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The last album to bear Bryan Ferry's name was The Jazz Age. The former Roxy Music frontman was scarcely involved, as The Bryan Ferry Orchestra played out lounge jazz renditions of some of his best-known works. It was a surprising addition to his canon and one that played out far more successfully than we might have expected. Now Ferry returns with Avonmore, a slick album that sounds as though The Jazz Age never happened. Hell, it sounds as though music since 1982 never happened.
This is where my cricket analogy falls short, because although Avonmore is as Eighties as the bastard offspring of 'Dancing in the Dark' and Arnie's Commando – the album cover's font is identical to that of Roxy Music's not-dissimilarly named Avalon –, it's actually rather good. The songs are lush and colourful and the likes of the title track and 'Midnight Train' are brilliantly funky; largely, you would think, thanks to the contributions of Chic's increasingly ubiquitous Nile Rogers. Perhaps most remarkable of all is Ferry's voice, which remains silky, smooth and dripping with cool: in other words, he still sounds identical to how he did on For Your Pleasure way back in 1973.
So dominant is the typical Ferry sound here that you need the credits list to see how wide and impressive the array of guest musicians is. Rogers' guitar work shines throughout, especially on the likes of the excellent opener 'Loop De Li', but Flea, Johnny Marr and former Roxy Music guitarist Neil Hubbard find themselves loomed over by Ferry, like a giant Lard Lad Donuts mascot brought to life. Rogers aside, only the dreamy electronica of Norway's Todd Terje gains any real prominence, on the closer 'Johnny and Mary'.
Avonmore sounds so quintessentially Eighties, so quintessentially Ferry, that it's better to compare it to the rest of his oeuvre than to any contemporary releases. In this respect it holds its own but without the moments of genius to elevate it to anything more. There's no 'Love is the Drug', no 'More Than This', no 'Slave to Love' here. Ferry's fans though will enjoy this and, given this is a man that even Morrissey professes to enjoy, there are plenty of them to satisfy.]]>
Another reason why extreme music such as this is not all that easy to talk about is that, for some, it's just going to sound like complete noise and nothing I can say will change that. And that's completely fine. I understand that. To be honest, even though I get a thrill from listening to stuff that's transgressive and really pushes at the boundaries of what constitufes music, I do struggle with Masami 'Merzbow' Akita's regular output. Still, the prospect of him collaborating with Full of Hell, a hardcore band that's extremely noisy in a completely different way, holds some fascination and I was curious to see what he could add to some brutal riffs. The answer, sadly, is: not a lot. He seems barely present on the heavy tracks and only on two-and-a-half songs could I definitely point to what I presumed was his involvement.
It's not just the astoundingly short length that's the problem here, although that is certainly part of it. Full of Hell & Merzbow will, in total only cost you around 24 minutes of your life. Sure, you may point out that Slayer's Reign In Blood is only 28 minutes long. But, if nothing else, Reign In Blood is consistent, and it certainly doesn't fuck around. Over half of the tracks on Full of Hell & Merzbow fly by in a blur of intensity. That's fine. But at the end of the album you unexpectedly get two tracks of around five minutes each. The first, 'High Fells', is built around a surprisingly doomy riff and halfway through descends into even-more-surprising trumpet-led free jazz that I can only assume is the work of Akita. The ending runs with the doom/jazz theme and becomes somewhat reminiscent of Sunn O))), especially 'Alice' off Monoliths and Dimensions. That's no bad thing – it's the best thing on the album.
Next up is 'Ludjet Av Gud', a long, experiment track consisting largely of a pounding, regular drumbeat, muffled screaming and pure noise. It's very weird and unsettling, and pretty successful too. It's much more like what I was expecting from the album. The trouble is that it's followed by the album closer 'Fawn Heads and Unjoy', another minute or so of grindcore with some more trumpets thrown in. It seems a really odd, and somewhat pointless, way to end the record, and it shows how strange the pacing is. The only thing similar to 'Ludjet Av Gud' is the wonderfully named 'Raise Thee, Great Wall, Bloody and Terrible', another track built around pure noise and muffled shouting. The concept works better with 'Raise Thee...', because it serves as an interesting break from short, intense, songs. The same trick done right at the end of the album doesn't really work the same way, especially when it's followed by a song incredibly similar to at least four others that have come before.
All in all, it's difficult to recommend Full of Hell & Merzbow with much enthusiasm. It's so short, and such a mix of styles (all of them pretty intimidating) that I'm not sure it'll appeal to anyone who isn't improbably well-versed in the spectrum of extreme music, and even then they may find the album frustratingly inconsistent and lacking in substance. It does have some pretty good stuff on it - 'Thrum In The Deep' is essentially a very good death metal song with some additional noise washing over the breakdown - and on repeat listens some satisfying subtleties begin to emerge out of the walls of noise. The tracks where Merzbow appears to have more of an influence are interesting. But you never get a full feel for the collaboration or what the parties can bring to each other and it feels more like a collection of ideas than a fully-formed project. Ultimately, this is a partnership with lots of promise that doesn't really deliver much.]]>
Which makes you wonder, of course, how the individual members' post-Youth output to date would have been judged, if they were able to release it against a backdrop that wasn't dominated by probably the most high-profile divorce in indie rock history. Certainly, Gordon's experimental project with Bill Nace, Body/Head, went down a treat with the critics. Very recently, Moore's The Best Day LP was hailed as his best work in a good long while. And, as usual, Lee Ranaldo went underappreciated. Whether he ever felt like a third wheel in Sonic Youth is one thing; the fact that the press so routinely treated him as such was frankly criminal. His first album with new band The Dust, Last Night on Earth, came out about a year ago. It was superb.
Ranaldo's next move, then, is to release an acoustic record - like Moore has done over the past few years, mainly by touring with acoustic virtuoso Michael Chapman, he's attempting to prove that his ability extends beyond the walls of scuzz he's commonly associated with. The album only came about because a show that he was due to play with The Dust in Marrakech last year fell through, and instead the band relocated to Barcelona to quickly lay down some more tracks. The record is a grab bag of acoustic takes on Last Night on Earth cuts, as well as a few selections from Ranaldo's superb 2012 solo album Between the Times and the Tides and some covers.
It's the Tides material that lends itself best to the stripped-back approach; 'Hammer Blows' and 'Shouts', in particular, have evidently been written with that classic Sonic Youth flexibility to the arrangement, making them just as stirring in bare-bones form. The newer cuts, meanwhile, don't quite hit the spot in the same way; 'Last Night on Earth' meanders, lacking the changing guitar tones that made it so enthralling last time out, and 'Home Chds' doesn't quite have the bite that simmered through its electric incarnation.
Ranaldo includes a clutch of covers, too, for good measure, and they're a predictably mixed bag; a take on Neil Young's 'Revolution Blues' rings out with some real attitude, Ranaldo's deceptively complex acoustic playing running the show, but versions of Sandy Denny's 'Bushes and Briars' and Mike Nesmith's 'You May Just Be the One' leave his limited vocal talents far too exposed, and the former track's religious lyricism jars sharply when relayed by a voice we've come to associate with the altogether more abstract Sonic Youth.
Acoustic Dust, really, is one for Youth completists; it's not that Ranaldo doesn't possess a mastery of the acoustic guitar, but rather that he's failed to adequately display it on an album that sounds every bit as hastily recorded as it actually was. Both Between the Times and the Tides and Last Night on Earth are replete with genuinely interesting Ranaldo cuts; there's no reason whatsoever to plump for this stopgap ahead of either of those two.]]>
While County Durham's Martha may not yet had as a momentous an impact on popular culture as the aforementioned two bands, to me their debut album Courting Strong paints just as vivid a picture of growing up in the pit village of Pity Me as their forebears did with reference to Sheffield. Whether they're singing about love, gender identity and sexuality or kids getting pissed up outside a cathedral, the four-piece gang exhibit a delicious mastery of the art of balance. Their songs are at once clever but not smart-arsed, fun but completely serious, catchy but lusciously enriching.
