Dedication, King Solomon’s Mines, H. Rider Haggard

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Blood On The Wall – “Stoner Jam”
Awesomer

I place this song under the same “nearly perfect” category as the Beatles’ “I Feel Fine,” Radiohead’s “Airbag,” and Skygreen Leopards’ “The Heron.” There are hundreds of such songs in my memory, but it is still relatively exclusive company; it is a category of consummate craftsmanship and a sort of syzygy of every element in a song to make it something more than a sequence of notes. Blood On The Wall’s “Lightning Song” is another good example. (insound)

The floor of the cloister itself was covered with thousands of identical, horn-shaped, nine-sided tiles that had been joined together with machine-tool precision into a nonrepeating double-spiral pattern that was giving me motion sickness just looking at it. I turned my back on this and looked at a loaf of bread that was resting on the table. This was so fresh that steam was gushing out of the end — Arsibalt, an infamous heel-filcher, had already got to it. The loaf had been made by braiding several ropes of dough together in a nontrivial pattern that, I feared, had deep knot-theoretical significance and was named after some Elkhazgian Saunt.

Anathem

Collections of Colonies of Bees – “Flocks III”
Birds

This track belongs with the grand-daddies of post-rock: GY!BE’s “Storm,” Tarentel’s “Ursa Minor, Ursa Major,” much of Mono’s Walking Cloud, and so on. Their take on the long-form instrumental rock genre is more repetitive and anthemic than Mono’s wandering strains of hard-soft or Godspeed’s tone poems. Warning: the track is 11 minutes long, and you have to listen to the whole thing straight and at great volume. (insound)

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The Delfonics – “Delfonics Theme”
La La Means I Love You

Your slow-motion make-out track of the day. The instrumentation on this song (sitar, piano, horn, organ) is just a bonanza.

Ludicrous foppery if not outright witchcraft.

Anathem

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Abe Vigoda – “Wild Heart”
Reviver

This is a strong (but relatively quiet) stretch of an interesting but spotty EP. It reminds me of Remora with its unsure, wavering vocals and repetitive but hypnotic background instrumentation. (insound)

Demme, sir!” exclaimed Titmouse, starting aside with an offended air— “d’ye think I don’t know how to manage a sword? By all that’s tremendous"— and plucking the taper weapon out of its scabbard, he waved it over his head; and throwing himself into the first position — he had latterly paid a good deal of attention to fencing — and with rather an excited air, he went through several of the preliminary movements. ‘Twas a subject for a painter, and exhibited a very striking spectacle — as an instance of power silently concentrated, and ready to be put forth upon an adequate occasion. The tailor and the valet, who stood separate from each other and at a safe and respectful distance from Mr. Titmouse, gazed with silent admiration at him.

Ten Thousand A-Year

One more. That’s pretty much the limit of manliness. Set your sights accordingly.

Plenty of problems with this movie (Temple of Doom) but that is an amazing shot.

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Chopin – Etude, Op. 10, No. 7 in C Major

I just love that there are pieces like this. Flighty, rhythmic, and colorful, yet still full of carefully-planned harmonics and counterpoint.

The Gentleman’s Buck

2oz bourbon
½ oz lemon juice, ½ oz orange juice
¾ oz ginger syrup (1:1 simple syrup, ginger juice)
2 shakes angostura bitters
dry shake
peel
top with soda over ice

His self-conceit was so intense, that it consumed every vestige of sense he had about him. He stood in solitary grandeur upon the lofty pillar of his pride, inaccessible to ridicule, and insensible indeed of its approach, like vanity “on a monument smiling at” scorn. Indeed,

“His soul was like a star, and dwelt apart.”

Ten Thousand A-Year

In the progress of society we have dropped the physical part of the business; and instead of punching, scratching, kicking, biting, and knocking down one another, still true to the original principles of our nature, we are all endeavoring to circumvent one another; everybody is trying to take everybody in; the moment that one of us has got together a thing or two, he is pounced on by his neighbor, who in his turn falls a prey to another, and so on in endless succession. We cannot effectually help ourselves, though we are splitting our heads trying to discover devices, by way of laws, to restrain this propensity of our nature: it will not do; we are all overreaching, cheating, swindling, robbing one another, and if necessary, are ready to maim and murder one another in the prosecution of our designs. So it is with nations as with individuals. Truly, truly, we are a precious set.

Ten Thousand A-Year

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Rachel’s – On Demeter
Selenography

Give this track a little time and the lengthy intro gives way to beautiful and atmospheric chamber music. I heard Selenography in Barnes & Noble when it came out in 1999 and immediately bought it. The track that I’d heard was “The Mysterious Disappearance of Louis Leprince,” a standout on the album, and at the time I didn’t think the rest of Selenography stood up. I know better now that I’ve heard a bit more contemporary chamber music, though I’ve never listened to much else from Rachel’s. Selenography is about to be reissued as a 2xLP, so now is as good a time as ever to start listening.