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31st Aug 2022 Ashwin Bhandari Hot New Single, New Releases, Review
Regal Cheer Drop New Single "Malleable"
The Brighton-based two-piece noise pop outfit have released a new single, Malleable via their own label Ugly Twin Records. Following their 2021 debut EP Side Hustle, the single opens with dance-punk reminiscent drums in the song's verses, followed by a huge scrappy chorus with fuzzy hard-hitting riffs that instantly suck you in. Clocking in at 1 minute and 50 seconds, you can already tell this song will be an instant classic at packed bar venues, coupled with the relatable notion of burning out until everything you've worked so hard for turns to shit.
Check out the video for Malleable below!
22nd Jun 2022 22nd Jun 2022 James Pearson Albums, Review
Soccer Mommy – Sometimes, Forever Review
It's been nearly four years now since Sophie Allison exploded into acclaim with the release of her debut full length album Clean, an album that detailed the tragedy and heartbreak of long distance relationships and teenage love. She perfectly captured the constant battle of desire and despair of those formative teenage years when everything feels like the greatest tragedy known to man. Allison was 20 when she released Clean, and now sitting at 25 the demons that she's always battled with still reside within her but with age has come wisdom about what she needs and in what design.
What set apart Allison's debut album from the rest of the Americana indie rock heartbreak albums of the time was not just her intimate songwriting but the production of how she gave life to her tracks. From the raw and crystal clear sound of opener "Still Clean" with its sparkly guitars and interjecting synth swirls, to the crashing waves of feedback on "Scorpio Rising", the trickery was subtle but helped create a wooden forest of sometimes unsettling and often graceful soundscapes. On her sophomore album color theory Allison often leant into elements of shoegaze she's so often referenced, like on the expansive "yellow is the colour of her eyes". Now this time with electronic wizard Daniel Lopatin aka Oneohtrix Point Never at the helm of production, Allison's sound has entered a new dimension of spectacular. The usual chugging guitars and backing band are in full force as the album opens with "Bones", which moves from solitary ballad to grand orchestra of love induced soundscapes with twinkling guitars and distorted rises, this is Soccer Mommy turned up to 11. You can't help but recall every intimate moment you've spent with someone you truly care for as the drums crash and the synths swirl on "With U", becoming absorbed in the beauty of its grandiose expression of love. Lopatin's electronic background comes out in full force on "Unholy Affliction" with the distorted synth-bass and hip-hop tinged drums battle out for which instrument can be the most demonic, helping bring a true darkness to Allison's sound that's only been hinted at before. Allison is older, wiser and more compelling now than she's ever been, with her sound growing at an exponential rate, showcasing just how devastatingly beautiful Allison's work really can be in the hands of a production magician.
Growth and appreciation is what this album is all about. Letting the past go, facing the demons you thought would once bring you down with a new sense of adversity and triumph. And growing to allow yourself to be loved by others. "I'm trying to be someone you can love and understand, but I know i'm not" Allison sings on opener "Bones" facing the self-doubt of her ability to be who she wants to be. And eventually growing tired of the lifestyle she now leads, "I'm tired of the money and all of the talking at me, I'm barely a person, mechanically working" she declares on "Unholy Affliction". Allison was just 18 when she released her debut tape For Young Hearts, her entire adult life has been swallowed by the forever churning wheels of music stardom; and at this point she just wants to be able to be herself. Eventually facing some of her darkest moments on the Billie Eilish infused and sci-fi horror driven "Darkness Forever". "Darkness forever, a cold sinking ocean, I want to feel the warm of relief, the devil is chasing hard on my tail" she sings and it seems as though all could be lost to the weight of the world around her. Allison not only instills the feeling of overwhelming dread but submerges you right into it, allowing all its despair to wash over you in a wave of synthesisers and searing distorted guitars.
But like a phoenix rising from the ashes Allison finds a light to hold onto, exploding the second half of the album open with the brit-pop stadium rock driven "Don't Ask Me". It's got the big riffs, distorted guitar lines and a soundscape that Kevin Shields would take a double take at and wonder if he could use it on the forever, never fourth MBV album. For all the twists, turns and expansions that this album has taken so far though Allison decides to take it back to familiar ground on "Fire In The Driveway" with a stripped back moment that although is centered around the feeling of wanting to move on, does almost the opposite with the pacing of the album, slowing it down from the momentum it was building.
However like any compelling mystery, this proves to be a red herring as the following "Following Eyes" opens up a new side of this album that's been lurking in the shadows waiting to emerge; the horror. "Beneath the half moon, the witching hour had me bound, an apparition, called to me without a sound" sings Allison over the skulking guitar lines. A long time Buffy The Vampire Slayer fan, Allison abstractly details a calling of an evil force pulling her in as she can't escape the evil glare that follows her every move; the prominent backbone of many a Buffy encounter. On the surface its Allison showcasing her adept storytelling ability of the supernatural, but within lies something more evil than anything, the demons that bury themselves deep within us waiting to emerge. Allison has always put her emotions at the forefront of her work and now she uses them to detail the abstract, a sign of a truly brilliant songwriter.
"I lost myself to a dream I had" she sings on "Still". Well it looks like now she may just have found herself again, and the version of herself that she's found is the most daring and enigmatic we've seen yet. Bowing the album about in true Soccer Mommy fashion, Allison summarises her trials and tribulations into one last nostalgia inducing diary entry that washes over you like a wave of serenity. Allison has always been a voice of her times and she's never showed it more vibrantly and expansively than on Sometimes, Forever. "Got pain in my back, 22 going on 23" she sings on "Feel It All The Time" and i couldn't have put it better myself.
4th Feb 2022 5th Feb 2022 Aimee Ferrier Albums, Review
Black Country , New Road – Ants From Up There Album Review
Ninja Tune – 2022
Black Country, New Road offer up a stunning sophomore album in the form of Ants From Up There, which comes in the wake of lead singer Isaac Wood announcing his departure from the band. Whilst the future of the band is unclear, Wood has signed off from the band with some of his greatest vocal and lyrical performances to date, ensuring that his presence will never be forgotten.
After their second single "Sunglasses", released back in 2019, a whirlwind of post-rock inspired guitar sections blended with spoken-word post punk witticism that explodes in a frenzy of blaring saxophones, the band were on everyone's radar. Known for their notoriously good live shows, the band took to the studio to record Mercury Prize nominated For The First Time, released 5th February 2021. Now, almost exactly a year later, the band have to released Ants From Up There on 4th February 2022.
Album two feels like the natural progression for a band like Black Country, New Road to take. They have refined their sound, incorporating more texture and emotion than their previous effort, yet still retaining their distinctiveness, which can be heard in the harmonies of the strings which compliment the post-rock influenced guitars. With the success of their debut, the band have not hesitated to get stuck into making something that they feel is more cohesive, an album that saxophonist Lewis Evans asserts every member loves "every single moment," containing "a bit more of a musical through-line," making it "feel more like an album."
Just like For The First Time, Black Country, New Road begin the album with a short instrumental piece, entitled "Intro". The saxophone-led piece perfectly introduces the album's ability to blend snappy instrumentation alongside a distinct tenderness that permeates throughout. The album then moves into a similarly peppy and upbeat "Chaos Space Marine", a departure from BC, NR's usual sound, yet Wood describes the creative process of the track as "a really fast, whimsical and silly approach – like throwing all the shit at the wall and just letting everything stick." Although certainly not to the taste of all existing fans due to the track's overly anthemic chorus and lively piano, the track demonstrates the band's ability to not take themselves too seriously. However, the song is arguably the weakest on the album, and would potentially sound a lot more cohesive without it. A fun track on its own, amongst the album's beautifully tender tracks and lyrical themes, "Chaos Space Marine" is lacking the emotionally powerful quality that every other track possesses.
"Concorde", the album's third track, and the second single to be released in anticipation for the album, is a gorgeous slow building track that transcends into an incredible explosion of saxophones and driving guitars. Lyrically, Wood explores humour with direct tenderness, moving from the comic yet painful "don't tell me your hungry / cause, darling, I'm starving myself / And I heard your on Atkins as well," to "I was made to love to you / can't you tell?" in the space of a few seconds. It becomes prominent that failing relationships are a central theme on the album, which continues in "Bread Song", a minimalistic soundscape driven by mellow guitars and keys to accompany the nervous strain in Wood's voice. The track proves to be one of the band's most attentive and delicate to date, with a standout performance from every member.
The album picks up some momentum with "Good Will Hunting", which features caustic drums that pierce through the track alongside the repetitive keys, before building into a loud intensity matched by Wood's vocals. In line with the band's earlier tracks that reference musical icons from Kanye West to Richard Hell, Wood sings "she had Billie Eilish style," which is repeatedly referred to throughout the album. However, it doesn't pack the same humorous punch as "Leave Kanye out of this!" from 'Sunglasses,' instead coming of slightly rigid and cringy, undermining the far superior quality of Wood's writing that is evident on the rest of the album.
