, Chris Squire, Ciccada, Cuneiform Records, Dewa Budjana, Djam Karet, Dreadnaught, Dungen, Dwiki Dharmawan, Echolyn, El Tubo Elástico, elephant9, feat.Esserelà, Fernwood, Fields Burning, Firefly Burning, Galactic Cowboy Orchestra, Ghost Rhythms, Guapo, Hands, Homunculus Res, Hooffoot, Ikarus, IZZ, Jack O'The Clock, Jaga Jazzist, Jumble Hole Clough, Karda Estra, Kinetic Element, King Crimson, KoMaRa, La Coscienza di Zeno, Lemmy, Ligeia Mare, Loomings, Mammatus, Manna/Mirage, Marbin, MoonJune Records, Necromonkey, Ni, Not a Good Sign, Ole Lukkoye, Orion Rigel Dommisse, Orion Studios, OTEME, Panzerballett, Pavlov3, Pensiero Nomade, Pixel, Plaistow, Pond, ProgDay 2015, Quantum Fantay, Rêve Général, Romantic Warriors III, Roz Vitalis, Samuel Hällkvist, Schnellertollermeier, Simon Steensland, Slivovitz, Something for the Weekend?, Sonar, Stepmother, Stern, Teeth of the Sea, The Artaud Beats, The Fierce and the Dead, The Grand Astoria, The Muffins, The Nerve Institute, The Tea Club, Theo, Thieves' Kitchen, Thinking Plague, Trey Gunn, Ubi Maior, Unit Wail, Upsilon Acrux, VIII Strada, William D. Drake on January 14, 2016| 16 Comments »
First off, I feel the need to apologize to my readers for the string of rather depressing titles given to my "Year in Review" posts. No matter how optimistic I try to be at the beginning of a new year, life always finds a way to disappoint my expectations. 2015, though, was special – for all the wrong reasons. Even now that things are going somewhat better (though far from ideal), I still occasionally feel the urge to withdraw from everyone – hence the not exactly uplifting title of this piece.
This sorry state of affairs obviously impacted my inspiration as regards writing reviews and the like. My blog was neglected for most of the year, with only 9 posts in 12 months, and the few label owners who regularly sent me their material took me off their mailing lists – which contributed to my feelings of isolation, even if I cannot blame them for that. Music remained nevertheless a constant source of comfort, thanks to the ready availability of new (and not so new) material on streaming services such as Progstreaming and Bandcamp. This allowed me to listen to most of the albums I was interested in, and keep in touch with a scene that I have been steadily supporting for the past few years. Some days I had to force myself to listen, but thankfully things got easier with time.
Although full-length reviews were thin on the ground, I kept up my collaboration with Andy Read's excellent weekly feature Something for the Weekend?, as well as my activity as a member of the RIO/Avant/Zeuhl genre team (also known as ZART) at my "alma mater", ProgArchives. In the second half of the year i was able to resume writing longer reviews, not only for my blog, but also for DPRP – though not yet on a regular basis. On the other hand, our concert attendance hit an all-time low. To be fair, ProgDay 2015's extremely high level of quality more than made up for the many other gigs that we ended up missing. The only other show we attended was The Muffins' one-off performance at the Orion Studios in mid-May, which unfortunately I was unable to enjoy as much as it would have deserved.
As usual, the amount of new music released in 2015 under the ever-expanding "prog" umbrella was staggering, and required a rather selective approach. The year just ended further proved that the scene is splintering in a way that, while it may help people more effectively to find music that appeals to their tastes, may also in the long run cause harm – especially as regards the live scene. Festivals in the US have further shrunk in number, with the cancellation (and apparent demise) of the NJ Proghouse Homecoming Weekend leaving only ROSfest and ProgDay still standing. Europe seems to be faring somewhat better (though one has to wonder how long this will last), and festivals appealing to a broad range of tastes within the prog spectrum continue to be reasonably well-attended.
On a positive note, websites dedicated to prog are going strong, as is the rather controversial Prog magazine (whose fan I am definitely not). It remains to be seen if what has always been a niche market (even in the Seventies, when bands that enjoyed commercial success were just the tip of a very large iceberg) will be able to keep up with such a vast output in the following years. In some ways, as I also observed in last year's post, going underground has freed progressive rock from the constraints of appealing to market tastes, but (in my view at least) the opportunity for almost everyone to produce an album and put it on Bandcamp or Soundcloud poses a lot of questions as regards quality control.
Some of my readers will undoubtedly notice the absence of some of the year's higher-profile releases. As I did last year, I decided to avoid mentioning albums I had found disappointing or just plain uninteresting, as well as those I have not yet managed to hear. A lot of other people have mentioned those albums in their own Year in Review pieces, and I think there is no use in pointing out the negative instead of concentrating on the positive. Compared with some of the previous years, 2015 started out in rather low-key fashion, with many highly anticipated releases concentrated in its second half. On the other hand, the first part of the year brought albums that are very well worth checking out, though they may never enjoy the status of other discs. It was also a year that, while prodigal with very good releases, mostly lacked genuine masterpieces. On the whole, I feel I have just scratched the surface, as perusing the myriad of Best of 2015 lists published on the web constantly reveals some album I have not heard of before.
As I mentioned in last year's post, my tastes have been steadily moving away from "standard" prog, though a few albums that qualify as such have been included here. In fact, my personal #1 album of the year was released by a band that first got together in the late Seventies, and is probably closer to "conventional" prog than people would expect from me. However, Hands' masterful Caviar Bobsled is a unique album that does not really sound like anything else, definitely fresher and more modern than a lot of highly praised albums by artists who have been active for a much shorter time.
Having promoted US prog for a while now, I am glad to report that the American scene produced some fine specimens over the past few months – with the NY/NJ region being again very much in evidence. Brilliant releases from The Tea Club (Grappling), 3RDegree (Ones & Zeros Vol. 1) and Advent (Silent Sentinel) highlighted the work of bands that have reached full maturity in terms of musicianship and compositional flair. To this outstanding trio I would also add Echolyn's I Heard You Listening (more of a slow grower than their career-defining 2012 album) IZZ's stylish Everlasting Instant, as well as a couple of well-crafted albums with a more traditional bent, both recommended to keyboard lovers – Kinetic Element's sophomore effort, Travelog, and Theo's debut, the dystopian concept The Game of Ouroboros.
All of the above-mentioned albums offer plenty of sophisticated music with great melodic potential, standing at the crossroads between tradition and modernity. The contemporary US scene, however, is also rife with cutting-edge artists that constantly challenge the perceptions of their intended audience. Works such as Upsilon Acrux's highly charged Sun Square Dialect, the hypnotic math-rock of Battles' La Di Da Di, Stern's gloomily haunting Bone Turquoise, The Nerve Institute's idiosyncratic Fictions (containing previously unreleased material), Ben Levin Group's "pronk" opus Freak Machine (featuring most members of Bent Knee), Jack O'The Clock's Outsider Songs (a collection of quirky covers), and Andrew Moore Chamber Works' intriguing debut Indianapolis (steel drums meet chamber rock) proved the vitality of the US avant-garde scene. Thinking Plague (whose new album is expected in 2016), reissued their seminal debut, In This Life, while two albums involving previous or current members of the band – Ligeia Mare's Amplifier and +1's Future Perfect (the latter one of the many projects of keyboardist/composer Kimara Sajn) – helped to make the wait more bearable. Another fine Avant-related album (though in a more song-based vein), Omicron, came from former Alec K Redfearn and the Eyesore's vocalist, Orion Rigel Dommisse.
New, highly eclectic releases by "jazzgrass proggers" Galactic Cowboy Orchestra (Earth Lift) and Yes-meets-country trio Dreadnaught (the EP Gettin' Tight With Dreadnaught), Marbin's fiery Aggressive Hippies, Djam Karet's supremely trippy Swamp of Dreams, Fernwood's delightful acoustic confection Arcadia, Mammatus's monumental stoner-prog opus Sparkling Waters, and ethereal chamber-folk duo Fields Burning's eponymous debut also illustrated the versatility of a scene that is all too often associated with heavily AOR-tinged music.
On the other side of the Atlantic, the British scene has been experiencing a renaissance in terms of creative modern progressive rock. Top of the heap, and definitely one of the best 2015 releases as far as I am concerned, were two Cardiacs-related albums: William D. Drake's superb Revere Reach, one of those rare discs that are impossible to label, as well as being a delight from start to finish, and Guapo's hypnotic, surging Obscure Knowledge. Thieves' Kitchen's stately, poignant The Clockwork Universe, with its original take on "classic" prog modes, completed my personal trinity of top 2015 British releases.
The runners-up, however, are all quite deserving of attention from discerning prog fans. Richard Wileman's über-eclectic Karda Estra regaled its followers with a whopping three releases – the full-length Strange Relations (recorded with the involvement of The Muffins' drummer extraordinaire Paul Sears), and the EPs The Seas and the Stars and Future Sounds (the latter also featuring Sears). Guitarist Matt Stevens' The Fierce and the Dead made a comeback with the intense EP Magnet, and A Formal Horse's second EP, Morning Jigsaw, provided a British answer to Bent Knee and MoeTar. John Bassett (of Kingbathmat fame) produced an exciting follow-up (simply titled II) to the 2014 debut of his instrumental, stoner-prog solo project, Arcade Messiah; in a similar vein, the cinematic psych/space of Teeth of the Sea's Highly Deadly Black Tarantula. To further prove that the modern British prog is definitely not steeped in nostalgia, Colin Robinson's Jumble Hole Clough brought us more of his quirky, electronics-infused antics with A List of Things That Never Happened, and Firefly Burning a heady dose of drone-folk with their latest effort, Skeleton Hill.
Plenty of great music also came out of continental Europe. From Scandinavia, one of the year's most eagerly anticipated albums – Anekdoten's Until All the Ghosts Are Gone – delivered amply in the quality stakes, as did the scintillating electro-jazz of Jaga Jazzist's Starfire, Pixel's warmer, more organic Golden Years, the rambling, keyboard-based jazz-rock of Hooffoot's debut, Agusa's space-rock workout Två, the quirky Avant-Prog of Simon Steensland's A Farewell to Brains, Necromonkey's all-electronic extravaganza Show Me Where It Hertz, and another long-overdue comeback – Dungen's sunny Allas Sak – as well as guitarist Samuel Hällkvist's highly original effort Variety of Live, recorded with an international cast including Pat Mastelotto and Richard Barbieri. Dungen's guitarist, Reine Fiske, also appeared on elephant9's highly praised Silver Mountain – the only album mentioned here that I have not yet managed to hear. Heading east, the intriguing, though not widely known, Russian scene produced the haunting psychedelic rock blended with shamanistic chanting of Ole Lukkoye's Dyatly, The Grand Astoria's ambitious crossover The Mighty Few, and the lush symphonic-Avant of Roz Vitalis' Lavoro d'Amore.
The thriving French scene presented Avant fans with Unit Wail's psyche-Zeuhl opus Beyond Space Edge, Ni's electrifying Les Insurgés de Romilly, Ghost Rhythms' elegant Madeleine, and Alco Frisbass' Canterbury-inspired debut. Switzerland, on the other hand, seems to have become a hotbed for all forms of "post-jazz", with two outstanding Cuneiform releases – Schnellertollermeier's exhilarating X, and Sonar's more understated Black Light – as well as Ikarus' Echo and Plaistow's Titan. Germany brought the omnivorous jazz-metal of Panzerballett's Breaking Brain, and Belgium Quantum Fantay's pulsating space trip Dancing in Limbo. From the more southern climes of Greece and Spain came Ciccada's lovely, pastoral sophomore effort, The Finest of Miracles, the intriguing Mediterranean math rock of El Tubo Elástico's eponymous debut, and Ángel Ontalva's sublime, Oriental-tinged Tierra Quemada.
Italy, as usual, did its part, turning out a panoply of albums of consistently high quality. Fans of the classic RPI sound found a lot to appreciate in La Coscienza di Zeno's third effort, La Notte Anche di Giorno, Ubi Maior's ambitious Incanti Bio-Meccanici, and also the harder-edged Babylon by VIII Strada. Not A Good Sign's comeback, From A Distance, combined Italian melodic flair and Crimsonesque angularity, while Pensiero Nomade's Da Nessun Luogo introduced haunting female vocals into jazzy/ambient textures. The very title of Slivovitz's All You Can Eat illustrated the boisterous eclecticism of the Naples-based outfit, and feat.Esserelà's classy debut Tuorl was a welcome addition to the ranks of modern jazz-rock.
2015 was a great year for fans of the Canterbury sound, witnessing the release of the third installment of the Romantic Warriors documentary series (aptly titled Canterbury Tales) just a few months after the passing of Daevid Allen, one of the scene's most iconic figures. Moreover, two outstanding Canterbury-related albums came from two vastly different parts of the world: Blue Dogs, the debut by Manna/Mirage, The Muffins' Dave Newhouse's new project, and Sicilian outfit Homunculus Res' brilliant second album, Come Si Diventa Ciò Che Si Era (with Newhouse guesting on the epic "Ospedale Civico"). The latter is one of the finest 2015 releases from my native Italy, a distinction shared with the supremely elegant chamber-rock of Breznev Fun Club's second album, Il Misantropo Felice (both albums were released on the ever-reliable AltrOck Productions label), and with OTEME's beautiful comeback, L'Agguato. L'Abbandono. Il Movimento.
