Two dogs found abandoned off of Interstate 20 and St. Augustine Road in the southeast section of Dallas on Sunday have authorities concerned that the one German shepherd mix found with a coffee container around her neck may have been an innocent victim of animal cruelty. Discovered on Sunday, the emaciated dog with infected cuts around her ears and neck likely wore the metal can as a cruel collar for at least a month.
On their Facebook page, the Animal Allies of Texas described the dog's injuries as life threatening. The can cut into the dog's ear, jawbone, neck, and chest. Every time she moved, the sharp metal edges cut into her body making her life one of intense agony.
According to wfaa.com, the Dallas Animal Services, who named the dog Java cut off the can, and veterinarian Dr. Kathryn Sarpong of the Metro Paws Animal Hospital stated the four-inch deep, maggot infested wounds were so severe Java needed surgery to cleanse and close her injuries.
ava was transferred to Animal Allies of Texas, in Garland who are caring for her and another German shepherd mix found in the same area guarding Java. He appears healthy and has been named Joshua.
Earlier today, Java who has been renamed Olivia by the Animal Allies of Texas were pleased that the sweet dog survived surgery and was doing better. The dog coordinator at the rescue stated the only parts of Olivia's body that weren't injured were her nose and the front of her head; everywhere else she was riddled with abrasions and cuts.
Olivia is also heart worm positive. If you would like to help with Olivia's medical expenses, please click here to donate.
Get well soon Olivia. If you have any information as to Olivia's owner or other information that will help authorities find the person(s) responsible for such a horrible crime, please call Dallas Animal Services at (214)-670-8312.


What are we watching? Alternate Reality Television: Clowns without makeup, a Circus without a Big Top; there is nothing real about Reality Television. Why do watch these shows for anything more than a diversion? Was Andy Warhol right? Yes, he was. Everyone wants their 15 minutes of fame and people will present an alternate reality to get their fame no matter how fleeting or how silly they have to act.
Talk Shows, Judges Shows, Odd Job Shows and the never-ending parade of people packed into a house shows. How real can they be? We watch these shows because they are the least of us, and it makes us feel better about ourselves? We would never go on a Talk show based on "Who Cheated with the Best Friend of their Spouse." We would never go on the "Who is the Father of My Child Show?" We would never go on the "I stood by and watched while so and so did what?" show. But we watch, and we talk about how crazy the people are, and then we feel better about ourselves. We say that anything we are doing is not as bad as that!?! Most of these shows are about crowd reaction to the chaos on the stage. All with cameras rolling; would you go on National Television to air your dirty Laundry? 15 Minutes of Fame.
Why not challenge each other to become better at something, anything. No we like that escape. That peak into a world of the people who do not deserve to be there. Famous for Nothing, or Famous People are no better than Us. Clowns without makeup, a Circus without a Big Top! My roommate won't pay their rent; don't just sue them, sue them on television. I got a crazy odd job, make more in one episode than you would make all year; and call it reality?
It is classical conditioning at it's finest. If I get paid to sing, and I need or want more money, I will sing for more money. If I get paid to act, I will act for more money. If I get paid to play baseball, football, basketball… you get my point. So what happens when you pay someone to act like an idiot, what happens when you pay someone to be a Clown with no makeup?
People on these shows will react to this alternate reality by acting like stars. If you make someone a star for doing nothing more than getting people's attention, they will continue to act in ways that get people's attention. They will be loud, obnoxious, rude, drunk and disorderly and they will get rich doing it. And the more they get paid for acting like idiots, the more we will watch, meaning the more they get paid. Lovely isn't it? How does this make us feel better about our selves? Because we can look in the mirror and say, I am not as bad as the idiot on TV.
And you wonder why I say you are better off getting a bunch of people to go clean a park. Art imitates life, and life imitates art. Sooner or later, if we are not careful, we will begin to be influenced by the people on these shows. We will dress like them and act like them and they will endorse products and if we are not careful; we will buy them because a Clown with No Makeup told us we should? How can a part-time DJ go from making twenty thousand dollars a year to making twenty thousand dollars a night? Find out the truth for yourself.


Power steering has help make steering your vehicle like pushing a feather comparing it to older times. When suddenly that is gone and it is hard to turn it can be dangerous and should schedule your mobile mechanic right away once this happens.
What could be the issue that requires a Steering wheel is hard to turn Inspection?
One of our Experienced Mobile Mechanics will come and Inspect why the steering wheel is hard to turn. They will then give you a copy of the report and an estimate cost for repairs if needed.
How is a Steering wheel is hard to turn Inspection done by a mechanic?
The mechanic will inspect the power steering system first prior to inspecting any related systems such as tires and internal components.
How important is having a Steering wheel is hard to turn Inspection?
Steering wheel is the main point of control for you and the vehicle. It is very dangerous if it is hard to control the vehicle. Schedule a mobile mechanic to inspect the vehicle when you notice this issue.


