Monthly Archives: October 2014

Sabrina Joy’s Eggplant Parmesan

Ingredients

Pasta sauce:
1 tablespoon good olive oil
1 cup chopped yellow onion (1 onion)
1 1/2 teaspoons minced garlic
1/2 cup good red wine, such as Chianti
1 (28-ounce) can crushed tomatoes, or plum tomatoes in puree, chopped
1 tablespoon chopped fresh flat-leaf parsley
1 1/2 teaspoons kosher salt
1/2 teaspoon freshly ground black pepper

Breadcrumbs:
5 cups breadcrumbs (made from dry crusty bread)
3 tablespoons finely chopped fresh flat-leaf parsley
1 tablespoon finely chopped fresh oregano leaves
1 tablespoon finely chopped fresh thyme leaves
Salt and freshly ground black pepper
Eggplant
Butter, for greasing the dish
6 large eggs, beaten
2 tablespoons water
2 to 3 medium eggplants (about 2 1/4-pounds), cut into 1/2-inch-thick round slices (need about 18 slices)
All-purpose flour, for dredging
Vegetable oil, for frying
4 oz. shredded mozzarella cheese
4 oz. shredded romano cheese
4 oz. shredded asiago cheese
4 oz. shredded provolone cheese

Instructions

Pre-heat oven to 400 degrees F. Lightly butter the bottom and sides of a 15 by 10 by 2-inch baking dish.

For the sauce, heat the olive oil in a sauce pan. Add the onion and sauté over medium heat until translucent, 5 to 10 minutes. Add the garlic and cook for 1 more minute. Add the wine and cook on high heat, until almost all the liquid evaporates, about 3 minutes. Stir in the tomatoes, parsley, salt, and pepper. Let simmer for at least 30 minutes.
Place the bread crumbs into a large shallow bowl. Combine and add the herbs, 1 1/2 teaspoons salt and 1/2 teaspoon of pepper. In another medium shallow bowl, whisk the eggs and 2 tablespoons of water together.

Dredge each eggplant slice in the flour, then dip it in the egg, and finally dredge it in the bread crumb mixture. Shake off any excess breading and transfer the eggplant to a baking sheet. Repeat with the remaining eggplant.

Heat 1/2-inch of oil in a large saute pan over medium heat until the oil reaches a temperature of 385 degrees F. Working in small batches, fry a few of the eggplant slices, turning once, until golden brown, about 3 minutes per batch. Transfer to a paper towel-lined baking sheet. Repeat with the remaining eggplant.

Cover the bottom of the prepared baking dish with some of the tomato sauce and arrange 1/2 of the eggplant over the sauce. Cover the eggplant with some of the sauce and cheeses (cheeses combined). Repeat to make 3 layers ending with the sauce. Top with the mozzarella and bake until hot and just beginning to brown, about 30 minutes. Let rest 10 minutes before serving.

TO:53V | Fennesz “Venice”

Double vinyl & digital download – 14 tracks + pdf booklet
Release date: 20th October 2014
Artwork and photography by Jon Wozencroft
Cut by Jason at Transition, mastered by Denis Blackham
Featuring David Sylvian and Burkhard Stangl
Special 10th anniversary edition

Track listing:
A
The Future Will Be Different
Rivers of Sand
Chateau Rouge
B
City of Light
Onsra
Circassian (guitar: Burkhard Stangl)
Onsay
The Other Face
C
Transit (vocals: David Sylvian)
The Point of It All
D
Laguna
Asusu
The Stone of Impermanence
Tree
The Future Will Be Different and Tree complete the Venice sessions in one release… “Venice” was recorded on location in the summer of 2003 and subsequently assembled and mixed at Amann Studios, Vienna in January/February 2004.
“Venice”, the fourth studio album by Christain Fennesz, finds electronic music at a crossroads between its early status as digital subculture, and the feeling that there has to be something more, an emotional quality that rises above noise and moves towards melody and rapture.
It was voted No. 3 in The Top 50, The Wire, December 2004, was album of the week at BBCi on its release and remains Christian Fennesz’s best-selling record to date. prefix (USA) noted: “Although Fennesz’s breakout record Endless Summer was followed by a live release and a collaboration with Jim O’Rourke and Peter Rehberg as Fenn O’Berg, Venice is the true heir to that album’s ascendant pop. Venice is not as unabashedly poppy as its predecessor (the lack of Beach Boys references can attest to that), but still mines much the same vein. It was marked by critics at the time as a move away from the relatively robotic music spawned by the IDM craze of the late nineties. Instead, its melodic, emotive tracks foresaw an electronic music that could be purely human.”
Pitchfork Media (USA), in a lengthy review, also noted: “Venice’s quality extends beyond its sound. Touch proprietor Jon Wozencroft– through his breathtaking design and photography – continues to fight the good fight against records-as-pure-data by making the CD a value-added prospect.” and The Declaration Online (Web): “Two blue empty row boats left listless on rippling water. Red orange green riverbed foliage reflected in the water’s gauzy oil slick surface. An airport enveloped in dull gray stratus and snow. Upon seeing the photography and packaging accompanying Christian Fennesz’s latest recording, Venice, it is clear that the record label Touch remains intent on not simply putting out records but creating audiovisual imprints dedicated to inextricably tying sound and vision.”
Buy Fennesz “Venice” [DLP and wav download] in the TouchShop
www.fennesz.com

