text:
"... creating the same sort of bleak cityscape that's been visually documented in films like Taxi Driver, but soundtracked in a manner that is simultaneously nostalgic and modern." - Other Music
"... breathtaking. It's like listening to the movie soundtracks of Brad Fiedel, Vangelis and John Carpenter whilst walking around your local city centre on a late night shopping..." - The London Times
"...strangely solemn narratives that leave you believing - like in a great film by Hitchcock or Lynch - that there are fewer things more compelling than mysteries contained in the human heart." - XLR8R
"The languid pace, microscopic melodies, simple heartbeatlike rhythms and occasional use of drone are both riveting and soothing, begging to be listened to attentively but, at the same time, gently caressing the listener..."
- Time Out New York
"Honig's attention to detail is just staggering... seemingly filling up acres of space with droves of delicate sonic minutiae all moving around in a carefully choreographed pattern." - Boomkat
Reviews for Folding In On Itself
Folding In On Itself is Ezekiel Honig's sixth album, but marks his debut release for experimental label Type. Moody ambient interlaced with found sounds, minimal techno beats and dub-y, rumbling bass all weave in and out of the intricate soundscapes. For this album, the Anticipate label boss uses sound samples recorded in his native NYC, adding layers on top to create a beautiful, unrelentingly melancholic work. The end result is so delicate that you feel if you touch it, it may disintegrate into dust between your fingers. The album concerns itself with memory and impermanence, and the just within reach melodies echo this concept perfectly, like some nagging thought that lurks just beyond realization. Folding In On Itself is a treasure, one that could easily be overlooked if not given the close attention it deserves. This is perfect headphone listening for a grey, rainy day in the city.
New York spectral soundscape composer Ezekiel Honig has crafted a gorgeous offering on Type that ably merges washed-out, processed field recordings of urban mundanity to soft, sparse electronic pulsations and beds of gauzy synth pads, creating the same sort of bleak cityscape that's been visually documented in films like Taxi Driver, but soundtracked in a manner that is simultaneously nostalgic and modern. It evokes the likes of Fennesz, Pole, Moritz Von Oswald, and William Basinski while never exactly sounding like any of them; it speaks the same language in which records like The Disintegration Loops or Endless Summer are well versed, but phrases its context in tones that use dub mixology, minimal techno, and ambient drift in equal measure. Folding in on Itself is an absolutely gorgeous recording, a rare electronic album imbued with a sense of intimacy crafted for late nights or early mornings, or those moments when you find yourself alone, reflecting, but it's also a quiet record that begs to be played as loudly as you can manage. The devil is in the details, as they say, and this album's detailed heartbeat grows fonder with each listen. If you're a fan of the records I've mentioned, check this without hesitation; it's perhaps Honig's best work yet, and deserves your attention.
(Other Music)
We were really happy to see that Type has added Ezekiel Honig to their great roster, as he's someone whose been making fractured, fragile sounds over the last several years with such great results. His latest shows how masterful he is at crafting dreamy and drifty soundscapes with such a subtle touch. In many ways it's the subtlety of his work that really allows the listener to slowly get lost in the haze and sway of the tracks on Folding In On Itself. Like the most delicate moments on records by Machinefabriek, Jasper TX, Philip Jeck, William Basinski and Fennesz, and with the dream world atmosphere found on recordings by Colleen, Mum, and Koss... This has been our early morning and go to bed soundtrack, as it's just so perfect in slowly transporting you to a softer, dreamier dimension. Understated, shimmering beauty.
(Aquarius Records)
Ezekiel Honig is a musician of outstanding reach possessing both technical and theoretical scope. His previous record, Surfaces Of A Broken Marching Band, was about nature. Indeed, many of his records are about nature. Folding In On Itself marks a cute shift being just as much about the human psyche and consciousness as it is anthropology and the city. Honig's records create twilight worlds, he collages different facets of our lives and presents them as one geographically reconstructed reality, resulting in the most beautiful of amalgamated soundscapes, each recording constructing a new sonic space.
The album's opening track, 'Material Wrinkle', allows the sound to slip in and out of realities: there's the voyeurism (for want of a better word) of hearing light, metallic objects being moved; truncated television loops entering and leaving the soundscape; drones of city life augmented to sweet fantasy, then deconstructed by the internal techno pulses. Following track 'Subverting The Memory Of Your Surrounding' illustrates just as much in the title whilst extending to the aesthetic with a heartbeat pulse driving the track. With this compartmental approach Honig explicitly illustrates how he has established contrasting forms to capture humans as sensorial agents from the perspectives of the subjective, the physical and surrounding objects.
Typically each track here takes on three aesthetic styles: there's the environmental sounds, usually marked with cavernous echoes and muffled white noise; there's the rich "musical" textures which carry a tangible tone of loving digital polish; and the comet tail sustains which remember headaches as much as meditative states.
Through collage the "found sounds" form a new reality with Honig engaging in deep artistic and artisanal practices. With all layers tending towards warm sound, Folding In On Itself makes for seductive listening. Honig clearly signposts these layers, and as well as working in contrast with each other it's the more mastered, laboured effects that supply the record's core structure with the low-fidelity recordings providing novelty (ghostly, at a push).
Strangely, and akin to Susan Hiller's anthropological curation piece, Dedicated To The Unknown Artists 1972 - 76, Honig declines from taking on any characterised narrative; the music never employs a protagonist. Hiller's piece (an assortment of postcards featuring rough seas battering coastal tourist towns of Britain), comparatively, doesn't engage in the representations of humans within the work. Equally Honig prefers to leave the anthropology central to the work, so any human life captured within it is as much about the recording as it is the subject. What results is that we hear an impression of a macro reality through the recordings from habitual individuals - depriving us of a protagonist.
The nearest we come to one is on stand-out track 'Between Bridges' which contains vocals so chopped (recalling fellow Type artist Sylvain Chauveau's 'Composition 8') that they compliment the rhythm above the melody. Additionally, giving the record some investigative thought there are a couple of things we learn about the character(s): they watch TV, they play squash, they take the train and live in an urbane area - half-baked and banal at best. The lack of denizen to hold your hand as the record propels you blindfolded across Metro lines and busy streets, through workhouses and sports courts makes for a bewildering, and solitary, listen.
Folding In On Itself may not be a particularly lucid piece. It becomes difficult to realise the proposed landscape as recordings from NYC are cut against others from Poland and Italy, leaving the record to exist between skies to much of its detriment. Sonically the album is consistent in tone and pace with an intoxicating lushness throughout: the heady hypnosis, the robust piano tones and the romantic recordings of NYC L-trains. To reject the record for being flawed on an analytical level, or to highlight its superficiality would be ridiculous as both of these features add to the wild and unqualified synthetic wonderland which Honig realises so brilliantly.
(FACT Mag)
Reviews for Surfaces of a Broken Marching Band
Ezekiel Honig's Surfaces of a Broken Marching Band is a symphony transmitted from the bottom of the sea. Cold and murky, it's warmed by sudden currents and shifts of sediment from the ocean bed, kicking up brief flickers of light and sound that you notice whether or not you catch the disturbances that created them. Just listen to the way "Past Tense Kitchen Movement" drifts without any heed to time, cloaking the listener in its cozy drowse before clanging him back to sense: a clatter of rusty bars ringing out into this buried infinitude, bubbles and drones issuing from the first tremor that set everything else in motion.
These images are mine though. Ezekiel Honig has his own. They provide the title for his fantastic new album and first for his own Anticipate label, Surfaces of a Broken Marching Band. Described as a work based on a once-dissolved band that's been pieced back together, the album sways between moments of studious musique concrète and shutter-lit urban ambience to pretty lively field recordings of busy public spaces, which lend the album the cheer of soft chatter. Honig uses manipulated guitar, horns, piano and plenty of found sound elements to construct a delicate atmosphere that, for all of its quiet, seems in steady flux.
Honig grounds his compositions in beats that are stockier than they appear from the top, without simply easing them into the steady, Gassy 4/4 throb. His rhythms are tactile and born of natural sources, from sparse ticks to muscular wooden bangs. "Broken Marching Band," for example, feels downright dubby in comparison to most electro-acoustic backdrops, its rhythms like a fat man out of breath aside what might be warbling horns and clips of children. Free of original sources, the recordings give Honig's composition an effervescence belied by its stern percussion.
But perhaps "A Brief Visual Pattern" gets at the dissolute element of Honig's title best. Resonant piano notes and pulses of muted noise spread into clicky stutter beats as shadow objects and desktop things fall to the floor in the background. "Material Instrument 1" is wistful, its re-pitched guitars cushioning bell-tones that are like coins dropped in a jar, muted but melodic. Partner "Material Instrument 2" plays up a sneaky friction between Honig's samples from a crowded room and metallic scraping. Honig unveils its fragile center just as this disorientation threatens to tip you over. It's an anthill symphony, one of small autumnal noise that illustrates his talent for giving the surface-pretty astounding nuance. In a creation like Surfaces of a Broken Marching Band which relies on such elusive drifts for locomotion, Honig's sure-handed subtlety is marked enough for declarative moments on my part: there hasn't been a better "ambient" album this year.
(Resident Advisor)
Ezekiel Honig's latest album is a gloriously captivating excursion through deep rhythmic structures, cataclysmic audio sequences and soft, melodic vibrations. Though these descriptors might seem ambiguous, perhaps even contradictory, Surfaces of a Broken Marching Band truly embraces them all. This release is a follow up to his 2006 effort Scattered Practices, and in that time Honig has continued to develop a distinct voice in his compositions.
The subterranean hum of 'Broken Marching Band' sets the tone for the rest of the piece, a gentle thud in and out providing the driving force behind the track. Influences are scattered here; there's the measured beats borrowed from more minimal tech sounds, and there's the diffused found sounds that are more characteristic of ambient experimental works. All in all, their fusion works due to Honig's understated production. It's the sort of delicate touch that brings names like Jan Jelinek and Max Richter to mind, in terms of how each track is carefully structured in relation to the album as a whole.
