[Guy Fieri standing in a kitchen. Caption: These Solarists! He reminds me of a bookkeeper, preparing his accounts.]
seen from China

seen from Türkiye
seen from Hungary
seen from United States

seen from France
seen from China
seen from Iraq
seen from China

seen from Türkiye
seen from Panama
seen from Netherlands

seen from United States

seen from Spain
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seen from United Kingdom

seen from Vietnam
seen from United States
seen from Yemen

seen from Saudi Arabia
seen from Yemen
[Guy Fieri standing in a kitchen. Caption: These Solarists! He reminds me of a bookkeeper, preparing his accounts.]

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[SYSTEMS ALLIANCE] Elections in progress on Earth
via The Wards Courier Those regions of the human homeworld judged most recovered are choosing their legislators today in the planetās first post-war elections. For Earthās supreme rulers in the Systems Alliance Transitional Administration, today is an important milestone towards restoring their parliament and civilian government. Admiral Steven Hackett and the Systems Alliance Navy have presided over the affairs of Earth and her colonies since 2186. The military dictatorship arose out of necessity, as the trans-national Systems Alliance and its armed forces remained the sole standing organization on human-settled worlds after the Reapersā cessation of hostilities. However, after seven years and one Five Year Plan, humanity is clamouring to return to the republican democracy model most frequently used to govern their affairs. Those regions on Earth that have been appraised as regaining 65% or more of their pre-War metrics are now given the responsibility of governing themselves once again. The Sixty Five Percent barrier refers to the critical threshold of pre-War conditions at which a given administrative region of an industrialized nation will generally be able to meet the minimal conditions for self sustainment. While the recovered regions choose their own legislatives and form their governments, the Systems Alliance will remain in full control of areas, both on Earth and the colonies, that are still rebuilding; a grating situation for the disenfranchised. Worlds like Watson and Terra Nova still contend with military rule, with no immediate plans for a similar return to civilian governance. The transient spacer population, who used to have a small number of seats in the pre-War parliaments, have also voiced their displeasure as receivers of obligations without representation after so many years. Back on the human homeworld, citizens and political parties are carefully exercising their newly restored rights. Political groups formed in the past years like Standard-Bearers -- pro-military social conservatives renowned for their membersā rebuilding efforts -- are capitalizing on the new reality of shifted borders and the contacts made across them. Members from old Systems Alliance parliamentary parties like the Earth-centric Solarists and Labour-Colonial have also mobilized in support of ideologically aligned regional parties.
The Solarists - Cup of Tea
Genre: Indie Rock
Year: 2019
Listening Notes, Ultra-Brief (Pt. 139)
via Odyshape
PICKS
75 Dollar Bill, Olives In The Ears Ā (self-released) Ā bandcamp
In which an NY-based law clerk and a New Haven-born cancer diagnostic technician launch a lo-fi guitar/drum project inspired by Moorish griot wedding music, or so goes the press release. Sounds pretty dicey, no? And yet it works - even shreds. Maybe it helps that guitarist Che Chen once studied with Mauritanian master Jheich Ould Chighaly, or that drummer Rick Brown assembles his own rattletrap percussive devices like a latter-day Moondog. Maybe Arabic modes and desert blues translate easily to lo-fi guitar/drum projects, especially when two of the longer cuts were captured live in dingy cafes (just like Group Doueh!). Maybe nobody can go wrong covering Allen Toussaintās āYes We Can Can,ā however lazed and rangy the arrangement. Received primitivism, if youāre fussy about things like that. Or how about Loren Connors with a backbeat and a head full of Tuareg?
Haitian Rail, SolaristsĀ (New Atlantis Records)