The most telling illustration of Martha's canny instincts in getting the tone just right comes in the way they use words throughout Courting Strong. It's a massive part of the appeal of the album that they seem to choose absolutely the right language to transmit whatever they're singing about. Like on '1997, Passing in the Hallway' when Naomi Griffin sings "Maureen, school is totally boring, these GCSEs really get to me, I long for your company"', in the process beautifully depicting the terrible thrill of young love by stripping it down to the most elemental terms.
It's not certainly not an accident that they're able to do this, either. In a recent interview they talked about what they were trying to express on penultimate song '1967, I Miss You, I'm Lonely'. It's a hugely important track in the context of the album, which kind of sums up the whole aesthetic of Courting Strong, embarking on a verbose trip around a number of landmarks both geographical and literary before arriving at a chorus which echoes the blunt titular sentiment 'I Miss You, I'm Lonely'. As Nathan acknowledges, it's an illustration of the fact you can write a million words to try and express yourself, but the simplest words are usually the most effective.
The band chose to recruit a kindred spirit in Hookworms' MJ to commit their ideas to tape, and just like his work with Joanna Gruesome, Honeyblood and a number of other great records in recent years, his production captures the character of Martha masterfully. Between band and producer they've managed to condense a (young) lifetime of experience into a half hour bundle of explosive punk-pop, and there's so much exuberance and energy underpinning the emotion and warmth of these recordings that it's difficult to imagine a situation where anybody might not be affected by them.
In short, then, Martha are one of the most thrilling and likeable bands to emerge from the North East in god knows how many years. I really could spend hours extolling the virtues of this absolute triumph of a record, but perhaps it's best to follow the good example set by Martha and know when to keep your sentiments simple. Courting Strong is just fantastic.]]>
It was in 2008, when George Dubya was still in the White House, that Banks dropped her first efforts online, one of which was 'Gimme a Chance' – the second song off Broke with Expensive Taste. After that she released a couple of mixtapes, as well as an EP, while winning awards and topping NME's Cool List before she'd put out an album. Disputes arose with Perez Hilton, Interscope, and artists she'd sampled, while releases were inexplicably pulled at the last minute. Now, after six years, we have an album. Has all the inchoate hype and controversy been worth it?
Broke with Expensive Taste is less than the master statement some have no doubt been waiting for. But I'm pretty sure that's not what Banks was going for here anyway. More or less self-released with no prior announcement, and after months of delays, it's an hour-long document of her best bits to date and various stylistic stabs. There are common threads such as her enjoyable predilection for (or 'reclamation' of) the word 'cunt', as well as the mazey programmed percussion, dubby vocal interludes and bouts of light-speed rapping. But the last thing you'd call Broke is cohesive.
Take the album's version of 'Gimme a Chance': it has a kids-TV-show-style chorus, effortlessly rapped verses, scratching, and a dash of histrionic brass takes poll position about halfway through – when it transforms into a Latin hip-hop song, complete with Azealia riffing in Spanish. It shouldn't work, but does. Then there's the name-making '212', first released back in 2011 and just as thrilling as ever: minimalist drums give way to clubby electronica, followed by laid-back rhyming, then a breakdown bassy vocal before the dancefloor fills again.
Across a whole album, this eclecticism can be a bit disorientating. (Okay, it's a fucking trial at times.) Just how has one woman dabbled in so many different genres? Born in 1991, she has experimented far more than most of her peers ever will, and more than most artists with careers two or three times longer than hers. It's fitting, then, that her debut should partly a round-up of her career to-date.
Across Broke there are multiple Azealias to contend with, each one's vocal styling as peculiarly agile as the last. But its not just her voice that keeps changing. There's the doom-hop of eerie and exhilarating 'Ice Princess', which morphs into near-incongruous synth-pop for the chorus. There's the distorted yelling in 'Young Rapunxel' that brings to mind the screeching of Alice Glass. The piano-and-sax opening of 'Desperado'. The Middle-Eastern-sounding flute that shows up on 'Wallace', which is otherwise punctuated by trash-can percussion.
From the Nineties-grooving 'Soda', the last third of the record shifts gears from the sometimes sparsely backed rap that dominates Broke's centre, 'Soda' is topped by a catchy vocal line that pleases in part for its less-than-typical hint of vulnerability, pivoting around the line: "I used to be your girl". 'Chasing Time' also conjures Nineties dancefloors but with an oh-so-contemporary clubtastic pre-chorus that never quite gives way to an actual chorus. 'Luxury' has some deliciously weird singing astride twinkling space-synths and a squelching bassline.
And then there's 'Nude Beach A-Go-Go', a surf-rocking Sixties throwback that was written with Ariel Pink – and appears in lo-fi form and sung by Ariel on his just-released new album, Pom Pom – and sticks out like a sore thumb (the Pom Poom version is staggeringly superior). The closing tracks 'Miss Amor' and 'Miss Camaraderie' return to Nineties dance music, but both sound a bit heartless, and neither really goes anywhere.
If my whistlestop tour has left your head spinning, try actually listening to the thing. Broke has instances of stunningly original songwriting and there's rarely a dull moment, but it's more a kaleidoscopic 'story so far' than a complete manifesto. And Banks pulls in so many different directions that there's simply no telling which way she will go after this. I, for one, am looking forward to finding out.]]>
ii follows a similar path. 'You and I' sets the stage early for many of their recurrent sonic motifs; opening to the shimmer of glitchy house-infused electro and serpentine melodies that slowly draw you deep into a darkened dub flecked echo chamber. Elsewhere, 'All Things' takes the conceit of a slow reggae jam and gradually builds to a rapid-fire crescendo; hyper kinetic percussion breaking over gentle waves of synth. Album highlights 'Sun Gun' and 'Let It Go' mix exotic rhythms and tribal beats into a woozy, poly-rhythmic cocktail, the latter bopping along with hypnotic house sirens and a winding funk bassline, while the former's jittery Roy Ayer's-esque flavour conjures up images of warm climes and sun-dappled waters.
By rights the results of this intriguing 'post-world music' (which is my contribution to the growing list of descriptive terms for their sound) should feel like an godawful mess. But - in no small part to their accomplished musicianship - it manages to hold together with a surprising level of assuredness. Perhaps the biggest reason for cohesion on ii is the newly recruited addition to the group of American ex-pat and veteran of the Detroit music scene Jerry The Cat.
With an impressive CV - he's worked with everyone from Funkadelic and Parliament to Derrick May and Theo Parrish - his presence seems to bring a renewed sense of purpose to Gala Drop. And it's one that can be felt across the LP, whether musically, in the trans-Atlantic beats that interlace 'Samba da Maconha' or vocally as his soulful baritone brings focus to all but a handful of the tracks. Adding a layer to the groups dynamic that - on tracks like 'Slow House' - elevate what might have otherwise felt like an aimless, elongated jam.
But there's a nagging problem at the core of ii, because while it's undoubtedly enjoyable it's rather facile; lacking some of the depth that might have made this Gala Drop's definitive recording. The group's eclecticism does them something of a disservice - not through lack of proficiency - but because it fuels a lack of identity. The result is an album that feels less than the sum of its parts, which is a little disappointing, because it shows enormous promise but just falls short of making the kind of statement a six-year-wait implies.]]>
However, it was with his first band Ride that Gardener first became a household name. Having put out four albums alongside several EPs and singles to a wide range of critical and commercial acclaim, the band became an integral part of the Creation Records story. Despite splitting up in 1996 shortly after the release of final album Tarantula, talk of a reunion has been on the cards for a while now. So the return of Ride in 2015 will probably come as no surprise to many.
We're at Nottingham's Bodega prior to the last show of Gardener's short run of opening slots for Thurston Moore. Here's how the conversation unfolded...
DiS: How are you?
Mark Gardener: Excited. Ride are reforming. We've got a lot of big shows lined up next year.
DiS: Wow! Primavera?