Surfaces of a Broken Marching Band is also, in a sense, a reflection upon the development of Honig's Anticipate label. 'Displacement' is the most straightforward in its connection to this theme, a gentle swathe of piano sitting astride an astringent hiss that keeps building, adding layer on layer to the sound but never settling or climaxing. No other word but 'hypnotic' can come to mind when attempting to describe the sensation matched to tracks like 'Porchside Economics'. There is a wealth of beauty invested in this album, and the payoff is incredibly rewarding. Superlatives they may be, but for all this praise, nothing can come close to describing just how amazing this release really is.
(Cyclic Defrost)
Ezekiel Honig's second full-length release on his own Anticipate imprint is more confident, accomplished, and, best of all, darker and sadder than 2003's melancholy ambient techno dub Technology is Lonely. Honig sets the mood just right on the monochromatic "Porchside Prologue," then bounces into a murky shuffle on both "Broken Marching Band" and "A Brief Visual Pattern." On each track, he uses field recordings and studio effects, a progression of ascending synth chords and a surprisingly robust bassline to create strangely solemn narratives that leave you believing - like in a great film by Hitchcock or Lynch - that there are fewer things more compelling than mysteries contained in the human heart.
New Yorker Ezekel Honig's ambient music does what the genre promises but often fails to deliver: through careful arrangement of and attention to sonorous material, it creates an environment that's quietly seductive and almost supine. Its attention to texture is finely detailed, but it's not showy about its exacting nature. Rather, on Surfaces of a Broken Marching Band, Honig proceeds as though he's tip-toeing through rooms, across floorboards, carefully collecting and placing sonic objects and arranging them into new, vaguely odd formations. It's music for the hypnagogic state, existing somewhere between wake and dream, and like the best ambient, it functions to tint the air and yields rewards upon close attention.
Part of the evocative power of Honig's music is down to his use of field recordings. His approach is much subtler than many, as he generally doesn't use them to build narratives; rather, they're placed sensitively, threaded through muted, blocky rhythms (that remind a little of an updated version of the Young Marble Giants' super-minimalist drum machine), and tangled with pads, chords, and almost-melodies that are often muffled or muted. The field recordings have a touch of the objet trouvé about them, as Honig creates art from found sounds here. But he also wrings these field recordings for their emotional qualities -- the muted rustle of a passing train, or the restful patter of rain on tin, are rendered rich with pathos through their careful juxtaposition with Honig's exercises in melancholy.
But the overarching mood of Surfaces of a Broken Marching Band is not one of overt sadness or mournfulness, even though it often progresses at a stately, almost funereal pace. Rather, Honig aims for something slightly more ambivalent. At its most, as on "Porchside Economics" or "Past Tense Kitchen Movement," Surfaces is wistful, nostalgic, but nostalgic for an undefined time, as though Honig's memories are fleeting and he's trying to memorialise them through sound. This reminds me of several predecessors, from Klimek, whose stuttering, shaky Pop Ambient studies inhabit a similar state of suspension, through Brian Eno's On Land and the instrumental interludes of Another Green World; maybe there's also a touch of the ghostly Other that inhabits Boards Of Canada, though stripped of the sickly-sweet childishness. Some of the guitar interludes hang notes in the air much like Americana figures Steven R. Smith or Scott Tuma, too. But Honig's onto his own thing here -- ambience that cocoons you, slow - freezes you in shades of gray.
It's actually something of a surprise that Ezekiel Honig hasn't released something on Anticipate sooner than this, but Surfaces Of A Broken Marching Band does in fact mark the debut outing for the producer on this, the label he runs. Arriving as a follow-up to 2006's Scattered Practices, released on Microcosm Music, this album is conceived as the sound of a band that's been dismantled and put back together again in a different shape, with the smaller, incidental background noises taking up the foreground while the soft patter of dissolved beats seems to drift off into the middle distance. Honig's attention to detail is just staggering over the course of 'Porchside Economics', seemingly filling up acres of space with droves of delicate sonic minutiae all moving around in a carefully choreographed pattern. This is ambient music that brings together the precision engineering of a Biosphere record with the scale and emotional resonance of a Stars Of The Lid release. Elsewhere, 'Displacement' swells with vaporous drones and shuffled piano chords while 'Material Instrument 2' conjures an incredibly vivid sense of location thanks to some lively field recordings, all leant an extra gravitas by an evocative and impressionistic use of digital manipulation and submerged tones. It's hard to put your finger on exactly what makes Surfaces Of A Broken Marching Band such a freakishly good ambient record, but its success must be at least partly attributable to the immersive depth of Honig's ornate production style. Brilliant, and the sort of record you could recommend to just about anyone with an interest in electronic music...
These days it can rather difficult to dig out really good new electronic music. Sure there's plenty of throbbing techno coming out of Berlin and the noise set are doing their bit to re-engage fans of Tangerine Dream et al, but the sort of electronica that filled the shelves at the turn of the century is almost nowhere to be seen. Maybe this is a good thing, because it makes it all the more special to hear this fabulous record from New Yorker Ezekiel Honig, an artist who understands how to make truly great electronic music. Absent is the tiresome trickery of the Warp-endorsed old guard and we are instead treated to a selection of impeccably crafted tracks, clever yet unpretentious and warm without ever being sugary. This isn't Zeke's first record, but it is without a doubt his most complete as he submerges the rhythmic elements ever deeper into the mix, allowing the gorgeous progressions and thoughtful field recordings to take center stage. "Field recordings and ambience," I already know what you're thinking but Zeke's music is far from cliched, and anything but 'another' drone record. His are short, concise and studied pieces, their structure at times owing more to pop music than Pop Ambient and Zeke's choice of sounds is nothing short of masterful. Just listen to the album's highlight "Broken Marching Band" with its effortless 4/4 throb, unusual environmental sound and simply heart-stopping harmonies. Almost Rhodes-like in its warm tone the synthesizer drifts and falls across the subtle clatter of some sort of sampled percussion (is it a clock ticking? A coin rattling? Who knows) and the track unfolds delicately over a brief (in today's terms) five minutes. There are those out there who are convinced that electronic music is a lifeless, robotic affair without anything like a semblance of soul or verve, but Zeke's music is the antidote to this. Organic is a word that has been overused, but these tracks teem with life, and as each track drifts into the next there's never a sense that the human element has been disengaged from the zeroes and ones. A hearty recommendation.
(Other Music)
Reviews for Scattered Practices:
It's not every day that an album references a mid-20th century Jesuit cultural theorist -- but Ezekiel Honig, the electronic composer and performer who helms the Microcosm Music label, is not your everyday artist. The liner notes on his second solo LP, Scattered Practices, cite Michel de Certeau, who mused on the ways in which people transform common experiences -- interacting with material objects, interpreting language and the like -- from the universal to the personal. In Honig's case, that means manipulating found sounds into barely recognizable tones, then melding them to warm Rhodes piano and barely-there percussion. Rather then being abstract and heady, though, Scattered Practices is a dreamlike, inviting and charming work.
Honig's debut album, 2004's People Places & Things, roamed the same softly ambient territory, but Scattered Practices is even more intimate, coming off as a wordless universal lullaby for the electronic age. The languid pace, microscopic melodies, simple heartbeatlike rhythms and occasional use of drone are both riveting and soothing, begging to be listened to attentively but, at the same time, gently caressing the listener into a contemplative state of Zen. And, despite the minimalist trapping, the album is surprisingly lush: "Fractures and Fissures (part 2)," for instance. consists of only two chords, overlaid with a plaintive three-note melody, a bit of crackle and a touch of background hum. But, as with the rest of Scattered Practices, that's more than enough to evoke a wealth of feeling.
(Bruce Tantum - Time Out New York)
While his debut album, People Places and Things, found New York-based producer Ezekiel Honig working from a similar palette of warm, ambient tones and gentle 4/4 pulses, Scattered Practices shows him operating at a more intimate -- even microscopic -- level. Along with Rhodes and synthesizer, Honig uses defamiliarized samples culled from everyday life, crafting gentle, childlike melodies that nod ever so slightly towards Boards of Canada's Music Has the Right to Children. Despite his grounding in techno, Honig appears to move away from traditional loop-based compositions, notably on "Fractures and Fissures" and "Concrete and Plastic," in which his tones seep, branch, and bubble in organic fashion. Leaving loop-finding to the likes of Jan Jelinek, Honig's more esoteric search yields a comparably meticulous level of detail.
(Colin James Nagy - Flavorpill)
Microcosm Music's logo has more color and shapes than Kompakt's singular dot, but it is nearly as iconic in its elegant shorthand: crisp and linear, it features a small metropolis crammed inside of a cardboard box ready for freight shipping or living room assembly. It is the picture of media. No surprise, then, to discover that Germany's premiere minimalist repository is also one of MM's distributors. In fact, the fuzzy incandescence and stealth activity of Ezekiel Honig's Scattered Practices is a suitable score for the tired calm that follows melted eardrums and sore muscles caused by too many hours of 4/4 chug. Its 10 tracks drift to a faint cardiac throb that often recycles rippling timbres and shivering strands of glitch. Grooves are found and disintegrated. Sheared of peaks and dips, Scattered Practices hums along like the fuzzy murmur of a tireless CPU.
The tinkling patter of random clicks and trimmed, sputtering tips of rhythm pop out from the album's carbonated silence. There are loops of field recorded voices that crackle like other "Homemade Debris," as the album's nine-minute plus centerpiece is titled, such as jingling pocket jangle, creaking floors, rattling aerosol cans and swishing drawers. Splashes of aquatic distortion shimmer in the distance, notably on opener "Going Sailing Refrain 1" and its subsequent sequels, but the most salient melodic presence is found in a purring fog that continually drizzles somber chords over the twinkling currents of crunched pixels. That said, Scattered Practices does not have the feel of tampered data but the lived-in texture of a still warm, just worn t-shirt.
(Bernardo Rondeau - Dusted Magazine)
