Marquis: I have a loving, kind and very positive character. I do fitness three times a week, and go to the swimming pool. What if that talk will regain a lot in your life.
Jaylon: My friends consider me to be a good listener. I am an optimistic and realistic man who hopes for the best and sees only bright sides of things. I like to go to the gym and attend pole dance classes. I love beauty.
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text:
Slater International Center
UWC at Wellesley
Davis UWC Scholars at Wellesley College
United World Colleges (UWC) make education a force to unite people, nations and cultures for peace and a sustainable future
UWC is an education movement bringing students of different nationalities, ethnicities and religious backgrounds together to promote intercultural understanding and work towards creating a more peaceful and sustainable future.
Comprised of 14 international schools and colleges around the world, the transformative educational experience draws upon Kurt Hahn's seven educational guiding principles. You can read more about the UWC mission and their values at their official website.
In 2000 Wellesley became a founding partner in the Davis-United World College Scholars program, which helps UWC graduates attend American colleges and universities. In those 14 years more than 200 UWC alumnae have attended Wellesley through this program.
Wellesley shares many of the same values of the UWC program: disciplined, critical thinking; a recognition and celebration of the importance of diversity—of perspectives, life experiences, socioeconomic backgrounds, and of cultural, religious, and national heritage. The two institutions also share the values of leadership, service, and making a contribution to society.
UWC Club of Wellesley
The United World College club of Wellesley aims to spread the UWC mission to members of the Wellesley community, fostering a greater understanding of international events through different perspectives and an appreciation for diversity. Through lecture series, social gatherings and other events, we hope to encourage the spirit of idealism and commuitarianism. To us, the UWC values of diversity, unity and sustainability should be the values dear to every peace-loving and progressive student and we hope to foster more thought and discussion on these issues.
UWC students went through a two year transformative experience that taught us to value peace over conflict, but always discussion over silence. We were endowed with a responsibility to care, because although most times we are unequipped to solve the problems our world faces today, our attention and student activism are important building steps to grassroots movements that cumulate in change. We hope to break through the exclusivity and welcome Wellesley students to share these values with us, and together make this world a better place.
UWC Students: A Map of Achievement
Slater International Center has created this customized map to highlight a small group of our UWC Students and their activities, adventures, and achievements. Each pin represents a different student and includes her name, citizenship, UWC school, and information about her recent achievements. Explore many of the unique locations where our students are from, and how they are putting their UWC/Wellesley education to use to make a difference!
Entering Students
For Graduating Seniors
Scholars & Faculty
Mastercard Foundation Scholars Program
Living in the U.S.
Reserving Slater
International Student Statistics
Information on Immigration Policies
Slater Newsletters
Especially for Prospective International Students
HOURS & EVENTS
Slater Director Office Hours
*Thursday 1:00 PM - 3:00 PM [By Appointment Only]
International Advisor Office Hours
Email: slatercenter@wellesley.edu
Information on recent immigration policy changes
Slater Events & Programs
Wintersession Gathering
3:00 pm - 5:00pm
Slater Open House & Welcome Back
Global Tea Series

redpajama_set_name: RedPajamaCommonCrawl


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We were so close to losing him that day, but he made it through! Calvin was treated quickly and received all the best care because we were not worried about the financial burden.
The post Life-long Treatment for Calvin appeared first on The Trupanion Blog.


Zhaofeng Jiayuan adjacent of downtown, belongs to high-grade residential housing, is the ideal choice for many foreigners.Inside the village beautiful environment. Surrounding facilities are considerate,the village north exit has a larger market, 24-hour convenience stores, Banks and all kinds of shops, about 10 minutes walk can be reached Baiyulan Plaza, eating, shopping, entertainment is very convenient. The owner use some colourful soft outfit to ornament, make the whole decorates looks bright and clean. There are three bedrooms, two of them have been equipped with furniture such as bed, another you can be used as study room or storage room etc. The property's highlights include an impressive entrance hall leading to a beautiful and expansive dining room retaining period features flooded with natural light, a spacious reception room leading out onto a balcony.


UNIPHONIC™ creates cutting edge sounds and synthesizer patches for music production. We specialize in super expressive sounds with lots of playable dynamics and control. Our sounds can enhance a variety of music genres, from EDM, to relaxation music, to rock!


In online networks designed for sharing content, a general product trend is user interaction always gets closer to the content. Put another way, when users are given the ability to react to something as they are enjoying it, it tends to create more engagement.
Soundcloud's in-song comments let you add comments to a specific place in a song. It's arguably the most unique part of the platform, and often provides quality signals to listeners.
Reading platforms like Wattpad or Medium provide inline comments that let you comment and highlight what you're reading.
Youtube lets you add a comment on a specific place in a video (but doesn't highlight these to the viewer, so they are not easy to discover). Periscope and Instagram Live let you add reactions in real time in a very playful floating emoji/hearts experience.
Likes or favorites are often considered "table stakes" for any content community. But when you let audiences leave their mark on their favorite places (in a song, story or whatever), it creates meaningful connection with content - and it's creator.


A perfect item to recognize newly selected personel. There is room for up to three (3) lines of text or line number. The location of the AF Star is a perfect spot for unit logo, logo of your choice, or the AF Star. This item is avalible for all branches of the armed service.