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Q: How to poll for updates with JSONP? I have a Web server that updates its data once per minute, and want to make that data available to clients of all types.  In order to reduce bandwidth, I set up the PHP script to support conditional GETs, using IF-MODIFIED-SINCE and/or IF-NONE-MATCH.  The idea is that clients can poll every 30 seconds and thereby be sure that they won't miss anything, but also won't get duplicate data.
That all works great for most types of clients, and I've verified that it works with clients that support the standard HTTP conditional GET semantics.
But it doesn't work with JavaScript because JSONP inserts a <script> tag into the DOM and lets the browser handle things--and there's no support (at least, none that I know of) for conditional GETs in <script> tags.
So I modified my PHP script to support passing an etag value.  The returned data contains an etag value that's unique for that minute.  When the JavaScript client receives data from the server, it saves the etag value so it can use that value in subsequent requests.  The request takes the form:
http://api.mydomain.com/script.php?fmt=json&callback=jscallback&etag=ab79bc65e

If the etag of the data doesn't match the passed etag, then I send the new data.
This all works well and was surprisingly easy to code up using jQuery.  My dilemma, though is what to do if the etag matches.  I see two choices:

*

*Return an HTTP 304 (Not Modified)

*Return an HTTP 200 (OK), but with the returned data containing just the header information (modified date, etag, etc.) and no actual data items.

If I do the first, then the JavaScript client code is greatly simplified.  The browser seems to work just fine if it gets a 304 response to an injected <script> tag.  But ... something bothers me about this solution.  I don't know what it is, but it seems like I'm depending on behavior that could be browser-specific.  Some browser might decide to report an error if it gets a 304.
Doing the second would require a little bit more work on the server, slightly more bandwidth, and would require the clients to check the data to see if the data was updated.  It's more work for everybody, but it seems cleaner.
So, to my question.  If you were writing a JavaScript client to get this data, which would you prefer?  A silent failure that never calls your "success" callback?  Or a "success" return that has no data (beyond status) in it?  A third option?

A: Absent any discussion from others, I went with my gut here and implemented the second option.  The web server returns an HTTP 200, and the data contains a "Not Modified" status code along with header information, but no records.  That makes the JavaScript just slightly more complicated, but prevents me from depending on undocumented behavior.