The following track 'Haldern" redeems the album from potentially sagging from the weight of "Chaos Space Marine" and "Good Will Hunting". The track was originally improvised at Haldern Pop Festival in Germany and showcases the band's immeasurable talent at working harmoniously together to create a song without much prior thought. Wood stated that "every now and then in the middle of a gig we'll do some improvisation because it can be really fun. When we did it this time, we basically wrote a whole song, which is the first time we've ever done that." Keys player May Kershaw shines on the track, bringing the rest of the instruments together to create a melancholically beautiful sound, which becomes punctuated by the crashing drums of Charlie Wayne. Wood's writing truly shows its strengths here, opening the track by singing, "Ignore the hole I've dug again/ it's only for the evening."
A standout moment of the album is "Mark's Theme", a tribute to Evan's late uncle Mark, who died a day before the release of For The First Time. The short piece is a phenomenal demonstration of the band's classical training, a hauntingly beautiful and sentimental track that is unforgettable. You can only imagine that witnessing a performance of the track live would leave everyone stunned and transfixed by the mournful strings and saxophone that are some of the band's finest instrumental work.
As the album reaches its final few tracks, "The Place Where He Inserted the Blade" perfectly captures what the band seem to have been alluding to in interviews – that they are "trying to make [their] music really accessible." The song balances a crowd-friendly chorus with gentle strings and nostalgic backing vocals that chime in near the end of the song, feeling like the musical equivalent of leaving the pub, buzzing off the excitement of catching up with old friends. This "accessibility" is not so evident on "Snowglobes", a divisive track due to its intense and interfering drum solo that dominates the latter part of the track. However, the drums only elevate the track to greater heights, adding a crushingly hard impact to the song which is mainly intricate strings, sax, and guitars until this point. The drums roll like thunder behind Wood's heart-breaking delivery, repeating the lines "God of weather, Henry knows/ Snowglobes don't shake on their own," with a raw intensity. Violins carry the track to even greater emotional depths, making it one of the album's strongest tracks.
Finally, the album draws to a close with "Basketball Shoes", almost thirteen minutes in length, and definitely the band'smagnum opus. If this is the last song we hear from Wood as a part of Black Country, New Road, he has left on an extraordinary high note. The song traverses differing terrains, parts explosive, parts euphoric, parts so incredibly emotional that you may wonder if they could ever top such a track. Wood states that the song is "the whole basis and blueprint for the album," which is no surprise due to the indelible impact it leaves on all that hear it. The song has been a live fan-favourite for a while, so its official release comes with much anticipation. Divided into three parts, the song scratches every musical itch – erratic strings, immaculate post-rock guitar tones, and an astounding nostalgia-tinged emotional delivery from Wood, who screams the final verse in one of his most memorable vocal performances yet.
Black Country, New Road prove themselves to be one of the greatest British bands to have emerged over the past decade, constantly evolving and adapting with each track, delivering sheer amounts of emotion with every single string and guitar chord. Many of the band's finest works are to be found on Ants From Up There. Bassist Tyler Hyde asserts that "It was such a pleasure to make. I've kind of accepted that this might be the best thing that I'm ever part of for the rest of my life,"and this couldn't be more evident in these ten tracks.
7th Dec 2021 Aimee Ferrier Albums, Review
Kristian Bell – Backfire Album Review
Cable Code – 2021
Kristian Bell, best known for providing distinctive lead vocals and guitar for his grungy/psychedelic band The Wytches, has released his first solo album, entitled Backfire on the band's own label Cable Code Records. Since the release of The Wytches' debut album Annabel Dream Reader in 2014, the band have been consistently working with a DIY ethic that bleeds into their music perfectly, making it feel all the more genuine. The three albums and handful of EPs that the band have released since their formation have demonstrated Bell's ability to perform with a raw and deranged sounding intensity, whilst at times retaining a strong tenderness and delicacy, the latter informing Bell's debut.
In 2019 Bell and fellow bandmate Mark Breed released Stereo Buzz, under the aptly named Mark and Kristian Band, which took a distinctly softer approach than the sound of The Wytches, often weaving between slow, drawn-out psychedelic guitars and sprinklings of humour in the lyrics (for example "Smoke it to the Roach"). Sonically, Bell's solo album is more reminiscent of this project, yet retains its own sense of individuality and maturity, showing drastic lyrical growth from the early days of The Wytches.
Album opener and lead single "That's A Lovely Thing" is reminiscent of nostalgic 90s rock, seeping with a homemade sensitivity and warmth. The guitar tones paired with jolting drums combine perfectly to accompany Bell's voice, which is well-suited to the overarching sentimental atmosphere. Another standout track is "Backfire", which often feels like a deranged-sounding Foxygen track. Bell takes an approach that harks back to Annabel Dream Reader, allowing his voice to mutate and move through the track with little regard to sounding polished. This grunginess is equally addictive and mesmerising to listen to.
The album weaves through these moments of intensity with relaxed, melancholic tracks that feel like a musical representation of the days slowing down and drawing in at 4pm; Bell could not have chosen a better time to release the album. Tracks like "Have to Ask" and "Walking Song" demonstrate Bell's ability to sing in an effortlessly higher and gentle pitch, accompanied by slow and strategic guitars. The textural palette of "Walking Song" is so intricately crafted alongside the sadness of Kristian's voice, which makes it another memorable moment on Backfire.
The album could have benefitted from more songs with the same intensity of "Backfire" as opposed to the majority of the tracks having a similar tempo, which leaves the album feeling slightly stagnant in the middle. But fear not, the album picks itself up quickly, with "Spotlight" echoing the guitars of Mazzy Star, and the unforgettable "Dog in the Ditch" demonstrating rich albeit lugubrious story-telling.
Bell combines the melancholy sounds of influences such as Elliott Smith and Big Star with the trademark gothic undertones that are ever-present in all of his work. From Annabel Dream Reader to Backfire, Bell has proved himself as one of the most genuine and hard-working musicians in the industry, consistently putting out work that feels truly authentic. Backfire is an overall strong debut album from Kristian Bell, and more solo work is highly anticipated.
Listen to the album below!
26th Sep 2021 26th Sep 2021 James Pearson Albums, Review
Ruby Fields – Been Doin' It For A Bit Album Review
Self Released – 2021
Australia's latest export Ruby Fields has been gracing the airwaves with her moving and yet festival worthy ballads for a few years now. First emerging in 2018 with her Your Dads Opinion For Dinner EP. Followed closely by "Dinosaurs", the lead single from her second EP Permanent Hermit, which reached #9 on the Triple J hottest 100 for that year and became ARIA Platinum certified. Now after nearly 3 years she's returned with an album that likes most aspects of life in recent times had a very stop-start approach. Recording began at the beginning of 2020 but wasn't completed until much later in the year for obvious reasons. This period away from the studio allowed Fields to indulge in reflection of life, both in the spotlight and in the everyday. The final result is Been Doin' It For A Bit, a collection of diary entries from Fields that form a collective picture of youthful tribulation.
The immediate impact of "Song About A Boy" sets the tone for most of this album; direct and emotionally poignant. She doesn't waste time in moving from melancholy verses to anthemic chorus', binding the two together with her evocative vocal performance and familiar Aussie twang. It's this knack that have left some naming her the Australian Phoebe Bridgers, with the track reminding greatly of the structure of fan favourite "Kyoto" off Bridgers' latest Punisher. This mood continues onto "R.E.G.O" where Fields delivers her first of a few early 2000's Avril Lavigne-esque bangers, continued later on the likes of "OUCH". Between the tender moments of the album, these outbursts offer a rage induced eruption, keeping the flow of the album pumping.
What sets this album apart from Fields' previous workings is her storytelling ability. In our interview with her she described how most songs come as part of real life experiences rather than stories she's created. And on Been Doin' It For A Bit she turns simple suburban life into timeless stories of human behaviour. "I woke up and you were in the kitchen / Talking with my mum / She was bitching / You couldn't care less but you sat there unblinking" she recites on "Kitchen" with a formidable flow, recounting those moments we often tend to overlook but wish we could hold on to once they're gone. It's not just home events she sings of however, with "Bottle'O" reminiscing in a trip to a local beer shop and having to explain that she'd lost her ID. It may sound a quaint event but thanks to the intimate sound Fields brings from the rolling piano line and sailor-like harmonies she turns into a collective appraisal for the simplicities of life.
Fields doesn't just turn days into songs however, but lets some of her most intimate moments and feelings shine through in immediately enthralling ways. On "Pokies" she opens up with the line "My old man loves a slap at the pub" before listing details of addictions to gambling, smoking and drinking. It's Fields trying to come to terms with the problems that placate those closest to her. She builds up her anxieties until the chorus outcry of "Oh the ages" where you can feel that she's releasing every last ounce of stored emotion comes flowing out whilst still holding the restraint in her voice to stay collected. She has to be strong for the around her but can't help let her feeling slip through the cracks.
What helped "Dinosaurs" reached both the chart and emotional heights that it did was in part the nostalgia that Fields induced with the songs sound, but also the way it kept you hanging on until it's climactic crescendo of grungy and pit-inducing guitars. Fields follows this trend at moments like on the penultimate "Clothes Line" as she questions over wether her life has had meaning "If the reaper comes to claim me and all I've gone and done / Is write some shitty music and take some shitty drugs," she self deprecates with. It may give more hints at its final form than its predecessor but these act as slow wells of emotion as Fields become more entrapped in the idea of being unworthy. The trope can get a little worn out on occasion, with "Airport Cafe" the sparseness suddenly becomes over-flooded with distortion heavy guitars that never really offer much palette-wise that can't be found on the rest of the album.