AltrOck (whose 2016 schedule looks mouthwatering, to say the least) is also responsible for two of the year's most distinctive albums: the ultra-eclectic, vocal-based Everyday Mythology by Loomings, a French-Italian ensemble put together by Yugen's Jacopo Costa, and multinational quintet Rêve Général's stunning debut Howl (the latest endeavour by former Etron Fou Leloublan drummer Guigou Chenevier). Another debut related to the original RIO scene came with Logos, by English-based quartet The Artaud Beats, featuring drummer Chris Cutler and bassist John Greaves; while Stepmother's wacky, Zappaesque Calvary Greetings spotlights another multinational outfit, which includes legendary drummer Dave Kerman.
Though in 2015 the latest incarnation of King Crimson released Live at the Orpheum (recorded in LA during their 2014 US tour), there seems to be hardly any new material in sight from the legendary band. Luckily, last year brought a few KC-related albums that are well worth exploring – especially for those who favour the band's harder-edged output: namely, Pat Mastelotto's new trio KoMaRa's dark, gritty self-titled debut (with disturbing artwork by Tool's Adam Jones), Chicago-based math-rock trio Pavlov3 (featuring Markus Reuter) with Curvature-Induced Symmetry…Breaking, and Trey Gunn's haunting, ambient-tinged The Waters, They Are Rising.
Other, less widely exposed countries also yielded a wealth of interesting music during the past year. Out of Chile (one of the most vital modern prog scenes) came the good-time Avant-Prog of Akinetón Retard's Azufre; while, on the other side of the Pacific, Indonesia continues to produce high-quality music, brought to light by Moonjune Records' irrepressible Leonardo Pavkovic. Guitar hero Dewa Budjana's Hasta Karma and Joged Kahyangan , and keyboardist Dwiki Dharmawan's So Far, So Close showcase the unique fusion of Western jazz-rock and the island nation's rich musical heritage.
No 2015 retrospective would be complete without a mention of the many losses sustained by the music world during the past year. The passing of legendary Yes bassist and founder Chris Squire was undoubtedly a traumatic event for prog fans, while the demise of heavy rock icon (and former Hawkwind member) Lemmy a few days before the end of the year was mourned by the rock community at large. Though, of course, the heroes of the Seventies are not getting any younger, neither of these seminal figures was old for today's standards – unlike jazz trumpeter Ornette Coleman and bluesman B.B. King, who had both reached respectable ages.
As I stated at the beginning of this post, most of the music I have recommended would not qualify as "real prog" for many listeners. It does, however, reflect the direction my tastes have taken in the past few years, and I hope it will lead to new discoveries. Whenever possible, I have provided links to the artists' Bandcamp pages, where my readers will be able to stream the albums (and hopefully also buy them). For the vast majority of the artists mentioned in this article, music is a labour of love rather than a day job. Though progressive music is alive and well in the second decade of the third millennium, and 2016 already looks very promising in terms of new releases, the scene – now more than ever – needs to be supported if we really want it to survive.
Zevious – Passing Through the Wall (2013)
Posted in Instrumental, Math Rock, Review, RIO/Avant, tagged Cuneifest 2011, Cuneiform Records, Dysrhythmia, Jeff Eber, Johnny DeBlase, Mike Eber, ProgDay 2011, Zevious on December 11, 2013| 6 Comments »
1. Attend to Your Configuration (2:47)
2. Was Solis (6:02)
3. Pantocyclus (4:07)
4. White Minus Red (6:55)
5. Crime of Separate Action (6:32)
6. Entanglement (4:19)
7. A Tiller in a Tempest (3:15)
8. Passing Through the Wall (4:22)
9. This Could Be the End of the Line (2:23)
10. Plying the Cold Trade (8:02)
Mike Eber – guitars
Jeff Eber – drums
Johnny DeBlase – bass
Four years after their barnstorming second album, the aptly-titled After the Air Raid, New York-based trio Zevious are back with their long-awaited third full-length CD, Passing Through the Wall, also released on Cuneiform Records. In the intervening years the band have maintained a brisk schedule of live performances – including the 2011 edition of ProgDay and, a couple of months later, Cuneifest at Baltimore's Orion Studios. All three Zevious members are also involved in other projects, which pits them against the likes of Steven Wilson as the most hard-working people in progressive rock.
Zevious, like miRthkon and many of the bands and artists featured on these pages, stand on the outer limits of the progressive rock spectrum – that twilight zone that some would label as "progressive but not prog", a definition that shows how for many fans the genre has become nothing more than a collection of dated mannerisms. The trio's musical approach, however, is every bit as complex as the average "mainstream" prog band's, though relying only on the essential rock instrumentation to create an impressive volume of sound characterized by a very high level of energy. Indeed, Zevious are definitely not for everyone, especially those who believe that the "progressive" in "progressive rock" has been stripped of its original meaning.
The definition of "King Crimson on steroids" that I used in my previous reviews of the band still holds true for Passing Through the Wall – perhaps even more so than for its predecessor. Zevious take the hauntingly repetitive, angular structure of pieces like "Red" or "Discipline" as a springboard, and inject it with an almost manic energy that owes a lot to metal and punk. As drummer Jeff Ebert, whose mind-boggling polyrhythms are at the core of the band's sound, is also a member of hyper-technical metal band Dysrhythmia (with whom Zevious played some shows in November 2013), Zevious are seriously heavy, though in a different way than, for instance, miRthkon or Guapo – two bands that, like Zevious, straddle the line between Avant Progressive and experimental metal.
Clocking in at about 48 minutes, and packaged in a minimalistic, black-and-white cover with an Escherian feel, Passing Through the Wall comprises 10 tracks ranging from 2 to 8 minutes – a structure both similar and different from their previous album. The shorter tracks emphasize energy and dynamic pacing, while the longer ones allow for more variation. However, those who are looking for dramatic shifts within the same track in classic prog tradition are in for a disappointment, because at a first listen the compositions on the album may sound all rather alike. Tempo changes are handled subtly as a whole, and the music's hard-driving intensity does not disguise the complexity of the instrumental interplay.
The imperiously-titled and –paced "Attend to Your Configuration" barges in with its relentless web of interlocking bass and guitar lines driven by Jeff Ebert's acrobatic drumming, then slows down to an almost Sabbathian plod in the second half. In the considerably longer "Was Solis" Mike Ebert's clear-toned guitar weaves sinuously in and out the rumbling backdrop of Johnny DeBlase's bass, sparring with the drums and occasionally going into slo-mo mode for atmospheric effect. "Pantocyclus" melds skewed melody and haunting, insistent pattern peppered by piercing guitar effects, while the strikingly Crimsonian "White Minus Red" is powered by a superb performance by DeBlase, the rhythmic foundation steadily surging and flowing, then gaining momentum towards the end. The slow, ominous strains of "Crime of Separate Action" wrap up the first half of the album, again showcasing DeBlase's astonishing propulsive/textural bass work supporting Mike Eber's eerily chiming guitar.
The first half of"Entanglement" pulls out all the stops in terms of escalating guitar assault, with drums all over the place; in contrast, "A Tiller in the Tempest" slower, somewhat rarefied pauses relieve the tension of the tight instrumental work. The short, fast-paced "This Could Be the End of the Line" acts as an interlude of sorts between the two most distinctive pieces on the album – the title-track, with its uncharacteristically muted guitar-bass-drum pattern, whose understated intensity creates a heady, drone-like texture; and 8-minute closing track "Plying the Cold Trade", whose dirge-like pace and somber, Gothic feel offer a rather sharp departure from the unrelenting energy of the previous numbers.
Obviously, Zevious are not going to encounter the favour of the average melodic prog fan, while their music should prove to be far more appealing to the younger generations, weaned on a diet of post/math rock, technical metal and crossover bands such as The Mars Volta. They are also one of those bands who – as good as they sound on CD – have to be experienced live to be fully appreciated, as their hard-driving yet sophisticated music gains a whole new dimension on stage. In any case, Passing Through the Wall is a riveting slice of modern progressive music, powerful and intricate though not devoid of melody, and definitely deserving to be heard with some measure of concentration. Highly recommended to all adventurous prog fans, this album is sure to be featured in many "best of 2013" lists.
http://zevioustrio.blogspot.com/
http://cuneiformrecords.com
Zevious – After the Air Raid (2009)
Posted in Jazz-Rock, Math Rock, Progressive Rock, Review, RIO/Avant, tagged bass, Cuneiform Records, Drums, Guitar, Jeff Eber, Johnny DeBlase, Mike Eber, ProgDay 2011, Zevious on August 14, 2011|
1. Where's the Captain? (5:11)
2. Coma Cluster (4:42)
3. Mostly Skulls (5:12)
4. That Ticket Exploded (5:54)
5. The Noose (4:28)
6. iNCITING (4:39)
7. Gradual Decay (4:45)
8. The Ditch (5:49)
9. After the Air Raid (3:20)
10. The Children and the Rats (4:59)
11. Glass Tables (4:35)
Johnny DeBlase – electric and upright bass
Another impressive find from the ever-reliable Cuneiform Records, Zevious hail from New York City. Formed in 2006 by guitarist Mike Eber, his cousin, drummer Jeff Eber (formerly of experimental progressive metal band Dysrhythmia) and bassist Johnny DeBlase, they started out as a straight-ahead jazz trio before they decided to take a more innovative direction. Their self-titled debut album was released in 2008, followed one year later by After the Air Raid, recorded and mixed by Colin Marston of tech/extreme prog-metal band Behold…The Arctopus. Following a successful US tour in the spring of 2011, Zevious have been invited to perform at the 2011 edition of ProgDay (Chapel Hill, North Carolina), the longest-running progressive rock festival in the USA.
The three members of the band have been active on the music scene for over ten years, and their collective experience is clearly brought to bear in After the Air Raid, a high-energy blend of sleek jazz/fusion, angular math-rock, and a spicy sprinkling of metal – challenging without being overtaxing, thoroughly modern without turning its back to the old-school progressive rock tradition. Not as spiky and impenetrable as their label mates Upsilon Acrux, Zevious have managed not to banish melody altogether, though it is handled in a very unconventional manner. For all its cutting-edge allure, Zevious' music is not meant to be abrasive or forbidding, and draws much of its power from being able to keep the listener on their toes, though without wearying them out with a relentless barrage of wildly clashing sounds.
A cutting-edge permutation of that old classic rock stalwart, the power trio, Zevious manage to produce a huge volume of sound without the use of any keyboards or other props. Theirs is also a fully collaborative effort, as it would be hard to single out any of the three members as the star of the album. While Mike Eber's guitar weaves dazzling webs, avoiding the ever-present pitfalls of mindless shredding, Johnny DeBlase's fluid yet powerful bass provides a solid layer of bottom end for Jeff Eber's stunning drum patterns, displaying the experience gained as a member of avant-progressive metal band Dysrhythmia in an array of head-spinning polyrhythms – though the influence of more "classic" drummers, such as Bill Bruford, can also be detected.
The 11 tracks featured on After the Air Raid are rather short from a prog-purist point of view, but pack more twists and turns in their restrained running time than many "epics", though without descending into the excesses to which the more experimental prog acts are often prone. While most of the compositions clearly point to math-rock's hypnotic, multilayered angularity, the band's original jazz foundation adds a welcome touch of melody that is often lacking in otherwise outstanding bands like Don Caballero or Battles. With such a consistently high level of quality, it is difficult to pick out any standout tracks; however, I was particularly impressed by the brilliant, Black Sabbath-meets-jazz/fusion workout of That Ticket Exploded, or the Rush-on-steroids, bass-driven extravaganza that is iNCITING. The Noose and The Ditch both steer towards heavier territory – the former strongly reminiscent of a jazzier version of King Crimson with its devastatingly effective bass-drum interplay; the latter more aggressive, with an almost punk intensity, Mike Eber's guitar let loose over thundering drums and a steady bass line. In sharp contrast, the title-track reveals the more subdued side of the band's sound, a hauntingly melancholy piece revolving around Mike's muted, atmospheric guitar work.
Clocking in at 51 minutes, this is a very dense album, and perhaps just a tad overlong on account of the unabated intensity of the music. In fact, those who prefer a more traditional approach to prog, as well as those who object to a lack of vocals, may find it a somewhat stressful listen. On the other hand, with stellar performances all round, and a brilliant combination of diverse influences and creative ideas, After the Air Raid is highly recommended to anyone with a keen interest in contemporary progressive rock.
http://zevious.com/
http://www.cuneiformrecords.com


