text:
Archive for the 'Instrumental' Category
Posted in Instrumental, Jazz-Rock, Progressive Rock, Review, RIO/Avant, tagged Alicia DeJoie, Daniel Barry, Dennis Rea, Exposé, Jim DeJoie, Jon Davis, MoonJune Records, Randy Doak, Steve Fisk on September 26, 2016| 6 Comments »
1. Apple of My Mind's Eye 2 (2:06)
2. Torture Chambers of Commerce (4:42)
3. Iron Rice Bowl Has Rusted (3:45)
4. Hydraulic Fracas (8:03)
5. Tunnel at the End of the Light (4:05)
7. Half Remembered Drowning Dream (5:20)
8. Sleepwalking the Dog (6:41)
9. Wanderland Wonderlust (5:31)
10. Cat Hair All Over It (2:10)
11. MBBL (5:17)
12. All Food Comes From China (4:51)
Jon Davis – Chapman Stick, guzheng, Mellotron, ARP 2600
Dennis Rea – electric guitar, resonator guitar
Alicia DeJoie – electric violin
James DeJoie – baritone saxophone, flute, bass clarinet
Randy Doak – drums, percussion
Daniel Barry: trumpet (11)
Because of its geographical location, Seattle, the Emerald City, looks towards Asia as much as it does towards the American continent. Therefore, it is not surprising to find artists that draw their inspiration not only from Western sources, but also from the rich musical tradition of the East. A few years ago, I had the opportunity to review Dennis Rea's beautiful solo album View from Chicheng Precipice, informed by his four-year experience in China and Taiwan. Now it is the turn of Zhongyu, the quintet formed by multi-instrumentalist Jon Davis (who spent three years in Beijing in the first decade of the 21st century), together with Rea and his fellow Morainians Alicia and James DeJoie, as well as drummer Randy Doak.
With the glut of "progressive" albums released every day, and the high level of quality of this year's average release, an album such as Zhongyu's eponymous debut is highly at risk of flying under the radar. A labour of love, many years in the making – as emphasized by the band's name, meaning "finally" in Mandarin Chinese, Zhongyu deserves much more attention than it has received so far, a few months after its release on NYC-based Moonjune Records. Recorded and mixed by legendary Seattle engineer Steve Fisk, the album is introduced by artwork clearly inspired by Chinese propaganda posters, though interpreted with a humorous twist: the uniformed woman is armed with a guitar, and surrounded by flowers and butterflies in a sort of "make music, not war" context.
As hackneyed as the "East meets West" phrase may be, I believe there is no better description for an album that marries free-jazz improvisation and progressive rock with traditional Chinese music – the lilting sound of the zither-like guzheng (often played by Davis with a bow) elegantly blending with state-of-the-art electronics, gritty guitar, deep-voiced baritone sax, soothing flute and soaring violin. This fusion of apparently very different elements works surprisingly well, weaving atmospheres at the same time ethereal and intense. Zhongyu's bookends, "Apple of My Mind's Eye 2" and "All Food Comes From China" (yes, the titles are punny and creative – another bonus point in my book), explore this territory in different ways – the former merging spacey effects with a heady melody produced by guzheng manipulated in various ways, the latter achieving a seamless combination of acoustic, electric and electronic elements.
The 8-minute "Hydraulic Fracas" perfectly embodies the spirit of the album, with the flute's Eastern flavour contrasted to the electric guitar darkly reverberating in the background. "Iron Rice Bowl Has Rusted" pairs guzheng and flute in a delicate, ethereal texture, while in the haunting "Half Remembered Drowning Dream" gentle chimes enhance the sound of the ethnic instrument. "Sleepwalking the Dog" is a textbook example of modern jazz-rock emphasizing ensemble playing rather than individual prowess, particularly the essential synergy between sax and violin. On the other hand, the almost improvisational, free-jazz bent of "Tunnel at the End of Light" reminded me of Rea's defunct project Iron Kim Style, while Moraine (and King Crimson circa Starless and Bible Black) are evoked in the riveting "Torture Chamber of Commerce", where melody and dissonance clash and coexist.
Besides Zhongyu's obvious musical charms, it was a pleasure for me to review an album by a band whose main creative force is a fellow reviewer as well as a gifted musician. I have often read and appreciated Jon Davis' writings on Exposé magazine, and am glad to have had the opportunity of expressing my opinion on his music. In any case, I count Zhongyu among one of this bumper year's top releases, highly recommended to lovers of instrumental progressive rock – especially those who value the cross-fertilization of Western and Eastern musical traditions.
http://zhongyuband.net/
http://zhongyu-moonjune.bandcamp.com/album/zhongyu
Herd of Instinct – Manifestation (2016)
Posted in Instrumental, Progressive Rock, Review, tagged Bill Bachman, Bob Fisher, Djam Karet, Firepool Records, Gayle Ellett, Herd of Instinct, Mark Cook, Rick Read, Ross Young, Stephen Page on April 28, 2016| 7 Comments »
1. Manifestation Part Two (5:54)
2. Gridlock (3:37)
3. Baba Yaga (4:35)
4. Manifestation Part One (5:16)
5. Saddha (7:00)
6. Nocturne (1:48)
7. Dybbuk (6:08)
8. Time and Again (3:26)
9. Shatterpoint (6:34)
10. Waterfalls and Black Rainbows (3:46)
Mark Cook – Warr guitar, fretted and fretless guitar, fretless bass, mellotron, thumb piano, synth, samples
Gayle Ellett – mellotron, moog, Hammond organ, guitar
Mike McGary: mellotron, Rhodes, organ, clavinet, synth, piano, bells
Rick Read – Chapman stick, fretted and fretless bass, Taurus pedals
Ross Young – drums
Bill Bachman – drums (1, 3, 7)
Bob Fisher – flute (4-7), saxophone (2, 8)
Stephen Page – violin (2, 6, 9, 8)
Three years after Conjure, Herd of Instinct are back with a brand-new album, and an equally brand-new lineup. Only Mark Cook (recently in the spotlight on Hands' outstanding 2015 album, Caviar Bobsled) remains of the original trio that released its self-titled debut in 2011, immediately awakening the interest of the progressive rock fandom. Drummer Jason Spradlin and guitarist Mark Davison have left, replaced by Ross Young and Rick Read, a pair of excellent musicians from the Dallas-Fort Worth area, formerly with Cook in another local outfit named Minefield. The lineup is completed by multi-instrumentalist Gayle Ellett (of Djam Karet and Fernwood fame) and keyboardist Mike McGary. Drummer Bill Bachman (the other half of the Spoke of Shadows project), violinist Stephen Page and flutist/saxophonist Bob Fisher (who guested on the band's previous albums) are also on board.
Released on Djam Karet's Firepool Records label, Manifestation marks both a continuation and an evolution in the band's approach. While its sound is almost immediately recognizable, based as it is on the versatile, hypnotic sound of the Warr guitar and other touch instruments, it has also acquired a dimension that I might call "symphonic" – though not exactly in the sense it is commonly meant when discussing prog. Indeed, Herd of Instinct may be one of the few currently active bands who have managed to forge their own individual sound, in which influences are incorporated into the fabric of the music without coming across as overtly derivative. The overall effect is one of effortless melody coupled with heady tempo shifts, where the sharper edges are softened by the lush, multilayered instrumental texture. In particular, Rick Read's Chapman stick and the pervasive presence of prog's iconic instrument, the mellotron, add depth and complexity – as well as that symphonic feel that sets the album apart from its more austere predecessors.