The debut album is always a piece of art that will remain as significant to an artist the day it was released until the day the day they stop playing, and for Fields it's certainly hoped that that day is a long way away. This album not only serves as a new standard for Fields songwriting ability, but also a collective work of everything she's formed for herself up to this point. Kick back and grab some beers because this is one to enjoy the Sunday sunshine to.
18th Aug 2021 18th Aug 2021 James Pearson EP, Review
Wings Of Desire – Amun-Ra EP Review
WMD Recordings – 2021
Wings Of Desire the indie-pop duo of James Taylor and Chloe Little have returned with their second EP of the year. Following on from their End Of An Age EP that focused on observing the world, Amun-Ra takes a look inwards and examines life and the expectations that comes with it. The duo formed over a mutual love of Krautrock, Berlin-era Bowie and 60's counter-culture and you can feel aspects of each of these sewn in throughout this new EP.
Opener "Choose A Life" combines soaring soundscapes and sailing guitars to soundtrack the band's satirical spoken word life-goal checklist. Imagine Arcade Fire wrote the soundtrack to Trainspotting with Wolf Alice on production duties. It's one of those feel-good, contemplation tracks, perfect for watching the world pass by on the bus to work as you contemplate whether the commute is really worth it. You can lose yourself in the world that they create as they examine their place in the real one. There's a certain magic they tap into on this track that they never quite reach on the rest of the EP.
"Better Late Then Never" rings with the same contemplative energy but only captures half of the excitement of its predecessor, almost trying to live off its legacy. They try to invoke the anthemic chorus aesthetics of Bowie's Heroes, but only quite pull of being the trusty sidekicks. The chorus "Oohs" and defiant claims of "We're just getting older" feel like you're reading an inspirational post your aunt has shared on Facebook. The sentiments nice but the execution never really reaches the heights it could.
There is a comeback however on "Outtamamind" as they use allow the chorus' anthemic nature to shine through and the power-rock guitars to create a motion to stomp your feet to. Their assessment on true timelines continue as they question whether mysteries like the Mandela affect and parallel universes really exist and how many lives we've live within them. The open-ended nature of these ponderings allows the band to place the question to everyone else; well what do you make of it?
What Wings Of Desire showcase on this EP is a pallet of sounds that becomes tried and true. Closer "Forgive And Forget" pulls these sounds together for one last power ballad outcry. It's emotive and captivating and could easily soundtrack any indie-movie's coming of age moment. But as with many movie moments they are only brief, needing only a snippet of a track and this track seems to provide this snippet in abundance. Its chorus reaching out for as long as it can, never seeming to want to let go. You are drawn in by the emotive moments of this EP and they stick around for as long as possible, occasionally bordering on the clingy.
Listen / Buy
5th Aug 2021 James Pearson EP, Review
Al Matcott – You Can Be anyone EP Review
Skip Hero Records – 2021
Al Matcott, one of Australia's rising blues-grunge artists has emerged with his debut EP You Can Be Anyone, a collection of sentiments and stories form Matcott's world that encompass elements of Americana, blues rock and folk. Formally a drummer and guitarist/ singer in a number of bands in the Australian DIY scene, Matcott has honed in his songwriting narrative to offer up the first slice of what he's all about.
The most immediate thing you realise upon listening to this EP is that this is only a flavour of what Matcott is capable of, but you're given a big enough portion to be able to digest Matcott's shining personality and love of guitar. Jerking into action with opener "The Truthseeker" Matcott displays his form of songwriting in glorious form. With its stop start motion drive it feels as though Matcott is clicking in the gears, about to set the full bluesy drive into full motion. Recorded in his mothers house in Castlemaine, Victoria you can hear the rawness of Matcott's sound in every aspect, from the slap-back vocals to the crusty guitars. It sounds almost live, and the immediate energy of Matcott's performance is present in every moment. With the track gradually climaxing into a frenzy of melodies and blues riffs Matcott feels like he's in full bloom, every aspect that the song has been leading up to resonating loud.
Both "The Truthseeker" and "Mediocre" stretching over the 5 and a half minute mark and beyond and it becomes apparent that Matcott would rather feed in slow elements of his sound when and if needed. Like a well-grafted novel, he's in no rush to deliver it's final climactic showdown, rather they have to be earned. On the latter there's a subtle layer of disdain wrapped all over the track, from it's shifting tonal balance at almost every turn as Matcott asks "You could be anyone / Why would you choose to be / Such a mediocre person". Whether it's a battle of self belief or questioning of another, Matcotts clever lyricism and storytelling finesse shines through above the rest.
The more poignant second half of the EP has Matcott evoking the likes of indie-blues/ folk powerhouse Kurt Vile on "Justine". His vocal style may resemble that of Vile's B'lieve I'm Going Down days, but there's also something more to Matcott's sound that you can't escape from. It's as though he's telling you a tale round a campfire, backed by a swathe of grunge filled and almost euphoric instrumentation. Pounding beat and rolling riffs aplenty, this track is sure to appear on any American-outlaw TV show soundtrack. And on "Friends Of Us All" Matcott brings out his inner Springsteen, as he crushes lead melodies one after another and details the turmoil of a friend in need.
What this EP details about Matcott is indeed that he can be anyone. Whether he's playing the role of the outlaw or the loveable rogue, he captures the spirit of Americana-blues and indie rock at its core.
Listen/ Buy
25th Jul 2021 James Pearson Albums, Review
Merpire – Simulation Ride Album Review
ADA – 2021
The newest emerging talent to come from Australia's ever-fruitful indie rock scene comes in the form of Rhiannon Atkinson-Howatt aka Merpire. Emerging back in 2018 after signing to Fright Night Music and being showcased at Bigsound, Merpire has spent the last few years gaining a loyal following thanks to her insightful and emotive lyrical passages and raw indie sound. Support slots for Julia Jacklin, Angie McMahon, Didirri and Olympia on the way, Merpire has now emerged with her debut release, Simulation Ride. And although the album may take its name from the feeling of displacement with reality, this debut album very much keeps it real.
Opening with "Village", Merpire sets the tone for the rest of the album both lyrically and sonically. Through harmoniously tender guitars Merpire is pacing through her mind, back and forth through the anxieties that encompass. "It takes a village to love you" she declares as the distorted syncopated guitars crash into action. It's the idea of symbiotic living that she's battling with, stating that she doesn't see how just one individual could love her, rather it would take a whole settlement's worth of people for her to try and compare to until she could feel comfortable.
You soon come to realise that Merpire has a keen attention to detail and placement of moments within her song. On "Lately" she opens with just guitar, slowly adding layers of emotive synthesisers and razor sharp riffs intermittently. They don't flood the soundscape but rise and fall in patterns of selected emotional outpours. Each guitar breakdown or new layer of sound added feels like a new layer of self doubt being added on until reaching its despairing finale. Some of the emotive heights that Merpire does reach on this album can sometimes be leave subsequent feeling lack-luster or formulaic copies of the previous outings. "Brain Cells" has all the same principal elements of its predecessors, yet never quite reaches gloried heights or offer anything new to the narrative of the album.
Self-described as a "journey through my mind", this album reaches it's most poignant when Merpire is at her most intimate, allowing us to walk the path of her psyche with no barrier between emotion and reality. "I was a creature of habit / When it came to coming undone" she sings on the opening line of "Habit", and it's this mixture of clever lyricism to counteract the weight of emotion that Merpire touches upon that helps creates a whimsical front for the heavy-hitting convictions that she is laying out for all to see.
What becomes clear towards the end of the tracklist is that Merpire has a certain knack for delivering emotive ballads in quick succession. "Sink In" begins with acute lo-fi textures and whimsical guitars that draw you into a false pretence of subtleness. As the drums kick in and the melodies yearn infectiously you can feel the tension rise until the great cloud of anxiety washes over the track. Searing guitars and emotive vocals surround the soundscape as Merpire tries to fight for her love as she repeats "Stay! / How long do I have to hear it / Before it sinks in". And on closer "Yusiimi" she evokes the same kind of jealousy and contention that was found all over soccer mommy's debut album Clean. Whether Yusiimi is a real person or a clever abbreviation for wanting to be taken as you are, Merpire ends this album as devastatingly as it started. Constant comparisons to another that can seemingly never be equated to, Merpire lays out one last cry for some form of acceptance that we can only hope will be found with the exploration of the emotions she addresses throughout here debut.
8th Jul 2021 James Pearson EP, Review
Subculture – ACiiiD DRIPPED FLYING BUTT€R GUNS EP Review
Twisted Hearts Records – 2021
Haifa-born, London-raised producer Subculture aka Edan Feldman-Vazan returns with the follow up to 2019's debut album I Dream Of Everything. Inspired by the turmoil of lockdown ACiiiD DRIPPED FLYING BUTT€R GUNS EP sought to turn his production talents to create a portrait of escapism from the real world. Coming in the form of the ACiiiD DRIPPED FLYING BUTT€R GUNS EP that plays like a mellowed out psychedelic burst of subtle despair amongst beauty.
Opening with the spacey and psychedelic tinged "Tornados", woozy beats and lo-fi guitars aplenty, Subculture creates the type of soundscapes that are best appreciated late at night on the train home. As Hak Baker's vocals crash in, the song transitions to invoke that sense of blissful melancholy that can be found with the likes of Gorillaz Plastic Beach. It feels like a wash of nostalgia thrown over you, the voices of the past circling around your head.