The tutorial is based on Polkadot POC2.
I suppose you followed the steps as described in my first article and have now a stable Polkadot Validator cloud instance running.
Well, you have a node running which is building up a local copy of the parachain exposed by the Krumme Lanke Polkadot POC-2 test net. So you are more or less an active listener on the relay chain and are processing the newly created block and seal them into your local blockchain DB.
Actually you entered the blockchain space with a validator node … but … are not part of the party yet.
In order to join the party, getting the possibility to earn DOT tokens and getting rich ( test-rich only) you have to apply for one of the four Polkadot basic roles, which upkeeps a Polkadot network (refer to the roles discussion in my last article).
Let's walk-Through the four steps which are necessary to enter the Proof of Stake (PoS) party room in the Validator role.
As a first step, you have to create an account on https://poc-2.polkadot.io/#/accounts.
Choose a name and password and create your account.
In return, you will get an Account Address (which you can use in public), as well a seed, which you have to keep private! In a later stage when you start up your validator applying as an official validator, you will require your seed again.
Having created your account, you now have to get some DOT test tokens for your account.
You require DOT's test token in order that you can pay the "staking" transaction fee, which brings you forward into the intention queue of future validators.
Head over to the Polkadot Watercooler on Riot, where you will find a lot of helpful people which will send you some DOT's to your account address.
After receiving some test DOT's head over to your account and check the balance, in my case 20'000 dots were deposited.
Having a funded account, it's time to restart your node by applying some parameters, which will bring you onto the intention list of Validators.
You now have A Validator node running, which is ready for work as a "Proof of Stake" (POS) consensus Polkadot Validator node. So you have expressed the desire to take over this role, but you are not eligible yet.
So grab some of your DOT tokens and head over to the Stake account transaction process.
The so-called T wo-General Problem described in 1975 a scenario where two generals are attacking a common enemy and try to communicate via messengers in a reliable and secure way the attack time. The scenario was proven to be unsolvable.
In 1982 a follow-paper was published describing the Byzantine General Problem, which is a generalized version of the Two Generals Problem with a twist. It describes the same scenario, where instead more than two generals need to agree on a time to attack their common enemy. The added complication here is that one or more of the generals can be a traitor, meaning that they can lie about their choice.
The algorithm described in paper was proven, that the algorithm can reach consensus as long as 2/3 of the actors are honest. If the traitors are more than 1/3, the consensus is not reached, the armies do not coordinate their attack and the enemy wins.
Byzantine Faults are the most severe and difficult to deal with. Byzantine Fault Tolerance has been needed in airplane engine systems, nuclear power plants, as well as blockchains. There are various algorithms available tackling the problem.
A consensus algorithm (BFT) is Byzantine Fault Tolerant as long as the number of traitors does not exceed one-third of the generals. You can find a good overview of the following Medium article.
The big breakthrough with blockchains was the usage of Proof of Work (PoW), as well as later Proof of Stake (PoS) as a probabilistic solution to the Byzantine General Problem. The following email by Satoshi Nakamoto (the Bitcoin anonymous founder) from 2008, explains how PoW should be used to solve the problem in an easy language.
Ultimately we expect to be inspired by a number of promising BFT consensus algorithms in the core; Tangaora (a BFT variant of Raft ), Tendermint and HoneyBadgerBFT ]. The algorithm will have to reach an agreement on multiple parachains in parallel, thus differing from the usual blockchain consensus mechanisms.
For a proof-of-authority (PoA) style network, this alone would be sufficient, however, Polkadot is imagined to be also deployable as a network in a fully open and public situation without any particular organisation or trusted authority required to maintain it. As such we need a means of determining a set of validators and incentivising them to be honest. For this, we utilise PoS based selection criteria.
So it's important to realise that a BFT algorithm in a PoA environment only (with a consensus mechanism based on identity as a stake) would be sufficient. But the open an public situation of Polkadot ask for additional means.
Polkadot will be a public network. Anyone is free to participate in the network, and if nomination processes are used to select validators as the white papers outlines, it might take place daily.
Polkadot's process will allow any party to attempt to validate as described, just like anyone is free to mine on Ethereum or Bitcoin, that doesn't mean they are guaranteed a block.
Additionally, the term permission can often apply to more than just block creation, but also to a white or black list allowing or disallowing participation among other restricted sets.
All things considered, Polkadot fits the definition of a permissionless platform.
Having a basic understanding now of the consensus topic let's move forward with our process of stake and getting nominated.
This step is the PoS selection process, which will finally incentivise us, in case we are behaving in an honest manner.
To get you on the intention list of potential validators requires you to execute a stake transaction, which comes with some transaction fees (around 210 DOT's).
Open the Polkadot Admin GU, select the Staking Tab ( https://poc-2.polkadot.io/#/staking) and press the "stake" action button.
You have to provide your password to sign and submit the "staking.stake" transaction. Due to the fact that is your first stake transaction, it's index is 0.
The execution of this transaction brings you in the waiting room of Validator nodes, which expressed their intention to participate in the Proof of Stake consensus validation process with the next "era" (era will be explained shortly).
On the left side are the validators shown (with their Nominators - small polkadot icon, below the Validator node) on the right the nodes waiting to enter the party room.
As mentioned above, the listed Intention nodes may get a chance to get an official Validator at the end of an era.
An era is defined as the time required to create and seal 720 blocks on the relay-chain. A new block is created, processed and verified around every 5 seconds. I.e. that means an era lasts for around an hour.
We imagine validators be elected, infrequently (at most once per day but perhaps as seldom as once per quarter), through a Nominated Proof-of-Stake (NPoS) scheme.
For the test environment, the selection process is happening around every hour. The Header information of the Staking GUI, gives some basic information, among other the actual time slot in an era cycle.
As one can see on the header information, there are 22 slots for Validators available and there are 6 validators (22+6=28) waiting on the intentions list. The time passed in an era is slot 653 of the total of 720.
The session counter will express the number of block sealing left until the validator and its nominators are incentivized. In our example 7 block sealings (60-53) left until the next payout phase takes place.
the 22 validators with the highest overall account balance will be the validators for the next era cycle.
The GUI will also show, the lowest validator node of the era with 1'099'715 DOTS and the highest intention node with 2'303'173 DOTS, which means in the next era, there will be a replacement happening (highest intention node will replace the lowest validator).
Now checking my own account balance above (19'793) shows me that I'm way behind the highest intended node with an account balance of 2'303'173.
That means I have to reach out for Nominators, which will back me with their account balance.
A nominator is a stake-holding party who contributes to the security bond of a validator. They have no additional role except to place risk capital and as such to signal that they trust a particular validator (or set thereof) to act responsibly in their maintenance of the network. They receive a pro-rata increase or reduction in their deposit according to the bond's growth to which they contribute.
Together with collators, nominators are in some sense similar to the miners of the present-day PoW networks.
Some cases of misbehavior threaten the network's integrity (such as signing invalid parachain blocks and validating multiple sides of a fork) and as such result in effective exile through the total reduction of the bond. In other, less serious cases (e.g. inactivity in the consensus process) or cases where blame cannot be precisely allotted (being part of an ineffective group), a small portion of the bond may instead be fined.
It's clear that a nominator is keen on supporting validators who stick with the rules.
As you can see here, my account is backed by a nominator which adds 2'226'461 dots.
That's it for today. In the next article, we will address some reliability and security topics of your node.