Clocking in at under 50 minutes, Manifestation continues with the band's tradition of compositions whose short yet pithy titles evoke mental images. On three of the ten completely instrumental tracks, a somewhat longer running time than on the band's previous albums allows the musicians to display a wide range of modes of expression, though leaving no room for self-indulgence.
Opener "Manifestation Part Two" introduces the "new" Herd of Instinct, successfully infusing the band's seamless ensemble dynamics and stunning solo spots with a haunting sense of melody. Interestingly, "Manifestation Part One" occupies the fourth slot, reprising most of the features of "Part One" (including a lovely Warr guitar solo towards the end), though in somewhat more streamlined fashion. In "Gridlock" the sleek interplay of violin, saxophone and guitar is supported by a brisk drum beat, while the Hammond organ and wailing guitar in the angular "Time and Again" blend vintage psychedelic suggestions with echoes of Eighties King Crimson. On the other hand, intriguing funky elements and an almost wild guitar solo coexist with sound effects and majestic mellotron washes in the energetic "Shatterpoint".
Manifestation does not forget to tap into Herd of Instinct's trademark Gothic vein, evoked by the weirdly bleak landscape depicted by the album's cover art. While the strategically-placed, flute-and-violin interlude "Nocturne" turns from pastoral to almost dissonant in under two minutes, "Baba Yaga" paints a haunting, doom-laden picture in which gentle classical guitar arpeggios are juxtaposed with eerie keyboards and harsh riffs. The intense "Dybbuk" takes the listener on a rollercoaster ride, introducing elements of jazz (courtesy of Rick Read's fretless bass) and metal into its foundation of interlocking guitar lines fleshed out by keyboards. The 7-minute "Saddha" (a Sanskrit word for "faith", one of the central tenets of Buddhism) makes use of a panoply of eerie, ominous sound effects (including a spoken reference to Kafka's The Metamorphosis) to reinforce the darkly Crimsonian tapestry of guitar, mellotron and flute, backed by Ross Young's uncannily precise drumming. Finally, "Waterfalls and Black Rainbows" starts out in almost subdued fashion, then increases its dramatic quotient to wrap up the album in style.
Although 2016 promises to be a bumper year for progressive releases, Manifestation is already poised to become a favourite for many of the genre's devotees. With this album, Herd of Instinct prove they have finally reached their maturity, and have the potential to go on to even better things. Highly recommended to fans of instrumental prog (especially the King Crimson-inspired brand), Manifestation is also a must-listen for anyone interested in touch guitars, either as a listener or as a practitioner.
http://herdofinstinct.wix.com/herdofinstinct
https://www.facebook.com/Herd-of-Instinct-153462274689341/
Manna/Mirage – Blue Dogs (2015)
Posted in Canterbury Scene, Instrumental, Progressive Rock, Review, tagged Billy Swann, Dave Newhouse, George Newhouse, Guerilla Graphics, Manna/Mirage, Mark Stanley, Mike Potter, Orion Studios, Paul Sears, Steve Pastena, The Muffins on December 23, 2015| 9 Comments »
1. Canterbury Bells (4:50)
2. Duke Street (4:47)
3. Muffin Man Redux (7:23)
4. Lost in a Photograph (4:21)
5. Blind Eye (4:56)
6. Shwang Time (4:58)
7. Rovian Cue (4:10)
Dave Newhouse – keyboards, woodwinds, drums
Billy Swann – bass
Paul Sears – drums
Mark Stanley – guitar
George Newhouse – drums
Steve Pastena – French horn
As wonderfully illustrated by Adele Schmidt and Jose Zegarra Holder's superb documentary Romantic Warriors III – Canterbury Tales, the Canterbury scene expanded well beyond the borders of Great Britain, spawning a number of excellent bands in other countries. One of those outfits was The Muffins, a four-piece with an idiosyncratic configuration (drums, bass and double woodwinds) originally established in 1973 in the Maryland/Washington DC area, and reformed in the late Nineties after a lengthy hiatus. Though drummer Paul Sears' move to Arizona in 2010 has curtailed the band's live appearances, their recording activity has not ground to a halt, with two albums released in the past five years. The band members have also been contributing to several interesting projects in the field of progressive music.
Named after The Muffins' 1978 debut album – one of the essential Canterbury-related releases – Manna/Mirage is the newest project by founding member Dave Newhouse (one of the band's two woodwind players). Not surprisingly, fellow Muffins Billy Swann and Paul Sears are also on board, as well as Newhouse's son George, guitarist Mark Stanley (of Chainsaw Jazz and Thee Maximalists), and newest recruit, Steve Pastena, on French horn. The ensemble's debut, released in the autumn of 2015, bears the title of Blue Dogs – a title inspired by a painting by artist and RIO/Canterbury fan Gonzalo Fuentes Riquelme (aka Guerrilla Graphics), which graces the CD cover. The album was mixed and produced by none other than Mike Potter of Orion Studios – probably the most important venue for progressive music in the US, and the setting of The Muffins' most recent performance to date, in May 2015.
As related in detail on Manna/Mirage's website, Blue Dogs was originally meant as half of a big- band album by The Muffins. Clocking in at a mere 35 minutes, the album is such a rewarding listen that it almost feels like the appetizer before a full meal – jam-packed with buoyant horns and woodwinds, energetic yet stylish drumming, multilayered keyboards and keen-edged guitar. While the imprint of Newhouse's mother band is clearly stamped all over it, Blue Dogs goes one step further, bearing witness to the artist's love of classic jazz, as well as the Canterbury sound's trademark blend of elegance and whimsy.
In the aptly-titled opening track "Canterbury Bells", the titular bells are provided by a gently lilting glockenspiel, while Newhouse's jaunty keyboards and woodwinds flesh out the sound. Dedicated to Duke Ellington (whose recorded voice can be heard at the end), the jazzy "Duke Street" starts out in an upbeat mood, then turns sparser and looser, the instruments' staggered interplay of the especially riveting. Newhouse's expressive woodwinds take centre stage in the exhilarating "Shwang Time", where the big-band origin of the music is clearly on display. In contrast, "Lost in a Photograph" (whose title hints at nostalgia for things past) provides a foil for the album's more dynamic compositions, with its stately, almost melancholy mood, while closing track "Rovian Cue" starts out brightly, and then mellows out, the piano and the woodwinds complementing each other.
That leaves Blue Dogs' two most distinctive tracks, which increase the interest value of an already outstanding album. At over 7 minutes, "Muffin Man Redux" is propelled by Paul Sears' pyrotechnic drumming, while leisurely bass and guitar mesh together to complement the spirited call of the saxes. A citation of the gospel classic "When the Saints Go Marching In" leads the way to a fuzzed-organ passage in true Steward-Ratledge style, followed by an amusing rendition of the nursery rhyme that lends its title to the song. On the other hand, after a slow, sedate beginning, "Blind Eye" veers into Avant/Zeuhl territory, with its many tempo changes, meandering guitar and blaring saxes.