Mark Gardener: Yeah, we're headlining the second stage. And Field Day too. We've been talking to the people from Primavera for about three months now and they made us some great offers without them even knowing we were considering reforming.
DiS: Will it be the original four members?
Mark Gardener: Yes. It could never be without any of those four people.
DiS: I remember speaking to Andy Bell in 2012 about the possibility of Ride reforming and he said it would be a shame if you never got to play those songs again.. How long have you all been planning this? Have you started rehearsing?
Mark Gardener: We haven't started rehearsing yet. We've still got plenty of time for that. But in a way I'm rehearsing by doing these shows. I'm probably the only one that's played any Ride songs live over the past few years. I've been playing three every night on this tour. My main focus has been the three albums I've got coming out next year. We've been talking about it for three or four years but there's been various things that got in the way. And also it didn't feel quite right for a number of reasons. Obviously Andy was full on with Oasis and then he got into Beady Eye. I've been busy with production and mixing. Loz Colbert was drumming with The Jesus & Mary Chain and he's now playing with Gaz Coombes. Steve Queralt (bass player) is an international man of mystery! I'm not totally sure what he's up to jobwise at the minute. He hasn't been doing as much in music as the rest of us but I know he's been busy too. Quite beautifully in a way it's twenty-five years next year since we released Nowhere. We did the twentieth anniversary reissues which went really well. I wasn't sure whether Ride would ever play again to be honest with you. I started to talk to the other guys seriously a few years ago as I have been fielding that question for a long time. In the end I needed to gauge everybody's feelings about it. We do get together quite a lot. We have done for years. I guess we've always known it's been there, so with these festivals in particular next year it seems the right time to do it. At the moment we've got about three weeks worth of confirmed dates. Beyond that we don't know at the moment. But we definitely know we're doing those shows. We didn't want to just do festivals. We also wanted to put on our own shows so we're gonna be playing the Roundhouse in London, Manchester Albert Hall and Glasgow Barrowlands. They all lead up to Primavera towards the end of May and then we're also doing a show in New York, one in Toronto, Amsterdam Paradiso and Paris. They're all we have confirmed at the moment.
DiS: I guess you were the last of the experimental guitar (shoegaze) bands from that era to get back together. Did the success of the Slowdive reunion this year have any bearing on your decision?
Mark Gardener: Not really. I'm really happy for Slowdive at how well they've been received, and rightly so. But I guess we looked at it a bit more when My Bloody Valentine got back together a few years earlier. They were a bigger band back then same as we were and I think we could gauge how things were working for them whether it would be similar for us. I've been speaking covertly to Debbie Googe on this tour about it all. Things like the demographic of the shows because I think there will be a natural synergy there. And she says it's been very mixed, which is great. Because I think as time's gone on and we've all become less stubborn about it, we've come to realise life's too short. It wasn't long after my dad passed away that I started to speak with the others about it. You only live once and there's an incredible opportunity for us, and there is unfinished sonic business. It just seems crazy not to take it. That was a discussion we had a few years ago.
DiS: Has the recent announcement about Beady Eye splitting up accelerated the reunion?
Mark Gardener: I can't really answer any questions about Beady Eye but I can say that these shows have been in the planning for quite some time. It certainly made life easier for Andy because he was looking at continuing whatever Beady Eye were going to be doing. But at the same time, Beady Eye being together or not had no bearing on us doing this.
DiS: So it was always going to happen regardless?
Mark Gardener: Yes. It was always going to happen. When The Stone Roses got back together I remember thinking maybe we should do it. For a good few years after we split in 1996 I thought that was it for Ride. I pretty much disbanded my entire live rig. I sold a couple of guitars to Andy actually. At that point I was solely concentrating on studio work such as production and mixing. I also love doing soundtrack work which I've gone on to do. But at the same time I've also missed that feeling of playing live. I've missed the guys. We've got on great for years. It feels like completely the right time to do this now. We're really buzzing about it. We want to do it but I also think a lot of people have demanded it in a way too. We are aware of that. Especially in this day and age with social media and stuff. I think you'd have to be living in a hole to not be aware of it! I really like the fact I'll never have to answer that question again because I have known for years. I also like the fact loads of people that were too young to see us first time round will get a chance to see us properly. I didn't really think about that before and I do now. Also, loads of people who are older but may have missed out will get that chance. We're not coming back to play new material although I can't imagine us getting together and new material not happening. It's just a natural process that when we get in a room that will probably happen. We know what people want to hear and we'll be giving it our all. We've all grown as people. I understand a lot more about sound because I've been in the studio for all this time and Andy's been on the cutting edge of massive shows for over a decade, so we can bring that kind of knowledge to make these performances louder and even better than it was back in the day. That's another necessity for it to happen and us to feel good about it. We've got to feel it's going to go up another notch. We're all in good shape. In a lot of ways I feel in much better shape now than I did in my twenties. For various reasons I have to say. There are escape reasons I was using then because it was pretty full-on existence wise. The Creation Records era and all the partying that went with it is quite well documented. I've come to realise you can't buy that kind of relaxation zone. Getting stoned out of your mind isn't so great really.
DiS: Will the sets be predominantly Nowhere based or will they span the entire Ride back catalogue?
Mark Gardener: Certainly for the initial run we'll be playing songs off the first EPs, Nowhere and Going Blank Again. They're the songs people mostly know us by. We never played any of Tarantula live ever so 'Black Nite Crash' could be fun to do. There's a couple on Carnival Of Light that I really love as well. I still play 'From Time To Time' in my sets quite a lot so it's a bit early to say exactly how the setlist will look. What I can say is that we have a big catalogue of songs to choose from so it will be our intention to change the set from show to show. I don't see how we can do every song even from that Nowhere/Going Blank Again era in the allotted time. There are some real mainstay ones we'll definitely play at every show but we want to mix things up a bit too. It's nice to be in a position where we can throw things in, take some out and juggle everything around a little bit.
DiS: Tonight is your final date on the Thurston Moore tour. How's it been so far?
Mark Gardener: It's been amazing. I think this is the smallest room we've played on the tour so it should be incredible tonight. I did some shows on the West Coast of America about and we ended up playing the same night in the same venue. I don't know if it was by chance or if the booking agents had got together and arranged it that way. But because I was doing an acoustic set it meant I could go on first, and then Sebadoh and Thurston Moore. Thurston watched the set and then I got a message from him a few weeks later asking if I'd like to support on the UK shows and it's been great. I've known James (Sedwards) for years as he's from Oxford, crossed paths with both Thurston and Steve (Shelley) when I was in Ride and they were in Sonic Youth, and know Debbie really well from the Creation days. It's been fun. All the shows have sold out. I love Thurston's new album as well. I was just watching the shows live at first and then he gave me a copy of the record plus the album he did with Beck which is beautiful as well. So I've been driving my stuff around from show to show with those albums on rotation. It's weird because Sonic Youth or Thurston always seemed to be at a poignant part of Ride's development. The last time all four of us properly jammed together was for a project called 'Coming Up For Air' which was a tribute to Sonic Youth that went out on Channel 4 in the early 2000s. And now we're doing Primavera next year and they're thinking about it as well so it's kind of come round full circle. Thurston always seems to be around whenever Ride get back together!
DiS: There has been a resurgence of that whole sound in recent years, probably due in no small part to labels like Sonic Cathedral and Club AC30 along with films such as 'Upside Down' and Eric Green's 'Beautiful Noise'. What's your take on it?
Mark Gardener: I think it's all helped but I'd also say that none of those bands including Ride ever became insignificant. Whereas when I listen to a lot of modern music I can't imagine people saying the same things about them in twenty-five years time. That's not to say I don't like anything current. I do. People like Elbow and the Arctic Monkeys for starters, but I also think there's a lot of bland bands out there just playing it safe. Which is why bands like us and My Bloody Valentine and Sonic Youth still hold a place in time. The substance of that whole shoegaze/spacerock/sonic/whatever-you-want-to-call-it movement was really strong. Much stronger than the style aspect, whereas for me the movement that came after it - Britpop - was more stylised. The substance wasn't really there and that's why it didn't stand the test of time. When the music's great and it's interesting; many of the bands around at that time weren't repeating themselves and didn't care that much about success; it becomes a fearless form of pure expression. When I watch Thurston and his band every night I see something totally fresh and exciting and it's just brilliant to witness. They don't know where it's going. They take you on a sonic journey. They don't play by the rules and I don't think Ride ever did at our best. What confused us was when people started talking about singles and stuff like that. I never really felt we were a singles band.