New York City-based minimal electronic producer Ezekiel Honig has previously released several albums both on his own and alongside regular collaborator Morgan Packard, and Scattered Practices, released through his Microcosm label, shows him continuing to move away from loop-based compositions in favor of warm ambience. Apparently inspired by Michel de Certeau's philosophical treatise The Practice of Everyday Life, which examines how individuals personalize and transform elements of mass culture, this fourth album sees Honig manipulating mundane sounds so that their identity is completely obscured. In this case, the focus is distinctly on gently pulsing glitch-ridden ambient soundscapes in a vein not completely dissimilar to Farben or Isan.
The gorgeous 9-minute centerpiece track "Homemade Debris" provides a perfect illustration of this approach, as muffled Fender Rhodes chords gently bleed through gossamer layers of digital filtering and slightly off-centre pinprick micro-rhythms, the occasional presence of subtle DSP processing crackling like the stray rustle of leaves at the very edges of awareness. The almost subliminal presence of micro-house beats throughout much of the material here certainly tips its hat towards Honig's more techno-centred beginnings, but Scattered Practices is certainly his most personal and openly emotive collection to date.
Ezekiel Honig's skill lies in being able to reproduce depth, beauty and minimalism in a subtle 4/4 environment. All of his more laid-back recordings so far have had a distinct trademark feel and this CD is no exception. I find myself putting it in the Electronica section even though it's mostly a rhythmic work. Muted, sub-aquatic chords and textures and gently lilting melodies combine with the most delicate of drum progamming to give you a serene sense of warmth, yet a beautiful fragility at the same time. and coupled with several beatless tracks as well you'll find this a soothing work. An exquisite and tranquil piece of music that transcends merely being Techno or Electronica. Highly recommended indeed.
Each of these 10 atmospheric but oddly rhythmic tracks by New Yorker Ezekiel Honig takes aim for the heart as much as the head. It's an emotionally bumpy ride through ashen dubscapes built with found sounds, lumbering bass lines and microscopic beats that kick, sizzle and then disappear into the murky light.
Reviews for Early Morning Migration:
An ongoing stream of ambient sounds gives Early Morning Migration, a collaborative outing from Morgan Packard and Microcosm label head Ezekiel Honig, a natural, outdoorsy dimension. Though most of these noises are more allusive than literal, they still evoke the lake and forest; soft waves appear alongside the hazy keyboard glimmerings of "Planting Broken Branches Pt. 2," for example, while creaking and water noises in "Window Nature" suggest fishing boats leaving port at sunrise. Such environmental detail gives the work an expansive dimension that contrasts with the music's introspective and comparatively more hermetic leanings.
Collaborative in this case doesn't mean the two artists worked together on a given piece; instead, their separately created songs often alternate in sequence and, while that might be jarring in other contexts, it isn't the case here; despite different compositional styles, they share a kindred sonic sensibility, clearly shown in the opening songs. Embedded in ambient blur, "Tropical Ridges" gently rolls in with Honig's glowing Rhodes chords floating lazily above a shuffling pulse. The following piece "Balm" is Packard's and, while it's slightly more ambient than Honig's, there's little sonic difference. The major deviation from this unanimity occurs when horn sounds add contrast to the gossamer shimmer of Packard's "White on White."
With their subtle hint of techno, Honig's minimal pieces tend to be slightly more song-like while Packard's are closer to classically-influenced ambient settings. Honig's material often hews to a clanking 4/4 pulse with melodies etched by warm keyboard tones. Prodded by a whirring creak, a subtly swaying skip animates "A Lake of Suggestions Pt. 1" (and reappears in "Planting Broken Branches Pt. 1") while Packard's "Hibernate," by comparison, toes a still placid though more static line with its waves of hiss and intermingling of acoustic bass lines and minimal Rhodes melodies. Those differences recede in other songs, however, like Packard's gently pulsing "Billow" and Honig's "A Lake of Suggestions Pt. 2," an ambient exercise in fluttering textures. That sound flows into the final piece, Packard's almost eleven-minute "A Long Time Ago," a meditative soundscape of hazy surges and shudders that brings Early Morning Migration to a dreamy close. Names like Eno and Harold Budd may come to mind as one basks in the understated and carefully sculpted beauty of Honig and Packard's work.
Here comes the first remarkable release in a while the realm of minimal electronic music between abstract, reduced rhythms and floating ambient has to offer. Ezekiel Honig and Morgan Packard are two young creators from NYC who have gained reputation with their not necessarrily similar previous solo work, and this is their first collaborative attempt. "Early Morning..." consists of both quiet, soundscape kind of elements and traces of dynamic dance music, whereas the point that both beats and melodies are kept so low-key and fragile that the CD never really takes off is exactly what makes it such an exciting listen. A welcome change from the dubby experimentation that's become so abundant in this genre, the faint rhythms and beautiful textures that at once support and seemingly subdue each other form a refreshingly new, original type of music. Available from the label's online shop.
(Real Tokyo)
This first collaboration by North Americans Honig and Packard has refused to give up its complexities after days of repeated playing. Ezekiel Honig confesses that the pieces on this CD are inspired by weather and nature, but also conceal a blizzard of musique concrete sources and treated domestic sounds that would even confound a serial avant-garde noise truffle hound. Honig further confesses that some of the treated noises include dropped plastic bottles, rain, microphone stands falling over, crackling fires (shades of John Cage's Inlets) and other improbable sound sources.
The first impression of the mesmerising Early Morning Migration, augmented by sonorous trombone, guitar, bass and other conventional instruments, is that it is comparable to John Adams's early minimal/electro work, Light Over Water, but then the layers in Honig and Packards' work began to reveal themselves. They're already being remixed on the US electro underground scene. The beautiful architecture of their music excites unlikely but appropriate comparisons with Duke Ellington and Gil Evans. However, they're also inveterate improvisers, playing out live with an improvising computer video artist. If you own anything by Autechre or Seefeel, you owe yourself a copy of this haunting, richly textured, multi-layered music.
(John Gill - The Wire)
Despite the dancing silhouette adverts, people seem to be using their iPods in much more sedate ways. The headphone cord hinders motion, after all; countless iPods clatter under treadmills daily due to runners entangled in cords. Instead of dancing with them, people are simply substituting iPods for jukeboxes. As a home stereo, the iPod particularly excels, due to its large memory and random playlist function. And while an iPod only plays what is inside it, the term "iPod music" could describe the minimal electronic background music that many urban iPod owners favor. With Early Morning Migration, Ezekiel Honig and Morgan Packard have created quintessential iPod music.
Strangely enough, Honig and Packard both cut their teeth on late '90s drum & bass. Honig was a DJ, and Packard was a producer, but each moved away from d&b as the music stagnated. On Technology Is Lonely and Peoples Places & Things, Honig added a uniquely emotional spin to the glitchy minimal house of Mille Plateaux and Force Inc., while Packard delved into academic music with composition studies and software programming. Although the two wrote tunes separately for this album, the result sounds like one person. Honig's clean tones and simple (but not simplistic) melodies combine with Packard's deep sound design and emotive harmonies for a pensive, soothing vibe.
The album begins with the slow-motion shoegazing of "Tropical Ridges", which has a grainy yet full-bodied ambience, with a hint of kick drum underneath. "Balm" follows, and it's exactly that. Its gorgeous, gauzy tones, along with "Window Nature" bring to mind Shudder to Think's lovely (and ill-used) soundtrack to High Art. In general, Honig and Packard alternate tunes here; Honig's are slightly more rhythmic, creating a gently undulating listen. The album peaks with the found sound percussion of "Planting Broken Branches, Pt. 1", then returns to beatlessness with the trembling, Bill Frisell-esque "A Lake of Suggestions Pt. 2" and the jellyfish pulsation of "A Long Time Ago."
Early Morning Migration could be called "ambient", but it has no spacy synth washes or new age-y melodies. It's ambient in the Brian Eno sense, enhancing the atmosphere of whatever room it's in. The album does reward active listening; repeated spins uncover deep bass melodies in "Hibernate", rich brass (!) harmonies in "White on White", and the polyrhythms of out-of-time loops in "Planting Broken Branches, Pt. 2". But at low volumes, this album shines as a soundtrack to everyday life. Wake up to it, fall asleep to it, read a book to it, or skin up to it -- the ceiling's the limit.
(Pop Matters)
Refreshingly free of overbearing ego, Early Morning Migration practices a sort of Zen restraint. NYC minimalist composers and labelmates Honig and Packard collaborated by proxy on an album easily described-in all seriousness-as a wonderfully droning, guided meditation. The artists get out of the way, concentrating instead on a sustained idea of tone and rhythm. Echoey, otherworldly signals meld with delicate electric piano, brief horn flourishes, and a repeated percussion motif that sounds something like the sampled ambient clatter of a ship's rigging or brittle sticks rubbed together in dry palms. The overall effect is a continuous impression of the naked mind-smooth, clean, inspiring, and reminiscent of that first hour after a good night's sleep, when things fascinate by the mere fact that they exist.
(Stewart A. Williams - Resonance)
It should be a split album, with both producers conceiving and producing their music separately, then sprinkling their tunes amongst each other. Though the reality is that without the aid if the liner notes you would never be able to tell. This is due to the duo's shared aesthetic, of gentle low-key progressions, deep warm bass tones and the desire to use plenty of space within their sparse electro acoustic tracks. And it's gorgeous and inventive work, a gentle kind of ambience similar in size to Susumu Yokota, though operating closer to the edges of electronica. In fact it's this proximity that provides much of the interest, widening the gap between sound art and electronica and cheerfully occupying the middle ground with occasional visits to either side. Both Honig and Packard have a history in drum and bass, though at some point they moved away and there is very little evidence of their past here. What they do have is far less tangible and far more valuable with Early Morning Migration filled with numerous tender moments of subtle though innovative beauty.
(Cyclic Defrost)
More shuffling textured rhythms arrive from this rather sweet label, Microcosm Music. Early Morning Migration is a collaboration between the labels owner Ezekiel Honig and Morgan Packard.
The result is an album of warm, shadowy ambient tracks with muffled tones and fragmented clicks and cuts. You have to admire the patience and methodology that has gone into a work of this type, where wholly electronic sampled sounds are used to depict the most natural of dimensions, and succeeding with resonating ambience. It is only left to track titles such as Tropical Ridges, Window Nature, Hibernate, and Planting Broken Branches to give literal explanations.