TO:53V – Fennesz “Venice”

Double vinyl & digital download – 14 tracks + pdf booklet
Release date: 20th October 2014
Artwork and photography by Jon Wozencroft
Cut by Jason at Transition, mastered by Denis Blackham
Featuring David Sylvian and Burkhard Stangl
Special 10th anniversary edition

Track listing:

A
The Future Will Be Different
Rivers of Sand
Chateau Rouge

B
City of Light
Onsra
Circassian (guitar: Burkhard Stangl)
Onsay
The Other Face

C
Transit (vocals: David Sylvian)
The Point of It All

D
Laguna
Asusu
The Stone of Impermanence
Tree

The Future Will Be Different and Tree complete the Venice sessions in one release…

“Venice” was recorded on location in the summer of 2003 and subsequently assembled and mixed at Amann Studios, Vienna in January/February 2004.

“Venice”, the fourth studio album by Christain Fennesz, finds electronic music at a crossroads between its early status as digital subculture, and the feeling that there has to be something more, an emotional quality that rises above noise and moves towards melody and rapture.

It was voted No. 3 in The Top 50, The Wire, December 2004, was album of the week at BBCi on its release and remains Christian Fennesz’s best-selling record to date. prefix (USA) noted: “Although Fennesz’s breakout record Endless Summer was followed by a live release and a collaboration with Jim O’Rourke and Peter Rehberg as Fenn O’Berg, Venice is the true heir to that album’s ascendant pop. Venice is not as unabashedly poppy as its predecessor (the lack of Beach Boys references can attest to that), but still mines much the same vein. It was marked by critics at the time as a move away from the relatively robotic music spawned by the IDM craze of the late nineties. Instead, its melodic, emotive tracks foresaw an electronic music that could be purely human.”

Pitchfork Media (USA), in a lengthy review, also noted: “Venice’s quality extends beyond its sound. Touch proprietor Jon Wozencroft– through his breathtaking design and photography – continues to fight the good fight against records-as-pure-data by making the CD a value-added prospect.” and The Declaration Online (Web): “Two blue empty row boats left listless on rippling water. Red orange green riverbed foliage reflected in the water’s gauzy oil slick surface. An airport enveloped in dull gray stratus and snow. Upon seeing the photography and packaging accompanying Christian Fennesz’s latest recording, Venice, it is clear that the record label Touch remains intent on not simply putting out records but creating audiovisual imprints dedicated to inextricably tying sound and vision.”

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Touch Radio 105 | Jiyeon Kim

1.10.14 – Jiyeon Kim – Grandmothers’ Lounge – From the Other Side of Voices – Lounge Mix – 15:08 – 320 kbps

3 mixes, 3 directional speakers, sound installation 2014, Jiyeon Kim @ SeMa Biennale MediaCity Seoul
‘Grandmothers’ Lounge – From the Other Side of Voices’ is a joint work of radio producer Sang-il Choi (KR) and sound artist Jiyeon Kim (KR), commissioned by SeMa Biennale MediaCity Seoul 2014. Largely based on Sang-il Choi’s anthropological audio recordings of folksongs and stories of grandmothers from South Korea, Jiyeon Kim made this sound installation adopting 3 directional speakers. This mix is especially prepared for TouchRadio.
birds without mouths 00:00~06:17
Grandmothers who had lived in mountain villages used to play with imitating bird’s call. Songs about birds and imitative sounds of birds call were passed on orally. For the people who lived in mountainous areas, birds were believed to be the reincarnation of the dead, who had oppression and resentment during their lives. Most of the words and lyrics concern listening to one’s sorrows and comforting one’s soul. You can hear calls of the lark, owl, cuckoo, wood pigeon, pheasant, nightingale, etc mimicked by grandmothers from different mountain villages with rustling leaves and folksong on birds.
prayers 06:19~10:58
A mix of grandmothers’ confessions during the act of praying with songs used in exorcism rituals. Sounds of metal resonance, water flow and feedback were added to accentuate an aspect of their lives – a shaman in their own families.
unfinished chorus 10:59~15:07
This mix starts with one of the old ladies saying, “…I can’t even sing.” As song is assumed as a centralised and capitalised epic, marginal unsong elements are often neglected and erased. With chopped sounds and refrains from mainly labour folksongs, I focused on ‘unsung elements’ (breaths, humming, laughter, shouts, etc.) to be extended into another kind of song. Grandmothers’ chorus would not be finished until they stop breathing.
Sang-il Choi’s online archive of Korean traditional folksongs and in English
Exhibition link
Subscribe to the TouchPod podcast of TouchRadio via the iTunes Music Store
Play “Grandmothers’ Lounge – From the Other Side of Voices – Lounge Mix”
www.touchradio.org.uk