Although Blue Dogs is obviously a must-listen for any self-respecting fan of the Canterbury scene, the album will provide 35 minutes of bliss to everyone who loves great music. Newhouse's love of his craft and his knowledge of different genres are all brought to bear in what is definitely one of the top releases of 2015 – though, unfortunately, not one that will have received as much exposure as other (and, in my view, inferior) albums. I hope this review will in some way redress the situation, or at least create some curiosity. Those who appreciate the album will be glad to know that Manna/Mirage's follow-up effort has already been composed and halfway recorded, and will see the light in 2017. In the meantime, what about some live shows?
http://www.mannamirage.com
Fernwood – Arcadia (2015)
Posted in Acoustic, Instrumental, Progressive, Review, World Music, tagged Djam Karet, Fernwood, Gayle Ellett, Todd Montgomery on October 7, 2015| 2 Comments »
1. Bells Spring (3:44)
2. The Pan Chaser (4:56)
3. Vision at Vasquez Rocks (3:59)
4. Red Hill Trail (3:52)
5. The Lost Night (4:21)
6. Crossing the Divide (3:49)
7. Owens Hideaway (3:51)
8. Young Mountain Memory (3:18)
9. After the Big Sky Falls (2:42)
10. Escape From Sycamore Canyon (4.46)
11. Winter Way (3:12)
Gayle Ellett – Greek bouzouki, dilruba, charango, tanpura, surmandal, Rhodes, harmonium, ruan, dobro, upright bass, guitar, piano, tenor ukulele, bells/chimes, moog, mellotron, organ, electric guitar, field recordings
Todd Montgomery – Irish bouzouki, sitar, guitar, banjo, baritone guitar, mandolin, violin, slide bouzouki, bowed guitar, EBow, electric mandolin, baritone electric guitar
A lot of the music released today under the "progressive" umbrella has very little in common with the banks-of-keyboards variety that flourished in the early Seventies. On the other hand, the rather stale adherence to modes of expression that were forward-thinking in their time is still seen by many as a requirement for artists who want to aspire to the "prog" tag, and anything deviating from that template is often hastily dismissed.
Southern California duo Fernwood belong to that vast grey area, which often houses veritable gems always at risk of being overlooked by the "prog audience" at large. However, one half of the duo has serious prog credentials – being none other than Gayle Ellett of Djam Karet fame. The epitome of eclecticism, Ellett (one of the few professional musicians in the modern prog scene) is a gifted multi-instrumentalist and composer, involved in projects that go from movie scores to the hypnotic, Crimson-infused sound of Texas outfit Herd of Instinct. Though not as familiar to prog audiences, the duo's other half, Todd Montgomery, has a 40-year-odd career as a musician under his belt, especially in the field of traditional music from the Old and the New World.
My first contact with Fernwood came a few years ago, when I was writing for another website, and often had to deal with music that did nothing for me (and that's an understatement). When I received the duo's second album, Sangita, right from the first listen it felt like a diamond lost in a sea of coarse glass. While the music – performed with an array of exotic, mostly wooden instruments with arcane names – was disqualified from being "rock" by a lack of drums, it possessed a beauty and elegance (not to mention a level of subtle, understated complexity) that are often missing in a lot (of conventional progressive rock. Now, better late than never (as the album was released in February, when I was dealing with some personal issues), Arcadia, Fernwood's third recording effort has finally come under my scrutiny.
Packaged in pristinely beautiful nature photography, Arcadia is a concept album of sorts – its 11 tracks (all on the short side, the longest clocking in at under 5 minutes) representing stages of a journey in search of the titular Utopian paradise. Unlike in most of my reviews, there is very little point in a track-by-track analysis in the case of Arcadia, as the compositions form an organic whole, and the differences between them are a matter of subtle nuances. In fact, they can be seen as impressionistic sketches, in which the instruments are used like colours to create a warm, multi-hued palette celebrating the beauty of nature. Influences from a wide range of musical traditions (Celtic in "Vision at Vasquez Rocks", Far Eastern in the rarefied "Winter Way", to name but two) are brought to bear, each piece exploring a range of shifting moods in tune with the changing seasons. Here and there, touches of modern technology, such as brief but recognizable Mellotron washes, enhance the delightfully laid-back atmospheres.
Needless to say, Arcadia is not recommended to anyone looking for a true-blue prog album in the key of Ellett's main gig, though it will appeal quite a lot to those who are on the lookout for interesting music on the fringes of the variegated prog sphere. Soothing and refreshing, and romantic in the original sense of the word, Arcadia is the perfect antidote to the frantic pace of modern life, and to the plasticky, disposable quality of most of what passes for music these days.
http://www.fernwoodmusicgroup.com/
https://fernwood.bandcamp.com/album/arcadia
Moraine – Groundswell (2014)
Posted in Instrumental, Jazz-Rock, Progressive Rock, Review, tagged Alicia DeJoie, Dennis Rea, James DeJoie, Kevin Millard, Leonardo Pavkovic, MoonJune Records, NorCalProg, Seaprog, Steve Fisk, Tom Zgonc on November 10, 2014| 7 Comments »
1. Mustardseed (3:11)
2. Skein (3:52)
3. Fountain of Euthanasia (3:25)
4. Gnashville (4:12)
5. In That Distant Place (6:20)
6. Synecdoche (3:52)
7. The Earth Is an Atom (5:12)
8. Waylaid (7:20)
9. Spiritual Gatecrasher (7:18)
10. The Okanogan Lobe (7:41)
AliciaDeJoie – electric violin
James DeJoie – baritone saxophone, flute
Kevin Millard – NS stick bass
Dennis Rea – guitar, electronic interventions, Mellotron
Tom Zgonc – drums
Four years after their recording debut, Manifest Density – followed by a career-defining appearance at NEARfest 2010, captured on their second album, Metamorphic Rock – Seattle quintet Moraine are back with Groundswell, their long-awaited third release. In the past couple of years, there have been some remarkable events for the band – namely the entry of drummer Tom Zgonc (a longtime associate of guitarist and mainman Dennis Rea) to replace Stephen Cavit, and appearances at West Coast festivals SeaProg and NorCalProg.
Introduced by a striking aerial photograph of the Atlantic island of Tristan da Cunha – one of the loneliest places on Earth – Groundswell shows a band firing on all cylinders. While the backing of Leonardo Pavkovic's Moonjune Records label remains a reliable constant in the band's career, Moraine are clearly not the kind of outfit that thrives on playing it safe, and this third chapter in their recording history clearly points forward rather than backward. With renowned sound engineer Steve Fisk (of Nirvana and Soundgarden fame) at the helm, the album sounds powerful yet clear, gritty in all the right places, yet almost ethereal when needed. Though some of the tracks had already appeared on Metamorphic Rock, they are not mere duplicates of already available material, but are integrated into the fabric of an album that stands out for its compositional tightness.
Clocking in around a very sensible 52 minutes, Groundswell bears all the hallmarks of classic Moraine, in particular their signature device of using a main theme in their compositions that brings them full circle. The music is powered by the tireless engine of Tom Zgonc's drums and Kevin Millard's stick bass, but also clustered around the shifting, intersecting lines of James DeJoie's sax, Alicia DeJoie's violin, and of course Dennis Rea's guitar. This core trio is also responsible for the majority of the writing, with two of the 10 tracks written by other Seattle-based musicians. Indeed, the opening track, "Mustardseed", a composition by composer and conductor Daniel Barry, is redolent of the warmth of faraway countries with its lazy, sauntering violin and sax duet, into which Rea's sharp, meandering guitar interjects. On the other hand, the muted, rarefied elegance of "In a Distant Place" (written by Jon Davis of Zhongyu, whose members also include Rea and the DeJoies) owes a lot to Chinese music, though a burst of distinctly Western energy enlivens its texture towards the end.
