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Nice anthology of pomes from some modern days heads/musicians, the highlight of which is Christina Carter's wonderful "Center Of Exits". Also features work by Michael Anderson, Michelle Angelini, James Barrett, James Blackshaw, Julie Cook, Michael Donnelly (Brothers Of The Occult Sisterhood et al), Sid Fallon, Spencer Grady, Denton Harris, Denton Harris, Robert Horton, Paganini Jones, Eden Hemming Rose, Brad Rose, Mainon Alexandra Schwartz, Indigo Tempesta, Kade L. Twist and Keith Wood (Hush Arbors). Hand-numbered edition of 120 copies. Each book hand-bound with cloth tape and a hard cover with a design by Keith Wood.
Totally sick: celebrating Alchemy Records' 20th anniversary - and Japanese noise/rock legends Hijokaidan's 25th - major label bozos Imperial have stepped into the gulf with a series of definitive birthday sets. Alchemism is a massive two-disc overview of the activities of this consistently dazzling underground label complete with a fold-out sleeve that has colour cover shots of all the action, especially noteable for the lovingly executed Modern Lovers and Ash Ra take-offs from Ultra Bide and Christine 23 Onna. All tracks previously released except for exclusives from Tongue favourites Oshiri-PenPenz and Doodles. Also includes: Jojo Hiroshige, Ultra Bide, SS, Inu, Hoburakin, Idiot O'Clock, Sekiri, The Genbaku Onanies, The Continental Kids, Danse Macabre, Sob Kaidan, Genbaku Kaidan, Subvert Blaze, Sperma, Hanadensha, Garadama, Angel'In Heavy Syrup, Auschwitz, Tatsuya Kitajima, Tsumetai Iki No Mama, Miki Sawaguchi, Masonna, Merzbow, Incapacitants, Solmania, Hijokaidan, Seiichi Yamamoto, Omoide Hatoba, Totsuzen Dan-Ball, Christine 23 Onna and Chouzu. Highly recommended, naturally.
Massive, genre-defining 3xCD set packaged in a DVD case with full-colour artwork and full colour card stock insert housed in a natural-colour cotton bag with single-colour ink stamp art/logo and featuring exclusive tracks from a gob-stopping selection of underground players orbiting the Carbon universe. Limited to 500 copies. Tracks from: Aaron Rosenblum, Andy Gilmore, Anla Courtis, Antony Milton, Asthmatic, Autumn In Halifax, Blood and Bone Orchestra, Blood Stereo, Carlos Giffoni, Carpentry, Caustic Solution, Chad Oliveiri, Chris Reeg, Cock ESP, Coffee, Craig Colorusso, Crawlspace, Crush The Junta, The Davenport Family, Dead Machines, Entente Cordiale, Foot and Mouth Disease, G55, Gastric Female Reflex, Heathen Prayers, Hilkka, Hinkley, Howard Stelzer, Irene Moon, Joe+N, John Charlton, Justice Yeldman, Keith Fullerton Whitman, Lunt, Mike Shiflet, Nancy Garcia, Neil Campbell, Pengo, Phroq, Pumice, Rainbeaux, Sindre Bjerga, Sindre Bjerga/Jan-M Iversen, Sq, Taiwan Deth, Taurpis Tula, The Body, The North Sea, Thurston Moore and Tinnitustimulus. Highly recommended.
Just got our hands on a still-sealed/unplayed crate full of these legendary, long out-of-print sides privately pressed by Peter and Patricia Harleman and Klyd and Linda Watkins 1969-1977 in order to document their wild experiments with vocal form. Across the space of these beautiful looking LPs, the two couples navigate the same kind of formless, disembodied zone that defined Jandek's unaccompanied vocal trilogy while touching on poles as temporally and spatially diverse as the associative poetry of Matthew Valentine, Jack Kerouac and Charles Olson, the wowing use of heavy delay/reverb associated with contemporary heads like The Skaters and Excepter, the slum-prose of The Fugs, Patti Smith and Lisa Suckdog and the sound poetry experiments of Henri Chopin, Bernard Heidsieck, Bob Cobbing, Brion Gysin and others associated with the legendary Revue Ou. That this was going on in almost complete seclusion somewhere in American throughout the 70s is nothing short of mind-boggling. Recently there's been a comparative upsurge in interest in the work of the Watkins and the Harlemans, with rumours of reissues and box sets, but the LPs (all of which were originally pressed in runs of 1000, except Volume 1, of which only 500 were made) remain almost-impossible to source. It was back in 2000 that their influence first began to percolate into the underground, with Christina Carter of Charalambides uncovering a copy of Number Four in Austin's Sound Exchange. After having her ears blown she shared her find with Heather Leigh Murray who made contact with Klyd Watkins, who by that time was living in Nashville. After establishing common aesthetic ground the pair agreed to work together, leading to a brain-storming Charalambides show that took place in Nashville in 2001 featuring the trio of Tom Carter, Christina Carter and Heather Leigh Murray performing with Klyd Watkins on "Listen The Night" a Poetry Out Loud piece originally recorded back in 1971 for the Number Five LP. The initial seeds for the Poetry Out Loud project were sown back in 1963, when Peter Harleman, then based in St. Louis, arrived in Nashville in a trip to visit his mother. Calling into Zibart's bookstore in search of paperbacks by Leroi Jones he got talking to the clerk, who happened to be Klyd Watkins. Klyd was excited to make contact with another soul that shared his passion for contemporary small-press poetry and immediately invited Peter back to his apartment to meet his wife Linda. Over the next few years the poets continued their friendship via the mail, swapping new works, journals and criticism and in 1965 Peter met and married another young poet, Patricia "Bebe" McGary. In 1965 the Watkins were living in rural Indiana, where Klyd taught high school English, while the Harlemans were based in St. Louis. During a visit to St Louis, Klyd and Peter had a conceptual bust-up over the relative merits and creative applicability of poet Charles Olson's concept of projective verse (something that Klyd, like many thinkers of the time, was immersed in) and Marshall McLuhan's concept of medium=message, an insight championed by Peter. Klyd recalled the conversation in a recent history of Poetry Out Loud: "Walking the streets of Saint Louis they had a heated argument, with Klyd championing Olson's formula for using the typewriter to capture the breath of impassioned speech as the most exciting mode of creating poetry, while Peter pointed out that another machine, the tape recorder, captured the human tongue far more directly. The harder Klyd argued for keeping poetry on the page, the more excited he became about being wrong. By the time the Watkins drove back to Indiana an alliance was formed to make poetry out loud." The first Poetry Out Loud album was the result of four years of experimentation, with the couples working slowly towards abandoning text altogether in favour of the gush of pure intuitively-sourced sound. Recording sessions combining simultaneous musical and poetic improvisation birthed what they came to describe as "The Nashville Sound," a laminal assemblage of spoken word and song. The technology also advanced, with the players moving from a $30 deck to a $150 home recorder while working on the first LP and they briefly welcomed another couple into the fold, Toby and Ginny Tate. By 1970, the Watkins had moved to Kentucky and the Kentucky landscape was to have a huge influence on the rest of the POL series. But with the Harlemans now living in Kansas and the Tates in Atlanta, recording session were few and far between. By the time of Number Two, the Harlemans were heavily involved in the exploration of American Indian poetry, immediately apparent on tracks like "I Am The Crow." From Number Two to Number Five the Watkins and the Harlemans contributed roughly half of every issue each, while welcoming occasional guests like Tony Cowan or legendary French sound-poet Bernard Heidsieck and his wife Francois Janicot (Number Three, Number Four, Number Five, Number Seven and Number Eight), a relationship that helped them maintain an umbilical connection to some kind of formal tradition. By the time of Volume Five the performers had once more upgraded their equipment and had also begun to record tracks "live" at various venues with a string of cuts taken from performances in bars, coffee houses, colleges and rock venues. By this point POL had a few hundred subscribers who bought the LP through the mail and they were even reviewed in Rolling Stone. In 1972 the Watkins visited the Harlemans in New Jersey, providing an opportunity for the extended quartet recordings that make up much of Number Six. The Watkins had never seen the ocean before, an experience that inspired Number Six's massive "Ocean." Number Seven would be the last volume to feature all four performers vibrating together, with the Harlemans producing Number Eight and Nine alone and Number Ten being recorded in St. Louis in 1976-77 with Klyd working with the Harlemans as a trio. Nonetheless, it was a beautiful end to a remarkable adventure initiated by a group of artists who took the revolutionary edicts of radical 1960s poetry straight to their hearts. "These days we hear now and then of new fans who have continued to find Poetry Out Loud through the used record bins," Klyd reports. "Thirty years later, the world has not entirely forgotten Poetry Out Loud, just as it never entirely heard of it in the first place."
