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Norwegian progressive extreme metal band ENSLAVED have named their twelfth studio album RIITIIR and have unveiled the album artwork on their official Facebook page. RIITIIR is due out in Europe on September 28th.
From the woods in Sweden, ENSLAVED guitarist/songwriter/founding member Ivar Bjørnson shares the following:
“The album is, as mentioned, entitled ‘Riitiir’ - a self-made ‘Norse-ified’ version of the words ‘Rites’ / ‘Rituals.’ RIITIIR = ‘The Rites of Man,’ to put it in a formulaic and easy way. There is no story with a timeline; again we’ve built structures that lay above the independent lyrics that we feel more comfortable with letting the reader explore, interpret, or simply discard themselves. It is entirely up to them. Meanwhile, we are extremely excited to see what visual artist Truls Espedal has come up with this time. The collaboration between him, myself,
and Grutle [Kjellson, vocalist & bassist] was closer, more understanding and powerful this time than ever before in our more than decade-long cooperation. The album concept and our feelings connected to it hit home instantly with Truls, in the same way that his initial ideas resonated intensely with us from the second he shared them with us. We will, of course, discuss some key concepts and potential interpretations in deeper song-by-song analysis – but let’s cross that rainbow when we get there.”
Long-time friend and collaborator Truls Espedal shares the following about his creative process for RIITIIR’s album artwork, his 7th cover for ENSLAVED:
“This process has become a tradition; a tradition that works very well for me, with a lot of artistic freedom.
“First an e-mail or text from the band asking if I’m ready and then a phone conversation with Grutle and Ivar a week prior to us having a meeting. On the phone they give me an album title, some insight into the theme and their ideas, then a brief talk about different visual symbols/elements which will be incorporated. A week later I’m on a plane to meet them. We spend a day where we discuss the visual ideas I’ve come up with, eat good food, drink and listen to some of the new music. Before I leave, we have agreed about the sketches made during the day. Back home, now with a deadline, I get to work and don’t talk to them before the artwork is finished.
“ENSLAVED’s music is constantly evolving and expanding, and we early on decided that the artwork should reflect this. From my first collaboration with the band on [2001’s] Monumension and forward, we have slowly merged different aspects into the work; what we wanted to do now was to further expand and change things up a bit, without losing the connection to earlier work. It still has a strong sense of symbolism, symmetrical compositions and references to Norse art. But there is an even bigger emphasis on realism on RIITIIR, which hopefully adds atmosphere to the finished work.
“This was the first time I had the whole album to listen to from the get-go. So for more or less 90 percent of all the hours spent in my studio, RIITIIR was on constant repeat on the stereo and I truly believe that had a major impact on both the process and the finished result. The music influenced both the whole dynamics in the studio as well as choices made in color palette and atmosphere; it more or less dictated the mood of the paintings.
“Another difference this time was that I switched from acrylic paint to oil painting. So the front and back cover will be my first official ones in oils. This change gave me a challenge when it came to the deadline because of the drying rate and so on, but it felt right for the visual ideas we had decided on.
“The collaboration with Ivar and Grutle feels even more organic and natural than ever. Even though it is something that is a few years in-between, it always seems like we are on the same page. There are a lot of the thoughts and ideas in their work that I feel can be found in my own private paintings.”
ENSLAVED’s RIITIIR is the follow-up to Axioma Ethica Odini, which won the 2010 Spellemann Award (the Norwegian equivalent of a U.S. Grammy Award) in the category “Best Metal Album,” won Terrorizer Magazine’s Reader’s Poll for “Best Album of 2010,” ranked #5 in Decibel Magazine’s “Top 40 Extreme Albums of 2010” list, and appeared on over 65 “Best Albums of 2010” lists in North America, repeatedly ranking in the Top 10. In Germany, Metal Hammer Magazine awarded ENSLAVED the “Album Of The Year” title; Dutch magazine Aardschok ranked Axioma Ethica Odini at #9.
Visit ENSLAVED online at www.ENSLAVED.no, www.facebook.com/ENSLAVED, bit.ly/PLRW2a
The tomb of Sharfun-Nisa Begum commonly known as the Saruwala Maqbara (the cypress tomb) is a solid tower like, tapering brick-built structure with Chhajja (eve) near the top and surmounted by a four-sided pyramidal low dome carried over a double low neck. Sharfun-Nisa Begum was a sister of Nawab Zakariya Khan, sir named Khan Bahadur Khan, who was Governor of Lahore during the reign of Mughal Emperor Muhammad Shah (1719-1748 A.D). The tomb Saruwala Maqbara ( the cypress tomb) derived its name rom its ornamentation with images of cypress trees. these cypresses, four on each side intercepted by smaller blooming flower plants, are in enameled tile mosaic work, on plaster base.