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redpajama_set_name: RedPajamaGithub


Please complete the following information and SUBMIT.
Animal Support: Volunteers assist at our adoption events (Pet Supermarket, Nature's Emporium, Pet Sense Mebane, and more) and transport cats when needed to these events.
Crafters: We could use people who sew, knit and crochet to handcraft items to help raise money for our kitties. We can solicit for donations of material and yarn and supplies if needed. Assist with sewing our fundraising catnip mice and come up with new crafty fundraising items. We also need volunteers to assist with making our donation collection jars. Materials will be provided.
Feral Cat Support: Assist with trap-neuter-return (TNR) of community cats and provide transport to Burlington or Greensboro NC clinics. We will train you how to trap and release.
Foster Parents: Fostering means you get to save the life of a cat or kitten in need, all in the comfort of your own home. Whether you can care for one cat or many, we would love for you to become a foster parent. You don't have to have fostering experience. We offer training, guidance, and lots of moral support.
Fosters provide temporary housing for our kitties until they are adopted. Sparkle Cat Rescue pays for the costs associated with veterinary care and we provide food and litter and other supplies for our foster cats, and foster parents provide love and socialization, as well as transport to vet appointments and meeting interested adopters once our adoption coordinator approves an adoption application and a home visit has been conducted. A foster parent may also conduct the home visit and meet 'n' greet with their foster cat and be part of the decision making process.
Home Visit Volunteers: Meet potential adopters and do home visit prior to meet 'n' greet. Home visits may take place in Burlington, Graham, Mebane, Greensboro, NC.
Pet Supply Store Adoption Enclosures: We have four dorms in use at Pet Sense in Mebane, NC. We need volunteers that will let the cats out and enjoy some socialization. The cats are tended to by Pet Sense Employees (cleaning litter and feeding them) so our volunteers just need to provide some special attention.
Photography: We are always looking for professional and amateur photographers to take photos of our foster cats so we can post them online.
Transportation: Help transport kitties to and from vet appointments and adoption fairs. Vet appointments may be in Burlington, Greensboro or Mebane. Specify if you are able to do all three.