redpajama_set_name: RedPajamaStackExchange


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THE FUTURE KINGS OF ENGLAND
Psychedelic/Space Rock • United Kingdom
The Future Kings Of England biography
Founded in Ipswich, Suffolk, UK in 2003 - Disbanded in 2019
THE FUTURE KINGS OF ENGLAND are a UK based trio comprised of Ian Fitch (guitar, keyboards, effects), Karl Mallett (bass, keyboards, effects) and Simon Green (drums, keyboards, effects). They formed with the intention of making "Head Music" with nods to "Ummagumma" period "PINK FLOYD, VDGG, the "Kraut Rock" greats like "ASH RA TEMPEL" and "TANGERINE DREAM" with a dash of "GY!BE" and "MOGWAI" for good measure.
They're not attempting to rekindle the past, they're just carrying on the grand tradition of style and scale that these bands produced.
: : : Simon Green, UNITED KINGDOM : : :
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The Future Kings Of England Psychedelic/Space Rock
Review by VianaProghead
Review Nº 243
"Who Is This Who Is Coming?" is the fourth album of The Future Kings Of England and was released in 2011. This new album of The Future King of England is dedicated to the English writer Montague Rhodes James. As many of his early 20th century contemporaries, he dealt with ghost stories, artifacts, and supernatural phenomena. So, "Who Is This Who Is Coming?" is a concept album that deals with a chilling story and the music matches up amazingly well with the story.
The concept of the story is about Mr. Parkins, a skeptical Cambridge professor who spends his holidays in the town of Burnstow, (a fictionalized version of Felixstowe in Suffolk), in a coastal hotel. He finds a flute in the nearby ruins of a Templar religious house. Amongst other things, a Latin text engraved on the ancient instrument reads: "Who is this who is coming?". So, Professor Parkins discovers that the sound of the flute evokes on him powerful images of some mysterious characters. Since the use of the flute, it has begun to haunt Mr. Parkin's own double room at Globe Inn in Burnstow. Only through the courageous intervention of a friend escapes our professor of the madness, or at least of a desperate jump out of the hotel window. The flute is then thrown into the sea, and this is the end of the story by M. R. James, included in his horror short story collection of "Ghost Stories Of An Antiquary", which were publisehed in 1904.
The narration just summarized is called "Whistle And I'll Come To You" and of course comes from M. R. James. This story seems to have intrigued this British quartet. So, to some extent, it was chosen as a soundtrack template for the slightly mysterious music. Quotes from the story were printed on the cover as a background of the respective pieces.
In the most recent years, the influence of centuries-old folk and classic tales of literature has been heard on many new artists. On their fourth studio album, "Who Is This Who Is Coming?", The Future Kings Of England draw from the much same well, albeit with a more psychedelic, post-rock, and ambient aesthetic. The group masterfully synthesizes these different styles into a very intriguing and affective result, making the album a joyful experience from beginning to end.
Musically, the band claim to have a range of influences, but by far the clearest influence is Pink Floyd. Direct references are hard to pin down, but the atmospheric feel this album gives is very Floydyan. About halfway through the album an alarm goes off in an unmistakable timely way, and in the final track, a Gilmour's guitar solo is to be heard. Still, incessantly comparing the album's music to Pink Floyd simply doesn't do the band justice and would be very reductive. The music is really pastoral and laid-back. So, don't expect any whizzy keyboard solos or complex time signatures. Despite being a mainly instrumental album, vocals can be heard too. In each of the songs, the band presents a new and different sound, according with the story. For an album that is clearly designed to be listened to as a whole, it can seem needlessly bitty and directionless at times. Anyway, I can find very few faults with the music itself. However, I can understand this collection of tracks maybe doesn't quite fit well in the way you'd like, since this is a conceptual album.
You might expect that the standout piece would be the title track, which is very comprehensive. It has a bit of an ambient music in the style of Brian Eno feel to it for the first two minutes, but the music of the rest of the track though it's really more like a scary movie soundtrack. The nine minutes which close the first half of the album are instead devoted to a rather experimental track, like a tiny musical probe into your mind. If you're much acquainted with the music of Tangerine Dream you'll know what I want to mean. The overall effect is actually quite pleasant, an atmospheric detour from the melodic first quarter of the album. Of course, this is the type of prog music to polarise fans of the genre, the fans of the more simple and melodic side of prog. But, for those who wish to hear dense and much complicated music will surely be put off by the lack of such kind of things here. But of course, this kind of things, the denser and much complicated prog music does start to happen later, and for many, the best track on the album must surely be the lengthiest piece, a common carachteristic of all prog albums. Of course I'm talking about "A Face Of Crumpled Linen". This track harks back to Floydian use of repetition and structure, and certainly the fade towards the middle of the track points to "Echoes". Towards the end, the band speeds up for a dramatic close before the final track.
Conclusion: "Who Is This Who Is Coming?" is an excellent progressive rock album and a truly great surprise to me. It seems that the English prog remains still alive and kicking and enjoys of a good health, surely. I really didn't read the original short novel, but I can imagine, according to the music, that it's really scary. Musically, the album is very original despite its clear influences of the classic prog rock music, mainly the psychedelic influences, especially the Floydian influences. Somehow, "Who Is This Who Is Coming?" can perhaps sounds more like a soundtrack of a film. So, this album put me very curious about the other three previous albums of the band. This is highly recommended stuff, really.
Prog is my Ferrari. Jem Godfrey (Frost*)
Posted Friday, March 15, 2019 | Review this album | Report (Review #2166149)
Review by Sinusoid