1975. Another solo set from the Harlemans. Notes by Robert Palmer (Rolling Stone/Downbeat et al): "With this ninth volume of their "magazine" of oral poetry, the Harlemans penetrate more deeply into the resonances of speaking, chanting, and singing voices, and into themselves. Connections with the "ritual of the irrational," the cultivation of states of disassociation or trance. were present in their earlier work, but here, in the sound pieces "Trance," "Fear For My Body," and "I Give My Body To The Drum," they are explicit. Using the narrow melodic range, chant-like insistence, drum and metallophone accompaniment, and out-of-body flight images so central to shamanist tradition, the Harlemans confront a "new" use of oral poetry which is, of course, an old use also. The recitation of written texts of written texts – the "modern" way – has been superseded by the creation of poetry in sound and, in these new compositions, by the deliberate use of some of the effects tape makes possible with the idea of affecting the listener quite directly. All poetry, all art in fact, aims at a similar ordering of "thought, feeling, and apparent sensory impressions" (in the words of William S. Burroughs), but certain music, dance and other art attempts to actually trigger and control various psychological experiences. The ritual of the Central Asian shaman is an example. It is the shaman's task to pass into a trance state and report back to his community of the spirit world. In order to achieve his altered state of consciousness he resorts primarily to various organized sounds. He chant/sings, using a restricted melodic range in a repetitive pattern, a process which helps create a trance state because of the nature of hearing. The basilar membrane, a structure in the inner ear where soundwave vibrations are translated into neural impulses, is pitch sensitive and pitch discriminatory. That is, various areas of the membrane respond to various specific pitches by sending electrical "charges" along specific nerve pathways to the brain. When these areas of the membrane are "massaged" regularly and in sequence, as in strictly modal music or in much chant, the repetition sets up a hypnotic pattern of impulses. The shaman accompanies his voice with a drum and some sort of metal instrument, both of which produce the kind of sound physicists refer to as "steep fronted," that is a "noise" sound with tightly packed overtones. In addition, drum sounds have an extremely rapid decay time. Such sounds, with their welter of enharmonic pitches, stimulate most of the surface of the basilar membrane, thus ensuring the transmission of as many simultaneous neural impulses as possible to as much of the brain as possible. And the neurons are able to rest between firings because of the rapid decay time of the sounds, thus insuring continuing peak effects for the sound and allowing changed or other sung material to periodically resume its own hypnotic pattern. In other words, the shaman's basic equipment – voice, drum, rattle – is actually a sophisticated tool for self-induced hypnosis, or trance. This self-programmed, inner-directed cultivation of dissociation, which is at the heart of magico-religious traditions the world over, is contrasted on the present recording with involuntary disassociation from each other and from the wellsprings of their own thought and actions. The first kind, practiced as a rite, puts one in touch with worlds within. The second, accepted by many as the price of living, is the source of much unhappiness and pain. Thus the narrator in "Take A Sip Of Me" casts herself in the extreme role of a disembodied cup of coffee in order to reach out to another person: "I won't burn you," she is forced to add to her invitation. Thus the quintessential evocation of mortal fear, "Fear For My Body," which in its more morbid manifestations bespeaks a dissociation bordering on the pathological. "I Forgot Your Name" is a somewhat lighter treatment of disassociation; as a vision of the widening gulf between the sexes it is a little reminiscent of a Rolling Stones put-down song, with echoes of Elvis in the delivery. The musical comparisons are apt ones, because with this album the Harlemans move closer to music, just as music is moving closer to the inflections of the voice. In "Curing," which Peter proposed as an antidote to the malady of separation, Patricia's opening whines sound like an electronic synthesizer, until one recalls that the synthesizer was originally designed to give computers a "voice" and is thus an imitation of the Real Thing. And while "Trance" has the proscribed melodic vocabulary of the chant, "I Give My Body To The Drum" makes use of that most musical of devices, the well-timed modulation. But this use of music, and again it is a very old one, has to do with the creation of magical effects for the purpose of achieving magical results. In his The Wellsprings of Music Curt Sachs wrote that "Everything that sounds, be it in the cruder form of frightening noise or the organised patterns of music, bears the brunt of mankind's eternal strife against the hostile forces that threaten his life and welfare; and, just as well, nothing better than sound can summon the powers of luck and prosperity . . . Even language stresses unity of singing and magics as the Latin word incantation, 'magic formula,' derived from cantare, and the English charm, from carmen. Whenever singing is an act of ecstasy and depersonalization, it moves away from ordinary human expression. The voice is often remote from being as 'natural' as we believe our own execution to be. It is coloured by pulsating, yodelling, ventriloquizing, or bleating. One screams, yells, squeaks, mumbles, and nasals." Sachs sentences on the origins of music are strikingly descriptive of what the Harlemans are up to They've been pioneering in this area of speech / music / magic with each successive album, and with # 9 they've done it again."
All proceeds from the sale of this release will go to Tom Carter. Read more about the appeal here: http://www.volcanictongue.com/tomcarterappeal
Follow-up to the first volume of this on-going series that joins the dots between an earlier generation of American Primitive guitarists and contemporary intuitive sound-as-thought players. Once again Jack Rose is featured (with an absolutely gorgeous 6 string re-think of "Cross The North Fork 2") but every other player puts in a first-time appearance on this volume. The inclusion of Christina Carter is a particularly inspired move and one that speaks of the liberated range of the series in general and her track is a beauty, a stubby acoustic guitar miniature. Nice cover snap too. Other tracks include a particularly mesmeric recording from UK guitarist James Blackshaw and contributions from Peter Lang, Jesse Sparhawk, Michael Chapman, Sean Smith, Fred Gerlach, Billy Faier, Sharron Kraus, Robbie Basho and...uh...Jose Gonzalez. Another rich, far-sighted assortment from this great label.
Excellent compilation of contemporary dissident European electronic/synth/Industrial/new wave sounds from this synth-focussed label. The follow-up to their epochal Electronic Renaissance LP, this one bundles a bunch of current Euro-heads with a serious jones for the early Industrial sounds of DAF/Absolute Body Control/S.P.K./Throbbing Gristle/Kraftwerk along with touches of Suicide, Public Image Limited, Minimal Man et al. There isn't a duff track on the album but some of the highlights include Agent Side Grinder's evocative/magickal "There Is A Sound That Always Goes Out" that mirrors Coil's work circa "The New Backwards"/later-TG, the amazing Vincent K's "White Sheet Glory" that crosses Billy Synth-style keyboards with an amphetamine motorik appeal and throat-shredding vocals that make it sound like the most manic La Dusseldorf track of your life and the midnight stylings of Adolf Filter's beautiful Harmonia/DAF/Kraftwerk-esque "Inner Walls" cut up with the kinda fractured loner vocal that could almost be Peter Jeffries. Other artists featured include Dolina, Nosztalgia Direktiva, Codes, Le Triangle De L'Androgyne, the fantastically named Pierre Normal and Yseult Descieux. A great way in to the current underground Euro synth scene – which seems to have the same relation to its source material as the 80s garage explosion had to Nuggets et al – and an excellent companion piece to Poutre Apparent's historical survey of the French new wave scene. The set comes in a handsome gatefold sleeve with a bonus 7" and is highly recommended.
Brand new tribute set of cover versions and punk extrapolations based around the phenomenal body of work birthed by Mr Jojo Hiroshige aka Alchemy label boss and Hijokaidan mainman. Features a totally disobedient Beefheart-style rave-up from the Oshiri PenPenz, microphone-gobbling action from Masonna (first new recording in years), great psych/pop stylings from Doodles, monstrously deformed guitar/noise from Solmania, GaramonKakinoki +AOL and a whole bunch of other punk Kansai Industrialists. Think of it as a particularly focussed Night Gallery instalment. Highly recommended.
Follow-up to the great Time And Relative Dimensions In Space compilation with a two CD set once again dedicated to long-form drone works. Exclusive tracks from Birds Of Delay, Bruce Russell, Son Of Earth, The Opera Glove Sinks In The Sea, White/Light, Keenan Lawler, Bird Show/Lichens, Of…Ohv, The Zoo Wheel and The Gray Field Recordings.
Still the motherlode: Alga Marghen's beautifully presented Revue Ou box set remains the greatest collection of sound poetry recordings currently available, bundling key tracks from all the main players. Revue Ou was Henri Chopin's audio-journal and documented the massive leaps in Ur-tongue and text-sound experiments made by a diverse group of 20th century pioneers, including major pieces by Brion Gysin, Bob Cobbing, Chopin himself, Bernard Heidsieck, Sten Hanson, Arthur Rimbaud, Francois Dufrene, Paul De Vree, High Davies, William Burroughs, Ake Hodell, Ladislav Novak, Raul Hausmann, Gil Wolman and more. This staggering deluxe set came in an edition of only 300 copies. The first five LPs are picture discs that replicate the original Revue Ou recordings from 1964-74 while the final sixth disc is black vinyl and contains bonus material. A totally vital starting point for anyone investigating this highly-influential period of avant thought and long OOP and unavailable in this form. Highest possible recommendation!
Second OOP volume in this mind-bogglingly ambitious series released by RRR / Troniks / Ground Fault that attempts to map key underground fault-lines across the USA by gathering a full LP side from a clutch of the most forward-thinking motherfuckers in their respective, geographically-distinct scenes. Bunch of disparate players included on this first California volume, all of whom share the common goal of expanding primitive 'musical' modes with the kind of beautifully formulated atonality that forsakes any previous notions of dialogue or tongue in favour of complete, intuitive noise-informed communion. A solid listen from start to finish but stand-out sides include: The Cherry Point, with an amazing noise blat that sets a whole new standard for sublimated tonal wipe-out and somehow manages to evoke Hendrix's machine-gunning of The Star-Spangled Banner - in terms of bloody-minded iconoclastic disruption - while echoing Matthew Bower's experiments in loading white-out zones with hallucinatory melody; The Skaters, who contribute a string of short tracks that are very minimal and relate more to their early New Age tape releases, albeit cut-up with some Eurasian tapes and rounded-off with a beautifully profound and very affecting disco/gospel loop; Rick Potts' Solid Eye project, that provides an umbilical to classically cranky early American avant goof; GX Jupitter-Larsen, who contributes some long, minimal trance damage; Yellow Swans, on their heaviest bone-bending form; Spastic Colon, who sound most like late Nurse With Wound Rock'N Roll Station-style paranoia; Damion Romero and Oscillating Innards, both of whom contribute monoliths of unforgivingly harsh noise dynamism. Also features great sides from Open City, the always amazing Amps For Christ, Joe Colley, Control, Gerritt, Moth Drakula, Rubber O Cement, Sixes, Tralphaz, John Wiese (another killer), Xome and Rhy Yau. Limited to 1000 copies, this is the Ground Fault edition that is numbered to 300 with alla the discs bound in card California wraps and a bonus California state badge. Mind-blowing.
Found a limited amount of the first volume of this on-going series of box sets documenting various regionally-specific free/noise scenes, the California RRR/Troniks/Ground Fault set being volume 2. Every copy we have has individual hand-made artwork and looks completely different. This one features original side-long material from a heavyweight line-up of Can't/Jessica Rylan (killer material), Prurient, Sickness, Human Is Filth, Mr. Brinkman, Diagram A, Karlheinz, Immaculate:Grotesque, Skin Crime and Brutum Fulmen. Sealed.
Three-way split of extended live sets for this volume of Heath Moerland's (Sick Llama) compilation series, with jams from New Pledegemaster, Steve Kenney (Demons) and Slither all drawn from their recent tour. Hand-numbered edition of 50 copies.
Great limited triple LP set that bundles two nights of wild free jazz that Qbico presented in Detroit and Buffalo back in 2006. High energy sets from Arthur Doyle & Electro-Acoustic Ensemble, Andrew Barker & Daniel Carter, Steve Baczkowski & Ravi Padmanabha, Muruga Free Funk (with Perry Robinson), Faruq Z Bey & Northwoods Improvisers and Odu Afrobeat Orchestra.
Fantastic compilation of all unreleased tracks from this great NJ label. Exclusive jams from Julian Lynch, Pill Wonder, Ducktails, Fluffy Lumbers, Big Troubles, Andrew Cedermark, Frat Dad , Dana Jewell, Air Waves, Family Portrait, Alex Bleeker, Mountain Man, Real Estate, Rainbow Bridge and Liam the Younger.
