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The Independent (World)

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Endangered crested ibises return to Japanese wild decades after extinction

Known as Toki in Japan, the distinctive birds feature striking orange-pink hues beneath their wings and bright red markings around their eyes

The Guardian Culture

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문화/연예

Matías Aguayo: Anenoa review | Ammar Kalia's global album of the month

(Platoon) The Chilean-German producer’s shapeshifting vocals stir Latin rhythms, ghetto house, trance and more into a playful party Over the past two decades, Chilean-German vocalist and producer Matías Aguayo’s mutable, instinctive singing has been an instantly identifiable ingredient of leftfield electronic music. On Battles’ 2011 track Ice Cream, he squealed and tripped through syllables against a thunderous synth backing, while Japanese synth-pop group Crystal’s 2017 track Kimi Wa Monster saw Ayuayo singing a keening, childlike melody over instrumental. His own releases featured layered chants and scatter-gun vocal rhythms over pulsing Afro-Latin beats. While his last record, 2019’s Support Alien Invasion, marked his first foray into instrumental music, Anenoa heralds Aguayo’s welcome return to the mic across a selection of hard-hitting, dancefloor-focused arrangements. The fast-paced syncopated Latin rhythm of opener Sentimientos Encontraos sets the ebullient tone, with Aguayo’s nonchalant repetition of the title creating a hypnotic motif as bubbling and kinetic as the beat. Sprechgesang gives way to soulful falsetto on the ghetto house-influenced Asuka, Rock, Roll, while vocal processing transforms Aguayo’s party chants into a growling baritone on thumping trance number Avestruz en Veracruz. On the 80s-styled synth-pop of La Heredera, he croons delicately alongside featured Latin American singers Iarahei and Camille Mandoki. Continue reading...

The Register

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IT/기술

Japanese Space Agency names arrival date for BepiColombo Mercury mission

Due on November 21, eleven months late - but on time to do science!

The Guardian Culture

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Kraken review – fjord-based rampage is monster movie with environmental message

Underwater beastie shows discerning moral judgment when picking off victims in this fun Norwegian action film As Greta Thunberg demonstrates, an eco-chastising feels somehow cleansing when it comes out of Scandinavia. Maybe it’s because of the idea that people there live in greater harmony with nature. It is splendidly showcased in the shape of Norway’s Sognefjord, the country’s largest fjord, in this didactic but still-enjoyable action film. Kraken could almost serve as an extended tourist promo – other than the titular beastie that is, slewing off giant crab-like lice, and emerging from the depths to administer a stern 90-minute ticking-off about tampering with nature. Marine researcher Johanne (Sara Khorami, cementing her Norwegian creature-feature credentials after Troll 2) is summoned to the Sognefjord after reports of mass salmon strandings. Her first port of call is the local fish farm run by Erik (Mikkel Bratt Silset), an old flame with whom she developed sonic delousing pods now used to keep the pens clean. But in a bid to impress Japanese investors, owner Avaldsnes (Øyvind Brandtzæg) has cranked the tech up to the max, harshing the vibe not just for the wild salmon but the fjord’s deep denizen too. Continue reading...

The Public Domain Review

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Henri Rivière’s Thirty-Six Views of the Eiffel Tower (1888–1902)

French lithographs of the Eiffel Tower and its environs, in the style of Japanese woodblock prints.

뉴스

타임라인 키워드

Endangered crested ibises return to Japanese wild decades after extinction

Matías Aguayo: Anenoa review | Ammar Kalia's global album of the month

Japanese Space Agency names arrival date for BepiColombo Mercury mission

Kraken review – fjord-based rampage is monster movie with environmental message

Henri Rivière’s Thirty-Six Views of the Eiffel Tower (1888–1902)