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text:
Paganhill Community Group
By the Community, For the Community
Shannon's Balcony Challenge
PCG started in 2017 as a group of people who wanted to live in a safe environment and be able to get to know our neighbours and have fun together. To create Community.
A conversation between Jaqui Smith and PCSO Gary Lynch became key in developing the beginnings of a community group and gradually the means by which Paganhill would become a safer place to live. In the same time frame Jaqui and Merethe Turner, Pastor, were introduced by a mutual friend and began sharing their vision for a community event in the summer. This had been a vision that a number of residents had put forward as a good way for people to get to know each other and have fun. The beginnings of a community group were formed as we planned the Summer Party.
The Summer party in 2017 was a great success with around 200 people coming along to a pay as you feel BBQ, home made cake stall by local residents, face painting and fun and games for children. A local man, a clown, came and entertained the children. A lovely surprise. However a big part of that success was in those people who came forward to help plan the music or seek out donations of food and gifts for the raffle. Some were elderly or disabled and found a renewed confidence by helping in this way. More residents became interested in what we were doing and talked about what they wanted to see happening in Paganhill.
One of the young Tesco employees turned out to be a guitarist and singer and sang in public for the first time at our Summer Party. He comes back every year even though he is at University now.
See Youtube – Paganhill Party – filmed by Philip Booth. Barnwood trust.
Following the party all residents who had helped make it happen, some 20 in all came together and decided that because it was such a success, we wanted to keep going and so formed Paganhill Community Group.
Research in the early days
We began our research by talking to residents outside Tesco Express. It became clear that there were few areas in Paganhill, with some 1,500 homes, that gave us the opportunity to come together. Tesco express, The Post Office, Maypole hall and The Church of The Holy Spirit formed a small hub on Stratford Rd but apart from 2 Public Houses there are no other meeting places. On the edge of town and next to Paganhill the Stratford Park and the Museum in the Park, Stroud and South Gloucestershire College and Tesco were an additional resource and within walking distance for those able to walk or catch a bus. However the only cafe in this large area is in the Tesco store, almost a mile away.
Meeting places or places to hang out did not exist. We acknowledged that there was a lot of isolation, mental health and addiction problems as well as few activities locally for people to take part. Although there were various activities in the Maypole Hall, they were not always attended by and not affordable by local people. Our Youth hang around in Bus stop shelters or make a nuisance of themselves in the alleyways around the bungalows in the Supported Housing Scheme or in the summer in Stratford Park. Addicts also frequented these alleyways and many did not feel safe to go out at night.
PCG Cafe
Focus on what is strong, not what is wrong
Jaqui Smith joined the Maypole Hall Committee and started conversations to enable us to open a cafe there.
October 2017 – The cafe started on a Friday afternoon by just offering drinks and cakes but soon developed by offering hot food, on a pay as you feel basis.
We joined Fair Share Go and our local Tesco Express supplied us with bread and cakes and sometimes fruit. Later more people came forward to help and the cafe blossomed into a Community Hub: A place where people could come and chat and do some crafts, have some food.
Leaflets and information about services in Stroud were available and put out at each event.
A resident, Shannon Carter, came forward and offered her skill in Card making and craft work. Another resident, Bill Ims, was interested in music and played at the summer fayre as well as eventually playing in Homes for the elderly.
One of the craft ladies, Mel, also went to Homes for the elderly with her card making skills. Mel learnt this skill from Shannon and has become passionate about her card making and they have become great friends.
A knitting and crochet group started and became a regular meeting place for some residents. A number of local people have also worked in the kitchen making it a welcoming place to be a part of. Achieved through conversation and inclusion.
The cafe now
The cafe has been closed during lockdown. We are meeting to look at starting it up again in late 2020. There are many local people who have missed it and ask when it will open again.
Safety and Inclusion
We purposefully made it a safe and welcoming place and it didn't take too long before people coming along also reinforced this by being welcoming and talking to newcomers. This is at the heart of all we do.
Other Events.
From this we also did many other events, a skittles evening one Xmas, carol singing and Wreath making. Musical events and Xmas parties. A car boot sale and jumble sales. Finding any excuse to have a party and have fun and get to know each other.
Not all Plain Sailing
We also experienced some problems between residents. We felt this inevitable and to some extent accepted it was going to happen and we couldn't take sides. These difficulties led to an important understanding. We were aware of the need for safeguarding and health and safety training as well as risk assessments and first Aid training. However we now understand that some procedures are also useful and that key people need to be responsible for implementing these systems when needed. We are all voluntary and the templates online are for paid work. However Jaqui adapted a Grievance procedure and Community Dispute procedure to give us a working understanding of how a dispute can become formal once informal methods have been tried. Sally and Jaqui have adapted other policies that are needed by a voluntary group of residents but who may need a DBS check when working alongside some residents. This feels an important step.
A Youth group was started at what was the Old baptist Church during the winter of 2018. A group of enthusiastic members along with support from SDC Youth team held a youth event every Friday evening. The youth did not want to continue this activity during the summer months and a key person went back to work so we have not had a youth group since then.
However Sally-Anne Wherry recently became a Director of PCG having shown up during covid and quickly became a key person in our covid response. Sally has been talking to The Door, who have offered to do a survey in this area. We have just been awarded a grant to pay for that survey. We are also in touch with Stroud Youth Council which has promised its support, and with Play Gloucestershire.
Garden Group
We first approached Stroud District Council (SDC) in 2018 about starting up a garden/play area in the green areas in Paganhill. There are some large areas that can be utilised and a plan was drawn up. We had a meeting with Michelle Elliott at SDC about our plans and later with Elaine Booth. The plans were agreed on in principle but we were informed of the regeneration in Paganhill so we were asked to put the plans on hold.
In 2019 we started working with Will Mansell, (Grace Network) who helped us become a CIC and became our treasurer. He later took the license for the Baptist Church from WEBA and is currently the landlord for the building and grounds. Early in 2020 we launched our garden group along with Longtable staff. The event was a great success and more than 70 people turned up and offered us the opportunity to talk about the work of PCG and the garden group. A garden was started at what is now known as the Octagon just before Covid started and lockdown. It has remained open on the understanding that people follow Allotment society guidelines. It has been important for local people and since inception has started gradually bringing more people in to enjoy the open air. Something that has been important for many in lockdown.
Farmhill Baptist Church
Farmhill Lane
Stroud GL5 4BX
media@paganhill.org.uk
© 2022	Paganhill Community Group