Description Thy Son Jesus Christ, to bless and sanctify this water to the souls of all who drink of it, that may do it in remembrance of the blood of Thy Son, which was shed for them, that they may wit- ness unto Thee, Oh God the Eternal Father, that they do always remember Him, that they may have His Spirit to be with them. Amen ! " While the water was being handed round, another hymn was sung; one of a set of beautiful fugues of which the Mormons are particularly fond. Then the services were concluded with a bless- ing, and the congregation dispersed, interchanging greetings at the door. I spent the afternoon with my two hostesses; but T. was taken to inspect a monster Sunday-school, where he found the pupils well drilled in the Bible and the Book of Mormon. The latter is a production which sounds not unlike the historical books of the Old Testament in the ears of those who "read their chapters" in the mechanical way in which an ignorant Catholic tells his beads. While I talked with the Steerforth women over the glowing fire, I was idly wondering to which of the wives the different children belonged. The wee nursling and Noe were easily as- signed to the little mother, but I puzzled myself vainly over the others who gathered about the pair with precisely the same caressing familiarity that we are accustomed to associate with the true filial instinct one and undivided. When I mentioned my difficulty they smiled, and asked me to point out those whom I thought belonged to each. I did so; and they laughed outright, telling me that the seven children belonged to the little mother.


Jacksonville, Florida police have indicated that they intend to make more DUI (also referred to as drunk driving or driving under the influence) arrests this weekend as it falls on the New Year's holiday. People in the Jacksonville, Florida area can expect Jacksonville Sheriff's Office and Florida Highway Patrol officers to be on the lookout for people they suspect are driving under the influence of alcohol or drugs. They are also setting up DUI checkpoints in the Jacksonville area.
Of course, for anyone who plans to drink this weekend, having a designated driver or taking a cab is always the best option. However, the other side of the coin in these situations where the police are making a concerted effort to make DUI arrests is that police often tend to draw conclusions first and work on the evidence later when they believe someone is DUI. A DUI arrest is very subjective. A DUI arrest is often the result of a police officer who is already looking for DUI suspects deciding that a person is impaired from alcohol and then making very subjective observations that are consistent with that foregone conclusion. These same observations that police officers write in their reports over and over again include: odor of alcohol, bloodshot and glassy eyes, slurred speech and swaying. Of course, all of those are subjective conclusions, and none of them prove that a person is impaired. From there, the police officer will likely ask the DUI suspect to participate in the field sobriety exercises. These are very difficult coordination and balance exercises administered under difficult conditions when the suspect is often very nervous. Whether a person passes these exercises is completely based on the subjective opinion of the police officer who obviously already thinks the suspect is impaired or he/she would not have asked the DUI suspect to take the field sobriety tests in the first place. Under those circumstances, it may not make sense to agree to take the field sobriety tests, which are completely voluntary.
The message from the Jacksonville police is a good one- if you are going to drink, a designated driver or taxi is the best option. However, we have handled a lot of DUI's and see how subjective the DUI arrest can be on a normal weekend. When the police make a statement that they are focusing on DUI's during a particular weekend, the risk of more questionable DUI arrests is greater.
If you have been stopped for DUI or arrested for DUI and have questions about your rights and defenses, feel free to give us a call any time, 24 hours a day for a free consultation to learn your rights.


This bottle of Midleton Very Rare 1999 is in excellent condition minus a couple of scratches on the plastic label and lack of certificate. The Midleton Very Rare Collection began in 1984 and a new vintage has been brought out every year since then. Each bottle is highly collectable.


If the vents in your MDX are broken, you've come to the right place. Instead of replacing the entire vent, how about just replacing the tab? It's cheaper, faster, and won't break like OEM.
These particular tabs are designed to fit the side vents of the Acura MDX. They are injection molded replacement aftermarket tabs.
This listing is for a single vent tab. To install, just locate where the vent tab used to be and slide the new tab into place.


iPhone 6 Plus or Samsung galaxy 5 or 6 ?
I've loved my Galaxy S5. I never upgraded to the S6 because they decided not to put the sd slot in it for some reason (if I remember correctly), and that's a must have for me. I'll get the S7 eventually when the wheels fall finally off my 5 (assuming they get the whole blowing up thing under control).
I'm an Apple guy. Mainly for 2 reasons. My digital library is iTunes media so at this point I'm pretty much all in and I love IOS and hate android. I have a 6+ and love it. My contract is up so I can upgrade to 7 but I think I'm just gonna stay on 6+ until the 8 comes out.
I have a 6 and it's great, so I'd recommend that. Not sure about the plus, but if you're cool with the size, then it should be fine.
I don't know if I'm gonna keep moving forward with any Apple products, though. I can see their ecosystem constricting more and more each generation, and I think I'll try and get out while I can. Also, the lack of headphone jack on the iPhone 7 and only having 4 USB C ports on the new MacBook Pro (with a gimmicky slidebar), I think I'm off the Apple train. I'll just go schlep it with all the malware and hassle that all the other PC users deal with.
From what I gather Anrdoid OS isn't very well optimized for their hardware without rooting the phone and fiddling with it yourself. I've thought about gett ing off the Apple train, but the 6s was faster by a lot than the Galaxy Note 7 in real world application tests, so I don't see the point of starting all over again. I've been sticking with my 6 plus.
A. It's what you know and are familiar with.
B. Upgrading is as simple as restoring from backup.
D. You know Apple isn't going to provide a way for a state-level entity to open your device without your permission unless they are court-mandated to do so, and even then they would have to engineer a means to do it.
E. IOS devices are typically supported for 6 or more years after they are released. When a new version of IOS comes out, you can put it on your device. With Android, the OS update is released, then your phone manufacturer has to choose to support it, and implement/release it. This often takes weeks to months with Samsung floating around 30-45 days. Devices have around a 2 year support window.
That being said, if you are going to get an Android, go for the Nexus or the Pixel series, as those are both supported by Google, and their OS updates (including security patches) are available as soon as the android platform is updated.
I personally chose the upgrade program this time around with Apple Care.
* While IOS has roughly 3 times the number of security vulnerabilities discovered, they are patched and widely adopted much quicker. Major security flaws are regularly patched and distributed within days of public discovery.
*As of January 2016, 56% of Android devices are estimated to be on KitKat or older, with the remaining 44% being on Lolipop and a negligible amount on Marshmallow (current version). Compare that to IOS where 71% were on 9.2 (current version) another 12% on 9.1, with 14% on IOS 8, and the remaining 3% on IOS 7.
tl;dr Stick with what you know unless you just really don't like it. If you're gonna change get the Pixel.
I just got my iPhone 7 Plus and really like the extra size replacing my iPhone 6. The new no headphone jack is a bit annoying bc I liked charging my phone and listening to podcasts on headphones simultaneously but now can't until I figure out an adapter. But the extra speaker it allows does sound nice.
we're fully vested in apple (tho no macs or anything, just a bunch of ios devices). i've dabbled in android and it's fine, just don't have a compelling reason to switch and have already bought everything i use for ios.
I recently went from iphone to samsung and will probably never go back. The Galaxy is amazing and something as simple as a back button will have you looking at your old iphone and wondering how you ever coped with such archaic design.
The problem I now face is that I own an iphone, ipod, an ipad and an android phone. It is really painful moving between the 2 eco-systems and not being able to share your purchases, If you already own a bunch of apps on ios I would say just stay with Apple, if you don't feel tied to Apple I would try out something new. I really love my Apple devices, as well as my android phone, but unless you are willing to pay for 2 sets of apps, ignorance is bliss.
This popped into my newsfeed just now LOL!!
I have been running a 3 year old HTC One M8, and just ordered a Google Pixel. Honestly, the M8 would still be a great phone except it's locked so I can't flash a custom ROM and it's stuck with Verizon's bloatware crap. The pixel is completely unlocked, so I wouldn't be surprised to get 3-4 years out of it. My last android ran well up until it's battery started to not get a full day's charge. I hate being forced to accept upgrades that I know are going to handicap my phone, but with Verizon they give you no choice.
So, yeah, I'd look into a Nexus too if you're looking more note quite this gen, as they have a solid rep and are pretty much running plain jane Android software.
@A_Ron_Hubbard we're phone buddies! I also have the One m8 but with Windows. Call me crazy and I know there are no apps for it, but I love windows as a phone OS.