This tomb is one of the last monuments of Mughal period at Lahore. It is mentioned by historians that the tomb was formerly surrounded by a beautiful garden and a tank, which have now totally disappeared. The burial chamber is at a height of about 16 feet, approachable only by stairs which were collapsed. The idea appears to have been intended to keep out of sight even the actual grave of the pious lady.
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Built in 1860-61, St. Luke’s Church is an ornate brick built structure that stands in Blakenhall on the junction of Upper Villiers Street and Moor Street, in what was once the heartland of Wolverhampton's motor industry. Situated close to St Lukes was the Sunbeam Motor Works, which had in its time produced cycles, motorbikes, cars and buses. The Villiers motorcycle works was also part of the factory complex that straddled a large wedge of land. The Villiers, which became part of BSA and later Norton Villiers Triumph, manufactured motorcycles on the site up until 1977, when the factory was forced to close due to fierce competition from the Japanese motorcycle industry.
Thankfully much of the old Sunbeam works and some of the Villiers factory still stands, but today it’s converted into industrial units, so still plays a vital role in providing jobs locally; it's just a pity that it doesn't still produce motor vehicles, the very thing it was designed and built to do.
This view of St Luke’s, was taken from Moor Street looking towards Upper Villiers Street, the red-brick building in front of St Lukes is on part of the former Sunbeam Motor Works, but had originally been built for J Roper , who were precision engineers and builders of early motorcycles.
I'd not noticed before, but looking closely at the picture, you will see a set of 'steeple jack's' ladders attached to St Luke’s clock tower and running up to the base of the steeple, a job that few people would have the nerve to do and looks terrifying, even from here.
Photo: 7th March 2002.
A series of low brick-built structures can be found in farm fields just to the west of Stourbridge. They are the remains of overflow sluices on the Round Hill sewage farm.
Until the late 1880's human sewage was collected in middens, usually at the end of gardens. Every so often the night-soil men would come and clear the middens and take the mixture of poo, dirt and ashes to farms where it would be used as fertiliser.
Eventually main drainage was installed so that sewage could be pumped directly to farms. The sludge emerged from sluices, like those still visible at Round Hill, and was channelled over fields so that it could drain away or evaporate.
This practice was still operating until recent times at Round Hill. In hot summer months, with the wind blowing from the west, people in some parts of Stourbridge had to endure a distinctly rank atmosphere.
Construction of the nearby Round Hill sewage treatment plant in the 1990's put an end to the nuisance. Dung no longer gushes from the old sluices.
The Roman Catholic church of St Charles in Gosforth was built in 1911 (replacing an earlier iron-built structure) and is a handsome building with two small west steeples flanking the main facade and a wide cruciform body culminating in a shallow apse. The interior is partially enlivened by marble-cladding, particularly around the sanctuary.
The outstanding features here however are in glass, principally the two large windows that dominate the north and south transepts, the largest windows in the church and both filled with gloriously rich stained glass by Harry Clarke Studios of Dublin and installed in 1945 (long after the death of Clarke himself and most likely designed by his successor Richard King). The south window depicts the Nativity, whilst that to the north represents the Deposition, with Christ's body being removed from the Cross. There is a further window by the same studio in the south nave clerestorey depicting Christ before Pilate, somewhat smaller and sadly less accessible.
This is a thoroughly rewarding church to visit for lovers of stained glass, though it is best to check with the church about access as it isn't always open outside mass times.
St Kitts and Nevis, Basseterre, view of built structure of TDC Airline Services Ltd with vehicles on the road
(c) Art in All of Us /Anthony Asael (a Corbis photographer)
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The Roman Catholic church of St Charles in Gosforth was built in 1911 (replacing an earlier iron-built structure) and is a handsome building with two small west steeples flanking the main facade and a wide cruciform body culminating in a shallow apse. The interior is partially enlivened by marble-cladding, particularly around the sanctuary.
The outstanding features here however are in glass, principally the two large windows that dominate the north and south transepts, the largest windows in the church and both filled with gloriously rich stained glass by Harry Clarke Studios of Dublin and installed in 1945 (long after the death of Clarke himself and most likely designed by his successor Richard King). The south window depicts the Nativity, whilst that to the north represents the Deposition, with Christ's body being removed from the Cross. There is a further window by the same studio in the south nave clerestorey depicting Christ before Pilate, somewhat smaller and sadly less accessible.
This is a thoroughly rewarding church to visit for lovers of stained glass, though it is best to check with the church about access as it isn't always open outside mass times.
Black and Gold Architecture Letterhead design template by Suzanne Thoma.Showcased on Inkd.com.
The black and gold palette of this business card, ideal for a contemporary architecture firm, captures the modern, creative essence of the profession. The asymmetrical gold pattern framing the top of the letterhead make it even more dynamic.
Night scape of railway and light rail beside Shanghai Railway Station, Shanghai, China, Aug 25, 2018
Car on the move in Shanghai China
Sold by Getty Nov 2017 for L.E.K. Consulting LLC (MASSACHUSETTS).