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DISCOVER NAPLES and discover paradise! We are your premiere online destination guide for this amazing city!
Our city features miles of pristine powdered sandy beaches, countless challenging golf courses, world-class Naples Florida hotels, motels and resorts, shopping on par with Rodeo Drive and Worth Avenue, and hundreds of palette-pleasing eateries with its elegant architecture and European charm.
Naples Florida boasts some of the most exclusive and beautiful neighborhoods — from elaborate multi-million dollar estate homes on the Gulf of Mexico to quaint tin-roofed cottages reminiscent of Old Florida. Yet, with all its grandeur, the city offers an easygoing friendliness to all its occupants . Residents and tourists alike — that truly set it apart from other affluent Florida destinations. With its casual sophistication, Naples Florida offers a life style to enjoy for a lifetime and is why so many people choose Naples Real Estate.
Where do you start in your search for Naples Real Estate with the thousands of homes and condos available? With the Lee Collier Team! We have two decades of real estate service in Southwest Florida severing thousands of buyers and sellers. One thing for sure is that there are is no shortage of real estate sites displaying Naples homes and condos. However, there is a shortage of real estate agents with the knowledge and experience we have to offer. There are more properties in gated communities than general neighborhoods and each area has its own personality. Just let us know your lifestyle wish list and we will show you all the possibilities.
As you could imagine there is every type of Naples home in terms of size, floor plan and price in the greater Naples area. If you are looking for a golf course home, then in addition to your housing requirements we need to know what golfing experience you want as there are many options and course levels. Many of the Naples homes in gated communities offer nice amenities based of the development.
Each area of the country has its of terminology for real estate and here are a few in our area you should know: Detached Villas are typically smaller homes with less lot space. Attached Villas are like a duplex but feels like single family living.
Be sure to look over the Naples Homes price range searches below for a quick method of looking at properties.
If you are Naples condo shopping then there are some terms you need to know to narrow your search. Terms used in the area are Low rise 1-3 stories, Mid-Rise 4-10 stories and High-Rises 10 stories and higher. Next you need to determine if you want a water view such as a stand alone condominium on the beach, riverfront, lake, canal or one with boat access. If you are looking an active social life you would want to consider a condo in a community such as a golf course development. We will be happy to show you all the possibilities and below are searches by price range.
Our "high" season begins just before Thanksgiving and ends after Easter. During this time, there are plenty of community activities for residents and visitors alike-from summer jazz concerts in the park to the Great Dock Canoe Races in Naples Bay to the Taste of Collier along trendy Third Street South in Olde Naples. Check on the Naples Chamber of Commerce web site for updated information. Some winters it may not rain for months which means the area beaches are a great destination.
Did you know that Naples Florida has the most golf courses per capita than anywhere else in the world? We're also home to some of the highest rated golf courses in the country. Naples Golf Course featured private, bundled, and public courses. If you want to purchase property in a golf course community then talk to us as we are golfers and can match your skills with courses and communities that are right for you! Take some time to check out our Naples golf page for the most current information on the public and private golf courses in the area.
There are many great choices when considering Southwest Florida real estate. If you are buying or selling property then be sure that you contact one of our experienced agents at Lee Collier Realty Group Inc. Our agents have decades of experience and extensive knowledge of the Southwest real estate market.
You need expert advise with over 350 gated communities and thousands of properties on the market.
Allow us to help you make the right choice!