Too many jazz/noise/metal/whatsis outfits wimp out somewhere along the way, relinquishing improv for mere riffage or abandoning speed for mere noodling. But this is sorta what 1985 Black Flag was capable of detonating on those rare moments Henry Rollins stepped away from the mic: dynamic skronk via shitty amplifiers. Assembled from a host of other noise bands that no doubt mean something to noise enthusiasts (Hyrokkin, Many Arms, Deveykus), Haitian Rail finds new guy Dan Blacksberg delivering trombone blats while Mostly Other People Do The Killingās Kevin Shea holds down death-surf drumkit duties. That leaves plenty of space for two guitarists: Nick Millevoi going Sonny Sharrock gonzo, Edward Ricart playing acid-slash bass. The second number (āsong,ā haha) is a slow one. The others all lurch unto the metalloid breach - guitar conflagrations, drone pocket-symphonies, percussive bloodied bliss, one roiling hot mess.
NEAR PICK
Shabazz Palaces, Lese Majesty (Sub Pop)
When the indulgences get dialed back a wee bit, or a fluttering synth hook offers just enough structure to hold a track together (āMotion Sicknessā), or private meanings get transformed into rallying cries (āIām havinā my cake / and Iām eating cakeā) - thatās when this abstruse-like-that studio trip reminds you why smart folks thought Black Up might be the future of hip-hop. Elsewhere, this Allan Kaprow / Octavia Butler mĆ©lange (really, how else would you describe an āastral suite of recorded happeningsā?) erratically consigns hooks/chorus to the dustbin with the sort of anti-commercial bohemianism more gently foretold by Ishmael Butler himself in Butterfly guise. Hip-hop then and now could use more boho weirdos, more Afrofuturists, more albums like Black Up. But when you brag āall of our stories told in codes,ā itās thoughtful to offer a few more jokes as good as ācall me Ishā.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch ⢠No registration required ⢠HD streaming
Listening Notes, Ultra-Brief (Pt. 139)
PICKS Ā
75 Dollar Bill, Olives In The Ears Ā Ā (self-released) Ā Ā bandcamp
In which an NY-based law clerk and a New Haven-born cancer diagnostic technician launch a lo-fi guitar/drum project inspired by Moorish griot wedding music, or so goes the press release. Sounds pretty dicey, no? And yet it works - even shreds. Maybe it helps that guitarist Che Chen once studied with Mauritanian master Jheich Ould Chighaly, or that drummer Rick Brown assembles his own rattletrap percussive devices like a latter-day Moondog. Maybe Arabic modes and desert blues translate easily to lo-fi guitar/drum projects, especially when two of the longer cuts were captured live in dingy cafes (just like Group Doueh!). Maybe nobody can go wrong covering Allen Toussaintās āYes We Can Can,ā however lazed and rangy the arrangement. Received primitivism, if youāre fussy about things like that. Or how about Loren Connors with a backbeat and a head full of Tuareg?
Ā Haitian Rail, Solarists Ā Ā (New Atlantis Records)
Too many jazz/noise/metal/whatsis outfits wimp out somewhere along the way, relinquishing improv for mere riffage or abandoning speed for mere noodling. But this is sorta what 1985 Black Flag was capable of detonating on those rare moments Henry Rollins stepped away from the mic: dynamic skronk via shitty amplifiers. Assembled from a host of other noise bands that no doubt mean something to noise enthusiasts (Hyrokkin, Many Arms, Deveykus), Haitian Rail finds new guy Dan Blacksberg delivering trombone blats while Mostly Other People Do The Killingās Kevin Shea holds down death-surf drumkit duties. That leaves plenty of space for two guitarists: Nick Millevoi going Sonny Sharrock gonzo, Edward Ricart playing acid-slash bass. The second number (āsong,ā haha) is a slow one. The others all lurch unto the metalloid breach - guitar conflagrations, drone pocket-symphonies, percussive bloodied bliss, one roiling hot mess. Ā Ā
Ā Ā NEAR PICK
Shabazz Palaces, Lese Majesty Ā Ā (Sub Pop)
When the indulgences get dialed back a wee bit, or a fluttering synth hook offers just enough structure to hold a track together (āMotion Sicknessā), or private meanings get transformed into rallying cries (āIām havinā my cake / and Iām eating cakeā) - thatās when this abstruse-like-that studio trip reminds you why smart folks thought Black Up might be the future of hip-hop. Elsewhere, this Allan Kaprow / Octavia Butler mĆ©lange (really, how else would you describe an āastral suite of recorded happeningsā?) erratically consigns hooks/chorus to the dustbin with the sort of anti-commercial bohemianism more gently foretold by Ishmael Butler himself in Butterfly guise. Hip-hop then and now could use more boho weirdos, more Afrofuturists, more albums like Black Up. But when you brag āall of our stories told in codes,ā itās thoughtful to offer a few more jokes as good as ācall me Ishā.Ā