The jaunty-paced "Skein" blends Moraine's trademark sound with the almost big-band swagger of the main sax line, until an almost tempestuous climax of crashing drums and echoing guitar riffs. "Synecdoche" emphasizes adrenaline-drenched energy rather than melody, allowing Rea's guitar free rein; whereas "Gnashville" does suggest country music (albeit in a very skewed fashion) in the starring role accorded to Alicia DeJoie's violin, which engages in some Paganini-like acrobatics complemented by the distinctly hard rock vibe of Rea's low-toned, growling guitar. "Fountain of Euthanasia" strikes a middle ground, its briskly upbeat opening shading into a pensive violin study offset by gently chiming guitar; similarly, "The Earth Is an Atom" juxtaposes an overall meditative mood with the sax's more assertive exertions.
The album culminates with a trio of 7-minute-plus tracks that showcase the development of Moraine's musical identity through the past few years. The deceptively lively beginning of "Waylaid" fades into a middle section that brings to mind Pink Floyd circa A Saucerful of Secrets – a sparse, hauntingly beautiful electronic storm infused with the violin's ethereal touch. "Spiritual Gatecrasher" brings back that heady Oriental flavour, mixed with a witty, Canterbury-like bounce, the dreamy softness of James DeJoie's flute spiced up by a sprinkling of guitar effects. Then, Rea's love for geology emerges once again in the album's closing track, "The Okanogan Lobe" (a reference to an ancient glacier of the Columbia River Valley) – Moraine's own version of a symphonic poem, whose majestic pace seems to mimic the movement of the ice throughout the eras. Rea's guitar is at its most lyrical in the intense, slo-mo climax that follows a lively jazz-rock workout.
Groundswell marks Moraine's triumphant return to the progressive rock fray. The band successfully weave their diverse influences together in a seamless whole that highlights their uniqueness with every twist and turn of the music. Moraine are among the foremost standard-bearers of a modern form of jazz-rock that yearns to break free from the ponderous heritage of the Seventies. A near-perfect blend of lyricism, atmosphere and raw energy, Groundswell embodies, in many ways, the modern progressive ethos. Highly recommended to all open-minded prog listeners, this is essential listening for lovers of instrumental progressive rock.
http://www.moraineband.com/
http://moonjunerecords.bandcamp.com/album/groundswell
http://www.moonjune.com
Accordo dei Contrari – AdC (2014)
Posted in Instrumental, Jazz-Rock, Progressive Rock, Review, tagged Accordo dei Contrari, AltrOck Productions, Cristian Franchi, Daniele Piccinini, Dario D'Alessandro, Giovanni Parmeggiani, Marcello Marinone, Marco Marzo, ProgDay 2012, Udi Koomran on November 2, 2014| 1 Comment »
1. Nadir (9:31)
2. Dandelion (4:47)
3. Seth Zeugma (5:48)
4. Dua (5:44)
5. Tiglath (8:28)
6. Più Limpida e Chiara di Ogni Impressione Vissuta (Pt.2) (3:21)
Cristian Franchi – drums
Giovanni Parmeggiani – Fender Rhodes, Hammond organ, minimoog, acoustic piano
Daniele Piccinini – bass guitar
Marco Marzo Maracas – electric and acoustic guitar
Vladimiro Cantaluppi – violin (3), viola (6)
Marina Scaramagli – cello (6)
Enrico Guerzoni – cello (3)
For my first album review after over four months of silence, what better choice than the new album of one of the most interesting new bands of the past few years – Bologna's own Accordo dei Contrari, who managed to impress the ProgDay crowd in 2012 in spite of performing at the hottest time of a truly sweltering day? Three years after the highly praised Kublai – one of my top albums for 2011 – the young but immensely talented Italian quartet have made their comeback with an album whose title is as minimalistic as its striking artwork (courtesy of drummer Cristian Franchi and Dario D'Alessandro of fellow AltrOckers Homunculus Res). AdC also marks the band's return to the AltrOck roster, as they their debut, Kinesis (at present unfortunately still out of print), had been released in 2006 by the Milan-based label.
Clocking in at a mere 37 minutes, AdC is highly concentrated, and in many ways different from its predecessor – though there are some unmistakable signs of continuity to be found. According to the English-language liner notes, the album was recorded over a very short period of time, in an almost "live in the studio" situation. While "Dua" and "Seth Zeugma" date back from the time the band was working on Kublai (though they did not find a place on that album), the remaining four tracks were all composed in the intervening years. Although far from unusual, this state of affairs might have resulted in a patchy effort, but fortunately AdC – no matter how chequered its history may be – has turned out to be remarkably cohesive.
Completely instrumental (unlike Kublai, which saw the participation of Canterbury legend Richard Sinclair on one track), and with only two tracks over the 6-minute mark, it leaves very little room for self-indulgence – a danger often lurking in a subgenre like jazz-rock, which thrives on technical proficiency. The four band members weave a tight web of sound, each contributing his own individual imprint, but always keeping an eye an eye to the final result. As a whole, AdC comes across as heavier than its predecessor, with Marco Marzo's electric guitar playing a leading role and lending a keen edge to keyboardist Giovanni Parmeggiani's sophisticated writing. This time around, one can definitely hear less Canterbury and more Area in Accordo dei Contrari's music.
The almost 10-minute "Nadir" opens the album with the ominous, cinematic impact of surging synths, then all the other instruments chime in, foregrounding guitar and drums in a well-paced, jazzy romp that blends energy and melody. The exhilarating contrast between Marzo's gritty guitar and Parmeggiani's liquid piano demonstrates the band's excellent control of quiet-loud dynamics. Marzo's six strings, offset by discreet Hammond organ, step forward right from the start of the shorter but punchy "Dandelion", while Daniele Piccinini and Cristian Franchi's flawless rhythm backbone imparts a choppy, energizing pace to the composition. Introduced by the lovely classical feel of grand piano and strings, "Seth Zeugma" soon veers into hard rock territory, guitar and organ sparring in a fashion reminiscent of classic Deep Purple or Colosseum II.
Piano and drums take firmly the lead in "Dua", with melodic flurries and a gentle, waltz-like pace at the beginning, then a choppy, stop-start movement that culminates in a driving, insistent coda. In the 8-minute "Tiglath", the band carefully build up a crescendo from a very sparse, atmospheric opening, with a vaguely Oriental tune followed by some intense, gritty guitar and organ exertions made more interesting by asymmetrical rhythm patterns. The short and sweet "Più Limpida e Chiara di Ogni Impressione Vissuta (Pt.2)" closes the album on a very different note, the somber drone of the cello underpinning lyrical violin and pensive guitar arpeggios.