This year's Bath Carnival was on Saturday the 17th July. The procession wound through the streets of Bath for over two hours, and this year was joined by Bath Pride.
My wife works for the charity Action on Hearing Loss and they were taking part as they did last year with their day care clients. So I volunteered to capture the day.
It can be quite full on, scampering around the streets trying to capture everything going on. But great fun too. I thought I'd shake it up a bit this year with my photography by using my usual short zoom and also a long zoom - something which I generally only get out when I'm lurking around at a motorsport event.
Using a long zoom made me work differently which I quite liked. Rather than having to shove my camera up into faces (which I still did from time to time), I found I could pick out faces and use the crowds to frame people and add depth.


text:
Q: Take html that was saved as TEXT to database and send back to browser? So I am trying to build a kind of blog site. Users can save blogs via a wysiwyg and that gets save to the database as a text string. I've run into a problem though.
When I dump that back to the browser it is all escaped and rendered as a giant string. In order to cicumvent this I did this:
renderContent = () => {
  if (this.props.content_type === "blog") {
    let parser = new DOMParser();
    let title = parser.parseFromString(this.props.title, "text/html");
    let decoded_title = title.body.textContent;

    let content = parser.parseFromString(this.props.content, "text/html");
    let decoded_content = content.body.textContent;

    return (

          <button onClick={this.props.handleClose}>Back</button>

{decoded_title}

{decoded_content}

    );
  }
};

My problem is that this seems to render any lines breaks gone, all links gone, and an image that was in content is now just not showing up at all.
The original content before being decoded looks like this:

    Can dogs understand when we are distressed and respond accordingly?
    According to new research, man’s best friend not only notices when
    you (or other humans) are upset, but will actually adapt their behavior as
    a result. What a good boy!

    The study, published in the journal

      Learning & Behavior

    , found that canines were faster to respond to humans who sounded upset
    versus humans who sounded calm.

    “It’s really cool for us to know that dogs are so sensitive to
    human emotional states,” Emily Sanford, a graduate student in
    psychological and brain sciences at Johns Hopkins University and co-author
    of the study, explained to

Is there a way I can do this on my node side before ever reaching the client side?

A: You can use dangerouslySetInnerHTML to render HTML from a string.
Example

const content = `

    Can dogs understand when we are distressed and respond accordingly?
    According to new research, man’s best friend not only notices when
    you (or other humans) are upset, but will actually adapt their behavior as
    a result. What a good boy!

    The study, published in the journal

      Learning & Behavior

    , found that canines were faster to respond to humans who sounded upset
    versus humans who sounded calm.