text:
/ Modified sep 3, 2020 11:18 a.m.
Federal supplement likely to run out soon as Arizona unemployment dollars dwindle
The director of ADES says there will likely not be much warning when federal supplements stop.
Colleen Greer/AZPM
The federal money used to supplement the unemployment payments of more than 420,000 Arizonans could runout as soon as next week.
The FEMA dollars made available by a presidential order last month are limited and with more states using the funds, the likelihood they will run out soon is becoming more realistic.
Arizona has added the $300 weekly payment to regular unemployment benefits for the last five weeks. Without the supplement, the state's maximum unemployment payment is $240.
"It is likely that after the sixth week there will be some amount of jeopardy to the availability of these funds going forward," said Michael Wisehart, director of the Arizona Department of Economic Security.
Wisehart said his agency is working with the federal government to get a better idea about when the money could run out but he said, likely, there will not be much warning.
The state is also worried about the balance in Arizona's state unemployment trust fund, the pot of money used to pay regular unemployment which comes from taxes paid by employers.
"We're spending about $50 million a week from the unemployment fund, so we've got about eight weeks or so of solvency left in the state trust fund," Wisehart said.
The current balance in the fund is $403,190,591. If the state trust fund becomes insolvent, Arizona can borrow money from the U.S. Department of Labor. That money would have to be paid back.
Last week, more than 131,000 new unemployment claims were filed in the state. It was the third week that claims rose following a slow decline. More than 1.3 million Arizona residents are currently receiving unemployment benefits. That number is a combination of people receiving regular unemployment and the self-employed who are eligible for a federal pandemic unemployment program.
The state unemployment rate is 10.6%. The national unemployment rate is 10.2%.
MORE: Arizona, Coronavirus, Economy, News
Federal unemployment supplement dries up in Arizona Out-of-state and foreign groups defrauding Arizona unemployment system Cochise County sued over polling place access


As a boy Morris Sutherland (Moy) was very close to his culture and was always interested in native art. In 1995, with the encouragement from family and friends, Moy began his carving career. He first learned the principals of carving from Joe Wilson in Alert Bay. Upon mastering some basic techniques, he moved home to learn more about the Nuh-cha-nulth style from Mark Mickey and Ron Hamilton in Port Alberni.
Moy worked under long time friend and artist Carey Newman, at the Blue Raven Gallery in Sooke, B.C., where he is the fortunate recipient of council from renowned carver Victor Newman. More recently, Moy has been creating bentwood boxes, panels and totem poles in his carving studio.
Moy draws his motivation from life experience. He has worked as an archaeological assistant in Vancouver Island's famous Clayoquot Sound. He has worked as a tree planter, creek cleaner and gardener. The common theme here is closeness with nature. Considering that Moy has always found peace in the forest, it is fitting that nature is his greatest source of inspiration.
Moy has the benefit of having learned from both Kwagiulth and Nuu-cha-nuith artists. He has used these experiences to broaden his understanding of all native art forms. Although he is very careful to stay within the traditional rules and values of his culture, he strives to find ways to set himself apart from the other artists. He is exploring different mediums, such as gemstones and silkscreen prints. For Moy, art is very deeply rooted in his culture. He finds it both spiritually rewarding and educational.
Morris comes from a very traditionally rooted family where the Nuu-cha-nulth culture is a large part of everyday life. Aside from artwork, he is pursuing a degree in anthropology. Artwork and anthropology are natural interests for Moy, because both meet on a journey into the history of his people, a journey that will reach its ultimate destination when he discovers the essence of art and culture. Moy's work is in galleries and private collections across Canada and in the United States.


text:
Anita Ponton
Films/Videos & Sound
Video Performances
Prints & Objects
Super 8 film (Digital edit)
A short, sensate work about breaching surfaces.
This short abstract and experimental film is a contemplation of mark making and erasure. It is accompanied by a soundtrack that comprises whispering voices, talking of scars and surfaces. It was made using Super 8 film, worked on directly with marks and household chemicals, scoring the surface. It was then transferred to DV. This piece was originally edited for viewing on small screens and hand held devices (phones, iPods, laptops etc), using headphones.
Duration 3m 08s
Skin Two
The camera follows the surface of a body, tracing the contours and focussing on the surface. The flesh under the gaze undulates as the camera travels slowly across its surface, almost touching, almost revealing, but not quite.
The viewpoint that we have in this piece is something that could only be achieved with a camera because it is used more as an instrument of touch and proximity than as a viewing device. The accompanying soundtrack is comprised of samples directly taken from the video's ambient soundtrack, reworked to emphasise bodily presence.
Duration variable
Scratchzone
This film is one of my earliest attempts at digitally editing Super 8 footage from old family movies. In this work, I began editing the film footage to a sound piece that I had been working on. Immediately, this gave the footage an interestingly melancholy edge and I continued to edit equally between the sound and the footage to produce the final result.
Lalalull
A short filmed work about surfaces, textures and movement within an urban landscape.
Shot entirely on a hand held DV cam for the duration of a single short (but fast) journey on the back of a motorcycle, this film gives a unique perspective of the felt experience of Los Angeles, CA.
Riding pillion puts you into a strange space, exposed to the elements and travelling at high speeds, you hang on, you have no control. It's exhilarating and sometimes terrifying. The way to enjoy the ride on the LA freeways is to sit back, hold on and watch as the landscape rushes past. You can never think of the risk you take. The moments when you stop punctuate the speed and movement and take on an intense quality. The camera, in this instance, sees how it feels to take such a ride. It struggles to focus in as the landscape rushes past, resulting a collision of movement and a constantly changing abstraction of the digital surface of the image.
The soundtrack was constructed from sampled sounds and music, reworked, twisted and changed in the edit and with the footage in mind. Once the sound was completed, the visuals were edited to the soundtrack.
Doll Parts
Soundwork
Voices, whispering and repeating, speak of the body's surfaces. How skin stretches and breaks, how it feels to the touch, skin touching skin… The words are indistinguishable, intended to convey touch rather than meaning. Best listened to while stroking a favourite scar.
The Last Wild Horses of Death Valley
I was filming in Death Valley Junction, seeking an empty landscape, when I gained an audience. It turned out I was filming in the territory of the last herd of wild horses in Death Valley, and possibly the whole of California. We watched each other for upwards of 20 minutes, although I ran out of tape after about 10 minutes. This piece is best watched, accompanied by your favourite horse themed music. My preference is to fade in 'The Last Ride Back to KC' by Nick Cave and Warren Ellis from the soundtrack album of the film 'The Assassination of Jesse James', at around 02m 05s 03f. Copyright restrictions prevent me from using it on Youtube.
Hardly a work of art, the piece is more of a contemplation of inter-species observation.
Remembering Margaret
Remembering Margaret Thatcher.