Compilation featuring unreleased tracks from Connelly & The Machines, Body Morph, Hive Mind, Dog Lady and Drainolith: "So the other day, me and my lab buddy supreme Scott were knee f'in deep in trying to find out if a huge craggly motor was delta or wye three phase connected, and needless to say, was NOT having luck. It was a one of them RAW bologna built motors that has wire numbers, but its pointless cause its all on its own weirdo system. Whatever. So as usual, we shot the shit. "What's up this weekend man?" "Not much, got a killer afternoon gig at the spot on Sunday...." "What's a gig?" "Ah.... I'm having some of my weirdo friends over to make ah.... music...." "You make music?" "Sure" "Would you ever play a 'gig' for the troops?" "We should get black to that motor...I think I know the lead wires now..." "Well, I can't come over, I gotta fix my tires on my hunting jeep, but you know what would rule Olson?" "What's that?" "If you would press that jammer on wax, mix all the tracks together into one inzane mess and sent it to Smith out west to press...." "Man, you might be on to something" "Make it one long one-sider with a lock groove, I mean shit...that's how I remember gigs anyway.... and just use a flyer for the cover!!!" "My man!!!" So I took Scott's advice. Took the killer matinee jam, got out the scalpel, mixed everything together seamless inzane style, book ended it with an EVIL Hive Mind loop and boosh!!!! Pressed gig memory!!!! So it's just like a gig, except you don't have KNOX MITCHELL's dad dropping you off or Collino spilling brews everywhere or your secret recipe INZANE CHILLI remains burning up in the bottoms of an empty crock pot. Oddly, not a peep of crew-audience noise to be found. Dog Lady played acoustic string scrape, Dan Body jammed reed universe from the uneven side (and then BLASTED Disclose and Firmeza 10 in the jamm room), Drainolith is my main man Alex K from Montreal and kept it uber real with amazing synth scramble, live from yep, THE BASEMENT. Greh said he did a cover of THE SHINING but I've never seen that mini-series. Dead Machines and Connelly jammed magical pixie flutes, infected metal scrape and vocals from an eerie afternoon lagoon. Like an endless gig, ...you gotta SIT THRU THE WHOLE THING...in one inzane memory blurr surpreme.... Record ends with an EVIL Hive Mind lock groover, endless...party. ... forever.... Was a blast, more of this style to come. And BYOB!!! There are three party stores right in the hood, duh!!! 2pm SHARP!!!> Edition of 100 in handmade recycled sleeves, numbered." – John Olson.
Irresistible new compilation CD from the reactivated Alchemy Records, an all-female psych set curated by Jojo Hiroshige of Hijokaidan. Features fragile, breathless song stylings from a bunch of upcoming femmes including Akiko Hodaka (formerly of Maher Shalal Hash Baz), Mai Mishio of Uzumibi, Hirachin of Oninko! and Totsuzen Danboru, Shiho of Ten-No.5 and Yuka Fujita of the excellent Chozu. "Produced by Jojo Hiroshige of Hijokaidan (The King Of Noise), the godfather of Japanese noise music and the owner of Alchemy Records. He realized the strength, fragileness, delicateness and other elements that only women could have are the keyword for this decade. This album contains 11 tunes from emerging female musicians that Hiroshige picked out from the Japanese underground music scene." – Alchemy.
Edition of 500 copies compilation LP with exclusive tracks from Akron/Family, Joanne Robertson & Matthew Ashworth, Wand, Natural Snow Buildings, Married In Berdichev, Moon Duo, The See See and Seadog. Comes with a full colour zine featuring artwork by Jake Blanchard, Pete Fowler, Andrew Rae, Will Sweeney, Sarah King, Olange Gularte, James Trimmer/Mirt and Mat Pringle.
Still one of the wildest of the legendary Bloodstains comps, with a round-up of classic disobedient wastoid DIY from Sweden, inclduing classic sides like Kriminella Gitarrer's "Sylvias Unge", Rude Kids' amazing "Raggare Is A Bunch Of Motherfuckers", Watabout, Bugs, Glo, Usch, Brulbajz, Mizz Nobody, Butter Utter, Vicious Visions, Liket Lever, Blodarna...
Fabulous follow-up to the same label's Ongaku 70, this set takes in a buncha obscurities from the Japanese underground of the 1980s, all of which would contribute to the momentum that gave birth to the scene's explosion in the 1990s. Alongside stuff that some heads might know - Phew of Aunt Sally's "Urahara" from 1980, schizophrenic Pinakotheca recordings artists Tako, the mutant techno of Riuichi Sakamoto's "Riot In Lagos" – there's a ton of alien tongue, ranging from EP-4's thudding tape-damaged Industrial punk through Lizard's acid-damaged prog-pop, Portray Heads' transplanted Trans-Europe Express, Gunjogacrayon's usurping of James Chance & The Contortions and prefiguring of The Boredoms, the amazingly titled Daisuck & Prostitute's blunt punk/funk, Shinobu's psychedelic cold wave and Pta's epic unclassifiable Josef K-play-Can-play-"Rapture" 1982 8 minute masterpiece "Woo-Guy After Dark". Another phenomenal set that is sure to blindside anyone who considers themselves an expert on this endlessly inventive scene. On pink/white splattered vinyl. Recommended!
Necessary compilation of one of the most revered and whispered-about Japanese underground labels, Vanity Records. Vanity were briefly active in the late 70s and early 80s. Run by Agi Yuzuru, who also edited Rock Magazine, the label released 10 LPs, 3 singles, a double compilation, a bunch of cassettes and even a few flexi discs that came free with issues of the zine. Vanity offers a uniquely twisted vantage point on a creatively accelerated period, translating what was happening in the punk and No Wave scene in New York as well as the UK and European Industrial explosion via the Japanese aesthetic of Further. One of their most highly regarded releases was Tolerance's 1981 LP Divin, a long-term VT touchstone, a group that combined minimal Industrial electronics with primitive techno and the sound of the Japanese grid for the perfect nocturnal soundtrack. They're represented here with the classic TG whipcrack sound of "Sacrifice". Groups like Sympathy Nervous have a classic cracked middle-European new wave/synth deadpan quality but with drum machine and keys that come over like a home-recorded "Diamonds, Fur Coat, Champagne". Dada's amazing 1978 recording "Yuuen Inraku Gaki" combines wailing Far Out-meets-Fripp lead guitar over martial percussion and choirs of Popol Vuh-styled synth, directly connecting the new wave with earlier psych experiments. This one is up there with that phenomenal Onna 7" that came out on Holy Mountain: Julian Cope definitely needs to pick up on these guys. Mad Tea Party have a great stumpy idiot-avant appeal that anyone who digs Gasaneta/Guys N Dolls circuit will pretty much swoon. Phew's punk group Aunt Sally are represented with a self-titled track from 1979. Also features wild tracks from RNA Organism, BGM, Arbeit, Morio Agata, Normal Brain, Perfect Mother and Kiiro Radical. A secret history of yet another side of one of the most fertile experimental music scenes in the world. On white/pink spattered vinyl. Highly recommended.
Aces-up compilation of idiotically great and previously unheralded minimal synth, proto-Industrial and experimental bedroom electronics from the glory years of the Swedish underground in the early 1980s. Originally released on cassette by Tor Sigvardson of 18:e Oktober on his Neukoln label, this presents a re-mastered version complete with five previously unreleased tracks that were excluded from the original due to time limitations. Most of these groups were solitary operatives working out of small villages dotted across the country and communicating via tape trading networks and as such much of it has the feel of primitive electronic folk music, with classic angsty adolescent posturing filtered through dark, post-Industrial atmospherics, monotone robot vocals, whipcrack electro-percussion and repetitive rhythmic keyboards. Influences like Throbbing Gristle, Kraftwerk and the second Suicide album share shelf space with contemporary synth pop moves but something about the isolated circumstances of its creation makes the music seem oddly lonely, like tone-dialling across lost shortwave stations late at night and stumbling across loner adolescents man-handling cheap electronics and power-breathing into hissy microphones while dreaming of an automated future where they get the girl, all their problems are solved and memories of their dull country upbringing are blown to shreds. Styles vary from beautifully 'emotive' new wave shakers through weepy/melodramatic teenage Euro-pop ("Respect me for my strange ideas!"), creepy/psychotic mood pieces, austere Eastern Bloc/Warzawa-styled instrumentalism and some fabulously minimal tone threat, all rendered in a totally endearing hands-on/DIY style. Features tracks from Glenn Winter, Santiago de Gil, Ferdinand Rhtm, Arvid Tuba, Artificial Control, The Heart Of Darkness, Caique, Corteche, Spilluffe, 18:e Oktober, Moulin Rouge, Peter Tengvall, Engurdetz, Art Division, Patchwork, Ausgang Verboten and Overlords. Comes in a gatefold sleeve with in-depth liners on 160g vinyl and in a hand-numbered edition of 999 copies. Almost too much – highly recommended.
Ass-blasting double LP compilation of wild Dutch punk, still some of the crudest ever spat to wax. Amazing tracks from Ivy Green ("I'm Sure We're Gonna Make It"), Helmettes, Panic ("Requiem For Martin Heidegger"), Flyin' Spiderz, Speedtwins, Paul Tornado, Suzannes, Tits, Mollesters, Filth, God's Heart Attack, Mecano Ltd, Subway, Mort Subite, The Brommers, Shith, Coitus Int. Vopo's, The Ex, Nixe, Rondos, Nitwitz, Trockener Kecks and Frites Modern. Excellent sleeve notes too.
Hard to believe that this is the 200th release for the consistently greatest contemporary underground label in the world but what better way to celebrate than a new instalment of their legendary Tokyo Flashback series that documents the state of Tokyo's psychedelic underground circa now. A few artists will be familiar to the VT hardcore - ex-Overhang Party mainman Rinji Fukuoka's Majutsu No Niwa's classic take on garage psych, Reizen's amazing flat-lined guitar tectonics – but the bulk of the material makes an even deeper past through subterranean Tokyo. The ass-flatteningly great Soldier Garage explode into life with the kind of cacophonic guitar noise of early-Fushitsusha before floating all the way out on Suishou No Fune-styled acid balladry while Mamushi stagger all over blues and Neil Young-styled collapsing universe dynamics with alla the staggering high-wire drama of prime Kousokuya. Oser walk the line between Borbetomagus/Demo Moe-styled freakout and lurid Incapacitants-inspired noise mash-ups and Metaphoric use two treated electric guitars to generate the kind of eternal music of the Fripp/Eno collaborations. Demons describe Kaoru Abe, Rotten Telepathies and High Rise as being "like a Led Zeppelin to us" and come over like Oshiri Penpenz play Mark Fry. Netanoyoi play blown-out punk with an aggressive angularity and an almost Org-like naivety while the righteously-named Heavy Metal Glue feature members of White Heaven, Marble Sheep and Church Of Misery and play supremely crude psychedelic rock with thudding riffing and Kraut hypnotics applied to doomy 70s metal bombast and gasoline-huffing blues. The whole set comes with a booklet featuring pics and liners and it makes for one of the best instalments of this vital compilation series in an age. Highly recommended!
Limited benefit CD-R arranged by the Hebden Bridge squad in less than 24 hours after Charalambides were forced to cancel their show there due to Tom Carter's sudden illness, all proceeds going directly to Tom: tracks from Ashtray Navigations, Neil Campbell, Spider Stacey, Dylan Nyoukis, Bridget Hayden, Astral Social Club, Rick Tomlinson, Konntinent, High Aura'd, Listening Mirror, Will Bolton, Isnaj Dui, Kyle Bobby Dunn, The Failed NASA Experiment and Caught In The Wake Forever.