If through the first few listens you're thinking the debut of Future Kings of England is a miscast post-rock album, give it time. The psychedelic influence is quite apparent, particularly in the abundance of mellotrons and spacey sounding guitars. Yet the trademark military sounding post- rock drums come into the fore often, notably on ''Lilly Lockwood''.
The prevailing mood of the album is actually heavy and intense (not in metal terms), layered with phantasmagoric mellotron washes, thick drumming, searing guitar lines, and the occasional sound bite for whatever reason. The album is also cluttered with long songs, so this isn't a quick listen despite the run time missing one hour. Actually, I find that a flaw with FUTURE KINGS OF ENGLAND; while there are great ideas in the psych pieces, the songs feel about as their run times suggest. Granted, there's no grand epic of sorts, and ''Pigwhistle'' has a Porcupine Tree-esque beginning, but sometimes it doesn't help that it feels a bit long in the tooth.
Even so, the Future Kings of England have established a sound identity with tracks like ''10:66'' and ''Silent and Invisible Converts''. This is music for both fans of psychedelic rock and post rock as the merger of the two styles is remarkably credible.
Posted Friday, June 7, 2013 | Review this album | Report (Review #972690)
Review by BrufordFreak
Collaborator Honorary Collaborator
This is really more of a soundtrack to the chilling short story by M.R. James called "Oh Whistle And I'll Come To You Lad." The music matches up amazingly well with the story, progressively getting scarier with each song. The band has diverged quite a bit from the Post Rock/Math Rock/Psychedelia of a few years ago.
1. "Journey to the Coast" (2:04). The arrival in the bucolic East Anglia beachside town is well represented with this folksy mandolin-based tune. There is even a track in the song dedicated to songbirds sounds! Feels like a place that I'd like to visit! (8/10)
2. "The Globe Inn" (4:26). Organ, simple drums and notes slowly picked on a guitar are superceded in the B section by eerie synths and voices. Decending guitar scales and reversed guitar and organ enter for a kind of C coda before the B part returns. Very BLIND FAITH-like. A lull at 2:14 allows the eery bass line to present, alone, before the band returns with a doubled-up lead bottle-neck guitar solo in the vein of ERIC CLAPTON or even GEORGE HARRISON takes over. Then, out of the blue, at 3:18, a very cool, very powerful and fully CAMEL-like 'controlled' crescendo section takes over till end of song. (9/10)
3. "Finding the Whistle" (2:01) is a lot like a GENESIS interlude song from The Lamb. (9/10)
4. "Watcher Part 1" (1:56) sounds as if ROY ORBISON, FLEET FOXES, GREEN LINNETT RECORDS, and MIKE OLDFIELD all collaborated. Very cool song. (10/10)
5. "Who Is This Who Is Coming?" (9:09) opens with very odd bending synth notes, joined by sustained fuzzy guitar notes. It has a bit of an Ambient ENO feel to it for the first two minutes. Add horn-like and girl-screaming synth notes until at 2:57 an non-English-sounding male voice says something which ushers in a new eery theme of music--though it's really more like a scary movie soundtrack, complete with samples of clock ticking and someone's boots trampsing through tall grass. At 5:34 a slow synthesizer section begins--using sounds like TANGERINE DREAM. Long-held acoustic guitar strums and more synthesizer play join in. Eery and synth mastery. (8/10)
6. "Convinced Disbeliever" (3:59) begins with the alarm of a windup clock. Guitar power chords and drumming sounding like IRON BUTTERFLY or BLACK SABBATH enter. Cheesy switch at 0:58 to B part. The music is rather "B movie"-ish. At least until the all-too-brief, but wonderful OLDFIELD-like guitar solo at the 1:38 mark. Return of cheesy two-chord rock theme. Give it lyrics and it would fit right onto an early 1970s SABBATH/BUTTERFLY/or even GRAND FUNK album. I guess it works. I'm smiling, though I might be cringing. (7/10)
7. "Watcher Part 2" (1:59) begins like a ELP song, GREG LAKE sing while being harmonized by another GREG LAKE-like b vocalist. Very nicely done. Could be a TRAFFIC or STRAWBS tune, too. (9/10)
8. "A Face of Crumpled Linen" (10:17) begins with the recorded sound of wind buckling at the windows and doors. Guitar, bass, and synth introduce a theme which is then taken over by a different keyboard sound. Cymbol play begins and then full drum play as bass and guitar play establish quite a nice groove over which portamento synth plays. Additional guitar and tracks (two that I count) enter, one strumming a partially muted strum, the other playing a distorted, untuned lead. By 4:30 all instruments have faded away leaving an organ-sounding synth slowly forming odd diatonic chords by moving an upper note against an unchanging mid-keyboard note. At 6:20 full band returns in a kind of TANGERINE DREAM/PINK FLOYD style. (The instruments are all recorded in quite a raw, under- processed and not-necessarily cohesive way.) Things quiet down again briefly before letting an electric guitar arpeggio take over the base rhythm. Drum and synth play build before horns and the full band comes crashing in for a kick ass groove--but only for the final minute. Then the groove--and the song-- end quite suddenly! (9/10)
9. "Spectacle of a Scarecrow" (5:54) begins with an electric guitar establishing a chord progression with arpeggios. When the full band joins in it is with a fury that quite reminds me of CRAIG SAFAN's ripping "Confrontation" from TANGERINE DREAM's soundtrack of Michael Mann's 1981 movie, Thief. (9/10)
While the music here is sometimes not so proggy, more soundtrack-like, and often reaches back to styles and sounds (even production value) of the early 1970s, it is a really admirable rendering of a story to music. One to experience, say, alone in a shack on a stormy night. One of the few albums I've heard that is actually better without headphones.
4.5 stars; a near masterpiece.
Posted Tuesday, October 30, 2012 | Review this album | Report (Review #847402)
Review by Windhawk
Special Collaborator Honorary Collaborator
THE FUTURE KINGS OF ENGLAND was, until a few years ago, one of British rock's hidden secrets. But following three well received full length productions a greater variety of people have become aware of their endeavors, and when their fourth disc "Who Is This Who Is Coming" was released towards the end of 2011 it was a CD many had eagerly been awaiting.