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Home › Celebrity Systems › SVS Featured Producer: Michael Lewis, The Song Mill Studios
SVS Featured Producer: Michael Lewis, The Song Mill Studios
Michael Lewis, Musician & Sound Engineer
It used to be that making music involved getting musicians together in a room, recording multiple tracks, and layering them together in a balanced and cohesive way. Now, as the world has become more virtual, the process is evolving. In this interview, Michael Lewis, owner of The Song Mill Studios, discusses how creating music has changed, the importance of bass in the soundstage, and why his dual SB-2000 Pro subwoofers have become an indispensable part of his monitoring system.
Has audio and music always been a passion of yours?
My mom was a real music buff. She either had the radio on or records playing all the time when I was growing up and she had she had great taste in music. There was Burt Bacharach, Blood, Sweat and Tears, Neil Diamond, Barbara Streisand, Frank Sinatra, all the great classics of the time, she was into all that stuff, and that was her record collection. I was spinning vinyl from an early age and then, of course the radio was still popular then. It just always seemed like we had music playing.
Later, as I got into my own music, I became a prog rock fan early on, then I got into jazz and studied jazz in high school and went on to study jazz in college. The music professor that I studied under became the director of jazz studies at UC Berkeley in California so he was a big inspiration too.
Tell us a bit about how you got into the audio industry.
I opened my first studio in 1985 so I've been a studio guy for 35 years. My passion for studio engineering started when I was a teenager since I was a musician from a very young age. I got my first guitar when I was five and strummed it until my fingers bled and then start getting lessons when I was 11. I was very interested in recording, so I started doing cassette recordings. I got a cheap setup and did my own multi tracking at a church where I was a member of the folk group. I had access to additional instruments, and they had another cassette deck. So, I would take my cassette deck down there and get their deck out, and I overdubbed percussion, bass, church organ, and guitar, bouncing tracks back and forth. I learned about the acoustic wonders of the accumulation of noise that happened with cassette to cassette recordings! It made it sound like there was a waterfall next to where I was recording. Years later, in 1985, I had an offer to open a studio with the help of a friend of mine in Southern Oregon and with my background, we were able to start producing albums from day one and it's been a great ride since then. Over the years I've also been fortunate to be paired with some talented engineers who helped lay my foundation and they are the ones who taught me most of what I know. They taught me a lot as well.
What is the difference between mixing and mastering?
Well, mixing is the process of assembling a collection of multiple recorded tracks and bringing them to a cohesive place. You may start out with 24, 48 or more tracks and blend them together onto a nice sounding stereo mix that is bounced down to two tracks. Mastering is the process of taking that stereo mix, performing final EQ and enhancements and setting the appropriate levels for CD, digital delivery or even vinyl. Nowadays, we have a wide variety of different levels required for YouTube, Spotify, iTunes, CDs etc. There are different standards for each medium out there. But the mastering process balances levels and assures that the final sound is of a commercial quality. This includes final compression/limiting and EQ adjustments including finalizing the bass to give it more or less size, depth and impact, adjusting the highs to make them brighter or darker etc… there are also ways that we can adjust relative phase, mid-side processing and more.
We want a nice balanced sound and as I said, an appropriate, industry standard level, because a big part of the job of the mastering engineer is to get the final product to where it would sounds good on a playlist with similar artists. Say you're mastering a country tune, and it's modern country. Well, that modern country song has to fit on the playlist with all the other current country artists that are out there. You don't want it to sound out of place or too quiet in comparison with the other songs on that modern country playlist, for example. Every genre has a particular sound that you need to aim for so you need to know what the current sound is for any given genre.
How has the emergence of streaming music services changed how you work?
If you're mastering for Spotify versus CD, those are very different levels all together, given the compression that happens with some of the digital streaming sites. What happens with Spotify and YouTube and a lot of the other digital platforms out there now is everything gets turned down by the particular platform. So say you have a really loud master that works for CD. You have that certain amount of headroom for CD. Well, when it goes to the digital streaming platforms, they're going to crank that down and your full volume master might not sound good after their algorithm kicks in.
In the mastering process are the inevitable compromises that are made to make things louder without distortion. With some of the digital delivery systems, you can remove those compromises and actually get your master to breathe a little more because you don't have to get it up to, what was in the past, the standard for radio levels. And that's pertinent today as well. But when it's for Spotify, Pandora, Amazon Music and others, all those bets are off. We can deliver a more dynamic master to YouTube and Spotify and such, and it still ends up playing at a similar volume to everything else out there. And it might even breathe a little more so that's a positive development in the way we listen to music but the mastering engineer needs to understand this and process accordingly.
Why is bass important to music just in general? What role does it play?
Ask yourself this question, what would music be like without the lower half of the frequency spectrum? What would a jet or a train sound like if you could only hear the high frequencies and not experience the power of the earth shaking low end? Or how 'bout watching an action movie with no low end in it? All the excitement would be lost, all the punch and power would be lost on the listener. And if you removed the low end from music, it would be thin and lifeless. It would lose so much feeling and you'd end up with a lot less emotion as a result. You need to have bass to have a full, bold sound that you can hear and feel. And of course, nowadays at a stop sign or just about anywhere on the street, you can hear people with subwoofers in their cars, thumping down the road, and so being able to hear the bass frequencies and to really define them is critical.
Occasionally, I'll listen to a mix or master and think, did they even have subwoofers when they did this mix? Because it was really evident, they had no idea what was going down in the lower frequencies of the mix. It's either way too loud or non-existent. When you're talking about it's role, bass helps set the rhythm. It's often what makes your toe-tap or your head nod when listening to a familiar track. There's a lot of energy and excitement that exists in bass that isn't in the mid or upper frequencies. So I'd say it's pretty critical.
How are your SB-2000 Pro subwoofers used in the mixing and mastering process?
Once somebody uses subwoofers, they find out, "Oh, my gosh, how did I ever function without them?" That's how it was with me, and the SVS subwoofers have become an irreplaceable part of my monitoring set-up. I'm hearing all the low end now with accuracy, definition, clarity, solid output, and depth.
Back in the day, some of the early rooms that I worked in would have a set of twelve or fifteen-inch drivers mounted in the wall. We had giant studio monitors with like two 15s and a horn. They were just, Huge. Top studios tend to have massive studio monitors and I'd listen to the stuff that I did on some of those monitors years ago, and the low end was correct, so I was hearing pretty much everything with those monitors, though I would have heard even more with the subwoofers like I have now. Funny story, back in the early 90's I moved my pro studio to my house outside of Portland, Oregon for a short time, basically in my living room and my neighbors just hated me every time I needed to mix. They were glad when I moved the studio out of house! But my SVS subs are a critical component for monitoring during mixing and mastering now.
How has the move to a more virtual work changed the mastering process?
Over the last 20 years and even more so in the last couple years, we've transitioned to more home studios and bedroom studios, Of course, people aren't going to have these massive studio monitors in their walls for their home setup. As the industry has transitioned to more home studios, sound engineers and mixers are using this little set of monitors to do their final mixes. And while little monitors are cool, if you don't have a sub, you're only hearing your highs and your mids. Meanwhile you have no idea what's going in the going on in the low end.
So as this transition to the smaller home studio speakers has progressed, people are realizing they need to address that issue to really hear what's going on in the low end. However there are some people who do the bulk of their work in the home studio, and then they send it to a professional studio that has proper full-range monitoring so they can find out what's actually going on with the low end, so that's another way to do it.
Or perhaps they get to the point where they've gotten their mix sounding good enough to make them happy and then they send it to a mastering engineer, and he or she is the one to either correct for the lack or excessive amount of low end. The mastering engineer can then pass that feedback along to the mixer so they get a better idea of what's going on with the low end in their mix.
What qualities are you looking for in a subwoofer to ensure you get the proper low end?