Enhanced by Udi Koomran's expert mastering, and produced by AltrOck's own founder, Marcello Marinone, AdC may be over a bit too soon, but it definitely makes up in quality for what it may lack in running time. The album shows a band at the top of their game, capable of engaging in unbridled jazz-rock workouts as well as laying down understated, classical-tinged melodies. Highly recommended to lovers of instrumental progressive rock, AdC will please the band's following, while wetting their appetite for Accordo dei Contrari's next release.
http://accordodeicontrari.bandcamp.com/album/adc-2014
http://www.accordodeicontrari.com/
Matt Stevens – Lucid (2014)
Posted in Acoustic, Instrumental, Progressive Rock, Review, tagged Charlie Cawood, Chrissie Caulfield, Emmett Elvin, Esoteric Antenna, Esoteric Records, Jem Godfrey, Jon Hart, Kev Feazey, Lorenzo Feliciati, Matt Stevens, Nicholas Wyatt Duke, Pat Mastelotto, Stuart Marshall, The Fierce and the Dead on June 3, 2014| 6 Comments »
1. Oxymoron (2:45)
2. Flow (2:09)
3. Unsettled (2:45)
4. The Other Side (3:30)
5. The Ascent (2:31)
6. Coulrophobia (3:24)
7. Lucid (2:46)
8. KEA (2:24)
9. Street and Circus (4:56)
10. The Bridge (11:49)
11. A Boy (2:50)
Matt Stevens – guitars, loops
Stuart Marshall – drums (1, 3, 4, 7, 9, 10)
Pat Mastelotto – drums (5)
Lorenzo Feliciati– bass (5)
Charlie Cawood – bass (1, 3, 4, 10), pipa (4)
Kev Feazey – bass (7), percussion (10), programming (2)
Jem Godfrey – keyboards (4)
Emmett Elvin – keyboards (6)
Chrissie Caulfield – violin (1, 10)
Jon Hart – vibraphone (6)
Nicholas Wyatt Duke – spoken word (10)
In the past few years, London-based guitarist and composer Matt Stevens has become one of the most prolific and intriguing figures on the variegated progressive rock scene. Active both as a solo artist and with his band The Fierce And The Dead, he has also appeared on albums of other notable British outfits, such as Cosmograf and Nine Stones Close. Lucid, his fourth studio album, released on Esoteric Antenna in March 2014, was the result of three years of work, and was developed during what Stevens openly admitted was a dark time in his life.
While committed to the progressive rock cause, and therefore not at all reluctant to be labeled as a prog artist, Stevens is also an omnivorous listener, whose musical interests range from "pronk" icons The Cardiacs to extreme metal by way of King Crimson, Nick Drake and Neil Young. This open-minded attitude is reflected in his music, based on acoustic guitar and live loops – a veritable "guitar orchestra" – which has been performed all over Great Britain.
For a first-time listener, one of the most surprising (and refreshing) aspects of Lucid is that Stevens manages to create energetic, often hard-edged music with an instrument that, in popular imagination, is associated more with folk or singer-songwriters than rock. Enriched by the contribution of guest musicians from some of Britain's most interesting modern progressive outfits (including his The Fierce and The Dead partners, drummer Stuart Marshall and bassist Kev Feazey, who is also the album's producer), the album is a tightly composed effort that also allows Stevens to explore new territory, while refining and maturing the style he had already showcased in his previous releases.
With most tracks between two and five minutes (for an overall running time of around 42 minutes), Lucid runs counter to the stereotypical prog trend of long, rambling compositions. Though King Crimson will inevitably come to mind on more than one occasion, Stevens' manifold influences are brought to bear, and an almost punk attitude emerges, especially in the more upfront pieces such as opener "Oxymoron", which barges in assertively, blending energy and a quirky sense of melody. The spirit of Fripp's trailblazing crew is never far, and the participation of drummer Pat Mastelotto on the powerful yet hypnotic "The Ascent" reinforces the connection. On this particular track, Stevens pulls out all the stops, sparring with Mastelotto and renowned bassist Lorenzo Feliciati in a crescendo of intensity only marginally tempered by Jem Godfrey's keyboards. In a very similar vein, "Unsettled" foregrounds the angular interplay of guitar and drums, then the guitar takes the lead forcefully with an almost howling tone.
Other tracks emphasize the atmospheric component of Stevens' compositional vein, though never stinting on the aggression whenever necessary. The spacious texture and juxtaposition of gentleness and almost industrial edginess of "Flow" reminded me of Herd of Instinct, as did the subdued, ethnic-tinged "The Other Side", to which Knifeworld bassist Charlie Cawood contributes the lilting sound of the Chinese pipa. More Eastern suggestions surface in the beautiful yet vaguely ominous "Coulrophobia" (fear of clowns), John Hart's crystalline vibraphone and Guapo's Emmett Elvin's subtle keyboards perfectly complementing Stevens' chiming guitar.
"Street and Circus", a slow and evocative duet between Stevens and Stuart Marshall's measured drums, at times leaving the guitar to emote on its own, provides a fitting introduction to the album's unexpected pièce de resistance – an almost 12-minute masterpiece of ambiance and shifting moods titled "The Bridge". Ominous guitar riffs develop into an almost Sabbathian plod, then sustained lead guitar and Chrissie Caulfield's violin weave an eerie, ethereal atmosphere with a sense of tension lurking beneath the apparent gentleness. Towards the end, Stevens' guitar surges in a wailing tone, leading to a cinematic ending that, once again, put me in mind of Herd of Instinct's most ambitious compositions. The album's wrap-up comes in apparently anticlimactic fashion, with the soothing, melancholy melody of the sparse "A Boy" – a companion piece to the fluid elegance of "KEA", showcasing Stevens' skillful use of acoustic loops.
A big step forward in Matt Stevens' career as a musician, composer and performer, Lucid is a masterful example of instrumental progressive rock with a contemporary attitude and a healthy respect for the genre's glorious past. Because of his dedication to his craft and fiercely independent spirit, Stevens has become an example to follow for many non-mainstream musicians, and the sound advice laid out in his blog makes essential reading for anyone venturing into the troubled waters of progressive music-making. In any case, Lucid is essential listening for anyone keen to explore innovative approaches to guitar playing, as well as fans of the King Crimson school of prog.
http://www.mattstevensguitar.com/
http://mattstevens.bandcamp.com/album/lucid
http://mattstevensguitar.blogspot.com/
http://www.esotericrecordings.com/antenna.html


In the photo below we see U.S. Secretary Of State, Hillary Clinton meeting with Palestinian Authority, Prime Minister, Salam Fayad. Salam Fayad is wearing his stainless steel Rolex Datejust on a Jubilee bracelet with a fluted white-gold bezel.
U.S. Secretary Of State, Hillary Clinton also wears a ladies Rolex Datejust which is not visible in this photo, but I have some photos of Hillary Clinton wearing her Rolex Datejust on Jake's Rolex World.


text:
Nail, Hair and Skin Pros Sue California Gov. Newsom
The beauty industry joined restaurants in suing California Governor Newsom, requesting immediate and permanent reopening. The vast majority of the beauty industry is made up of women, first-generation immigrants and the LGBT community. Ten months after the Governor mandated salon closures, the state has failed to produce any "data and science" justifying the criminalization of the services of these state licensed professionals.
"Our small businesses, less financed and politically connected than multinational corporations, Hollywood and other so-called 'essential businesses', have become the go-to sacrificial lambs to the Covid gods," said Professional Beauty Federation of California (PFBC) Counsel and Advocate Fred Jones. "This has been ruinous for thousands of our establishments and the livelihood of tens of thousands, without any justifiable basis."
Lead counsel and high-profile LA attorney Mark Geragos commented: "What has become obvious is that the Governor and so called health officials never followed 'science or data' on closing down outdoor dining or capricious lock-downs of safe barbershops and beauty salons. Instead of following the science they followed the Lobbyists and allowed film companies to utilize hairstylists and makeup artists, while preventing the same services to be done in salons by the very same trained professionals. By definition this is 'unequal treatment under the law'."