Staggering box set that gathers the first five volumes of the epoch-defining Rubble collection, originally issued by Bam Caruso in the 1980s that best articulated the freakbeat/psych sound of the UK underground in the mid-to-the-late 60s: Rubble was the UK's answer to Pebbles and while they were pre-dated by comps like Chocolate Soup For Diabetics, they pretty much set the standard for the presentation of obscure F/X saturated pop psych, amplifier crunching freakbeat and dopey tea-sipping and budgie-baiting lysergic fop. I've long been of the opinion that the influence of The Beatles has been one of the most baneful in rock/pop history but it's possible to make the argument that the influence their more experimental pop sides had – specifically Rubber Soul and Revolver, w/a nod to Sgt Peppers and the early Pink Floyd – on the UK underground was not without merit. Rubble consists, basically, of groups trying to ape, cash-in or exceed The Beatles' most dosed sides and in their determination to go beyond "Tomorrow Never Knows" these groups were responsible for some of the most inspired, moving, beautifully stupe pop/rock music of that or any age. I guess it's more Beatles' concepts of 'songcraft' that tend to function as their inheritance rather than their more 'experimental' tendencies, and it could be argued that the British psych explosion is the sole legacy of their more advanced explorations of the potential for F/X augmented rock/pop settings to massage your brain as dramatically as any psychoactive substance. Regardless, there were so many amazing sides released in the second half of the 1960s in the UK that it more than matches the parallel garage explosion in the USA. This massively heavyweight box set bundles the first five volumes of Rubble - The Psychedelic Snarl, Popsike Pipedreams, Nightmares In Wonderland, The 49 Minute Technicolour Dream and The Electric Crayon Set – all with reproductions of their original sleeves and with a full-size booklet with detailed notes, ephemera and rare photos. The track listing is dazzling, a virtual who's-who of Floral Albion, with sides from Kaleidoscope, Wimple Winch, The Misunderstood, The Pretty Things, Tomorrow, The Koobas, Jason Crest, The Attack, The Flies, The Open Mind, Caleb and many, many more. Listened to in one sitting, the early Rubble sides sum up the utopian pop project of UK psych, a distant neverland that both exaggerates and parodies Englishness and that in many ways feels like the first pop stirrings of England's eternal hidden reverse. I feel like I have somehow internalised all of this music so completely that my own biography is somehow tied up in it, even as I missed out on it first time around. But really, this is the motherlode, one of the greatest repositories of psychedelic excess, all in the one place. Highest possible recommendation!
Edition of only 50 copies hand-cut lathe with insert and download documenting some insane pipe and drum music recorded live in the field by Anthony Milton: incredible degree of out of body hyperventilating going on here, with crude pipe stylings huffing all the way to unconsciousness while drums batter our ritual tattoos and wild get-down stylings. A side was recorded at a 36 hour non-stop street fiesta in the village of Sorata in the High Andes while the flip was at an overnight bacchal in a bamboo hut in the village of San Miguel del Bala in the Amazon basin. Line this one up to next to an Albert Ayler boot and your favourite Vibracathedral Orchestra CD-R for maximal brain rearrangement.
Unlikely round-up of pre-rock/roll 78s from the other side of the world that anticipate or osmose contemporary rocking moves while mutating them well beyond the remit: this is a highly addictive collection of high energy world music that runs the gamut of re-orientalised country orientalisms, jump jazz, samisen boogie woogie, early Egyptian and Indian rock n roll, organ-stomping cumbia and hillbilly boogie. Beautifully presented too, in a cool tip-on sleeve with the kind of graphics you might wanna frame. Love this. Recommended.
Second instalment of this fascinating series that collects 'stray' short tracks from the GRM Vaults: this one concentrates on early pre-1976 works from four composers who went on to blaze singular trails. Denis Smalley is probably best known for his amazing 1979 recording The Pulses Of Time and he is represented here by 1974's "Pentes" a beautiful piece of widescreen drone based around the sound of the Northumbrian Pipes. Dominique Guiot's 1974 recording "L'oiseau de Paradis" presents a series of dramatic soundscapes scored as if they were a screenplay, Pierre Boeswillwald's 1971 "Nuisances" is an eerie noise/drone work that uses 'pollutants' or 'nuisances' while Rodolfo Caesar's "Les Deux Saisons" from 1975-76 is an improvisation using glass organ and a frequency modulation device.
Third volume in this on-going series that documents various stages of evolution of the Japanese underground: following the 70s and 80s the 90s set is the real gravy and represents the decade that was the most creatively accelerated in terms of underground activity. Cream of the crop here is an amazing studio recording from the classic trio Fushitsusha line-up, "Magic V", with Haino on electric guitar and vocals, Yasushi Ozawa on electric bass and Jun Kosugi on drums recorded during the sessions for their 1993 album for John Zorn's Avant label, Allegorical Misunderstanding. Haino's vocal are particularly potent, moving from a high lamenting style to aggressive epiglottal action while the group work the kind of complex rock rhythm equations that would come to define their current incarnation. But that's not all. There's a classic "Moungod" live ritual from Masaki Batoh's Ghost, from their classic self-titled 1997 debut, "Moungod Te Deum" and Hoppy Kamiyama's legendary God Mountain label is represented by Demi Semi Quaver's "A*merika". We also get a great goof of a track from 'noise' legends The Gerogerigegege and tracks from Phew, composer/trumpeter Jun Miyake, Ryuichi Sakamoto, E*trance, weirdo J-pop from Takako Minekawa and of course no 90s overview would be complete without a track from legendary guitarist/songwriter and Org recording artist Idiot O'Clock. A great and wide-ranging overview of the creative tumult of underground music in Japan in the 1990s. Recommended.
Very limited reissue of this legendary Broken Flag compilation originally released on cassette in 1983: this reissue was originally intended to coincide with the Never Say When Broken Flag event that took place in London in May of 2012 but it's only now seeing the light of day. This is one of the most radical and profoundly a-musical documents of Broken Flag's uniquely primitive and ferociously raw DIY aesthetic. It features exclusive tracks from Ramleh, The New Blockaders, Sir Ashleigh Grove, Vortex Campaign, Citipati and Depilate Corps. The Sir Ashleigh Grove track (a New Blockaders 'satellite') is particularly astounding, a long two/three note track of scouring minimalist debris and fucked-up martial beatbox that sounds like buckled metal played by Sun Ra. The New Blockaders track is a beautiful example of their ferocious early DIY electro-acoustic style with that shed at the bottom of the garden appeal that makes the early recordings so unique while working in the same area as Ferial Confine. The Ramleh track is a totally hysterical and barely comprehensible live 'power electronics' assault while Depilate Corps turn in an eerie feedback choral that's heady with implied threat. A phenomenal set, one of the best early Industrial/noise compilations and a solid spin from start to finish, highly recommended!
Much-anticipated fourth volume of this mind-numbingly amazing collection of "fuzzed-up boot-stomping continental low-life heaviness 1969-1975" in an edition of only 300 copies: this one is focussed on European levels of caveman ugh, pre-metal, pluke-popping glam and proto-punk brain donation with a choice run of ridiculously OTT hysterics. Silence are to Led Zeppelin what Blue Cheer were to The Jimi Hendrix Experience, favouring volume over technique across two amazing power-grunting sides. Germany's Propeller sing the praises of an "Apache Woman" while Belgium's Angie make for one of the most confusing wimpy power ballads in the form of "Streetlight Fight". Mothers Of Track drop the classic "Motorcycle Rock" while Good Time Joe turn up the Stones/Dolls swagger with "Slipstream". Also killer tracks from no counts like Mushroom, Corporation, After Shave (!), Blackbirds 2000, Tiger, Tykes, Maternal Joy and the mind-blowing closing track from Germany's Cindy & Bert that immortalises the Hound Of The Baskervilles to the tune of Black Sabbath's "Paranoid". Too fucking much! Another amazing, life-affirming volume from one of the most insanely enjoyable of modern underground compilations. Immediately sold out at source, highly recommended!
Jaw-dropping collection of 'outsider' old time rural jams curated by Frank Fairfield: painstakingly re-mastered from original 78s this is an ass-whooping collection of alien and otherworldly fiddling, singing and haunting with a focus on Anglo-American down-home music. The focus on this particular point of transmission in the hands of outsiders who were receiving it in a bunch of different tongues means that you can hear the way that original English folk styles were warped by the very landscape they were transported to, opening out into endless speedy drones and high eerie string works, fusing the melancholy and celebratory aspects of English folk into a uniquely driving hybrid that feels like its lighting out, in faith and fear, into the promised scale of America itself. The music is epic and personal, mythic and hands-on crude and with an atmosphere that feels like a goddamn time machine. Amazing rarely heard tracks from Bob Skiles Four Old Timers, Willard Hodgin, Fred Shriver, Mustard and Gravy, Tweedy Brothers, Happy Hayseeds, Lemuel Turner, John Batzell, Homer Davenport, Lewis Brothers, Ernest Rogers, McLaughlin's Old Time Melody Makers, Alphus McFadyen and South Georgia Highballers. Highly recommended.
Latest instalment in Tompkins Square's great Long Gone series focuses on some of the rarest and most forlorn music from South-West Louisiana: plenty of power crying and lonesome string shuffles here, with a raft of 78s that have never been compiled or even heard outside of a band of believers. A bunch of magisterial musical stylists, including all of Percy Babineaux & Bixy Guidry's 1929 recordings and most of Angelas Le Jeune's 1929-1930 recordings with Denus McGee & Ernest Fruge alongside the newly 'discovered' 78 of Blind Uncle Gaspard & Delma Lachney. Loving the last few Tompkins compilations and this is another solid sender.
ONE OF VOLCANIC TONGUE'S RECORDS OF THE YEAR 2013!Fifth and final volume of this ridiculously entertaining series, this time with "13 slices of slimy colonial grillfat and mindless Aussie boogie excursions" in an edition of only 300 copies: this is the long-time coming Australian volume of nada brain cell cock-rocking thug, proto-metal and junked-out glam and it just might be the stoopidest instalment yet, which makes sense as in many ways Australia is the spiritual home of Bonehead. Highlights include Toxic's ultra-fucked proto-punk "First Time" with production that comes over like The Prats mixing Raw Power, Head's street-fighting/street-sleeping anthem "Hobo", The Ash Band's failed fag end masterpiece "Let's Go", Fat Daddy's "Fat Funky Rock 'N' Roll", which does exactly what it says on the tin, King Harvest's sledgehammer assault on "Jumping Jack Flash", Geeza's amazing Bon Scott sleaze celebration "Sydney City Ladies" and more from Twister, Francis Butler's Sixty-Niners, Chook (!?), Sparkle, U Turn, Bullet and Macarthur. A suitably outrageous swansong for this sainted series. Edition of only 300 copies, already sold out at source, highly recommended!