Trombone appears on White on White, adding the only true conventional digression from Honig and Packard's wholly sculpted electronic expressionalism. A modern-day equivalent to the likes of Budd/Eno, but still a side-shift from the modern day field recordings espoused by the likes of Marsen Jules, Fennesz or Pan Sonic, Early Morning Migration is a dreamily elusive album, albeit friendly and passively melodic.
Although the tracks on Early Morning Migration are split evenly between labelmates Ezekiel Honig and Morgan Packard, the album sticks closely to the somnambulant ambience of Honig's solo output, with none of the meatier drum&bass Packard is known for. However, that doesn't make this collaboration any less of a beauty. Early Morning Migration trickles elegantly into the subconscious with whispered percussive elements and the clicks and skitters of artificial (or real?) pebbles falling on pavement. Variations do develop, as repeated listens reveal a muted interplay between the slightly off-kilter effect of Honig's "found sound" pastiches and Packard's more pristine melodic loops.
(Anna Balkrishna - XLR8R)
This is the first collaborative release for New Yorkers Honig and Packard and produces a rich and seductive demonstration of lo-fi electronica. Swathes of interference battle with intermittent percussion and random clunks and clicks in opener 'Tropical Ridges' while as the title suggests, 'Balm' is a much gentler affair.
There are loads of naturalistic references in the song titles such as 'A Lake of Suggestions' and 'Planting Broken Branches' but the title 'Early Morning Migration' might as easily be about commuting through the city as anything in the countryside. The sound is electronic, but also vaguely soothing. It is introspective, but also expansive in approach. Maybe this is the tautness that comes of the new found collaboration.
Some tracks are so minimal that they hardly seem to exist at all. You wouldn't know they were whirring away in the background but for a few well placed keys ringing through every few seconds. But sometimes less is more and this is a record of boundless textures and moods to lift the soul, but in a gentle way.
(Shane Blanchard - Tasty Fanzine)
Reviews for People Places & Things:
People Places & Things is a hybrid fusion of synthetic-organic minimalism. By interpreting the sounds of everyday life and melding them into layers, Honig creates a familiar sounding arrangement that is unique and engaging. Not unlike Eno's ambient soundscapes or Aphex Twin's metallic arrangements, this album is beautiful and vibrantly organic, while maintaining no qualms about its electronic origins. Honig makes use of steady lilting tones sifted over light percussion. Sometimes, he employs a single-note piano melody, and other times, a powerfully distinct heartbeat. The effect is unobtrusive, a configuration of intricately detailed sounds that mixes into stupefying beauty. Most tracks are languid and mono-minimalist, but Honig does foray into dance with "Passing Through," and into dreams with the sweetly ethereal "Falling Down." Hovering between scantily clad ambient-experimental and percussion-tripped Plastikman is the blurred genre of Ezekiel Honig.
(Deana Morgan - BPM Magazine)
The NYC-based loner likes it soft and somber. Clicky techno beats tap lightly beneath the charmingly spliced buzz, clank and clatter of everyday life. Temperature textures drone peacefully and compassionately. People Places & Things is minimal on the outside, but dense once you gently sink to the middle. Once you're there, heartfelt emotion seeps through, a bursting gushiness of the My Bloody Valentine kind. Add to that sound the dissonant click-techno of Process, the found-sound playfulness of Matthew Herbert and the cute, catchy melodies of ISAN, and you get an album of alluring tranquility and entrancing, drugged-out lullabies.
Though People Places & Things chronologically predates Early Morning Migration, Honig's collaboration with Morgan Packard, and the Macrofun Vol. 3 contribution "Transportation Application," the July 2004 release sounds anything but stale (even if it was issued on Single Cell, the label name briefly adopted before Microcosm). If anything, it shows how quickly Microcosm has established itself as a distinguished outlet for lush electronic minimalism.
Following upon Technology is Lonely, Honig's sophomore outing features eleven languid, at times serene settings of swaying shuffles and alluring melodies. He merges the hazy ambiance of Rhodes melodies and blurry washes with the soft clicks of off-kilter rhythms, many of which suggest they were generated from everyday materials like kitchen utensils and car keys (the album title perhaps alluding to Honig's sound sources). Sometimes, identifiable sounds appear, like the clicks of typewriter keys in "Focused Distraction," the seeming crunch of a carrot in "Cape Cod Getaway," and clipped voice snippets in "Green Tea" and "Click & Sleep." Wedding a descending progression of silken stutter with the percussive clatter of found sounds, "More Human Than Human" adopts a more abstracted feel, as does "Your Face Betrays Your Thoughts" with its granular atmospheres and clacking pulses. Though reverberant billows of soft crackle gently waft over becalmed pulses of soft pads in most songs, "Falling Down" bolsters Honig's customary Rhodes glimmer with funkier-than-usual beats. His music often suggests nothing so much as a mobile nudged slowly by a gentle breeze, its abstract shapes fleetingly coalescing into novel configurations as light reflections scatter prismatically throughout the room.
This beautifully conceived, rich album from Ezekiel Honig finds itself planted somewhere between Jan Jelinek, Shuttle 358, Opiate and Move D, striding along microscopic terrain with the faintest nod of respect to the deep chord washes of Detroit and the minimal machinations of Cologne. Albums like this are easy to skip past, particularly as they are so effortlessly enjoyable. While there's a certain alluring quality posessed by those releases that require a bit of work before they open themselves up to you, Honig has nonetheless managed to produce an album that radiates warmth after repeated listens despite not really breaking any new ground. As far as minimal sunset music of this kind is concerned - "People Places & Things" is just about as good as it gets. Recommended.
You'd never guess Ezekiel Honig was once a Breakbeat Science employee and drum & bass fanatic based on People Places & Things, his sophomore album. The follow-up to Technology is Lonely, People... is an exploration of sound using elements of click-house, muted dub, [very] leftfield techno and minimal music. This is a determinedly thoughtful record that sounds like Honig made it while sitting all by himself in the middle of a field with his laptop, pondering the intricacies of nature.
Honig focuses on the placement of everyday noises in the floating first track "Passing Through" and in the unsure strings and churning clicks of "Your Face Betrays Your Thoughts." People Places & Things would do well to fall on patient ears. It is a great soundtrack to a peaceful night alone in your own environment - no words to distract you, just the meticulously arranged sounds that can only be harnessed via daily life.
(Jen Boyles - Urb Magazine)
As wonderful as this album is to listen to, it's not as easy to review. This is a good thing, however. The types of compositions that Ezekiel Honig presents forces us lazy writers to rethink the compartments that we place music into. People, Places, and Things doesn't allow for such neat or simplistic genre filing. Whereas Technology Is Lonely (Ezekiel's debut album) concentrated largely on a clickhouse aesthetic surrounding a center of atmospheric dub, his follow-up playfully erases the lines in the sand, allowing categories to blur and mutate. As a result, we're left to figure out skeletal forms of genres we thought we were already familiar with, occasionally thrown off balance by the varied assortment of thumps, sputters, buzzes, and crunches along the way.
Continuing the idea of working your environment into the mix, quiet electronics remain a constant throughout the album, the withdrawals from Ezekiel's sound bank tickling the ear. Selections like "winterspring," "green tea," and "click & sleep" flirt with house and techno structures, with voices clipped in mid-syllable and other sounds that you're tempted to think are coming from outside your headphones. One might suggest that "memoir of a future past"contains a breakbeat influence. The frenetic percussion underneath its somber tones bring a low-key funk minimalism to the project. To call this album "electronic listening music" would perhaps be most convenient; to call it IDM would just be a cop-out. Honig's productions are too inviting to be considered IDM. While they are introspective to a certain degree, you get the feeling that the creator doesn't mind acknowledging your presence. These works want you around...and you'll be more than happy to stay.
(Both Sides of the Surface).
An unexpectedly serene outing from a self-professed former drum'n'bass DJ, Honig's People Places and Things is that certain type of record that will go unnoticed by most but will end up becoming a beloved favorite of a few. Honig's musical palette is the minutiae of everyday life - those random musical coincidences born from the noises that surround us at any given time, when the noise of your car keys clattering across a table somehow calls to mind the metallic percussive stutter of a Squarepusher track or the background hum of a refrigerator soothes in the same way as Brian Eno's ambient work might. Gently lilting melodies drift on a bed of percussive clicks and pops whose seemingly random rhythmic patterns somehow coalesce into something more structured with each passing listen. Short attention span theater this is not, but if you've got the patience to delve into a deeper listening experience you'd be advised to check Honig out.
(Brock Phillips - Mean Street)
Ezekiel Honig started out as a drum'n'bass DJ in his native New York, and although, as with last year's Technology is Lonely, the title of his second album reveals a sentimental touch of the old raver's dewey-eyed inclusiveness, his music has clearly moved on. Opener "Passing Through" feints at an oceanic sweep, its soft 4/4 heartbeat pushing it towards the wide open dreamscapes conjured by the likes of Mike Ink and Marcus Guentner. However, any epic aspirations are held neatly in check - widescreen though the music is, it retains an astringent sparseness.
Later, tracks like "More Human Than Human" and "Winter Spring" pulse with airy poise, and if their occasional percussive syncopation glances back towards Honig's breakbeat roots, the overall effect is one of warm, spacious stasis only infrequently disrupted by surprising sonic events like the hard-panned percussion in "Green Tea." Although People Places & Things, is by and large an undemonstrative record, it's also a beguiling one.
(Chris Sharp - The Wire)
rough English translation from the original German:
Next after the sampler 12" with the kickin' John Tejada Remix, the whole album is now out on CD. Somehow all pieces have a smooth kind of tender sound which works together well with the percussive clicks and bits. Playful but minimal melodies and spheric streams alternate and are most of the time driven by slowmotion bassdrums. On People Places & Things Ezekiel Honig works a lot with short loops, dub and minimal elements which shift in between and create subtle backgrounds. Track titles like "Falling Down," "Winter Spring," "Green Tea," and "Click & Sleep" give hints to the more or less ambient, meditative character of the album. Superb!
(Orson Sieverding - De:Bug)
Ghettoblaster Article, May, 2011Big Shot Magazine article London Times track of the day piece MNML SSGS Interview Time Out New York Review Village Voice Article Textura / Grooves Article
Articles Written By
Self-Titled Piece on Field Recording in NYC