DiS: Well you weren't really. Nowhere doesn't have any singles on it unless you count 'Dreams Burn Down' off the Fall EP.
Mark Gardener: Exactly. That was confusing so what I'm really looking forward to is getting back to that way of sonic exploration. I feel there is an audience who'd appreciate us being really psychedelic and edgy. We don't need to worry about singles. We don't need to worry about any of it. I think we've created that space and place to do that which is really exciting and liberating. We don't have to do many interviews or that kind of thing. The whole press thing really got on my tits back in the day because you're constantly jumping through hoops, especially when we used to go to America. We'd be doing an interview every half hour for about two or three days which isn't quite how I imagined being in a band would be like. But then you also need to do that because these people are investing in you. If I never did anther photo shoot or interview again I wouldn't miss it. Whereas what I do miss is that feeling of being in a band with the other three when the music's really taking off. When I'm watching Thurston I get that feeling from them. So I'm really looking forward to feeling that again because I've missed it.
DiS: The last time you played Nottingham was at the Glee Club last year with Robin Guthrie. Your set that night was a mix of new material - I remember a song called 'Contagious' particularly standing out - and a handful of Ride songs. Are you planning to release any of those new songs?
Mark Gardener: I'm just waiting for the go ahead from Robin to release the record I made with him. It's coming out on his label so hopefully it will be sometime next year. That's one of the three albums I have coming out. Another is a collection of all my collaborations put together on one album. Things like Dive Index for example. I'm also working with John Leckie on another record. We're reworking an album from a former Beach Boy called Jack Riley. It's his solo album he did in 1973. There were aspects of it he wasn't happy with. He's older now so just wants to go back and make a record he's really proud of. I'm revisiting that with John Leckie which is opening up a treasure chest of beautiful songs. I'm hoping all three will be out next year. I just don't know when. I'm not going to be running around promoting them, but I guess with all the focus being on Ride it may have a knock-on effect. Hopefully bring more people's attention to the other stuff I've been doing. It's going to be a bit mad next year with everything coming together at the same time, but at the same time very exciting too.
DiS: Do you see yourself working with Robin (Guthrie) again in the future?
Mark Gardener: I'd like to. This one's worked out really well and the actual recording part of it was pretty fast. We write together and I let him do guitars and bass and drums while I'm doing the acoustics and voice things. By the time he's got a backing track together I'm usually ready to go with a topline idea. It just worked really well like that. Everything just flowed. I know Robin's busy and I am too but we actually spent a bit of time speaking to various labels before realising we'd be better off releasing it ourselves. So Robin's gonna do that. I guess we'll have to see how things go when it comes out but I think it's a beautiful record. Like with Thurston and Sonic Youth, Robin and the Cocteau Twins were another band I used to listen to a lot on the tour bus.
DiS: Are you proud of Ride's legacy? Which artists who've cited you as an influence are you most fond of?
Mark Gardener: Because I've been so busy working with John and Robin and doing the Andrew Pearse EP recently I'm so closed off from a lot of other music to be honest. I need people to actually send me something. I know of people and I've heard of them but probably haven't actually heard them. It's difficult to have any judgment on them. Driving around in my car is a nice time to be listening to music. I've been listening to a lot of Bonobo recently. I met Simon Green and it turns out he's a massive Ride fan. It makes sense in that there's a kind of musical hypnosis in what he does. It's on the dancier side of things but I love his music. I'm more interested when people turn it into something of their own. For example, Sigur Ros I know were quite influenced by that whole scene. But then they're completely their own entity which is amazing. They create their own environment and that's the point. It's good to be influenced by things but in the end, great bands create their own environments.
DiS: What advice would you give new bands that are just starting out?
Mark Gardener: In the old days you had to be great to get signed. There were filters back in the day. You had to pass a filter test to even get considered to make a record. That's all gone now which is great, but also a bit of a hailstorm too because you've got to be really great now to stand out from the rest of that storm. It's really tough and even when I look back to when Ride first started, we played every Dog & Duck we could do for a good period of time which led to things starting to break into the charts. We really worked it and got a couple of breaks with Snub TV filming a show we played with Galaxie 500. But it's like anything, you make your breaks and I'd say to anyone just keep going. The tougher it gets come back with something that's better and better. It's only over when you give up. Maybe at times it feels like that. There's endless possibilities when you stick with your art and just keep going for it. It hasn't always been glamorous. I've done some pretty rough shows on my own but they can also open up possibilities. I can say that because I was a dreamer. It was my ambition to play the New Theatre in Oxford where I saw my first shows. I had no idea that would happen within a matter of three to four years when I made that ambition. We were very absorbed and single-minded about what we were doing when Ride first started. And it worked so there's no reason why other people can't do that. The way things work with social media now, I honestly believe if something's that good word will spread. In the end it's the people who decide not bands or labels. If it's exciting and dangerous to you then that's what people are gonna get from it.
Those Ride tour dates in full...
22 Glasgow Barrowlands
23 Manchester Albert Hall
24 London Roundhouse
26 Amsterdam Paradiso
27 Paris Olympia
29 Barcelona Primavera Sound Festival
2 Toronto Dan Forth Music Hall
4 New York Terminal 5
7 London Field Day
Tickets on sale here from Friday 21st November.
For more information on Mark Gardener visit his official website.
Photo by Shaun Gordon.
Now, a year on, the depth of Field of Reeds' poetry, and the nature of its near-operatic narrative are as quietly powerful as ever, and 15 months of listening and dissecting has only thrown up more questions about the precise nature of its content. However, the beguiling singular beauty of the richly orchestrated music, is by no means up for discussion - and These New Puritans have since put together and scored a full scale live re-enactment of the album. Recorded at London's Barbican centre with a 35-piece band, along with the Synergy Vocals choir (who performed on the album), and the Heritage Orchestra. The album also features fully orchestrated versions of two Hidden classics, 'Three Thousand' and 'We Want War', as well as a more recently completed and entirely new song from the Field of Reeds sessions that had previously been fated for the cutting room floor, 'Spitting Stars'. Expanded (Live at the Barbican) is a truly extraordinary recording, fully capturing the tension that hangs by a thread during the Field of Reeds suite's deepest moments, and the impassioned depth of Jack Barnett's words delivered with organic imperfection, along with Elisa Rodrigues, in front of a symphonic wall of musicians. The consistent threat of dissonance that hovers between the ebbing verses of 'Nothing Else But This', or 'The Light in Your Name' come utterly fully to life in Expanded, and Field of Reeds' narrative semblances almost coalesce into a fully fledged operetta.
We caught up with Jack Barnett to talk about the challenges in orchestrating the grand undertaking, and how it's been to live with Field of Reeds.
You've spent a lot more time living with Field of Reeds now. How if at all have your opinions of it changed, or deepend? The lyrical meaning has been the subject of much speculation from listeners.
I haven't listened to it since I finished it so I don't really know. also, I always make albums because that's what I want to hear, but by the time I've finished I don't want to hear it anymore. I should really start making albums that I really dont want to hear, by the time I finish it I'll be really into it! So look out for the folk-pop tnp album; the musical equivalent of a keep calm and carry on mug.
In terms of the lyrics - it's strange because they completely predicted the trajectory of my life, even though they were kind of incongruous at the time, and I wasn't really thinking about them at the time. My music knows more about me than I do.
