β˜†γ€‹π™’π™ƒπ™€π™‰ π™ƒπ˜Όπ™π™ˆπ™Šπ™‰π™„π˜Ό π™Žπ™ƒπ™„π™‰π™€π™Ž

β˜†γ€‹π™’π™ƒπ™€π™‰ π™ƒπ˜Όπ™π™ˆπ™Šπ™‰π™„π˜Ό π™Žπ™ƒπ™„π™‰π™€π™Ž

@whenharmoniashines.bsky.social

AND AS I YEARN.
(The thing you fear most is not the daemon disdainous.)
I'LL BE RIGHT.
(The thing you fear most is your own baseness.)

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anothercultland

anothercultland

@anothercultland.com

What made Frank Beard so interesting as a drummer was his remarkable sense of syncopation; instead of playing just a straight 4/4 in Waiting For The Bus, he throws that precise stutter-snare-to-cymbal-to-4-kick - which _made_ the song.

Sure, the guy could pound - but he had finesse as well.

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