text: sarabert Play via YouTube OPEN IN APP NSFW Safe Is this playlist safe for work? Hi, I'm Tina Sparkle April 08, 2012 | 14 tracks | 326 15 | Stats The Sounds The Kills Joan Jett and the Blackhearts the soundsthe killsjoan jettgrrrrr Liked Collect Share Edit Liked! Share this mix with friends: Hi, I'm Tina Sparkle Wrong video Collect Share Liked! Share this mix with friends:

subset: commoncrawl


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CORVALLIS, Ore. -The third lecture in the 2010-11 American Culture & Politics speaker series, titled "Cheaters Sometimes Prosper: Aristotle Onassis, Alexei Solyanik, and Other Scoundrels of 20th-Century Whaling," will be given by diplomatic and environmental historian Kurk Dorsey on Thursday, March 3.
The presentation will be at 4 p.m. in the Memorial Union Journey Room on the Oregon State University campus. It is free and open to the public.
The United States helped create the International Whaling Commission in 1946 to regulate whaling and conserve whales. Founders hoped that science would show the way to harvest whales sustainably, but their system didn't deal with whalers who skirted the rules. Dorsey will examine flagrant and accused, but sometimes innocent, violators of whaling rules, as well as the challenges of noncompliance.
Dorsey is an associate professor of history at the University of New Hampshire and teaches U.S. diplomatic and environmental history. He is the author of "The Dawn of Conservation Diplomacy: U.S.-Canadian Wildlife Protection Treaties in the Progressive Era," and has received the Stuart Bernath Lecture Prize from the Society for Historians of American Foreign Relations.
This series is sponsored by the Horning Endowment in the Humanities. More information is available online at www.oregonstate.edu/cla/history
Click photos to see a full-size version. Right click and save image to download.
Elissa Curcio, 541-737-8560


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Science has shown it to be true time and again - in terms of happiness, experiences count more than stuff. No one's drawing their last breath and wishing they'd bought a 4K TV rather than white water rafting down the River Tay. That's exactly what …href="http://www.virginexperiencedays.co.uk/">Virgin Experience Days offer: experiences that are impossible to forget. Adventure seekers will find great prices on supercar driving experiences, skydiving, flying lessons, hot air balloon rides, scuba-diving and powerboating. Non-adrenaline junkies can get one-of-a-kind experiences like makeovers, afternoon teas, photoshoots, breaks and tours of iconic football stadiums. Experience seekers can browse the site by occasion, location or price range and even buy e-vouchers as a unique present for a friend or family member. E-vouchers are delivered quickly and come in beautifully presented packages. Vouchers can be returned for a refund if unused and even exchanged for other experiences. » more
How to use Virgin Experience Days Promotional Codes
Find the perfect experience gift at Virgin
Check out loads of fantastic experience days, from theatre breaks to high-adrenaline rushes. Virgin Experience Days also offers special 2-for-1 deals and options vouchers so your loved one can choose their own adventure!
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Search for the perfect experience gift, and once you've found it, click "buy." You'll be able to view more information on the gift; click "add to basket" when you're done.
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Head to the Promotional Codes site and find the Virgin Experience Days code you'd like to use, then copy it and paste it back in the promotional codes box in your basket at Virgin. Click "add promotional code" to refresh your basket. When you're done, click "checkout."
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Choose how fast you'd like your items delivered, then enter your debit or credit card details and click "confirm order." Enjoy your experience day!
Virgin Experience Days Customer Reviews
The best range of experience days out there
Virgin Experience Days really came through with a unique gift for Father's Day. After searching through the site I was really impressed with the different experiences available, including indoor skydiving and driving in a Ferrari. My kids and I were looking for something big to surprise him, and the introductory flying lesson fit the bill. My husband always wanted to fly so this was fantastic. I appreciated how much info was given on the Virgin Experience Days website because some of the other sites I considered had very brief descriptions of the experiences offered. This one had loads of info on the lesson and exactly what it entailed. The number of locations available was another bonus since there were tons of them, and one right in our neighbourhood in Exeter. After reading through everything I was convinced, and at 109 quid the price was right. I was even able to personalise the voucher. The gift packet came gorgeously presented and all of the information to book the flight was included.
My husband can't stop talking about his first flight lesson and the only thing I can fault Virgin Experience Days for is that now he wants to continue with more!
Brilliant gift idea but could be cheaper elsewhere
I recently ordered and used a Relaxation Day package with my sister as a birthday treat. The ordering process was good, the website was very clearly laid out and the experiences were well described.There were lots of experiences to choose from and plenty of brilliant ones that although weren't applicable to my sister would be very appropriate for other family and friends. The gift was delivered in the time advised too.
We had a good day at the spa. My only criticism is that for the money I don't feel it was entirely value for money and might be cheaper if I had looked elsewhere. The treatments were very short because the times they were advertised as incorporated the time it took to use the changing facilities and get to and from the treatment rooms. All in all I felt like I didnt have a full experience but just a taster of a spa day. Having said that, I did enjoy it, I would just be careful to read all the details included on the website before I bought.
I will go back to the website for other gifts though, some offerings sound absolutely wonderful, like the Tiger experience which my son will love!
Perfect ideas for Christmas gifts here
My family has everything, so I'm always stressing about a gift. I wound up buying something for all three of them (mum, dad and sister) from Virgin Experience Days. I loved looking through the site and reading about all the different experiences. Got my dad a flight lesson, my sister a pampering day at the spa and my mum a cookery class, since she loves to be in the kitchen. The prices were good for the value I thought, and now I have a go-to site for future gifts as well.