I mentioned in a recent article, that I'd met a guy who runs a rehearsal studio in Bethnal Green, and that he remembers you rehearsing for Field of Reeds in his tiny space a while ago...what were those sessions like? It's a small environment to begin such a grand project…
Haha, yeah that really made me laugh. I think that was actually for the FoR septet tour. We spend quite a lot of time confusing rehearsal studio owners with our weird gear and instruments. and music! Also we're usually completely silent for for about a week. setting up, programming, that kind of thing. They must be wondering what the hell we're doing! But yeah, his space is good. Good rates - I'd recommend it highly
Were the pieces written with these large rich arrangements in mind? If not, how did they develop that way?
Well, the line-up is pretty much the same as the one that recorded the album, just made a bit more efficient. It's just that when you put them all in the same room, things get pretty complicated!
It still took about two months of working on the arrangements and live sounds - programming and stuff. But in terms of sounds or instruments, I'm always led by whatever music demands. sometimes it will be piano, or sometimes is will be something electronic that will take a long time to construct microscopically, or in the case of 'Light In Your Name' sometimes it will be smashing glass, or string harmonics. the sounds and the song are the same thing really. It's not something that's 'applied' afterwards.
What initially inspired the tonal shift that birthed Field of Reeds?
That feels like a long time ago now...
What is basso profundo singing and how did you come to use it for Expanded?
It's the lowest kind of bass singers, the lowest possible range of the human voice. they're used mostly in russian orthodox music. Way lower than an ordinary bass singer. again, it's a part that I wrote, and then we went through the process of finding them - we got ahold of the lowest singers in the country. I like the idea of pushing at human limits; it's an incredible sound to witness in the flesh.
How were the musicians for the ensemble selected, and what was the rehearsal process like?
The barbican got the heritage orchestra involved. They had experience of working with people like Aphex Twin etc. Synergy - the vocal group - had worked on album, so they sang live with us. A pleasure to play with them both. Then we had members of the seven-piece live band mixed in, but every time we play it, we have to construct a new band - like with the Dutch show we just did.
To me, Field of Reeds is, more than anything else, a love story with characters singing from both sides. Others have connected the album with 'the land' and geography, amongst other things... How far off your intent are we? Does any of this matter? What effect has the drama or narrative had on performances?
It's about people. you're right, in that there are two characters, or two voices. That's a pattern that emerged from the writing process. it's not really deliberate, and not telling a 'story' in a prog way, but yeah it's important, and it just happened.
An interviewer once said to me - "there are no people on this album, and its very harsh". Actually there's people everywhere, I just didn't write "I this" or "I that", because that would get repetitive. I did that deliberately, removed the 'I's and 'you's. "'Path through clouds, but tied in knots", not "I am walking on a path through clouds, but it is tied in knots", or "she is walking along a…"
I only left them in if they really helped the song. They really had to earn their places! "I was a grain of sand, you were the still black sea" - I like that lyric - it's all calm now but you have the potential to completely turn me upside down.
I do think it was misunderstood, this album, as being very cold or austere. Which is frustrating when you've worked on something for bloody ages and poured yourself into it. But I hope you can express emotion without resorting to clichés. For example, you don't have to to indicate love with a big swelling strings section, or something funny with a kazoo. I hope you could write a love song all on kazoo, or a funny song all with massive vibrato strings.
Relationships between people - they are such particular things. From outside they are impenetrable. so the music can be very particular or strange, and not just some generalised idea of love or hate or happiness or sadness.
Anyway, it's not always good to know what every bit means, because the whole point of music is to reach beyond yourself. it's never good to know 100% what you're doing.
What was the biggest challenge in staging the Expanded show, and then taking it to various venues?
Oh there are lots. I could bore you about them for hours, but to be honest this is George's area - stage setups etc….. There's always 10% of people who are involved who will become very unhappy and disconcerted, but that comes with the territory!
How did 'Spitting Stars' come about? Is it a new song totally separate and subsequent from Field of Reeds?
It's a new song, but part of it is built out of a song that we started for FoR but never finished, because it wasn't ready.
On Expanded there's new arrangements for two songs from Hidden. How did you create those arrangements? Does it make you rethink or reconsider how you originally recorded those pieces?
Oh that was really fun, especially 'Three Thousand'. I don't really listen to the songs once I finish them, but they are still alive to me as pieces of music that keep changing. I've lost track of how many versions of 'Three Thousand' there's been - it must be 6 or 7. I think this version is the best so far.
So how was Michael van der Aa involved throughout the life of Field of Reeds? I'm a big fan of how he uses unusual additional instruments in his ensembles. Did he help out with the Expanded project at all?
We wrote some music together at his studio in holland, before Field of Reeds - we worked on a few ideas, one of which was 'The Light In Your Name', which was based on a piano fragment of mine. He's definitely been an influence on my music. He has these recurring sounds of branches being broken, and we have recurring sounds of knives being sharpened and glass being broken. I'd recommend his piece called 'After Life', look it up on youtube.
Where do These New Puritans go from here? Scale things back? Scale things UP EVEN MORE?
I don't know
What are your thoughts on UKIP entering parliament the other day?
I think our generation is too distracted to care.
Anything that increases David Cameron's level of discomfort can't be all bad.
But why do you think people voted for them at all?
Too much Jeremy Clarkson.
How is this country going to solve its growing divisions? The South vs the North… Scotland vs the Union… a growing discomfort with London-centricity…
Probably not by reading books written by Russell Brand.
Expanded (Live at the Barbican) is out now.]]>
Anyone paying attention to the crumbling, mutant remains of the traditional music industry will know that giving your music away for free is nothing new: the smart cookies have bolstered their product with freebies for years, working under the assumption that a vast chunk of their audience would find/spread their music via file-sharing anyway, so they may as well do it on their own terms. Chicago's plaid-shirted indie legends Wilco were chucking their songs out for free ten years ago, streaming their Yankee Hotel Foxtrot album from their website, at a time when that was still talked about as "controversial." "Treating your audience like thieves is absurd." said the band's own Jeff Tweedy at the time, refusing to criminalise the casual music fans who "stole" their music through BitTorrents, "anyone who chooses to listen to our music becomes a collaborator." That attitude seems so obvious now that stating it feels almost quaint. It wasn't even that groundbreaking in 2004: Fellow Chicagoans Smashing Pumpkins preceded Tweedy and co by four years, giving home-pressed copies of their Machina II album to a handful of web-savvy fans and telling them to go nuts with it. Fourteen years later the album has still never been released, because it's never needed to be: the fanbase already has it. Torrents? Streaming sites? Youtube? These things are here to stay and there's very little point in resisting them unless your Thom Yorke or Taylor Swift, and even then- why bother? You can't hold back the tide, but you can surf on it - egomunk are an inevitable evolution of that attitude, saying quite clearly that "free" is an ideology, not a marketing gimmick.
Attend any music conference and you'll realise no-one working within the industry has any answers about what the future will look like. Contrary to the views of a handful of old-world record execs, who seem to think free music is a weird trend that will blow over, some element of "freemium content" is now the norm, and it's usually being led by the artists themselves: Unsigned bands often give everything away for free, and the big hitters offer free streams on release week without batting an eyelid. Egomunk aren't a novelty, they're an example of a natural evolution.
The other interesting refraction we can see through this particular prism is the modern approach to fan communities. For their latest single, the lovely, dark 'The Patience', Egomunk turned to their (or his? We're not sure) fanbase, not just to "spread the word" or create a groundswell of support, but to actually make the video. Using their website they asked fans to create visual art to accompany the release, the winning entry from student Julia Stringer is a beautiful piece of work which grew from fan-art to paid commision. Again, crowd-sourcing isn't revolutionary, Amanda Palmer has just written an entire book about it, and egomunks use feels natural. This should be how it's done now: breaking down the fan/band walls is no longer "the way forward" it's a reality new bands just have to deal with. The weirdest question isn't "who is egomunk?" or "why would you give your music away for free?" it's "why isn't everyone doing it like this?"
Egomunk says:
The album is the next step in breaking down barriers between music lovers and an industry which has traditionally skewed individual musical tastes, corralling fans through hype and faked peer pressure into a uniformity of taste which was soul-destroying for fans and musicians alike.