    “It’s really cool for us to know that dogs are so sensitive to
    human emotional states,” Emily Sanford, a graduate student in
    psychological and brain sciences at Johns Hopkins University and co-author
    of the study, explained to

`

function App() {
  return (

  );
}

ReactDOM.render(<App />, document.getElementById("root"));

A: you just need to put it into dangerouslySetInnerHTML props:

However, it will be dangerous because your site will face XSS vulnerable or such. So make sure to make your content safe first. I recommend using sanitize-html to allow certain tags, and attrs only.
const cleanTitle = sanitizeHtml(this.props.title, {
  allowedTags: [ 'b', 'i', 'em', 'strong', 'a' ],
  allowedAttributes: {
    'a': [ 'href' ]
  },
  allowedIframeHostnames: ['www.youtube.com']
});

https://github.com/punkave/sanitize-html

redpajama_set_name: RedPajamaStackExchange


text:
Q: change chart.Correlation defaults to produce best fit line rather than smoothed curve in lower triangle [R] I am attempting to create a correlation matrix of 16 different vectors and almost everything is as I want it, the only difference is that I would rather have best fit lines in the scatterplots rather than smoothed curves.  I have seen some other posts that mention changing the pch using the pairs() portion of the function call to chart.Correlation, is there something similar to ask for a best-fit line rather than the smoothed curve?
I ask because I feel that the smoothed curves might be giving a false sense of high correlation within certain parts of the scatterplots, and I know the correlation is right there on the upper half but I would still like to have the option to change the line in the scatterplot from smoothed to best fit.
My code is pretty simple:
chart.Correlation(all.cell.types.rna.seq.table[,2:16], histogram=FALSE)

all.cell.types.rna.seq.table is a dataframe with 16 columns, the first of which is an id number.
Correlation matrix, smoothed lines rather than best fit lines :

All I would like are best fit lines rather than smoothed curves in the scatterplots on the lower triangle of the correlation matrix image.

A: I was looking for exactly the same ... And it's possible to use just the base function pairs() as shown here. Here's an example using the dataset mtcars:
reg <- function(x, y, ...) {
  points(x,y, ...)
  abline(lm(y~x), col = "red")
}

panel.cor <- function(x, y, digits = 2, prefix = "", cex.cor, ...) {
  usr <- par("usr"); on.exit(par(usr))
  par(usr = c(0, 1, 0, 1))
  r <- cor(x, y) # was abs(cor(x, y))
  txt <- format(c(r, 0.123456789), digits = digits)[1]
  txt <- paste0(prefix, txt)
  if(missing(cex.cor)) cex.cor <- 2 # or 0.8/strwidth(txt)
  text(0.5, 0.5, txt, cex = cex.cor) # was cex.cor * abs(r))
}

panel.hist <- function(x, ...) {
  usr <- par("usr"); on.exit(par(usr))
  par(usr = c(usr[1:2], 0, 1.5) )
  h <- hist(x, plot = FALSE)
  breaks <- h$breaks; nB <- length(breaks)
  y <- h$counts; y <- y/max(y)
  rect(breaks[-nB], 0, breaks[-1], y, col = "cyan", ...)
}

pairs(mtcars[, c(1,3,4,5,6,7)], lower.panel = reg, upper.panel = panel.cor, diag.panel = panel.hist)

But it's not as nice as chart.Correlation() and since I was not able to figure out, how to pass the reg function into the chart.Correlation(), I looked into the code of it and figured it out by simply changing it directly inside of the function: lower.panel = panel.smooth ==> lower.panel = reg. So here's the final example with mtcars:
chart.Correlation.linear <-
  function (R, histogram = TRUE, method=c("pearson", "kendall", "spearman"), ...)
  { # @author R Development Core Team
    # @author modified by Peter Carl & Marek Lahoda
    # Visualization of a Correlation Matrix. On top the (absolute) value of the correlation plus the result
    # of the cor.test as stars. On botttom, the bivariate scatterplots, with a linear regression fit.
    # On diagonal, the histograms with probability, density and normal density (gaussian) distribution.

    x = checkData(R, method="matrix")

    if(missing(method)) method=method[1] #only use one
    cormeth <- method

    # Published at http://addictedtor.free.fr/graphiques/sources/source_137.R
    panel.cor <- function(x, y, digits=2, prefix="", use="pairwise.complete.obs", method=cormeth, cex.cor, ...)
    {
      usr <- par("usr"); on.exit(par(usr))
      par(usr = c(0, 1, 0, 1))
      r <- cor(x, y, use=use, method=method) # MG: remove abs here
      txt <- format(c(r, 0.123456789), digits=digits)[1]
      txt <- paste(prefix, txt, sep="")
      if(missing(cex.cor)) cex <- 0.8/strwidth(txt)

      test <- cor.test(as.numeric(x),as.numeric(y), method=method)
      # borrowed from printCoefmat
      Signif <- symnum(test$p.value, corr = FALSE, na = FALSE,
                       cutpoints = c(0, 0.001, 0.01, 0.05, 0.1, 1),
                       symbols = c("***", "**", "*", ".", " "))
      # MG: add abs here and also include a 30% buffer for small numbers
      text(0.5, 0.5, txt, cex = cex * (abs(r) + .3) / 1.3)
      text(.8, .8, Signif, cex=cex, col=2)
    }

    #remove method from dotargs
    dotargs <- list(...)
    dotargs$method <- NULL
    rm(method)

    hist.panel = function (x, ...=NULL ) {
      par(new = TRUE)
      hist(x,
           col = "light gray",
           probability = TRUE,
           axes = FALSE,
           main = "",
           breaks = "FD")
      lines(density(x, na.rm=TRUE),
            col = "red",
            lwd = 1)
      # adding line representing density of normal distribution with parameters correponding to estimates of mean and standard deviation from the data
      ax.x = seq(min(x), max(x), 0.1)                                                  # ax.x containts points corresponding to data range on x axis
      density.est = dnorm(ax.x, mean = mean(x), sd = sd(x))   # density corresponding to points stored in vector ax.x
      lines(ax.x, density.est, col = "blue", lwd = 1, lty = 1)                                # adding line representing density into histogram
      rug(x)
    }

    # Linear regression line fit over points
    reg <- function(x, y, ...) {
      points(x,y, ...)
      abline(lm(y~x), col = "red")
    }

    # Draw the chart
    if(histogram)
      pairs(x, gap=0, lower.panel=reg, upper.panel=panel.cor, diag.panel=hist.panel)
    else
      pairs(x, gap=0, lower.panel=reg, upper.panel=panel.cor)
  }

chart.Correlation.linear(mtcars[, c(1,3,4,5,6,7)], histogram = TRUE)


Bowling and bounce houses are loads of fun, but it can be hard to celebrate with everyone in your family when some activities are age-specific in nature. Turn up your birthday parenting skills and create a birthday party that every member of your family will love.
Who doesn't love a warm, gooey s'mores? Plan the camping trip of the year for your child's birthday and don't even leave your backyard. Set up a large, three-room tent and child-safe fire pit with a screen over the top. Guests can bring their sleeping bags and flashlights, and there can be camping trip themed snacks and treats. Mom can have the kids roast hot dogs (while supervised by parents) and have trail mix at the ready.
If the kids like crafts, good old-fashioned camp activities like friendship bracelets and tie-dye shirts are options for party events. If the party-goers are more excited about the gritty side of camping, design a survival game with two teams. They each get a map and compass and have to race to find their way through a scavenger hunt, with parents helping each team along.
Party favors could include a canteen, compass or a mini flashlight. Even if it's raining, this party could easily take place in a large room such as a basement, and kids will still love it.
Previous articleWhat are signs of a c-section infection?