"Cutting hair is a criminal act in only one State in the Union," reminded PBFC President Ted Nelson. "Governor Newsom is arbitrarily and needlessly destroying the livelihoods of state licensed professionals who have the formal education and training to keep their clientele safe from infections, as the CDC has acknowledged. Shame on him!
Unilever Is In A Mess But Whats New
Ulta lays off corporate employees

redpajama_set_name: RedPajamaCommonCrawl


Emily Gorrell of Buhl is the SCIC Girls Basketball Player of the Year. Kimberly's Dawson Cummins takes the honors for the boys.
There are two local all-star basketball games taking place this week.
Buhl pulled off another upset, this time over Filer in the SCIC district semi-final.
The Gooding girls basketball team is the regular season champion after beating conference foe Filer on Monday night.
Here is the roundup for Wednesday's high school sports action.
The College of Southern Idaho women's basketball team is adding a local hoops star to their roster for next year.
Here is the roundup of local high school basketbal scores.
Here's a recap of area high school games for Saturday, December 15 through Tuesday, December 18.
Lighthouse got off to a quick start and never looked back in the 47-34 win at Murtaugh.
Here is a weekly recap of area high school basketball scores.
CSI Women's Basketball coach Randy Rogers didn't shy away from scheduling tough opponents to start off the season.


Did you know there is a technique that takes a regular compliment to a sincere compliment? It's true.
Now, to take that compliment from regular to sincere, share why you give that compliment.
To take that one step further, throw the person's name in there.
Did you know that the sweetest sound to anyone is the sound of their own name?
EVERYONE needs encouragement. It gives people hope.
Hope is the reason you get out of bed each day. Hope for more! Hope for a great day! Hope for change! Hope for growth!
Here are some synonyms for encouragement: assistance, backing, cheer, comfort, confidence, faith, inspiration, optimism, reassurance, stimulation, aid, boost, favor, helpfulness, hope, refreshment, supporting, trust.
Overall, it gives people support and confidence. It lets them know that you are pulling for them to win at life.
Think about Santa Claus – he's the best!
He has a HUGE bag of toys and he gives freely to everyone he sees. While he gives present after present, he smiles and loves everyone.
Guess what? You're the new year-round Santa. Except instead of presents, your bag is filled with compliments and encouragement. You give freely, smiling and full of joy! And you give to everyone you see.
It's important that your compliments are genuine and don't come off as 'flattery'. Flattery gets you no where. Compliments should be honest and true.
Right now, there is something really fun happening on Instagram! Watch the video below to find out how you can receive your very own #goodiscool bookmark and encouragement card FOR FREE. It goes through April 13th or until supplies last!
The encouragement card is in a business card format, so you can throw it in your wallet and give it to someone unexpectedly!
Share on your Instagram story why you enjoy following me. You can use the pre-made graphic HERE, or you can make your own video or graphic.
Use THIS LINK to upload the image of your screenshot.
Plug in your mailing address and a bookmark with an encouragement card will be on it's way to your door!
I can't wait to see how you use your bookmark and encouragement card!


text:
Gunfire damages stores at Colorado Mills Mall
Driver shot during possible altercation on I-70
FILE – Former President Donald Trump announces a third run for president as he speaks at Mar-a-Lago in Palm Beach, Fla., Nov. 15, 2022. Jurors in the Trump…
FILE – Former President Donald Trump announces a third run for president as he speaks at Mar-a-Lago in Palm Beach, Fla., Nov. 15, 2022. Jurors in the Trump Organization's criminal tax fraud deliberated for a second day Tuesday, Dec. 6, weighing charges that Trump's company helped executives dodge personal income taxes on perks such as Manhattan apartments and luxury cars. (AP Photo/Rebecca Blackwell, File)
by: MICHAEL R. SISAK, Associated Press
Posted: Dec 6, 2022 / 10:29 AM MST
Updated: Dec 6, 2022 / 07:56 PM MST
NEW YORK (AP) — Donald Trump's company was convicted of tax fraud Tuesday for helping executives dodge taxes on extravagant perks such as Manhattan apartments and luxury cars, a repudiation of financial practices at the former president's business as he mounts another run for the White House.
The conviction was validation for New York authorities who say their three-year investigation into Trump and his businesses is continuing. The probe, which began as an inquiry into hush-money payments made on Trump's behalf, later morphed into an examination of the company's asset valuation and pay practices.
The company faces a fine of up to $1.6 million. Sentencing is scheduled for Jan. 13. The defense said it will appeal.
"A former president's companies now stand convicted of crimes. That is consequential," Manhattan District Attorney Alvin Bragg said outside the courtroom. "It underscores that in Manhattan we have one standard of justice for all."
Trump, a Republican who launched his 2024 campaign last month during the trial, blasted the verdict as a part of a Democrat-led "MANHATTAN WITCH HUNT!"
"This case is unprecedented and involved no monetary gain to these two Corporations," Trump said in a statement, adding: "New York City is a hard place to be 'Trump.'"
The verdict also comes amid a series of self-inflicted crises for Trump in recent weeks, including anger over his dinner with a Holocaust-denying white nationalist and the antisemitic rapper formerly known as Kanye West, and the former president's for the "termination of all rules, regulations, and articles, even those found in the Constitution" to address his baseless claims of mass election fraud.
The Trump Organization — and Trump's management of it — was at the center of "The Apprentice," the reality show that solidified his global celebrity. That fame in turn helped fuel his unlikely political rise, allowing him to sell himself to voters as a successful businessman who could take lessons from that sphere and apply them to Washington.
The Manhattan case against the Trump Organization was built largely around testimony from the company's former finance chief, Allen Weisselberg, who previously pleaded guilty to charges that he manipulated the company's books to illegally reduce his taxes on $1.7 million in fringe benefits. He testified in exchange for a promised five-month jail sentence.
To convict the Trump Organization, prosecutors had to convince jurors that Weisselberg or an underling he worked with on the scheme was a "high managerial" agent acting on the company's behalf and that the company also benefited.
Trump Organization lawyers repeated the mantra "Weisselberg did it for Weisselberg" throughout the monthlong trial, contending that he had gone rogue and betrayed the company's trust. Weisselberg attempted to take responsibility on the witness stand, saying nobody in the Trump family knew what he was doing.
"It was my own personal greed that led to this," an emotional Weisselberg testified.
But prosecutor Joshua Steinglass alleged in his closing that Trump "knew exactly what was going on" and was "explicitly sanctioning tax fraud."
Bragg slipped into the courtroom as the verdict was being read. Afterward he refused to answer questions from reporters, ducking behind a glass door as he was asked if he regretted Trump wasn't charged personally.
New York Attorney General Letitia James, whose office assisted in the investigation, called the verdict a "clear message that no one, and no organization, is above our laws."
In some ways it's a limited victory for prosecutors, however.
No one, save for Weisselberg, is going to prison. No one is putting a padlock on Trump Tower or forcing the company out of business. And a potential $1.6 million fine is a rounding error on the budget of an enterprise that boasts billions of dollars in assets.
Still, the Trump Organization may now run into some trouble getting loans and making deals, and New York City could have more leverage to try to end the company's contract managing a city-owned golf course in the Bronx.