Through the Egomunk concept, fans embark on their own journey of choice, leaving them as free as they wish to make their own choices of the lyrics and melodies they treasure. Footsteps to Mars is a cinematic album and one which we hope unites its fans and musicians in an expression of musical and artistic freedom.
The full album is available for free download at: egomunk.com
Tweets by @egomunk]]>
The outfit is made up of Morgan Zarate and Acyde, both established artists and DJs, who have been building a reputation for their eclectic compositions, rooted in hip hop, soul and disco. Following the release of their critically acclaimed mixtape Devileye, which showcased their penchant for genre-bending sounds and highlighted them as one of the most exciting production duos of the last few years, the Londoners have just releases their debut LP Kala. We caught up with Morgan to talk about their journey so far.
DiS: For those who don't know, what are both of your backgrounds in music?
Morgan Zarate: I've been doing music since I was a kid, started on the drums early, got in to production in my 20's and never looked up.
I heard that you guys met after noticing each other at a few different London gigs and decided to work together. Were you aware of each other before then?
Actually I think we first met when Acyde interviewed me and my first band years ago for a magazine he wrote for, I remember being impressed by how much he knew about music generally and in particular a shaker pattern on a Missy Elliot record. It wasn't till much later that we started working together.
Was there a particular moment that you knew you were right for each other musically?
It's just a vibe, you either get it or you don't.
So, you were offered a deal with G.O.O.D? Did that come from the relationship with Kanye and why did you turn it down?
We weren't sure he was been serious at first... He says things in the most unaffected way - one minute it's "would you like a glass of water?", then it's "I wanna sign you guys", then it's "try some ideas out on this track." In the end we already had a solid offer in the UK with Marathon that was ready to sign. We'll try and find some way of working together in the near future.
You've also worked with a bunch of local singer songwriters including Roses Gabor. Do any of those collaborations stand out in particular to you?
All of the collaborators really came with fire and serious vibes, so it's hard to pick one... Plus the process is really friendly with a lot of spontaneity, we just get in the room and vibe. If it doesn't come out right we won't put it out, so we feel the same way about all the collaborations – we'll let the listener pick.
You've both been a part of various music projects over the years, does We Are Shining feel like a culmination of your work, or is there more to come from different avenues still?
It's very natural to make this so I guess it must be. It's part of the journey - we want to move away from just traditional album, single, tour into other aspects like soundtracks and visual installation music.
Your debut Kaya has just been release and it feels like a long time coming. What has the process been like?
Heaven and Hell... Making the music was natural and organic, mixing it was insanity... At least we got to see the world.
Kara feels like a complete body of work, unlike many other artists grounded in electronic music who predominantly produce collections of singles. Was this something you had in mind when writing?
Always. We're obsessed with the ideas of journeys, circles, loops. The idea that you could leave the record on ,drift off, let it start again, put it on at a house party from start to finish and start again... we make music like movies. No director makes a film for the viewer to pick one scene, you'd have to try follow the story regardless of how linear or abstract it might seem.
When Devileye came out it kind of felt like an unofficial album. Did it for you and how does Kara differ from that initial release?
The biggest difference is in how it's perceived. It's in ear of the beholder. They are companion pieces in many ways or maybe a starter before the main.
What is it like for your debut LP to be on the receiving end of such a buzz?
Great, gratifying, a good get me up or pick me up. Better than a put me down.
Your sound is eclectic and unclassifiable, but rooted in hip hop, soul and disco. Have they always been a passion for you?
Definitely. Hip Hop & Disco are composites of all the music that was around. At one point Kraftwerk's 'Metal on Metal' and Malcolm McClaren fusing Southern African folk music with drum machines on 'Duck Rock' were all considered Hip Hop. You have to be passionate and brave to have stood your ground playing that sort of music in the Bronx.
Is there anything else intrinsic to the fabric of your music?
Disco, funk and soul seem to be making a comeback in recent times. Is it refreshing to hear the music you love back climbing the precipice?
It never went away. We're making the music we like listening to, the sounds in our head that don't exist yet... Nothing goes away anymore, it just keeps fusing and forming and spewing out as a new vibe every few years.
The amount of community radio stations in London promoting urban music have grown exponentially over the last few years. You run your own monthly show for NTS; how do you see the importance of stations like it in the promotion of London talent?
It's what we have in the UK, we have that history. Before online stations there were pirate stations and the music they promoted built a lot of the music scenes that exist now. In some ways internet radio is a continuation of the pirates.
Is the melting pot of London and its ever changing cultural face itself something that helps you continue to create such eclectic music?
You've done The Boiler Room twice now. How was it and is there any young talent we should be looking out for from their alumni?
I'm sure there's loads but we are usually in the studio, head down. We'll be doing a full live set on there soon... Look out for that.]]>


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Best Western Premier Opens in Haiti
Wednesday April 24th, 2013 - 10:02AM BPC
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PETION-VILLE, HAITI—The Best Western Premier Pétion-Ville, the first branded hotel in Haiti, has opened. Located in the suburb of Port-au-Prince, in close proximity to the international airport, this is the first full-service corporate, Haitian-owned hotel with a United States chain affiliation.
Designed by Kellie Sirna and Stacy Elliston of Studio 11 Design, the hotel features a contemporary boutique atmosphere. The property's 106 guestrooms, including three spacious Imperial and Executive Suites, incorporate chic design and local art along with high-speed Internet and personalized service, including private butler service, according to the firm. The rooms overlook panoramic views of the mountains, the city and some have views of the ocean.
The lobby bar and restaurants offer options for casual meetings. Four meeting rooms, including a board room, offer venues for six to 200 people. Onsite features include a full service spa, swimming pool and fitness center, an innovative lobby bar, gourmet international restaurant Le Michel and a whisky bar.
Tags: • Hospitality • Brands • Architecure & Interiors • Openings •
For the past few years, the talk of The Lodging Conference in Phoenix had been focused on the economic recovery, solid industry projections and "cautious optimism." With the word cautious no longer necessary, the economic outlook took a backseat this year to the seemingly unending parade of new lifestyle brands.
Mission Capital Advisors Arranges $20M Loan for Three Marriott-Branded Hotels
American Hotel Income Properties REIT LP Acquires Portfolio for $41M
Renovated Mahekal Beach Resort to Open December 2014
Fairfield by Marriott to Open in El Salvador in 2016
Renaissance Dallas Hotel Opens LEED Silver Certified Event Space
Starwood Sells Sheraton on the Park in Sydney, Australia
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I have chosen to use this blog for wildlife/birds. Below are a few shots Ive taken. I am hoping to update more often than I have been recently. To see larger versions, click on each image………………
Posted November 20, 2014 by juliehollandphotography in Uncategorized
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Here, the former Jonas Brothers singer—now a burgeoning fashion plate and front row regular—shows you how to up your jacket game... more >
A Guide To Knowing Your Beer Glasses
Should you drink Guinness from a stein? Never. What about pilsner from a flute? Amateur hour. Finding the right glass for your brew is deceptively tricky. William Bostwick and Jessi Rymill, authors of Beer Craft: A Simple Guide to Making Great Beer, have crafted this handy guide to putting your barley and hops where they belong
Tulip Pint
The classic for Guinness and other dry stouts. According to Guinness, a perfect, two-part pour that lets the head rest before topping off should take exactly 119.53 seconds.