The pace is quickly increased on the title track however as the acid tab kicks in. Through seething horns and highly filtered guitars Subculture displays his dexterity in sound manipulation. There may not be as much depth of emotion as the rest of the EP, but it acts as a place-marker for the way Subculture crafts moods into sounds. To speak as the kids do, it's certainly a vibe.
And to complete the full cycle of this trip, third track "Saving Grace" feels like the comedown after the wild ride. Lo-fi distorted textures and pianos create the kind of a melancholia that can be found starting out the window on a sunny summers eve after an afternoon spent with friends. It's that perfect blend of sadness after joy that Subculture captures. As Edwin Arzu's laidback verses of longing for someone roll along you can't help but feel nostalgic for a love that you never had.
This EP stands as a dexterous journey through the mind of Subculture and the soundscapes that he inhabits. Crafting distorted worlds of his own inspired by the distorted world around him.
27th Jun 2021 27th Jun 2021 James Pearson Albums, Review
Maple Glider – To Enjoy Is The Only Thing Album Review
Partisan Records – 2021
Maple Glider is the musical project of Tori Zietsch, hailing from Melbourne, Australia, but is someone who is inspired by the world around them. After the fallout of a previous musical outlet, Zietsch switched sides of the planet and made home in Brighton where she formed a majority of the demos that would eventually form this album. Inspired by the long summer days and flowing rivers of the South of France, Zietsch has crafted an album that both loses itself in time and perfectly frames those small instances in-between life's biggest moments as the catalysts for great change.
The first thing you realise about Zietch's music when listening is her ability to transcend you into deep pockets of time you thought you'd forgotten. As the sparse piano lines step into action on opener "As Tradition" and Zietch's crooning vocals, that would make any Angel Olsen fans swoon, swim about the soundscape you become immediately entranced in the tenderness of it all. "Come to me, pretty, pull back my limbs/ It's the oldest tradition known to my skin" sings Zietsch on the chorus as she recalls lost intimacy. But although her music may be melancholic on the surface, there's an underlying darkness that swims throughout.
On "Swimming" she questions how earnest her love truly is. "I said I would marry you / If I could get a passport to / Work in the land of riches / Live our lives through pictures" she recalls as if living in a fantasy. False promises that never came to fruition, a daydream that never made it to reality. You can feel the frustration build as the gothic melodies of the chorus juxtapose the infatuation that Zietsch sings of. These moments of unbalance creep up throughout this album and on "Good Thing" Zietsch is living in the space between. "You're asking me if I'm okay / But I need time to process/ All these things that make me lose my focus / And all these parts of me I had not noticed / Before you came" she sings in a hushed yet deeply passioned opening moment. It's as if Zietsch has put you front and centre in her mind and you're the voice she's debating with. You can't react but only listen until she bursts out into full stride during the second half in a flurry of sweeping strings and despairing vocals.
For all the heartbreak in this album there's an equal amount of love found in the smallest moments of life. Zietsch celebrates the company of her cat on the slow burning "Baby Tiger", an ode to an unwavering friendship. Just as you thought this album couldn't get any more stripped back Zietsch turns up the dial and delivers a song so sparse that you feel like you're sat alongside a green riverbank, nothing surrounding you but nature and Zietch's mythical voice blowing through the breeze. It's a true testament to her alluring natural and unchallenged talent. It's not only felines that she's celebrating, but friends also on the aptly title "Friend". Rolling guitar lines and a gliding melody that could send you to sleep, Zietsch not only calls back to her long-standing friendship but the struggles they've faced amidst change. Further resonating Zietch's desire to showcase just how much connections have shaped her.
To Enjoy Is The Only Thing is the perfect title for this album. Not only is that statement true about listening to this release, but through tragedy Zietsch teaches us to look for the good in the world. To reach out and find more. To enjoy life for the moments of embrace and happiness wherever we may find them.


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INSPIRELI AWARDS > Inspireli awards jury
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El mehdi Belyasmine
Born in the middle of cultural diversity in Morocco, El Mehdi Belyasmine grew up in the French High School in El Jadida, Morocco, during his childhood but also in a family of artists and teachers where his father was also an architect, he was focused primarily in drawings to find the passion which is architecture and design research during his studies in Belgium (Bachelor and M.Arch II) and Switzerland (One-Year M.Arch I) with a summerschool in Brooklyn, USA. His ambitions led him to start his path career in Doha, Qatar where he collaborated with Albaker Architects in cultural field before being moved in Mexico City in 2015 to work for Fernando Romero Enterprise/FR-EE in various projects at cultural and urban scale through design research, isometric diagrams and 3D models. From June 2016 to February 2018, he was appointed to lead design research and conception development through collaboration with Arroyo Solis Agraz Arquitectos in various projects of different scales from house to urbanism. His dynamism, open mind and vivacity enhance his interest in architectural design that operates at the intersection of culture, sustainability and technology. Open to challenges, he joined Estudio Lamela arquitectos/LAM for new challenges such as big infrastructures like airports.
www.lamela.com
Shama Usman
worked at Capital Development Authority 1975-1976
started my own private practice BSF Design consultant's 1976-date Consultancy for Pakistan Army And Navy schools.Interiordesigning of Private sector ,houses.
started low cost green architecture project at grassroot level .
Krzysztof Rostański
Associated professor at Faculty of Architecture, Silesian University of Technology, Poland. Main areas of scientific interest - landscape design, urban design, theory in architecture. Owner of design studio Pracownia HORTUS. In 1996 obtained his Ph.D. with thesis: Rebuilding of the greenery of densely populated settlements in industrial cities of Upper Silesia, Katowice case study, with the use of computer method of plant selection. In 2014 DSc degree upon monograph: Modelled nature - naturalistic elements in urban planning. Commission for conservation of historical greenery. Author of 54 and co-author of 11 scientific publications (5 individual monographs), 16 scientific notifications, 5 popular books and other publications. Author of 162 landscape architecture designs, 14 expertises and 41 greenery inventories (including 2 inventories of botanical garden in Zabrze). Leading designer of 29 designs of new parks and squares. Main works: Recomposition of greenery of two districts - Ligota and Koszutka in Katowice; Conception plan for Silesian Botanical Garden in Mikolow; co-author of multi-option conception plan for development of postindustrial area of "Turow" brown coal mine, Belchatow; Greenery for Akademicka Street in Gliwice; Hill Antonia Park - zinc spoil heap in Ruda Śląska; park of Silesian Center for Rehabilitation and Health in Rabka; co-author of Greenery design for Copernicus Science Centre in Warszawa - Discovery Park and Garden on the roof. Recent monograph: Connotations in architecture - On the Art of Observation of Associations Drawn from Culture.
www.krzysztof.rostanski.pl
Maja Dimitrijevic
To make people realize their dreams, to get exactly what they wanted and how they wanted it. To create an architecture that is different, functional, innovative, advanced, smart.
For a simple future for all.
boligpartner.no
Zeri Alfisyahrani
I focus on residential buildings, government buildings, offices and hospitals.
yoka.co.id/yodya
Pietro Nicola Musolino
The subtle passage of architecture through the gemetrical and functional rigor.
Ignacio Fernández Torres
Prof. Architect ETSA Sevilla and TU Wien, partner of ftca architectos & asociados and ftca s.r.o. researcher and Director of ACCA magazine for architectonic graphics. ftca.es
www.ftca.eu
Les Jordan
Currently, I am involved in a wide range of architectural project types in Austria and Central Europe. The projects vary in scope, but our specialties lie in architectural management, consulting, design and construction document planning for mobility architecture (rail, bus, automobile, bike and pedestrian interchanges), especially the spaces of interface, which are of architectural significance.
As upcoming AIA Europe president I am excited to respresent an engaged group of international planning professionals with the common goal of promoting educational programs and conferences for practicing architects, emerging professionals, and students alike.
www.ostertagarchitects.com
Dusko Kuzovic
Vernacular Architecture, History of Urbanism, Architectural Theory, Architectural Design
independent.academia.edu/DuskoKuzovic
Gerdi Papa
Born on November 9 th of 1989 in Tirana, Albania, Gerdi is an architect who is passionate about computational and algorithmic design topics as well as digital fabrication. His first steps in the computational design field are taken as his high school education is focused on electronics. He finishes his master studies in Architecture and Urban Design at Polis University in 2014 where he deals with a thesis in Interactive Architecture. His main fields of interest from that point on focus on the digital aspects of designing architecture with a professional master in Parametric Design finished at Polis University in 2016. During this time he also practiced as an assistant lecturer at Polis University in the corses of Information Architecture as well as Computer Aided Design. He started his PhD studies in the joint doctorate program between Polis University and Ferrara in 2016-2017 where he is now developing a thesis on Digital Fabrication and Emergency Shelters.
www.universitetipolis.edu.al
Gershon Pocorni
GRParchitects, Focus on Green Building Solutions
www.grparchitects.com
Andrea Cruzalegui
My architectural focus is born from the sensations generated by a space. Whether open or closed, the interior and exterior factors are ordered and controlled by the design generating a particular atmosphere. The architecture must transmit something, and that something is decided by the architect, when it is relevant and well executed it becomes a great design.
www.shellarquitectos.com
Rong Zhao
Museum exhibition designer at wHY New York.
www.rong-zhao.com
Aldo Giacchetto
AGA-Studio. Design, architecture, interiors, retails, urban-design
www.houzz.it/pro/aldogiacchettoarchitetto/aga-studio
Andriy Golub
Golub Architects Company and me, as the chief architect, have several focuses: firstly, it is a residential and commercial architecture (individual houses, apartment buildings, offices, cafes, restaurants, etc.); secondly, it is urban design; the third is the design of parks and recreational areas, landscape design. Also, now our company has a number of orders in a new field for us - these are memorial complexes (memorials are devoted to the Revolution of Dignity in Ukraine).
www.golub-architects.com
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Most issues currently facing the gaming industry has to do with censorship, third-party interference, fraud, budgetary constraints and more. The benefits associated with blockchain technology, however, can offer a solution to many of these problems. After all, a blockchain serves as a digitized, decentralized, public ledger for all cryptocurrency transactions. In addition, a blockchain-based platform is built entirely on trust and provides full transparency of every transaction that has ever taken place by any person associated with the network. Blockchain technology has the potential to transform the entire gaming ecosystem, ranging from creating more secure, instant and transparent payments to connecting gamers and developers from across the globe.