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Links to other Historical Sites.


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First I want to congratulate you for making your first attempt at a better you! It won't be easy but if you stay on your path I promise and guarantee you will achieve the results you are looking for. I'm bringing you a realistic and simple approach to fitness. Remember, one small step is better than no step at all. As I develop my fitness blog I will post photos and videos showing you your meals and workout routines. Be patient with me. For now I will offer you as much information as I can. Thank you for walking this journey with me but we are far from done! Fitness is a way of life and a long life journey. Let's continue to walk it together 🙂
- You must workout for a minimum of 1 hour a day 5 x's a week. No excuses! If you cannot afford a gym, go out and walk for 1 hour or ride a bicycle for 1 hour.
- You drink at least 8 full glasses of water a day. For more advanced individuals drink a gallon a day. YES you will be visiting the bathroom like a broken faucet. But it is essential for you to drink your daily water intake.
- Try your best to eat a total of 6 meals every 3 hours. For those on the run, full time jobs, busy mommies/daddys, students etc Try to eat at least 3-4 square meals a day every 4 hours.
- If you have a bad memory write down everything you eat so you don't over eat and go over your daily calorie intake. Track your progress! You can also download apps on your cell phones to log in all your meals.
- DO NOT WANDER OFF YOUR PATH! Why did you start this journey if you are going to continuously cheat? Keep it real with yourself. STAY ON YOUR PATH!
- What you can eat is simple. Stick to the basics, chicken, fish lean red meats, turkey, canned tuna in water.
- Use simple seasonings such as sea salt, pepper, garlic powder, onion powder, paprika, and Mrs Dash's seasonings. You'll notice that all my recipes use these as their foundation. Everything added such as veggies, brown rice, and my homemade salsa's are what will bring your foods to life.
- Full body workout: Work lightly on your arms, abs, legs, and back. Don't go super hard on this day as you DO NOT want to injure yourself. This is the first day you are back at the gym don't over do it. Cut everything in half.
- Lower body, legs, butt: Depending on what you want to do. Leg day stays the same. If you want bulkier legs do low reps (10 reps 6x's) with higher weights. If you want slimmer toned legs do high reps (20 reps 6x's) with lower weights. Remember to lift what feels comfy for you. If you are comfy at 20 pound weights do that, if you are comfy at 100 pounds of weights, go for it. Your squats can be either with no weights or with. Squats, lunges and dead lifts depend on your level. I would begin with no weights.
- Upper body, arms, chest, back: Arms. The same goes for arms as legs, chest, back etc. For bulkier arms do low reps (10 reps 6x's) with higher weights. If you want slimmer toned arms do high reps (20 reps 6x's) with lower weights. Remember to lift what feels comfy for you. Do a FULL arm workout. Don't do tri's and forget the biceps. Biceps are the front part of your arm, triceps is the back part where that ugly bat wing hangs 🙁 For those that don't have a gym membership, push ups and bench dips can be done at home. For arms I would recommend all of the exercises here in Fitness Magazine. For your back I personally love doing the seated row machine. For my back where the bra cuts your fat and you get an annoying bulge 🙁 I like doing the lat pull down machine. For chest I recommend these chest exercises. It has worked for me and many of my male friends.
- Have fun: Pick any fun cardio class like Zumba, Spin, Hip Hop, a salsa class. Or ride a bike in your neighborhood, walk, skateboard, do yoga or pilates. But make sure to do it for 1 hour 1/2. Not 30 minutes, not 1 hour but for 1 hour 1/2.
- Have more fun: Do the same as Friday but switch it up and cut down to 1 hour. Do 30 minutes of each. If you like Zumba, do 30 of rumba then go run for 30 minutes. If you like spin class, do that for 30 minutes then swim for another 30 minutes.
- Guess what? YOU MADE IT!! You followed my work out calendar and completed your first week. You are now one week towards achieving your fitness goals. I am proud of you 🙂 Today is your day to RELAX, take the day off and get ready for the new week.


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""For Content Creators and Copywriters alike, Thesaurus Gizmo is an essential tool for your writing toolbox. It will make your writing more enjoyable and your time more productive."
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As I use several machines/devices at home, I would love to see a MAC version in the near future Jesse.
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This could be an amazing help in my native language, Greek. It could be a big help to all writers!!


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Casa 5 is a meeting point for local and international artists of different disciplines to show new work and to share and explore ideas and initiatives.
Artists: Elsie Guerreiro, Matthijs Warner, Giorgi Tabliashvili, Exhibition Posters…more on the way
Colin Howe (Malik), Isabel Macieira, Karsti Stiege, Roger Dixon, Linda Brubacher, Harvey Dwight, Tor Hognestad, Oivind Bergerud, Paulo Serra, Penny Fahey, Ron Isarin, Edwin Hagendoorn, Justine Albronda, Tiago Grosso, Rudolfo Quintas, Loes Heebink, Jill Stott, Silvia Cavelti.
Japanese artist Nobuyoshi Araki (currently not available) is arguably one of the greatest and most controversial living photographers. Most famous for his erotic nudes and sensual flower studies, his photos and artworks challenges taboos and unabashedly confronts complex subject matter, most markedly sex and death. Nobuyoshi Araki had his first major UK art retrospective, Self, Life, Death, at the Barbican Art Gallery, London in 2005 and recently he is famed for taking Polaroids of Lady Gaga.
Vasilis Avramidis(currently not available) uses oil on canvas to work with the idea of false perceptions in painting language. Gestural brushwork, painted objects and people are translated as pieces of land, which then become an ideal terrain for smaller scale landscapes, scenes and narratives. Avramidis explores the ability of painting language to speak about itself, while at the same time it incorporates worlds, which refer to external situations.
Erwin Blumenfeld began taking photographs when he was eleven, before his professional debut with a 1936 exhibition in Paris. He later published collages mocking Adolf Hitler, and was interned in a concentration camp during German occupation. Blumenfeld emigrated to the USA in 1941, where his post-war career flourished, with photographs appearing in Harpers Bazaar and Vogue, and a reputation as the highest paid freelance photographer in New York.
(currently not available) first came to prominence in his hometown of Brighton, where his iconic pop art images gained instant popularity. Simon Dixon has established a reputation for painting portraits of 20th Century icons including Muhammad Ali, Johnny Cash and Elvis. His painting style is pure pop, with photographic detail imposed on broad areas of flat color. Simon Dixon is influenced by his time spent illustrating underground comics and music magazines. A personal obsession with all things rock and roll defines the visual impact of Simon Dixon's work.
Anthony Frost, the son of Sir Terry Frost, is an English artist noted for his abstract works consisting of brightly-coloured prints and collages. Anthony Frost's paintings and prints are bright, full of colour and expression. They include repeated motifs (lines, triangles and dots) and a mix of materials (acrylic, hessian, sail cloth, string and other materials that come to hand). This hints at a complexity in the work, which at first sight appears quite straightforward. Although there is an element of planning in each work, there is also a random element which manifests itself in the creative process: adding a piece of material or a tie that can change the painting's direction in unplanned ways.
Philip Gurrey(currently not available) seeks to visually explore certain facets of the human condition through the physicality of paint, working intently between image and oil paint's own unique visceral language. A common theme is identity, and through its inherent link to the subconscious, Gurrey feels compelled to reveal/ask questions surrounding our understanding of ourselves as people.
Turner prize winning English artist Damien Hirst first gained prominence as a key member of the Young British Artist movement of the 1990s amongst notable figures such as Tracy Emin, Marc Quinn, Rachel Whiteread and Gavin Turk. His prints, paintings and sculptures often include skulls, sharks and butterflies, and relentlessly interrogate the boundaries between art, science, the media and popular culture.
Ali Miller's work (currently not available) is fundamentally an amalgamation of personal experiences, family history, religion and identity and also the relationship between the individual to the material. Memory for Ali Miller is a source of euphoric inspiration and a Pandora's Box of the more remote qualities of human nature. Whilst her work might signify a nostalgic reminiscence of years past, it also carries with it the weight of pressures and experience of real life.
Willem de Kooning
R. Rauschenberg
Klee & Cobra
Roy Lichtenstein


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Neven Subotic will not be joining Alvaro Negredo at Middlesbrough
Middlesbrough have signed Valencia striker Alvaro Negredo on a season-long loan but their move for Borussia Dortmund defender Neven Subotic is off.
Paperwork is still to be completed but 30-year-old former Manchester City forward Negredo has already linked up with Boro at their pre-season training camp in Marbella.
The promoted Teessiders were also poised to sign Serbian centre-back Subotic from Dortmund, until the Bundesliga club announced he had failed a medical.
"Bad news for Neven Subotic," a BVB statement read. "The investigation of a specialist in England has shown that the Borussia Dortmund player must undergo surgery in the rib area. It is expected that Subotic will be out for the rest of the year."
The former Serbia international won the league with Dortmund in both 2011 and 2012.
Negredo, meanwhile, was a member of the City side which won the Premier League title in 2014.
The Spain international impressed at the Etihad Stadium, scoring 23 goals in 49 appearances in what proved his only season at the club after a £16.4million move from Sevilla in 2013.
He returned to Spain with Valencia in the summer of 2014, initially on loan before a £19million permanent deal was agreed last year.
He boasts 112 goals from 264 appearances in LaLiga and was also a member of Spain's victorious Euro 2012 squad.
It has been a busy summer for Boro manager Aitor Karanka with Antonio Barragan, Victor Valdes, Viktor Fischer, Bernardo Espinosa, Marten de Roon and Jordan McGhee already on board at the Riverside Stadium.
Press Association


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Barbara S. Williams Proudly Announces WilliamsFord And Her Partnership With Cory R. Ford.
New Name, New Website, Same High Quality Service...
What are the most common grounds for medical malpractice claims?
Medical malpractice is defined as a violation in the standard of care by a doctor, nurse or other healthcare professional. Some of the most common examples of medical malpractice and negligence include damages caused by incorrect diagnoses, incorrect surgical procedures, delay of treatment, and medication errors. However, if there is any situation where the patient is suffering from unexpected side effects, illnesses, or disabilities after receiving medical attention, this should be brought to the attention of an attorney. If you have questions about your legal rights, you should speak with an attorney as soon as possible.