But even as the trial was unfolding, the company struck a deal with Saudi developer Dar Al Arakan to license the Trump name for a golf, hotel and residential development in Oman. Next year, three of Trump's golf courses will host tournaments for Saudi-backed LIV Golf.
The bigger threat to the company could be the civil lawsuit James filed in September alleging that it misled banks and others about the value of its many assets, a practice she dubbed the "art of the steal."
James, a Democrat, is asking a court to ban Trump and his three eldest children from running a New York-based company and is seeking to fine them at least $250 million. As a preliminary measure, a judge has appointed an independent monitor to oversee the company's operations while the case is pending.
Officially, he says, the investigation is "active and ongoing."
On Monday he sent his strongest signal yet that he's interested in pursuing more charges, hiring former acting U.S. Assistant Attorney General Matthew Colangelo to lead the probe. Bragg and Colangelo worked together on Trump-related matters at the state attorney general's office.
Follow Michael Sisak on Twitter at twitter.com/mikesisak and send confidential tips by visiting https://www.ap.org/tips/.


Eish guys, me I'm tired. Ironically, I'm even typing this at 01h48 am after a long day of hosting a beauty pageant, finishing an assignment for Services Marketing, performing a comedy set AND planning operations for the Marketing Society's stalls at the Career Fair…since I'm president of the Marketing Society on top of everything else! Aiye man guys me I'm tired!
With the academic year in full swing, we are now bombarded with tests, assignments are due, and for students who are employed, work is demanding its fair share of attention. For Honours students it's time to embark on the special journey of deciding on a research topic in order to make new beginnings of valuable contributions to the research world. Although scary, understanding that you have an opportunity to make a difference is a good place to be in. You will have to answer challenging questions such as which areas you excel in and where your contribution is most needed.
I have always wanted to go abroad, live in a different country and be away from my family and friends. I finally got this opportunity when I was selected to go study abroad in Germany for a semester and for the first time in my life I felt at home in a strange and foreign place.
Everything was completely different but amazing. I loved it in Europe, it's peaceful and welcoming. It is amazing how they use all modes of transport; so many people use bicycles. I can't ride a bicycle and tried learning once but it didn't work, I guess I was not committed enough.
When it's time to change up and grow!!
Cutting your dreadlocks after two years, moving out of your parent's home or deciding to pursue a new degree all seem scary at first; change is uncertain and filled with plenty of grey areas. But what we never realise is that we have the ability and chance to fill those grey areas. I have always been a rational thinker, I will weigh options 100 times before I conclude and even then I will try to find something hidden in between. Although one would argue and say that rational thinking is an important attribute I would argue otherwise in most cases.
God has entrusted me with a lot of responsibilities and being a mother is one that I do not take for granted. As a student and a mother my life is quite unique from most other undergraduate students around me.
It has definitely not been an easy ride so far. Studying and working at the same time is exhausting. Grinding to the bone. I just completed my first semester exams for a three-year course, and what a relief it is to be able to breathe again.
I went back to school this year in order to strengthen my skills and abilities in my field of expertise, and for the next three years, I will have to endure the exhaustion and stand strong against the challenges I have been facing for the past few months.
It is around that time of the year when student life begins to be so annoying and traumatic. Oh yeah its winter, darn! And on top of that I need to study to earn good grades. That automatically means that I need to face the cold nights wrapped in a blanket and perhaps some gloves, but will I be able to page through all the loads of books with them on?
I was giddy like a kid in a candy store whose parents have to tell her 'NO!' otherwise, if she has it her way, she will leave with the entire thing, vending machines and all.
To understand my excitement, you have to know the context, so here's the short of it: I am a NUST alumni and I moved to Cape Town to pursue my Honours in Film and Television studies. That should be enough to make you realise the craze I was going through.
"You cannot connect dots looking forward, you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future. You have to trust in something - your gut, destiny, life, karma, whatever. This approach has never let me down, and it has made all the difference in my life." Steve Jobs.
Doing an internship has to be one of the most exciting yet the scariest thing a student has to do. I am studying Transport Management and as part of my work placement I was given the opportunity to do my internship at A Van Der Walt Transport in Swakopmund. I started out on a contract of 4 months and this was later extended to a temporary employee contract earlier this year.
We welcome all NUST students to the NUST student blog. Articles posted on this blog will be contributed by you the students. In these early stages of the blog, your creative input is very valuable to us. So please take a few minutes to participate in the survey on the right hand side of your screen. Please feel free to leave your comments and suggestions below.
All stories are welcome from advice to encouragement or if it's simply sharing a snap with friends on campus.
Copyright © 2019, | Disclaimer | Theme by Devsaran.


Or maybe I should say "Happy Leprechaun Day", as Alex has been referring to it all night. Alex is so excited about Leprechaun Day. He's hoping to see one. In fact, he built a Leprechaun Trap!
Fortunately, Alex also suspected that the leprechaun was going to escape. He would have been bummed if he really thought he could catch one.
How creative! What a cute idea!
What an imagination. Is he related to Leigh?
Very creative and great box work. Maybe next time the leprechaun will get caughts!


Q: Is the website iPhone, iPad, and Android user friendly?
Q: Is there a money-back guarantee?
A: Unfortunately, because all of the information is given to you at once we are not able to offer refunds. Thank you.
Q: Are the meal plans gluten-free? Soy-free? Vegan?
A: The meal plans are gluten-free friendly, which means the recipes are either naturally gluten-free or can easily be made gluten-free with simple substitutions such as using gluten-free pasta instead of whole-wheat. The plans are also soy-free friendly and 100% plant-based (vegan). No dairy. No eggs. No animal products.
Q: Are the meal plans Dinner Only?
A: Our meal plans provide recipes for Lunches and Dinners each week. Breakfast recipes can be found in The Breakfast Book located on the Meal Plans page and can be included on your printable blank weekly calendar to create your personalized weekly menu.
Q: I'm very busy and unable to cook three times a day. Can I still use your meal plans?
A: Yes, we actually suggest that you spend one day making most of the meals ahead of time so that you can simply reheat and go during the week. Additionally, each plan includes a Batching Prep Sheet which shows you exactly how to maximize your efforts by prepping your veggies and batch cooking your staples all-at-once and ahead of time so your meals come together in 15 minutes or less. These plans are perfect for busy people.
Q: Can my whole family participate?
Yes! The meal planner can support your whole family on this food journey. You'll have the opportunity to include other members of your household. That way, you will have the right amount of food to feed and please everybody! You will just have to adjust the serving size accordingly (typically each recipes serves 2).
Q: I have a comment/question. What should I do?


News: Evaluating Pension Fund Investments Through The Lens Of Good Corporate Governance, Commissioner Luis A. Aguilar, Latinos On Fast Track (LOFT) Investors Forum, Hispanic Heritage Foundation. Washington, D.C.
Lord Stuart Rose, former chief executive of Marks and Spencer, is to lead the campaign for Britain to stay in the European Union.
Starting on: Thursday 19th of June, 2014. Posted by: MoneyScience.
In the wake of the financial crisis there has been much discussion about whether boards (particularly of banks, but also more generally) are sufficiently accountable. A key government policy is to make companies more accountable to shareholders and the public. Yet little has been done to explain what accountability means in this context, its benefits, what obstacles exist to accountability, and what mechanisms might be introduced or modified to enhance it. This conference will explore these questions.