70's oriented progressive rock is what The Future Kings of England are masters of, lightly flavoring the proceedings with psychedelic and post rock details, frequently inserting subtle details or distinct sequences of a pastoral nature and liberally flavoring the end result with Mellotron and vintage sounding keyboards. Those who know about the band from previous occasions can safely purchase this latest disc; those unfamiliar with the band are advised to check them out, at least if some of the descriptions given sound enticing.
Posted Sunday, June 17, 2012 | Review this album | Report (Review #772940)
Review by kev rowland
Special Collaborator Honorary Reviewer
This 2009 album was the third from the Suffolk instrumental outfit, featuring Ian Fitch (guitars), Karl Mallett (bass), Simon Green (drums) and producer Steve Mann (also keys). This album is one that is as rooted in psychedelic and space rock sounds as it is in progressive yet is so damn well played that anyone who likes even one of these genres will need to hear this. There are times when the mellotron is lush and gentle, with delicate piano set against it yet there are others when the guitars are dominating proceedings with ease. This is a band that can be gentle and reflective, or coarse and hard ? often all in the same song. It really does bring to mind some of the styles of prog that was coming out of Germany in the early Seventies with Amon Düül II being definitely front of mind.
This is music that definitely belongs to thirty years ago, but somehow is still invigorating and dynamic today ? a joy to listen to from start to end. www.backwaterrecords.com
Posted Sunday, May 20, 2012 | Review this album | Report (Review #755379)
Review by Mellotron Storm
I think what sets this album apart from their previous releases is how haunting this can get. It's based on the chilling short story by M.R. James called "Oh Whistle And I'll Come To You Lad". Simon the drummer states that the music here taps into a person's primoridal fear, especially the title track.
"Journey To The Coast" has this light wimsical melody as the birds sing away. Yes we are driving to the coast. A train comes rushing by making a powerful sound as it drowns out all other noises. "The Globe Inn" has a Post-Rock vibe as the guitar is picked and drums beat. Laid back vocals follow. An early FLOYD-like soundscape takes over before 3 minutes and the organ joins in. "Finding The Whistle" builds in sound with acoustic guitar leading the way with a repetitive melody. It fades out and we can hear somone walking and the sounds of waves. "Watcher Part 1" is a short, relaxed vocal track.
"Who Is This Who Is Coming ?" has these deep spacey sounds that echo. We get a change 3 minutes in with dramatic piano, mellotron and more. Lots of atmosphere. We can hear someone walking as the haunting atmosphere continues. It sounds like mellotron choirs before an alarm bell goes off to end it. "Convinced Disbeliever" is a fairly heavy track with lots of drums. There is contrasting mellotron and atmosphere. "Watcher Part 2" has reserved vocals as distorted organ along with drums play in the background. It turns lighter with acoustic guitar late. "A Face Of Crumpled Linen" opens with the wind blowing as guitar and more build. Drums 2 minutes in but it does settle back before kicking in again late. "Spectacle Of A Scarecrow" has Post-Rock styled guitar and it turns dreamy late with strange sounds too.
I do prefer this over their previous album but I still consider the debut to be their high water mark. On the other hand I would say that all of their records are worth getting.
Posted Thursday, February 16, 2012 | Review this album | Report (Review #634825)
A very good Post Rock album that ranks right up with the best I've heard from this sub-genre . . . but can't quite earn a 5 star "masterpiece" rating cuz of the fact that the boys stick fairly closely to the standard format?with very few real innovations other than sounds and multiple guitar layers on "October Moth."
Oops! this isn't Post rock?!!
Oh well. Favorites:
"10:66" (8/10) opens with a Frippertronic/"infinite guitar" note (kind of like Fripp did on Sylvian's "Wave") and is then joined by the full band. A mysterious interlude spoken vocal is in a Slavic language?which all but negates its effectiveness but is followed by guitar arpeggios from the opening section and background violin noodling. The song crescendos in a rather violent almost punk- like sound with 'hoodlum' type voices running off in the background.
"Humber Doucy Lane" (7/10)opens with some very old-style "Rising Sun" electric guitar arpeggios with full ANIMALS sound in the accompanying band?at least, that is, until the 3:40 mark when there is a shift to some slow chord strums tying a different set of arpeggios together. Then at 4:45 we're suddenly thrown onto some reverbe/echo guitar picking on the playgrounds from the end of Pat & Lyle's "As Falls Wichita, So Falls Wichita Falls." Obviously the lane referred to in the song title means something to these blokes. Mellotron and bells play out in a French film score way to end.
"Silent and Invisible Converts" (8/10) stars with some pretty straightforward rock'n'roll descending electric guitar chords?which then transform into the same chords being arpeggios with 'flute' accompaniment. Until 1:40 when a new set of three chords are again ominously strummed as bass and cymbols keep exact time (almost Who-like!) The tempo picks up, slowly building, faster and faster, until some very crazed space guitar effects and "ahh's" join and accompany the band to about 5:40 when most instruments cut out leaving only the screaming space guitar and rolling bass?then for a minute just bass before some U2/EDGE- like guitar chords scream out over an old organ?to a Who ending!
"October Moth" (9/10) is a much more laid-back floating-type of song?acoustic guitars picking in both the left and right channels while distorted and space guitars also play. Very unusual and cool song.
"Lilly Lockwood" (8/10) is an eery song that reminds me of a melange between THE BEATLES at their most eery and U2's first two album guitar sounds and GENESIS' "The Waiting Room." (What a combo!)
This is also my favorite album overall from TFKoE--though I very much enjoy their 2011 release, "Who Is This Who Is Coming?"
Posted Thursday, February 2, 2012 | Review this album | Report (Review #625420)
Review by Guldbamsen
Special Collaborator Retired Admin
You need some cactus with that?
It is beyond me that this spectacular group from the UK isn´t getting more attention than they have. I mean these guys can play - and together to boot. With a love for old school mellotron n´ organ tapestries - and a certain garage feel to the guitars and rhythm section(The Sonics or early Pretty Things low fi production springs to mind), The Future Kings of England happen to stumble on two of my long loved things in music: the Chill and the Raw.
