#dot dash

[tomdork]

Dot Dash by Wire

[halgorithmic]

GUYS HELP IVE BEEN TRYING TO FIND THIS ONE CIPHER FOR THE PAST FEW HOURS AND I CANT IDK IF IT GOT TAKEN DOWN BUT IT ALSO HAD ITS OWN WEBSItE BASICALLY IT WAS KINDA LIKE MORSE BUT ONLY IN THE WAY THEY BITH HAD DOTS AND LINES AND THET USED A SORT OF MUSICAL SCALE PLACEMENT TO DETERMINE WHAT LETTER IT WAS.

LIKE

- . A |

- . B. | f |

- . c | g |

- . D | H.l |

- . E | I

- . | | . |

- . | | | | | .

- . J . | m. . N. | O | P | |

- . K . Q | R

- . L

And so on. I HAVE ALL THE LETTERS EXCEPT Y. I NEED IT. WHATS THE NAME OF JT AND THE WEBSITE PLEASE IF YOU CAN HELP, PLEASE DO SO

I WILL PROVIDE PHOTO COPY OF COPY I MADE YEARS AGO IN THE MORNING

[dougwallen]

Ngaiire review for The Australian

[waldopeircegoestowar]

                                             dot dot dot, dash dash dash, dot dot dot

August 11 1917, in Cambronne, in the Oise, France - French soldiers training in visual signalling - Gallica

‘Where it was not possible to lay landlines,  visual signalling was the way to go, using sunlight (with mirrors) in day time and lamps at night (Lucas Lamps).  Messages were sent in Morse Code, one man operating the signaling device and the other reading the message sent back.   Signallers were also used in forward positions to assist the artillery and provide information on their enemy targets.  In these positions, often isolated, the signaller became vulnerable to enemy shelling and attack, and many signallers lost their lives.‘  More on WW1 signallers here.

[kimsonvalon]

Écouter / acheter: Gray Blue Green de Dot Dash

[dustedmagazine]

Leopardo — Side A / Side B (Dot Dash / Chrüsimüsi)

Swiss songwriter Romain Savary doesn’t like “adulting.” After four albums as Leopardo, he’s aged about seven years and the trappings of modern, grown-up society disturb him.Side A / Side B is his fifth outing, a collection of stories he tells from the perspective of characters who either live in the rat race or have escaped it. He sees life slipping by, and by describing it hopes to stop the cycle of “human behavior we all repeat and repeat to forget.” Like a troubadour version of William S. Burroughs, Savary seeks to sing his way out of modern reality.

While Savary has shifted his viewpoint to one of existential introspection, he’s also solidified his sound and enmeshed it within a full band of accompanists. What once was a quirky, naïve jangle is now a robust, melody-forward amalgam of guitars, bass, drums and keyboards ornamented by trumpet, sax and samples. Five additional vocalists add heft to Savary’s nasal bark, creating gender fluid vocal harmonies that float within the fleshy song structures. Benoit Gerard’s production maintains the low fidelity feeling of past Leopardo efforts, so even though there’s a lot going on in these songs they don’t feel cluttered at all. He deploys the various sonic elements in layers, drawing our focus in many different directions to create a sense of spaciousness.

Leopardo has always been a platform for showcasing Savary’s love for The Velvet Underground, and Side A / Side B really cements this notion, combining chugging guitar chords with tom-heavy rhythms and a liberal use of drone. Whether it be a recording of gusty wind, a drawn-out saxophone bleat, or a synth chord ringing to eternity, the drone is always present. The drone elements become more apparent as the album unfurls, rising to the forefront in the final three songs. It’s also at this point that the quirky and naïve nature of the music gives way to a more poignant vibe, highlighted in the penultimate track “Bank Bank Bank.” Here, the songwriter is a former banker questioning his decision to leave that world behind with its profits and “kilos of oxytocin.”

Savary closes Side A / Side B with a love song, but he leaves it ambiguous as to whether his affection is for another person or for the landscape of his home country. The gentle jangle of his guitar and the soft organ accompaniment don’t give away any secrets, but that’s okay. He’s found hope amidst the struggles of modern life.The source can remain ambiguous, what matters is the happiness itself.

Bryon Hayes

[sandpebblesband]

A thrilling trip through Sand Pebbles album art extravaganza!

#7: Dark Magic, released on Dot/Dash, 2011

Pink core. Bold and beautiful.

Pink is a dominate colour in the Sand Pebbles palette and none more so than the hot pink on Dark Magic. Artist Dan Milne put this together and it was inspired by the opening track, ‘Springtime, who hasn’t lost their head?’

Great question. Springtime has always been the season that’s inspired the craziest ideas and following wanton paths.

[happywebdesign]

Dot Dash