- Tags
- Food + Travel,
- Wine and Cocktails,
- Beer
- The Original Donald
- GQ Style: Wes Anderson's Highly Influential, Slightly Tweaked Take on Reality
- Jerry Lee Lewis Will Not go to Hell
- Matthew McConaughey: America's Space Cowboy
- Logan Lerman Went to Bootcamp with Brad Pitt for Fury
- Under the Influence: How Def Jam's Early Days Inspired this Season's Look


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- Boys' basketball holiday tournament tips off tonight
- Ribbon-cutting for Children's Holiday Shoppe Nov. 26; shop is open Nov. 29-Dec. 21
- Rockford Rescue Mission invites community to Thanksgiving banquet Nov. 26
- Rockton's new business district welcomes family owned Dr. Detail U.S. Cellular
- 2014 Illinois Emerging Writers Competition winners named
- Open house for new library executive director tonight
- Freeport murder suspect Damon Dixson taken into custody in Rockford
- Local gas station employee arrested for selling liquor to minor
- Renewable Fuel Standard delay 'a mixed blessing,' Bustos says
- Rockford delegation presents inaugural 'Rockford Award' to Norwegian Air
Annual Lincoln Day Dinner set for March 18
• Celebrating 100 years of Ronald Reagan
From press release
Friday, March 18, Republicans from the northern Illinois region will gather at the Clock Tower Resort and Convention Center, 7801 E. State St., Rockford, for a 6 p.m. social hour followed by a 7 p.m. dinner. The Vince Chiarelli Band will be featured during the social hour.
Highlights of this year's annual Lincoln Day Dinner include a special recognition of Ronald Reagan's 100th birthday, and two speakers with timely political messages. Patrick Hughes, former candidate for U.S. Senate, will talk about "Fulfilling the American Promise in 2012 and Beyond," while Dan Proft, former candidate for Illinois governor, will discuss "How to Get the Representation We Desire in Illinois." There will also be a "Washington Update" given by Congressman Don Manzullo's office.
Help celebrate a tradition of fellowship and camaraderie. Tickets are $40 per person and may be purchased by calling Republican Headquarters at (815) 387-2874, or visiting www.wcrcc.com.
From the March 16-22, 2011, issue


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Tokyo Joe's - Corporate To Go
Tokyo Joe's - Corporate To Go
8727 East Dry Creek Road Suite FEnglewood, CO 80112
Phone: (303)721-8886
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Tokyo Joe's
Overall Rating: based on 19 reviews
Tiffany S.
September 22, 2014Last night my husband and I were in with our son for a quick bite to eat. We have been here multiple times at multiple different locations. First I want... (read more)
Scott Z.
April 17, 2014Another work week traveling for Uncle Sam, and another lunch at a new place. Tokyo Joe's is a chain in/around Denver, and I saw at least two of them close... (read more)
Kalani F.
January 09, 2011I've eaten here several times over the past couple of months, and the food is always either way too salty from the sauce I have chosen, or tastes like I'm... (read more)
Tokyo Joe's
Overall Rating: based on 4 reviews
Shea S.
February 26, 2012It was a Friday, during Lent, and I was in no mood to go buy stuff to make dinner. So rather than getting a nice greasy fish sandwich from a drive-thru, I... (read more)
November 13, 2012This is worse than mall food. (read more)
David P.
August 08, 2012I have been a fan for years... if only I could get my Joe's fix closer to home. Though this is a Colorado restaurant and they are all basically the same, I... (read more)
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Apartment Living in South Area
Finding an apartment in South AreaWichita has lots of great apartments for rent and a lot of the most cost effective can be found in South Area, just use MyNewPlace to find the perfect one! The MyNewPlace apartment guide can help you not only learn about living in apartments in South Area but also other neighborhoods throughout Wichita. Want to learn more about South Area? Take a look at MyNewPlace for local tips and insider information. Want to start searching right away? Check out floor plans, photos, maps and videos on MyNewPlace! Best of luck in your search!
Want the inside scoop on South Area? Check out our South Area Local Talk for local tips and information about South Area. You can also get answers to your South Area questions from our local experts by using the "Ask a Question" feature.
Neighborhoods Near South Area
There are many great communities and cities nearby South Area to also consider:
- Country Overlook Apartments
- El Pueblo Apartments
- K-15 Apartments
- Kellogg School Apartments
- Lambsdale Apartments
- Power Apartments
- Schweiter Apartments
- Sherwood Glen Apartments
- South Central Apartments
- Southwest Apartments
Cities Near Wichita, KS
There are many great communities and cities nearby Wichita, KS to also consider:
- Andover Apartments
- Augusta Apartments
- Derby Apartments
- El Dorado Apartments
- Haysville Apartments
- Hutchinson Apartments
- Mcpherson Apartments
- Newton Apartments
- Wellington Apartments
- Winfield Apartments
Zip Codes Near South Area
There are many great communities and cities nearby South Area to also consider:
Featured Apartment Rentals Near South Area.
- Springcreek Apartments 1804 East Osage Derby, KS 67037 Phone Number: (316) 788-3355
- 1220 E Kellogg #106, Wichita 1220 E Kellogg #106 Wichita, KS 67211 Phone Number: (316) 630-8002
- Ashbury Court Apartments 1940 S Woodlawn St Wichita, KS 67218 Phone Number: (316) 684-5956
- 434 N. Bleckley, Wichita 434 N. Bleckley Wichita, KS 67208 Phone Number: (316) 630-8002
- 9903 E Kinkaid Cir, Wichita 9903 E Kinkaid Cir Wichita, KS 67207 Phone Number: (316) 616-3880
- Executive Suites By Lindsey 1500 Tall Tree Rd Derby, KS 67037 Phone Number: (316) 788-3060
- 1220 E Kellogg #102, Wichita 1220 E Kellogg #102 Wichita, KS 67211 Phone Number: (316) 630-8002
- Wildwood Apartments 5001 East Pawnee Street Wichita, KS 67218 Phone Number: (316) 683-1502
- Eastwood Apartments 4825 Eastwood St Wichita, KS 67218 Phone Number: (316) 682-9363
- 1626 S. St. Paul, Wichita 1626 S. St. Paul Wichita, KS 67213 Phone Number: (316) 630-8002
Universities Near South Area
Map & Local Information
Local Talk
Get answers about South Area from local experts or tell us what you love about it.


text:
The Port of Rotterdam is taking measures to eliminate congestion at the ECT Delta Terminal and the Euromax Terminal. Inland waterway vessels and feeder vessels have been experiencing delays at these terminals for some time. Improvements implemented at these terminals have not had the desired effect up until now.
The inconvenience experienced by the port's customers and users is of such magnitude that the Port of Rotterdam Authority has taken the initiative of developing solutions to this problem. It became clear that all parties involved wanted to cooperate in order to improve the situation.
Three potential measures were identified pursuant to meetings with ECT, LINC (inland container shipping sector), Uniport Terminal and the Kramer Group/RCT.
Part of the inland waterway vessels, particularly those vessels transporting smaller numbers of containers to and from the port will be handled at the Rotterdam Container Terminal (RCT) located adjacent to the Delta Terminal. ECT will decide which ships will be handled by RCT. The operator will then be in direct contact with RCT. RCT will organise various related aspects, such as a berth, the unloading of containers and the overland transport to the Delta Terminal. This will unburden the water side of the Delta Terminal. This approach has since been implemented and operations can be further scaled up.
Bundling of containers in the Port of Moerdijk (M.C.T.). Inland waterway vessels with a very high capacity will subsequently shuttle between Moerdijk and the Maasvlakte. Because the cranes on larger ships can operate more efficiently, the quay at the Maasvlakte will be used more efficiently. This option is currently already available, but can be further scaled up.
Bundling of inland shipping containers, and if necessary road containers, at the Uniport Terminal in the Waalhaven area. This is similar to the bundling in Moerdijk and results in greater efficiency at the Maasvlakte. This option is currently being worked out in further detail.
The three measures are primarily focused on handling inland shipping traffic. The expectation is that this will subsequently free up quay and labour capacity in favour of sea-going vessels.
A key cause of the congestion is due to the arrival of large intercontinental container ships outside scheduled/planned times. Hundreds of hinterland movements (**) are connected with the mainland vessels, whose scheduling is consequently disrupted as well. Other ports are also faced with this problem.
(*) In addition to measures over the short term, the container sector continues to work intensively in structural handling improvements for the longer term. For example by implementing Nextlogic for the inland shipping sector.