In waiting for their new album, I thought I might drop a few words on The Viewing Point, which was released in 2009. You could easily be fooled though, as the record sounds like it was made in the 70s. There´s been a huge amount of records released lately which tries to go back in time - fiddle with analog equipment, mic placement, live recording tracks and so forth, -and to tell you the truth: I love it. I don´t think the sounds created after the 80s and especially in the 90s brought anything new to the table - nothing that didn´t sound better a decade before. Well as long as the bands are making their own music - fishing for their own tunes in their own little oceans...
If you´re into Floyd ca 1970-71 - I promise you will love this album. It´s not that they copy or anything of that sort of nature, but more in the vein of elaborating on textures once uttered in swinging London. I guess it´s the guitars that, much like Gilmour, plays very slowly and soulful - treating the sounds as if they were both rhythm and solo together. I don´t know who is taking care of the lead licks here, but man he´s got some soul power and does have his own sound. More coarse and raspy at the edges, and if even possible slower than Gilmour.
Nearly every song here has some sort of melody filled moment, where the guitars works as a non verbal chorus. Just as well, because unlike their previous record who had sparse singing on it, this one is all instrumental. And speaking of the guitars - I sense a psychedelic post-rock approach in the underlying riffing, that, blended together with the other instruments - forms into something like those small ferocious mini-twisters that sends leaves twirling into the air like flying pyramids of nature´s own debris.
One of my favorite cuts on this album is "Sea Saw" that starts out with piano and some subdued guitar strumming - it builds and builds - and suddenly turns into this very emotional piece that sounds like one of the musicians is playing a saw with a violin bow, - and as Mellotron Storm says in his review - this song does not sound like TFKOE - except for the ending, where the guitars is back melting lava in your ears. Speaking of lava - the best melting rock you get from The Viewing Point is "Time flies like an Arrow". This number intertwine all the key aspects of the album: the slow sluggishly played drums - still keeping the beat though( and I love that [&*!#] - seems every other new prog drummer needs a brain in each extremity to maximize their poly rhythms, instead of pure feel), swaying ethereal guitar patterns, mellotron like sea-breezes and a walking bas thumbing away - tying things together down in the soil.
This is not their best album, but it sure made me smile outside in the rain not long ago. Felt like the waves of rain tuned into the music and started bombarding me to the rhythm, reminding me of the organic texture there is to these guys - everything seems to flow so effortlessly, much like a river. You can´t beat nature, but you can certainly accentuate and amplify the bugger.
Posted Wednesday, June 8, 2011 | Review this album | Report (Review #458253)
Review by Bonnek
Future Kings Of England's self-titled debut is a mesmerizing gem that almost everyone seems to have missed out on. And if it hadn't been for mr Mellotron Storm so would I. A big thanks there! The band released 2 more albums since this debut and while they continued a high quality standard, none of them touches me as much as this one.
Future Kings Of England are a band that has found a unique spot for themselves inbetween majestic post-rock and psychedelic kraut/space-rock. You will also find traces of the mind-expanding 68-71 Floyd era, but it never really sounds like the Floyd to me. The band has more in common to GYBE, be it with more attention to melody and without those extreme quite-loud "dynamics". Both are a plus as far as I'm concerned.
Most songs are quite long, and gradually build, rise and release tension while going through big multiple bars spanning melodies. Fans of minor-key guitar arpeggios and soaring spacious leads will lick their fingers clean on this one. The sound is very open and organic, a bit rough in the drum department but all instruments resonate loud and cleary.
With such a low number of reviews I would certainly dare to call this one low-rated, even though the happy few who have visited this beautiful album have all rated it very highly. Very recommended to lovers of instrumental post-rock and space-rock.
Posted Tuesday, April 5, 2011 | Review this album | Report (Review #427814)
Review by mark4art
This was the first Future Kings of England album I purchased. When it came to choosing it was purely down to the fact that Dunwich is only 15 miles down the coast from me. I was fascinated by a band making a song about a place with so much history. A city now succumbed to the sea on a volatile coastline. For me the first track entitled "Dunwich" is beautiful. An ambient melodic psychedelic track which conjures images of waves crashing against cliffs as the sea nibbles away at the land. The tempo increases slowly although it never gathers much pace. The next track is the only one with vocals and I do like them, I found it strange not to hear more although the music never really needs them. The mustard men as well as vocals also has ample percussion and is perhaps my favourite track along with Dunwich. So does that mean the rest of the album is weaker? No "Bartholomews mermen" is another instrumental that builds throughout. This is music to get lost in . "Children of the crown" seems to start in a pub and starts with acoustic guitar. It is a track of two halves and really picks up with a real Pink Floyd feel. The track slows and becomes more melodic and is terrific. "A meeting at the red barn" is a short track. You hear walking across a field and an opening of a barn door and a soft instrumental track. Here the gulls are replaced by crows. This brings you to the last but not least title track. An 18 minute epic which starts quite slowly for the first 5 mins and very psychedelic.gradually guitars and drums increase and the tempo picks up. Not hard to see why other reviews mention post rock. So overall I think this is an album to loose yourself in, usually by the sea. I cannot say that the music is complex although it is very competent. It is a slow placed album that is full of atmosphere.
Posted Saturday, November 13, 2010 | Review this album | Report (Review #317263)
Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

