Some songs
― Camaraderie at Arms Length, Monday, 5 December 2016 19:15 (seven years ago) link
(How do you embed soundcloud?)
https://soundcloud.com/cherushii/cherushii-nightsteps
― Camaraderie at Arms Length, Monday, 5 December 2016 19:16 (seven years ago) link
https://www.youtube.com/watch?v=5HCBv0S2TZM
― Camaraderie at Arms Length, Monday, 5 December 2016 19:19 (seven years ago) link
Cash Askew, the guitarist in this band
https://www.youtube.com/watch?v=7a2hPoqONEs
― Camaraderie at Arms Length, Monday, 5 December 2016 19:23 (seven years ago) link
http://www.mercurynews.com/2016/12/04/oakland-fire-the-ghost-ship-missing-were-young-creative-and-enjoying-life-%E2%80%8B/
― curmudgeon, Monday, 5 December 2016 21:21 (seven years ago) link
A youtube link for the Cherushii track above - I was listening to this a lot today, it's a terrific bit of low-key late night house music.
https://www.youtube.com/watch?v=Lx04TY-Y7W0
― Camaraderie at Arms Length, Tuesday, 6 December 2016 19:19 (seven years ago) link
https://www.youtube.com/watch?v=YP35mHJrPW4
― sam jax sax jam (Jordan), Tuesday, 6 December 2016 19:32 (seven years ago) link
https://www.youtube.com/watch?v=vVuQShqOTzc
― sam jax sax jam (Jordan), Tuesday, 6 December 2016 19:37 (seven years ago) link
It's now confirmed that both members of the duo Introflirt passed as well:
https://www.youtube.com/watch?v=qh8sc1vGAbw
https://www.youtube.com/watch?v=7Fdhmlzkzko
― Ned Raggett, Wednesday, 7 December 2016 18:59 (seven years ago) link
http://www.youtube.com/playlist?list=PLGjrUOf3YHeYuaGM-4ztj6VnYBJBHo-j9
― akm, Wednesday, 7 December 2016 19:18 (seven years ago) link
(that's a playlist of many things)
― akm, Wednesday, 7 December 2016 19:19 (seven years ago) link
https://ratskinrecords.bandcamp.com/album/coral-remains-zero-tour-demo
― sarahell, Wednesday, 7 December 2016 23:00 (seven years ago) link
As a caption from Facebook put it, "Barrett Clark playing at Joey Casio's house with visuals by Jonathan Bernbaum."
https://vimeo.com/61052002
― Ned Raggett, Thursday, 8 December 2016 02:35 (seven years ago) link
Also, Clark in his Sidereal Oscillations guise backing Soriah at a show last year:
https://www.youtube.com/watch?v=cEwgsCYTRjQ
― Ned Raggett, Thursday, 8 December 2016 02:53 (seven years ago) link
Johnny Igaz's ambient DJ set as Nackt from August is really inspired -- well worth checking out that tracklist:
https://soundcloud.com/nacktmusic/ambient-august
― Ned Raggett, Thursday, 8 December 2016 03:02 (seven years ago) link
https://thump.vice.com/en_us/article/maria-minerva-cherushii-oakland-essay-rip
― Camaraderie at Arms Length, Saturday, 17 December 2016 14:41 (seven years ago) link
https://www.youtube.com/watch?v=D1VMSYFBj50
― Jalapeño Coladas, Sunday, 18 December 2016 17:14 (seven years ago) link
https://reverb.com/news/cherushiis-gear-in-her-own-words-remembering-the-late-electronic-music-producer?utm_campaign=1612019_blogcherushii&utm_medium=FB&utm_source=FB
― how's life, Thursday, 5 January 2017 15:48 (seven years ago) link
Cherushii was so good. I wasn't overly familiar with her prior to her dying, but "Memory of Water" is a solid LP. Mines the territory between RPG music/dreamy chill porn music and Laurel Halo esque sci-fi techno.
