Trayvon Martin…repost


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Her heart is huge

I have had the wonderful experience of working with a local Edmonton musician, Ariane Mahrÿke Lemire. I met Ariane because she was collaborating with my husband, violin player Cam Boyce.  And am I ever so grateful for that collaboration!

Ariane is not what I would consider your typical musician as she lacks the ego that I find in so many.  Instead, what you have  is an extremely honest, warm, caring, hilarious woman who out performs most live acts.  Her work ethic is incredible.  Her laugh contagious.  Her heart is huge.  And what she writes is true.  Here are the images that I took for her most recent album, Wrecked Tangles and Love Knots.  If you are curious as to the sound of her music (which you should be), please visit her website —–> here.  You will also find some more photographs on her site that I have taken, including some live performance shots.  I’m also going to include one of my favorite photos of her here. Click images to enlarge.

Caitlin Boyce / 2011

And finally, a beautiful video that Ariane and a friend created, shot and edited in a mere week.

After my reverie I was greeted by this

Image by Leif Podhajsky/Original band photo by David Belisle

I am truly amazed by this album.  I’m only on track 2 of Shabazz Palaces album Black Up.  It came out a bit ago.  June, 2011.

How’d this happen?

This morning I started searching Digable Planets on google.  I was missing that smooth feeling from their second albumb Blow Out Comb.

Who can forget this track —–> Rebirth of Slick <——-

It was 1994.  I was 19.  I had left my home town of 1,093 people and stepped out.  My mind was blown open by hip hop.  All was well.

And then.  Lo and behold.

After my reverie I was greeted by this ——> this is gooooood <——–So good.

And this too.   Heck try this after that

Listen to the whole damn thing!  (and sign up to grooveshark already).

Don’t get scared by it.  There’s nothing like it right now.  Let it play out.

dance/move/bob and weave/lay on the floor/chill/get up and dance some more

A short film for grit.

A video

And how it’s done LIVE (VIA KEXP/SEATTLE)

I have never been able to say that I enjoy prog rock. This is not Yoko Ono.

Ruby Kato Attwood and Alaska B

I’ve been searching for new music.  I’ve scoured through “the best” of 2011. Most of it includes bearded boy bands (though I still like ya Bon Iver, beard or no beard, and yes I still have a soft spot for Iron and Wine) and woe stricken 20 something girls with a lot of make up and great hair and of course a variety of one hit wonder bands that I find boring as all hell.  I don’t remember how I stumbled upon Yamantaka // Sonic Titan – Psychic Handshake…but my ears are happy.  I have never been able to say that I enjoy prog rock.  Now I can.

You can listen to the whole album —> here   (thank you Grooveshark for being so great).

“Thanks to smart, brisk sequencing, the seven disparate songs presented here hang together as a seamless piece, even if the thematic devices linking them aren’t so easy to discern: The tribal-ceremonial scene setter “Queens” offers references to ravens, snakes, hounds, and Alejandro Jodorowsky’s surrealist-horror classic The Holy Mountain, but it proves to be the only lyrically legible song on the album, as Ruby and Alaska become increasingly reliant on words of indeterminate language and ghostly harmonies. However, inscrutably titled songs like the funhouse-mirrored acid-pop of “Reverse Crystal//Murder of a Spider” and the space-age stomper “Hoshi Neko” nonetheless display an insidiously melodic quality that suggests Stereolab on steroids. And where these songs foreground YT//ST’s eccentric side, the nightmarish, seven-minute colossus “A Star Over Pureland” showcases their command of brute physicality, pitting the ladies’ echo-drenched shrieks against a relentless, jackhammered fuzz-metal assault, like Fly-era Yoko Ono waging war with Lightning Bolt. Yamantaka//Sonic Titan may still aspire to the sort of conceptual grandeur that requires an Olympic Stadium to contain it, but right now, what they’re really good at is putting the “raw” in prog”.    -Stuart Berman, Pitchfork Magazine

See the full Pitchfork article —–> here