This Year's annual Mumbles RNLI Raft Race is Sunday August 5th and it looks set to be a bumper edition.
We're expecting over 40 entries for the fundraiser for the charity. Volunteer RNLI crew member Tony Bowen chairs the organising of the event and said he can't remember there were so many ready for the start line.
Tony said: "In the past we've had up to 40 rafts enter before the day but this year there's going to be a fantastic atmosphere in the Village on the day. The teams work so hard to get the rafts looking fantastic and there's always stiff competition to see who can have the best dressed raft, fastest raft home and most importantly who can raise the most money. Last year The Mumbles Lifeboat station was the busiest in Wales.
Badger from the Wave has been a volunteer lifeboat crew member at the Mumbles for over 10 years and has seen the race go from strength to strength. 'Each year we are so grateful to everyone who volunteers and donates to make this the most successful event in the fundraising calendar. This year we have managed to recruit 6 new sea going crew who have all needed training to ensure they can save lives at sea. The station was very busy last year. It was so busy that we were asked to carry cameras for the current BBC Documentary 'Saving Lives at sea' and featured in three of the episodes."
This year there's a change of route for the event with Rafts starting and finishing at Verdi's Slipway at Knab Rock.
David Thomas – Chairman of the lifeboat crew association said: "We want everyone to come along, support the rafters and pop some money in the collecting buckets. The RNLI relies entirely on charity donations and fundraising efforts like this. The course has changed as we found moving rafts safely before and after the event was quite a challenge.
The fun starts at 10 at Knab Rock slipway when final registration opens. The rafts will be judged for dressing and there's a Raft Race crew briefing at 12 ready for the start at 12.30.
Badgers show will be live from Knab Rock from 8am until Mid Day.


text:
[SOLVED] Medical Methods
Written Reports (choice of B1 or B2:)) B1) Study a specific virus or other infectious agent (e.g. fungal, bacterial or mycoplasmal pathogen). Work out molecular and cellular basis for pathogenicity. How does the body respond? Which medical methods are best for fighting infection? Is a vaccine available? OR B2) Study a genetic disease from the OMIM database. Work out the gene and mutation behind the disease, the mechanism and symptomology of the resulting syndrome, the availability and use of animal models, current treatments and potential for gene therapy. Guideline: ( must have the following) Title Authors and Affiliations Abstract Introduction Experimental Procedures Results Discussion Acknowledgements References Figure Legends Figures Write briefly in your own words the purpose of each of these parts. TERM PAPER RESEARCH: Back to References. When researching a term paper, use a good science library. Start with PubMed!. PubMed is an online database for biochemistry and molecular biology literature searching. PubMed can be accessed through the National Library of Medicine website at the National Center for Biotechnology Information (http:\www.ncbi.nlm.nih.gov/). When the site opens up, click on PubMed. Then click on the colored rectangle (dialog box) and enter the key words or author (last name followed by initials, no punctuation) for your search. Then click on Search. After the search is done, you can click on the titles to see and print abstracts. Some full length papers are also available online (open access). You can click on Related Papers to see additional references. Internet access can be obtained at various places at York College; ask at the library or see your instructor. A variety of primary source journals should be consulted, including Nature, Science, Proceedings of the National Academy of Sciences, Molecular and Cellular Biology, Cell, Nucleic Acids Research, Journal of Molecular Biology and The Journal of Biological Chemistry. We have some of these journals in the York College library. Besides, York College subscribes to a literature service such as Science Direct, and additional papers that are not included in the online collection can be obtained electronically through Interlibrary Loan. Look through the shelf copy of each of these journals weekly and bring interesting topics and titles to class. The easiest way to research a term paper is to start with a recent primary source or review article (key paper) on your chosen topic. Then, turn to the reference section of the key paper every time you read an important bit of information with a text reference citation. Include these references in your notes and state what they are about. Follow up by collecting, reading and annotating the relevant references. You will have circumscribed a body of primary source information when you see the same references appearing over and over again. Then you should be ready to write your term paper based on your notes. Every paper needs a focus, which should emerge from your literature survey although you may not know what it is when you start. Focus also means that you should provide depth based on closely reading several solid research articles. Depth is more important than breadth. Avoid general topics like "prospects for gene therapy"; instead, zero in on a specific topic such as "Recent progress and prospects for treatment of Duchene's Muscular Dystrophy by gene therapy". The paper should be shaped like a funnel. Start with a broad summary and quickly bring the paper to a narrow focus. Google Scholar is another useful source for references. It has a user-friendly dialog window where you can type in key words, author names, etc. The articles come up with the number of times they've been cited since publication, and the papers that cited a key reference can be useful for updating a research topic. One of the most useful features is 'Cite', which allows you to copy the reference and paste it into your reference section. Use APA style. Referencing in a Term Paper. Your term paper needs text reference citations and a reference section. A text reference citation should appear every time you cite published non-textbook information. Don't quote; paraphrase and reference! The format for a text reference citation is last name only (author, year), (author and author, year) or (author et al., year), depending on number of authors (one, two, three or more). One acceptable format for a reference in the reference section is: First author (last name, first initial), later authors (first initial, last name). Year. Title. Journal. Volume: First page – last page. You will encounter variations, but this one is both readable and informative. The title should be included because it tells you and other readers what the cited work is about. Headings in a term paper. Your term paper should be subdivided by a title, headings and subheadings, much like a journal article. But because it is a library research paper, not a laboratory research paper, the headings would not be Methods, Results and Discussion. Instead you should have an Abstract, Introduction and further headings determined by a natural division of the subject you are reviewing, determined by content. find you need a simple paper of what i am looking for, please ask.. i wrote one before


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Original poster for Yugoslav film: "Some Other Woman". Still life of a pistol, a syringe, a key and a broken ampula. Black background is a negative of a receipt.