I AM the mother of sorrows,
I am the ender of grief;
I am the bud and the blossom,
I am the late-falling leaf.
I am thy priest and thy poet,
I am thy serf and thy king;
I cure the tears of the heartsick,
When I come near they shall sing.
White are my hands as the snowdrop;
Swart are my fingers as clay;
Dark is my frown as the midnight,
Fair is my brow as the day.
Battle and war are my minions,
Doing my will as divine;
I am the calmer of passions,
Peace is a nursling of mine.
Speak to me gently or curse me,
Seek me or fly from my sight;
I am thy fool in the morning,
Thou art my slave in the night.
Down to the grave will I take thee,
Out from the noise of the strife;
Then shalt thou see me and know me–
Death, then, no longer, but life.
Then shalt thou sing at my coming,
Kiss me with passionate breath,
Clasp me and smile to have thought me
Aught save the foeman of Death.
Come to me, brother, when weary,
Come when thy lonely heart swells;
I’ll guide thy footsteps and lead thee
Down where the Dream Woman dwells.
(via sex-death-rebirth)
American greasers hang out in the park. The greaser subculture began in the 1950s with the advent of rock and roll and was comprised largely of rebellious, working-class youths obsessed with hot rods and music. The name greaser came from their greased-back hairstyle, which involved combing back hair with wax, tonics or pomade.
(via fuckyeahvintage-retro)
(via youputasmellonme)
Jaguar E-Type Lightweight, launched in 1963 as a race version, designed by Samir Klat, only 12 where ever produced.
This is the 2014 clone of the original model, one of six, initiated by the Special Vehicle Operations of Jaguar/Land Rover, presented at Pebble Beach. Source. Photos: Rainer Schlegelmilch, one of the best German motorsports photographer.
(via breezingby)
Locally, vocalist Monika Heidemann was best known for being the frontperson of experimental NYC-based band Xylos and for collaboration with a number of experimental electronic and pop artists. Writing, recording and performing under the moniker of HEIDEMANN, Monika Heidemann has stepped out on her own with the release of her debut EP, Orphan, which was released last week.
Co-produced and mixed by Sal Principato (Liquid Liquid) and Jim Orso (former drummer from Holy Ghost!), along with Josh Ascalon and Robin Macmillen, The Orphan is comprised of 3 original songs and a cover of ABBA’s “The Visitors,“ and sonically the EP manages to sound as though it were heavily influenced by 80s synth pop — in particular, Madonna and Depeche Mode.
All of the songs consist of subtly pulsating synths and drum programming that’s spacious enough to give Heidemann’s vocals room to float and bob through the mix — and although the material manages to lean more towards chilly cool wave and downtempo, it’s still highly danceable. In fact, the first two singles released from the EP, “Well Well” and “Swords” sound as though they could have been played on American Bandstand back in 1984.
Comprised of Neil Yodnane and Zeeshan Abbasi on guitars, Jane Zabeth on vocals, Cory Osborne on bass and John Rungger on drums, the Chicago-based quintet of Lightfoils formed in 2010 and and in a short time they developed a reputation as one of the Windy City’s best, up-and-coming bands — and for a sound that pushes shoegaze into a new direction. In fact, as you’ll hear on “Diastolic,” one of the first singles off the band’s soon-to-be released full-length debut, Hierarchy, a hazy soundscape created by chiming guitars, icy synths, propulsive drums, swirling feedback and ethereal vocals. In some way, it evokes Siouxsie and the Banshees, the Sugarcubes and a few others for me.
(via apoplecticskeptic)
When Charlotte Brontë was thirteen and her brother, Branwell, was twelve, they designed and wrote a series of tiny books: “Measuring less than one inch by two inches, the books were made from scraps of paper and constructed by hand. Despite their diminutive size, the books contained big adventures, written in ink in careful script.”
For more of this morning’s roundup, click here.
more chet. more flume. can’t stop won’t stop.