Theoretically you could use any subwoofer out of the box but it doesn't mean it's going to sound good, it might just give you a bunch of mush in the low end which could do more harm than good. You really want something that is going to accurately represent the full-range and weight of the source content. You also want great definition in the low end which is difficult to achieve and a cheap monitor or subwoofer will never do that. But that's what I like about my Pro 2000's, there's excellent definition all the way down to the lowest frequencies. When I bought my subs, I inquired on some of the mastering forums that I'm part of and was asking guys for recommendations. And there were a number of mastering engineers who recommended the SVS subs. When I looked into your subwoofers I was impressed by all the reviews and awards and these have certainly lived up to all the hype. Another huge selling point on these for me was the idea to be able to remotely adjust them with the SVS subwoofer control app. It just makes so much of what I'm doing easier. To be able to sit in the sweet spot and adjust my subs with my iPad was a game changer.
What about low frequency extension, how important is that and what are you looking for?
Any subwoofer used for monitoring should not only be able to get you down to 20 hertz but it should do so in a way that enables you to really define what you're hearing. I want to hear and feel everything that's going on down there. This really becomes important with certain music genres. I mean, most pop music doesn't have a lot happening below 40 hertz, but I still want to be able to hear what's going on, you know, at least down to 20 and these go down to 19 hz.
There are some modern or even classical music where you need full spectrum and if I'm working on music for Film and TV, it's essential to be able to create and hear huge hits or drum parts that will go all the way down to 20 hz.
On a side note, I have some high-end Focal monitors and while they are rated all the way down to 35 hz and technically considered to be "full-range," I still could not get an accurate picture of those low frequencies without subwoofers. So, having paired these with the SVS, it's like now I'm getting that clear picture all the way down to 30 or 20Hz as needed. I also know that I'm getting much more accurate mixing and mastering in the lower frequencies because we have the dual subwoofers.
Glad you brought that up, why the choice for dual subwoofers in your studio?
I started out with just one sub-woofer several years ago but last year, when I upgraded to be able to do pro level mastering, the top mastering engineers I consulted all advised that mastering needs to be done with stereo subwoofers for best results. But even mixing at this point, if you want to really get an accurate portrayal, you need to have dual subwoofers, and you can do it with one, but two are needed for high-level mastering work to give you a true picture of the low end. We made that jump and upgraded our entire studio to be able to handle mastering at the highest level and part of that upgrade was the installation of the two SVS SB-2000 Pro subwoofers. We also improved our digital audio converters and bought a bunch of high end mastering outboard gear and it's just made a huge difference in my ability to get the masters sounding phenomenal.
Before the upgrade I was sending my masters off to other mastering houses and when they'd come back, I was spending all this time listening and saying, this needs to change, that needs to change, and then communicating that to the mastering house. They'd adjust and we'd go back through the process again and I was just spending way too much time trying to tell someone to get it to sound the way I wanted when I knew I could do it if I had the gear. So having the ability to master in-house now, I can hear what needs to be changed and make the adjustments immediately and boom, it's done! And I'm comparing what we're doing now to the releases we had done before, and it's just way better, so we're really happy.
What are some things that might surprise people about music production?
Today's music production is a lot different than what we used to do in the past. I was in Nashville for 12 years and we did sessions all the time. We'd go in and assemble all the players and then cut basic tracks. Then all the players went home and we worked on it from there finishing it. We might overdub the lead vocal, cut some lead parts, mix it, and it's done.
Nowadays, and for the past 15 years or more, we're doing more and more over the Internet. It's very commonplace now. I left Nashville in 2008 and one reason that I felt I could leave is because we were doing so much work over the Internet, so I thought shoot, I could do this anywhere! Even in Nashville, my main drummer lived an hour away from me. He was on the South end of Nashville and I was on the North end. He finally ended up setting up his own studio so I could send him rough tracks and he could cut the drum parts at his studio, which he had all dialed in for drums, and then he'd send all those parts back to me. And we'd build it from there.
Before working remotely, he used to have to come over to my studio, get set up, do a soundcheck, get drum sounds, and go through a fairly long process just to get ready to cut the track. But by having him do the parts at his own studio, it was saving us both a lot of time and since we had worked together so much, he always had a good idea of what I wanted, if not, I'd send back a few notes and he'd recut it but most of the time he'd nail it for me. And I didn't have to line out a whole day for drum sessions like I used to. Now I just have to send him a pre-production and he'd cut drums on it, send it back to me, and okay, the drums are done. Now, I stick them into my session and build parts from there. And we still work like that today.
There's many projects that we work on where we're using players from all over the place, and I've done sessions for people as far away as Russia. And once we were all on lockdown last year, the whole idea of collaboration grew tremendously, but I don't know if people in the real world realize how much we had already been doing that.
I just finished mixing and mastering a song last week where the final mix had 110 channels. We had drums, bass, guitars, keyboards, a full compliment of strings, 16 tracks of background vocals, lead vocals and then another 16 tracks of horns on this particular tune. We had some horn players from Nashville that I work with and they are known as "The Smoking Section." So it was a huge, huge mix and some of it was cut in Nashville some of it here in North Idaho and then we did the mix and master here as well (see link below).
Do you still get to do live recordings with everyone in the studio?
Occasionally I still get to do the "all-in-one-room" experience, which I mean, there's some merit to that. I worked on a project last year where they cut all the basic tracks together at one time, in one room. But then I ended up re-cutting a lot of those parts. You know, sometimes it works great and everyone plays their parts perfectly. Other times we find we need to recut parts or in one case we had to recut everything from scratch, which takes more time and resources. So we still do that somewhat but the guys I work with can make tracks sound as good or better doing it remotely the way we do it now. I also think part of that is our ability to edit things and pull it all together on this end. We have 3 control rooms here with my son and daughter operating the B and C rooms with their own Pro-Tools systems and they are pro engineer/editors who know exactly how everything is supposed to sound too. My son is a keyboardist and my daughter is a pro vocalist, vocal instructor and they have worked magic on a lot of the parts we've gotten in.
What are you currently working on, any cool projects The Song Mill Studios is involved with?
We just finished filming a segment that will be part of a documentary on recording studios, producers and engineers in the Pacific Northwest. Except for my 12 years in Nashville, my studio career has been here in the Northwest and I was able to share many cool stories from the past 35 years going back to our analog beginnings and through the many steps that brought us to the high powered Pro Tools digital system we have now. Here's a trailer for it and there is a crowdfunding effort that people can also contribute to, if they'd like to support it, it's called: The Road to Record.
There was a major label classical marimba recording that was just released on Origin Records last week by Michael Waldrop who is the professor at Eastern Washington University. We've worked on a number of projects for him over the years.
The 110 channel mix and master we finished recently is for an album that's coming out for an artist by the name of Kika Morelan. We also finished a double Christmas album for her last year that features our Grammy Award winning session players for these projects. My son Jordan also filmed and edited an epic music video that went along with this song, you can check it out here.
There is a song I did with legendary guitarist Phil Keaggy a few years back and we're trying to get that finished up for release.
We're also working on two new releases for my band One Street Over.
And the other high profile project that we're working on is my band Inventioning, which was co-founded with Rock and Roll Hall of famer, Jon Anderson of Yes and legendary jazz violinist Jean Luc Ponty. We've been working on finishing up some material that we recorded years ago which we hope to release soon. You can check out that project here and on YouTube.
In a normal year, our band One Street Over will probably go out and play live about 75 shows on average. 2019 was a typically busy year for us as we were playing a lot of cruise dates on the Colombia and snake rivers that travel between Oregon and Washington from the coast all the way up here to Idaho. We actually have a couple videos posted from our cruise performances, such as this one.
We'd play some 30 to 35 dates on the cruise ships alone but we're sill waiting to see what's going to happen this year. Obviously, last year we didn't do any cruise dates and we only played 20 shows in total but the phone has been ringing so I think we'll double that this year. Tthankfully we're booked solid in the studio when I'm not touring. We released three client projects last year and one more was just released last week, so I feel really good about the energy we've been able to put towards recording projects.
On a final note I have to say, I love my SVS subwoofers and I can't recommend them enough. I'm also planning on buying a few more to go along with the other monitors we have.
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in a component I want to use the attribute "FACEAREA" for using in a report. But for a face with the dimension e.g. 1x1m instead of yielding the expected result 1m² it produces a result off by factor 1.550003. Is this a bug? Please see image attached to see my problem. (I know I could amend that through deviding the result by 1.550003, but I would like to now why this happens). Thank you!
Re: Attribute "FACEAREA" 1.550003 off?
Ah, I see! Thank you for explaining!


