![]() ![]() The cells can be modified, rearranged, or saved to a library. H2O Flow sends commands to H2O as a sequence of executable cells. It allows you to access any H2O object in the form of well-organized tabular data. However, rather than displaying output as plain text, Flow provides a point-and-click user interface for every H2O operation. Based on your models, you can make predictions and add rich text to create vignettes of your work - all within Flow’s browser-based environment.įlow’s hybrid user interface seamlessly blends command-line computing with a modern graphical user interface. ![]() H2O Flow allows you to use H2O interactively to import files, build models, and iteratively improve them. With H2O Flow, you can capture, rerun, annotate, present, and share your workflow. It is a web-based interactive environment that allows you to combine code execution, text, mathematics, plots, and rich media in a single document. And at the record’s close, we return to comfort and warmth with “Pahoehoe ” ~ the Hawaiian word for the type of soft lava that flows, radiating warmth and never ceasing.H2O Flow is an open-source user interface for H2O. The trio are merely parents testing their brood to venture beyond their place of comfort, to discover a new experience and, more importantly, inner strength. Throughout a captivating 77 minutes our sense of vulnerability ebbs and flows, but it isn’t with malicious intent that we have been so led astray. It is that feeling of love that ultimately prevails. It feels simultaneously improvised and through-composed, jazz and classical disciplines eyeing each other up amorously. The one-two of “There Will Be Blood” (another tangential Radiohead reference?) and “Inner Dance” find the trio in their most flowing state, the sax and drums in the former lurching wildly while the synth looks on with a tense grimace the latter a lengthier and more languorous affair whose thrashing cymbals seem at odds with the gentle fuzz of the bass. And it all feels instinctive rather than performative ~ even in that most indulgent of musical device: the solo. The trio revel in leading us to the outer reaches of the known, pushing the boundaries of mapped terrain as they do the musical genres whose conventions they merely smile benignly at. At the least mainstream is the centrepiece, two-part “Statement”, whose “Part 1” midsection is an intermission of restrained piano and percussive improvisation bookended by cathartic, off-kilter stabs against a thrashing cymbal ~ the most rewarding minute of the whole record.īut throughout these shifting sands the music retains a sense of playfulness. At the more mainstream end, the infectious and tightly constructed “Golden Age of the Eye” and the more sedate, drawn-out “Big Hope” sound more like the jazz-infused post-rock of Tortoise, but with a few synth tones that call to mind a videogame OST. Just as we start acclimating to these shifts in mood, the record’s dynamics and timbre start shifting alike. A couple of tracks later, “The Hunt” ends with a dramatic crescendo of shrill sax soloing, pounding drums and choral textures, the jazz aesthetic shredded like the song’s subject. In second track “Everything In Its Wrong Place” (take that, Thom Yorke!), bouncy rhythms and chime-like Rhodes soon break out into increasingly frenetic drum fills and ominous sax lines, while a growling synth creeps in to spread its unease. Though bereft of obvious threats, the very unknown that had once promised adventure now delivers anxiety. Amid such expansive terrain, we realise we no longer know our bearing or destination. (This is why the title is confusing ~ it’s a simple anagram that conveys complexity disguising simplicity these musicians are the opposite.) Their players are sophisticates in more than one sense of the word: musically cultured and yet misleading. The drums shuffle along, rarely sticking to 4/4 but always at ease in their humble intricacy the sax delivers short lines of melody simple yet so numerous that the memory of where we’ve been quickly fades. We are satiated by expansive vistas and the warmth on our skin, eased despite our unfamiliar surroundings. The alluring, wide-open landscapes they construct are bathed in a sepia glow initially, abetted by warm production, soft drum tones and the fuzzy synth pads and bass lines that underpin many passages. The confusingly named mndrmooaa is the third LP of Madrid-based monodrama, a jazz trio of highly accomplished musicians who assume drums, keys and sax duties predominantly, though all are multi-instrumentalists. It’s a fitting image for music that in phases is comforting and intelligible but also ventures far beyond the reaches of the light. The cover depicts a house seemingly on fire, but the bright blue tones, the window frames’ religious symbolism and the peppering of matter throughout the sky all lend a cold, haunting veneer. ![]()
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