The Tap Projects primary initiative consists of developing a digital currency, along with partnering with a network of developers to allow a smooth, elegant and robust system that will allow the Tap Coin the ability to traverse multiple games and platforms. Allowing Tap Coins to be transferred between games. The Tap Project's ecosystem is made up of Game Developers, Gamers, Cryptocurrency enthusiasts, and the Tap Project Network.
A Tap Coin is a new ERC20 utility token that is supported by projects and other services that are written on the blockchain. The Tap Coin simply allows gamers to earn when they play. No longer will countless hours be wasted or go unrewarded, but Tap Coin project will allow gamers to convert their in-game premium and earned currencies to Tap Coins. These tap coins can be imported into other games or platforms or exchanged for other currencies.
Tap platform will also provide developers/publishers an immediate 70/30* split in the user transaction fee. With 70% going to the developer, the Tap Platform immediately pays developers/publishers per their titles listed on the Platform. Increased live ops , marketing and exposure provides added incentive for each publisher. The Tap team has made a simple and easy integration process, which requires little to footprint by your development team so you can focus on making games.
The Tap Coin is a utility token that operates under a "proof of stake model". Users require Tap Coins to gain access to the platform and its games.


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text:
City Unenthusiastically Approves Lackluster Eisenhower Project Because It's Too Expensive to Cancel
Nobody on the City Council seemed particularly happy about transportation changes planned for Eisenhower Avenue, but at this point too much money has been invested to turn back, city staff argued.
The plan, which has been in the works since 2003, involves turning the traffic circle at the east end of Eisenhower Avenue into a T-intersection, adding turn lanes to the intersection with Mill Road, and widening Mill Road.
The plan had been funded through state and federal funding, but higher-than-expected construction bids left the project over budget and in need of $2 million from the City of Alexandria. The Council voted to approve the funding, though with some reluctance and pushback from some local residents in the public comment.
Rebecca Tiffany, a resident of one of the nearby buildings, said her children frequently cross the five lanes of Mill Road and she can watch the traffic from her window.
"The traffic circle is basically never congested," said Tiffany. "There are no issues with the traffic circle. There's a plan to turn it into a T-intersection, and I firmly believe that's a solution in search of a problem."
Tiffany said many in her community enjoy the circle, with its central grassy area and statue of Dwight D. Eisenhower, for whom the circle is named.
Each of the public speakers noted that they were unconvinced adding more turn lanes would fix the traffic backup on Mill Road, given that most of the backup is caused by cars trying to get to Maryland on I-495.
"I personally think we have the worst traffic in Alexandria, and we don't complain about it as much as others because it's a different kind of community than communities with lots of time on their hands," Tiffany said. "Everyone works a lot, but you actually see the full backup. One or two cars can come through the intersection at any time."
Daniel Beason, Vice President of the Eisenhower Partnership but was speaking as a resident of the street, said he was concerned the only thing that would change with adding more lanes is it would signal to navigation apps like Google and Waze that they can direct more cars on that route.
Beason also lamented that plans to add rapid bus service to Eisenhower Avenue were scaled back as part of the compromise to restore routes set for cuts.
Even some on the dais explored the idea of voting no on the funding but were told in no uncertain terms by City Manager Mark Jinks and Yon Lambert, director of Transportation and Environmental Services, that this would be a bad idea.
"The city has already expended state and federal funds to acquire right of way," said Lambert. "The city gone through construction bidding process, we received four bids. Where we are right now, the council has three options: cancel the project, reduce the project scope, or provide additional money to close the funding gap. Staff strongly recommends alternative three because that is the only option that is viable. If canceled, the city will have to repay VDOT $3.6 million for the acquisition of right of way and for design costs."
"To underscore: we're asking for $2 million to build the project and would have to come back and ask you how to fund $4 million not to do the project," Jinks added.
Lambert also pushed back against the characterization of the T-intersection as worse than the existing traffic circle. The T-intersection would allow better use of open space than a green area inaccessible at the center of a roundabout, Lambert argued.
The T-intersection would also support the increased levels of development planned for the east end of Eisenhower. Councilman John Chapman said the value of changing the street design hinges on those properties actually being developed.
"With what we're looking to do at east Eisenhower with [underdeveloped] lots there, judging by how many units coming to that area, a T-intersection will probably work a lot better than an overflowing circle," Chapman said. "My concern is… we haven't seen some of those proposed developments come in. Some of the things we've reviewed haven't fleshed out. So I've started to disagree that we need to actually move on this."
"We need to figure out if some of these developments are going to develop," he added, otherwise ""we've done a project that wasn't totally necessary and that's a big concern."
Mayor Justin Wilson reiterated at the meeting that he wasn't enthralled with the project, and said as much on the ALXnow Facebook page in response to a reader's comment.
"I don't love this project and I was not a fan when we originally approved it back seven years ago," Wilson said. "I did push most recently to see if there were other options given where we are. Unfortunately, there are not great options."
At the City Council meeting, Wilson said the situation raised questions about how the city keeps up with its larger capital projects. Despite their misgivings, the council voted unanimously to approve the funding request.
Photo via Google Maps
City Council city government Eisenhower East Eisenhower Valley
City 'Closely Monitoring' Coronavirus OutbreakMorning Notes


Kevin Perkins is an American artist working from his home studio in Dallas, Texas. His practice encompasses landscape and figurative paintings in which he pulls technique and material from the canon of art history as well as life experience.
Kevin's exploration in painting intends to draw the viewer into the space of the work. With his landscapes this is done in various ways: through colour, a sense of depth and light and an element of mystery. His works are meant to be experienced as windows to vaguely familiar spaces that invite the viewer in. It is this vein in which Kevin explores portraiture. Kevin holds a BFA in Communication Design from Louisiana Tech University's School of Art.


In order to provide reliable data on the high-temperature deformation behaviour of iridium, the high-temperature material properties such as stress-rupture strength, high-temperature tensile strength and creep behaviour are determined for pure iridium in the temperature range 1650–2300°C. Analyses of the stress-rupture curves and the creep behaviour of pure iridium samples at 1650°C, 1800°C and 2000°C imply that the fracture behaviour is controlled by two different fracture mechanisms depending on test conditions, in particular applied load and test temperature. The existence of the different fracture modes is confirmed by SEM examination of the fracture surface of samples ruptured at high temperatures. Anomalies in the creep curves and the results of high-temperature tensile tests indicate that dynamic recrystallisation plays an important role in the high-temperature deformation behaviour of pure iridium.
Due to their excellent chemical stability, oxidation resistance, and resistance to the action of many molten oxides, the platinum group metals (pgms): iridium, platinum and rhodium are widely used for high-temperature applications involving simultaneous chemical attack and mechanical loading (1). Although iridium is more sensitive to oxidation than platinum or rhodium, it is the most chemically resistant of all metals. Its resistance to attack by stable oxide melts is maintained up to temperatures above 2000°C.
The melting point of iridium (2454°C) (2) and its high strength even at temperatures above 2000°C make it a particularly suitable material for applications under extreme thermal and mechanical conditions which preclude the use of platinum alloys or rhodium. Important applications of iridium and iridium alloys are as crucibles for pulling single crystals (e.g. yttrium-aluminium garnet (YAG)) and components for manufacturing and processing high-melting special glasses.
A knowledge of the high-temperature properties of a material, for instance stress-rupture strength and creep behaviour, is crucially important for the design of components used at high temperatures. The current investigation is part of an extensive test programme focused on the determination of the high-temperature mechanical properties of the pgms, such as the stress-rupture strength, creep behaviour (3) and elastic properties (4). In this work new investigations into the high-temperature properties of iridium are presented for the temperature range between 1650°C and 2300°C. The results are discussed in conjunction with data determined from earlier studies (3).
The stress-rupture strength and the creep behaviour of pure iridium and iridium alloys were determined with a testing facility developed at the University of Applied Sciences Jena. The testing device, for the measurement of high-temperature material properties up to 3000°C, is shown schematically in Figure 1. It consists of a gas-tight specimen chamber which permits investigations either in air or under a protective gas atmosphere. In the case of iridium and iridium alloys, a gas mixture of argon with 5 vol.% H2 was used to protect the material from oxidation and thus avoid a reduction in cross-section of the sample due to evaporation of volatile oxides (5, 6).