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A couple of tweets came across my Twitter timeline making some unfavorable comments about a panel at SDCC 2016; "Comics vs Manga: Which is Better." The panel was supposed to have a "panel of experts" in both comics and manga, and looked to compare things such as getting started, diversity, plot, sales, and fandom. I didn't attend the panel, but I respect the commentor's opinion. And the description of the panel didn't make me think I should doubt them.
Tag Archives: Panel
San Diego Comic Con: Viz Media Panel
The Viz Media panel was the only manga related panel I chose to go for a few reasons. One, we were short on time since we were commuting, Thursday only had two that held any relation to manga, and none of industry, and I wasn't impressed with the Shonen Jump Panel last year. It was all cheer leading, and no real news. And they tricked me this year! Last year the Viz industry panel was on Thursday, thus one of the impetus to change to going on Thursday. Instead, they put both the Viz panels on Friday, and nothing on Thursday! Why SDCC??


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"I have had an excess of (snot-like) mucus in my urine and discharge. I have never had any problems before (UTI, kidney stones, etc). I do not have any pain or odor. It started about 3 to 4 months after my daughter was born. I assumed tha..."
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BOISE, Idaho (AP) -- Idaho's prison system will increase payments to its medical and mental health care provider by hundreds of thousands of dollars after the company demanded a raise.
However, the Idaho Department of Correction said it will only extend its $27 million annual contract with Corizon Correctional Healthcare until January, not another 12 months as previously announced.
By then, the state Board of Correction hopes to have a new contract in place with a provider whose price tag better fits Idaho's budget.
During the six months starting July 1, Idaho will pay Tennessee-based Corizon about $250,000 more than currently budgeted. The move, approved at a Board of Correction meeting Thursday, came after Corizon President Stuart Campbell told state prison Director Brent Reinke he wouldn't sign an extension for less money.
On Friday, Reinke said Corizon told him its contract with Idaho wasn't sufficiently covering the company's costs and it needed more to continue providing service.
"It's just gotten more expensive to do business, and they just couldn't afford to subsidize," Reinke said, recalling Campbell's justification for the hike. "The contract had just become too costly."
Corizon officials in Brentwood, Tenn., didn't immediately comment.
The rate Idaho has paid to Corizon has already increased about 20 percent in the past three years.
Idaho has had a rocky relationship with the company in recent years, a period in which the state has been under pressure from a decades-old federal lawsuit to improve medical and mental health care for prisoners.
The state fined Corizon $200,000 for missing contract benchmarks, and a federally appointed expert concluded its medical care was so bad it amounted to cruel and unusual punishment.
Corizon commissioned its own report released in May 2012, indicating it was meeting national prison standards with the care it was providing in Idaho.
In 2012, the Department of Correction asked companies to submit proposals on providing medical treatment to prisoners — a preliminary step to putting the contract out for bid.
Five companies responded, and Corizon was one of two that gave price estimates.
Based on that response, Reinke now says he's optimistic that an offer will emerge before January that Idaho can better afford.
"There are other providers that responded that are very interested in this contract," he said. "So we hope it's in a very close range of the existing budget amount."


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New Walker on hard floors
So we are going to be moving (yea!) to a new rental home and ALL the floors are hard, tile downstairs and wood laminate upstairs.
My daughter will be 14 mos when we move in, she started walking around 11mos. She certainly still very much "toddles" and wobbles when she walks.
I remember when I lived at my mom's house that she had tiled and my feet always hurt, so I am worried about dd's feet.
She has a pair of Robeez soft soles that she wears when we leave the house.
Does she need shoes inside since it's all hard floors?
I was thinking something like robeez minishoez or pediped originals, since they have a bit more cushion but are still softer than regular shoes.
I was thinking her feet wont feel much better in just robeez soft soles.
I know barefeet are best, but even on hard surfaces ALL the time?
I have flat feet so thats probably a major reason my feet hurt on hard floors.
We have hard floors downstairs and my daughter usually just wears socks cause it's winter. Once it's warmer, will prolly be barefoot.
We were in a temporary lodging facility when she was just learning to walk that was all hardwood floors and she slipped around a bit, but got used to it quickly.
You certainly can use Robeez, we have some, but usually only wear shoes outdoors.
Re: New Walker on hard floors
We've got all hard woods and DS1 hates sock and shoes. He learned to walk on hard wood and has been barefoot ever since. Barefoot is really best, but if the tile seems irritating... for a good beginner shoe I like robeez mini shoes and pediped, but make sure they have a little grip and are not just leather. The most dangerous thing I found was just socks. He'll come racing down the stairs and hit the floor and its always a wipe out.
Re: New Walker on hard floors
We have all hard floors. Barefoot is best. The only difference is that you can't do socks without grippy bottoms... too slippery. I also had a pair of leather bottom shoes (Livie and Luca) that seemed to slick when she first started walking. We like those Skidder socks for winter time.
Re: New Walker on hard floors
I had hard wood floors for all my new walkers and barefoot is fine. I much prefer hard wood to carpet. We are moving to a place with carpet and I will miss the wood. It is so much easier to clean.
Re: New Walker on hard floors
We moved when Tharen was about 16 months. I don't allow shoes in my home though I bend the rules some for soft soled shoes. He could wear his soft shoes in the house if he wanted to but he usually took them off. Our house is almost all laminate and tile, only the bedrooms have carpet (which I hate, I would rather have all laminate or wood). He has been walking since he was 8 months but I don't know that it makes much difference. What probably makes more difference is that we live in TX and it was summer so the floors definitely weren't cold. I like soft soled shoes and have nothing against buying more pairs for in home wear I just don't think it is really necessary simply because you have hard floors. Barefoot is always best (better grip).
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As predicted last in my post we've had yet another failure. Aunt Flo made a brief appearance on Friday night. Having a day 5 embryo inserted 4 days after I ovulated probably didn't help. My husband greets the news by giving me a big hug. He gave my flowers after the first 3 or 4 failures. It gets a little expensive when you do it as often as I do. Coping with the news was probably harder then than what it is now. We don't talk about it anymore – our body language does all the communication it needs.
Personally I like to talk about it but my husband does not – that's his way of coping. I know he is disappointed too. But really, there is nothing more we can say any more to each other than what we have already said before. Besides he is not a big talker and I accepted that when I married him. He is still my rock and shoulder to cry on when I need to.
I also have friends I can talk to about it – although I do try not to trouble my friends every single time I have an IVF failure. There have been too many and I know from experience that no matter how good a friend is, they can get worn out if you are constantly upset and need to talk about it. I guess most people think you should move on but infertility is a process of constant grieving to some extent. I have personally lost some valuable friendships in the past because a "friend" thought I was too demanding in the past at a time of crisis in my life. I am not willing to repeat that again.
You wouldn't know it but as I write this post on my blog, silent tears fall. I didn't cry when my period arrived. I do now. Writing it all down is very cathartic for me. Although I get upset, it gives me permission to talk and releases my feelings on matter. I have a theory that repression causes depression. When I repress my feelings, I get depressed. Revealing them, releases me and frees me from feeling depressed. To anyone else going through infertility I seriously recommend writing it all down. You don't have to write war and peace and you don't even have to make it public like I do. You could write a blog under a pen name or you could even just put pen to paper and keep it to yourself.
If you want to know how to go about setting up a blog, I am happy to teach this. I already run private workshops that teach people how to set up a blog or website and am planning on setting up a video series on my other website about how to set up and write a blog. Amazingly it is so simple and anyone can do it! I do plan on charging for the course but it will be free for anyone undergoing IVF because I think we spend enough on IVF cycles without having to spend any more money on anything else. Of course, I know this isn't for everybody and for many a pen and paper would suffice. However, if you are interested you can register by clicking here. I haven't created the content yet but if you register you will provide with an incentive to get off my butt and do it!
My next major step is have a blood test to confirm what I already know – I am not pregnant! After this, I will take a month off with the aim of having a full stimulated cycle in May. I don't think my bank account will like me very much. I know I ranted and raved about being sick of it all and I really truly am. However I am 40 years old, my eggs are not getting any younger and my biological clock is is ticking louder and faster. How does one overcome the inevitable process of aging?
I guess you don't. There is no elixir to reverse the process. I wish there were. I do take Chinese Herbs which apparently provide nutritional support for my eggs. I can't argue with century old traditional Chinese techniques.