My first imagine seacape for long time. Not sure where did my mind go to have this image. Still trying to pick up the tools.
Wondering if those two women are meant to be pillars of salt?
You have a personal palette you occasionally use that I have admired over the years.
Very satisfying painting on many levels. It gives me an impression but it's mysterious as to what it stirs inside me. It's as if being in a dream and watching someone's lips move without sound. And it makes me all the more intrigued. I feel like there's something profound being communicated. . . or as if a ship carrying a mysterious cargo is about to enter that space through that golden fog.
A lovely serene scene, love the ambience you have created.
A sky that seems to have not quite made up its mind; golden statues that did not migrate from Easter Island and are maybe discussing what to do with the forming fertile lands at their feet while their minions wait in the distance; your signature shades of blue and green in the foreground. Mesmerizing.


He texted his girlfriend, Jill, and asked if it was her. She said no. He asked if she wanted to go with him at midnight to the park. She said yes.
As they drove to the park, he thought, although it was a simple thing to be doing, something strange was happening, as the closer they got to the park, the lighter the sky was getting, almost as if night was breaking into dawn. Once they rounded the curve, they realized the light was from spheroid object the size of a football field.
Terrified, they swerved to turn around but their paths were blocked by four large dog-shaped creatures standing on their back legs. One of the "dog-men" barked but in his mind Jack felt the words, "We need you to come with us, as the survival of your species on Earth is at stake." Jack, thinking he must be dreaming, looked over at Jill and said, "What do you think?" Her mouth opened but no words came out. All she could do was nod yes.
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But in truth it takes a ton of energy – as I knew someone who claimed the ability.
I was warned not to touch them when they were in a trance like state – in communication with another.
I got close but did not touch – and I could feel the heat energy emanating from them.
Perhaps in time, that energy could be tamed and controlled as to be more of an easy and less demanding skill of time?
Thank you for your thoughts. I think one day we will be able to communicate like this even if we have to have electronic help (they are diligently working on game controllers that move by thought). If Jack and Jill save us, maybe there will be enough time to see it in action.
Enjoyed the Jack and Jill reference. Did the save their world? We may never know.