The load can be applied in two different ways. For the constant-load stress-rupture experiments the load is applied via a steel pull-rod by means of calibrated weights. For the high-temperature tensile tests the specimen chamber is mounted in a commercial servomotor-driven test machine and the steel pull-rod is connected to the load cell at the crosshead of the test machine. This allows a controlled variation of the applied load. Non-standard specimens (with typical dimensions of 120 mm × 4 mm × 1 mm) were used for all measurements. The samples were laser cut from hot rolled sheet material. The sample orientation was chosen parallel to the rolling direction.
Direct electrical heating achieves high heating and cooling rates for the samples. The ohmic heating method allows easy access to the sample, and generally straightforward operation.
The temperature is measured by a non-contacting technique using a digital pyrometer (INFRATHERM IS10). The infrared pyrometer has a small measurement spot (approximately 0.5 mm in diameter). Due to the ohmic heating the highest temperatures are found in the central part of the sample. This region is therefore scanned continuously by the pyrometer via a tilting mirror. By storing the maximum value of emitted radiation, the maximum temperature at the surface of the sample may be determined. This value is used to adjust the heating current via a thyristor regulator connected to the primary winding of a 100 kVA transformer. The sample, short-circuited across the secondary winding of the transformer, is heated by alternating current at 50 Hz. Over a zone 30 mm in length around the centre of the sample the temperature usually does not vary by more than ± 5°C. Once "necking" occurs in the sample, the temperature outside the necking region decreases, whereas the temperature within the necking region remains constant at the intended value. The design of the equipment thus guarantees uniformity of temperature throughout the duration of the test, despite the sample deformation.
The strain is measured with a non-contacting video extensometer consisting of a 17 mm charge coupled device (CCD) camera with 1280 × 1024 pixel resolution. A special arrangement of telecentric lenses allows only near-parallel rays to pass the aperture, thus minimising perspective distortions caused by variations in the distance to the object. Both the CCD camera and frame grabber are controlled by "SuperCreep" software, developed at the University of Applied Sciences Jena, which uses digital image analysis.
As mentioned above, ohmic heating causes the highest temperature to be limited to the central part of the sample, to which creep deformation is normally also limited. Strain at this part of the sample is determined by "SuperCreep" from continuous measurements of the distance between two markers. Suitable markers for high-temperature tests on sheet materials are made by laser machining samples of the material with four small shoulders (Figure 2). The distance between the two corresponding markers on the same side of the sample is 10 mm. Since the part of the sample between the markers experiences a uniform temperature, the exactness of strain measurements can be guaranteed, without their being influenced by the temperature gradients near the ends of the sample.
A detailed description of the testing facility and the algorithm for strain measurement is given in (7) and (8).
The iridium raw material was melted inductively at 2550°C in air in a zirconia crucible. After elemental analysis the ingot was forged at temperatures between 1400°C and 1600°C. The forged material was then hot rolled at moderate temperature to 1 mm thick sheet. The iridium sheet was finally subjected to a special annealing procedure so as to recrystallise the deformed material without significant grain growth.
The microanalytical investigations were performed with a Cameca IMS 4f-E6 scanning secondary ion mass spectrometer. Secondary ion mass spectrometry (SIMS) allows the detection of very small amounts of impurity elements in the matrix. Since both the species of detectable secondary ions and their detection limits differ as between the positive and negative secondary ion spectra, different primary ions were chosen for the excitation of the secondary ions. Oxygen primary ions were used for the investigation of the positive secondary ion spectrum emitted by the iridium samples. The emission of the negative spectrum was induced by caesium primary ions. It could thus be ensured that all possible impurity elements contained in the iridium samples were detected.
Metallographically prepared samples were used for the scanning SIMS investigations. So as to be able to investigate impurity levels both inside the grains and at the grain boundaries, areas of the samples containing grain boundaries were chosen.
It should be mentioned that the intensity of the emitted secondary ion spectrum is dependent on the crystallographic orientation of the grains. Thus, if several grains with different orientations are contained in the area under investigation, this will be indicated by differences in the brightness attributable to the respective grains due to differences in ionic emissivity. Thus grain boundaries may be identified in the secondary ion spectrum, even if they do not contain significant amounts of impurities.
The stress-rupture strength of pure iridium was determined in the temperature range 1650–2300°C. The results of these investigations are summarised in Figure 3. The present experiments showed an excellent degree of reproducibility; the results are in good agreement with those of corresponding measurements for shorter testing times reported earlier (3). In contrast to the conclusion in (3), additional data on stress-rupture strength obtained recently, together with a detailed analysis of the rupture behaviour (see below under 'Fracture Behaviour Results'), led to the conclusion that the stress-rupture data can best be approximated by two intersecting lines. The discontinuity in the slope of the stress-rupture curves correlates very well with a change in the fracture behaviour of the samples examined. Under high loads pure iridium shows a ductile fracture mode, whereas under low loads and long times to rupture, iridium tends towards brittle intercrystalline fracture. In fact, the discontinuity does not usually occur as sharply as indicated in Figure 3.
Samples taken from near the discontinuity often show mixed fracture modes, partly intercrystalline and partly transcrystalline. Since insufficient stress-rupture data in the range of the transition are available, the stress-rupture curves for the temperatures between 1650°C and 2000°C are approximated for the sake of simplicity in the manner shown in Figure 3. In particular, the stress-rupture curve at 2000°C shows a very pronounced change in the slope at loads between 4 and 5 MPa. This leads to strongly reduced stress-rupture strength values at testing times longer than 300 h. It is not yet clear whether this steep decrease in slope can be attributed solely to the change in fracture mechanism, or whether the effect of weakening of the grain boundary coherence is enhanced by very small amounts of impurities accumulating at the grain boundaries after long testing times at high temperatures. As reported below, secondary ion mass spectrometric investigations showed that the impurity content in the iridium samples examined is very low. Nevertheless, it cannot be excluded that even very small amounts of impurity elements accumulating at the grain boundaries can have a detrimental effect on grain boundary coherence, thus leading to significantly reduced times to rupture.
Measurements at 1650°C and 1800°C have been performed up to approximately 1000 h duration. Extrapolations to testing times longer than 10,000 h may not be considered meaningful. Data on the stress-rupture behaviour of pure iridium at 2200°C and 2300°C are available up to times to rupture of approximately 500 h and 150 h, respectively, and not as yet for longer times to rupture. Within the available range the stress rupture curves do not show a visible discontinuity in slope. Because of the very distinct decrease in slope in the stress-rupture curve at 2000°C under low loads, no extrapolations beyond the measured times to rupture have been performed for the data at 2200°C and 2300°C.
The interpolated and extrapolated data on the stress-rupture strength of pure iridium at different temperatures are given in Table I.
The investigation of the high-temperature deformation behaviour of iridium revealed that, depending on test temperature and load, its creep behaviour can be described by two types of creep curve which differ significantly in shape. Particularly at the lowest test temperature of 1650°C, under moderate load, the creep behaviour is represented by typical creep curves such as those in Figures 4(a) and 4(b). These figures represent the creep behaviour of pure iridium at 1650°C under a constant load of 13 MPa exhibiting the three well known stages of creep – primary, secondary (or steady-state), and tertiary – frequently reported in the literature.
Under higher load, and particularly at higher test temperatures, the creep curves of iridium show significant anomalies. In the range of steady-state creep the creep curve contains different plateaus, as shown in Figure 5. These plateaux are separated by an acceleration of the elongation. This acceleration of creep is clearly visible in Figures 5(b) and 5(d). The phenomenon may be caused by dynamic recrystallisation, as was reported in (9) and (10), whose authors obtained creep curves of similar shape when investigating the creep behaviour of lead and copper, respectively. It can be seen in Figures 5(c) and 5(d) that in some cases more than one discontinuity occurs in the secondary creep stage. This indicates that dynamic recrystallisation takes place successively several times during the secondary stage of creep. This is called periodic or cyclic creep (11).
These accelerations of creep complicate the determination of a constant creep rate in the secondary creep range. The creep rate has therefore been calculated as an average for a time range from 10% to 90% of the period of measurement. Thus additional contributions to the average creep rate from the accelerated creep in the transient creep stages are included in the values. This average creep rate has been used instead of the minimum creep rate for the calculation of the Norton plot (Figure 6). In the Norton plot, the average creep rate for pure iridium determined in this way for each test temperature is shown as a function of the initial applied stress on a double logarithmic scale.
where ∈ is the elongation and f (S, T) is a function of the structure of the material and of the temperature. For the isothermal representation in the Norton diagram, f(S, T) has been assumed constant. The effects of structural changes, for instance, due to recrystallisation, have been addressed to some extent by the use of the average creep rate, determined as described above. The Norton exponent, n, contains information about the nature of the prevalent creep mechanism in the sample. For creep mechanisms that are based only on the diffusional transport of material due to vacancy gradients either inside the grains (12, 13) or along the grain boundaries, a nearly linear stress dependence of the creep rate will be obtained, and n will be close to or equal to unity. For creep processes that are determined mainly by diffusion-controlled dislocation climb, n falls between 3 and 5 for many common pure metals. In rare cases, n values up to 11 have been found.