redpajama_set_name: RedPajamaCommonCrawl


What are the best ZIP codes to buy a house around 84093?
Some of the best ZIP codes to buy a home around 84093, Utah are 84095, 84121 and 84092 based on the current housing market and home values in 84093.
84093 is a zip code in Sandy. There are 131 homes for sale, ranging from $275K to $2.7M.
Currently we cannot show the buyer and seller market type in 84093. The housing market in 84093 is somewhat hot and it is trending up compared to last month, as well as compared to last year.
There are 16 schools in 84093. There are 10 elementary schools, 4 middle schools, 2 high schools and no private & charter schools. 84093 have above average elementary schools, and above average high schools.
There are 131 homes for sale in 84093, 6 of which were newly listed within the last week. Additionally, there are 4 rentals, with a range of $1K to $2.5K per month.
84004 has a median listing price of $609.9K, making it the most expensive zip code. 84119 is the most affordable zip code, with a median listing price of $250K.


But, though medical personnel also noted the need for long term planning, given the long term impact of trauma, there was insufficient attention to this factor. It has even been claimed that some elements in government did not want support work in this area, perhaps in the ostrich-like belief that, if such matters were ignored, they would go away. So even the imaginative proposal of the Commissioner General for Rehabilitation to develop counseling services, building on the input they had received from experienced international practitioners with regard to combatants in rehabilitation, was not pursued.
The Ministry of Health, with the support of the committee it has established to develop para-medical services, should be mandated to develop and implement a rapid programme of training of counselors. They should ensure cadre positions for Senior Counsellors in each Divisional Secretariat, with support staff available for community work and also for schools (where the skills of teacher counselors should be enhanced).
General of Rehabilitation, to include the services of former cadres, with a view to enhancing the services available to rehabilitated cadres needing psycho-social support.
A Reintegration Authority should be established, using the resources of the Bureau of the Commissioner General for Rehabilitation, to monitor reintegration and develop Vulnerability Indices to ensure support for those in greatest need, social and economic as well as psycho-social.
Medical Officers of Health should, using the services of Divisional Secretariat Women and Children's Units, monitor needs, in particular of the school going population and of women under stress.
Different mechanisms of training teachers should be encouraged, in particular for all three National Languages as well as for Translation Skills. Religious organizations are well equipped to take on this task, and the Ministry of Education should encourage initiatives in this regard, by providing certification to those who reach the standards required for teaching in the school system.
The military should also begin language classes, through Cadet Academies on the lines of those in other South Asian countries. These can concentrate on the three languages, plus education to equip students with the qualifications required for government employment. Recruitment to the police and the services would be facilitated, if such Academies also stress sports and character building extra-curricular activities.
Schools should be encouraged to offer voluntary language classes. They could use the services of the police on a voluntary basis for Sinhala classes, while school teachers could help with teaching Tamil to police personnel.