Beautifully presented flexi disc with a screen-printed book: Modern Duets hooks up a buncha contemporary underground units with the sculpture of their choice and the instructions to jam on it. Exclusive tracks from Control Unit, the duo of Silvia Kastel and Ninni Morgia, inspired by Jean-Pierre Dantan's Victor Hugo in plaster, 1832, Berlin's Sea Urchin riff on Amadeo Modigliani's La Saggezza in stone from 1909, Half High, from Sydney Australia, a psych/Industrial off-shoot from Naked On The Vague jam to Elie Nadelman's Head With Bowler Hat in plaster, 1915, Beijing's Soviet Pop choose Constantin Brancusi's Untitled plaster work from 1910 while Australia's Primitive Motion contribute a stunning slice of hallucinatory dream pop drama inspired by Jean Arp's Bird Man in wood, 1920. Packaged with a sewn-in flexi and a spare back-up disc. Comes with a free download. Great set, highly recommended.
Wild, aces-up collection of primo French 'paink' from the glory years of 75-82: continental punk is notable for its total excess, its taking punk way the hell at its word and its breaking out and freaking with it and as such it's a lot more a-formally spuzzy than its often tepid UK counterpart. If you still have your doubts then live through this: Gasoline's "Killer Man" exists somewhere downwind of a Bonehead Black Flag while Guilty Razors "I Don't Wanna Be Rich" is pure low-slung snot and tinny amphetamine appeal. Dogs' "Nineteen" has a classy Detroit swagger to it while the genius Soggy don't need more than two chords while they're "Waiting For The War". Strychnine's "Ex BX" is a breakneck account of total Euro wasterism complete with the kinda 'squeal' that would keep John Fothergill happy. No duffers here, with more killers by Les Nouveaux Riches, Electrochoc, Sexe a Pile, Marie France, Ruth Elyeri, Les Olivensteins, Coronados, Warm Gun and Gloires Locales. Recommended!
Four-way split CD co-released with Smokers Gifts and Absurd by Phil Todd of Ashtray Navigations, with an eye on the contemporary DIY psychedelic underground in Yorkshire: mind-phasing guitar/sequencer jams that would dissolve Heldon in Folke Rabe's What from Shemboid, crude DIY electronics and eviscerated synth pop glossolalia from Phil Todd's Moral Holiday, cro-magnon synth/fuzz grunt from Foldhead aka ex-Smell & Quim member and Astral Social Club collaborator Paul Walsh and Joe Meek jams solo oscillator visions from Mel of Ashtray Navigations et al in her Ocelocelot guise. Looks like the north of England remain ground zero for blunt electro threat. Edition of 200 copies in circular die-cut covers.


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During the last couple of Lancaster County Council meetings, we have talked about cluster developments, applying for a volunteer firefighter retention grant and a capital projects sales tax. These three issues have raised questions and the cluster development overlay district (CDOD) has been shadowed in confusion, so I would like to talk about them in this column. Cluster development overlay district
A column, "GOP fails to improve economy," written by Sheila Bickford, head of the Indian Land Democratic club, was published in the Sept. 20 edition of The Lancaster News. Published on the same page was a column, "S.C. education impacts our global competition," by Phil Noble, president of the S.C. New Democrats.
South Carolina is at the top of an undesirable list when it comes to domestic violence deaths. The Palmetto State was ranked first in the United States in the number of women killed by men, according to a report released the last week of September by the Violence Policy Center in Washington, D.C. The ranking was based on 2011 crime data, where 61 women were reported killed at the hands of men. The homicide rate among females murdered by males was 2.54 per 100,000 people, the report said.
I am a 23-year-old U.S. soldier born and raised in Lancaster. I am deployed in Kuwait and would like to share what it was like to meet U.S. Congressman Mick Mulvaney on Oct 23. It was a great experience to have a talk with the congressman, receiving words of wisdom and also finding out we're from the same county. I've been deployed out of Fort Carson, Colo., for eight months and am scheduled to come home shortly.
The proposed Lancaster County Cluster Subdivision overlay district starts like this: …"Cluster subdivisions are residential developments which offer an alternative to traditional subdivision design, with the principle purpose being to encourage open space in exchange for a reduced lot size." The cluster overlay distrct sounds great, with 20 percent of the subdivision with open space, a way to preserve rural character.
How often has the doorbell rung or a child interrupted you while you were cooking, causing you to forget about the chicken you left sizzling on the stove – until smoke filled the house? This has happened in Lancaster on several occasions recently.
Beginning Jan. 1, 2014, U.S. citizens are required to have health insurance – with few exceptions. Key initiatives of the Affordable Care Act (i.e., healthcare reform) are fast approaching Oct. 1. These are new initiatives and there will be a lot of surrounding confusion. As a key health provider in the Lancaster area, we want to provide education to our community members in an easy-to-understand way, as well as help them sign up for insurance through the Health Insurance Marketplaces, Medicaid and/or assistance with their premiums for medical coverage.
Veteran's Day and Memorial Day are two notable occasions we pause to honor those who have served and others who have made the ultimate sacrifice in service to our nation in the armed forces. There are other days and other ways. One is with the Lancaster County Veterans Affairs Office, which is looking for dedicated folks to serve as volunteer van drivers to take veterans to medical appointments in Columbia and Rock Hill.

subset: commoncrawl


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January 31, 2010
Chris Clark GamecockCentral.com
Sickerville (NJ) Timber Creek had a couple of footballl prospects in Columbia this weekend. One was junior LB Quinton Alston, who talked with GamecockCentral.com about his trip on Sunday afternoon. ...More... To continue reading this article you must be a member. Sign Up Now for a FREE Trial
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Scrapbook MAX! Digital Scrapbooking Software
Archival Quality Digital Scrapbooking Software
Fantastic page Letha
great page Kimmy
Proud to be one of Moonbeams Creative Designers
Proud to be one of Kapiscraps CT Members
Thank you Kaye. Awesome pages Kimmy and Fonzzy!!
[FONT="Comic Sans MS"]After a lot of looking, and looking some more, my mom picked 2 winners....I was shocked since it took her forever...LOL....She loved them all, and like me, wanted to pick everyone as a winner....but then what fun would that be? <wink>
She picked..... *drumroll please*
wench and fonzzy
Your huge kit has been sent.....HUGS[/FONT]
Thank you Michelle great Kit and thank your beautiful mother Hugs + Kisses to you both
Wow, thanks so much Michelles mum and michelle!!
Congrats Fonzzy
Thanks for the gift awesome!!
Proud to be one of Moonbeams Creative Designers
Proud to be one of Kapiscraps CT Members
Congratulations Fonzzy and Kaye!! Can't wait to see your layouts with the kit!


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Library > Geography & Travel > South America
1999Description of the chain of mountains called "Andes" from Venezuela up to Chile. It includes phisical characteristics,location, maps, pictures,animations, best months for climbing, links for addicional information, download site, folk music, reference page, messenger area, etc.. The principal page is a version with frames that includes, identification theme, main menu, ecuadorian picture presentation. The download site has Andean music and Andes mountains screen saver. The page can receive coments and suggestions through the messenger site. The pictures used in this page was taken from web pages and own pictures. The references are included in the reference page.
NICOLASCARDENAL SPELLMAN, QUITO, Ecuador
TomasSan Gabriel, Quito, Ecuador
Age Range
19 & under
CESAR POZOColegio San Gabriel, Quito, Ecuador
Dayane PirezQuito, Ecuador
Paul OrtegaPrivate, Quito, Ecuador
Geography & Travel > South America
All ages


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Dr. Frank Soong and Dr. Lijuan Wang, with their 3D talking head
Honors & Awards
- The 3D Photo-Real talking head project won "Demo of the Year"@2011 in MSRA, which is also shown at Craig Mundie's Techforum 2011, Techfest 2011 (including public day), Exec Retreat 2011, MGX 2011, with great press coverage (MSNBC, PCWorld, CNET, The Seattle Times, etc.).
- Dictionary Talking Head is selected as MSR highlighted 18 "tech transfers" (e.g. significant product impact) of 2010 from the worldwide labs (reported by PCWorld).
- The Photo-Real talking head project won NO.1 in Audio-Visual consistency test in LIPS Challenge 2009, an international audio/visual lips rendering contest held in the AVSP Workshop.
2D Photo-Real Talking Head
We propose an HMM trajectory-guided, real image sample concatenation approach to photo-real talking head synthesis. It renders a smooth and natural video of articulators in sync with given speech signals. With an audio/video footage as short as 20 minutes from a speaker, the proposed system can synthesize a highly photo-real video in sync with the given speech signals. This system won the FIRST place in the Audio-Visual match contest in LIPS2009 Challenge.
Video Demo:
An HMM-based Singing and Talking Head
This demo shows a trainable, Hidden Markov Model(HMM)-based, talking and singing head which can synthesize speech from a given text or singing voice from given lyrics and music scores (melody).
In training, audio/visual features along with the corresponding scripts (text or lyrics and melody) are used to train statistical HMMs where key features and their dynamics of basic audio/visual components are captured and parameterized statistically. In speech synthesis, a given text is first analyzed and decomposed into a sequence of phonemes along with their corresponding durations and f0 prosody. Thus generated speech parameter trajectories are then used to synthesize the final speech waveform. In singing voice synthesis, given lyrics and melody of a song is used to determine the pitch trajectory and phoneme durations and the information is used to drive the trained HMMs to synthesize a singing voice.
Since the HMMs are trained with a person's speech or a singer's voice data, personalized speech or singing voice can be optimally reproduced in the maximum likelihood sense. Head motions and synchronized lip-movements can be automatically synthesized with corresponding prosodic cues and viseme sequence and they can also be interactively modified.
Video Demo:
- Demo 5: "You and Me" by cartoon talking head (girl).
- Demo 6: "You and Me" by cartoon talking head (boy).
- Demo 7: Self-introduction by cartoon talking head (boy).
Computerized Audio-Visual Language Learning
For foreign language users, learning correct pronunciation is considered by many to be of the most arduous of tasks if one does not have access to a personal tutor. The reason is that the most common method for learning pronunciation, that is, to listen and repeat audio tapes, has the following important deficiencies: completeness and engagement. Completeness, in that audio data alone does not offer users how to move their mouth/lips to sound out phonemes that are perhaps non-existent in their mother tongue. Also audio alone is less motivating/personalized for learners, and as supported by studies in Cognitive Informatics, information is processed by humans more efficiently as both audio and visual inform.
The ambition is to create a visualized language teacher that can be engaged in many aspects of language learning from detailed pronunciation training to conversational practice. An initial implementation is a photo-realistic talking head for pronunciation training by demonstrating highly precise lip-sync animation for any arbitrary text input. So that, ESL users can watch synthesized videos to learn how the mouth moves with speech in a lip-sync manner for many sample sentences on Bing Dictionary (Engkoo).
Video Demo:
Live demo can be found on Bing dictionary (http://dict.bing.com.cn).
News Coverage:
3D Photo-Real Talking Head
We propose a new 3D photo-real talking head with a personalized, photo realistic appearance. Different head motions and facial expressions can be freely controlled and rendered. It extends our prior, high-quality, 2D photo-real talking head to 3D.