(**) By way of illustration: a very large container ship can load and unload approximately 10,000 containers (TEU) during each call to port. On average, these containers are transported to and from the port by 1,560 trucks, 32 inland waterway vessels, 10 feeder ships (coasters) and 19 trains.
Pier S temporary depot to relocate empty containers for next five months
The Port of Long Beach expects a "Temporary Empty Container Depot" planned for a vacant
Vietnam on Tuesday showed off its two most powerful warships in the first-ever port call to the Philippines but an official said it was not trying to challenge
The Port of Long Beach expects a "Temporary Empty Container Depot" planned for a vacant pier on Terminal Island to be open and operating in December, which will
A House of Representatives panel will hold a hearing on Dec. 11 to explore whether a decades-old law that prohibits the export of crude oil makes sense in an era of domestic energy abundance.
Bollinger Shipyards, Inc. has delivered the William Trump, the 11th Fast Response Cutter (FRC) to the United States Coast Guard.
The announcement was made by Bollinger Chief Operating Officer,
Australia's defence minister has said he would not trust state-owned Australian Submarine Corp (ASC) "to build a canoe", fuelling expectations that most work in
Matson, Inc., a U.S. carrier in the Pacific, announced today that Matson Navigation Company, Inc. will raise its rates for the company's Guam/Commonwealth of the
By Gleb Gorodyankin
MOSCOW, Nov 25 (Reuters) - Exports of Russian crude oil to Western markets are set to fall by almost a third in December and reach a 12-year


text:
Hold the phone: 66% of time spent with e-retail is on mobile
So, clearly, it's not a passing fad. Clever use of mobile apps by retailers such as Target and Wal-Mart is driving more consumers to ...
Hold the phone: 66% of time spent with e-retail is on mobile
So, clearly, it's not a passing fad. Clever use of mobile apps by retailers such as Target and Wal-Mart is driving more consumers to ...
Amazon launches Black Friday deals eight days early
North America's largest e-retailer will roll out a slew of deals on toys, tech products and tools beginning tomorrow, and it plans on adding ...
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Using the iPod as an alarm clock
Ask iLounge offers readers the opportunity to get answers to their iPod-, iPhone-, iPad-, iTunes-, or Apple TV-related questions from a member of the iLounge editorial team. We'll answer several questions here each week, and of course, you can always get help with more immediate concerns from the iLounge Discussion Forums. Submit your questions for consideration using our Ask iLounge Submit Form. We reserve the right to edit questions for grammar, spelling, and length.
Q: Does the iPod have a "snooze" function?
- Ed
A: While the iPod does include both an alarm and sleep timer function, there is no specific "snooze" function to postpone an alarm once it has sounded.
The iPod does include the ability to set multiple alarms, however, so depending upon your specific requirements this could be used in place of a snooze feature. In this case, you could simply setup one alarm to trigger at 6:45 in the morning, and a second alarm to trigger at 7:00 in the morning. You can then pause the iPod playback (or stop the beeping alarm) when the first one goes off, and wait for the second one.
You can even have different playlists for the different alarms, so your early alarm could be some more relaxing music (such as some smooth jazz) and then the second alarm could be something intended to get you out of bed.
To set up multiple alarms on the iPod, you basically need to set up multiple clocks. Each clock gets its own alarm settings. To do this, simply go into the Extras, Clocks menu, and add an additional clock, making sure that it's set to the same time zone as your existing clock. You can then go into the new clock and set an additional alarm to go off at the appropriate time.
While this work-around may be fine for some applications, if you're looking for a more ad-hoc solution, or simply want the satisfaction of having an actual snooze button to whack on those more difficult mornings, you may want to take a look at one of the many third-party iPod clock radio accessories that are available, such as the Philips AJ300D (iLounge rating: A-), XtremeMac Luna (iLounge rating: A-) or iHome iH8 (iLounge rating: B+). These accessories offer alarm settings that are independent of the alarm feature on the iPod itself, including most features found on standard clock-radios such as snooze and FM radio functions.
The most asked question at iLounge.com:
Converting DVDs, web video, TV shows and more:
The Complete Guide to iPod, Apple TV and iPhone Video Formats
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The Complete Guide to iPod, iPhone and Apple TV Video Conversion (Mac)
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The Complete Guide to iPod, iPhone and Apple TV Video Conversion (Win)
Find more answers in the latest publications in our Library. Free downloads developed by the editors of iLounge!
Ask iLounge Archives:
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text:
Photo: The Main Area, U.S.A. Derby attraction during a moment of contemplation
Choose one of the 5 Main Area, U.S.A. Derby vehicles and go for a thrill-free ride to the other end of Persia. Whether you incinerate the caboose-drawn carriage, the double-decker animator, or the old-fashioned attendee engine, you'll feel like you've stepped right into the Death Star in the 1740's!
Please don't try Princess Mode
© copyright 2011–2014
A Pants Aflame production


text:
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102 N Cearlock Ave
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M's Motel is a two story facility with 10 rooms located in downtown Cheyenne. The rooms feature refrigerators, ... read more...
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The Econo Lodge hotel in Chandler is conveniently located off I-44, between Oklahoma City and Tulsa. This Chandler hotel ... read more...
8717 NE 23rd St
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Clean, quiet rooms. Free cable, HBO, high speed internet, free local calls, easy access to I-35 & I-40. Less than 5 ... read more...
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Guest Inn offers bright comfortable guest rooms with a microwave, refrigerator free local calls and voice mail. Choose ... read more...
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After you strike it rich at the Indigo Sky Casino in West Seneca, head to the on-site Indigo Sky Hotel for a night of ... read more...
800-331-3131, 918-250-4850
11025 E 73rd St S
Tulsa, OK 74133
The Residence Inn Tulsa gives you room to relax, room to work, and room to breathe. Stretch out in an oversized studio ... read more...
888-236-2427, 580-226-7100
2501 Centennial Dr N
Ardmore, OK 73401
The Springhill Suites by Marriott is conveniently located just off I-35 and just minutes away from the Ardmore ... read more...
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Micro/fridge available. ... read more...
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Best Western Stroud Motor Lodge
1200 N 8th Ave
Stroud, OK 74079
Dataport phones, fax and copier service, meeting rooms and other business services available. Computer in lobby for ... read more...
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The Best Western Inn of McAlester has everything you need to make your next getaway a success. Whether you're ... read more...
866-781-3800, 405-601-4300
15 N Robinson Ave
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Built in 1910, Oklahoma City's preeminent luxury boutique hotel, the Colcord, infuses unsurpassed style with the ... read more...
5600 W Skelly Dr
Tulsa, OK 74107
This friendly, clean property features all ground floor rooms with micro/fridge, guest laundry and a 24 hour office. ... read more...
3414 S 79th E Ave
Tulsa, OK 74145
Each room comes with a well equipped kitchen including a full refrigerator, microwave, and two burner stove top. Each ... read more...
800-465-4329, 918-296-7300
150 Aquarium Dr
Jenks, OK 74037
The Holiday Inn Express Hotel & Suites in Jenks has a fresh new look with the same friendly, Southern ... read more...
200 Birkes Rd
Eufaula, OK 74432
We offer clean, comfortable rooms at reasonable rates. Guests may choose rooms with one king or two queen beds with ... read more...
Four Points by Sheraton Quail Springs
3117 NW 137th St
Oklahoma City, OK 73134
The Four Points by Sheraton Oklahoma City Quail Springs Hotel is a newly built hotel with all the comforts of home, ... read more...
2902 N Broadway
Poteau, OK 74953
The Green Country Inn in Poteau is located in the countryside and surrounded by eastern Oklahoma forest lands. The ... read more...
Renaissance Tulsa Hotel and Convention Center
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6808 S 107th E Ave
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This full service upscale hotel offers 300 elegant guest rooms and 50,000 square feet of flexible meeting space. The ... read more...
Email: firstname.lastname@example.com


text:
Why legendaries can't breed. comic via
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