Looking for Drug Rehab and treatment centers in Lignum, Virginia?
There are several drug and alcohol rehab programs solutions to the people residing in the Lignum area. It is important to recognize each one of the types of treatment options that exist in Lignum, AB., so that you can select the appropriate rehabilitation option for yourself or a family member. Choosing the proper alcohol and drug rehab program in Lignum is the most important factor in the process of treating of substance abuse, addiction and alcoholism. This data will help you understand your numerous rehabilitation choices so that you have the greatest possibility of an effective outcome.
Let's take a look at the many alcohol and drug rehab centers in Lignum, Virginia possibilities that coincide with the condition of the individual looking for rehab.
Inpatient alcohol and drug rehabilitation in Lignum, AB. is often a rehab possibility best for those who will need health-related intervention for the duration of treatment or clients with substantial substance abuse histories. Women and men will experience physical and mental dependence to alcohol and drugs even after a short time period, so inpatient drug rehabilitation in Lignum is considered the most effective rehabilitation choice in nearly all situations. Due to dependence and addiction, people will frequently struggle to make a full recovery using the minimal solutions available from outpatient treatment programs in Lignum, Virginia where drugs and alcohol are still easily obtainable when they depart the outpatient facility. In addition, individuals in rehab who receive outpatient treatment rather than inpatient drug and alcohol rehabilitation in Lignum continue to be prone to damaging influences and conditions that might get in the way of their process of recovery. When someone resides with an abusive companion or maintains relationships which entail drug abuse, any treatment activities in outpatient rehabilitation are done in vain. That is why in-patient alcohol and drug treatment in Lignum, AB. will generate more beneficial results which will prove lasting in contrast to an outpatient drug treatment program where benefits could be very limited and acute.
In Lignum there's both short-term and long-term inpatient drug rehabilitation. Short-term is often a 30-day facility, while long-term inpatient drug and alcohol treatment in Lignum, Virginia is more intensive and rehab lasts 90-120 days generally speaking. It is really an excellent setting for clients as it is a safe and secure drug free setting where they're able to heal both mentally and physically without interruptions. Preferably, men and women will continue in a long-term in-patient alcohol and drug rehabilitation program in Lignum for the maximum time frame permitted, to be able to deal with anything that might jeopardize their sobriety after they leave treatment. Because of the fact that detoxing and becoming physically stabilized can require a couple weeks by itself, the 3 to 6 months in long-term in-patient alcohol and drug treatment in Lignum will be time spent well and a lot more effective than short-term centers.
The most crucial factor of all if you or a loved one is struggling with a drug abuse or addiction issue is to get it resolved right away, make calls and seek the advice of experienced addiction specialists and get an assessment and rehabilitation options to ensure the best opportunity for a recovery.


Visiting Info: open Memorial Day through Columbus Day weekends, 11am to 3pm (4pm in July/August), Tues-Sat. Closed Sunday and Monday. Admission $2-$10.
While there is some debate about the exact history of the site, the Aptucxet Trading Post is believed to be the first post built to facilitate trade between the English pilgrims, the local Native tribes, and the Dutch settlers of New Amsterdam.
The current building is a replica constructed over the top of the original foundation, which was excavated by archaeologists in the 1920's. The stone foundation is said to date back to 1627.
The site is historically important because it would have been the first place that English pilgrims were able to buy supplies that were not imported from Europe by their parent company and an early place for them to acquire goods they needed to pay off their debts to their corporate backers. The Wampanoag people introduced wampum - a traditional trade good made from quahog shells - which was adopted by the settlers as the standard local currency.
The grounds around the museum include a Wampanoag Garden where they grow native plants such as squash, beans, corn, sunflowers, Jerusalem artichokes, gourds, and tobacco. There is also a kitchen garden of herbs and medicinal plants and a wildflower garden.
Other features of the quirky collection of buildings onsite include a replica windmill and salt works, both of which were important structures at the Cape's colonial settlements, and Grover Cleveland's personal train station for his summer home in Bourne, Grey Gables.
Tickets are purchased at the Sagamore Information Booth Gift Shop at the entrance to the site near the parking lot.