The Boudoir Photo of the Day today is the gorgeous Miss S. I just love this photo for so many reasons!! I love the movement of the beautiful petti skirt. I love that it is a little bit cheeky.. and I love that it is also a little bit mysterious. One of the favourite types of photos I love capturing.


In response, the Israeli military said it does not react to foreign reports on attacks in Syria.
The report came after Russia warned Israel on Friday that it must stop conducting air strikes in Syria, according to the Russian news outlet Sputnik News.
Prime Minister Benjamin Netanyahu is set to meet Russian President Vladimir Putin on February 21 in Moscow following brief talks that took place at the Paris Peace Forum in November, as well as a series of phone calls between the two leaders.
The meeting comes after tensions between the two countries rose in recent weeks following Israeli airstrikes on Damascus Airport last month. Twenty-one people were killed in the extensive strike, according to a war watchdog. At least 12 of them were members of Iran's Revolutionary Guards.
The airstrike destroyed Russian military infrastrucure, including SA2, SA3, SA17 air-defense systems, an SA22 TELAR, and a J27 Radar.
After the strike, Moscow warned against "arbitrary" airstrikes in Syria. "We should never allow Syria, which has suffered years of armed conflict, to be turned into an arena where geopolitical scores are settled," added Russian Foreign Ministry spokeswoman Maria Zakharova.


Kaspersky TDSSKiller finds one rootkit but somehow neutralizes three.
Normal anti-virus tell you to delete Trojans. Kaspersky? Not so much.
Is Kaspersky using scareware tactics to get people to buy Kaspersky's mobile security for Android?


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Writing case belonging to Mabella Beswicke (Mayall), wife of Port Phillip pioneer Charles Beswicke of Moodie Yallo Station.
Autograph letter signed by Joseph Orton to the secretaries of the Wesleyan Missionary Society concerning a plan proposed by the merchant Samuel Henry to improve contact between missionary stations in the South Seas, 1832.
Two letters addressed to Benjamin Hurst, Wesleyan minister at Goulburn, New South Wales, from fellow ministers James Somerville (Braidwood) and Benjamin Chapman (Sydney). 1853-54.
Promissory note, dishonoured, signed by Garnham Blaxcell to Captain Joseph James, Sydney, 1812.
[MISSIONS; NEW GUINEA] Dictionnaire Roro-Français I. / Dictionnaire Roro-Français II. / Grammaire Roro.
[HUNTER VALLEY; DARLING DOWNS] Letter from clergyman and colonial artist Rev. William Woodman Dove, to his sister in Gloucestershire. Sydney, 1857.
A suicide on the morning of her wedding : Isabella Osborne, of Yackandandah, northeast Victoria, hangs herself at Sutton Forest, Southern Highlands, New South Wales, on 21 March 1854.
Handwritten invitation to Miss Cutler from Miss Hore to attend her birthday party, to be held at Mrs. Kells', George Street, Parramatta, on May 8 [1858?]. "Dancing commences at 7. Private entrance".
"Early life in Australia", 1840 to 1889. Copy of journal written by Mrs. John Caverhill, née Mack.
Deed of conveyance between William Henry Slaney and Francis Oxley, relating to a land allotment at Footscray. Melbourne, June 1858.
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"The First Circle": EDEN's Unholy Garden of Noisy Delights (Early Album Stream)
Ted Nubel Published: July 20, 2021
Listening to music is generally a "familiar" experience: most of it, especially in heavy music, is crafted from bits and pieces we know and can place within the mix. Not so much with EDEN, a mysterious collective of noisemakers poised to unleash their debut album The First Circle later this month. At any given moment on The First Circle, there's at least one unsettling, unrecognizable noise adding to the gloomy cacophony and pulling the work farther away from earthly comparisons. Crafted from miscellaneous instruments and mostly improvised, each song on the collective's debut album is a different take on noisy, industrial black/post-metal that finds a new way to startle listeners. Check out the whole thing now with our exclusive premiere:
While the textures EDEN wield are certainly alien, the rhythms and structures behind them are more conventional: punk-heavy black metal provides a throbbing conduit for the crackling sleaze to ooze through, with powerful backbeats anchoring the chaotic creations to reality. Growns, growls, and screams loop behind a curtain of depressive fuzz, but it's hard to make out more than a word, and even then it's really guesswork—serving more as additional layers than a vehicle for lyrics, each gasp and grunt builds more twists into the maddening tapestry.
The First Circle showcases a real aptitude for post-metal in its songwriting, though it doesn't sound, at first blush, anything like the genre normally does. But "Your Void is Mine," were it not for the off-kilter industrial percussive grooves and modulating vocals that tear apart familiarity, easily fits the mold. It displays a sense for managing tension, as well as yearning riffs and progressions, that would probably work just as well without a creepy detuned piano in the background... but, it must be said, it probably wouldn't be nearly as entertaining.
Though it's an unordinary expression of both black metal and post-metal, The First Circle reveals some truths about each of those genres in how it executes them: we may not know which broken gadget or sabotaged instrument EDEN used to create the specific sounds here, but they create a specific, familiar sensation in our minds nonetheless.
EDEN comments:
We consider The First Circle as a kaleidoscopic crash of many elements colliding: punk at heart, experimental in execution, raw and multi-layered.
Each song was created in a single recording session, allowing space for both chaotic improvisation and spontaneity as well as a thorough research in terms of sound manipulation and deconstruction.
The whole album was recorded using unconventional instruments such as recycled material, broken toys and other weird things such as a prepared piano altered with screws and bolts.
We are fascinated by incommunicability and therefore our lyrics do not have a precise meaning. The vocals are made of loops, whispers and screams - an unpredictable and disturbing chant providing tension and a psychological heaviness that is in contrast with the rawness of the more aggressive parts.
Our idea of music is abstract, visual and synesthetic.
We wanted to create something visceral, using controlled chaos as means to summon visual images of darkness and lunacy. Our songs are intended as performative action, a ritual aimed at liberating the unconscious and allowing it to guide our actions.
The First Circle releases July 30th, 2021 via Brucia Records.
Filed Under: black metal, brucia records, eden, noise, post-metal, punk