Sold by Getty Feb 2018 for Yeager Marketing (ARIZONA).
Sold by Getty Mar 2018 for Reworld Media (France).
Melbourne, Australia - September 7, 2019: Jerry's Milk Bar, a heritage-listed convenience shop in Elwood which has since been converted into a cafe.
from the V&A's website:
"Terunobu Fujimori insists that his buildings should by-pass any architectural style that has developed since the Bronze Age. The charred pine exterior of this elevated teahouse resembles the tough, blackened shell of a beetle. It expresses an avant-garde attitude to architecture that somehow aspires to a primitive state.
The dramatic process of burning the timber panels provides a textured and tactile surface - an extreme materiality. It also preserves the wood and extends the lifetime of the building.
Fujimori sees the structure as a site for a quintessentially 'English' version of the traditional Japanese tea ceremony. Teahouses often act like pieces of clothing. They are compact spaces that wrap around us like extensions of our bodies. Visitors enter the structure by climbing a ladder barefoot and squeezing through a narrow hatch - a profoundly physical process that momentarily distracts us from our surroundings.
Many of Fujimori's teahouses are designed to re-configure our views of the surrounding landscape. Similarly, 'Beetle's House' offers visitors a unique perspective on this day-lit gallery."
The Roman Catholic church of St Charles in Gosforth was built in 1911 (replacing an earlier iron-built structure) and is a handsome building with two small west steeples flanking the main facade and a wide cruciform body culminating in a shallow apse. The interior is partially enlivened by marble-cladding, particularly around the sanctuary.
The outstanding features here however are in glass, principally the two large windows that dominate the north and south transepts, the largest windows in the church and both filled with gloriously rich stained glass by Harry Clarke Studios of Dublin and installed in 1945 (long after the death of Clarke himself and most likely designed by his successor Richard King). The south window depicts the Nativity, whilst that to the north represents the Deposition, with Christ's body being removed from the Cross. There is a further window by the same studio in the south nave clerestorey depicting Christ before Pilate, somewhat smaller and sadly less accessible.
This is a thoroughly rewarding church to visit for lovers of stained glass, though it is best to check with the church about access as it isn't always open outside mass times.
The Roman Catholic church of St Charles in Gosforth was built in 1911 (replacing an earlier iron-built structure) and is a handsome building with two small west steeples flanking the main facade and a wide cruciform body culminating in a shallow apse. The interior is partially enlivened by marble-cladding, particularly around the sanctuary.
The outstanding features here however are in glass, principally the two large windows that dominate the north and south transepts, the largest windows in the church and both filled with gloriously rich stained glass by Harry Clarke Studios of Dublin and installed in 1945 (long after the death of Clarke himself and most likely designed by his successor Richard King). The south window depicts the Nativity, whilst that to the north represents the Deposition, with Christ's body being removed from the Cross. There is a further window by the same studio in the south nave clerestorey depicting Christ before Pilate, somewhat smaller and sadly less accessible.
This is a thoroughly rewarding church to visit for lovers of stained glass, though it is best to check with the church about access as it isn't always open outside mass times.
I made several photos of reflections in this interesting modern window in a newly built structure in the business park it stands within. The lamp posts and stained hardwood fence panels outside in the carpark created interesting patterns in the wavy glass. Each time I focused and clicked the shutter a different pattern of distorted images and shapes came out in the glass. Some were quite remarkable. One was even startling.
It is interesting to note that the structure is built upon the boundary of an anglo-Saxon burial ground, which is upon a Bronze age fortified settlement, which is built upon a neolithic monument that was part of a larger ceremonial landscape that encompassed an area from Springfield to Little Baddow and Boreham. The area they were built upon is rich in large gravel, flint nodules, and fossil rock. History reaching back over 30,000 years. One theory based upon extensive research that has been done, investigating unusual natural phenomena or reports of "hauntings" is that the local geography and geology combine with historical events that occurred on the site to cause optivcal illusions under certain conditions. The theory is that the crystalline matrix of certain types of stone, rock, or mineral deposits in abundance is able to absorb and record a sort of imprint of an event or scene, particularly those associated with high levels of emotion or traumatic events. This leaves a sort of "place-memory" that stays there, somehow embedded within the place itself. You must, however view the recorded image being "played back" from a certain perspective in a certain light in specific atmospheric conditions or you will never be able to see it. Author and educator Tom Graves has an interesting take on it in his book "Needles of Stone" here www.isleofavalon.co.uk/GlastonburyArchive/ndlstone/06ghos... I have worked with photonics and holographic glass plates, so I understand this scientific principle. It works with glass and minerals, so why not with a larger amount of minerals in favorable conditions? I saw some unusual images in the window....but I will let you decide what you see. It is your own window of perception that counts.