The distinction between the different creep mechanisms under low and high loads mentioned in the preceding section must also be taken into account in the Norton plots. The data for each test temperature between 1650°C and 2000°C are therefore approximated by two intersecting straight lines. As already explained for the stress-strain diagram, the information available for 2200°C and 2300°C does not allow this distinction to be made for these temperatures.
For test temperatures between 1650°C and 2000°C, the values obtained for the Norton exponent under low loads n1 fall in the range between 4 and 5.5, and are thus in good agreement with the above-mentioned values of the Norton exponent for diffusion-controlled dislocation climb in many other pure metals. For conditions under which iridium exhibited a ductile fracture mode, i.e. under high loads, the Norton exponent n2 took considerably higher values (5.7 < n2 < 13.7), indicating that under these test conditions diffusion-controlled dislocation climb is not the prevalent mechanism of deformation. The values for f(S,T), n1 and n2 determined by approximation of the experimental data in the Norton plot using Equation (i) are listed in Table II.
where α is a factor dependent on structure, QC is the activation energy for creep, R is the gas constant and T is the temperature in K.
The activation energy, QC, for the creep mechanism can be obtained by plotting ln(d∈/dt) versus 1/RT. If QC is independent of temperature, ln(d∈/dt) will show a linear dependence on 1/RT, with the slope of the straight line equal to the activation energy QC. In the present investigations it was not possible to determine QC in the way described, as the creep tests were performed under constant load, not under constant stress. In this case the true stress is a function of the elongation, thus invalidating this method for determining the activation energy.
The iridium samples showed excellent ductility at the temperatures investigated. Particularly at high loads, rupture strain values up to 100% have been measured. At lower loads, the values for the rupture strain proved to be considerably smaller. This finding is in accordance with the observation that iridium exhibits two different fracture modes in stress-rupture tests at high temperatures. According to the literature (9) this change in fracture mode should be accompanied by a discontinuity in the slope of the log-log plot in the stress-rupture diagram (Figure 3).
Whereas intercrystalline fracture occurs without necking at low loads (Figures 7(a) and 7(b)), together with the appearance of extensive intercrystalline crack formation across large parts of the sample (Figures 7(c) and 7(d)), the fracture at high stresses occurs by the transcrystalline mode, accompanied by extensive necking as shown in Figures 8(a) to 8(c). This is in accordance with textbook reports (11) of creep crack behaviour at high temperatures for many materials which are prone to brittle intercrystalline fracture under low loads, but tend to transcrystalline fracture under high loads. It should be mentioned that the numerous cracks and fissures occurring along the grain boundaries during the creep tests under low loads make an additional contribution to the elongation of the sample. This apparent ductility does not, however, influence the intrinsically brittle mode of fracture. Samples exposed to high stresses exhibited only very few intercrystalline cracks. As a consequence the high apparent ductility of those samples can be assumed to be identical to the true ductility of the material.
On the surface of the samples exhibiting ductile fracture behaviour, slip bands that have formed in the necked region are clearly visible. These are very distinct, and in some cases extend across grain boundaries, sometimes covering several grains. Overlapping slip bands in different directions were observed in some grains. This indicates that different slip systems have been activated during the creep experiments. It is not yet clear whether the slip bands are formed only in the final stage of creep deformation, when the load-carrying cross-section of the sample is significantly reduced due to progressive strain and the true stress and creep rate increase rapidly, or whether the slip bands are formed throughout the creep experiment.
These tests were carried out in order to examine the behaviour of pure iridium at high temperatures under dynamic loading. Figure 9 summarises the results for the temperature range between 1600°C and 2300°C. The shapes of the stress-strain curves, particularly those for temperatures between 1800°C and 2100°C, are typical for materials that undergo dynamic recrystallisation. After a very steep rise in the stress-strain curve at the beginning of the tests, the slope of the curve decreases, probably due to both plastic deformation and softening of the material caused by dynamic recovery. When dynamic recrystallisation commences, the softening becomes more severe and the load decreases. This is followed by a period at a more or less constant load – in some cases this phase exhibits a slight oscillation – until the stress drops rapidly when the sample ruptures. This behaviour is typical for materials that are recrystallising dynamically during the high-temperature tensile tests.
A comparison of the stress-strain curves with the results of the SEM investigations reported in the previous section shows that the slip bands, shown in Figures 8 and 10, are formed only in samples exposed to loads close to or greater than the yield stress determined in the tensile test at the corresponding temperature. In the present investigation, the deformation mechanism under high loads at high temperatures appears to be based on an interaction of plastic deformation due to dislocation slip with common creep deformation. The plastic deformation in turn leads to an increase in the internal deformation energy, thus promoting the initiation of dynamic recrystallisation.
Yield strength, Rp0.2, tensile strength, Rm, and tensile elongation, A, as determined in the high-temperature tensile tests are plotted in Figure 11 as a function of temperature. Measurements were made on at least three samples for each test temperature. The values given for Rp0.2 and Rm are averages over all three measurements. The standard deviation is indicated as an error bar for each data point, revealing excellent reproducibility for the measurements. The values for A, however, showed a greater scatter. Moreover, some of the samples did not rupture between the markers, in which cases it was not possible to determine the tensile elongation with the "SuperCreep" software. No error bars are given for the relevant data points in Figure 11.
The microstructure of pure iridium exposed to the influence of high temperatures and different loads during the creep tests was evaluated metallographically. Comparative investigations were carried out on longitudinal sections of samples before and after creep testing. The microstructure of a sample in the initial state (i.e. before creep testing) is shown in Figure 12. The sample exhibits a uniform microstructure with an average grain size of about 100 μm.
Comparison with metallographic sections of samples that were exposed to high temperatures under different loads (Figures 13 and 14) shows that during creep tests specimens have undergone the expected severe grain coarsening. Due to the high temperatures and long test times, very coarse grains with grain sizes up to 4 mm have formed. Furthermore, the samples exhibit strong intercrystalline crack formation as mentioned above. Figures 13 and 14 show that several – partly very deep – cracks have formed within the same sample. Nevertheless, the material withstood this damage and cracked at a different position, several hours later. Dynamic recrystallisation is apparent in areas of high stress concentration and strong deformation, for instance at crack tips (Figure 13(a)), and close to the fracture in the necking areas (Figure 15). Particularly in the area around the crack tips, this may have led to a reduction in local stresses. As a consequence the crack propagation may have stopped in this area and continued in another part of the sample.
The metallographic images show the existence of individual voids along grain boundaries and their coalescence into large pores. These are typically found in materials that have undergone creep deformation. This phenomenon is most frequently observed on grain boundaries that are oriented perpendicular to the direction of applied stress. This often leads to the formation of intercrystalline creep cracks during the final period of creep deformation.
As has been demonstrated in previous investigations (14–19), iridium generally tends to brittle intercrystalline fracture due to trace impurities at grain boundaries. Investigation by SIMS on the present iridium samples has shown a very high purity for the material. Only very small traces of impurities in the ppm range were detected, showing no enrichment at the grain boundaries. All the elements detected were distributed homogeneously in the matrix.
Due to its outstanding properties iridium is particularly suited to applications under extreme thermal, chemical and mechanical conditions. In order to obtain the materials data necessary for the design of high-temperature equipment and the numerical simulation of its service performance, the stress-rupture strength, creep behaviour and tensile properties of iridium have been measured over the temperature range 1650–2300°C.
The investigations were performed on hot rolled iridium sheet. The results showed a very good degree of reproducibility. The iridium samples exhibit very high stress-rupture strength. A discontinuity in the slope of the stress-rupture curves indicates the existence of two different fracture modes, depending on the temperature and the initial load applied to the samples. The existence of different fracture mechanisms was confirmed by the examination of the fracture surfaces. The change in fracture mode is probably caused by different deformation mechanisms prevalent under the various test conditions.
A significant anomaly was observed in the creep behaviour of pure iridium – the creep curves contained plateaus in the range of steady-state creep. Metallographic examination, investigations by SEM, and high-temperature tensile tests indicated that dynamic recrystallisation may be the cause of this phenomenon. A further influence may be the activation of various slip systems which can be deduced from the observed slip bands.
Microanalytical investigations by means of scanning SIMS showed a very high purity of the iridium heats investigated, without any enrichment of trace impurities at the grain boundaries.
Initial results on the stress-rupture strength of an iridium-rhenium alloy doped with hafnium and molybdenum indicate that this alloy exhibits rupture times three to four times longer than for pure iridium. Moreover, this alloy shows outstanding ductility, comparable to that of pure iridium. This alloy is therefore of particular interest for high-temperature applications and is the subject of ongoing research.
The authors would like to thank Margit Friedrich (SEM investigations), Erik Hartmann and Frank Lehner (creep tests) from the Department SciTec of the University of Applied Sciences Jena for their support for these investigations.
After studying Materials Science at the University of Saarbrücken, Germany, Reinhold Weiland worked as a research associate at the Max-Planck-Institute for Metals Research in Stuttgart, and received his doctoral degree from the University of Stuttgart. Since 2002 he has been working at W.C. Heraeus GmbH in Hanau as a development project manager. His main interests are the processing and manufacture of precious metals products and composite materials.