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Please don't be so hard on yourself, others aren't (at least people that really matter)!
Most of us struggle with self-consciousness issues. We can't let that stop us!
I could name several people (who aren't so nice) that are successful and put themselves out there all the time on TV and film. And then there are really nice people who give uplifting information and try to help (aka Oprah, if that end of the spectrum helps).
Those who know us know what we look like and still like or love us for the people we ARE!
Look at everyone around you that speaks well of you. bending over backwards to do so at times. There is a large positive ripple effect there, why not be the stone that causes the ripple.
If all anyone cared about was what a person looked like then yikes, we'd all be like Hollywood…ick…what a depressing world that would be. Picking each other apart instead of building each other up or working together.
Focus and capitalize on your strengths and forget about (what you perceive as) weaknesses…everyone wins that way! Why? You win and the people around you win because you share with them your gifts instead of coddling them in self-consciousness.
Sending love and good thoughts, Debi


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I've been debugging this thing for an hour trying to figure out why the image won't draw and I'll give you all the information I know about it. I just have no idea.
This method:
Gets the 'image' variable from this method:Code:
public static void drawGraphics(Graphics g)
image = grid[0][0].getTile().getImage();
g.drawImage((Image)image, 0, 0, null);
and displays this:Code:
//This file exists
Image img = Toolkit.getDefaultToolkit().getImage("C:/Users/Micah/Documents/java/attempts/Castle Siege a4/data/tiles/images/null.png");
image = new BufferedImage(250, 250, BufferedImage.TYPE_INT_ARGB);
Graphics2D g = (Graphics2D)image.getGraphics();
//Draw a blue square for debugging purposes
g.fillRect(100, 100, 250, 250);
g.drawImage(img, 0, 0, null);
but if I change the first method to try and draw the desired image on it's own without trying to get the image from the second method it works fine. The weird thing is they are doing the SAME operation and are in the SAME directory. No error messages at all, it just doesn't work!
This works:Code:
public static void drawGraphics(Graphics g)
Image img2 = Toolkit.getDefaultToolkit().getImage("C:/Users/Micah/Documents/java/attempts/Castle Siege a4/data/tiles/images/null.png");
g.drawImage((Image)img2, 0, 0, null);
and here you can see it in the same folder together:
- The png directory is correct
- The BufferedImage is being called from the second method correctly
- The BufferedImage is being drawn correctly
- The png can be drawn
So why won't the image draw in the second method but not the first?!


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Takolo, Pirritx eta Porrotx,
Poxpolin Marisorgin
(Matxinsalto, 2003)
This is the most recent release from the exuberant trio of Basque clowns or "pailazoak" known as Takolo, Pirritx & Porrotx. After more than a dozen CDs and roughly the same number of videos/DVDs over 17 plus years, this dancing, singing, storytelling trio is a major phenomenon in the Basque country.
Takolo, a slick singer with a pop-quality tenor warble, carries most lead vocals. Clowns Pirritx (female) and Porrotx (male) come in to lead on the occasional verse and provide vivid comic relief. Lots of very talented children (from the Basque towns of Lasarte-Oria and Zaldibia) provide backup vocals. Pirritx is also an expert at the Basque yodel known as the irrintzina, a wild birdcall with a maniacal laugh at the end.
Besides the music, there is short between-song dialogue in Basque that seems to form a storyline holding the 14 songs together. Group members Mertxe Rodriguez (as Poxpolin Marisorgin) and Alex Tetuan (as Nicasio Jauna) help with the narrative flow. Most of the clowns' CD and video products are themed (this one is centred on Basque witchcraft, thus the title that means, very approximately -- "darling little witch"); past themes included the farm, or the beach.
These much-loved children's performers, who sing and act exclusively in the ancient Basque language Euskera, don't lower the musical bar for the young folks at all. Their sound is a challenging blend of folk, rock and other elements that at times sounds like The Commitments on "Azkar Hanburgesa" or Offenbach (the blues-rockers, not the composer) on "Erratza" or, at other times, like serious Basque folk-revivalists.
Other styles of music are explored as well. "Yes Esatsen du" is straight ahead ska. "Sorgintxoa" on the other hand is a startling pop-rocker that constantly changes tempo with children coming in right on time and on key on backup, and combines the rippling Basque txalaparta and standard drum percussion.
On "Akelarrean" (guest musicians include renowned Basque trikitilari Joseba Tapia on accordion and Oreka TX on txalaparta) the group reaches new levels of musical experimentation on a very Basque theme with a lineup consisting of alboka, as well as the txalaparta and trikitixa. In more standard fare, vocalist Olatz Korta adds warmth on "Ongi Etorri."
It's a fun mix. My only criticism, a small one, is that while the music merits a wider audience, the artists haven't provided any translations or notes in any language other than Euskera. On the other hand, it's more incentive to learn another language. As a family, we find ourselves puzzling out the little dialogues through a mix of context, handy dictionaries and intuiting from the sound effects.
The music is high energy, upbeat and of exceptional quality. It all makes for a very entertaining look at Basque culture that appeals to any and all young children, including my own.
- Rambles


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Hello, I recently installed enlightenment 16 from the repository, however when I try to login as a user other than root, the "Enlightenment starting" bar appears, and after it is finished, the desktop freezes with a white background and two horizontal bars in the middle. I've tried running e16 from both gdm and xinit with the same result. However running as root, the desktop seems to work. Does anyone have any ideas as to why this is? I have no clue what xserver details to give if any so let me know if they're needed.
Thank you,


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im just over 32 weeks pregnant. A few days ago i had thick clear white discharge come out of me and it was stretchy, didnt smell or anything... was that my Mucus Plug that had fullen out? it wasnt pink it was white... im very worried now as its been 5 days since that had happened and every nihgt since then i been getting up every 2 n half hours coz i really need to wee... i been getting very bad back aches, cramps, belly tightening up, lots of heart burn and also leaking a little bit... please someone help me as this is my first child and i am new to all of this and i dnt no what is happening and im very scared :/
any information would really help me x
Asked by Courtney W. at 3:18 PM on Jun. 27, 2012 in PregnancyLevel 1 (2 Credits)
Answer by BrawnwynII at 3:33 PM on Jun. 27, 2012
Next question in Pregnancy
While pregnant, how did SO treat you differently than normal?
Next question overall
(Trying to Conceive)
Plz help? late period?????
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Hong Kong Exchange Renews with Nasdaq OMX's Platform
Nasdaq OMXM announced today that Hong Kong Exchanges & Clearing Ltd. (HKEx) will ugrade its derivatives trading system to the company's Genium INET technology as well as renew its support contract with Nasdaq OMX for another five years. The platform upgrade is scheduled for the fourth quarter of 2013.
The global exchange operator said the Genium INET-based platform will provide HKEx with integrated trading and clearing of a wide range of derivatives including financial index futures and options, stock futures and options, currency futures, interest rate futures, fixed income futures, commodity futures, volatility index futures and dividend futures. Moreover, the Genium INET technology will provide HKEx with microsecond latency and significant throughput improvements. The HKEx derivatives market has been operating on NASDAQ OMX trading technology since 1994.
"Our adoption of the Genium INET technology will move our long and fruitful partnership with NASDAQ OMX into the next phase and strengthen the global competitiveness of the Hong Kong capital market," said Bill Chow, Chief Technology Officer of HKEx, in the release. "We are excited to roll out a new derivatives trading and clearing platform at HKEx and we are confident it will benefit HKEx Participants and investors alike."
Lars Ottersgard, SVP NASDAQ OMX Market Technology, commented: "HKEx has always been at the forefront of technology and we congratulate them on their commitment to the world's most sophisticated trading and clearing platform. As one of the largest and most advanced financial markets in the world, HKEx and its participants and investors will enjoy significant performance and capacity benefits from our Genium INET technology, putting them on the path for continued growth."
Ivy is Editor-at-Large for Advanced Trading and Wall Street & Technology. Ivy is responsible for writing in-depth feature articles, daily blogs and news articles with a focus on automated trading in the capital markets. As an industry expert, Ivy has reported on a myriad ... View Full Bio


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Monthly electronic statement is easy and simple to use - and it is reasonably-priced, too!
Accounts and monitoring of transactions
Advice on accounts and monitoring of transactions
IBAN and BIC
International Bank Account Number and Bank Identifier Code.
Opening an account
Opening a bank account for your business is easy when you have the required documents with you in Finnish, Swedish or English.


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Leave it to those creative minds at One Life to Live to come up with this one. Talk show host Wendy Williams is slated to tape two episodes of the New York based soap this Wednesday! And, according to the item out today from EW.com, Williams will bring her signature style as the host of the OLTL fictitious town gabfest, Access Llanview! Williams will play host, Phyllis Rose.
EW.com reports, "Seems like Williams will take on the show's reigning family when she hosts a special edition of Access Llanview called "The Buchanans, A Family Under Siege." The episodes will air on March 2 and March 28, the latter of which will also include an appearance by Kourtney Kardashian. What a hoot!