Around 20-minutes of audio-visual 2D video are first recorded with read prompted sentences spoken by a speaker. We use a 2D-to-3D reconstruction algorithm to automatically wrap the 3D geometric mesh with 2D frames to construct a training database. In training, super feature vectors consisting of 3D geometry, texture and speech are formed to train a statistical, multi-streamed, Hidden Markov Model (HMM). The HMM is then used to synthesize both the trajectories of geometry animation and dynamic texture. The 3D talking head animation can be controlled by the rendered geometric trajectory while the facial expressions and articulator movements are rendered with the dynamic 2D image sequences. Head motions and facial expression can also be separately controlled by manipulating corresponding parameters. The new 3D talking head has many useful applications such as voice-agent, tele-presence, gaming, speech-to-speech translation, etc.
Video Demo:
News Coverage:
- CNET News: Microsoft demos 3D photo avatars, display tech
- MSNBC Homepage Story: Realistic 3-D talking head made from 2-D video
- The Seattle Times: TechFest: Animating a 3-D photo avatar
A Multi-lingual, 3D Photo-realistic Talking Head
Speaking fluently a foreign language, without even attending a traditional or self-paced language course, is incredible if not impossible. In this demo, we create a talking head which can speak foreign languages. We use Chinese (to be learned) and English (native language) as the language pair to demonstrate this technology and authentic Chinese is spoken by an English speaker's talking head lip-synchronously in the original speaker's voice. The talking head and corresponding Mandarin TTS is trained with the English speaker's audio/video recording. Two advanced technologies, 3D photo-realistic talking head and cross-lingual TTS (Text-to-Speech) synthesis, are combined seamlessly. The Mandarin Chinese TTS was trained with 1 hour of the speaker's English data. The synthesized Chinese is then lip-synced with the English speaker's 3D photo-realistic talking head, by matching corresponding inter-language lip articulations between the English speaker and a reference Chinese speaker. We predict trajectories of the talking head with a statistically trained Hidden Markov Model (HMM) and render natural facial expressions and lips movements time-synchronously with the corresponding speech. The prototype is useful for applications like speech-to-speech translation, voice agents, gaming, and tele-presence and computer assisted language learning.
Video demo:
News Coverage:
Talking Robot
In this work, we turn our high quality, 3D photo-realistic talking head into a talking robot. Instead of displaying the 3D talking head onto a flat-screen display, our new 3D physical robot has its 2D rendered image sequence projected onto a plastic talking robot's face. The 3D talking robot has photo-realistic facial animation which is lip-synced with corresponding audio speech signals. The system consists of three components: a plastic face mask of the robot, a mini-projector which back projects rendered video images onto the plastic mask, and a laptop computer for rendering high quality audio/video for any given text input. The technology can drive different robots for many natural and user friendly applications.
More to come ...
- Lijuan Wang, Wei Han, Frank Soong, and Qiang Huo, Text-driven 3D Photo-Realistic Talking Head, in INTERSPEECH 2011, International Speech Communication Association, September 2011
- King Keung Wu, Lijuan Wang, Frank Soong, and Yeung Yam, A SPARSE AND LOW-RANK APPROACH TO EFFICIENT FACE ALIGNMENT FOR PHOTO-REAL TALKING HEAD SYNTHESIS, in ICASSP 2011, IEEE, 22 May 2011
- Lijuan Wang, Yi-Jian Wu, Xiaodan Zhuang, and Frank Soong, SYNTHESIZING VISUAL SPEECH TRAJECTORY WITH MINIMUM GENERATION ERROR, in ICASSP 2011, IEEE, 22 May 2011
- Lijuan Wang, Wei Han, Xiaojun Qian, and Frank Soong, Photo-Real Lips Synthesis with Trajectory-Guided Sample Selection, in Speech Synthesis Workshop (SSW7), International Speech Communication Association, 27 September 2010
- Xiandan Zhuang, Lijuan Wang, Frank Soong, and Mark Hasegawa-Johnson, A Minimum Converted Trajectory Error (MCTE) Approach to High Quality Speech-to-Lips Conversion, in INTERSPEECH 2010, International Speech Communication Association, 22 September 2010
- Lijuan Wang, Wei Han, Xiaojun Qian, and Frank Soong, Synthesizing Photo-Real Talking Head via Trajectory-Guided Sample Selection, in INTERSPEECH 2010, International Speech Communication Association, 22 September 2010
- Lijuan Wang, Shenghao Qin, and Frank Soong, Auto-Checking Speech Transcriptions by Multiple Template Constrained, in INTERSPEECH 2009, International Speech Communication Association, September 2009
- Lijuan Wang, Xiaojun Qian, Lei Ma, and Frank Soong, A Real-Time Text to Audio-Visual Speech Synthesis System, in INTERSPEECH2008, International Speech Communication Association, 15 September 2008
- Lijuan Wang, Tao Hu, Peng Liu, and Frank Soong, Efficient Handwriting Correction of Speech Recognition Errors with Template Constrained Posterior (TCP), in INTERSPEECH 2008, International Speech Communication Association, September 2008
- Lijuan Wang, Tao Hu, and Frank Soong, Template Constrained Posterior for Verifying Phone Transcriptions, in ICASSP 2008, IEEE, April 2008


text:
Wow, I got a Nastygram from Youtube today saying that one of the songs in one of my Slash videos was owned by "WMG" and a cease and desist was ordered, lol. The record company's are really grasping at straws now it seems....just...wow.
Wow, I got a Nastygram from Youtube today saying that one of the songs in one of my Slash videos was owned by "WMG" and a cease and desist was ordered, lol. The record company's are really grasping at straws now it seems....just...wow.
That sucks, you can tell their desperate when they use individuals like Taylor Swift and Souljaboy. Just curious what song it was so It won't happen to others........... nm, wait, by mentioning it they might crank out a lawsuit ( ) But that is sad how you buy a cd, and want to use it in a video that you aren't selling and they get all bent out of shape.
NOBAMA '08 Welcome to the Greatest Dprsn.
Same thing happened to me
Slash, N.pede,Revo
It was a rock song from way back in 1995, lol. Pretty ridiculous really. So, they altered a video that I made...I'd rather have them delete the stupid thing.
but isouljaboy has sold quite a few unitsOriginally Posted by MR. Clean
Keep spendin $$ and ur still in the way!!
to highschool dropouts wanabe thugs and drug abuser like my aunt, atleast that's all I see play it.Originally Posted by jusleanit
NOBAMA '08 Welcome to the Greatest Dprsn.
They yanked my one and only YouTube video of me bashing my Stampede. The funny thing is that the song was "One Piece at a Time" by Johnny Cash, which happens to be a song about stealing a Cadillac "one piece at a time" from GM.
That's a perfect song for R/C!! "so we drilled it out so's it would fit, and a little bit of help from an adaptor kit, we had that engine runnin just like a song!!! Now the headlights, that was another sight, we had 2 on the left and one on the right, but when we pulled the switch all three of 'em come on!!"Originally Posted by rusty stampede
One of my favorite songs. RIP man in black
RustyVXL, HPI RS4 Rally, RC18MT
Mobius1 crashed!
ppfftt, there just being picky, got nothing else to do.
one day when I was waiting for the bus, my mom drove me there and we stay in the car because it was like 25- outside and this is a true story. well our gmc jimmy diamond eddition has automatic headlights and all the times and lights are messed up now so it was pritty dark. so we have our lights were on so we could see, and a cop comes by and talks to us. "maim, plese turn your lights off, you distracting the traffic.""or you could move the the right, and leave you lights on." so aperently that cop was ****** off. we were 40 feet away from the intersection, so if someone turned itto the street so we couldnt be hit. we apparently we had to move to the other side. but if I still had our lights on, we would still be somehow "distracting" the traffic. and we still would have the same danger as we had on the other side, which was very low ods we would be hit.
that cop had nothing else better to do.
if you want me to i can break your truck for free!
Mine was a old rock song too. American Band by Grand Funk Railroad
Slash, N.pede,Revo
they bust you about a song you can't even download, but you can find links to download music in tons of places.
did anyone ever see that commercial on tv for the microwavable food. the guy needs tech assistance to add water and microwave. the point of the commerical is ppl in "high places" are so dumb, they don't even know who they are going after. should be after the ppl hording terabytes of music, not a kid adding tunes he purchased to an innocent video you can't even download.
|N|i|t|r|o|m|e|t|h|a|n|e| - My anti-drug
It's very easy to download and keep videos from Youtube, but the point is that they don't know if I bought the cd, stole it, downloaded it whatever. The way I look at it is I'm basically PROMOTING a band by putting their music in my videos. How much can free publicity hurt? Of course this band hasn't put out any music in years, but that's beside the point. If I was making videos with someone's music in them and SELLING them, it would be different.
I can see the future now...
Ipods with self-destruct features, lest you put any non-itunes music on there.
Generic MP3 players which cannot play any music just in case the music was acquired legally.
Radios which can't play music because people might hear it.
Zunes with Vista!
End of the world follows.
that happened to my friends account, they made him delete some videos. its not like youtube videos are for profit, so why would the do it?
Wow I'm a noob:
Nitro Sport
Team Losi Micro DT
Yah, the music industrie is seeing there profits slip through their fingers. Itunes, MP3 players, music sharing, its taking a toll. The problem is they are only making enemies in there desperate attempts to survive. I remember hearing about them trying to go so far as to say that when you b uy a CD, you don't technically own the music, and so you can't copy it onto another CD. They should be trying to restructure instead of desperately flailing at there customers.
An injured friend is the bitterest of foes
I've seen this alot on RCCrawler, glad I'm not smart enough to add music to my vids
well put nine inch nails music in. at their concert there were telling us they didn't care if we downloaded their music. lol. so if you get blocked, tell them you have personal permission from trent reznor in philly.
|N|i|t|r|o|m|e|t|h|a|n|e| - My anti-drug
People need to make a living.
Songs, Music, works of art these days are so easily copied. Is it fair to the companies and people who created it?
You made a video using someone else's music, did you get their permission to do so? If not then I'm siding with You Tube....
Founder of H.U.A.
Hop Ups Anonymous
LOL...Those people are nothing but crooks. The artist that records the music gets ripped by these guys too. The artists make hardly any money on the music, they make their money by T shirt sales, posters etc. I don't want to hear about record company leeches that "need to make a living". It takes like $2.00 to make a CD, but yet they sell for $15. You don't see the problem with that?Originally Posted by Nitronaught
Maybe if they didn't make crap music they would make more profits.
No rusty & no maxx
Well I don't see Bono, Sting, Jay Z, Biance' or Mariah Carey exactly starving...Originally Posted by emaxxbasher
You make a good point but it still does not justify the use of artists copyrighted material.... Do you see my point? 2 wrongs does not make a right...
Founder of H.U.A.