Compared to the thrilling rapidity of the dramatic cave rescue in Chiang Rai, the travelling life of the average Bangkok commuter has continued to be remarkably slow. Motorists are used to that, of course, but riders of the BTS Skytrain have abruptly been deprived of their accustomed fast lane.
Since its opening, the Skytrain had consistently been the most time-efficient mode of public transport in the capital. For most of the past three weeks, though, it's been neither fast nor predictable. Business commuters have instead become used to keeping their fingers crossed every morning when they leave home, wondering if they'll make it to work on time.
With news elsewhere overshadowing events in Bangkok, from the cave rescue to the terrible flooding in Japan to the catastrophe that befell Chinese tourists in Phuket, the Skytrain operator has been able to relax a little lately while headlines were diverted. The BTS issue persists, however, and public scrutiny should not relax. The city was almost paralysed on June 25 when the Skytrain broke down, and two weeks later there is still no indication of a long-term solution to the problem.
The recent series of service disruptions were hardly the first glitches in BTS history. Regular riders are all too familiar with trains being delayed without warning, and certainly without a fare refund. But what's been happening lately represented the worst set of incidents to date.
In terms of alternatives for most commuters, Bangkok has public buses, vans and boats, as well as taxis and motorcycle-taxis if the traffic isn't in gridlock. But these aren't efficiently connected, the buses are often crowded and unreliable, the rides you can hail tend to get pricey when demand is high, and the vans are starting to charge more too.
Having put its customers through a nightmare, the BTS operator shrugged the blame off onto whoever else was using the same radio frequency on which the Skytrain relies for operations. The signal was being disrupted and the rail system malfunctioned, it said. The commuter's attention thus turns to the government, which has a responsibility to ensure mobility for the masses.
Bangkok commuters have a very limited choice in ways to get around. Those who can afford cars endure the gridlock. People less well off ride the rails and the charter vans. The poorest must be content with sluggish, wheezing buses. Different costs and levels of convenience mean these modes of transport are not interchangeable. You'll never see a rich guy on the bus or a homeless person on the subway.
The government has never made an earnest attempt to discourage private car use or to extend bus routes into the sprawling residential areas. Compare that to the situation in Berlin, where the German House of Representatives approved a "Mobility Law" on June 28.
An outsider visiting Berlin is apt to be astounded by what's already in place for commuters – there are underground trains, ring trains and bus feeders plying the entire city. And yet the citizens pressed for more.
Der Tagesspiegel, a local newspaper, reported that the new law was designed to improve safety for all road users, including cyclists and pedestrians. With no new cycling paths established in two years, it requires upgrading the paint-delineated lanes as protected territory, clearly separated from the lanes used by motorised vehicles. Cycling routes must be clearly identified for all to see.
The Mobility Law will also expand public transport, giving priority to buses and trains. Some 100,000 bicycle racks will be installed in railway stations and at bus stops and other public facilities. Accident-prone intersections will be reconstructed – 10 of them this year alone.
Surprisingly (for Thais, anyway), Berliners and some news media outlets still aren't satisfied with the new law, saying it doesn't go far enough and could take years to be properly implemented. Commentators pointed out that two children had been killed in separate road accidents in the city within 24 hours just two weeks before the law was approved.
They may have some points, but imagine how delighted the citizens of Bangkok would be if their government were to bring about any such changes. The German government has at least tried to improve urban mobility – by bus, train, bicycle and foot. Here, we can only think Berliners ought to be more grateful to have so many choices in transport. They're at least not being forced into a choice based on their social and economic class.
Sirinya Wattanasukchai is a veteran journalist on city issues.


text:
Industry responds with 'happiness' as Singapore lifts after-dark ban on alcoholic foods
Singapore has formally lifted its ban on the sale of food products containing alcohol after 10.30pm, allowing for items such as alcohol-containing ice creams and chocolates to be sold. ©Getty Images
Related tags: Singapore, Alcohol, ban
Singapore has formally lifted its ban on the sale of food products containing alcohol after 10.30pm, allowing for items such as alcohol-containing ice creams and chocolates to be sold.
Under the ban (enforced under the 2015 Liquor Control (Supply and Consumption) Act [LCA]) previously, all food and beverage products containing over 0.5% of alcohol were not allowed to be sold from 10.30pm to 7pm.
The Ministry of Home Affairs (MHA) has now exempted non-beverage food products from the ban, but it remains in place for alcoholic beverages. Consuming liquor in public areas is also restricted to hours outside of 10.30pm to 7am.
Certain areas within Singapore like Little India and Geylang are designated as Liquor Control Zones, which have stricter regulations that apply to them. Offences committed within these areas can carry penalties that are up to 1.5 times harsher.
In an official statement, MHA said: "MHA has completed a review, following feedback from the public and industry that certain products containing alcohol need not be regulated under the LCA, as consumers were unlikely to abuse them."
"In consultation with the Ministry of Trade and Industry, except for beverages which will continue to be regulated given the significantly higher risk of abuse, MHA will be exempting all other food products from the licensing requirements of the LCA.
"MHA and the Police will monitor the ground situation, and periodically review and update the legislation as required."
Ice cream manufacturer Udders has responded with delight to this announcement, with a spokesman telling FoodNavigator-Asia that: "We're very happy that the Government have engaged the industry closely and taken our feedback into consideration in their review of this law.
"We thank the government for taking a pro-business approach to this decision."
Udders has six liqueur flavours that will be affected by this legislative change. These are: Tira-Miss-U, Wineberries, Cereal Killer, Orange Choc Bitters, Rum Rum Raisin, and Bailey's & Bourbon.
The company declined to comment on how this would be likely to affect its ice cream sales moving forward, saying it is 'not privy to Fairprice Finest (One of Singapore's largest supermarkets selling Udders ice cream) sales data'.
"[That said], with this change in law, we hope sales at Fairprice Finest and especially Cheers Convenience Stores, many of which are open 24 hours, will increase," said Udders.
The company also assured that it will 'definitely' be introducing more alcohol-flavoured/containing products moving forward after the lift of the ban.
Reasons for the 2015 Liquor Control Act
Singapore first announced its decision to review the LCA in November last year. The LCA was initially enforced after a fatal traffic accident in December 2013 involving a private bus and a foreign worker led to riots in Little India.
The worker "was believed to be drunk at the time and tried to board the bus which was already full," according to the official statement of the incident on the Singapore government website.
The worker had tried to board the bus, which was already full, and was knocked down as a result. Additionally, reports said that members of the crowd also appeared drunk and had beer and liquor bottles in their hands.
Over 400 people were embroiled in the violent riot, a vehicle was set on fire, over 50 individuals were injured and over 20 vehicles damaged.
Related topics: Policy, South East Asia, Asian tastes, Beverages, Confectionery, Dairy, Desserts, Seafood
Advancing businesses: Million-dollar NTUC FairPrice programme boosts NPD and sales for local processed food SMEs
Expansion and innovation: Singapore ice cream brand Udders targets five overseas territories
Health tax in Qatar: Price hikes as 100% levy on alcohol, energy drinks, and pork introduced
Alcoholic products after dark: Restrictions on desserts may be removed as Singapore reviews 2015 Liquor Control Act
How to Solve 4 Common Dairy Alternative Challenges
CP Kelco | 19-Apr-2022 | Technical / White Paper
Simplify plant-based beverage innovation with one ingredient. In this exclusive technical paper for Food Navigator-Asia's readers, learn more about...
Azelis | Ingredion | Uelzena eG