Prof. Dr David Lupton is Development Manager, Engineered Materials Division, W. C. Heraeus. His main interests are the manufacture and applic-ations of precious metal and refractory metal products.
Prof. Dr.-Ing. habil. Bernd Fischer studied mechanical engineering and materials science at the Technical University Chemnitz, Germany. After more than 25 years at the University of Jena, Bernd Fischer was appointed to the Chair of Materials Science at the University of Applied Sciences Jena in 1992. For many years, his research interests have included the properties and applications of noble and refractory metals.
Jörgen Merker studied materials science at the Technical University, Dresden, where he also earned his Ph.D. degree. Between 1995 and 2000, he worked as a development project manager for W. C. Heraeus GmbH, Hanau. After a short time in the R&D department of KM Europa Metal AG, Osnabrück, he was appointed to a Professorship in Materials Engineering and Applied Metals Science at the University of Applied Sciences Giessen-Friedberg in 2002. In 2006 Dr Merker became Professor of Materials Technology and Materials Testing at the University of Applied Sciences Jena.
Carolin Scheckenbach studied materials technology at the University of Applied Sciences in Jena, Germany, where she received her diploma degree. After one year as a research associate, she is now working as a trainee in the Department of Melting Technology and Hot Forming at Schott AG, Mainz.
Jörg Witte studied chemistry at the Technical University of Darmstadt, Germany, from which he received his doctoral degree in Materials Science. Since 1999 he has worked at Schott AG, Mainz, where he is currently head of the Materials Competence Department. His main interests are the properties of refractory materials and failure analysis.


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Q: Building Python C extension modules for Windows I have a C extension module and it would be nice to distribute built binaries. Setuptools makes it easy to build extensions modules on OS X and GNU/Linux, since those OSs come with GCC, but I don't know how to do it in Windows.
Would I need to buy a copy of Visual Studio, or does Visual Studio Express work? Can I just use Cygwin or MinGW?

A: Setuptools and distutils don't come with gcc, but they use the same compiler Python was built with. The difference is mostly that on the typical UNIX system that compiler is 'gcc' and you have it installed.
In order to compile extension modules on Windows, you need a compiler for Windows. MSVS will do, even the Express version I believe, but it does have to be the same MSVC++ version as Python was built with. Or you can use Cygwin or MinGW; See the appropriate section of Installing Python Modules.

A: You can use both MinGW and VC++ Express (free, no need to buy it).
See:

*http://eli.thegreenplace.net/2008/06/28/compiling-python-extensions-with-distutils-and-mingw/

*http://eli.thegreenplace.net/2008/06/27/creating-python-extension-modules-in-c/

redpajama_set_name: RedPajamaStackExchange


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15 Arrested, 2 Police Officers Injured During Hoboken's Annual St. Patty's Day Pub Crawl
Filed Under:Hoboken, LepreCon, Roger Stern, St. Patrick's Day
Beer-filled trash cans following Leprecon in Hoboken. (credit: 1010 WINS)
HOBOKEN, N.J. (CBSNewYork) — A total of 15 people were arrested Sunday, and 35 people were hospitalized including two police officers, during Hoboken's annual St Patrick's Day pub crawl.
Police said the officers were run over by a man trying to flee the scene of a fight.
Hoboken police responded to 432 calls from service from 8 a.m. Saturday to 4 a.m. Sunday during the event. A total of 54 tickets were issued, mostly for public drinking, and some for public urination, disorderly house parties, and disorderly conduct, police said.
Two Hoboken police officers were injured at the event. This year, Hoboken police were joined by outside agencies in maintaining control, including Union City, North Bergen and Westfield police officers, NJ TRANSIT police, Port Authority of New York and New Jersey police, and the Hudson County Rapid Deployment Force.
The number of hospitalizations and tickets issued were down from last year, but the arrest total was up.
The last arrest on Sunday happened when Christopher Smallwood, 24, of Warminster, Pennsylvania, surrendered to police on aggravated assault charges, police said. He was allegedly involved in a fight at a McDonald's at 2:30 a.m. Sunday, and while fleeing from the fight, he allegedly ran over two officers.
Sgt. Steve Aguiar suffered a dislocated shoulder, while Detective Christine Collins suffered a dislocated shoulder, police said.
Smallwood, a former college football running back at Delaware Valley, evaded arrest until he turned himself in shortly before noon Sunday, police said. Aguiar and Collins were treated and released from Hoboken University Medical Center and were out of work on injured status as of Sunday, police said.
LepreCon is an annual St. Patrick's tradition in Hoboken where people go bar hopping, 1010 WINS' Roger Stern reported.
"Living life, young kids getting drunk, St. Patty's Day, that's Hoboken," Sharon told 1010 WINS.
Trash cans were overflowing with empty beer bottles on Sunday.
"Definitely gets a little out of hand, probably," Katie told 1010 WINS. "But can't say I haven't partaken in that activity in years past."


She's Aleksandra, she's a photographer and filmmaker from Madrid, Spain.
She is willing to share with us her last editorial. The Reader is about a bride, a dreamer who is looking for herself through the books she reads.
The dress is by Laura Escribano, a spanish Bridal designer and a Madrilenian art craft woman. This shooting was held at one of the most emblematic building of Madrid.


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Home > USA > Privacy
European Union: Is Your Company Registered For The New EU-U.S. Privacy Shield?
Article by Sandra A. Jeskie
Following the July 12, 2016, adoption by the European Commission of the EU-U.S. Privacy Shield (the "Privacy Shield"), companies engaging in trans-Atlantic data sharing can now register for the Privacy Shield. It replaces the prior Safe Harbor Program, which was invalidated by the European Court of Justice on October 6, 2015, when it ruled that the data of European citizens was not safe when stored on U.S. computer servers given the U.S. government's ability to access information through its intelligence services.1
The new Privacy Shield provides transparency in how companies use personal data, robust U.S. government oversight and increased cooperation with EU data protection authorities (the "DPA"). It includes more rigorous monitoring and enforcement by the U.S. Department of Commerce (the "Department") and the Federal Trade Commission ("FTC"). Because the Privacy Shield is enforceable as U.S. law against a registered company, it is essential to ensure its compliance before registering.
Key provisions of the Privacy Shield include:
Informing Individuals About Data Processing: The Privacy Shield requires more heightened notice standards than under the Safe Harbor, including additional requirements for participants' privacy policies.
Providing Free and Accessible Dispute Resolution: The Privacy Shield outlines several dispute resolution mechanisms and specific timelines for handling disputes.
Cooperating with the Department of Commerce: Participants should promptly respond to Department inquiries and requests for information relating to the Privacy Shield.
Ensuring Accountability for Data Transferred to Third Parties: Participants must enter into written agreements with third parties to ensure that data is processed for limited and specified purposes consistent with the consent provided by the individual, that the third party will provide the same level of protection and that the third party will provide notification if it can no longer meet its obligation.
Transparency Related to Enforcement Actions: The Privacy Shield seeks to create greater transparency for enforcement actions by making public any Privacy Shield-related sections of any compliance or assessment reports submitted to the FTC as a result of an FTC or court order based on non-compliance.
Potential Additions in the Future: The Privacy Shield is designed to be updated with time to address evolving issues and accommodate the General Data Protection Regulation (effective in 2018).
To join the Privacy Shield, a U.S.-based company must first develop a Privacy Shield-compliant privacy policy. Thereafter, a company can self-certify and publicly commit to comply with the Privacy Shield's requirements.2 Once publicly committed, the provisions of the Privacy Shield are enforceable as U.S. law against the company. If a participant chooses to leave the Privacy Shield, it will be required to annually certify its commitment to apply the principles of the Privacy Shield to, or provide "adequate" protection for, any information it retains that was received while operating under the Privacy Shield.
The requirements of the Privacy Shield are different than its predecessor Safe Harbor. It may be prudent for companies engaging in the cross-border transfer of data to consult legal counsel experienced with the Privacy Shield to ensure compliance.
If you have any questions about the information addressed in this Alert, please contact Sandra A. Jeskie, any member of Duane Morris' Information Technologies and Telecom�team or the attorney in the firm with whom you are regularly in contact.
[1] EU-U.S. Privacy Shield, U.S. Dep't of Commerce, available at: https://www.commerce.gov/page/eu-us-privacy-shield; 2000/520/EC: Commission Decision of 26 July 2000 pursuant to Directive 95/46/EC of the European Parliament and of the Council on the adequacy of the protection provided by the safe harbour privacy principles and related frequently asked questions issued by the US Department of Commerce, available at: http://eur-lex.europa.eu/LexUriServ/LexUriServ.do?uri=CELEX:32000D0520:EN:HTML.
[2] EU-U.S. Privacy Shield: Frequently Asked Questions (Feb. 29, 2016), available at: http://europa.eu/rapid/press-release_MEMO-16-434_en.htm.
Disclaimer: This Alert has been prepared and published for informational purposes only and is not offered, nor should be construed, as legal advice. For more information, please see the firm's full disclaimer.
Sandra A. Jeskie
Is Your Privacy Policy Ready For 2020?
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FTC Steps Up Privacy Shield Enforcement Actions
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EU-U.S. Privacy Shield: EU Commission Confirms Adequacy But Highlights Room For Improvement
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Companies Settle FTC Charges For EU-U.S. Privacy Shield Violations
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