Hop Ups Anonymous
but if you look at one of the past replies, they make a point. why can't you use the music you paid for that's on your computer to add to your video? no one is getting paid from it. the company and the artist already got their cut. it can't be downloaded from youtube so what's the big deal? that's like saying you can buy the album but you can't play it in your own car or house when friends or over or in your car cuz someone else can hear it
The nitro..it's..it's..makin..me..sooo..wooozy
Adapt, or die. If they don't come up with a better plan, a better business model if you will, the music industry, as we know it, is going bye bye.Originally Posted by Nitronaught
I agree with Super J: I paid for the music, I should be able to do what I want with it. If I want to use it as background music for a video, that should be my right. Are artist's complaining about the extra exposure the videos bring them? Exposure the label didn't have to pay for? I don't think so. It's the record labels that have the problem with this; not the artists. And once again, the labels just insist on shooting themselves in the foot. Here is FREE publicity for one of their artists; a chance for someone to see the video who may not be familiar with the song that is playing, find out who the artist is, and actually go buy a CD, or two. But no, in the industry's short-sighted take on just about, oh, everything, once again they have taken something that could actually benefit them, and, in the end, managed to alienate more music lovers, or fans. And when the music sucks... do we really need the attitude too? Adapt or die? At this rate it should be a quick death.
Wow, i got an email today also saying that they muted the vid cause of the music. That sucks...
Sig edited as a one time courtesy.
Tat2: Couldn't have said it better myself.
An injured friend is the bitterest of foes
The music industry isn't going to die. Only thing the internet has done is force artist's to produce a better product and tour more. Then again I think Soulja Boy ..........steal every cent that no talent hack has coming to him and those like him.
It's not the music that is in jeopardy, but rather the "Industry," AS WE KNOW IT, that is going to die. ...God I hope so. The one good thing that may come from all of this is that it becomes about the music again, and not just about how much profit an artist can bring the label. Music is NOT product! When it gets treated as such, you end up with what we have now--an art form aimed at the lowest common denominator; unchallenging, and thoughtless drivel. I realize not everyone wants their music to be challenging, or such that it actually makes them think a little, but the stuff I hear on the radio now, about puts me to sleep. I don't know; I guess I just want more than mere background noise from the the music I listen to.Originally Posted by slowenuff
Don't forget about Metallica, whose unbridled love of their fans, and making music, keeps their legal team very busy.Originally Posted by slowenuff
Last edited by TAT2; 01-24-2009 at 05:38 PM.
Originally Posted by MR. Clean
Dont stereotype. Its not right, seriously. When people here rap now they think, highschool drop outs, thugs/wannabe's, no lives, losers, drug addicts. The women think, let me grab my purse before they take it.
Thats what stereotype has lead the world to today. How does one form of music make you think of that. Its just a type of music.
You can only have 2
I wasn't talking to you don't worry about it. It aint my fualt you didn't read the last part. And I wasn't talking about RAP music, so don't put words into my mouth.Originally Posted by rustler 007
Last edited by MR. Clean; 01-25-2009 at 06:46 PM.
NOBAMA '08 Welcome to the Greatest Dprsn.
BTW has anyone noticed on youtube you can now buy the song that's used on some of the vids fom itunes? man they must be strugglin!!!!
The nitro..it's..it's..makin..me..sooo..wooozy
I try and find music to listen to on youtube, but they muted a ton of the videos.
Those who throw dirt are bound to lose ground.
like this is REALLY gonna stop me...lolol
2 MAXX or not 2 MAXX...SILLY ?
Can you say, OVER REGULATION?
What you paid for is the CD in which it state's in the terms and agreements that unlawful duplication is a direct violation of federal law.Originally Posted by TAT2
You bought the CD, or MP3, you did not buy the rights to the music, so no, you can not do just what you please with it.
Thing is todays technology makes it very hard to prevent music being duplicated, and yeah the music industry needs to find a medium that will protect the art they produce from being able to be duplicated.
Maybe the record labels are cheating the artists, that's not the issue, the issue stated clearly. Copyright materials are not allowed to be duplicated in any form without permission of the copyrighter.
Hey, Micheal Jackson bought all the rights to most of the Beatles songs that were produced, even John McCartney can not makes duplicates and sell them without risking prosecution.
That's the law, wanna change it, get involved with the government, vote when it is time to.... Write you congressman.....
Founder of H.U.A.
Hop Ups Anonymous
What the op did was not duplicating. He used a cd he bought, he didn't make copies (duplicate) of it. So if I bought a cd, I need to buy it again so the greedy money hungry people get another cut of something I bought?Originally Posted by Nitronaught
NOBAMA '08 Welcome to the Greatest Dprsn.
well i guess the feds will come and get me because when a cd that I paid for out of my own pocket, starts to skip or looks a little scratched I make a back-up of it just in case it gets bad. and one of my friends made a back up of each cd he'd leave in his car so the ones that he paid for wouldn't mess up or get stolen. well, low and behold someone broke in his car and couldn;t take the radio or the car so they took the spare change and what else class????????????????? the cd's. he was glad he had his originals.
The nitro..it's..it's..makin..me..sooo..wooozy
From what I understand, that has been allowed for some time, they even added some of the costs of lost royalties into the cost of blank tapes when those became available. It's been under the same copyright laws used for books and such untill just recently when the recording industry has decided we need to pay for what we've already bought over and over again. Can't remember were I've read this, but apparently what Sony wants to do is fix it so you have to buy a copy of a given CD for every CD player that you have. This would be like buying a copy for the car, house, garage, even each indiviual bedroom if you have to.Originally Posted by supa_jato
What next, buy another ipod (and more music to put on it) for every computer and ipod satnd and car you have? Don't do drugs kids, it gives you insaine ideas that will never work......Originally Posted by bjoehandley
NOBAMA '08 Welcome to the Greatest Dprsn.
If the music exists on Youtube that he uploaded from his computer in which it was either downloaded or ripped to an mp3 from CD, then copying it onto a video, loading the video with the illegal copy of the music onto youtube for people to hear.Originally Posted by MR. Clean
That is copying for distribution/other people to listen to. He may not be making a profit on it, but that's still duplication without consent of the publisher...
Under the law you can make a copy of your CD as a backup of the original, but if you distribute it to anyone else for any purpose without consent of the copyright owner (usually the publisher which yeah rips off many musicians).
Last edited by Nitronaught; 02-03-2009 at 11:03 AM.
Founder of H.U.A.
Hop Ups Anonymous
This thread makes me glad that I make and mix my own music or use local bands that I know personally to use on videos. Record companies can't do anything about it.
I'm Baaaaaaack!


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Newark, N.J. —
New Jersey Gov. Chris Christie, who is a Republican, says he and President Barack Obama are on the same page when it comes to gay marriage.
Christie recently appeared on MSNBC's "Morning Joe," and was asked, "Is there any space on your position on gay marriage and President Barack Obama's?"
"Not that I'm aware of," Christie said.
But New Jersey's Politifact said that's not quite true.
Christie vetoed a same-sex marriage bill in February and recommended the idea be put up for a popular vote.
President Obama is opposed to putting other people's rights up for a vote, perhaps because the civil rights movement still has a bit more resonance in the Obama household than in Christie's home.
"The President has long opposed … divisive and discriminatory efforts to deny rights and benefits to same-sex couples," said White House spokesperson Jay Carney.
However, Christie and Obama are similar in one way. Neither is leading the charge for same-sex marriage rights.


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Apr. 25, 2012 The first-known camera trap photos of an Amur leopard in China have recently been taken by protected area staff in Hunchun Amur Tiger National Nature Reserve in Jilin Province according to the Wildlife Conservation Society. Coupled with Jilin Province's recent announcement of a survey estimating 8-11 leopards across that northern province, the photographs suggest that leopards may be returning to China.
Beginning last month, the Hunchun Reserve's staff set up 16 camera traps in areas where tiger or leopard tracks were found during winter surveys. A dozen of the camera traps were donated by the Wildlife Conservation Society, which has been active for over a decade supporting Russian-Chinese transboundary conservation of Amur tigers and leopards. Several images of Amur tigers were also taken.
Most of the remaining Amur leopards live across the border in Russia, where collaborative camera trapping efforts by WCS, WWF, the Russian Academy of Sciences Institute of Biology and Soils, and the Institute for Sustainable Use of Natural Resources photographed a total of 29 leopards last winter in a portion of the newly created Land of the Leopard National Park. Estimates of the total number of Amur leopards have hovered around 30 since the mid-1970s, but these combined Russian and Chinese results suggest that leopard numbers may be rising to 40 or more.
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The above story is based on materials provided by Wildlife Conservation Society, via Newswise.
Note: Materials may be edited for content and length. For further information, please contact the source cited above.
Note: If no author is given, the source is cited instead.


text:
International Investing
Investments: Episode 15
The US accounts for about 25% of the World?s GDP. That leaves 75% of the investment opportunities for international markets.
We are living in a global marketplace like no other time in history. Whether you like it or not you are investing internationally. Apple iPhones are made in China and sold all over the world for example.
International equity markets used to be a source for diversification but that is no longer the case. Markets are strongly correlated. When the U.S. stock markets are up, so are the international markets and when we are down so are they.
But in many emerging markets these moves are much more substantial. If we are up a little they are way up. So instead of investing internationally for diversification we invest internationally for outsized gains.
Many economies are growing much faster than the U.S. But, foreign markets come with increased risks:
- Currency Risk - Eventually you've got to bring your dollars home. If the foreign currency has decreased in value compared to the U.S. dollar your investment return may be materially impacted.
- Political Risk - Think Venezuela. Crazy stuff happens all the time and the locals aren't always friendly to your interests.
- Transparency - It's hard enough sometimes, think Enron, to get the straight scoop from American companies. It can be much harder to know what is really going on in a foreign company.
- Market Timing - Markets are open when you are sleeping. You may not always like the news you hear when you wake up in the morning.


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Bisque Finished Porcelain Vases from $9.75
Nine different amazing pieces. These matte finished fully fired porcelain vases are not only ready for your floral looks, but they look so nice as stand alone objects. The are glazed on the inside, so water won't work it's way through the pieces. So drop that Liatris stem in with no worry, it'll look great. The everyday looks of a what these bottle shapes are based on is what makes these porcelain pieces so nice to look at. There is a connection to common forms that really work with these well done artful vases. The designers say they "celebrate the traditions of Chinese porcelain and create new objects both subtle and elegant", and we like the sound of that.
From the designer, Miss Foekje Fleur van Duin from Holland. "Our modern throw-away society still produces objects of beauty and permanence - you just need to know where to look. In this new Bottles series, trash from the canals of Rotterdam, Holland is redefined as something worth keeping". This makes sense.
All vases are available in just One color, except for the Lotion Bottle, and the Yogurt Vase.