― Everything Moves Towards The Sun (Ross), Tuesday, 17 January 2017 01:24 (seven years ago) link
New Golden Donna album out today, all proceeds going to relief funds related to the fire: https://goldendonna.bandcamp.com/album/carousel-hold
― change display name (Jordan), Friday, 3 February 2017 16:57 (seven years ago) link
https://daily.bandcamp.com/2018/10/25/srsq-unreality-review/
We were first introduced to Kennedy Ashlyn as half of Them Are Us Too, the Bay Area dream-pop duo who built stunning and luxurious soundscapes that garnered more than a few comparisons to Cocteau Twins. (These comparisons were, at surface, fair, but failed to capture the pair’s uniqueness—the range of Ashlyn’s voice, the way she worked harmoniously with Cash Askew’s luminous guitar work, and so forth.) In the great tragedy of the Ghost Ship fire, Askew was lost to the world. There was a posthumous release, the lovely Amends, which offered a glimpse at how Them Are Us Too were growing before their time was cut short; they’d been a group with so much life in them. Ashlyn took time to mourn, and struck out on her own when she was ready with her solo project, SRSQ.Unreality is SRSQ’s first release, and it feels like less a departure from Them Are Us Too than a flowering branch from its tree. Ashlyn’s swooping soprano is as adept as ever, and the melodies plumb similar dark, sparkling territory as on Remain and Amends; they have the aspect and preciousness of an amethyst geode. On A-side tracks like “Cherish” and “Procession,” she sets her voice against warm, pulsing analog synths and ticking drum machines. On the B-side, things get chillier and shadowy, cavernous and discordant. “No Reason,” with its bed of hissing static and repeated refrain, leads into the stunning “Permission,” in which Ashlyn’s voice, processed in ways it’s never been before and reaching registers both higher and deeper, feels like the hierophant in an esoteric yet cathartic dancefloor ritual. The album is indelibly marked with Ashlyn’s love for Askew, and her grief and loss—many of the tracks feel thematically as if she’s still got so much to work through, which is completely understandable. Yet what better tribute, or way to honor what Askew brought to their partnership, than for Ashlyn to move forward, carrying what they began together and developing it in her way? Unreality is beautiful, and emotionally affecting, and it feels carefully wrought, the kind of spellwork where all of the ingredients need to be exactly measured and every word precisely pronounced. (We know, partially, because the magic in its sound is immediately evident.)
Unreality is SRSQ’s first release, and it feels like less a departure from Them Are Us Too than a flowering branch from its tree. Ashlyn’s swooping soprano is as adept as ever, and the melodies plumb similar dark, sparkling territory as on Remain and Amends; they have the aspect and preciousness of an amethyst geode. On A-side tracks like “Cherish” and “Procession,” she sets her voice against warm, pulsing analog synths and ticking drum machines. On the B-side, things get chillier and shadowy, cavernous and discordant. “No Reason,” with its bed of hissing static and repeated refrain, leads into the stunning “Permission,” in which Ashlyn’s voice, processed in ways it’s never been before and reaching registers both higher and deeper, feels like the hierophant in an esoteric yet cathartic dancefloor ritual. The album is indelibly marked with Ashlyn’s love for Askew, and her grief and loss—many of the tracks feel thematically as if she’s still got so much to work through, which is completely understandable. Yet what better tribute, or way to honor what Askew brought to their partnership, than for Ashlyn to move forward, carrying what they began together and developing it in her way? Unreality is beautiful, and emotionally affecting, and it feels carefully wrought, the kind of spellwork where all of the ingredients need to be exactly measured and every word precisely pronounced. (We know, partially, because the magic in its sound is immediately evident.)
― mfktz (Camaraderie at Arms Length), Thursday, 25 October 2018 15:49 (five years ago) link
^^^^ this album is fantastic.
― Tim F, Wednesday, 31 October 2018 08:28 (five years ago) link
wow its so goodlistened to "the martyr" about 5 times already this morning
― nxd, Wednesday, 31 October 2018 09:47 (five years ago) link
yeah this is cool, i prefer the second half i think. the longer songs are kind of crazy (in a good way)
― imago, Wednesday, 31 October 2018 11:00 (five years ago) link
fair, the outro to 'permission' is chefs kiss
― nxd, Wednesday, 31 October 2018 11:09 (five years ago) link
thanks for the reminder. I loved the Them Are Us Too album. This fire is still painful to think about; I lost two friends there.
― akm, Wednesday, 31 October 2018 13:39 (five years ago) link