Sage Green Motor Oil Bottle Vase- 11"h x 4.5"w x 2.5"deep
Ocean Blue Ribbed Bottle Vase- 11"h x 3.5"d
Denim Blue Detergent Bottle Vase- 9.5"h x 5"w x 1.75"deep
Green Dish Soap Bottle Vase- 9"h x 3"w x 1.25"deep
Dusty Orange Silo Bottle Vase- 7.5" x 3"d
Dusty Pink Lotion Bottle Vase- 9"h x 3.5"w x 1.5"deep
Cucumber & Ocean Blue Yogurt Bottle Vases- 6.5"h x 2"d


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Search Options
Calling all Bhangra & Asian Music heads! Especially if you can write! - UK
Any gender, aged 18 to 40United Kingdom -
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Episode 33 :: September 12
IN THIS EPISODE :: The OMBG crew is back with special guest Scott Free from Apples to Eyes and Return to Cinder! We talk with Scott about past and present projects and where he plans on going with them in the future. Allynn has some video game news about Nintendo Wii and we celebrate 45 years of Star Trek.
The featured artist for this week is Tigers Jaw from Scranton, PA.
We Pawned Our Souls for Rock and Roll – Ese
Vultures – The Cherry Bombers
Sailor Song – Cartright
Jump Blues – The Frontier Brothers
Two Worlds – Tigers Jaw
Windmills – Tigers Jaw
I Never Changed – The Exploited
You've Done Nothing – Face to Face
The Night Eye – Fuzzy Sandozie
Guns – D.I.
If You Knew – Madagain Saints
When Doves Cry – Return to Cinder


text:
Unemployment in Northeast Florida continued to creep downward overall in November, although rates in Baker and St. Johns counties increased slightly.
The overall, non-seasonally adjusted unemployment rate for the six-county Jacksonville area fell one-tenth of 1 percent, from 7.7 percent in October to 7.6 percent in November.
In November 2011, the rate was 9.5 percent. This year's number is the lowest since the 7.4 percent in December 2008.
The drop coincides with a tiny improvement in the economy, according the University of North Florida's Local Economic Indicators Project. Jacksonville's index of 109.86 increased by .43 but didn't offset a drop of 1.83 in October.
The region's overall non-agricultural workforce increased by 5,400 year to year, from 596,000 in 2011 to 602,000 last month. The biggest gain was in the leisure and hospitality industry, with 2,600 new jobs.
The labor force overall declined by 7,000 people, UNF economist Paul Mason said, either because people left the area or stopped looking for work.
The budget impasse in Washington continues to weigh heavily on the job market, Mason said.
"Businesses don't take any steps until they know what's going to happen to their taxes," he said. "And Even if they come to some agreement on taxes, they'll put off cost cutting until next year and that will continue the uncertainty. And no one knows what ObamaCare is going to mean — it doesn't really take effect until the year later — so there's still a lot of unknowns."
Financial activities in the Jacksonville area added 2,000 jobs — the most in that category among all Florida metro areas.
"It's not surprising, because we lost so much in the financial sectory during the great recession," Mason said, "and that's the dominant component of our workforce."
St. Johns County still has the area's lowest unemployment rate, 6.5 percent, but that was one-tenth higher than in October. Baker County also edge up a tenth of a point, from 6.8 to 6.9 percent.
Putnam County has the region's highest rate, 10.3 percent, but that is still less than the 11.8 percent in November 2011.
Florida's unemployment rate dropped from 8.2 percent in October to 7.9 percent in November but still trails the national rate of 7.4 percent. The U.S. number was 7.5 percent in October and 8.2 percent last year.


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Published: 1/19/2013 9:57 PM | Last update: 1/19/2013 10:25 PM This time, Salthawks win in last-minute thrillerMcPHERSON - The Hutchinson High boys were in a familiar position Saturday at the McPherson Invitational.Final minute, close game. Just like Thursday when the Salthawks lost in overtime to Wichita Heights, and just like in Friday's two-point loss to Lawrence Free State.
The Salthawks didn't get a basket in the final minute, but they got the next best thing - free throws. Senior guard Trevor Turner sank three in the final 38.6 seconds, and Hutchinson finally won a tight game, edging Maize 61-59 in the seventh-place game. Hutchinson improved to 5-7. In its previous four wins, Hutchinson won by at least eight points each time. The Salthawks' last three losses have been by a combined nine points. "We lost the last two games by a total of seven points, and one was in overtime," said senior guard Tanner Higgins, who had a game-high 18 points. "It was kind of frustrating, but we played some good competition here. That's what this tournament is. There are a lot of good teams here, and it feels good to be back on the winning end." It didn't seem the Salthawks were going to get on the winning end. They had another hard time scoring in the first half. At halftime, the Salthawks had only one more turnover than Maize and out rebounded the Eagles 19-16. Yet, they made only six field goals, while Maize hit 11 of 22 shots and led 34-25 "We talked to the guys about that," Henry said. "We weren't going to shoot it like that all game. We were winning in about every statistical category except for on the scoreboard." Higgins did his best to keep Hutchinson in the game. While the rest of the Salthawks were three of 19 shooting in the first half, Higgins sank three 3-pointers and had 12 points. "His 3s kept us in the game," senior forward Joe Dower said. "If he doesn't make those, we're not in that game at all." Dower's return helped the Salthawks. Plagued with two first-half fouls, Dower played less than five minutes. But his presence allowed Hutchinson to dominate the third quarter. "We missed him when he was out," Henry said. "He works so stinking hard in the post. He gets rebounds, and he's always working hard. It was good to see him have success and help the team win." The Salthawks quickly charged back in the third quarter, three times closing the deficit to a single point. Finally, with 1:05 left, Dower's three-point play tied the game 45-45. Junior guard Brayden Wells' 3-pointer with 29 seconds left gave Hutchinson its first lead at 48-45, and Dower opened the fourth quarter scoring four points in the first 66 seconds. Dower also helped Hutchinson hold Maize to 11 points in the opening 10:10 of the second half. Dower finished with seven points. "He has a big impact on the team," Higgins said. "He gets a lot of rebounds, and he takes up a lot of space on defense. He forces teams to try to take tough jump shots. They don't get easy layups when he's in there." Maize finally found its first-half shooting, and a 12-3 run - capped by Connor Eleeson's basket with 1:35 left - gave the Eagles a 57-56 lead. Wells and Tavon Morrow exchanged baskets, and Hutchinson had the ball, down 59-58, with less than 40 seconds left. Turner was fouled with 38.6 seconds left, and the front end of the one-and-one hit the rim, bounced straight up in the air and through the hoop. He swished the second, and added a free throw with 12.6 seconds left.
Maize didn't get a good shot on its final possession, as Morrow's 15-foot baseline jumper missed.
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Senior UX Designer — Growing Video Chat Service — New York - New York - United States
The Senior UX Designer reports directly to the Director of UX, helping to drive research and design for this popular and growing video chat service that serves about 4 million global users.
Posted December 7, 2013
Director of UX (User Experience) — Signpost — New York - New York - United States
At Signpost, the Director of UX will be a Product owner - systematically decide what product innovations will be of most value to our customers, write detailed requirements and wireframes, take our ideas down to the details of execution. You will own the user experience from beginning to end, and make our big product ideas more Minimal, and our incomplete product ideas more viable.
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Senior UX Designer — Everyday Health Inc. — New York - New York - United States
Looking for a Senior UX Designer at Everyday Health Inc!
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UX/UI Designer — WeWork — New York - New York - United States
We're looking for a passionate and talented UX/UI Designer to work with our internal Development Team and Designers on building cutting edge digital products to help our members become more successful.
Our communities come alive through vibrant and inspiring design and our digital initiatives are an extension of that. We are looking for someone that is versatile, adventurous, and a hustler that loves to see projects through - from conception to completion.
Posted December 3, 2013
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This role covers the gamut of the UX process, and works in collaboration with engineering, product management, marketing, and company leadership to take ideas from concept to launch.
Posted November 26, 2013
UX DESIGNER (Perm) — Major League Soccer — New York - New York - United States
MLS Digital is looking for an experienced UX designer to join our development team. We are responsible for creating and operating twenty separate web properties (MLSSoccer.com and nineteen club sites), a real-time second screen match experience, a growing set of APIs, and the infrastructure that powers it all.
Our mission is to make MLSsoccer.com and our club properties the best digital sports experience in the world. We are a small, but growing team, made up mostly of developers.
Posted November 26, 2013
Mobile UX Designer — Dog on a Horse — Brooklyn - New York - United States
We are seeking a mobile UI/UX designer who will be comfortable in a small, fastpaced startup environment.
You will be responsible for designing new features for iPhone, iPad, and Android mobile apps. Most of the work is on sports and entertainment licensed properties and some is just for fun.
Candidate must be able to work in the Brooklyn office. This is a fulltime position.
Posted November 23, 2013
Director Of User Experience — Fab.com — New York - New York - United States
Fab is seeking a world-class talent to join the Fab User Experience team in our NYC office. The Director of UX will report to Fab's Senior Vice President of Product and work closely with Fab's CEO to further evolve the Fab user experience.
Posted November 22, 2013
UX Designer — Acision — New York - New York - United States
The UX Designer is accountable for researching, developing and executing design solutions related to information layout and the user experience for Acision mobile application, websites and portals. S/he is a multi-skilled innovator with strong interaction design skills, user research expertise, and an eye for aesthetics.
Posted November 16, 2013
Lead UI and Visual Designer — Paltalk — New York - New York - United States
Are you inspired by the prospect of designing a cutting-edge product with the ability to re-imagine online social communities? Paltalk is looking for a lead UI designer to work on redefining one of the world's largest online chat communities.
Posted November 7, 2013
Director, Customer Experience (eCommerce) — Confidential - Leading Multi-Banner Retailer (NYC) — New York City - New York - United States
Director, Customer Experience (eCommerce), who will build and develop a user-experience design practice for dynamic websites and mobile platforms for a leading North American, multi-banner retailer. This role is based in New York City.
Posted October 29, 2013
Product Manager — Fab.com — New York - New York - United States
Fab is the place to discover the most exciting things for your life. Our modern, urban-inspired products allow everyone to design their lives and express their personal sense of style. At Fab, our employees are just as unique as our products! We are always looking for super smart, innovative, and of course quirky, individuals to join our expanding global team.
Fab is currently looking for a product manager to focus on operations and supply chain technology products.
Posted October 25, 2013
Senior User Experience (UX) Architect — E*TRADE Financial — New York - New York - United States
The Senior Experience Architect acts as a customer experience expert within E*TRADE's Product Experience group. This person will be responsible for crafting the user experience design for all of E*TRADE's web, mobile, and desktop applications. The Senior EA will also assist the UX Manager in the development and maintenance of standard interaction guidelines.
Posted October 16, 2013
UX Manager — AYDigital — New York - New York - United States
AY Digital, a global, digital ad agency that has been working with top clients and brands since 2007 is currently looking for a User Experience Manager to join their team
Posted June 4, 2013
SVP, User Research and Insights — Citi — Long Island City - New York - United States
The SVP of User Research & Insights will become the voice of the customer in the Customer Experience roadmap synthesizing and syndicating our primary, secondary, customer satisfaction and usability insights into a strong customer-driven experience vision. The overall mission of the Digital Customer Experience team is to ensure that 1) research and a customer focus lead projects; 2) design and quality of experience are consistent across all digital channels including desktop, mobile & tablet.
Posted June 1, 2013